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.

 

jesus.carnerero
Chay Yew, artistic director of Victory Gardens Theater, says: “We can’t be twenty-first-century Americans if we don’t know African American, Latino, Asian, Native, and white histories and narratives. They make up our complicated collective history as citizens, as a nation, and we need to own them.”
Elenq
What happens when marginalised cultures take centre stage? In this Arts Podcast, we explore Hiraeth, a new dance production inspired by Armenia’s painful history, and speak to Kabosh, a Belfast-based company that has been investigating how theatre can help to resolve conflict in Africa.
fbittencourt
"Particularly as a white person, writing “raceless” characters in works of realism can be just as harmful as writing stereotypical characters of color…there is no such thing as a “raceless” person."
jesus.carnerero
The arts sector talks a lot about diversity, but what can actually be done to achieve it? Monica Montgomery suggests ten ways to take action.
Elena DI FEDERICO
The concept of Equality is compelling because it is easier to understand, less messy, and less risky than Equity. Equality requires less effort to grasp. True Equity takes time, energy, and thoughtfulness. It requires us to reexamine everything we know and change systems and practices that we have been using for hundreds of years. This is often painful and uncomfortable. So we openly flirt with Equity while still staying firmly in the arms of Equality.
Olof
About us. By us. For us. Near us. It has been almost a century since the great W.E.B. Du Bois–one of the co-founders of the NAACP–offered this stirring call for what, today, we would call “cultural equity.” To say much has happened in those ninety years would be to oversimplify. Significant progress has been made. And yet for many, and on many levels, it is not enough.
picture from Remix Gold's Touched
Elena DI FEDERICO
Are disability arts festivals the best way to see work? And what are the pros and cons of identifying as a disabled artist? As the Unlimited Festivals launch, Jo Verrent explores these arguments.
#iambadatthis by Susan Soon He Stanton with Kirstyn Trombetta
Elena DI FEDERICO
I believe it is theatre’s right to offend. Theatre artists have an obligation not to back away from offensive choices when such choices might instigate conversations about sensitive subjects which otherwise might not happen. It is also the artists’ responsibility to thoroughly consider the ramifications of potentially offensive choices and make sure there is a clear reason for making them.
Olof
As a maker of plays about queer things, I’ve grown increasingly mistrustful of the trend toward homonormativity and sexual assimilation, a trend initiated by the gradual disremembrance of AIDS, and hastened further by the highly politicized pursuit of marriage equality. While the latter should certainly be celebrated as beneficial to those who seek its protections, the exaltation of traditionally heteronormative institutions is unsettling. These institutions are not wrong, but they seem to have propelled us with greater force down the potentially amnesic path that the writer Sarah...
fbittencourt
Cape Town, aptly named ‘the colony’ by some of its residents, is a clear and horrifying example of the disparities in wealth distribution and the remnants of apartheid in post-colonial South Africa. While living conditions, education and job opportunities are limited for the person of colour – both due to the quality offered or affordability – many African creatives have found a way to tap into the monetising of their culture as seen through the European gaze.

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