Comments on: The Diversity Magic Bullet http://www.2amtheatre.com/2010/03/17/the-diversity-magic-bullet/ thinking outside the black box... Thu, 09 Sep 2010 02:27:00 +0000 hourly 1 http://wordpress.org/?v=3.0.1 By: Aaron Andersen http://www.2amtheatre.com/2010/03/17/the-diversity-magic-bullet/comment-page-1/#comment-235 Aaron Andersen Wed, 05 May 2010 02:09:43 +0000 http://www.2amtheatre.com/?p=432#comment-235 There is legitimacy in seeking economic diversity, if you really value an artistic conversation with people across all economic strata, in which case the "can't afford it" argument is still quite relevant. When it become classist or elitist is when we decide that our art can solve "their" problems, when we become ersatz artistic missionaries, chauvinistically saving the savages.<br><br>But the main points, that if you want diversity, the populations that you wish to reach must be collaborators, and must be steering the initiatives, are 100% correct. Even in an industry like classical music, which we mostly think of as music written by dead white European men, there are amazing Latin American and Asian and African-American composers and performers. This is even more true in theater. If we blame the lack of opportunity for African-American's to get into playwriting MFA programs, that just shows we are focusing too much on the MFA playwrights, to our own disadvantage. There is legitimacy in seeking economic diversity, if you really value an artistic conversation with people across all economic strata, in which case the “can't afford it” argument is still quite relevant. When it become classist or elitist is when we decide that our art can solve “their” problems, when we become ersatz artistic missionaries, chauvinistically saving the savages.

But the main points, that if you want diversity, the populations that you wish to reach must be collaborators, and must be steering the initiatives, are 100% correct. Even in an industry like classical music, which we mostly think of as music written by dead white European men, there are amazing Latin American and Asian and African-American composers and performers. This is even more true in theater. If we blame the lack of opportunity for African-American's to get into playwriting MFA programs, that just shows we are focusing too much on the MFA playwrights, to our own disadvantage.

]]> By: Shoshana http://www.2amtheatre.com/2010/03/17/the-diversity-magic-bullet/comment-page-1/#comment-95 Shoshana Fri, 19 Mar 2010 21:43:22 +0000 http://www.2amtheatre.com/?p=432#comment-95 Fantastic! I have been thinking along the same lines and attempting to get the word out about how to diversify your audience using these same points. I would like to stress that reaching out to another community will stretch your comfort zone, which seems to be one of the main reasons why people are a little afraid to do so. <br><br>During my workshops, I like to tell the story about my father who was a master of reaching out to people of all cultures. He was genuinely fascinated with the wonderful differences. One time he became friends with someone from India, and he wanted to invite him over and make a grand gesture of cooking a traditional (well, maybe not so traditional) Indian meal for them. We asked them what they would suggest we attempt, and they proceeded to give us recipes for dishes that they enjoyed. We had a grand time cooking out of our comfort zone and toasting to our final efforts with them. <br><br>My father reached out to people, collaborated with them, developed relationships that carried over time due to keeping the camaraderies alive and well. <br><br>This is exactly what needs to happen on an artistic and organizational level. Relationships are built over time, and they can start by reaching out on their terms. Once you have a good base, you can ask for their help, and after that, you can have a friend and supporter for life if you continue to cultivate the relationship. There are specific ways in your everyday life that can build a bridge to understanding and to forming genuine friendships.<br><br>The perks of my father's talent were many. Let's just say that we had many family owned ethnic restaurants to choose from that personally welcomed us into their family. The "specially made for us" meals were amazing! Fantastic! I have been thinking along the same lines and attempting to get the word out about how to diversify your audience using these same points. I would like to stress that reaching out to another community will stretch your comfort zone, which seems to be one of the main reasons why people are a little afraid to do so.

During my workshops, I like to tell the story about my father who was a master of reaching out to people of all cultures. He was genuinely fascinated with the wonderful differences. One time he became friends with someone from India, and he wanted to invite him over and make a grand gesture of cooking a traditional (well, maybe not so traditional) Indian meal for them. We asked them what they would suggest we attempt, and they proceeded to give us recipes for dishes that they enjoyed. We had a grand time cooking out of our comfort zone and toasting to our final efforts with them.

My father reached out to people, collaborated with them, developed relationships that carried over time due to keeping the camaraderies alive and well.

This is exactly what needs to happen on an artistic and organizational level. Relationships are built over time, and they can start by reaching out on their terms. Once you have a good base, you can ask for their help, and after that, you can have a friend and supporter for life if you continue to cultivate the relationship. There are specific ways in your everyday life that can build a bridge to understanding and to forming genuine friendships.

The perks of my father's talent were many. Let's just say that we had many family owned ethnic restaurants to choose from that personally welcomed us into their family. The “specially made for us” meals were amazing!

]]> By: scottwalters http://www.2amtheatre.com/2010/03/17/the-diversity-magic-bullet/comment-page-1/#comment-94 scottwalters Thu, 18 Mar 2010 18:04:52 +0000 http://www.2amtheatre.com/?p=432#comment-94 I agree with you wholeheartedly that the "expensive ticket" argument is, at best, a small part of the problem (although it can be an issue if the diversity you want to create is focused on class rather than race or ethnicity). And Travis is also right: you have to actually want diversity, not just more money (from a diverse audience or a granting organization). For me, the central point is #3: collaborate both socially and artistically. As you note, it is a two-way street. We (and by we, I mean not just the institutional reps but the artists as well, if that is a different group) need to let go of a little of our insistence on the purity of our vision and a sense that listening to an audience (or potential audience) is somehow by definition "pandering." Build a relationship, listen and talk (i.e., share), respond and initiate, repeat forever. Excellent summary, Trisha -- and it really doesn't seem that hard to do, does it? I agree with you wholeheartedly that the “expensive ticket” argument is, at best, a small part of the problem (although it can be an issue if the diversity you want to create is focused on class rather than race or ethnicity). And Travis is also right: you have to actually want diversity, not just more money (from a diverse audience or a granting organization). For me, the central point is #3: collaborate both socially and artistically. As you note, it is a two-way street. We (and by we, I mean not just the institutional reps but the artists as well, if that is a different group) need to let go of a little of our insistence on the purity of our vision and a sense that listening to an audience (or potential audience) is somehow by definition “pandering.” Build a relationship, listen and talk (i.e., share), respond and initiate, repeat forever. Excellent summary, Trisha — and it really doesn't seem that hard to do, does it?

]]> By: Travis Bedard http://www.2amtheatre.com/2010/03/17/the-diversity-magic-bullet/comment-page-1/#comment-93 Travis Bedard Thu, 18 Mar 2010 09:36:10 +0000 http://www.2amtheatre.com/?p=432#comment-93 I just want to explicitly state your point for the skimmers:<br><br>Point Zero: ACTUALLY WANT DIVERSITY. You have to actually want the audience your asking for, not just their money. The success you discuss came about because they did really want to be in a long term relationship with this community, not because they were a large constituent part of the neighborhood that could be tapped for a capital campaign. <br><br>To avoid all of your subtlety Trisha ;) I just want to explicitly state your point for the skimmers:

Point Zero: ACTUALLY WANT DIVERSITY. You have to actually want the audience your asking for, not just their money. The success you discuss came about because they did really want to be in a long term relationship with this community, not because they were a large constituent part of the neighborhood that could be tapped for a capital campaign.

To avoid all of your subtlety Trisha ;)

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