Showing posts with label equity in arts. Show all posts
Showing posts with label equity in arts. Show all posts

Monday, November 4, 2019

The 2019 Field Network Conference

In April 5-7 this year we hosted the third Field Network Conference in Portland, Oregon. Held every other year (leap-frogging with the National Touring Exchange), the Conference gathers Fieldwork facilitators and participants from across the country to further develop the Fieldwork methodology, as well as to discuss other issues impacting artists in their respective communities.

The Conference welcomed Field Network site representatives from all over the country (representing The Field NYC were Executive Director Jennifer Wright Cook, Deputy Director Shawn René Graham, and Fieldwork facilitator Pele Bauch), joined by Portland-based artists, presenters, funders, and audiences for a tightly packed weekend of art-sharing and discussions - on stage and of both the round- and long-table nature.


While feedback forms the foundation of the Fieldwork process, the 2019 Field Network Conference schedule focused particularly on how equity (or lack thereof) shapes feedback in contemporary culture: How are artists using feedback? Is the feedback we’re getting useful or equitable? Who gets to give feedback? Whose feedback counts?

Brett Campbell of Oregon ArtsWatch recently published, "Field of Vision," an in-depth review of the Conference not just summarizing the weekend's programming, but also calling out the challenges in tackling inequity in the arts in collaboration with the very individuals who benefit from said inequities.
"These funders, even those who don’t use public funds (but do get tax breaks for donations), play a vital role in determining what we see and hear on Oregon stages," Cambell writes, "and that role demands scrutiny and constructive feedback from artists, arts lovers, and the rest of the community."
Read the full article here.

Special thanks to then-Network Manager Katherine Longstreth, and to Conference coordinator and current Network Manager Jen Mitas, and conference consultant Subashini Ganesan for organizing such an ambitious event, and for bringing both The Field Network and their local arts community together (in what feels like such an organic way) to engage in these important, pressing discussions.

Sunday, September 1, 2019

September 2019 Meet Our Artists: Rachel DeGuzman

Our Members, Fiscally Sponsored Artists, and other program participants represent a wide range of career stages and disciplines. We love them - and, as fellow artists, we're always inspired by them. With this monthly feature, we hope you'll feel the same way!


Name & Pronouns:  Rachel DeGuzman, she/her/hers

What do you do?  Arts administrator, producer, curator, convener and artivist

What inspires you?  I am driven by the belief that art and creativity – the most authentic and soulful expression of humanity – can provide the most effective platform to center the marginalized and bring us together. I want to foster more opportunity and equity for women of color (WOC). I seek to center the histories, voices and narratives of women of color. Together, with other women of color, I hope to harness our collective power to effect change in and through the arts.
Rochester City Newspaper "Power Peers"
cover story featuring WOC Art Collaborative

What are you proud of?  I am very proud of establishing At the Crossroads: Activating the Intersection of Art and Justice a year ago, and the 20 events it has produced because they were collaborative, inclusive, relevant, and centered the lives and perspectives of women of color. The At the Crossroads Long Table Conversations/ Installations are very meaningful to attendees, some of whom have attended at least half of them. Arts editor of City Newspaper Rebecca Rafferty has attended most of them – acting, in some ways, as a witness (à la James Baldwin) as well as providing critical feedback – and has deemed them (more than once) as some of the most important arts programming in Rochester, New York. 

More recently, I did found and launch WOC Art Collaborative with 10 other WOC creatives. We do have a headquarters and access to a 2,700-capacity rehearsal, performance, exhibition and event space 240 days per year. See more here and here.

What are your goals?  To continue presenting the Long Table Conversations, to deepen the connection to the 20+ collaborators that I worked with in 2017/18, and to establish new collaborative relationships with artists, higher education, presenting organizations, and the Rochester City School District. To establish a collaborative center for real equity in and through art – comprised of a diverse cohort of WOC artists/creatives. All of the aforementioned are in the planning phases or underway.

Do you have any advice for your fellow artists?  Follow your vision. When you encounter a roadblock, regroup, and then reroute. Trust your instincts and don't waste precious time on dead ends or regret.

How does The Field help you?  The Field provides my work with critical fiscal sponsorship and some exposure through its website and programs.

To join The Field community and become eligible for a "Meet Our Artists" feature, sign up for a membership and join our mailing list for program updates!

Friday, February 1, 2019

February 2019 Meet Our Artists: Theresa Ruth Howard

Our Members, Fiscally Sponsored Artists, and other program participants represent a wide range of career stages and disciplines. We love them - and, as fellow artists, we're always inspired by them. With this monthly feature, we hope you'll feel the same way!


Name: Theresa Ruth Howard

What do you do? 
I work as a Diversity Strategist and consultant assisting arts organizations better understand, design and implement DEI programs and initiatives. Pacific Northwest Ballet invited me to curate and facilitate a Townhall gathering entitled Beyond Ballet, a conversation investigating aesthetics, diversity, equity, and the efforts to redesign arts institutions. Presently I serve as a member of the Design and Facilitation Team on The Equity Project: Increasing the Presence of Blacks in Ballet, a three-year partnership program to support the advancement of racial equity in professional ballet companies. The Equity Project brings together a cohort of artistic and executive leaders from 21 large budget, professional ballet organizations for in-person meetings and coaching, with the purpose of increasing the presence of Blacks in ballet in all areas of the industry.

I am also the Founder & Curator of MoBBallet. MoBBallet preserves and presents the contributions of Blacks in ballet globally. MoBBallet’s inaugural project was a partnership with the International Association of Blacks in Dance (IABD) organizing of the first annual audition for Black female ballet dancers at their 2015 conference in Denver. I helped facilitate the dialogue on diversity in ballet with the 15 major ballet organizations in participation.

In addition to MoBB’s online initiative to curate the stories of Black Ballet artists internationally, it presents panels, workshops and gatherings dedicated to building bridges of understanding and education between communities and cultures in dance and beyond. MoBBallet’s "DO YOU KNOW..." social media campaign introduces followers to Black ballet dancers and accomplishments that are not widely known in an effort broaden the awareness of the contribution of Blacks in ballet.

Follow @mobballet on Instagram

What inspires you?
We are inspired by the artists we advocate for. Bringing the legacy of Blacks in ballet out of the shadows and shining light on their virtuosity in the form is thrilling!

What are you proud of?

MoBBallet is proud that in the short time we have been in existence we have made an impact. We have forged relationships with large ballet organizations and have a seat at the table in discussions of diversity and inclusion – and we hope to encourage EQUITY.

What are your goals?
MoBBallet is working to bring forth more stories from the artist's mouths. We are working to have artist's pages for EVERY one of the 327 (so far) dancers on our Roll Call from which we aspire to build a mentoring program. There is work to be done!

Do you have any advice for your fellow artists?
We encourage all brown ballet artists to keep making stories for MoBBallet to tell. We are here to support and document your successes and will advocate for you every step of the way.

How does The Field help you?

The Field has been essential to our growth, and has provided guidance and support in our foundational moments. Thank you for your support.

All content © Theresa Ruth Howard / MoBBallet

Additional Viewing:
IABD's First Annual Audition for Women of Color HD

To join The Field community and become eligible for a "Meet Our Artists" feature, sign up for a membership and join our mailing list for program updates!


Thursday, November 10, 2016

I Hate Your Work: An Open Discussion at the Alliance of Resident Communities Conference


by Shawn René Graham, Deputy Director, Programs and Services
In early October I moderated a panel discussion at the Alliance of Artists Communities in Portland, Oregon.  The discussion centered around the unconscious and conscious biases we all bring to judging artists' work. Helen Daltoso (Grants Officer, Regional Arts + Culture Council), Daniel Jaquez (Freelance Stage Director, Theatre-maker and Translator), Eleanor Savage (Senior Program Officer, Jerome Foundation) and James Scruggs (Artist + Facilitator, The Field) shared their experiences in addressing bias whether they are adjudicating work, trying to get work produced or educating others about how bias may permeate other aspects of our work in the arts sector. 

Rather than reflect on our talk and recount it all to you, I wanted to share a partial video of the discussion in hopes that what you hear will encourage you to think about unconscious and conscious bias wherever you are in the arts sector.  While the video covers the first forty minutes during which our panelists responded to and reflected on their own encounters with bias, those in attendance also discussed their experiences and some possible solutions they can employ.  As you watch, think about how bias has affected you or how you may have perpetuated bias in your own work.  The honesty of Eleanor’s own definition of bias, Helen’s transparency about funding artists and persistent community participation and James’ stark reminder of how assumptions are made based on what we think we see is important to hear. What are some of your solutions?


I invite you to share your thoughts and ideas in the comments section below. 


 I Hate Your Work in Portland was just the beginning of The Field’s work on the topic of bias and we will continue our exploration vigorously.  Look for us at The Fire This Time Festival in January 2017.  The program will consist of a panel discussion and the next phase, I Hate Your Work in Action.
From left, Daniel Jaquez, Eleanor Savage, 
Shawn René Graham and James Scruggs


This follow-up workshop puts the topics and strategies discussed during the panel into actionParticipants will be invited to observe a condensed session of Fieldwork, The Field’s core program that offers artists a unique forum to share works in development and exchange critical, non-directorial, peer-to-peer feedback. Incisive and stimulating critiques are guided by experienced facilitators while you – our guests – are invited to watch and deeply reflect on how this model disrupts biased thinking or assumptions that are made during the course of critiquing artistic work and its potential for showcase or further development. Stay Tuned!




Thursday, September 29, 2016

What Have We Discovered? Who Are We Moving Forward?

In our last blog about Field Leadership Fund, we shared what has been working with the FLF Fellowship thus far. This time around, the focus is on one Fellow’s deeper exploration of her vision for herself and how The Field’s resources have supported her journey thus far.  Another Fellow reveals how we all can perpetuate oppressive systems even when it may not be our intent.   As the hosting organization, The Field is also learning more about the role that it plays in these systems. Hopefully, all of the Fellows have learned more about themselves, their journeys, and the role they play as well. All involved must continue to find ways to take accountability for ourselves in this work. Since multiple perspectives can offer valuable insight, we feel it’s important to hear from others involved in the process. See below for a look at the Fellowship experience from the perspective of Artist Fellow, Goussy Célestin and Manager Fellow, Aya Lane

Feel free to join the conversation by sharing your thoughts.

Goussy Célestin:

9 Months. A full gestation period for human birth. 9 months of FLF; The Field Leadership Fund. I have been an FLF Artist Fellow gestating towards the birth of my vision- Ayiti Brass. These past 9 months have been filled with growth pains, beautiful discoveries, connections, with the discomfort of “labor” stumbling into possibility. The birth metaphor applies smoothly (like a baby’s skin- Hey, I couldn’t resist!). In all seriousness though, the metaphor joke holds relevance to this process I have undergone for the last 9 months.

I am a working artist, performer, teaching artist, mother, juggler of multiple things at the same time, wife, and visionary. At the point when I applied to FLF, I had turned a corner in my art-making. Though I collaborated with a few arts ensembles, and had recently garnered a new music teaching position with a prestigious arts organization, I had not yet furthered my own vision and personal artistic mission- Ayiti Brass. I felt like I did not have the time, especially being a mother to two young children, and particularly taking into account that any income I made from my art went to my children and daily living expenses. There was no money left over for me to feed my vision. But the vision didn’t die. In fact, the vision burned - like fuel. Its fire continued to blaze inside me and feed possibility.  Applying to FLF, was a moment where I made a decision to look into organizing more time for this vision. It looked like the program that would give me the support to birth this possibility into reality. In a sense, FLF has been my doula of sorts, easing me through the discomfort of not fully knowing, yet knowing. This process has both informed my creative and professional growth. I am carving out time for myself on the calendar for composing rather than trying to squeeze it in while tasking and being with kids.  I find myself advocating for my time to make art more vocally these days. Through Fieldwork, I have shared more of myself and my creative process in the company of fellow artists, moderated by Pele Bauch. Additionally, I’ve started my own blog on my website, “Musings and Meanderings”, where I am open about my process. The 24 hours of rehearsal space I received with my participation in Fieldwork has been extremely valuable - as access to affordable rehearsal space in NYC is like trying to find adequate parking in NYC. Professionally, I have developed a strong relationship with my manager, Bryan E. Glover- FLF Arts Manager Fellow. Working consistency with a manger is immensely helpful. Bryan is someone whom I can bounce ideas with, build with, and is organized and enthusiastic about my vision. We are learning and growing together, as we combine our talents within our partnership. I have FLF to thank for meeting Bryan and for pairing us up. Having a manager is huge for someone like me who has self-produced and self-financed myself into levels of burnout previously. Right now, Bryan and I are gearing up for some upcoming grant applications, and I have recently signed up with The Field to be my fiscal sponsor. I am also taking more chances and opportunities for more growth, having recently been chosen to participate in Creative Capital’s Summer Intensive for artists. Beyond this, I’ve recently been named a Gardarev Resident Fellow, where I’ll be traveling to Maine in November for a week long residency of writing/composing/arranging/choreographing. In the woods, just me and the work.  There is more to go, and more to grow, more to build. So far, this is Ayiti Brass:

Neha Gautam Photography


Aya Lane:

Since beginning the Field Leadership Fund program my understanding of the inequities and challenges within the arts sector, especially in New York, has shifted more micro to macro. Professionally, I have been given tools to expand and deepen my understanding of systematic oppression and my position within these systems, especially in regards to art sector.
The knowledge that I acquired during the People’s Institute for Survival and Beyond Undoing Racism training, as well as through workshops and conversations amongst the fellows, in a facilitated way through the Field or through our own schedule meetings, has continuously encouraged me to question my own privileges. This new knowledge directly impacts and shifts the way that I engage with the artist that I manage, Eric Lockley. I have begun thinking more critically about the ways I’ve been indoctrinated with Eurocentric ways of dealing with power, communication, and how it’s impacted the way I work and am trying to dream up new ways of co-working, that are more balanced and equitable.
I’ve also had the opportunity to realize new things about my working style and how I work best. A major realization that I’ve had is that I have “collaboration brain,” a brain that seeks out other people to work with, brainstorm and get feedback at the beginning of starting new projects. I’ve also realized that I enjoy having a balance of tasks in order to feel productive. I enjoy doing large projects to work towards with clear goals/ checkpoints (an event, building a website, things that offer clear metrics), balanced with other projects that may be continuous such as maintaining social media or ongoing research.

Creatively, I am excited to have found myself in an open and loving community of artists who can relate to some of many of the obstacles that I face within in my work, and who are able to direct me to opportunities that align with my vision.



Learn more at thefield.org and http://thefield.org/content/field-leadership-fund

Friday, June 10, 2016

GOBSMACKED

I love words.   They are powerful and personal.  They can create connections and community; and they can disrupt, disturb and deface.

Here are some words: equity, diversity, access, inclusion, social justice.*

In the arts and culture sector these words are trending hard these days.  A quick twitter search for #equity#artsequity, etc. is humongous.

That’s great.  People are really talking about big, tough issues.  People want the world to be better.  People will do the necessary and hard work to activate these words.  I hope.

The more we use these words though, the more they lose their power.

I was at a community forum recently and a brave/stupid soul asked the large group, “What do you mean by ‘equity’?”The entire room was gobsmacked (gob-smakt; adjective, Chiefly British Informal; utterly astounded; astonished)

For many of us, it’s hard to talk about these words and what they mean.  We are afraid of getting it wrong, of feeling stupid, of offending someone.  And on top of these fears, for many of us, the word equity has become a buzzword. It’s everywhere.

In part because we all have so much work to do.

In part because there’s a lot of money on the table right now for equity and diversity work.  And we all need some money to do the work we want to do.

To be transparent, The Field is right there too.  Doing the work, launching some programs, trying to get some money for the work we are doing.  Our very own Field Leadership Fund is building the skills, resources and power of a group of 12 amazingly ambitious next generation arts leaders.
(Watch out world.  They are in it to win it.)

In my gut though, The Field knows that these words, equity, diversity, access, inclusion and social justice have deep meaning and that the work to achieve them is long-term, it’s intentional and thorough and conscious.

The words are real and the work is real and hard. It is changing us.  And it will change you.
Join us in activating the words.  This July The Field is thrilled to co-sponsor the Undoing Racism workshop for artists and cultural workers.  This is a powerful workshop that focuses on what racism is, its history and how we can un-do it.  This knowledge builds our language muscles, builds our vocabulary, and builds our activism muscles. We believe that it is a vital opportunity to learn how to activate ourselves for the vital work of justice in the arts. (Join us at Undoing Racism here in July).

-- By Jennifer Wright Cook, Executive Director of The Field

* from Merriam Webster merriam-webster.com/dictionary

  • equity: noun, eq·ui·ty \ˈe-kwə-tē\ fairness or justice in the way people are treated 
  • diversity: noun, di·ver·si·ty \də-ˈvər-sə-tē, dī-\ : the quality or state of having many different forms, types, ideas, etc.; the state of having people who are different races or who have different cultures in a group or organization 
  • access: noun ac·cess \ˈak-ˌses also ik-ˈses\ a way of getting near, at, or to something or someone; way of being able to use or get something ; permission or the right to enter, get near, or make use of something or to have contact with someone.
  • inclusion: noun in·clu·sion \in-ˈklü-zhən\  the act of including; the state of being included; a relation between two classes that exists when all members of the first are also members of the second; the act or practice of including students with disabilities in regular school classes
  • social justice.*a definition of this was not available in the free version of Merriam Webster online.  
Wikipedia had this to say.  Social justice is the fair and just relation between the individual and society. This is measured by the explicit and tacit terms for the distribution of wealth, opportunities for personal activity and social privileges… In the current global grassroots movements for social justice, the emphasis has been on the breaking of barriers for social mobility, the creation of safety nets and economic justice.”  [excerpt]