Yesterday when discussing the Arts Midwest study that is the basis for the effort to build public will for arts and culture, I briefly referenced the finding that promoting authenticity of experience is better than citing cultural diversity.
According to the study:
However, the word “diversity” can be problematic in describing the benefit or outcome of experiencing the creative expression of other people and cultures. Some resist the notion that our communities are becoming more diverse, and others are concerned with the “tokenism” associated with diversity that satisfies itself with quotas or counting or the most rudimentary of contact while failing to connect authentically with other people or cultures.
A similar sentiment to the tokenism concern was expressed in a different, earlier Arts Midwest conference session on Engaging Diverse Communities, facilitated by Kaisha Johnson, Meera Dugal and Robin Hickman.
One of the first points raised in the session is that the focus of engaging diverse communities has been on how the arts/cultural organization can benefit from the inclusion. This can make the effort feel disingenuous and leave people feeling marginalized. Few organizations can say why engaging diverse audiences is meaningful beyond seeking to expand sources of revenue.
The first step then is to articulate why it is important and what the organization’s concept of diversity is given that the term can encompass cultural, ethnic, social, sexual and other affinity groupings.
In terms of identifying and engaging groups, if one didn’t already have a sense of where to start, the panel’s advice was to seek groups online and via social media. The panel suggested engaging people as fans of a particular group or genre first rather than as a potential seat filler.
Discovering why people are passionate about a genre or group can 1- provide an initial basis for making a personal connection and 2 – can provide insight into what fans value about that person (i.e. it isn’t just about good music, but the political message or perhaps the group’s dedication to other social and environmental causes.)
An convenient source for establishing connections may be your organization’s staff. The panel cautioned that you should allow people to self identify their connections rather than deciding what they are. (i.e. You are a Chinese, bisexual, Millennial so you know all about…)
Once you have established relationships with individuals from an affinity group, the panel advocated for involving them in the curatorial process. These individuals can also help you understand the cultural dynamics and context of performances as well as avoid any potential pitfalls.
Meera Dugal used the example of a Moroccan group she scheduled at Lincoln Center during Ramadan. Thanks to the advice of her contacts, she moved the concert to a time after sundown and had certain types of foods available for participants.
While I had heard suggestions along these general lines before, one idea that never occurred to me but seemed like a no-brainer in retrospect was to commit to using vendors from target communities. While it sounded like the panel was suggesting this in relation to just specific events, it seems constructive to engage in continual commerce with businesses run by members of the community with which you wish improve your relationship.
If the people you want aren’t paying you to enter your doors, pay them to enter your doors instead by ordering flowers, catering, dry cleaning, construction materials, etc.
We often think that the only way to reach people is through whatever our primary product is. You know, the old idea that once they see what we do, they will fall in love with it.
But every transaction provides an opportunity to have a conversation about what our organizations do— “We are using your stuff for X, you ought to come and see.”
Not to mention, it reinforces the sincerity of any other expressed desire to include the group in your activities. (a.k.a. putting your money where your mouth is).
Since the study I wrote about yesterday seems to indicate older, white men appear to be the least likely to be engaged in arts/creative expression, using commerce to cultivate relationships with other groups may be a prudent course toward sustainability.