4 steps C4 should take to avoid the 'regional diversity trap'

A week ago, I posted an open letter to the CEO of Channel 4, where I welcomed the announcement that C4 will open new national headquarters in Leeds and regional hubs in Glasgow and Bristol.

I also warned against the “regional diversity trap”, where an increase in regional diversity can result in a fall in ethnic diversity. All three new locations have BAME populations far smaller than London - both as a percentage and in absolute terms – and so the risks are real.

But as I made clear in my original letter if Channel 4 take the right steps a move to increase productions outside of London does not have to result in a fall in ethnic diversity. In this blog post I am going to outline the four essential steps I believe Channel 4 should take to avoid the “regional diversity trap” and even grow BAME diversity..

First, an action relating to Channel 4’s commissioners.

1. COMMISSIONERS MUST BE BAME CHAMPIONS

Those outside the UK TV industry may not know that Channel 4 has no in-house productions. That means it relies on independent companies (indies) and freelancers to make their programmes. The people who run Indies and freelancers make their living by producing programme after programme for broadcasters, and while they might be creative artistic people the vast majority are savvy rational business people. They have a very rational fear of relying on just one source of work. The appeal of London is that if you fail, for example, to get a C4 commission one year you can still pitch to BBC, ITV, C5, Sky or others for commercial work. Indeed, the vast majority of Britain’s creative economy is based in London with over two thirds of all jobs in the creative industry being based in the South East.

Therefore, to ask people to focus outside of London is to ask them to disproportionately put their faith in a drastically smaller number of options.  That’s fine if you’re well established and well networked, but often BAME led indies and freelancers are not, they are often surviving from commission to commission. It also explains why it is not only difficult to attract BAME staff to work outside of London but to retain the ones who are already based there.

As an executive producer outside of London for a total of 11 years now – 8 in Glasgow 3 in China, regularly commissioning from indies and bringing on freelancers myself, I have realized that if I am asking BAME indies and producers to show extra faith in me I have to return the favour. I have to make extra effort to foster BAME indies and freelancers. I have to mentor BAME talent and effectively champion them to other commissioners, not just within the organization I work in but beyond.

If Channel 4 is serious about avoiding a fall in diversity with the move out of London, they should therefore formally include as a job objective for all the new regional commissioners to champion and actively target BAME indies and freelancers. This can then be easily be tracked as part of annual appraisals.

Second, Channel 4 should take actions related to accommodation.

2. MAKING THE TRANSITION EASY

In China I have seen if any large international media organisation wants to attract the best talent from around the world they must address the issue of accommodation. These organisations recognise that they are effectively asking potential staff to either give up their accommodation in their hometowns on the basis of a temporary position, or asking them to take on two sets of rent. Either prospect deters potential staff from taking up such positions.

While this is a broader problem for Channel 4 – in terms of attracting all talent to the new locations, it will disproportionately affect BAME talent, as they are currently more concentrated in London.

It was an issue I had to grapple with as an executive producer in Scotland. Indeed, it often surprises people when I tell them that in Glasgow, I frequently put directors and assistant producers up in my house. In China, I still do the same. It is often the only way I can ease the transition for BAME talent to move from London to Scotland or Beijing.

I’m not suggesting that Channel 4 asks every commissioner to open up their spare bedroom (I happen to have a very understanding wife!). Nor am I suggesting that Channel 4 now buys out apartment blocks in Leeds for new staff.  That would be far too costly. But I do believe that the issue of the accommodation transition can be managed by uplifting certain programme budgets or by working with larger indies to address the problem. For instance, some independents based in Glasgow, such as Keo, actually provide short-term accommodation for their staff based outside of Scotland. This short-term accommodation of a few months often eases the way for people to relocate permanently. Examining how this works will be worthwhile, especially for attracting BAME staff.

Third, Channel 4 needs to encourage its new regional commissioners to properly “mainstream” diversity.

3. GOING BEYOND THE “WINDRUSH SEASON” AND FILMS ON KNIFE CRIME

Far too commissioners only think of bringing on BAME staff when they are commissioning programmes on “diversity issues”. I was often called up by colleagues to recommend BAME staff when they were doing films they thought were directly related to BAME life – from the Windrush to knife crime. What I call “diversity commissions”. But I was never once called up for the same reason when people were staffing up “mainstream” programmes.

Far too many BAME indies (and directors) rely on “diversity commissions” to survive. They can just about do this when they are in based in London where there are a variety of commissioners and channels. It’s close to impossible to survive outside of London if this is your only source of work.

I am particularly proud of the fact that when in Scotland, around half the documentaries I commissioned for the BBC for the Scottish independence referendum had BAME staff in important key roles behind the camera. It wasn’t easy to deliver, but it was fruitful. Now in Beijing, my news team is literally from all over the world. Having BAME people involved in production provides a perspective that can be seriously lacking otherwise.

If Channel 4 wants to avoid a fall in ethnic diversity in the new regional offices, Channel 4 should find ways to encourage its commissioners to bring on BAME indies and freelancers to work on all sorts of programmes, not just the “diversity commissions”.

 Last but not least, Channel 4 can do something no-one has ever done before in this area – increase everyone’s potential to do better.

4. CREATE A BRAIN TRUST

The fact is, there are some great examples of ethnic diversity flourishing outside of London. Twelve percent of the directors for BBC’s soap Casualty filmed in Cardiff are BAME and twenty percent of directors for Doctors filmed in Birmingham are BAME. These are great successes. At the same time, there are many examples of indies and executive producers who have tried to increase ethnic diversity outside of London and failed. We all need to learn from each other’s successes and mistakes.

Channel 4 should therefore sponsor an annual conference for commissioners, executives, series producers, producers, production managers and interested parties to share knowledge and experience of how to increase and maintain ethnic diversity in the nations and regions. I for one would happily accept such an invitation, and from my discussions with programme executive who have worked outside of London I have yet to meet one who would not welcome such a forum.

Anyone interested in diversity, and television truly representing the UK’s diverse population, must welcome Channel 4’s move to commission more productions to be made outside of London. But we must make sure that one type of diversity (regional) is not increased at the cost of another type of diversity (ethnicity).  

After 11 years of leading diverse teams outside of London, I believe it’s possible, and have these 4 tips to pass on. But I would welcome other people’s top tips too. Let’s help Channel 4 manage this important transition.