By: Rajeeyah Finnie-Myers, Field Leadership Fund Project Manager
As the deadline approaches for FieldLeadership Fund (FLF) applications, I'm hoping that we've done all the right
things to reach the people who need this opportunity the most and that they
feel compelled to actually apply. And even with months (really years for The
Field Executive Director Jennifer Wright Cook) of visioning what the fellowship
will be, carefully crafting language to describe it and nothing but good
intentions, I am very aware of the fine line that exists between doing good and
perpetuating the very issues we hope to address.
Who makes it as a leader in the arts
sector? As a woman of color, the stakes feel particularly high for me both
professionally and personally. Too often I’ve been disappointed to find that at
the heart of the opportunity for advancement is the belief that the reason I
haven’t advanced thus far is that I don’t have enough training or skills. The
Field’s 2013 report to fail and fail big explains:
“success is often supported by privilege or thwarted by under-privilege”
and
“whether that privilege is
economic, cultural identity, education, gender or class-based, the divide
between who gets to be an artist, who can afford arts school or who can afford
not to have health insurance is getting wider and wider. We are losing people.
We are losing their artistic revelations.”
Here is what we hope:
§ Accepting where we are - In acknowledging the root causes
of oppression and thinking about the ways in which we can work towards equity
in the planning stages, we stand a better chance of doing good. Jennifer and I have done our homework
- looking at many resources around the issues of social justice and equity.
We’ve had open and thoughtful conversations about our own experiences and have
made it a point to call on others who could offer a different or broader
perspective.
§ Broadening our perspective - By soliciting the support of
people who have wider reaching and/or more diverse networks and tapping into
their experience and expertise, we will reach individuals who might not
otherwise know about this opportunity. The FLF Advisory Council is the main way
we do this but we also reached out to organizations that have missions centered
on issues like equity and access.
§ Using what we have - Having someone manage the fellowship
who has been on the other end of a career development program at The Field adds
a layer of understanding about what it’s like to apply and participate in such
a program. I was involved in a program called Artist Manager Partnership (AMP)
at The Field back in 2005. Although I had a master’s degree and a few years of
work experience under my belt at the time, I was having a hard time securing a
job in the arts. I was in
the midst of a career change, looking for opportunities in a new city and
happened upon AMP just at the right time. The program was not perfect but it
definitely played a major role in me getting my career in arts administration
started.
§ Advocating for change - By calling attention to the issues
and putting resources towards making change, we inspire, equip and enable arts
organizations, artists and arts managers who feel stuck move forward in their
work. The Field’s report to fail and fail big gets at
the heart of this idea and stems from the voices of people who are living as
arts professionals in New York City.
Here is the reality:
§ Much of our outreach has been done online and through
social media, so there will still be a large group of artists and potential
arts managers left out of the mix because of a lack of access and our limited
network. Also people who are already a part of The Field’s existing network
carry a certain advantage in that they are the first to learn about the
opportunity and likely to feel more comfortable reaching out to us to get
clarity about FLF to submit the strongest application possible.
§ The only option for applying is an online application, so
if you don’t have online access you can’t apply. Even limited Internet access
creates a challenge since completing the application takes time and space to comb
through the guidelines, delve into the questions, edit and then review
responses.
§ Our first round of decisions about applicants is based
solely on a written application, so there is an imbedded advantage for those
who write well or have honed their written application skills through the
experience of applying for similar opportunities.
§ Just because someone needs this opportunity doesn’t mean
that they will be a good fit for the program. Things like scheduling and
location could lock people out. There are only 12 spaces to fill and hundreds
of interested candidates, so even the most qualified applicants may not get to
participate.
§ Although we have intentions of addressing an ongoing lack
of diversity in leadership in the arts sector in New York City and beyond, our
goals are ambitious and our way of "providing access” may not be seen as
drastically different from the norm.
Here’s what we’ve done to address the
issues:
§ We've challenged ourselves to think differently about
outreach and the application process because most often the disconnect starts
there. There is a person
(me) to contact and talk to about any questions or concerns during the open
application period. No
inquiry goes unanswered and I am ready and willing to walk anyone through the
details of the fellowship. I’ve had countless phone conversations when email
responses weren’t enough in hopes that people feel confident that they can
decide if this opportunity is for them.
§ We consciously included information about getting computer
access in the FLF FAQs and even offer to provide a laptop and Internet access
at our office to anyone who needs it to apply.
§ We kept the application short and asked questions in a way
that we felt would help us get to know the applicants rather than test their
writing skills. The only supporting document we ask for is a resumé to help us
get a better sense of how a group might work together based on their
professional background, skills, training and experience. We do not ask for
artistic work samples or budgets.
§ We built in a 2nd phase in the application process for
finalists so that we could get to know people beyond their written application
before making a final decision. There will be a group interview so that we get
a sense of group dynamics. FLF will be a collaborative learning experience and
so much of the fellowship will be about the people in the room.
§ We will have an evaluation consultant get feedback from
participants about the application process to learn how we might improve our
approach. Tied to this plan, is the intention to share what we have learned
with the larger arts community.
§ We are paying participants instead of asking them to pay
us. Often the cost of professional development/support makes it difficult for
many to pursue. In the
attempt to even the playing field FLF offers financial compensation for the
time spent in the fellowship.
Going Forward
With terms like social justice, diversity
and equity being thrown around a lot these days, FLF faces the threat of
getting lost in a world of fancy words; intellectual conversations and
superficial successes that make us feel good. The fellowship is an ambitious
undertaking for The Field. It is a direct response to systemic issues like
inequality, white male privilege and lack of access. We see that there is a need to explore
(1) why things are the way that they are and (2) how we can make a meaningful
shift. Though we can't say for sure how this fellowship will impact systems; we
are committed to the inquiry - the process - the journey. The rest is to be
determined. We don’t know the path FLF participants will take after they
complete the fellowship in 2017. Will they become leaders in their field in the
way that they had hoped? Will they take this work and use it as momentum to
propel the idea of equity in the arts sector in New York City further? Are we
doing the good that we intend to do?
The deadline for FLF applications is September 14th. I will be blogging regularly throughout the run of the fellowship. Follow the conversation to see how the pilot year unfolds!
 |
| Jennifer Wright-Cook, Sonia Louise Davis and Rajeeyah Finnie-Myers |
Arts Organization Fellow, Emily Berry is the Artistic Director of B3W Performance Group, which has performed in the US, England, Greece, Italy, Thailand, and Mexico. In New York City, B3W has performed at Henry Street Settlement, Dance New Amsterdam, Dixon Place, BAAD!, the 92nd Street Y, The Irondale Center as part of FlicFest, and the Manhattan Movement Arts Center among others.
