Tag Archives: diversity

Link Roundup! – 1/23/15

Link Roundups feature articles and bits of internet goodness that our dramaturgy team digs up. If you find something you want to send our way, drop us a line on Facebook or Twitter!

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Moderator Michael John Garces, left, of the Cornerstone Theatre Company and Tim Dang of the East West Players, discussed diversity in theater back in 2013. (Lawrence K. Ho / Los Angeles Times)

Moderator Michael John Garces, left, of the Cornerstone Theatre Company and Tim Dang of the East West Players, discussed diversity in theater back in 2013. (Lawrence K. Ho / Los Angeles Times)

The LA Times has a story about Tim Dang’s initiative to increase diversity in Southern CA theatres:

California already was declared a predominantly minority population in the 2000 census. Yet 75% of theatergoers in the L.A. region are Caucasian, and 80% are of the baby boomer generation or older, according to a study by the nonprofit L.A. Stage Alliance in 2011, the most recent year for which statistics are available.

Dang and his supporters said that if theater companies were more diverse — by age, sex and skin color — the change would have a ripple effect on what plays or musicals were staged, and what audiences they brought.

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This post about “trickle down” community engagement over at the Nonprofit With Balls blog is a very important and interesting read for orgs who care about connecting with under-served communities in an authentic way.:

Look, I’m not saying anyone is intentionally trying to discriminate against certain communities. Everyone is well-intentioned. Diversity, equity, inclusion, and cultural competency have risen to the front of people’s minds. Organizations are scrambling to talk about these issues, to diversify their board, to get community input. That is all great and all, but it has only been leading to marginalized communities being irritated and frustrated. Every single week, we leaders of color get asked to provide input, to join an advisory committee, attend a summit, to fill out a survey. Because of this well-intentioned mandate to engage with communities, we get bombarded with requests to do stuff for free.

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Link Roundup! – 1/16/15

Link Roundups feature articles and bits of internet goodness that our dramaturgy team digs up. If you find something you want to send our way, drop us a line on Facebook or Twitter!

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Three new reports from the NEA were recently released and explore the relationship between arts and the economy and detail how audiences attend and participate in the arts. Check them out, data nerds!

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Everyday Feminism has a great post about what intersectionality means and why it’s so important. It’s a great tool for anyone wondering how to explain inclusive feminism and apply it day-to-day.

It makes sense in many ways that those of us with identity privilege would have a harder time including in our feminism those who are oppressed. Privilege conceals itself from those who have it, and it’s a lot easier to focus on the ways that we are marginalized or oppressed.

But without an intersectional lens, our movements cannot be truly anti-oppressive because it is not, in fact, possible to tease apart the oppressions that people are experiencing. Racism for women of color cannot be separated from their gendered oppression. A Trans person with a disability cannot choose which part of their identity is most in need of liberation.

Yet there is regularly confusion about what intersectionality really is.

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#LinkRoundup! – 12/5/14

Link Roundups feature articles and bits of internet goodness that our dramaturgy team digs up. If you find something you want to send our way, drop us a line on Facebook or Twitter!

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The diversity building initiatives and programs featured in this Boston Globe article called 12 Ideas for Making Boston More Inclusive are varied and certainly worth reading up on — check out number 11 for a nice shout-out to C1!

Scott Bakal for The Boston Globe

Scott Bakal for The Boston Globe

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This Love Letter to Dramaturgs, penned by playwright Sarah Ruhl, is a good look at the writer’s perspective during the development process:

We need you to be publicly articulate about our plays when we feel dumb about them, so we can do the more private, blunted and blind task of writing. We need you to be as articulate about unconventional structure as you are about conventional structure. We need you to fight the mania for clarity and help create a mania for beauty instead. We need you to ask: is the play too clear? Is it predictable? Is this play big enough? Is it about something that matters?

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#StaffChat: Accessibility in Theatre

Staff chat posts feature articles and news that the C1 team discusses as part of our weekly all-staff meeting. We’d love to hear your thoughts too — hit us up on Facebook or Twitter!

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Believe it or not, the C1 team is already gearing up for our upcoming summer show, COLOSSAL by Andrew Hinderaker! To prep for our early conversations about the play, we’ve been looking for resources about accessibility. It’s important for all of us to feel comfortable with the language we’re using as we head into the audition, workshop, and production process for the play. This week, the staff is looking at a few articles and tips for interacting with people with physical disabilities:

One thing that’s key is making sure you’re using person-first language — language that puts the focus on the individual, rather than on a disability. Here’s a helpful chart!

 

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As Zachary Fenell, the author of this article from Huffington Post writes:

No matter the word you use, aim to showcase the person. Ideally a person’s name will always come before his or her condition. So I’m Zachary Fenell, an author with cerebral palsy. Not, an author with cerebral palsy, Zachary Fenell. Introducing name first, condition second will maintain a person-first narrative.

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Margaret Keller (l), executive director of Community Access to the Arts, applauds along with teachers and students after a poetry reading in Pittsfield, Mass. last July. CATA provides access to visual and performance arts to people with disabilities

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#LinkRoundup! — 11/14/14

Link Roundups feature articles and bits of internet goodness that our dramaturgy team digs up. If you find something you want to send our way, drop us a line on Facebook or Twitter!

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Definitely check out this awesome post from author and illustrator MariNaomi:

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The Clyde Fitch Report has this important reminder about the class and economic factors at play in the development of young artists:

It begins in high school. If you are fortunate enough to grow up in a wealthy suburb, you are likely to have the benefit of a drama teacher (or two) at your school and a well-financed and active drama program where you can begin to develop your talents and gain experience in front of an audience. If your parents are wealthy enough, they will notice your theatrical interests and send you off to drama summer camps for further arts training, and perhaps they will pull whatever strings are necessary to get you enrolled in a high school of performing arts, where you will receive more attention, more training and more experience.

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#LinkRoundup! — 11/5/14

Link Roundups feature articles and bits of internet goodness that our dramaturgy team digs up. If you find something you want to send our way, drop us a line on Facebook or Twitter!

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We recently featured Indian-American comic Hari Kondabolu over on our Displaced Hindu Gods production blog, but it’s worth watching the other three performers profiled in the NYT Off Color video series:

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The four-part series delves into the personal and political goals and motivations of artists of color who use humor to directly and acutely address issues of race in the United States. It is enthralling to hear these provocative artists overtly explain the social injustices that inspire them to be not just artists who can make people laugh, but activists who can make people think.

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Company One & IDEAS UMass Boston

Last Wednesday, Company One Theatre was one of 11 speakers at the 2014 IDEAS UMass Boston conference, an “event where some of the the region’s leading thinkers from every imaginable sector push boundaries and share their latest big ideas to create fertile ground for innovation.” Learn more about the history and mission of the IDEAS conference here.

Below, find the speech that C1’s Director of New Work, Ilana Brownstein, delivered. It was followed by a performance excerpt from BRAHMAN/I: A ONE-HIJRA STAND-UP COMEDY SHOW by Aditi Brennan Kapil, part of THE DISPLACED HINDU GODS TRILOGY, currently in production until Nov 22.

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Thank you so much for having us here this afternoon. My name is Ilana Brownstein, and I’m the Director of New Work at Company One Theatre, in residence at the Boston Center for the Arts in the South End. This season, we’re 16 years old. We were founded by graduates of Clark University who took the school’s motto to heart: “Challenge convention. Change our world.”

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Catalyst is Coming!: A National Convening of Black Theaters

This HowlRound article by Carmen Morgan talks about how black theaters across the country are asking how will they sustain themselves and remain relevant in a world where the paradigm is shifting so that in 2042, people of color will be the majority in the country. Also, Catalyst is Coming!: A National Convening of Black Theatres, which will bring together represenatives from black theaters from across the country to talk about these pressing issues, will be held in NYC from August 4-7.  The event will be livestreamed via HowlRound on August 7.

NEA: Looking Forward, Theater Edition

In this blog post, playwright Jacqueline E. Lawton interviews many women who work in theaters across America (including Director of New Work at c1 Ilana Brownstein and c1 artist Aditi Brennan Kapil) on where they see “opportunities for growth/unexplored challenges/gaps to be filled in your arts discipline.” Read the responses here.