Diversity & Equal Opportunities Stats in TV & Radio 2019/20

Over the course of 2020 I had read every white paper and report under the sun about diversity, equality and inclusion in the creative industries, with a particular focus on TV and Radio.

In November 2020, Ofcom (the appointed regulator of the broadcast industry), published their latest report. It made for an interesting read given everything that has happened in the last year. Here’s the lowdown from the report:

There are x3 key areas where Ofcom wants to see tangible progress during 2021

1. Critical Under-representation – greater progress in the representation of disabled people on all levels and a faster increase in the diversity of crucial decision-makers (senior management, as well as employees in commissioning, content and creative roles), specifically addressing the under-representation of colleagues from an African or Caribbean heritage.
2. Understanding class and geographic diversity – Ofcom have acknowledged that a person’s socio-economic background and where they live has a massive effect on their opportunities in broadcasting. This particular area, is something close to my heart given my own background.
3. Accountability – Ofcom expects broadcasters – in particular those in leadership roles – to be accountable for delivering not just diversity initiatives but real change by:

• setting clear measurable workforce targets and diversity and inclusion targets, with tangible outcomes
• undertaking better, more transparent, evaluation of work designed to produce change, so that efforts can be focused and results accelerated
• holding production partners to account for meeting diversity requirements

Update on Progress of Protected Characteristics

The stats on the progress of each protected characteristic under the 2010 Equality Act are insightful. I’ll share the key ones where infographics were produced.

Disability: only 7% of TV employees and 6% of Radio employees are disabled compared with 19% of the working age population in the UK.

Ethnically Diverse Groups: Ofcom refers to this group as Minority Ethnic Groups (MEG). Since reading the #BAMEOver Statement for the UK, written by Inc Arts – details of which are in my #BAMEOver article – I will never refer to myself or any other ethnically diverse person as being within a ‘minority’. I plan to write to Ofcom to share this statement with a view that they change the language used in future reports. This group – and particularly those from an African or Caribbean heritage – are under-represented in senior management. There are 8% of those who are ethnically diverse working in senior management in TV, compared with a national workforce average of 12%. Only 1% of this group are from an African or Caribbean heritage, compared with 3% of the working population.

And below you can see a detailed breakdown of people working in the industry by ethnicity:

Gender: This focuses on the representation of women. It shows that that the proportion of women closely reflects the UK working age population (47% of which is female). However, they remain under-represented at senior levels.

It’d be good to see Ofcom obtaining stats on other genders, e.g., those who identify as being transgender or non binary etc.

Social Mobility: Last year’s report was the first time that socio-economic backgrounds/ class were reported on. The volume of data submitted was limited however, and it’s the same for this year. That said, it formally shows what was thought to be the case; that those working in TV are twice as likely to have attended private school as people in the working age population more generally and that twice as many TV workers come from ‘professional’ family backgrounds.

Data, data and more data!

I cannot stress the importance of data collection like this. The industry has to understand where they are now to then figure out how to address where we need to be. That process has to include creating a long term strategy with clear, tangible, measurable and actionable objectives. Not just with broadcasters but also with independent production companies. I would caveat this by stating that indies need the support of the big broadcasters generally and more specifically by the commissioners. Because once a commission is green-lit, it’s all systems go and productions simply do not have the time or resources needed to nurture diverse talent. That’s why in the past, they’ve generally picked up the phone to people they know, and the people they know look like them and that generally tends to be people of European ancestral heritage. I know it’s easier said than done when the deadlines loom and the pressure increases to deliver a production in a really short space of time. The whole process needs time, money and most of all commitment to ‘do the right thing’. However, things are changing for the better, or at least there has been some momentum. There is a lot to do but the intention for change is there like never before.

What are the broadcasters doing?

Channel 4 announced Babita Bahal as Head of Creative Diversity in November 2019. She started her role in early 2020 having previously been the Diversity and Inclusion Lead for BBC Content. Channel 4 have shown great commitment to the diversity cause by opening new Headquarters in Leeds and also opening Creative Hubs in Glasgow and Bristol. They have also set a target of having 50% of its production spend in the Nations and Regions by 2023. In the summer of 2020, they announced the launch of their Indie Accelerator in a two year partnership with The TV Collective. This will focus on matching commissioning heads of department for unscripted genres with independent production companies led by ethnically diverse people. They have also launched The Black Takeover – an ambitious day of programming for Autumn 2021 which will see Channel 4’s entire programming schedule fronted by Black talent as part of the Channel’s ongoing commitment to improve Black representation both on and off screen. And applications are open right now until 29th January 2021 for their Production Training Scheme, with opportunities available right across the UK in Leeds, Manchester, Birmingham, Bristol, Belfast, Cardiff, North Wales and Glasgow.

ITV also launched their Diversity Acceleration Plan in the summer of 2020. This includes an initiative called ITV Step Up 60, designed to increase Diversity at senior levels of decision making in TV production, both within ITV Studios and independent producers. The ITV apprenticeship programme also has a remit to attract diverse talent. In the summer they announced the appointment of Ade Rawcliffe as Group Director of Diversity and Inclusion. Just before this they had appointed Nana Hughes as Head of Scripted Comedy. You can find out a little more about Nana in this Facebook Video where she talks about what she is looking to commission. She is joined by BBC 3 Comedy Commissioner, Sarah Asante.

The BBC appointed June Sarpong as Director of Creative Diversity, also in November 2019. It’s clear that through her leadership, many great events and initiatives have been delivered under the BBC Creative Diversity banner. She also led the creation of a Blueprint for Belonging which has received much praise in the industry. In December 2020, the BBC announced their Creative Diversity Plan to accelerate diverse representation on and off screen. Click here to find out more. On the BBC Creative Diversity page (link above) June shares a story about a nineteenth century abolitionist, Frederick Douglass – he was a man of African heritage who challenged the status quo. A former slave, he rose to be a trusted advisor to the US president Abraham Lincoln. Douglass argued that art and imagery provided a mechanism for societal self-refection, critique and progress. Through this story, June has reiterated the importance of diversity in the broadcast industry in such a poignant way.

If like me, you love reading a report, because I mean, who doesn’t?! 🤪😅 …then you can read the Ofcom Report in full here.