Black Lives in Music is proud to announce that Charisse Beaumont, CEO of Black Lives in Music, has been honoured with a major accolade for her campaigning, solidifying her as a trailblazing leader in the music and arts industries.
Charisse was named Campaigner of the Year at Music Week’s Women in Music Awards (the 10th anniversary of the event).
She was also nominated as Senior Leader in Arts and Media Award at the Black British Business Awards, both on Friday (October 11, 2024).
WATCH Charisse accept Campaigner of the Year at Music Week’s Women in Music Awards
These dual recognitions celebrate Charisse’s unwavering commitment to promoting equity and diversity within the music industry. As CEO of Black Lives in Music, Charisse has been at the forefront of advocating for systemic change to ensure that Black creators, professionals, and communities are represented and empowered. Her tireless work has shone a light on racial inequalities and pushed for transformative action within the music sector and beyond.
This past year, Charisse and the BLiM team have spearheaded BLiM’s forthcoming Anti-Racist Code of Conduct, film training series and EquiTrack reporting tool, which will collect real-world data on organisational diversity. This game-changing initiative is poised to reshape the music industry, creating a future where equity is the standard.
BLiM have launched initiatives such as Recruiting Classical, which addresses the issue of low numbers of extras and deputies in orchestras. BLiM successfully facilitated auditions for six prestigious orchestras. Each audition attracted over 150 Black and Global Majority players, further highlighting the crucial need for opportunities for Black classical musicians. The campaign has resulted in 16 successful string players and 6 successful woodwind players on the extra list for these world-renowned orchestras.
Charisse was invited to give evidence at the Women and Equalities Committee Misogyny In Music parliamentary inquiry after BLiM released its survey findings on the experiences of music industry professionals, with a specific focus on misogyny affecting Black women. The resulting report heavily featured Charisse’s recommendations.
She has also been instrumental in developing the Creative Industries Independent Standards Authority (CIISA), working to influence legislation to eradicate discrimination, bullying, and harassment throughout the music ecosystem. BLiM also launched the YourSafetyYourSay survey on Bullying and Harassment in the music industry, to collect real world data and inform their work.
Efforts for long-term change include UNSEEN UNHEARD, a project advocating for equal opportunities for Black people with disabilities in the UK music industry. In partnership with Attitude is Everything, BLIM released a report exploring the experiences of Black British music creators and industry professionals with disabilities.
This week, BLiM will be holding the first Black Classical Music Festival, ‘Classically Black’ at King’s Place, showcasing the very best talent in cutting edge classical music, with an emerging talent showcase and a mentoring programme offered by Warner Music.
Charisse’s most recent initiative is the research commissioned by the Greater London Authority (GLA), Mayor’s Office for Policing and Crime (MOPAC), and The Musicians’ Union to study the impact of policies and interactions with the police, councils, venues, and promoters on Black, Asian, and ethnically diverse music events.
Speaking on her win, Charisse said:
“I want to thank Music Week and the Women In Music Awards for this recognition and their continued support. The work to address racism and discrimination in the UK music industry has not been fully realised. Black and Global Majority musicians and industry professionals and the intersections within, still face barriers accessing music education – and those who do access experience direct racism – industry barriers to career progression, pay disparities and a lack of representation in strategic decision-making levels.
“There is a lack of opportunities for skilled music technicians, opportunities for musicians and composers. Black women are often the first to be affected by job losses, hitting glass ceilings, some not seeing a promotion for 10 years or more and insufficient support and lack of opportunities stunting their professional growth. There are people experiencing direct racism by their work colleagues. The music industry haemorrhages Black talent who leave because this is all affecting their mental health. Then there’s the issue of Bullying and Sexual Harassment which we are seeing played live for the world to see.
“We create real pathways to industry by uniting music creators with organisations, creating jobs, opportunities through our programmes. Showcasing under-represented talent, finding innovative solutions to remove barriers and address the issues that hinder the full potential of both individuals and the music industry at large.”
About Black Lives in Music:
For more information about BLiM see: http://www.blim.org.uk
Black Lives in Music (BLiM) was founded as a direct response to the lived experience of co-founders Roger Wilson and Charisse Beaumont. As Black people involved in the British music industry, both have experienced and understand the difficulties of racial inequality in this professional area. BLiM addresses the current inequality of opportunity for black people aspiring to progress within the music industry. Since its inception, BLiM have provided safe space sessions for Black Students in music conservatories, begun discussions with conservatoires on the decolonisation process and supported Black students and staff who have suffered discrimination. Last year it released a groundbreaking report covering the lived experience of Black music creators and industry professionals, entitled Being Black in the Music Industry. In such a short time the organisation has made massive strides and continues to thrive, achieving greater goals and championing change.
