Diversity, Equity, and Inclusion

It's a long plane ride from Los Angeles International Airport to Nairobi — twenty-four hours in the air, and you get there two days after you started. I arrived with a couple of extra boxes containing books — theater books of all kinds, textbooks, and play scripts. On the label I had boldly printed their destination: Ford Foundation East Africa Office, Rahimtulla Tower, Nairobi, Kenya. Perhaps because of this address — either that or the literature — I was able to pass through customs without paying the duty for which Kenyan Customs is notorious.

2006, 30 pages. Grantmakers Concerned with Immigrants and Refugees, P.O. Box 1100, Sebastopol, CA, 95473, 707-824-4374, www.gcir.org

2007, 59 pages. Center for an Urban Future, 120 Wall St., Floor 20, New York, NY 10005, 212-479-3341, www.nycfuture.org

Download pdf: www.nycfuture.org

When I started DJing back in the early '70s, it was just something that we were doing for fun. I came from “the people's choice,” from the street. If the people like you, they will support you and your work will speak for itself. The parties I gave happened to catch on. They became a rite of passage for young people in the Bronx. Then the younger generation came in and started putting their spin on what I had started. I set down the blueprint, and all the architects started adding on this level and that level. Pretty soon, before we even knew it, it had started to evolve.

New Year's Day, 1980, found Arlene Goldbard living in Washington, D.C. monitoring and reporting on our nation's de facto cultural policy. The fact that Arlene was doing this says a lot about the leadership role that many of us were counting on the federal government to play in leveling the field so that our many U.S. cultures would have an equal chance to express themselves, to develop, and, inevitably, to cross-pollinate. It was a substantial and beautiful vision then, and remains so today.

The following article is adapted from "The World in Pieces: culture and politics at the end of the century," from Focaal no. 32, 1998, pp. 91-117. It is published here with permission from the author.

Typically when businesses decide to support the arts they do so through a grant-giving mechanism or through a program that places employees as volunteers and consultants in arts organizations. But, I've noticed a different kind of interaction between the profit-making and not-for-profit art worlds in recent years. Some business people have set up foundations dedicated to improving the ethical and cultural context in which their own professions practice.

In the spirit of our purported "national dialogue on race," it is appropriate to consider Faces at the Bottom of the Well, long one of my favorites on the topic. We, as grantmakers, certainly need to face this topic along with the rest of the nation. Although women have found a comfortable niche among grantmakers, there is still a considerable shortage of ethnicities in our ranks. As arts grantmakers, we also need to remember that the American arts first recognized in Europe and worldwide were the myriad arts forms of black America.