Perspective: Len Egert

For this edition of Perspective, New York Local Board member Joseph Melendez spoke with Len Egert, national executive director of the American Guild of Musical Artists. Egert formerly served as the executive director of the SAG-AFTRA San Francisco-Northern California Local.

Who does AGMA represent?  

AGMA represents artists who create America’s operatic, choral and dance heritage. Our members work in multiple categories in these fields as soloists, choristers, dancers, stage managers, stage directors, assistant stage managers, assistant stage directors and choreographers. Solo singers make up our largest single group nationally, and the chorus and dancers are the largest single groups within the companies.  

What region does the New York office cover? 

The New York area covers some of AGMA’s largest and most well-known signatory companies, including the Metropolitan Opera and New York City Ballet and modern dance companies such as Alvin Ailey American Dance Theatre. However, AGMA is a national union with our New York office serving as the national office. We also provide AGMA staff and support to other areas: Philadelphia, Pittsburg, New England, Washington/Baltimore, New Orleans, Chicago/Midwest, Texas/Oklahoma, Southern California, San Francisco and the Northwest.   

What are your members’ main concerns?

Overall, our members are deeply interested in maintaining the highest standards of artistic excellence. Many of our contractual provisions are designed to permit them to focus on their art. Of course, wages and health and retirement benefits are important. We strive to obtain meaningful increases in wages and improvements to benefits in each negotiation. Protecting our members’ health and safety are of primary importance. For singers, it could mean limiting the use of smoke and fog effects, which could adversely impact their voices. For dancers, it is important to ensure appropriate flooring and stages as well as physical therapy, which is essential to preventing injury.  

How long have you been with AGMA?

I started with AGMA in August 2016, so I am coming up on my two-year anniversary.

Why did you become involved with organized labor?

While working as a public defender in New York City for the Legal Aid Society, I became involved with our union, the Association of Legal Aid Attorneys [now part of UAW, Local 2320]. We were engaged in difficult negotiations and decided to go out on strike. I learned firsthand the power of collective action to make a difference. I wanted to join a movement where I could help empower workers to pursue meaningful change in their lives.

What has the transition from SAG-AFTRA to AGMA been like?

The transition has been great. There are many similarities between the positions — leading and overseeing multiple negotiations, managing operations and staff, conducting strategic planning with the Board of Governors and appropriate committees. With AGMA, I am working on the national level with broader scope and responsibility. I really enjoy interacting with our membership throughout the United States.

What are you most proud of about AGMA?

The incredible dedication and participation of the membership. I see it every day from the elected leadership, including our officers, Board of Governors and area chairs to those who serve as delegates and on negotiating committees. These members devote considerable time and energy to making a difference for their colleagues. They strive to secure improvements in health and safety, working conditions, wages and benefits, and to enforce contract terms daily. They govern AGMA with care and consideration to ensure a strong and financially healthy union. And they do all this excellent work as volunteers. The other area is AGMA’s recent successes in organizing new companies. Since I started less than two years ago, we organized three new ballet companies, Sarasota Ballet, Sacramento Ballet and Oregon Ballet Theatre. This represents a considerable shift for AGMA, as our previous organizing efforts were over a decade ago before these companies joined AGMA. 

How can entertainment unions best support one another?

Many of our industries are facing challenging times and there have been recent widespread attacks on the arts and corresponding funding in Congress. I was privileged to join our sister unions last month in advocating on Capitol Hill for full funding of arts programs and agencies. We have a much greater impact when the 12 affiliate unions speak with one voice representing many hundreds of thousands of members. There are several common issues where this coalition can be effective. We will continue to provide support and seek necessary support in contract, organizing and other efforts. 

Unions have become a political target in recent years. How should unions respond to this?

I think it starts with one word: organizing! This includes both internal and external organizing. As a movement, we need to educate and empower our membership — they are the union. If we embolden members to fight for issues that they feel strongly about, there is no limit to what we can achieve. Just look at the teachers in Oklahoma, Kentucky, West Virginia and Arizona. They are not only fighting for their own contract improvements, they are bargaining for the common good by joining with community groups to improve conditions for everyone. This type of approach will be the most effective way to rebut cynical anti-union political campaigns. As more people interact with union members seeking to improve their lives, they will gain a better understanding of what unionism is really about.