Opening Up a World of Art for the Blind with 3-D Technology

Wednesday, July 6, 2016

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Luc was only 7 years old when his world went dark and he suddenly became blind. The now 13 year-old recalls feeling left out when his family went to an art museum because he was unable to share in his family’s aesthetic and visual experiences.

“It made me feel like an outsider,” he said.

Just. One. Book.

A small town in California asks for help bringing school libraries into the 21st century

Wednesday, June 22, 2016

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In Greenville, Calif.—population 1,200—the local junior/senior high school has not been able to purchase new books since the 1990s. But all that is changing, thanks to an online campaign that's gone viral.

Americans for the Arts releases new Statement on Cultural Equity

Monday, May 23, 2016

Americans for the Arts enthusiastically releases our new Statement on Cultural Equity —the culmination of a year of work and consultation with members, advisory council members, stakeholders in the arts field, board, staff, and partners throughout the nonprofit sector. During the organization’s last strategic planning process in 2014, the Americans for the Arts board and staff collectively identified a need for stronger, more intentional work in the area of equity, diversity, and inclusion.

San Antonio Poet Laureate to Head Guadalupe Arts Center Literary Program

Monday, August 10, 2015

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Poet Laureate of San Antonio Laurie Ann Guerrero has added another title to her name: Literary Arts Director/Writer-in-Residence at the Guadalupe Cultural Arts Center. The Center cultivates, promotes, and preserves traditional and contemporary Chicano, Latino, and Native American arts and culture through multidisciplinary programming, and is one of the largest community-based organizations in the US. 

Mellon Foundation releases survey on diversity in American art museums

Tuesday, August 4, 2015

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The Andrew W. Mellon Foundation’s first nationwide survey to assess the gender and ethnic diversity of American art museum staffs reveals a significant movement towards gender equality within the art museum world. In partnership with the Association of Art Museum Directors (AAMD) and the American Alliance of Museums (AAM), the survey provides the first statistical baseline against which progress in the museum field can be measured.

Boston Mayor Announces Details on Pro-Arts & Culture Initiative

Thursday, April 9, 2015

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Boston mayor Martin J. Walsh is making good on a campaign promise to increase focus on culture and the arts in the city. Walsh will reveal details of an 18-month initiative, spearheaded by new chief of arts and culture Julie Burros, which will bring city officials into the streets to meet with artists and cultural professionals. Through the initiative, called “Boston Creates,” information will be collected and analyzed for the city to then formulate a plan of action to address the issues cultural leaders and artists are facing.

Arts & Culture Leaders of Color Fellowship
The Arts & Culture Leaders of Color Fellowship was a six-city, two-year pilot project to develop a fellowship for late-stage emerging and early-stage mid-career leaders of color. Underwritten by the Joyce Foundation, with additional support from American Express, this program is focused on six cities in the Great Lakes region and looks to develop next-generation leadership and community development skills in the fellows while also positively impacting the environment in which those fellows will do their work, including their peers, mentors, and managers. This program was sunset in 2021.

Arts & Culture Leaders of Color Forum
Modeled in part on Americans for the Arts’ successful Executive Leadership Forum program, this new initiative, launched in 2019, is designed for leaders of color across the career spectrum. Learn more here. This program is on hiatus.

Arts & Culture Leaders of Color Network
Launched in 2018, the Arts & Culture Leaders of Color Network provides Americans for the Arts members who identify as leaders of color with a community of shared learning and practice. It incorporates an advisory committee as well as a dedicated listserv. There is also a Facebook group that is open to members and nonmembers. Please email Jerelle Jenkins at [email protected] for more information.

Diversity in Arts Leadership Internship Program
Diversity in Arts Leadership (DIAL), administered by Americans for the Arts and national partners, matches undergraduate students from backgrounds traditionally untapped for arts leadership with dynamic communities, energetic host arts organizations, and business mentors, to guide students’ personal and professional growth throughout the summer. In 2022, the nationwide, competitive selection process placed 34full-time, paid, ten-week-long internships in New Jersey; Sarasota, FL; Raleigh, NC; Nashville, TN; Boston, MA and New York City. Please email Keya Crenshaw at [email protected] for more information.

1. Determine a Need

For the Americans for the Arts Board of Directors and staff, determining a need started from two points.

On the Board level, in 2014 we engaged in a strategic planning process to craft our strategic direction for 2015-2017.  During that process, the Board directed the organization to put more intentionality behind our diversity, equity, and inclusion efforts—the first step of which was to revisit our Diversity Statement (which had existed in various forms since 1988).

For staff, addressing diversity, equity, and inclusion issues both internally and externally required different strategies. Serving our members and helping them identify ways to have the arts build stronger communities was crucial. So was growing the strongest most cultural conscious staff possible. The frame of a new Statement on Cultural Equity would give context and coordination to that work, and would allow us to measure our efforts over time.

2. Create a Task Force(s)

Our work required two task forces to effectively engage the board and staff.  A Board-level Diversity/Cultural Equity Task Force had been in existence for many years and was directed in mid-2015 to lead the process of examining and revising the existing Diversity Statement for approval by the Board of Directors.  Separately, a staff-level group called the Culture Committee made up of representatives from multiple departments and titles throughout the organization was convened to begin working to assess our internal needs and areas of growth.  These Task Forces were expected to establish a clear set of goals and timelines in order to accomplish their work. See who is on those board and staff committees.

3. Find Great Examples

Because great case studies help inform any work, we immediately began looking for examples of existing policies and program that would be of value.  In addition to our existing Diversity Statement, which we reviewed to ensure continuity, we also closely looked at Grantmakers in the Arts’ Racial Equity Statement, the Regional Arts & Culture Council’s Equity Statement, Crossroads Ministry’s Continuum on Becoming an Anti-Racist Multicultural Organization, PolicylInk’s Equity Manifesto and many others.  These are just some of the important work being done to create statements, set goals, and take actions in our field – check out more examples here.

For us, we determined from looking at these that we wanted our Statement to be:

  • Short: no more than one 8.5x11 page.
  • Guiding, but not proscriptive: clearly laying out areas of work and focus, but leaving the specific actions to staff to determine.
  • Contextualized: setting out some starting conditions and core values.
  • Aspirational: articulating goals for an idealized future.
  • Oriented both inwardly and outwardly: in pursuit of equity inside the organization, within arts organizations, and within the communities we serve throughout the country.
  • Aligned with our strategic plan and areas of expertise: in order to be most impactful.
  • About diversity, equity, and inclusion in a broader sense: reflective of the cultural diversity in our country and the differences in focus of our varied constituencies.
  • Realistic: acknowledging the expertise of others and the ongoing nature of this work.
  • Based in action: the statement should not live in a drawer but be actionable and a guiding force for our internal and external work.

4. Understand Your Definitions

As we moved forward, it became clear that we needed to get some basic definitions down.  In particular, as we honed in on “cultural equity” as our focal point, we sought and adapted definitions from many sources.  Here are the ultimate definitions of diversity, inclusion, equity, cultural equity, and other terms that informed our work.

5. Name the Starting Conditions

To provide context for the rest of the statement, and to remind ourselves of the stakes, we began working on naming the starting conditions.  These came in two forms: “acknowledgements,” which for us meant the contexts for the realities of our organization, our arts field, and our country in which we were working , and “affirmations,” which for us meant affirming the core beliefs of our organization that were driving us to be a part of the change. Read the acknowledgement and affirmations in the full statement.

6. Determine Your Goals, Expertise, and Areas of Focus

A major part of our work on this Statement has been about examining and articulating the strengths that Americans for the Arts brings to cultural equity work, the obstacles we want to overcome and where we should best put our focus for maximal impact internally and externally.  We looked at our core values and strategic goals as an organization, as outlined in our strategic plan.  We drew inspiration from our mission, vision, and goals.  We looked at how Americans for the Arts does its work, and how those we serve do their work as well.  In the course of our interviews, we listened for the areas where there was most need.

Ultimately, we created a guiding sentence that starts the statement:

  • To support a full creative life for all, Americans for the Arts commits to championing policies and practices of cultural equity that empower a just, inclusive, equitable nation.

From that statement, in addition to focusing internally to create a culturally conscious, equitable work environment, we determined that we were best suited to help make progress in four core areas: field education and training, leadership development, research, and policy.

7. Create a Draft (and Another and Another)

We ultimately had thirteen drafts of our cultural equity statement, with changes in each one informed by the members of the Board’s Cultural Equity Task Force, the various stakeholders we interviewed, member surveys, and staff.  For us, the biggest challenges ended up being:

  • Length. Aiming for 1 page is a hard, but necessary, task.  We found ourselves pulling back and cleaning up language that was, at times, aspirational, but not necessary to laying out the specific goals and directives of the statement.
  • Definitions. While we steadfastly believed in “cultural equity” as the frame, it took a few drafts to hone what we meant, particularly to ensure that it felt specific, inclusive, and actionable.
  • Tone. As an organization that has conducted programs that we feel have aided in the forward progress of our field on issues of diversity, equity, and inclusion for decades, we acknowledged that there is much more to be done and strove  to find a balanced tone that demonstrated our commitment to ongoing work.

8. Get Your Draft in Front of Stakeholders

We are not experts in this space, and knew we would draw wisdom from the many constituents and networks that we serve and partner with every day.  Over the course of about 6 months, we conducted one-on-one conversations and group interviews with over 150 people, provided opportunities for written feedback, analyzed field survey results, led internal staff discussions, and more with over 3,000 stakeholders—including staff, advisory council members and board members of Americans for the Arts, as well as stakeholders from arts organizations, national services organizations, local arts agencies, state arts agencies, private businesses, foundations, local governments, individual artists and more. 

For a full list of the commentators engaged in this process, please click here.

We are grateful to all of them, and also want to acknowledge that their participation in this process does not indicate their endorsement of the Statement on Cultural Equity or our other work. 

9. Start Talking about Actions and Benchmarks for Success

Now is a time for action, and it was clear from the first meetings of both the Board and staff task forces that we needed to lay out a map for taking action and making progress.  Progress requires setting specific goals, so we knew immediately that we needed to hold ourselves accountable for what we will be trying to accomplish both internally and externally.

In the end, we developed three internal areas of action, and four external areas of action.  Read them here.

10. Present the Final Statement, and Actions, and Have a Conversation

We are only at the beginning of our journey.  On April 7, 2016, the Board of Directors unanimously adopted the Statement on Cultural Equity, and on May 23, 2016, we released the Statement publicly.  In doing so, we very deliberately invited a conversation—this could’ve been something that we adopted privately, but in keeping with the goals of the Statement, we need to have a conversation.

In addition to a press release and the Statement itself, over the course of the summer of 2016 we will also be releasing writing about the statement and cultural equity in the United States from about 30 stakeholders,  15 nationally-recognized bloggers, and various staff, including our CEO, Bob Lynch.  We will immediately begin the development of field education modules through our field education program, ArtsU, and our regional, in-person training programs; releasing equity-specific research on the arts field; continuing an internal assessment and training process being led by Carmen Morgan of ArtEquity; and launching new, large-scale programs designed to begin making incremental, measurable, manageable progress happen over time.

By the end of 2016, we hope to have a plans in place for:

  • training all staff, board, and advisory committee members in cultural consciousness.
  • upping the number of local arts agencies and other constituents who have a formally-adopted diversity, equity, or inclusion statements of their own.
  • infusing cultural equity lenses and trainings into all of our field education programming, including our national, regional, and digital trainings.

We’re just at the beginning, but with the guiding Statement on Cultural Equity in hand, we have great hopes that we can take action and make progress, together with our many partners, over time to create greater access to a full creative life for all.

The Americans for the Arts Statement on Cultural Equity was created in a year-long process. While our process may or may not be right for you, we are sharing the steps we took, our timeline and an editable, generic Word document version of the Statement with you to hopefully inform you in your work to adopt or adapt the Statement as appropriate for your organization.  Please don’t hesitate to contact us with any questions about the process that Americans for the Arts undertook.

Modeling Through Action Within Americans for the Arts

Improving Staff and Board Cultural Consciousness

Americans for the Arts works to encourage substantive learning to build cultural consciousness and to proliferate pro-equity policies and practices by all of our constituencies and audiences.
Learn More about how Americans for the Arts is Improving Staff and Board Cultural Consciousness

Acknowledging and Dismantling Inequities Inside Americans for the Arts

Americans for the Arts staff and board collaborate to address inequities in our policies, systems, programs, and services, and to regularly report on organization progress.
Learn More about how Americans for the Arts is Acknowledging and Dismantling Inequities Inside the Organization

Committing Time and Resources to Leadership Development

Americans for the Arts commits time and both internal and external financial resources to expand more diverse leadership within our board, staff, and advisory bodies.
Learn More about how Americans for the Arts is Committing Time and Resources to Leadership Development

Fueling Progress in the Arts and Culture Field

Photos of artists & activities at various Americans for the Arts events.
Photos of artists & activities at various Americans for the Arts events.

Encourage Cultural Consciousness in the Field

Americans for the Arts staff are working to build cultural consciousness and to proliferate pro-equity policies and practices by all of our constituencies and audiences.
Learn More about how Americans for the Arts is Encourage Cultural Consciousness in the Field

Improving and Expanding the Cultural Leadership Pipeline

Americans for the Arts is creating and supporting programs and policies that foster leadership that reflects the full breadth of American society, and that improve competency and encourage allyship among existing organizations and leaders.
Learn More about how Americans for the Arts is Improving and Expanding the Cultural Leadership Pipeline

Centering Equity in Our Research Efforts

Generate and aggregate quantitative and qualitative research related to equity to make incremental, measurable progress towards cultural equity more visible.
Learn More about how Americans for the Arts is Centering Equity in Our Research Efforts

Pursuing Pro-Equity Policy Change

Advocate for public and private-sector policy that integrates a lens of cultural equity at a local, state, and national/federal level.
Learn More about how Americans for the Arts is Pursuing Pro-Equity Policy Change

AGE – Refers to how long a person has been alive. In the United States, certain ages (and age groups) are associated with different roles, levels of power and influence, and rights. Significant ages include 18 (ability to vote, “adulthood”), 21 (ability to legally drink alcohol), and 62 (current age to receive Social Security, “retire”). 

ALAANA – Acronym for African, Latinx, Asian, Arab, Native American. (Also see “Race”) 

ANTI-OPPRESSION ORGANIZATION – An organization that actively recognizes and mitigates the oppressive effects of the white dominant culture and power dynamics, striving to equalize that power imbalance internally and for the communities with which they work. 

ASSIMILATE – The phenomenon that occurs when people belonging to the non-dominant group understand dominant cultural norms and take on their characteristics either by choice or by force. Many people of color are asked to “check their identities at the door” in professional settings to make their white peers comfortable. By doing so, many people of color find it easier to get promotions and professional opportunities, as well as to gain access to informal networks typically accessible only to whites. 

BIAS – a conscious or unconscious preference that inhibits a person’s capacity for impartial judgment. 

BIPOC – Acronym for Black, Indigenous, People of Color. Also is used as Black, Indigenous, and People of Color. (Also see “Race”) 

CRITICAL MASS – The representation of people of color within an organization or at a certain level of leadership. This figure is dependent on, and reflective of, the specific demographics of the communities in which an organization serves or operates. 

CRITICAL RACE THEORY – A theory that explicitly states and recognizes that racism is ingrained in the fabric and system of American society. Even without overt racists present, institutional racism is pervasive in the dominant culture. Critical Race Theory examines existing power structures and identifies these structures as based on white privilege and white supremacy, which perpetuate the marginalization of people of color. Overall, Critical Race Theory examines what the legal and social landscape would look like today if people of color were the decision-makers. 

CULTURAL CONSCIOUSNESS – Cultural consciousness can be defined as the process of developing awareness of culture in the self, which can result in expanding understandings of culture and developing deeper cultural knowledge about other individuals and contexts. Culture in this process can be understood as the set of shared attitudes, values, beliefs, behavioral standards, goals, and practices that characterize an institution, organization, or group. As noted by Geneva Gay, we may not be consciously aware of it, but our thoughts, beliefs, and behaviors are determined by culture that in turn influences our teaching and learning practices. (https://sk.sagepub.com/Reference/diversityineducation/n160.xml

CULTURAL EQUITY – Cultural equity embodies the values, policies, and practices that ensure that all people—including but not limited to those who have been historically, and continue to be, underrepresented based on race/ethnicity, age, disability, sexual orientation, gender, gender identity, socioeconomic status, geography, citizenship status, or religion—are represented in the development of arts policy; the support of artists; the nurturing of accessible, thriving venues for expression; and the fair distribution of programmatic, financial, and informational resources. While intersectionality is real and crucial to providing entry for people at various stages of readiness, we acknowledge that racial inequity is central to most societal issues, particularly when it comes to the distribution of resources. 

DECOLONIZE (MIND) – We exist within societal structures rooted in historical facts, one of which is colonialism: the policy and practice of acquiring control of land (frequently occupied by people of color), occupying it, and codifying power structures to elevate one race and culture above all others. The international practice of colonization informs the dominant culture that characterizes American society today, driving ideologies and subconscious biases rooted in centuries of racism, classism, and white privilege. In order to dismantle white supremacy and the white dominant culture norms it influences, one must actively “decolonize” the mind, recognizing and counteracting the thoughts, preferences, practices, and behaviors that are deeply rooted vestiges of colonization. 

DISABILITY STATUS – Also “Communities with Disabilities". Disability is a term used to define factors that limit significant life activities or experiences considered to be typical among individuals who do not experience a disability. Such restrictions may be physical or mental and may be permanent or temporary. Some examples of disability: vision/hearing impairment, mobility impairment, mental disorder, autism, etc. Helpful resource: Guidelines for Writing About People With Disabilities

DIVERSITY – Practice or quality of including or involving people of different backgrounds ensuring representation of all community groups and racial identities. These differences can be defined as race, ethnicity, age, gender, gender identity, gender expression, sexual orientation, mental or physical abilities, nationality, language, religious beliefs, socioeconomic background and status, learning styles, and education, among other areas of identity. (Also see “Intersectionality”) 

DOMINANT CULTURE – Dominant culture in society refers to the established language, religion, values, rituals, and social customs on which the society was built. It has the most power, is widespread, and influential within a social entity, such as an organization, in which multiple cultures are present. An organization’s dominant culture is heavily influenced by the leadership and management standards and preferences of those at the top of the hierarchy. In this paper, dominant culture refers specifically to the American context in which organizational culture is predominantly defined by white men and white women in positional power. See also “White Dominant Culture.” 

EMPLOYEE RESOURCE GROUP – Voluntary, employee-led groups that foster a diverse, inclusive workplace aligned with organizational mission, values, goals, business practices, and objectives. Often, these groups provide support to staff who formally or informally lead race equity work in some capacity within an organization. 

ETHNICITY – Refers to a group of people of the same nationality or land of origin who share a distinct and/or common culture. Typically understood as something we acquire, or self-ascribe, based on factors like where we live or the culture we share with others. 

EQUITY – The principle of equity acknowledges that are populations that have been and are systemically underrepresented and underserved and that fairness regarding these unbalanced conditions is needed to assist equality in the provision of effective opportunities to all groups. Equity is the guarantee of fair treatment, access, opportunity, and advancement in the systems, protocols, practices, and policies that allow everyone to be treated fairly within an organization, while at the same time striving to identify and eliminate barriers that have prevented the full participation of some groups.  

GENDER IDENTITY – Gender identity refers to socially constructed roles, behavior, activities, and attributes that a particular society considers appropriate for men and women. Gender identity is also an individual’s self-conception, as distinguished from biological sex, which is based solely on physical characteristics assigned at birth. In addition to man/male, woman/female, and non-binary (among other options), there is also the potential qualifier of “transgender,” meaning one’s gender identity does not match one’s assigned biological sex, and “cisgender,” which means one’s gender identity does match one’s assigned biological sex. “Gender nonconforming” or “gender fluid” is another identifier, used to indicate that one doesn’t adhere to stereotypical understandings of gender expression or roles. 

HOUSEHOLD INCOME (HHI)/CLASS – Household income is the total annual revenue of everyone in one household unit. Class is a relative social ranking or category based on income, standing financial resources, education, status, and/or power. While household income is strictly about annual revenue, class categories are usually associated with levels of access to resources including money, contacts, and education. Some examples: $100,000+ HHI, middle class, upper class, $0-$18,000 HHI. 

INCLUSION – The act of creating environments in which any individual or group can feel welcomed, respected, supported, and valued to fully participate and bring their full, authentic selves to work. An inclusive and welcoming climate embraces differences and offers respect in the words and actions of all people. This can manifest in the intentional integration of diverse voices and perspectives within organizational conversations. Inclusion is closely tied to the culture of an organization. and a sense of belonging for all members of the organization.  Also see Diversity, Equity.

INTERSECTIONALITY – the connectivity of an individual’s various social identities that contributes to the specific type of systemic oppression, discrimination, and/or privilege they experience. These overlapping identities include race, gender, sexual orientation, and class, among others. 

INVESTMENT – Investment is the allocation of a resource (money, time, space) in the expectation that it will yield a future benefit. “Equitable investment” is the centering of cultural equity in investment strategies, in particular the recognition and restructuring of inequitable systems of consideration, allocation, distribution, and evaluation in terms of such investments. 

LEADERSHIP – Individuals who formally or informally influence a group of people to act towards a goal. Individuals may or may not be in positions of authority. 

LGBTQIA+ – Acronym for Lesbian, Gay, Bisexual, Transgender, Queer, Intersex, Asexual. (Also see “Sexual orientation”)

MARGINALIZED – Relegated to an unimportant or powerless position within a society or group.

MICROAGGRESSION – The everyday verbal, nonverbal, and environmental slights, snubs, or insults, whether intentional or unintentional, which communicate hostile, derogatory, or negative messages to target persons based solely upon their marginalized group membership.

POLITICAL AFFILIATION – Political affiliation is one’s association with a political party or faction and that party or faction’s ideals. It can be qualified within the party/faction, as in “moderate Democrat,” or “left-leaning Republican.” Some examples: Democrat, Republican, Green, Libertarian, with modifiers such as “conservative,” “liberal,” “moderate.” 

PRIVILEGE – Privilege operates on a personal, interpersonal, cultural, and institutional level and gives advantages, access, favors, and benefits to members of dominant groups at the expense of members of marginalized groups. Privilege is almost never an earned state; it is commonly invisible to/taken for granted by those who have it and is conferred based on those whose characteristics match the dominant groups whether they want those privileges or not, and regardless of their stated intent. 

PREDOMINANTLY WHITE INSTITUTION/ORGANIZATION – Institutions/organizations whose histories, policies, practices, and ideologies center on whiteness or the white majority. PWIs, by design, tend to implicitly and/or explicitly marginalize the identities, perspectives, and practices of people of color. (See “White Supremacy Culture”) 

RACE – The idea that the human species is divided into distinct groups based on inherited physical and behavioral differences. Genetic studies in the late 20th century refuted the existence of biogenetically distinct races, and scholars now argue that “races” are cultural interventions reflecting specific attitudes and beliefs that were imposed on different populations in the wake of western European conquests beginning in the 15th century. 

RACE EQUITY – The condition where one’s racial identity has no influence on how one fares in society. Race equity is one part of racial justice and must be addressed at the root causes and not just the manifestations. This includes the elimination of policies, practices, attitudes, and cultural messages that reinforce differential outcomes by race.

RACE EQUITY CULTURE – A culture focused on proactive counteraction of social and race inequities inside and outside of an organization.  

RACE EQUITY LENS – The process of paying disciplined attention to race and ethnicity while analyzing problems, looking for solutions, and defining success. A race equity lens critiques a “color blind” approach, arguing that color blindness perpetuates systems of disadvantage in that it prevents structural racism from being acknowledged. The application of a race equity lens helps to illuminate disparate outcomes, patterns of disadvantage, and root causes.

RACISM – A system of advantage and oppression based on race. A way of organizing society based on dominance and subordination based on race. Racism penetrates every aspect of personal, cultural, and institutional life. It includes prejudice against people of color, as well as exclusion, discrimination against, suspicion of, and fear and hate of people of color.  

RELIGIOUS AFFILIATION – A religion is an institutionalized or personal system of beliefs and practices related to the divine. Religious affiliation specifically refers to which system or institution one most aligns with and can include certain non/anti-religious answers including “atheist” (does not believe in the divine) and “agnostic” (does not have an opinion as to the nature of the divine). Some examples: Catholic, Protestant, Christian, Jewish, Muslim/Islamic, agnostic, atheist, Buddhist, spiritual. 

SEXUAL ORIENTATION – An individual’s physical and/or emotional attraction to another individual. A person’s sexual orientation is separate from that person’s gender identity. Some examples: straight, gay, bisexual, asexual, queer, same-sex attracted. 

SOCIAL JUSTICE – A concept of fair and just relations between the individual and society. This is measured by the explicit and tacit terms for the distribution of power, wealth, education, healthcare, and other opportunities for personal activity and social privileges.

STRUCTURAL RACISM – The arrangement of institutional, interpersonal, historical, and cultural dynamics in a way that consistently produces advantages for whites and chronic adverse outcomes for people of color. It illuminates that racism exists without the presence of individual actors because it is systemically embedded.  When the United States was founded, racist principles were codified in governance structures and policies. As a result, racism is embedded in institutions, structures, and social relations across American society. Today, structural racism is composed of intersecting, overlapping, and codependent racist institutions, policies, practices, ideas, and behaviors that give an unjust number of resources, rights, and power to white people while denying them to people of color. 

WHITE DOMINANT CULTURE – Defined by white men and white women with social and positional power, enacted both broadly in society and within the context of social entities such as organizations. See also “Dominant Culture” and “White Supremacy Culture.”

WHITE PRIVILEGE – The power and advantages benefiting perceived white people, derived from the historical oppression and exploitation of other non-white groups. 

WHITE SUPREMACY – The existence of racial power that denotes a system of structural or societal racism which privileges white people over others, regardless of the presence or the absence of racial hatred. White racial advantages occur at both a collective and an individual level, and both people of color and white people can perpetuate white dominant culture, resulting in the overall disenfranchisement of people of color in many aspects of society.

WHITE SUPREMACY CULTURE – Characteristics of white supremacy that manifest in organizational culture and are used as norms and standards without being pro-actively named or chosen by the full group. The characteristics are damaging to both people of color and white people in that they elevate the values, preferences, and experiences of one racial group above all others. Organizations that are led by people of color or have a majority of people of color can also demonstrate characteristics of white supremacy culture. Kenneth Jones and Tema Okun identified twelve characteristics of white supremacy culture in organizations: Perfectionism, Sense of Urgency, Defensiveness, Quantity of Quality, Worship of the Written Word, Paternalism, Power Hoarding, Fear of Open Conflict, Individualism, Progress is Bigger/More, Objectivity, and Right to Comfort.

 

Language Bank References 
Diversity, Equity and Inclusion terms we use in our work

Language use is a key element of access, equity, and inclusion work, and can help or hinder efforts in this area. Language choices should be thoughtful. Language influences our intent, impact, and actions; for the organization to move forward intentionally in how we implement this work, we must solidify how we talk about it in our external areas (social media, communications, government affairs, development, etc.) As Ibram X. Kendi writes, “Definitions anchor us in principles…If we don’t do the basic work of defining the kind of people we want to be in a language that is stable and consistent, we can’t work toward stable, consistent goals” (How To Be An Antiracist, 2019). This language bank provides definitions and contexts for terms that come up in dialogue around Diversity, Equity and Inclusion (DEI) work. Each should be carefully and consistently used by individual Americans for the Arts staff and in formal/informal and internal/external organizational communications. 

The compilation of this language aims to advise and guide Americans for the Arts board and staff in using and sharing language that surrounds our equity work. It shapes the organization’s intent in how we speak about the work, and how that informs the approach as well. It can act as a shared, collective understanding and acknowledgment for staff to reference as we integrate cultural equity practices within the work. Our desire would be for this to inform or guide organizations in the field in deepening their own understanding of how language affects their work and shapes narratives.

In approaching the creation of this language bank, we began with a comprehensive list of existing terms and phrases used by Americans for the Arts in our informal/formal and internal/external writing, program documentation, and communications. In finding variations or excessive use of problematic terms or phrases, we found it important to lay a foundation of vocabulary and context to how we name, discuss and identify people, structures, and frames.  

When writing or talking about any group of people, we encourage you to name and be specific in the framing of context/description. For example, if referring to Indigenous or Native American peoples, state that directly rather than molding it into a more general term of BIPOC. If you are going to utilize terms that group racial and/or ethnic groups together (e.g. BIPOC, ALAANA, POC, etc.), we suggest defining what those terms mean to you at the beginning of your text with specificity. For example, stating “For the purpose of this program, we define…” We recognize that grouping people together in these manners can lead to “othering” that normalizes whiteness as the standard by which other identities are compared; our aim is to counter that by being explicit whenever possible. Similarly, Americans for the Arts will not use the term “culturally specific” to refer to organizations that are led by or center communities of color as it upholds the idea of “othering” cultures outside of the dominant one. 

There is an ongoing conversation about the use of terms such as “traditionally” or “historically” when discussing communities, individuals, and certain identity groups that have been and are negatively impacted by racist policies and systems ingrained in American society. We recommend the removal of the use of these terms as these structures have ongoing implications, and instead, we will use and invite the use of the term “intentionally” as it more accurately represents the nature of this country’s decision to enact such policies.  

Additionally, Americans for the Arts upholds the Cultural New Deal and supports the identity classifications listed therein. We lean into those identifiers replicated here: “Black, Indigenous, Native American, Latinx, Chicanx, Arab, MENASA (Middle Eastern, North African, South Asian), Asian, Pacific Islander, and other communities of color, especially those who are Disabled/Deaf and/or LGBTQIA+/Two-Spirit”. We recognize that within different departments, communications, and programs, the need for a synthesized term may arise, in which case we affirm that we will be specific to the identities of the referred group(s), where possible. We commit to clarifying the use of any acronym or identity term where appropriate. For the purpose of greater community inclusion, we also commit to asking folks to self-identify to establish equitable and inclusive language. We encourage folks to examine, honor, and understand the communities they exist within and apply/use terms utilized and preferred by those communities. 

We recognize that there is no perfect way to approach language use, as terms are ever-evolving and there is no universal consensus on how people identify. We commit to acting with intention and care when considering how we talk about our work, continuing to learn and adapt as needed.  This will help us to progress towards inclusivity and respect for people of all identities, and work to reject the white supremacy culture that centers us in exclusion and sets whiteness as the norm. By starting with a focus on the language we use, we hope that we can work to further develop a culture of equity within our organization and all facets of the arts and culture field.  

We also honor the many resources that went into this compilation which include the lived experience of staff members, training experiences, and resources from field leaders such as Equity in the Center, Racial Equity Tools, Grantmakers in the Arts, and the Racial Equity Institute. Helpful links are located at the bottom of the list.

While this is not an exhaustive list, it is as comprehensive as we can document at this time. We will update resources and terms periodically, both as needed, and will review this list twice annually to ensure we remain thoughtful and reflect on the field and acknowledge how individuals wish to be seen. As we activate specific initiatives such as the inclusive Creative Economy work or Arts at the Community Development Table rubric, additional sets of terms may be added and will be linked accordingly.

We welcome feedback as we hope this tool will assist practitioners in the field with their own efforts.

TOOLS

Aesthetic Perspectives Framework – This research and toolkit, generated by the Animating Democracy program at Americans for the Arts, provides a framework for considering excellence, aesthetics, and quality more broadly and for recognizing the inequitable definitions and systems that have driven a lot of the field’s evaluation (and awarding of) quality.

Art and Equity Toolkit - The Arts & Equity Project is a research and educational initiative of Toronto Arts Foundation and the Neighbourhood Arts Network that sets out to learn from, document, and share the experiences of arts and community groups who are working to reduce barriers to community participation and collaboration.

Building Your Plan: A Cultural Equity and Inclusion Toolkit – This resource from the Los Angeles County Arts Commission provides step-by-step resources for building a cultural equity plan.

Confronting Prejudice: How to Protect Yourself and Help Others – The purpose of this resource is to educate readers on the prevalence of prejudice and implicit bias in society, including information about what marginalized groups are most likely to be harmed by prejudice. 

Equity Training Consultants – This ongoing list of equity consultants in the field was compiled through self-submissions, but provides a wide variety of individuals and organizations working in the equity and diversity spaces.

Harvard Implicit Association Test – This set of tests helps individuals see where they carry implicit biases.

Identity and Social Location Wheel – Also called the Privilege Wheel, this is an exercise, adapted from the work of ArtEquity, that allows individuals to locate themselves in various existing systems of power and privilege.

Re-tool: Racial Equity in the Panel Process – This resource, created by a consortium of funders and national arts service organizations, lays out mechanisms to center equity in grantmaking panel processes.

Guidelines for Accessible Powerpoints – A resource used for our national events adapted from resources provided by Microsoft on how to use their PowerPoint tool to make presentations that are more accessible to all.

Guidelines for Attendees and Participants – Americans for the Arts’ guidelines for session attendees to ensure as accessible and engaged a space as possible.

Group Agreements and Proposed Guidelines for Conversations About Equity – A compilation of various group agreements and guidelines for meetings and conversations, such as those related to equity, that can require a level of openness and honesty that can be challenging to achieve.

Resources and Suggested Practices for Addressing Microaggressions - A compilation of resources for people who initiate, receive, or observe a microaggression.

 

TEMPLATES

Statement on Cultural Equity - An editable version of the Americans for the Arts Statement on Cultural Equity, which you may adopt or adapt.

Baselined Demographic Questionnaire - An editable version of the Baseline Demographic Questionnaire fielded every 2 years by Americans for the Arts, which you may adopt or adapt.

Americans for the Arts Cultural Assessment - An editable version of the Americans for the Arts Cultural Assessment, a survey conducted internally by Americans for the Arts to assess workplace culture, which you may adopt or adapt.

Here are some tools we have found useful in our work around cultural equity, as well as templates you are welcome to adopt or adapt. While we encourage you to explore these tools, it is important to note that every community is different and has different needs. We encourage you to take a look at the various other resources on our site and throughout the internet as well.

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