Black Lives In Music (BLiM) is an organisation that is achieving equality for Black musicians and professionals in the music industry through research and advocacy and are at the vanguard of the effort to combat racism, uniting organisations and musicians to create a truly inclusive and diverse music industry.
BLiM launched the "YourSafetyYourSay" survey in April to address bullying and harassment in the music industry. Supported by prominent figures such as VV Brown, Nova Twins, and Grammy-winning artist Kamille, who have shared their personal experiences and called for change, this anonymous survey aims to collect real-world data to inform legislation, support the Creative Industries Independent Standards Authority (CIISA), and guide the Department of Culture, Media, and Sport (DCMS) in their efforts. The data will also contribute to BLiM’s forthcoming Anti-Racist Code of Conduct and reporting tool, striving to eradicate discrimination throughout the music ecosystem.
As the survey’s deadline approaches, we chatted with Dr. Charisse Oyediwura, Chief Executive of BLiM, and the Award-Winning Diversity & Inclusion Specialist Sania Haq (and Founder of Bye to Stereotypes), about their work and how BLiM's "YourSafetyYourSay" survey is paving the way for a safer, more inclusive music industry.
Dr Charisse Oyediwura, BLiM
Dr Charisse Oyediwura is the chief executive at Black Lives in Music. With 18+ years of experience, Dr Oyediwura is recognized for her advisory work in music and entertainment. She has collaborated with corporate businesses, media organizations, and artists in the UK and US and serves on the boards of Help Musicians and the LIVE Group, chairs the EDI workforce committee, and advises at War Child UK.
When Black Lives in Music commissioned a survey on the personal experiences of Black music creators and industry professionals, they engaged nearly 2,000 respondents. Dr Charisse Oyediwura was among the first called to give evidence at the UK Government Women and Equalities Select Committee's Misogyny in Music inquiry.
Utilizing data from the report, Dr Oyediwura highlighted the industry-wide issues that persistently affect Black female music creators and professionals. The report, "Being Black in the UK Music Industry," achieved over 3,000 downloads in just one week, and its subsequent media campaign reached 788.9 million. It provided key insights into the experiences of Black music creators and professionals in today’s music industry.
Sania Haq, Founder, Bye to Stereotypes
Sania has over a decade of hands-on experience working within the South Asian music industry through BollyCo, a dance and entertainment company she helps manage.
This is coupled with 12+ years within research, seven of which she spent leading on AudienceNet’s music and entertainment-related work, working closely with clients such as the IPO, IFPI, Sony, UMG, Warner, Spotify, Soundcloud, YouTube, the BPI and ERA, among others.
Sania's advocacy for cultural understanding in music is evident through her leadership in pivotal research projects like the UK Music’s Music Creator Study and the IFPI’s Global Music Consumer Study. Nominated for a Women in Music Award, she's also an award-winning Diversity, Equity & Inclusion (DEI) practitioner. In 2023, she founded Bye 2 Stereotypes, providing research, training, and strategic support for addressing societal inequalities and increasing South Asian representation in the industry.
BLiM’s recent survey ‘Being Black in the UK music industry’ on the personal experiences of Black music creators and industry professionals engaged nearly 2,000 respondents. What were some of the most surprising findings from this survey?
Dr Charisse Oyediwura: There was nothing that was surprising, unfortunately as that was our lived experience, so we already knew it. However the data showed a disparity between Black women and others in music industry and was probably the most eye opening part. That Black women being the most under paid (17% less than Black men, 25% less than white women and 52% less than white men),44% Black women reporting that their mental health had declined since starting their career in the music industry and 40% of women feeling the need to change their appearance in order to assimilate into the music industry.
What prompted BLiM to initiate the “YourSafetyYourSay” survey?
Sania Haq: The “YourSafetyYourSay” survey was initiated by Black Lives in Music (BLiM) following the insights gained from their inaugural survey, “Being Black in the Music Industry.” This initial survey highlighted significant issues of bullying and harassment within the industry, underscoring the need for a more focused investigation.
What role do you currently play in the survey process of BLiM's YourSafetyYourSay?
CO: As the ideator for the YourSafetyYourSay research, I was deeply moved to take action due to the pressing concerns that emerged from numerous conversations and meetings. BLiM's focus on Bullying and Harassment in the UK Music Industry is driven by a profound necessity. At Black Lives in Music, we receive countless calls from individuals of all backgrounds who are facing bullying and harassment. Gathering data, stories, and insights is crucial to provide the music industry with informed recommendations for impactful change. Historically, participation from Black, Asian, and ethnically diverse communities in this type of research has been incredibly low, and it's time we address this gap. There's a prevalent misconception that the struggles faced by Black, Asian, and ethnically diverse people are solely racial. However, bullying and harassment are fundamentally about the abuse of power, often rooted in prejudices like misogyny, racism, and homophobia. We are here to amplify those voices and challenge these narratives.
Collaborating with brilliant minds like researcher Sania Haq and Dr. Cassandra Jones, along with psychotherapists Natasha Hendry and Dawn Estefan, gender activists, and our dedicated BLiM Taskforce, has been nothing short of inspiring. Together with numerous key stakeholders, we are paving the way for our upcoming Anti-Racist Code of Conduct and reporting tool. We aim to eradicate discrimination, bullying, and harassment across the music ecosystem, protecting all people groups and the intersections of race, ethnicity, disability, sexuality, and gender.
What are some common difficulties you've encountered during the survey process, and how have you managed to address them?
SH: I led on designing the survey, drawing on my expertise in conducting inclusive research and providing industry training on this for the Market Research Society. This survey presented unique challenges due to the sensitive nature of the topics it addresses. To ensure its effectiveness and participant safety, we consulted with specialists and organizations experienced in similar studies. Their input enabled us to feel confident that we had created a survey that is impactful yet sensitive to participant needs. Additionally, I am actively promoting awareness of the survey within my networks, particularly among South Asians working in the music industry.
In light of the findings from the Misogyny in Music Inquiry, how do you envision the YourSafetyYourSay survey contributing to a cultural shift within the music industry towards greater accountability and inclusivity?
SH: The findings from the Misogyny in Music Inquiry revealed pervasive issues of gender-based discrimination and harassment, which helped shape the focus and urgency of the “YourSafetyYourSay” survey. This survey aims to build on these findings by capturing data directly from music creators and professionals. Along with misogyny impacting the direct lived experiences of those working within music, it also permeates into society. Music is powerful and it can either combat or reinforce stereotypes and misogyny within society. Our aim is to use findings from the survey to influence industry standards and practices, encouraging organizations to implement robust anti-harassment policies and create a safer, more equitable environment for all.
Given the normalization of bullying and harassment in the music industry, what immediate proactive measures do you believe everyone should implement to address these issues effectively?
CO: There is a culture of silence and enabling that cloaks the normalisation of abuse in the industry and that needs to be uncovered. There are people who are genuinely fearful of the consequence of speaking out. But the consequence should not be on them instead it should be on the person who has committed the offence. I think listening to people in the music industry regarding their experiences is important, not gaslighting or sweeping it under the rug. Rather the opposite encouraging them to report their experiences. End the misuse of NDA’s in the cases of bullying, abuse or discrimination as it does not protect the victim but empowers the perpetrators. But our voices especially collectively are powerful that's why we want as many people to use their voice (anonymously) through the YourSafetyYourSay survey.
What support systems or resources would you expect music companies or industry leaders to provide for those affected by bullying and harassment in the industry?
CO: I think organisations should encourage people and workers to report their experiences to the police or other organisations such as Help Musicians, ISM or Musicians’ Union. Who will provide advice and support. We are only months away from the launch of the Creative Industries Independent Standards Authority (CIISA) so we are encouraging all organisations however large or small to sign up.
Looking ahead, what are your goals for the YourSafetyYourSay survey, and how do you plan to use the findings to drive meaningful change within the music industry?
CO: We plan to use the survey results to support the work of BLiM's Anti-Racist Code of Conduct and the Creative Industries Independent Standards Authority (CIISA) to also inform our work with the Women and Equalities Select Committee and the UK Government to share the landscape and scale of the problem and to provide legislation that will enable change at the highest level. Our job is to hold the music industry to account and that is what we will do.
