Transparency isn’t Transparent: Where are the changes Boards of Arts Organizations promised?
by marcus d. harvey
Earlier this year a pandemic hit the US. We were not prepared. Some people died, others lost their jobs. We saw theatres, museums, galleries, dance/concert halls around the world close and arts education shift from in person to virtual spaces. The shift came at a great expense to the teaching artist, causing many to be furloughed. A pandemic put the world on hold. In the midst of the pandemic, the world witnessed the murder of George Floyd on national television. The world also learned of Breonna Taylor’s murder in her own bed while sleeping. Everyone cried out racism. Protests were around the world. Everyone shouted Black Lives Matter. Black Lives quickly turned to BIPOC Lives.
Within the arts and arts education, we witnessed a rush of every arts organization to release statements on Black Lives Matter. Those statements were filled with words of inclusion, diversity, belonging, changing. Many organizations boldly stated they would be more transparent. As I write this, I wonder, if Black Lives really matter? Is transparency really transparent?
In the release of the statements, organizations rushed to form EDI committees, take anti-racism training; say they would make systemic changes in their organization. Since the release of those statements, I have witnessed theatre companies hire non-white people in ranking positions, but arts education organizations have made little changes.
A few months ago, I wrote a letter to the board of an organization in which I worked for as a teaching artist. LEAP NYC is an organization who declares it believes in the power of art. Take a look at their website, look at the home page and then look at who works in the office. For 11 years, I worked with a signature program, The August Wilson Monologue Competition. This program brought national attention to the organization. I went from a Teaching Artist to a Lead Teaching Artist to a Mentor Teaching Artist. My titles changed, but my pay remained the same.
After writing the letter, I was contacted by Karen, the board chair, (yes, that is her actual name) asking me if I would be interested in attending a board meeting. I was given the option of attending the meeting without the Executive Director, present. During the board meeting, I was allowed to share my thoughts about the systemic racism within the organization. The board informed me they would be transparent with me about their systemic changes. But I have discovered transparency isn’t transparent. Since the board meeting, I have only heard from the board once. Karen emailed me to tell me the board was going to do some anti-racism training and they were meeting with the newly formed EDI committee. That was the last of the communication that talked about any changes being made. I have emailed the board three times since receiving the email from Karen and have received no responses, no updates, nothing. Again, transparency isn’t transparent.
The newly formed Equity, Diversity and Inclusion committee at LEAP NYC is led by a queer non-black woman of color. She is quick to use EDI language on white people around her to make her seem qualified. She isn’t trained in EDI work. She was the person who wrote the Black Lives Matter statement for the organization. The statement was more about every community she was a part of and not Black Lives.
I recently received an email from the white man I mentioned in my previous article. He used to report to me and then he became my supervisor. The letter was filled with all the language that is now popular to use, i.e. “BIPOC, I hear you, I see you” etc. The letter was written to make this white man feel better about himself and not own up to his part in systemic racism within arts education. For example, the email talked about how much he was in awe of my outspoken Blackness and being unafraid to call out the whiteness around me. I have been Black my entire life, I have no choice but to own it.
We’ve witnessed many other people own their non-whiteness more in these times, with the launch of Weseeyouwat, Black Theatre United and other organizations to call out the systemic racism within the arts. For the first time, I as a Black person felt as if I was about to have a seat at the table and give a voice to a community of people who are overworked and underpaid. I have learned more and more that my being heard was only for a brief moment. And my experience isn’t an anomaly. There are others who feel the same way.
After my letter was published, I received emails from parents, fellow Teaching Artists and board members of arts organizations around the country. Teaching Artists thanked me for putting a voice to their own journey and thoughts. Parents emailed me telling me they want to hold organizations accountable on many fronts and will do so. The board members asked me to help them figure out how to help.When I responded to their request informing them my knowledge and expertise aren’t free, they fell off with corresponding. In that I discovered, they didn’t care about the fact I had been furloughed and was waiting on unemployment, or that I have over 18 years of experience in arts education, they only cared about how I could serve them and their needs.
Arts Education is at a crossroad, many received PPE loans to keep people employed, but those employees were usually the white people in the office. The black and brown people were furloughed and dismissed. They cried Black Lives Matter, but did very little to keep Black voices at the table. The transparency that many organizations spoke about became null and void. They shifted their focus quickly from including black and brown people to training their white employees about anti-racism. While they cry diversity for donors and funders, look at their websites and see the same white faces.
As the school year is approaching, I think about my fellow Teaching Artists who were furloughed and see no light at the end of the tunnel. I think of the non-transparency they are receiving from arts organizations around the country. I think of the doors closed on the work these artists do in the world.
My questions to arts organizations are: Where is the transparency? Where is the actual change in policy? Where are the changes in administration? When will Black Lives really matter?