Riva Lehrer is no stranger to difficult times. Growing up with spina bifida in the 1950s and ’60s, Riva experienced a very ableist world where children with disabilities were often hidden from public view. She very quickly had to learn to mask her own disability or acquire other identities to overshadow her “differentness.” She didn’t learn how to advocate or vocalize her needs as a disabled person until later in life. It was through her art and writing, and joining the Disabled Artists Collective, that gave Riva a way to portray and publicly amplify the humanness of those with impairments as people like everyone else, including herself. Riva stands squarely at the intersection of so many identities: advocate, disabled, queer, artist, writer, professor, public speaker, Jewish, and a woman. But the one she gets asked to weigh in on the most is disability, as if the mere fact that she has a disability makes her an expert in the field: “When I present my portrait work with people with impairments and who deal with stigma I can’t just talk about the art or some other aspect of the art. I’ll start talking about working with some trans or queer subjects and most of the time people just want to bring it back to disability. It often feels like a lot of me is left outside the door.”

In recent years, there has been greater intentional focus on equitable language and communication. That focus has led to noticeable, positive change. The arts and culture field is uniquely positioned to help reinforce and advance this movement, particularly through the literary work of playwrights, novelists, poets, journalists, dramaturgs, editors, scholars, and critics. Equitable language opens dialogue and invites more people to the conversation. The words we use and the way we approach language can be the difference between diverse storytelling and empowered representation, or failed attempts to establish equity. The ripple effect of creating and adopting equitable language is limitless. That’s why language banks and similar tools are so crucial to navigating conversations, communications, and storytelling, and why these tools are essential to how we move forward together. Inside Americans for the Arts, we began dissecting and crafting how we could leverage our reach and resources in support of the work happening in communities across the county. We know that every organization, every individual, is on their own journey with equity and while we can’t bring everyone to the same level in one swoop, we could build tools to assist the work. 

I see Black genius as the soulful expression of the extraordinary creativity, intellect, and ingenuity of African Diaspora people. It is about how we incite the imagination, move the crowd, and stir the soul. There’s a spirit to Black genius that needs to be awarded. It’s not solely the moments of inspiration, but also the deep dedication and commitment to craft, the ways in which we locate ourselves within a tradition and traditions. The Black Genius Foundation is committed to transforming the conversation around genius by placing Black artists and the Black Creative Ecosystem at the center. The Black Genius Foundation is our opportunity to sing a praise song for new generations and advance the legacy that our ancestors and elders have so boldly created for us to carry forward.

In early 2021, we published an outline of the goals and commitments Americans for the Arts is making towards supporting the development of an inclusive creative economy nationally and in local communities. This work in 2022 will focus on helping communities build awareness of their cultural assets and how to equitably strengthen, value, and utilize them. In partnership with and under the guidance of Cézanne Charles and John Marshall, principals of rootoftwo, LLC, we will embark on a year-long process to devise a set of tools, guides, evaluations, and trainings—with ample opportunities for participation from the field in the development of these tools—that will support local arts leaders in their efforts to identify and define their unique creative economies, and help communities to identify cultural assets and understand the health of those assets. 

Over the last couple of years especially, the major national arts service and membership organizations have given greater attention to engaging diverse communities more effectively. Building meaningful dynamic and collaborative relationships with community-based partners informs programming and audience building work. Working effectively with organizations serving diverse communities has become an ever-higher priority for state, regional, and local arts agencies throughout the country. Addressing cultural equity in tangible and effective ways is critically important for all of us, including how arts organizations recruit staff and identify board candidates. With a heightened awareness in our society about these issues during this time of major social and political change, the work of organizations like the Association of Tribal Archives, Libraries, and Museums (ATALM) takes on even greater significance. Becoming more familiar with the work of ATALM (and likewise with similar organizations serving diverse organizations) gives professionals working in local arts agencies both a better understanding of key issues, as well as connections to colleagues in the Native cultural field, to help them address these crucial matters. 

Located in Camden, New Jersey, Camden FireWorks is a Black-led, community-based arts organization that works to grow, gather, and invest in artists and artists-to-be in the Camden community. Executive Director Asiyah Kurtz is an applied anthropologist with 20 years of experience in leadership of private, nonprofit, and public sectors. “As a young arts organization, we had previously only relied on volunteers to teach our open studio workshops for our first five years of operations. With the support of our Board, one of the changes I made this year was to pay a meaningful wage to teaching artists for their time, labor, and talent. If I have anything to do with it, there will be no starving artists in Camden.” 

It is important for cultural leaders and individual artists to know the work of organizations elevating Native artists. This is of special urgency given the current challenges faced by local and regional arts agencies: Leaders in the cultural sector simply must have a broader understanding of social and economic justice issues. As our field does more to support civic engagement and informed public dialogue about these key issues, local arts leaders have the opportunity to assume leadership roles on the complex challenges in our communities—promoting equity, addressing the climate and other issues, and promoting civic literacy about the issues we face. As arts administrators and managers, it is not enough to be informed about the issues—we need to know how to communicate effectively with broader, more diverse publics that we serve. Local arts agency leaders must understand these issues on ever deeper levels as they develop meaningful competitive grant review processes and find effective ways for arts organizations to take central roles in public discourse. 

In October 2020, Patrick Rath became the president & CEO of United Performing Arts Fund (UPAF), the largest united fund for the performing arts in the country. Since 1967, UPAF has been dedicated to securing community resources, promoting the performing arts as a regional asset, and improving the quality of life through responsible investment in and financial support of the performing arts in Southeastern Wisconsin. Every dollar raised comes from individuals, companies, and foundations. Rath brings more than 30 years’ experience in development and on the boards of several performing arts organizations to the role. He is also a classically trained double bass player and has performed with eight of UPAF’s 14 member organizations.