It is time to stop using “Master” in our Job Titles

Language has meaning.  Language has history. Language carries weight.  Culturally insensitive language is embedded into the fabric of our everyday lives, along with the systemic white supremacy that has upheld it. When we utilize a system that uses harmful titles rooted in racist violence and sexism, we reinforce those values.

The practice of theatre has an exhaustive history full of major cultural impacts. Though, our scope of American theatre is narrowed through a Euro-centric lens. Our industry was built to mirror those practices and has integrated America’s history as well. What we are left with is a system riddled with white supremacy and exclusion. For centuries, theatre has acted as an element of change, calling out political leaders and movements, and striving to set society on the “right” track. When you peek behind the curtain, however, the reality is vastly different. Years of exclusion of the global majority, and women, contradict our glamourization of theatre.

Why do so many of us continue to use destructive language in the theatre? Specifically, why do many of us continue to use the loaded word “Master”-- “Master Electrician,” “Prop Master,” and “Master Carpenter”-- in many of the job titles in our theatres? 

This history of the word “Master” is problematic on multiple levels. When you search the definition of the term “Master,” the first two definitions that come up are the following:

noun

1.

HISTORICAL

a man who has people working for him, especially servants or slaves.

2.
a man in charge of an organization or group.

This is not only a racially charged word because of its use during America’s history of slavery, but it is also a sexist term. 

Yes, these are not the only two definitions. There are further definitions that discuss “mastery” of skill and whatnot, but intent does not equal impact. Period. The fact is that this word is triggering, and for that reason, its use should be discontinued immediately.

Theatre is not the only industry making this change. The CEO of Code 2040, a nonprofit organization focused on equity and inclusion in technology, Karla Monterrosa speaks on this, saying, “the response on this has been like, ‘Oh this isn’t about racism, just technical terms,’ without the emotional intelligence to see that those terms as technical terms has racial-traumatizing impacts on people.” There is a pattern of continuing on because something is just “the way it’s always been,” but, the truth is, that’s not the way it should be practiced any longer.

When harm is brought to our attention, our intentions do not matter. Intent does not equal impact.  As Maya Angelou said, “Do the best you can until you know better. Then when you know better, do better.” We have inherited a broken and harmful vernacular, and as we learn about the racist, sexist, homophobic, and anti-inclusive things we say, we have a responsibility to adjust. This is not a debate over intention. 

We are living in a time of change, a time of movement. We can no longer remain stagnant when something causes harm. World-renowned author and Presidential Medal of Freedom Award winner Toni Morrison states that “If you have some power, then your job is to empower somebody else.” It is time to eliminate the language in our industry that hinders our artists. Regardless of the intention, stop putting crew members of the global majority in the position where they need to refer to another person, who is usually white, as any kind of master.  Stop putting crew members who identify as women in the position where they are forced to call another person (usually a man) “master.” It has no place in this industry.

This is not a new or original idea. Eliminating this word from these titles has been discussed for the past few years behind closed doors, and even in small industry panels, but no one has stepped up to formally change the title and adopt a new official title. It is time for IATSE, along with the other professional theatre unions, to adopt an official alternate job title that is more inclusive.  We must write, call, and publicly demand that we move away from this anti-inclusive language. Meanwhile, we must change the titles in the theatres and programs with which we are affiliated, and refuse to work with organizations who continue to use these racist and sexist titles.

There is no title in the theatre that is so sacred, that it cannot be changed if said to be harmful.  None.

We would humbly offer that you adopt the job titles “Props Manager,” “Lead Electrician,” and “Head Carpenter.”  Nothing is lost through this change; in fact, these titles more clearly describe the actual positions.

To contact IATSE and demand action, click here.

Source:

Landau, Elizabeth. “Tech Confronts Its Use of the Labels 'Master' and 'Slave'.” Wired, Conde Nast, 6 July 2020, www.wired.com/story/tech-confronts-use-labels-master-slave/.

Matthew Teague Miller (He/Him) is an Associate Professor of Theatre and the Musical Theatre Program Coordinator at Chico State.  He is also the President of the Musical Theatre Educators’ Alliance and the Co-Host of the Podcast “Carefully Taught.”

Gabriella Saxon (She/Her) is a Stage Manager and Director in her junior year at Chico State.  She served as Assistant Stage Manager at Clinton Area Showboat Theatre for their Equity productions in 2021.