Despite the growing evidence of inequalities related to the presence, promotion and labor conditions of women in the cultural sector, as well as the factors that cause these inequalities, there is still a lack of research and consensus on the key measures that should be applied to reduce the effect of these inequalities. The aim of this study was to identify intervention measures, from both the public and private sectors, that will help promote gender equality in the Catalan context. In a three-round survey using the Delphi technique, cultural professionals were asked about the most appropriate measures to achieve gender equality in cultural employment. In this regard, this article presents an innovative data-gathering methodology for cultural studies, involving diverse stakeholders from the public, private and civil society sectors and contributing to informed decision-making processes. The highest priority measure identified in both the public and private sectors was related to compliance with legal provisions regarding the recognition of equal pay for work of equal value between women and men. The adoption of and compliance with laws and regulations aimed at advancing gender equality and the establishment of measures related to the reconciliation of work with family and social life was also prioritized highly by most professionals. The full set of measures proposed by cultural experts and affected groups can help to effectively address gender inequalities in the Catalan context and provide ideas for other local and national settings.
Arts Council England (2014) Equality and Diversity within the Arts and Cultural Sector in England. Evidence and Literature Review Final Report. Manchester: Arts Council England.
3.
Ballesteros DoncelE (2016) Los números cuentan. Sub-representación de la obra artística de mujeres creadoras en museos y centros de arte contemporáneos. Política y Sociedad53(2): 577–602.
BanksMMilestoneK (2011) Individualization, gender and cultural work. Gender, Work & Organization18(1): 73–89.
6.
BarriosMVillarroyaABorrego OlléÁC (2011) Response rates and data quality in web and mail surveys administered to PhD holders. Social Science Computer Review29(2): 208–220.
BerridgeS (2019) Mum’s the word: Public testimonials and gendered experiences of negotiating caring responsibilities with work in the film and television industries. European Journal of Cultural Studies22(5–6): 646–664.
9.
BielbyDD (2009) Gender inequality in culture industries: Women and men writers in film and television. Sociologie du travail51(2): 237–252.
10.
BielbyDDBielbyWT (1996) Women and men in film: Gender inequality among writers in a culture industry. Gender & Society10(3): 248–270.
11.
BleijenberghICacaceMFalcinelliD, et al. (2021) How Dutch and Italian women’s networks mobilize affect to foster transformative change towards gender equality. European Journal of Women’s Studies28: 10–25.
ChristophersonS (2008) Beyond the self-expressive creative worker an industry perspective on entertainment media. Theory, Culture & Society25(7–8): 73–95.
16.
ColeSMKaminskiAMMcDougallC, et al. (2020) Gender accommodative versus transformative approaches: A comparative assessment within a post-harvest fish loss reduction intervention. Gender, Technology and Development24(1): 48–65.
17.
ConnellR (2019) New maps of struggle for gender justice: Rethinking feminist research on organizations and work. Gender, Work & Organization26: 54–63.
18.
ConorB (2021) Gender & Creativity: Progress on the Precipice (Special edn). 2005 Convention Global Report Series. Paris: UNESCO Publishing.
19.
ConorBGillRTaylorS (2015) Gender and creative labour. The Sociological Review63(S1): 1–22.
20.
CorbatYGonzálezSM (2019) Wom@rts. State of the Arts Report about the situation of women artists and professionals in the Cultural and Creative Industries sector in Europe. Available at: http://www.womarts.eu/state-of-the-arts-report/ (accessed 16 August 2020).
21.
Corredor LanasPCorredor LanasC (2017) La perspectiva de género en la cultura española: la igualdad como condición esencial para la diversidad. In: BustamanteE (ed.) Informe sobre el estado de la cultura en España 2017. Igualdad y diversidad en la era digital. Madrid: Observatorio de Cultura y Comunicación, Fundación Alternativas, pp.33–48.
DeanD (2008) Age, gender and performer employment in Europe: The international federation of actors. Report on research for the International Federation of Actor’s (FIA) project ‘Changing gender portrayal: Promoting employment opportunities for women in the performing arts’. Available at: http://www.fia-actors.com/uploads/ENGLISH.pdf (accessed 16 August 2020).
24.
DiamondIRGrantRCFeldmanBM, et al. (2014) Defining consensus: A systematic review recommends methodologic criteria for reporting of Delphi studies. Journal of Clinical Epidemiology67(4): 401–409.
25.
European Institute for Comparative Cultural Research (ERICarts) (2003) Culture Gates: Exposing Professional ‘Gate Keeping’ Processes in Music and New Media Arts. Cologne: ARCult Media.
26.
European Union (2019) Culture Statistics – 2019 Edition (Statistical Books, Eurostat). Luxembourg: Publications Office of the European Union.
GouyonMPatureauFVolatG (2016) La lente féminisation des professions culturelles. Culture Études, 2016-2. Paris: Département des études de la prospective et des statistiques, Ministère de la Culture.
30.
HennekamSBennettDMacarthurS, et al. (2019) An international perspective on managing a career as a woman composer. International Journal of Arts Management21(3): 4–13.
31.
HesmondhalghDBakerS (2015) Sex, gender and work segregation in the cultural industries. The Sociological Review63(S1): 23–36.
HsuCCSandfordBA (2007) The Delphi technique: Making sense of consensus. Practical Assessment, Research and Evaluation12(10): 1–8.
35.
Instituto de la Mujer (2013) Formación profesional de las mujeres y nuevos yacimientos de empleo. Madrid: Ministerio de Sanidad, Servicios Sociales e Igualdad.
36.
JanssonM (2019) The quality of gender equality: Gender quotas and Swedish film governance. International Journal of Cultural Policy25(2): 218–231.
37.
JonesDPringleJK (2015) Unmanageable inequalities: Sexism in the film industry. The Sociological Review63(1): 37–49.
38.
JosephA (2018) Gender equality: Missing in action. In: UNESCO (ed.) Re/shaping Cultural Policies. Advancing Creativity for Development. Paris: UNESCO Publishing, pp.189–207.
39.
McDowallAGamblinDTeohK, et al. (2019) ‘Balancing Act’: Pipa’s survey into the impact of caring responsibilities on career progression in the performing arts. Parents & Carers in Performing Arts (PiPA). Available at: http://www.pipacampaign.com/wp-content/uploads/2019/04/BA-Final.pdf (accessed 16 August 2020).
40.
McRobbieA (2002) Clubs to companies: Notes on the decline of political culture in speeded up creative worlds. Cultural Studies16(4): 516–531.
41.
MenzelA (2021) Towards gender equality in the cultural and creative sectors. Report of the OMC (Open Method of Coordination). Working Group of Member States’ Experts. Publications Office of the European Union, Luxembourg.
42.
Ministère de la Culture (2018) Observatoire de l’égalité entre femmes et hommes dans la culture et la communication 2018. Paris: Département des études de la prospective et des statistiques, Ministère de la Culture.
43.
Mujeres en las Artes Visuales (2014) Informe MAV #13: Las mujeres y el sistema del arte visual en Europa. Madrid: Mujeres en las Artes Visuales.
44.
Mujeres en las Artes Visuales (2018) Informe MAV #18: Presencia de mujeres artistas en Arco Madrid, Art Madrid, Hybrid y Justmad 2018. Madrid: Mujeres en las Artes Visuales.
45.
Núñez DomínguezT (2010) Mujeres directoras de cine: un reto, una esperanza. Pixel-Bit37: 121–133.
46.
O’BrienDLaurisonDMilesA, et al. (2016) Are the creative industries meritocratic? An analysis of the 2014 British Labour Force Survey. Cultural Trends25(2): 116–131.
47.
OkoliCPawlowskiSD (2004) The Delphi method as a research tool: An example, design considerations and applications. Information & Management42(1): 15–29.
48.
PerronsD (2003) Work–life balance: Conceptual explorations and a case study of new media. Gender, Work & Organization10(1): 65–93.
49.
Proctor-ThomsonS (2013) Feminist futures of cultural work? Creativity, gender and difference in the digital media sector. In: BanksMGillRTaylorS (eds) Theorizing Cultural Work: Labour, Continuity and Change in the Cultural and Creative Industries. Oxford: Routledge, pp.137–149.
TrevelyanEGRobinsonN (2015) Delphi methodology in health research: How to do it?European Journal of Integrative Medicine7(4): 423–428.
52.
UNESCO (2014) Gender Equality – Heritage and Creativity. Paris: UNESCO Publishing.
53.
UNESCO (2017) Precarious situation for women working in the field of culture. Fact Sheet No. 47, UIS/FS/2017/CUL/47, November 2017. Paris: UNESCO Institute for Statistics.
54.
UNESCO (2019) Culture and Working Conditions for Artists. Implementing the 1980 Recommendation Concerning the Status of the Artist. Paris: UNESCO Publishing.
55.
VillarroyaA (2012) Cultural policies and national identity in Catalonia. International Journal of Cultural Policy18(1): 31–45.
56.
VillarroyaA (2016) Women and cultural policies. In: State of Culture and the Arts 04_2016. Links and Divergences in Cultural Policy. Consell Nacional de la Cultura i de les Arts – CoNCA [National Council for Culture and the Arts], pp.71–78. Available at: https://conca.gencat.cat/web/.content/Enllac/INFORME_2016_ANG.pdf (accessed 16 August 2020).
57.
VillarroyaA (2017) L’ocupació en el sector de la cultura des d’una perspectiva de gènere. DeCultura50: 1–59.
58.
Wing-FaiLGillRRandleK (2015) Getting in, getting on, getting out? Women as career scramblers in the UK film and television industries. The Sociological Review63(S1): 50–65.
59.
WreyfordN (2013) The real cost of childcare: Motherhood and flexible creative labour in the UK film industry – Review essay. Studies in the Maternal5(2): 1–22.
Supplementary Material
Please find the following supplemental material available below.
For Open Access articles published under a Creative Commons License, all supplemental material carries the same license as the article it is associated with.
For non-Open Access articles published, all supplemental material carries a non-exclusive license, and permission requests for re-use of supplemental material or any part of supplemental material shall be sent directly to the copyright owner as specified in the copyright notice associated with the article.
