NPAC DiversityTask Force

Deliverable Document

Assessment and Recommendations

7.31.09

Task force members: Joanne Cossa, co-chair, Abel Lopez, co-chair, Andrea Assaf, Neil Barclay, Michelle Burkhart, Jean Cook, Maria De Leon, Teresa Eyring, Sandra Gibson, Diana Hossack, Elizabeth Hope Perlmutter, Nirmala Rajasekar, Justin Laing, Olive Mosier, Koji Nakano, Rick Shiomi, Vicky Abrash, NPAC Task Force Director

1) Task Force Definition of Diversity

After some 30 plus years of significant and varied efforts on the part of many to increase diversity in the performing arts, there has not been as much change as desired.However, there are many lessons learned over the years from both across the performing arts disciplines and from the world beyond which can feed new efforts in diversity, revealing effective approaches, and avoiding pitfalls. This is a hopeful and opportune moment to take steps for change. People throughout the nation seem more willing than in the past to embrace greater diversity in all areas - as evidenced most dramatically in our new president, while studies and experience have both shown that the younger generations in this country, and specifically in the greater performing arts community, tend to be much more inclusive in their assumptions and their outlook than ever before.

We need to learn how to build on past successes, on a sensibility of wanting change, and on the openness of a new generationtotake positive, concrete steps going forward.

The NPAC Diversity Task Force recommends that the broadest and most inclusive definition of diversity be considered for this ongoing work. Diversity encompasses many things, and while every situation will call for specific focus, the task force intends to provide resources that will enable every individual, group or community to draw from the task force work whatever is relevant to their owncircumstances.

Definition:

Participation in all roles and at all levels in the performing arts should engage a diversity of the populace and perspectives that are reflective of the nation, including diversity of:

Race

Ethnicity and cultural background

Gender

Sexual orientation

Age

Class, income and socio-economic status

Disability

Education

Geography

National origin

Religion

Language

We acknowledge that diversity also encompasses those things that are more nuanced that make each of us unique.

2) What would the future look like if we succeed?

  • Cultural arts would truly reflect their communities and the nation, in the content of the artistic product and in the people who make and watch and participate in it in all ways
  • The performing arts would include fair representation of all groups in the diversity definition
  • Resources would be equitably distributed
  • Diversity would be increased across all sectors of the US; the arts can’t do it without changes in the broader culture
  • Institutions engaged in the performing arts would reflect the diversity of the world around them
  • A strong pool of artists, administrators, board of directors members, and other leaders from diverse communities would be available to both culturally specific and non-culturally specific organizations

3) Task force work:Concrete aims:

1. Sharing information and resources within the field and with others to maximize the accessibility and effectiveness of diversity efforts.

2. Creating a field-wide commitment to diversity

3. Shaping a performing arts environment with sufficient educational and professional development opportunity to support diversity goals

4) Recommended Actions

The task force recommends forming subgroups to move action forward on the following efforts, working with a predetermined timetable. Whereever appropriate, the task force recommends working with other relevant NPAC task forces.

1. Convene representatives of various groups which are engaged in dealing with the diversity questions, research and brainstorming so as to share ideas, resources, information, and perspectives.

This could maximize the impact of the work being done, avoid reinventing the wheel, and bring much valuable information to bear.

2. Compile and disseminate to the field, via the web, extant research on diversity

A great deal of research has already been done which could actively inform diversity efforts, and making it readily available for analysis and application would be a great benefit to the field.

3. Compile and disseminate via the web, examples of lessons learned, best practices, and successful efforts toward diversity from both in the arts and elsewhere: Successful models, strategies and results

The years of efforts on diversity, in the arts and in the world beyond,offer a tremendous resource to move future efforts ahead.

4. Compile and disseminate to the field, via the web, an annotated list of existing resources and best practices in training and education to support diversity goals.

Education has been identified as a key area to effect change in diversity, and greater awareness of what training opportunities are already available could have significant impact on training levels.

Note: There are two kinds of training necessary for successful diversity efforts: both must be addressed, though the task force recommends that the first is the most pressing priority:

a.Training administrators and artists from diverse backgrounds to be effective arts workers and leaders

b.Sensitivity to multi-cultural issues

5. Augment and maximize the training, learning and mentorship opportunities that are available to support diversity goals

In addition to assessing what is already available for training (as suggested in #4, above), efforts must be made to ensure that the necessary training opportunities are widely offered.

As noted above,two kinds of training must be available:

a.Training administrators and artists from diverse backgrounds to be effective arts workers and leaders

b.Sensitivity to multi-cultural issues