Inclusion

Nous sommes convaincus que c’est dans la nature des arts de brandir un miroir critique de la société, et de briser les barrières  entre ses différents groupes. Cependant, notre secteur reflète-t-il fidèlement les communautés dans lesquelles nous vivons ?

Ce débat se penche sur l'urgence d'ouvrir les arts à l'ensemble de la société – à toutes les classes, les ethnicités, les capacités physiques de chacun, et à tous les milieux qui la constituent. 

Endless, Community Dance Project. Dançando com a Diferença © Júlio Silva Castro
Elena DI FEDERICO
Acesso Cultura (Portugal) considers that, thanks to the continuous promotion of accessibility and the legislation in force, professionals in the cultural sector are more aware now of the existence of physical barriers to cultural venues. However, in addition to the legislation not being implemented, it is also true that our reflection on access does not go much further than the physical aspect and, even in this case, beyond the need for ramps and adapted bathrooms.
fbittencourt
Women are the major consumers as well as the largest percentage of employees in the arts. Yet their presence as artistic leaders remains low or, in some sectors, non-existent. Of the 28 organisations presently funded under the Australia Council framework of the major performing arts, only three, Black Swan Theatre Company, Orchestra Victoria and the Queensland Symphony Orchestra, have female artistic leaders
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
Elenq
Publicly funded art is still dominated by a privileged elite who fail to engage the majority of the population
Lian Bell
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.
Elena DI FEDERICO
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).
Elenq
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.
mariavlachou
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.
Tunde
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.
Elena DI FEDERICO
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.
Elena DI FEDERICO
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.

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