The INAEM sues the Solidaridad Obrera union for the strike in the theaters

The National Institute of Performing Arts and Music (INAEM) has filed a collective dispute lawsuit against the Solidaridad Obrera union before the Superior Court of Justice of Madrid, as reported this Friday by the Ministry of Culture, after the announcement of the call for a new strike declaration in the national theaters.

The stubbornness to fit the trades of the theater in the FP leads to requiring the stagehands the title of master fallero

The stubbornness to fit the trades of the theater in the FP leads to requiring the stagehands the title of master fallero

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The technicians of the theaters grouped in the Platform of Technicians and Techniques Affected by the OEP 2018, backed by this union, have announced a strike call for March 4 and 25.

According to the INAEM, the reasons for these stoppages "have been worked on for months and satisfactorily resolved with the agreement reached on December 29 between the Government and all the unions represented in the INAEM." This is a job stabilization agreement so that those technicians who accessed the INAEM job bank with different qualifications than those currently requested, also have the opportunity to get a permanent job. However, the professionals affected and grouped in the Platform they do not consider that the agreement solves their problem.

Culture considers that the agreement resolves the conflict and also values ​​that the Solidaridad Obrera union "is not entitled" to call a strike "due to lack of establishment in the sector" and considers that the strike is "illegal and abusive due to its disproportionate cause damage that is not considered proportionate to justify the goals to be obtained". According to data provided by the ministry, the stoppages have led to the cancellation of 90 functions and 23,692 spectators have been affected.

On the other hand, Culture has announced that within the framework of the Artist's Statute, a "boost" will be given to the certificates of professionalism of the technical trades of the live show. This is one of the demands of theater technicians, who have been trained largely due to years of experience on stage and whose certification is very complicated. Within the working groups for the future Statute of the Artist, the updating of the employment relationship of artists in public shows of the future Royal Decree of the Ministry of Labor and Social Economy has also been incorporated.

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