Inclusion

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, religions, physical abilities, and backgrounds that constitute it.

 

Mavis Carrilho
The Cultural Diversity Code was developed in 2010 by the dutch cultural sector with support from the Ministry of Education, Culture and Science.
fbittencourt
Taiwanese’s identification has been inherently problematic and lacerated, and raises many questions that have become inseparable from the main concerns of Taiwanese theater artists: Who are we?
Elena DI FEDERICO
When we talk about equity, it is often about tangible resources: Income, funding, food, housing, access to green space, etc. Rarely do we recognize that time is just as critical a resource, and that it is also inequitably distributed.
Elenq
Who Are We? This is the question that London’s Tate is asking at its free six day cross-platform event spanning the visual arts, film, photography, design, architecture, the spoken and written word and live art.
fbittencourt
This first workshop of the new network “Cultural Managers as Intercultural Brokers” took place 15-17 January 2017 at Heilbronn University, Germany. Its highly renowned international participants examined the role that arts and cultural managers can play in handling the challenges of globalisation.
The plaza in front of the one of the festival theatres. Nitra, Slovakia.
jamiegahlon
While I grew up during the fall of the Soviet Union, it’s important to acknowledge that Western anti-communist propaganda and the lingering effects of the Cold War kept me distanced from any realistic notion of life and culture in Eastern Europe.
© Vincent Chartier
Elenq
“If we take diversity seriously, especially as a basis for creativity, it means that there’s no single rule or approach – particularly an approach inherited from the past – that works best for all leaders and organisations. Our best solution is to create a flexible platform that honours diversity by attracting and growing different mixes of talent as we face new and different challenges.”
Poster of When Swallows Cry, play by Mike Van Graan
Elena DI FEDERICO
"To be a writer does not require race essentialism and/or racial solidarity; it requires human empathy."
Elena DI FEDERICO
The National Endowment for the Arts (NEA) in the United States, in partnership with the National Arts and Disability Center (NADC) and the U.S. Department of Labor’s Office of Disability Employment Policy (ODEP), held an online conversation with three hundred and ninety registrants representing artists, arts administrators, arts organizations, arts educators, arts employers, and disability organizations about how to increase the career preparation and employment of people with disabilities in the arts. This report summarises the main findings.
Chantal DeGroat and Maureen Porter in Tanya Barfield's Bright Half Life. Photo by David Kinder. From HowlRound
Elena DI FEDERICO
Some practical notes on what Profile Theatre company (Portland, Oregon) learned since spring of 2015, when it launched a three-year Diversity and Inclusion Initiative to produce work exclusively by women and writers of color starting the following season.

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