Closing the market as the only protection? Trade unions and the labor market in the French performing arts industry from 1919 to 1937 |
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| Authors: | Mathieu Grégoire |
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| Institution: | 1. Department of Psychiatry, Icahn School of Medicine at Mount Sinai, New York, NY, USA;2. Mental Health Patient Care Center, James J. Peters Veterans Affairs Medical Center, Bronx, NY, USA;3. Anxiety and Stress Research Unit, Ministry of Health Mental Health Center, Faculty of Health Sciences, Ben-Gurion University of the Negev, Beer Sheva, Israel;4. Department of Psychiatry, University of California San Diego, San Diego, CA, USA;5. Veterans Affairs Center of Excellence for Stress and Mental Health, San Diego, CA, USA;6. Department of Genetics and Genomics Sciences, Icahn School of Medicine at Mount Sinai, New York, NY, USA;7. Department of Neuroscience, Icahn School of Medicine at Mount Sinai, New York, NY, USA;1. Department of Medicine, Center for Behavioral Cardiovascular Health, Columbia University Medical Center, New York, NY, USA;2. Department of Medicine, University of California, San Francisco, CA, USA;3. General Internal Medicine, San Francisco VA Medical Center, CA, USA |
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| Abstract: | The case of trade unions in the French performing arts industry between the two World Wars will serve here to test the hypothesis advanced in the Sociology of Professions and Theory of closed Labor Market whereby workers seek to improve their chances by attempting to limit its access. In line with that hypothesis, lyrical and dramatic actors tried to control the market, in particular by making it compulsory to hold a professional license. Contrary to what the theory proclaims, however, musicians’ trade unions sought to control wages and employment by implementing a strategy of maximum receptivity, i.e. by accepting anyone who entered the market. The article shows how those different strategies molded group identities, by tracing the borders of legitimacy and influencing the nature and extent of solidarities that cropped up in the milieu. Beyond the divergent strategies, two contrasting prospects of emancipation emerge from this study: emancipation as professionals for an elitist and exclusive group of actors and opera singers, emancipation as wage-earners for an inclusive, non-elitist group of musicians. |
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