ABSTRACT
Between the 1930s and 1950s, restrictions were imposed on foreign musicians, preventing many of them from performing in Britain. These restrictions have often been considered a ‘ban’, lasting around 25 years, with emphasis on the relationship between Britain and the United States of America. Unions and authorities in various countries often acted in reaction to one another, in order to fulfil their primary ambitions, to protect their respective musicians. The British Musicians’ Union (MU) has often been criticised for its stance on restricting foreign musicians. However rather than being a purely reactionary and isolated organisation, the MU acted in line with many other musicians’ unions and organisations in Europe and North America in the period. They pursued protectionist policies mainly in reaction to emerging economic and technological challenges and in response to the lack of reciprocity shown by other countries’ unions. Much has been written about the origins and implementation of the restrictions, but little about their relaxation in the 1950s, which came as a result of new understandings of the meaning of internationality from inside and outside of the union, along with changes to the membership and functioning of the union itself.
