Pluralism in the Arts as a Catalyst for Social Change and Inclusion

Presented at Michaelle Jean Foundation’s Power of the Arts National Forum “Acting Now for Social Change.” Author Kevin A. Ormsby November 2014

Living the Future Now: Pluralism in the Arts as a Catalyst for Inclusion and Social Change


PRELUDE:

Did you know that the Global Centre for Pluralism was in Canada? Did you know it was right here in Ottawa? I am curious about the contexts in which we understand the nature of our potential based on the institutions in which we place value and feel that institutions and / or organizational culture can shape how we see ourselves. What does the history of migration in Canada holds? These historical connections are like a fossilized anatomy waiting to be unearthed. I choose to start with the word migration as opposed to immigration because I feel that social migration, forced or by choice, offers more interesting and nuanced capacities for how to analyze, assess and understand Canada as it was in the past, as it is in the present and what it can potentially be in the future. Canada as a nation was indeed preparing itself for pluralism earlier than the influx of immigration in the 1960s multicultural framework, the settlement / race debates of the 1980s, the diversity framework of the 1990s and the later and most present the equity framework of this century. “In fact, a perception of multiculturalism as largely symbolic and incapable of creating a major social impact has been reinforced by the fact that program expenditures are very small. Whatever the impact of policies such as multiculturalism on paving the way for the social integration of immigrants, findings suggest that they may have worked less well for racial minority groups than for White immigrant groups.” Jeffrey G. Reitz / Rupa Banerjee, Belonging, Diversity, Recognition and Shared Citizenship in Canada. I wish to use this map to analyze this presentation and to chart a way forward, confident in the fact that pluralism in the arts can be a catalyst for social change and inclusion.

INTRODUCTION

I start this presentation, under one very important premise that pluralism can be a way to move Canada’s artistic capabilities, social awareness, and nationalism into the future. Where are we now? What is the voice of Canada in the future? In what contexts do we assess, progress and be responsive to the Canada of the future? Can the Arts help in this social Change? If so, how? Other questions arise. What constitutes a Canadian culture? How is it viewed, understood and comprehended in the context of other national World cultures? These questions I feel, unearth a deeper dialectic or dichotomy that is problematic in the context of identity and being Canadian. Without getting too much into the debate around representation I always question that if my body is seen as from somewhere else then how can inclusion be fully achieved? This is the concept of “the other” explored by cultural theorist Edward Said. The problem he mentions is that the “other” seen here as the immigrant is always located somewhere else. The person’s identity then becomes a duality of existence neither here nor there. Many years later and into the reality of the Canadian future, one wonders; how do the incumbent visible minority – majority becomes a part of our ongoing conversations?


The Canada of the future is slated to undergo a demographic transition where “visible minorities” will represent the majority of the country’s population… Large urban centers will be the nucleus of this change. I’m curious about how are we readying the population and institutions for such a change and how pluralism can be a guide. While prior policies sought to honour everyone’s cultural experiences, in many ways, said policies segregated the collective understanding of how the cultural difference could be used in forging a Canada of the future. The understanding and implementing of a strategic pluralist framework, I will argue, has the potential to honour many perspectives regardless of cultural difference. It has the potential to nudge each unique voice to carve approaches and methodologies important for Canadian artistic and socio-‐cultural progression. The work of Cultural Pluralism in the Arts Movement Ontario (CPAMO), offering artists / organizations skills development and advocacy through partnership, is steeped in shaping an understanding of artistic practice, administration and presentation of the Arts. CPAMO’s work largely focuses on this poignant relationship of the future. I seek to investigate the ways in which pluralism can be that catalyst for said change on three levels. The presentation offers a cross disciplinary approach to the actions items mentioned. 1. Pluralism’s implementation will influence social change, community and policy 2. Boost Economic development of many institutions e.g. theatres, arts organizations, and artists, 3. Support innovation through focused development via mentorships, resource sharing etc. 4. Foster community engagement

TAKING STOCK: UNDERSTANDING THE FRAMEWORK

The big “P” in the room – PLURALISM. Here I beg to break up formats a bit and probe you, about pluralism. Have you heard of the word pluralism? Where did you first hear the word? What thoughts came to mind? Do you understand the concept pluralism?


• Pluralism is a set of intentions and practices that seek to institutionalize recognition of difference and respect for diversity as civic culture.

• Pluralism involves a wide range of issues – from cultural expression and economic development to legal frameworks and political institutions. Supporting pluralism therefore requires multi-‐ dimensional approaches to change.

• In the late 1980s and 1990s, His Highness the Aga Khan began asking Canadian leaders to explain the key to Canada’s success in managing its diversity. In July 2001, a formal Pluralism Initiative was launched to understand how and why Canada’s unique experiment worked and how its lessons might be shared with other culturally diverse societies around the world. The Global Centre for Pluralism is based here in Ottawa.

IMPORTANT DISTINCTIONS

DIVERSITY Diversity can and has often meant isolation with little traffic between them. In diversity, tolerance is important, but is too thin a foundation for a diverse and complex society. It does not require people to know anything about one another Diversity acknowledges difference but does not require any active participation with difference. Diversity does not involve many active engagements with those things that are diverse Diversity rarely invites engagement between what are our ignorance towards each other.

PLURALISM

The dynamic of pluralism, is one of meeting, exchange, and two-‐way communication. Pluralism is more than the mere tolerance of differences; it requires some knowledge of our differences. The similarities are where the engagements and conversations can begin. Pluralism encourages active engagement in acknowledging and removing our ignorance towards each another and focusing on commonality Pluralism is not simply relativism, but makes room for real and different commitments. It invites people to be engaged in creating a civil society, through the critical and self-‐critical encounter with one another

Pluralism is not the sheer fact of plurality or diversity alone, but is active engagement with that diversity. Real pluralism requires participation and engagement. Pluralism is a process of creating a society by acknowledging our deepest differences, nurturing constructive dialogue, revealing both common understandings and real differences. Pluralism involves the commitment to being at the table -‐-‐ with one’s commitments; encouraging a climate of dialogue is foundational for pluralism. http://www.pluralism.org/pluralism/essays/from_diversity_to_pluralism


[SECTION 1] CULTURAL INSTITUTIONS

It’s important to consider the roles cultural institutions play in using pluralism as a means for social change. They hold many aspects of policy; strategic development and planning that could be used to shape the consciousness of Canadians in the future. They are important components that can enhance the possibilities of pluralism’s impact as most organizations actually intersect with the activities of cultural institutions. I must be clear to clarify that when I use the word cultural, this definition could include the culture in the multiculturalism framework (representing a person’s ethnicity). However, I choose to focus not on the micro level of definition or understanding of the word but on its larger representation under the speculations of a Canadian culture. As mentioned in the introduction, a challenge with the multicultural framework is that culture is always seen as from somewhere else and never in the context in which cultural migration / immigration have actually changed and indicatively created a Canadian culture. Canadian cultural institutions include foundations, social service organizations, historical societies, museums, funding bodies, media, etc.

Research Using statistics, cultural institutions can create the possibility for having programs geared to and influencing the demographic changes in society. Research offers important trends in the changing landscape of a Canadian society. This information becomes a

cultural currency that can be harnessed for social impact. The focus on youth is one such response to the changing demographic in Canadian society. I am curious about how cultural institutions adapt and respond to changes. As a consultant to Arts organizations, I have to be cognizant of said shifts and aim to use the indicators in addressing programming based on access and development. Who has and who provides said access? Where are participants coming from? How are they interacting with cultural institutions? Are they meaningful or superficial interactions?


EXAMPLE One of the main concerns is Arts organizations / theatres losing attendances and in this scenario, one could explore how and why they are doing so and if a pluralist framework could mitigate the changes leading to increased participation. The answer is yes. I would suggest exploring how the marketing of event is executed? Are they speaking to a wide range of sensibilities of the now aging and diverse audience? How appealing is programming to the aforementioned demographic of youths? How are they engaged in the organizations programming. Is marketing done in more than one language? Is connections made to other cultural considerations.

CASE IN ACTION

Cultural pluralism in the Arts Movement Ontario (CPAMO) develops all its programs from surveying its members and through interviews. This allows CPAMO to able to devise the next round of services / workshops and programs based on the collective contribution and suggestions from its members. The research phase allows for the Arts Service organization to implement / facilitate all its programs from a pluralist framework instead of assuming what may be important to its members. It has been able to serve the needs of its members while offering interesting development based workshops on the changes in the Arts milieu. How do cultural institutions use this information?

Policy The role of organizations in policy implementation based on pluralism is an integral one. As an organization embracing the tenants of pluralism, one would take into considerations not only the trends like that of the changing demographic of Canada’s population but also those “experts” in the field can be added to the policy development phase that are from diverse considerations. One of the main premise of pluralism is based on having

plurality in conversation, implementation and consultation, it begs to question in any topic who is missing from the table that could in any instance add insight to the conversation and therefore contribute to policy making.

EXAMPLE Canadian Dance Assembly under its previous Executive Director, who realized the need for a more inclusive framework in dance, carried out a research phase with a consultant from CPAMO and realized that many Canadians artists and arts organizations was still not familiar with the concept of Pluralism. Many thought in the diversity framework instead off a pluralist framework. Pluralism is not just about acknowledging difference but also counting on this difference as a means to forging something new unique and valuable. In this case, the CDA being a voice for Canadian dance artists.

CASE IN ACTION

The value here for the Canadian Dance Assembly is in the total understanding of the diverse practices


and origins of its members and arts organizations and how as a ASO or an art service organization they could then capitalize on the pluralistic framework, giving voice to difference, minority equity, inclusivity and also to the foundations. The organization now has more activity from a wide range of artists who were for the most part inactive members who did not fully see their artistic approaches and practices represented.

Strategic development In understanding and detailing ones research, policy should be reflective of the statistics, which should always be understood in context to social considerations. Strategic Development in Pluralism for Arts organization should take into considerations how and when programs are devised and implemented. The assumption should never be that your staff and participants are familiar with Pluralism and its potential social currency. An organization should be vigilant in constantly communicating, via strategic messaging, the value of pluralism. Only then can the efficacy of said measures be

fully actualized in a national and social context. There are many variables to be considered from the research and policy phase. However, how can organizations understand the importance and relevance of Pluralism in organizational development that have social influence? In which ways can it be communicated and affirmed in the organizational practices? After unanimous Board approval of the report and decision in the case of Canadian Dance Assembly, they created both a Pluralism Committee and have developed policies in its upcoming Strategic Plans for the next three years to work with its Board, Staff, Committees and Membership on Pluralism. Pluralism in the Arts influencing change calls for proactive research, policy and development.

EXAMPLE

The Royal Ontario Museum in 1990 came under fire for “Into the Heart of Africa’ which revealed a certain pusillanimity among museums, their directors and their boards. Museums in Ottawa, Vancouver, Los Angeles and Albuquerque, all of which had booked the exhibition, cancelled when they heard about the trouble. It died with the end of its Toronto run in August, 1990.” Robert Fulford – Globe and Mail. I question why was this so? Why a cultural institution publicly funded by taxpayers dollars came under such backlash from a community and what frameworks were in place to support this decision.

CASE IN POINT Having licked its wounds and through many diversity, inclusion and training, the ROM issued an RFP for Expressions of interests about where and what should / can be exhibited in a show about African culture and influence in Canada. This version will arguably have the representation of diverse stories of Africa in the likeness of those working in the field and not based on the curatorial bias or knowledge of one person. The problem here is that, if not presented well it shapes the representation of a people.


[SECTION 2] COLLABORATIVE ARTS ENTERPRISES

The socio-‐cultural currency of using pluralism in engaging cultural institutions as catalyst for social change can be understood for its capacity in leveraging individual development in the Arts on many levels. Some of the key considerations should be in the areas of mentorship models, strategic partnerships and shared resources. I) Mentorship: If a cultural institution truly understands its role in engagement of the society then mentorships emerge as an important way to galvanize the future leaders now. In doing so, we are in turn developing the leadership, creative capacities and curiosity of the future. Professor Rex Nettleford, the late Artistic Director of the National Dance Theatre Company of Jamaica and Vice Chancellor of the University of the West Indies, sought constantly to articulate that the context of how creativity was an integral part of creating curiosity poised on asking questions of imagining a new future could come from cultural institutions. This is where he located the nucleus of social innovation. II) Strategic Partnerships: Pluralism prompts for the assessment of influence; asking who is missing from the conversation (the table where decisions are being made). Cultural organizations working in the pluralism framework through the methods of assessment mentioned in Section 1) could generate important information about others also working in the field with similar interest. I am aiming to paint a map where Pluralism in the Arts can provide the opportunity for amazing partnerships with other organizations, and in community. There are and can be many levels to this partnership being it, in –kind, mutual benefit, co-‐facilitation that can be negotiated. Many funding bodies value and honour partnerships, which could increase the viability of being funded; there is an impact factor. III) Shared Resources: Though hard and challenging to navigate, the sharing of resources between not like minded organizations but many varying organizations under a pluralist lens offers a wide range of possibilities of how shared resources can benefit a multiplicity of organizations working in the socio-‐cultural realm and can also be economically rewarding. In many organizations there are indices for how to assess impact. But in sharing resources impact has the potential to be multiplied based on the


shared capacities? These capacities can include infrastructure, organizational capacities (operations, marketing etc.), facilities and its management and programming. One example can be maximizing social media, data / communication reach through shared communications strategies. This has the potential of offering more visibility and also participation that could lead to a boost in economic gains.

EXAMPLE

Manifesto has emerged as a major force of how the Arts can impact social change on many levels. The organization created with a focus on urban hip-‐hop culture has become a major platform for conversation, presentation and advocacy around access, youth culture and hip-‐hop. Their partnerships are many and their funding is impressive and branched off into community projects, merchandise and community TV station.

CASE IN POINT They have leveraged all the areas mentioned above into an organization structure that if articulated as such or not is about a pluralist model of operation, programming and presence. Their mandate states” Our programs aim to cultivate multi-‐disciplinary artistic and professional development for young people and artists across mediums. Building careers, fostering community connections and fuelling civic pride – all while contributing to the vitality of the city we love.”


[SECTION 3] SOCIAL ARTS ENGAGEMENT

Strategic placement in society for any cultural organization is key, with the considerations mentioned above cultural organization could seek to implement programs steeped in Social Arts Engagement supported by pluralism’s framework. The intent here is not to create artists from the engagement but encourage participation in the arts as a social practice. Arts engagement should take into consideration once again the needs of the particular area being served and should be steeped in social activism, with the Arts, as the basis of expression. Is the program diverse in its intent, content, forms and outcomes? Indeed thinking pluralistically would take into consideration that administers, who facilitates and who executes said programs and if they too, as employees, are trained in the organizations goals towards pluralism. Engagement strategies geared towards community development would address local issues in the community based on diverse stories of the relationship to communities. Who and how does one engage? Is a recommended question for every single engagement? With an Arts organization that’s only 5 years old, I have managed through engagement to have more than 1300 likes on our Facebook page and post every kind of information on the Arts possible on the page. I encourage you to join in our conversations steeped in research, creative practices and development tools in the Arts. Do like us on Facebook search KasheDance. A Pluralist society starts I believe with every connection.

EXAMPLE

As an Ontario Arts Council funded Artist in Education; I deliver 25hrs of arts education in 6 Ontario Schools since 2007. Three years ago, I didn’t connect the artistic practice to any thoughts in pluralism or the inclusivity framework and upon entering a school I had an awakening that not only changed the way I now deliver the programming but also sparked my passion for what I now call “Arts Engagement by and for whom” Some of these included: 1.Female Muslim participants 2. Drama students 3. Stigmatized Youths 4. At risk youth


CASE IN POINT I was presented with many realities in education not experienced previously in the program and by learning and consequently understanding socio-‐cultural sensitivity, the experience helped in creating programs of engagement that takes into consideration those you are trying to engage. More than any, that experience taught me that I too was a student in the classroom. In fact, in acknowledging the points above, I was able to use dance as a means of empowerment through having the students owing the work in their bodies and in their unique ways. We became collaborators in the creation of something meaningful.

[CONCLUSION]

To understand pluralism in the Arts as a catalyst for social change and inclusion will ultimately require a rigorous assessment of the history of immigration in Canada. While we were at the forefront of the consideration of said changes in the 1960s our scope for the future will require not immigration but socialization the ways in which Canadians form socio-‐cultural associations within the larger context of being Canadian. Pluralism through the Arts can be a way to move Canada’s artistic capabilities, social awareness, and nationalism into the future. The questions are managed to become a deeper dialectic or dichotomy that is problematic in his association with the identity of being Canadian if my body is seen as from somewhere else, The Other According to cultural theorist Edward Said. The problem he mentions is that the other sitting here as the immigrant is always placed somewhere else. The person’s identity then becomes a duality of existence neither here nor there. Many years later, how does the incumbent visible minority – majority becomes a part of our ongoing conversations.

Understanding and implementing of a strategic pluralist framework through the Arts has the potential to honor many perspectives regardless of cultural difference and has the potential in allowing for each unique voice to carve approaches, methodologies

important for Canadian artistic and socio-‐cultural progression through partnerships steeped in artistic practice, administration and presentation of the Arts. We sought to navigate through what is Pluralism’s; it’s implementation, potential influence on social change, community and policymaking. How one can use the model to support innovation through focused development via mentorships, resource sharing and in turn foster community engagement and development. Pluralism as a mechanism for social change should be embraced on all levels of society, the community, artists, arts organizations, cultural funders, Foundations and in government. Through Research, policy, development, Pluralism in the Arts offers a microscope into a future grounded on collaborative Arts Enterprises and Social Arts Engagement influencing the generations of Canadian future.

Pluralism in the Arts as a Catalyst for Social Change and Inclusion

Documents

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major social impact

voice of canada

arts national forum

arts help

diversity framework