Diversity and Inclusivity in the Arts
When discussing inclusivity in any context it is important to address the prior or current exclusivity. Understanding why certain infrastructures exist in our society can better break down deep rooted problems of systemic racism and other oppressions.
Intersectionality is key when tackling aspects of oppression/s. The understanding that each individuals’ experiences differ and several forms of oppression can work together to create this. A person of colour will have different experiences to a person of colour who also has a disability. In a similar way, we understand how someone from a low socio-economic background will have different experiences to someone also from a low socio-economic background but who is female. When you understand that all of these different experiences and perceptions affect the way we move through society, you can build better responses to dealing with specific issues. This is why fixing issues of oppression and inequality is not a ‘one size fits all’ approach. It takes time, building communities and networks, addressing your unconscious bias and breaking down the ‘normal’ systems in which we know.
It is not enough for organisations to partake in ‘black out Tuesday’ and then never talk about race inequalities again. As curators, creatives, arts organisations and institutions we need to consider our responsibilities in supporting social justice movements such as BLM. It is vital that we are not perpetuating racism, bias stereotypes and oppression to any marginalised group in our practice.
“We have a platform, a voice, and a duty to our members, employees, artists, visitors and followers to speak up and stand for human rights and anti-racism. Nobody should have to live in fear because of the colour of their skin.”
TATE (June 2020)
Throughout my research and studies, with a heavy influence from the book ‘Culture is Bad for You’, I have found some main barriers in need of addressing which will result in a more inclusive and diverse art world.
Access to Education
There is no denying that universities have a large impact on society, with many trumpeted as playing ‘a vital part in expanding opportunity and promoting social justice’ (2004, p.58).
However, not everyone has the same experience of higher education. Those from marginalised groups and working class backgrounds are often at a disadvantage in these institutions due to lack of representation across staffing, course fees, university culture and more.
Gaining a higher education is thought to increase an individual's income eligibility. According to ‘Higher Education in Fact and Figures’ by University UK, ‘In 2018, median graduate salaries were £10,000 higher in England than non-graduate salaries’ (2019). Thus by attending higher education it can provide greater opportunities to build a career in the creative industries.
Cultural Capital
Cultural capital is the accumulation of knowledge, behaviors and skills.
You can gain cultural capital by having more cultural experiences, for example: travelling, learning an instrument, trying new cuisines, and visiting museums and galleries.
However, those from working class backgrounds and other marginalised communities often do not have the resources to gain more cultural capital, which can be a barrier when building a career in the arts.
Unpaid Labour
Those who do not have the financial means to join unpaid internships have less opportunities to ‘get their foot in the door’ and climb the ladder. This also links to the general cost of student living, especially as an art or creative degree. Material costs for these courses are often expensive, students who have the financial backing from their families often do not have to work alongside their studies to fund their living costs and have access to materials for their creative practice. Whereas those from low-socio economic backgrounds can find themselves not achieving as well at university due to this imbalance.
In the book, ‘Culture is Bad For You’, a series of individuals were interviewed who work in creative industries, these participants are from a range of backgrounds. One participant called ‘Chris’, is from a working-class family and is a bi-racial man in his thirties, working as a Museum Curator near London. He explains:
‘Basically, you need a certain level of financial backing or financial stability to get a look in when it comes to jobs within the heritage and museum sector. I was in a relatively lucky position as I was living at home and wasn’t having to pay any board. I had a relatively small amount of money to raise to be able to do the MA. I was able to do the 11 months voluntary work at a local museum because I was living at home. I certainly wouldn’t have had the financial capability to go to another city and live there whilst volunteering’ (2020, p.202).
Lack of Representation
The Higher Education Facts and Figures report from 2019 shows that over 66% of professional academic staff in the UK were white males. A staggering figure when you compare it to the number of BAME staff being only at 10% in 2017-18 (2019). These statistics show that there is a clear lack of representation and diversity in universities and higher education roles. This backs up the previous point of ‘access to education’, the lack of representation can prevent those from ethnic minorities and low socio-economic backgrounds from completing a higher education course and preventing them from thriving and reaching their full potential.
These barriers are not impossible to get through and there are examples of amazing black leaders who do great work. Take Arike Oke for example, the Managing Director of Black Cultural Archives, a black female from a working-class family in Hull.
Bias Stereotypes
Due to bias stereotypes, people of colour are not given equal opportunities. This can prevent us from growing our career. It also means that we have to work much harder than our white counterparts in order to prove our capabilities.
Dr Dave O’Brien, author of ‘Culture is Bad for You’, talks about bias stereotypes during his interview and how this can lead to unconscious bias. A study which took place in the US in the 90s showing fake crime stories found that, “white participants…who endorsed negative stereotypes of African Americans viewed the black suspect in the crime story as more guilty, more deserving of punishment, more likely to commit future violence, and with more fear and loathing than a similarly portrayed white suspect” (1996). This study has to be taken with caution as it is very outdated, however even though the experiment is 30 years old, unconscious bias and racist stereotypes still exist today.
Self-fulfilling Prophecy
Self-fulfilling prophecy is the process through which an originally false expectation leads to its own confirmation. An individual's expectations about another person eventually result in the other person acting in ways that confirm to the expectations.
This concept links to bias stereotypes, if a black man is labelled as being 'aggressive' or a 'thug', this can eventually become true as he acts on how others around him perceive him to be.
Issues surrounding inequalities and injustice are complicated and sometimes uncomfortable to address. However, it is important to show a willingness to take accountability, to change and to adapt. If you have read to the end of this article then you are already creating a positive impact. Hopefully some points have resonated with you and you are feeling inspired to continue working towards an inclusive and diverse future.
Here are a few resources which I recommend:
Brook, O. O’Brien, D. Taylor, M. (2020) Culture is Bad for You. Manchester University Press.
Interview with Dr Dave O’Brien, ‘Inequalities in the Arts’. Available at: https://www.youtube.com/watch?v=W2Zq7aCOihI (Accessed 01/06/21)
Reilly, M. (2018) Curatorial Activism: Towards an Ethics of Curating. London, UK. Thames & Hudson.
Hooks, B. (1992) Black Looks: Race and Reputation. Boston, MA. South End Press.
Sandell, R, ed. (2002) Museums, Society, Inequality. New York, US. Routledge.
Written by Natasha Clarke
Bibliography
Reilly, M. (2018) Curatorial Activism: Towards an Ethics of Curating. London, UK. Thames & Hudson.
TATE (2020) Available at: https://www.instagram.com/p/CA5FQErFRqy/ (Accessed 26 May 2021)
Quinn, J. (2004) Understanding working-class 'drop-out' from higher education through a sociocultural lens: Cultural narratives and local contexts. Available at: https://www.tandfonline.com/doi/pdf/10.1080/09620210400200119?needAccess=true (Accessed 13/02/21)
Higher Education in Facts and Figures (2019) Available at: https://universitiesuk.ac.uk/facts-and-stats/data-and-analysis/Documents/higher-education-facts-and-figures-2019.pdf (Accessed 14/02/21)
Brook, O. O’Brien, D. Taylor, M. (2020) Culture is Bad for You. Manchester University Press.
Higher Education in Facts and Figures (2019) Available at: https://universitiesuk.ac.uk/facts-and-stats/data-and-analysis/Documents/higher-education-facts-and-figures-2019.pdf (Accessed 14/02/21)
Peffley, M. Shields, T. Williams, B. (1996) ‘The intersection of race and crime in television news stories: An experimental study’ Available at:https://www.academia.edu/20767864/The_intersection_of_race_and_crime_in_television_news_stories_An_experimental_study (Accessed 20/06/21)