We believe it is in the nature of the arts to hold up a critical mirror to society, and to break down barriers between its different groups. But is our sector fully reflective of the communities we live in?  

This debate is about the urgency to open up the arts to all of society - to all the classes, ethnicities, physical abilities, and backgrounds that constitute it.


Samantha Robinson and James Atherton in Andrea Dunbar’s Rita, Sue and Bob Too at the Royal Court, London, in 2018. Photograph: Tristram Kenton for the Guardian
Publicly funded art is still dominated by a privileged elite who fail to engage the majority of the population
This is a list of initiatives started in different countries after the Weinstein case. It's not exhaustive, and could be further updated at a later stage (also with your help - feel free to share your own resources!). This list was helfpul to prepare the discussion on bullying and harassment in the performing arts held at IETM Porto, April 2018.
The session on Bulllying and harassment in the workplace at IETM Porto was moderated by Lian Bell (Ireland) and Yamam el-Zubaidi (Sweden). Their presentations highlighted the recent developments in their respective countries in the aftermath of the #metoo campaign, which unveiled how common bullying, harassment and sexual misconduct are in the media and performing arts sector (like most other professional sectors).
Towards cultural democracy: promoting cultural capabilities for everyone is the final report of King’s fourth Cultural Enquiry. On the basis of a 15-month research project, it presents a timely and distinctive vision of how to build a cultural life for the UK that is valuable for everyone, and made by all.
My first contact with the concept of cultural appropriation happened in July 2015 because of “Kimono Wednesdays” at the Museum of Fine Arts Boston (MFA). On the occasion of the display of Claude Monet’s “La Japonaise” (a painting of the artist’s wife, surrounded by fans, wearing a blond wig and a bright red kimono), visitors were invited to put on a kimono similar to the one shown on the painting and share their photos on social media.
This speech is a call to broaden our canon and continue making transnational alliances in an effort to make institutions better reflect the differences in society, which will ultimately benefit the cultural (and other professional) sectors.
A flip side perspective on the current focus on diversity: in debate, policies & measurement.
À l’automne 2017, dans la foulée du mouvement #metoo et des multiples dénonciations de harcèlement qui ont notamment touché les milieux de la culture et des communications, des associations d’artistes et de producteurs ainsi que des regroupements du secteur culturel se sont mobilisés pour faire le point et se doter de mécanismes communs visant à ce que toutes et tous puissent créer et travailler en toute sécurité.
The Code was created in response to the events at the Royal Court Theatre Day of Action 'No grey area' (October 2017), organised by Royal Court director Vicky Featherstone in response to the stories of abuse and misconduct in the performing arts sector unveiled following the Weinstein case and the #metoo campaign.
Cette charte invite à expérimenter des pistes de changement. Petit à petit, nous serons fièr·e·s d’avoir fait évoluer vers plus de mixité et de diversité notre secteur déjà fort de partage et de propositions pour une société plus humaine. La mixité n’est pas à l’œuvre dans nos métiers, les femmes et les hommes restent cantonnés dans des métiers assignés par les stéréotypes liés à leur sexe. C’est à ce titre qu’il est intéressant de nous questionner sur ce que, en tant qu’artistes ou personnes œuvrant dans le domaine culturel, nous proposons comme vision du monde, de la société, de l’humanité...


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