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Speaking, Listening, Resetting, Healing
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The events of 2020 brought the conversation on inclusivity and diversity firmly into the spotlight, including in the dance sector. Amanda Parker is Founder of Inc Arts, which campaigns for greater inclusion in the arts.
She speaks to One Dance UK's Chief Executive Andrew Hurst on the recent anti-racist work she and others have undertaken, the next steps for dance, and how we can all make meaningful change.
Amanda Parker, Founder, Inc Arts
In the previous issue of One, you detailed how those working in the arts from ethnically diverse backgrounds have been impacted by the pandemic, both from a health perspective and how it has impacted the sector. As we rebuild, how can we make sure that their needs and those of the sector are prioritised?
As a sector we need to prioritise two things: we need to think carefully about what we value and what we consider to be quality, and at what cost quality and value comes. I don’t think that you can have something that can be high quality if the process of creating it is harmful.
Value and quality - how we value the work we create and the people who make it - have to be one and the same with care. If we frame everything within that, that care and quality are integrated and integral, then we would naturally give budget provision ensuring we have processes and systems in place to provide that care, in the pursuit of quality. More succinctly, I think we need to ensure that uppermost in our considerations of creativity are putting aside budget for making the process kind, welcoming and harm free.
So budgeting is important. I think from that comes the natural requirement of measuring and monitoring. It’s such a truism to say “what’s not measured isn’t counted, isn’t valued”, but it’s very true. It’s making sure we have a robust means of measuring what we do.
I think the last part of how we make sure needs are prioritised is to create a means by which people can give voice to when situations are not working for them, without suspicion, without fear; with confidence that action will be taken as a result of it.
Those are the priorities: measuring it, putting budget to it and making sure there is a means for individuals to not just call out behaviours but to have action taken.
Late last year, your organisation, Inc Arts, partnered with One Dance UK, Society of London Theatre, UK Theatre and others on a series of online conference sessions - Speak - Listen - Reset - Heal. It was heartening to see leaders from hundreds of UK performing arts organisations actively engaging in the issues in a safe space to share perspectives, educate and commit to implementing change. What were some of the key positives you took from the process?
What I took from the process is the huge disparity in understanding of where we are as a sector. There are real harms we have done to people who have experienced racism, and others who have protected characteristics, as result of their lived experience. There’s been very little diffidence; there is fear, there is anxiety. It’s understandable: there’s fear and anxiety in all areas of conversation where change is required.
The appetite for change and passion for true allyship has been really exciting. We have seen many advocates from nondiverse backgrounds who have helped support their colleagues and peers to reach greater understanding. Many have rallied, reassured and persuaded people to engage with and trust in the process and commit to a process of change.
I also want to give gratitude to those leaders who felt that this wasn’t for them. They have reconsidered and reconfigured their own practices to make their places of work anti-racist. I really give absolute credit to those people diving into their own hearts, even in areas where it is difficult to acknowledge one’s own part in causing harm.
What are some of the actions identified in the sessions which our readers can implement in their own practice to bring antiracist change to their own organisations or work?
I think the most significant one is to break the habit of a lifetime which is “the show must go on” mentality. This approach implies that the show must go on at all costs. It leaves behind and runs over individuals who are not able to make the show go on, irrespective of cost. So I’d say we should revert to an approach that has more care and heart.
We can all help create a welcoming atmosphere in our places of work. That includes with freelancers, front of house and contracted staff, and understanding how our audiences or students behave differently in our spaces. We can ensure that the venues and partners we work with also adhere to anti-racist practices. We can encourage senior management to buddy with new staff. We can do radical things like job shares across organisations so that we cross-pollinate practice and diversity in its truest sense across the sector.
The other big action is we should have mental health provision for the staff and the freelancers who work with us. Having therapists and counsellors available links back to the reporting mechanism but is also important testimony bearing or witnessing, particularly when productions deal with challenging experiences or content.
In February, we shared with the sector an accountability model which gives organisations specific and measurable actions for change. We’d love organisations to sign up because it would give a very clear structure for all organisations, irrespective of artform and size, of what actions people can do to make workplaces more welcoming, kind and inclusive.
All of those actions for change come with a hefty proviso. The actions are a guide. Only the individual can account for the change in hearts, minds and feelings and approach to others. There are some actions that require resources, some that require senior leadership and others still that just require a commitment and the ‘doing of’.
Compagnie Danse Nyata Nyata in Zab Moboungou's 'Mozongi' at Re:generations International Conference, Salford Lowry, 2019
Photo by Foteini Christofilopoulou
What positive change have you seen within the dance sector?
I’ve always thought that dancers in particular have a very high regard for care, due to the physical nature of their work and the respectful collaboration that so often takes place. And so, the caring approach to this work has been very encouraging. Another exciting change, which will come as no surprise to dancers, is the risk for experimentation. We’ve seen an increased appetite for experimentation, not knowing what the end result will be while still being engaged to that process, irrespective of outcome. I think that is very inclusive and kind.
“Despite the wide disparity of where we start, of knowledge and understanding of the issues and what we can do, there’s been a huge appetite to learn and change and that’s been amazing.”
What are some of the values that can give us the strength to drive this important work forward?
Remember to take care. Let’s all remember last summer, let’s all remember when this is all over what is has been like for the people who are marginalised already, who have seen their struggle increase tenfold. Let’s keep those people uppermost in our minds because that’s when we can start from an inclusive place. Who else isn’t here? How can I help? What can I give?
It’s important to imagine the beautiful future. I think of a future where we can be free to realise our goals, using imagination without hierarchy, without priority with what rests in what’s gone before rather than what is needed. I think that’s all very exciting.
Further Information
www.incarts.co.uk
