Racial Equity

Grantmakers in the Arts (GIA) is committed to addressing structural inequities and increasing philanthropic and government support for BIPOC artists and arts organizations. Racial equity is a lens through which GIA aims to conduct all of its work, as well as a specific area of its programming.

Since 2008, GIA has been elevating racial equity as a critical issue affecting the field. To actualize this work within the sector, GIA published its Racial Equity in Arts Funding Statement of Purpose in 2015. Through webinars, articles, convenings, and conference sessions, GIA provides training and information to support arts funders in addressing historic and structural inequity through their grantmaking practices as part of an effort for racial justice as a means toward justice for all.

GIA believes that all oppressed groups should benefit from funding. We give primacy to race because racism is the means by which oppressed groups are manipulated into opposing programs that assist them. Therefore, Grantmakers in the Arts’ equity work – including our discussions of support for trans artists, artists with disabilities and for disability arts – is NOT race-exclusive but IS race-explicit. GIA’s vision for the future of our work is to increasingly reveal how the liberation of all oppressed people is interdependent.

GIA has made a strategic decision to foreground racial equity in our work for several reasons:

  • Within other oppressed peoples’ communities (including women, members of the lgbtqi community, people with disabilities, and others), it has been well-documented that people of color still face the worst social outcomes.
  • GIA feels that others’ strategies of combining considerations of race with other considerations too often result in racialized people being pushed into the background or ignored.
  • The U.S.’ creation of race was established to keep oppressed peoples separate.

Unless we articulate our support for racialized peoples, while calling out this separation strategy, we inadvertently reinforce this separation strategy.

Specific themes of our racial equity programming include:

  • The analysis of how funding practices create structural challenges for BIPOC (Black, Indigenous, People of Color)/ALAANA (African, Latinx, Asian, Arab, Native-American) organizations (Eurocentric quality standards, matching requirements, among others).
  • The impact of these practices, as manifest in racialized disparities in levels of funding.
  • An exploration of the use of coded language to justify racial inequity (i.e. referring to white audiences as “general” or “mainstream,” while organizations of color are “culturally-specific.”

When it comes to self-identifying language, GIA seeks to use terms that communicate our respect. We do not seek to impose language on members of any group. We respect the manner in which anyone prefers to self-identify.When referring to issues of racial equity, “we use the term BIPOC to highlight the unique relationship to whiteness that Indigenous and Black people have, which shapes the experiences of and relationship to white supremacy for all people of color within a U.S. context.” We take this explanation and practice from the BIPOC Project.

GIA has also used the racial and ethnic identifiers African, Latinx, Asian, Arab, and Native American. We have used African, Latinx, Asian, Arab, Native American – represented using the acronym ALAANA – because we know that many believe the term, “people of color,” conflates together entire groups of people and as a contrast to white. This results in a continued centering of whiteness as the norm and the standard from which other identities deviate.

GIA does not refer to organizations that are founded by, led by, and feature the work of ALAANA/BIPOC communities as “culturally-specific,” as we believe this term centers whiteness as the norm from which other organizations deviate.

GIA is committed to communicating respectfully. GIA does not ask that anyone self-identify with or use any term other than ones they prefer.

October 29, 2021 by Carmen Graciela Díaz

Filantropía Puerto Rico has launched a survey to identify opportunities to increase equity and learn about how grantmakers doing work in Puerto Rico listen to and incorporate the voices and perspective of those they look to serve.

October 26, 2021 by Nadia Elokdah

National Performance Network (NPN) recently announced inaugural awardees of the Take Notice Fund, a pilot program awarding $5,000 grants to artists and culture bearers of color living and working throughout Louisiana whose bodies of work represent excellence, dedication to their practices, and contributions to this country’s discourse about racial equity and cultural preservation.

October 25, 2021 by Carmen Graciela Díaz

3Arts, the Chicago-based nonprofit grantmaking organization, recently expanded funding in response to increasingly stringent times for women artists, artists of color, and Deaf and disabled artists.

October 21, 2021 by Carmen Graciela Díaz

The Mosaic Network and Fund Funder Learning Intensive 2021-2022, a one-year online learning intensive aimed at supporting a cohort of up to 100 New York City-based arts funders in their efforts to normalize racial justice concepts and implement racial equity practices at their organizations, is seeking participants.

October 18, 2021 by Carmen Graciela Díaz

A recent piece at The Nation explores this question, "Can philanthropy decolonize?". Author Tim Schwab states in this piece that "only if wealthy donors grapple with the difference between giving away money and actually sharing power."

October 16, 2021 by admin

This is the fifth session of a series of presentations held in 2021 by art.coop as a "study into-action cohort."

This session took place on Friday, October 1.

October 14, 2021 by Carmen Graciela Díaz

The Joan Mitchell Foundation recently announced the inaugural recipients of the new Joan Mitchell Fellowship, which annually awards 15 artists working in the evolving fields of painting and sculpture with $60,000 each in unrestricted funds, distributed over a five-year period.

October 4, 2021 by Carmen Graciela Díaz

Justin Laing reflects on the methodology and reflections on the experience of leading an evaluation of an arts diversity initiative in which a funder was evaluating the impact of a multi-year initiative intended to help arts organizations. "All but one of the organizations was predominantly White American led. I collaborated with the participants to define key questions, data collection, and data interpretation and applied Critical Race/Critical Pedagogy/socialist frameworks."

September 30, 2021 by admin

This is the fourth session of a series of presentations held in 2021 by art.coop as a "study into-action cohort."

September 30, 2021 by admin

This is the third session of a series of presentations held in 2021 by art.coop as a "study into-action cohort."