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• Recruit people who identify as non-men within the various instrument groups.

• Recruit male singers.

• We tend to choose people we identify with - in most jazz lines today there is an over-representation of people who identify as male and it is difficult to have a representation of non-male instrumentalists in the entrance exams. Then we can talk about this with the teachers and students who sit on the jury that we should be aware of this and to actively think and work for a more equal and equal environment.

• It is important to have representation in jury groups and that jury groups do not only select/accept students/applicants who are similar to ourselves. The majority of jury groups often consist of people who identify as men, and there is then a risk that the majority of those admitted also identify as men.

• Make it more attractive for people who identify as non-men to search - remove/work against a male environment. It creates a more inclusive environment.

• Focus on an equal and equality focus in application processes.

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• Choose a mixed repertoire in teaching, important with representation based on an intersectional perspective in the teaching material.

• Hire more teachers and staff who identify as non-men.

• Show role models from an intersectional perspective.

• Expression and norms within instrument groups - show that musical expression has nothing to do with gender.

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• It is good to have clear and good communication between teachers, management and students about equality and equality work at the school.

• Request that it is mandatory to participate in gender equality work, both for relevant staff during continuing education but also for students during workshops or lectures.

• Review whether the school/organization can contribute to varied constellations/groups to open and create new rooms and environments where students meet more potential musicians to play with.

• Singers vs instrumentalists - instrumental teachers who work as ensemble teachers often lack knowledge about singing in an ensemble. It is common that there is not as much guidance in, for example, improvisation for a singer as for an instrumentalist. One tip is to listen to the first episode of the IMPRApod, where Gunilla Törnfeldt and Lina Nyberg talk about, among other things, this.

• Equality and equality work must be done every year, maintained and actively worked on. The development of these issues is constantly changing and it is important that we are aware of the changes that are taking place so that we can provide the best conditions for future generations of musicians.

• Having gender equality and equality work/focus early in the fall semester rather than at the end of the academic year increases the chance of continuing gender equality and equality work with both students and teachers throughout the academic year. This contributes to a more inclusive environment.

 

 

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• When planning a tour - think about where we go and not just to our old schools. It is important to show more potential students the possibilities of music from an intersectional perspective.

 

• Inspirational wall of musicians who identify as non-men.