The BBC will only survive by understanding its diverse consumers
A snail could crawl the entire length of the Great Wall of China in just slightly more time than the 200 years it will take for women to be equally represented in parliament. That was just one of a series of striking statistics from the Equality and Human Rights Commission in their Sex and Power report published last week.
It added that women hold just 11% of FTSE directorships, with the judiciary and others also strongly criticised. At the BBC, the figures are a bit better - almost 38% of all senior managers are women - but it does bring into sharp focus the challenge the whole media industry is facing to improve diversity among its workforce.
Tomorrow's Guardian Ethnic Media Summit is a chance to debate what is arguably our most pressing diversity issue - ensuring more talent from ethnic minority communities reaches the upper echelons of broadcasting. The growth particularly of young ethnic minority audiences, is soaring - way above the population average - making them a critical cultural and business challenge for everyone in our sector.
Things are definitely changing but still not quickly enough. The whole media industry needs to look afresh at what more can be done.
So why does a white, middle-aged bloke like me feel compelled to write about this? As the BBC's chief creative officer, overseeing our programme production made in-house, I believe passionately that only by drawing on the talents of every part of society can we best reflect the lives and concerns of our diverse audiences on screen.
We must do more and the BBC is certainly redoubling its efforts.And though ethnicity is very important, it is only one part of this story. We must also think in terms of age, disability, gender, social class and regional difference.
That is why I think the historic changes to move a significant proportion of BBC network production out of London to places such as Glasgow or North West England over the next decade might be key to all this.
We will transfer large numbers of staff from London but we will also recruit many new faces - a once-in-a-lifetime opportunity to add something substantially new to our gene pool of talent, to change the BBC's DNA a little.
We seem to be moving in the right direction, increasing opportunities for people from ethnic minority backgrounds at most levels.
The proportion of our staff from ethnic minorities is 11.5% - again comparing very well with both public and private sector organisations including the civil service, health service and the police. But as the Edinburgh Television Festival heard, stillnot enough people make it into senior management roles, particularly as controllers and commissioners.
The BBC has looked closely at the barriers to progress and announced new schemes to tackle them - costing £3m over three years.
Firstly, we need to change the way we recruit. We are dramatically increasing the outreach work we do - in community groups, colleges, schools and through open sessions across the UK - to encourage under-represented groups to apply to the BBC. I recently worked with an energetic bunch of young students, mainly from ethnic minority backgrounds, who were introduced to the BBC by the University of Central Lancashire - from the former mill towns of Blackburn and Preston, not places we'd traditionally think to look for the next generation.
Then we need to be better at retaining talented individuals and supporting them in reaching their full potential and moving into senior roles. Our new mentoring and development programme, which offers greater one-to-one and intensive personalised support, is so important. In addition, our new trainee production scheme, which has just kicked off, and our journalism trainee schemes, have a strong diversity focus, so we are providing clearer pathways into all parts of the BBC.
On screen, we must constantly strive to reflect as accurately as possible the rich cultural mix of the UK.
Earlier this year BBC non-executive director Samir Shah criticised what he called "inauthentic representation" of ethnic minority communities, citing the Ferreira family in EastEnders.
It is unfair to highlight one five-year-old example from a drama series that remains the most popular programme on television among ethnic minority audiences. This example fails to reflect many other aspects of our work, particularly our in-house drama output. Our continuing drama series, including Holby City and Casualty, have led the way in casting diverse talent, in leading roles as well. Though we do not always get it right, overall we have much to be proud of.
The BBC set up the Writers' Academy, under John Yorke, four years ago, increasing the number of writers from diverse backgrounds working on our biggest programmes, including some of our continuing drama series.
In addition, programmes such as Criminal Justice, No1 Ladies Detective Agency, Life Is Not All Ha Ha Hee Hee, Shoot the Messenger, the entertainment series Last Choir Standing and a lot of our children's output have also been praised for the way they have represented diversity or addressed issues faced by communities from different backgrounds.
Part of this is ensuring we get closer to audiences when making programmes. For example, White Girl - part of BBC2's groundbreaking White Season - told the story of a white family relocating from Leeds to a predominantly Asian community in Bradford. Here the production team worked very closely with the community to ensure a sensitive and accurate portrayal.
In an increasingly globalised creative economy where competition will intensify, it is only by understanding our diverse consumers that we can stay relevant and survive. The BBC prides itself on keeping in touch with its audiences - to do so successfully we'll need to keep making changes, and fast.
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