Thesis: Artists of African and Mixed Heritage in the Finnish Music

The music industry is at a turning point where diversity, representation, and structural equity have emerged as key themes. Achieving lasting change requires sustained effort and the inclusion of perspectives from a wide range of stakeholders.

Marie José Masena’s thesis explores the position of artists of African and mixed heritage in the Finnish music industry within the broader context of diversity, equality, and the restructuring of cultural frameworks. While the Finnish music industry has the potential to lead the way in promoting inclusivity, it may also perpetuate outdated practices.

The study maps the experiences of African and mixed heritage artists and the development of diversity in the industry while highlighting perspectives on promoting equity in the music sector. The research material includes interviews and press images from the Emma Gala. The findings reveal that while visibility has increased, structural equity and participation in decision-making have yet to be fully realized.

The study interviews seven POC (People of Color) musicians: Lilli Kehi, Armando Mokulu, Bianca Morales, Aron Gyekye aka AKEEM, Benjamin Bentality, Luyeye Konss and Sophia Wekesa.The interviews shed light on personal experiences, structural barriers, and perspectives on developing the music field toward a more equitable and transparent environment.

The interviews emphasized the importance of visibility and representation, the role of behind-the-scenes players, gatekeeping, lack of recognition, and the need for genuine and sustainable equity work. Clear suggestions for improvement also emerged, whose implementation is crucial for the future of the entire industry.

• POC and minority individuals must be involved in decision-making — not only as performing artists but also at the levels of production, funding, and program planning. Ensuring participation in decision-making prevents diversity from becoming a mere theme and instead manifests as concrete actions and choices.
• Safe spaces, cultural sensitivity, and anti-racism: A truly equitable music industry requires safe spaces, cultural understanding, and active anti-racist work. These are not add-ons but the very foundation.
• The media’s role is pivotal. Media coverage of minority creators and their achievements must be proactive to diversify the public image of the music industry and break stereotypes. Media influence determines who is seen as valuable, talented, and worth following.
• Support and resources must be distributed equitably. Grants, mentorship, and opportunities must be genuinely accessible to all — not just those who already have the right connections.
• Strategic planning and measurable goals: Equity doesn’t happen by chance. It requires clear targets, deliberate actions, and measurable data. Without monitoring progress, there is no way to know where things are headed or to intervene effectively.
• Anonymous recruitment can help eliminate bias-based barriers and increase equitable opportunities in music organizations, festivals, and educational programs.
• Increasing structural transparency within the industry helps identify and address discriminatory practices. Transparency lays the groundwork for trust and sustainable change.

The aim of the study is to provide insights and recommendations that can contribute to the development of the music industry’s structures toward a more equitable and inclusive working culture. Gramex commissioned the thesis.

Masena is a student in the Cultural Management degree program at Metropolia University of Applied Sciences.