An Experiential Perspective on Professional Rights in the
Realm of Music, Performing Arts, and Music Education 
by  Sten Höstfält

Top Left: Sten Hostfalt, November 21, 2014 at XXXV Encontre de Compositors International Festival, at Fundacio' Pilar i Joan Miro', Palma de Mallorca. Photo: Jose Luis Luna Rocafort.It was an incredible honor to be commissioned to perform my original compositions solo in the last home of 20th century icon Joan Miro', whose work, much like improvised music,was characterized by an interest for the subconscious. Whose activism promoted the minority identity of the Catalan, persecuted by Franco's fascist regime. And who expressed a dislike of burgeois art, which he saw as propaganda for the cultural identity of the wealthy. Top Right: Trudy Silver Trio + 1: Sten Hostfalt-mandolin, Hilliard Greene-bass, Jerome Ellis-tenor sax, Trudy Silver-piano. December 19, 2009 at 5C Cafe', a Downtown New York venue since 1995. Photo: L.M. Lower Left: Blaise Siwula-alto sax, Sten Hostfalt-guitar. February 24, 2011 at The University of The Streets, a New York City landmark, where Jazz and Improvised music sessions have been held weekly since 1969. Photo: Barbara Siwula. Lower Right: Sten Hostfalt-mandolin, Blaise Siwula-alto sax, Lex Samu-flugelhorn. October 20, 2008, in a Sunday C.O.M.A. session at ABC No Rio,  one of the Downtown New York City music scene's longest running (since 1979) alternative music and art forums. Photo: Barbara Siwula.

Among People Making Music & Art.
I write this in first person as it is grounded in the larger, combined international community that I have devoted my professional career, and all in all five decade musical life as an integral part of. Via an initial focus on the visual arts, transformed to music, and encompassing intermedia collaborations with film, poetry, visual arts and dance art.

​The signature features of my work has been that it has been, and still is, innovative and original, in a collectively inclined (also when performing solo), and consciously organized manner, initially via self-production and distribution. Strategies maintained to eventually include representation by unions and rights organizations, American Federation of Musicians, Associated Musicians of Greater New York-Local 802, National Association for Music Education, New York State School Music Association, Society for Research in Music Education, Audio Engineering Society, Jazz Foundation of America, Guitar Foundation of America, and BMI.   

Born in a working-class family, in a remote, near-arctic region of northern Sweden, my first ever introductory guitar course was organized by the Workers Educational Association, a division of the national social democratic party. Early concerts, as well as my first formal classical guitar instruction, all took place in the communal format, funded by national rights movements. With that in mind, one might conclude that if it weren't for collective rights organizations, I would likely not have had a chance to engage in music regardless. Far less so, become an acclaimed innovative contributor to the New York/International Jazz scene for three decades (and counting), introduced at influential forums Smalls Jazz Club (1994-95 residency), The Jazz Gallery, and Knitting Factory (Leonard St era), alongside some of the most prolific, and influential musicians of our time. 

Vision Quest Mission
As I had learned that the preparatory paths to higher education in music and the arts in my native society, was not only exclusively claimed by, but essentially only known to high income and elite families. This, in my quest for knowledge, led me to react against this inherent contradiction, and hypocrisy, and thus in my 20s, opt to, relocate to the United States, where then all of my higher education then was undertaken. To the point of receiving scholarships, awards, honors and degrees from three of the nation's and the world's most prestigious institutions in creative music and performance arts education. And more importantly, becoming a member of a larger, international music and arts community.

So while aspects of this all may seem individualistic in a superficial sense, and competitive as such, what quite on the contrary both facilitated and motivated it was, except for an artistic quest, once again, hard-earned rights by way of generations of collective community efforts. My aim to contribute has thus always been focused on a larger scale impact in line with a vision for the greater, common good accordingly. Consequently, any work that I engage in, and/or commit to, is according to this background and experience as stated.

This is particularly important to point out, as infringement of artistic, creative and professional worker's rights is so commonplace, that it not only happens everywhere on a daily basis, but is so taken for granted that it for the most part goes unnoticed, and is accepted as norm. Unless detected and pointed out by community members inclined to protect the interests of the larger community, and the maintenance, development and improvement of circumstances in the collective music and arts work environment as such. 

The Role of Education 
To counteract infringement and exploitation, and promote equality and respect, education is a great place to start. However, as far as I know, music and performance art schools, even when explicitly vocational in their mission, are not commonly informing about professional rights. Perhaps because students are not regarded as professionals. Despite this they are, in any case, by all means prospective professionals, and should be regarded as such. Therefore educational institutions in music and performance arts in general, while very often rightfully mainly content focused, have some significant catching up to do in this matter.

Personally, an alum of three leading institutions in higher education, and a former teacher and an invited lecturer at a few more, as well as having coached numerous students to get accepted into at least a half dozen well-reputed schools, I have a fair overview of the general stance on how educational institutions in music communicate professional rights to their students. Though many professors inform as necessary, outside of the curriculum, still many do not.

I find that much due to this gap, and lack of information in our extended community, blind acceptance, unconditional servitude, and following exploitation of music and arts community members is commonplace, much due to the need of staying employed and active. Despite there being no reason whatsoever for musicians, artists, producers and music educators to accept devaluation of their societal contribution. Quite on the contrary, consciously monitoring and protecting our rights is crucial to our continued activity.

Culture and Rights Organizations 
​The bottom line for the long, ancient tradition and dynamic of music and art is that it is culture. It not only starts with, and is generated and maintained by people. It is people. In order to exist and conduct activity, culture neither require, nor need approval or permission from any external party. Much in the same manner as food, although it may be served in a public establishment, is not dependent on a vendor for its actual existence. But naturally grown, generated, cultivated, and sourced by way of culture.

The fundamental concept of a rights organization is to protect and represent the interests of people within this culture. Then specifically the creatively generating and performing people within the culture, as opposed to the parties dealing with itemized aspects of music and art, as a product. This distinction is especially important in our digital society. The signifier content creators is a current label designed to make the originating role particularly clear. Notable, in an increasingly individualistic climate, is the disregard for actual community expressed by infringement of rights by, and between community members themselves, a Stockholm Syndrome of sorts, due to artists/educators identification with those capitalizing on, or exercising power over music, rather than those creating it. Since, doing something on someone else's expense essentially amounts to an exploitative action and mentality, rather than a collectively collaborative such. 

The American Federation of Musician's general declaration offers a self-check of work environments, or circumstances in Music and the Performing Arts. It can be read here

Sten Hostfalt Ridgewood, NY March 2022