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money and strain placed on relationships due to touring, all of which can
be detrimental to their mental health. This combined with the pressure of
working in the creative industries can lead to performers developing issues
with alcohol and drug abuse as a coping mechanism. Cases such as the
death of Amy Winehouse have highlighted that the music industry and the
creative industries in general need to do more to support performers.
3 The BGCM supports all efforts to promote better mental health within the
creative industries, and highlights the work of the British Association for
Performing Arts Medicine (BAPAM) in treating both physical and mental health
issues in performers and Help Musicians UK for supporting this essential work.
Music Co-operatives
1 The Musicians’ Union (MU) released its third report into the state of music
education in England in 2016. The report highlighted that yet more
instrumental music teachers have lost their jobs or left the profession due
to worsening terms and conditions over the last year. MU members also
highlighted their concerns about the inconsistency of music education
provision across the country due to the varying attitudes of schools and head
teachers towards music.
2 Instrumental music teachers faced with redundancy or worsening terms
and conditions have, in some areas, been setting up co-operatives and
independent trusts. These appear to be working very well and are examples
of how high quality, accessible and affordable music education delivered by
a committed and skilled workforce can still be provided. The MU is a member
of Co-operatives UK and is providing advice and assistance to MU members
who wish to set up their own co-operatives. For example, the MU assisted
a group of members in Milton Keynes to form their teaching co-operative
following the council’s decision to make the majority of their instrumental
teaching workforce redundant.
3 This BGCM believes that every child should be given the opportunity to learn
a musical instrument, as was the aspiration of the National Plan for Music
Education, and condemns all cuts to music education. The GFTU applauds
efforts by instrumental teachers and the MU to form cooperatives and
pledges to support this work.
Public ownership of Britain’s railways
1 This Conference opposes the continued privatisation of Britain’s railways
which have allowed the private sector to extract significant profits at the
expense of tax payers and passengers whilst threatening the jobs of workers.
2 Information published by the ORR shows that for the year 2015-16, net
government support to the rail industry totalled £4.8 billion (excluding Network
Rail loans) and represents double the level recorded (in real terms) of that paid
in the last days of British Rail. Since privatisation, this situation has existed and
taking advantage of the subsidy, firms like Virgin TrainsWest Coast that claim to
be private sector innovators are guaranteed profits. In 2015-16 alone, VirginWest
Coast made £67 million in pre-tax profits after receiving a net subsidy of £285
million, building on £518.8 million net profit extracted between 1997 and 2012.
3 At the same time, after allowing for inflation, rail fares have increased by 25%
in real terms since 1995 whilst government policy is to increasingly push the
cost of the railways onto the passenger.
4 As part of the government’s neo liberal political dogma, they are also waging
a war on staff and their unions. Nowhere more so has this been seen than in
Southern where trade unions have had to defend their right to strike in the
Supreme Court, whilst DfT dictat and incompetence has now led to a legal
challenge from commuters.
5 Conference calls on the GFTU to support the People’s Railway campaign and
work for publicly owned and publicly accountable railway.
Motion 9 continued
Motion 10
Musicians Union
Motion 11
Transport Salaried Staffs’
Association