Negotiations

Dear Virtual Panel Participants and Observers,

Inasmuch as this is the final day of posting, I have tried to digest all that has been written, and come to some final thoughts. I must say that I do find this exchange valuable, and look forward to future discussion.

As I read the original question, it did not specifically ask for a comparison between IBB and “traditional bargaining,” therefore I sought to answer the question as written. So I would like to share some thoughts about IBB vs. “traditional bargaining,” having had experience in both.

There is a most unfortunate misconception that “traditional bargaining” means entrenchment in positions, table pounding, Godzilla routines, etc., and that IBB is tantamount to a love-in.
Not true in either case. I have seen jihad occur in BOTH IBB AND TRADITIONAL BARGAINING (by both management and union).

As my mentor Lew Waldeck said so many times, negotiations are about “POWAH (power).” The major difference between IBB and traditional bargaining is that power is a component in traditional bargaining, and it is not a component in IBB, by its very structure. As our Distinguished AFM SSD Counsel Leibowitz has said so many times, IBB will yield an orchestra “any settlement,” and traditional bargaining will yield the “best possible settlement.”

The minute that word “power” is mentioned, I know that many people cringe with visions of strikes, lockouts, etc., and while those are some of the ultimate “power” tools, “power” can be as simple as an orchestra or committee saying “no.” Power does not mean that management and union cannot engage in civil, productive, problem solving dialogue. We do so in practically all of our traditional negotiations. How and when “power” is used is absolutely critical, and we in SSD painstaking work with unions and committees in its application, in view of all factors.

IBB does provide a very organized, methodical means to solving contract issues, but it takes an enormous amount of time to do so. Notwithstanding, no one to my knowledge has found a successful means to effectively negotiate financials in a not-for-profit organization through the pure IBB process. In the IBB processes I have been involved with, each time both management and union have diverted negotiation of financial issues to traditional bargaining. The time required to complete pure IBB negotiations can be enormous; it took the Omaha Symphony 18 months to complete negotiations through the IBB process, and then they still had to negotiate financials through traditional bargaining.

As Chris Durham stated IBB has been around for years; it is not something new. It is my view that certain people in this industry have been proponents of IBB for less than noble reasons.
Those reasons include seeking to weaken the power of musicians and their union, as well as enrich the bank accounts of certain facilitators who stood to gain financially if IBB process became more commonplace. There have been some isolated, contentious negotiations where IBB was appropriate to settle the contract. But overall, I have not encountered any negotiation where I felt the situation was better served through the IBB process than traditional bargaining.

There seems to be some level of agreement amongst us that strategic long range planning is valuable, as long as musician input is taken seriously, and does not constitute tokenism. I will continue to advocate for such in my work.

Recently there was a superb article in the Denver Post about the major positive turnaround in the Colorado Symphony Orchestra in regards to ticket sales and fund raising. I for one would like to know how and why this is working so well in Denver, and why these successes cannot be applied elsewhere.

It has been a pleasure serving on this panel with all of my distinguished colleagues.

About the author

Nathan Kahn
Nathan Kahn

Nathan Kahn is a Negotiator for the Symphonic Services Division of the American Federation of Musicians. He has been with the AFM since 1988. In that position, he negotiates, advises and assists in the administration and negotiation of symphony orchestra contracts in the United States, and occasionally in foreign countries. He has negotiated hundreds of collective bargaining agreements on behalf of Locals of the AFM, including 6 comprehensive first-time collective bargaining agreements, and provided varying levels of assistance in the administrations of collective bargaining agreements to over 250 different bargaining units, nationwide and abroad. Nathan gives lectures to students at colleges and conservatories across the US on the subjects of symphony orchestra career preparation, and the role of the American Federations in those future careers. He also administrates the American Federation of Musicians Symphony Audition Complaint Hotline, assisting musicians internationally with difficulties they encounter in symphony orchestra auditions.

Nathan has been a member of the string bass section of the Colorado Springs Philharmonic (formerly the Colorado Springs Symphony) since 1991. Previously he was the Principal Bassist of the Nashville Symphony Orchestra, and an active recording musician in Nashville, recording for such artists as Charlie Daniels, Roger Whittaker, Roy Clark, Sandi Patti, Dan Fogelberg, and many other recording, television and film productions. He was a faculty member of Tennessee Technological University and for 15 years at the Sewanee Summer Music Center. Prior to coming to Nashville, he was Principal Bassist with the Tulsa Philharmonic Orchestra, and also served on the faculties of the University of Arkansas, the University of Tulsa, and Oral Roberts University. He has, among others also performed with the Memphis Symphony, Alabama Symphony Orchestra, Dayton Philharmonic Orchestra, Chattanooga Symphony and Opera Orchestra, Colorado Philharmonic Orchestra, and the Aspen Festival Orchestra.

Prior to coming to the American Federation of Musicians, he was Founder and is President Emeritus of Regional Orchestra Players’ Association (ROPA).

He has written numerous articles for the International Musician and other national publications on musician and symphony orchestra related issues, and participated in national panels addressing a variety of problems related to these areas.

Nathan is a graduate of the University of Cincinnati College-Conservatory of Music, with a degree in Music Education.

In his limited spare time Nathan enjoys hiking, cross-country skiing, bicycling, cooking and collecting pop music from foreign countries.

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