transmission & equality
Since the creation of Bi:Pole in 2009, we have paid particular attention to ensuring fair representation within the structure, both in terms of the equal distribution of positions and in terms of the catalog as a whole: the catalog tends to be as representative of diversity as possible. This action was as spontaneous as it was intuitive for our team, and has become an integral part of all our programming proposals and projects.
Through the many workshops and meetings organized for the Rider.e project, there is one operational territory that we found to be extremely fragile: the observation made by directors and technical teams is clear: female technicians are very much in the minority at events.
However there is some data on page 75 and 76 of the 2019 branch report for artistic and cultural companies (2018 data). It can be downloaded here. These are cross-sector data nevertheless it indicates a distribution heavy with meaning: 8% of women sound engineer intermittent, 18% light intermittent. This observation is unanimously shared by professionals in the sector. More and more women are on set, especially in lighting. Professional women are certainly becoming visible, but mainly in the theater. Nevertheless, a number of obstacles have been identified in various academic studies and field experience, all of which are unfortunately well known: -the lack of a “role model” to guide you towards these professions. CFA-type training courses, which offer little preparation or instruction in “modern music” technical consoles. the lack of representation of male teams, encouraging co-optation and sexism, the “boys club” effect.
So it’s only by working in the field, raising awareness among professionals and providing training that we’ll be able to transform our teams. It’s a project with a short timeframe and a concrete transformation. In just 2 years, we can turn around a statistic that is stagnating in the region.
Training professional sound technicians dedicated to contemporary music
3 timeframes to reverse the statistics
CALL FOR APPLICATIONS (March 9 to March 26)
-Open to people living and working in the Southern Region
-already trained in sound professions in the theater, dance or music sectors
-Intermittent or in the process of acquiring this status, or have just graduated from school.
-Willing to move on in the contemporary music sector
What we look for in Ex Aequo :
-The strength of a class
-Courses dedicated to contemporary music
-Experience gained through theoretical and practical training
To apply, please check your availability during the training period from May 22 to 26 and send us a cover letter and CV to the following address
A jury of professionals and trainers will meet at the end of the application period.
All successful and unsuccessful candidates will receive a personal message.
TRAINING (May 22-26)
Training for selected technicians is free of charge, and technicians are also paid during this period.
>deployment: system assembly
>use of corresponding sound systems
>designing a system to suit a space
-Master the entire chain for optimizing a sound diffusion system
-Understand the physical phenomena involved in sound diffusion
-Know the basics of FFT measurement
-Master the analysis of transfer function measurements
-Know the functionalities of prediction software
-know how to optimize a sound system right from the prediction phase
-Know how to use different sound diffusion controllers
Know the different methods for managing low-frequency directivity The contents of the training program are detailed in the appendix. We are associated with Ubitech, an agency specializing in sound training, which will provide participants with a real training certificate at the end of the 5-day course. Ubitech is a regional agency with a national scope, but unfortunately has not yet identified a qualified trainer for its subjects. All the more reason to move forward together on this project.
PRACTICE (May 26 to October 18)
In pairs, the trainees will join the teams of our regional partner festivals.
They will be supported in this process by our Technical Director: Benoît Rousseau.