Racial equity in the arts

In this column, members of Georgia Humanities and their colleagues take turns discussing Georgia’s history and culture, and other topics that matter. Through different voices, we hear different stories.

This week, on the 115th anniversary of Langston Hughes’s birth, STANLEY ROMANSTEIN, of Georgia State University, reflects on the need for racial equity in the arts.

By Stanley Romanstein

 

Stanley Romanstein

Stanley Romanstein

I, Too (1926)

I, too, sing America.

I am the darker brother.
They send me to eat in the kitchen
When company comes,
But I laugh,
And eat well,
And grow strong.

Tomorrow,
I’ll be at the table
When company comes.
Nobody’ll dare
Say to me,
“Eat in the kitchen,”
Then.

Besides,
They’ll see how beautiful I am
And be ashamed —

I, too, am America.

-Langston Hughes (1902-1967)

 

Ninety years have passed since the poet Langston Hughes gave voice to the hope for a more inclusive and equitable America. Nine full decades, but for many people of color looking for a place at the table in America’s arts communities, “tomorrow” has yet to arrive.

In Hughes’s day, whites accounted for almost 90% of our country’s population and held sway over most facets of our nation’s artistic life. Today, white Americans account for just over 60% of the population, yet

96% of orchestral musicians in America are white,

95% of art museum directors in America are white,

80% of all Broadway roles are awarded to white artists.

Jessye Norman at Atlanta Music Festival

In November 2016, the Atlanta Music Festival featured a diverse line up that included Jessye Norman, the Meridian Chorale, and Morehouse College and Spelman College glee clubs. Courtesy of the Atlanta Music Festival

Intentionally or accidentally, we have created and maintained largely segregated arts communities — in Atlanta and across the country.

Why is this a problem?

Art is at its best when it is both created and viewed from multiple perspectives, when it presents us with ideas different from our own. Art makes it possible, in unique and engaging ways, for people to understand their own cultures and experiences — and the cultures and experiences of others as well. When we take a segregated approach to art — especially when making fundamental decisions about which art will be presented and by which artists, decisions about which artists and art facilities will receive public and private funding — we deny art its power to create much-needed common ground upon which people of vastly different backgrounds and opinions can stand together.

I sat down recently with a leader in Atlanta’s African American arts community to talk about racial equity. I asked, “When I go to a concert, see a play, or take in a gallery exhibition at Atlanta’s best-known venues, I often see mostly homogenous audiences — audiences that don’t reflect the great diversity of our city. Why do you think that is?

“Two things to think about,” was the reply. “First, look at the program book. Thumb through and look at the faces you see in the photos. Those photos tell you who the presenter had in mind when planning the event. Doesn’t mean other people can’t come, doesn’t mean we’re not welcome — but it does suggest that we’re not the audience the presenter had in mind.

“More importantly, who are the artists? It’s not that African Americans don’t like Neil Simon’s plays or Beethoven’s string quartets. It’s that when the curtain rises we want to see people on stage who look like us, who share our history, who reflect our culture. I want my children to look on that stage and think to themselves, ‘One day, that could be me.’”

How can we change the status quo?

Let’s start with something obvious: We all enjoy listening to live music, seeing a play, and engaging with visual art that connects us to our life’s experiences, to our own history and background. That’s human nature. If we want audiences to mirror the beautiful ethnic and racial diversity of Atlanta, let’s make that far more likely to happen by encouraging local arts organizations to engage resident and guest artists that reflect the breadth and depth of our community. It’s 2017: time for everyone to be “at the table” — and on stage, and in the audience.

To read more about the Atlanta Music Festival and its efforts towards racial equity in the arts, click here.

Stanley Romanstein is Professor of Practice, Music & the Arts at Georgia State University’s Creative Media Industries Institute.

Kelly Caudle and Allison Hutton of Georgia Humanities provide editorial assistance for the “Jamil’s Georgia” columns.

Jamil Zainaldin is president of Georgia Humanities, a nonprofit organization working to ensure that humanities and culture remain an integral part of the lives of Georgians. The organization is a cultural leader in the state as well as a pioneer nationally in innovative history and humanities programs. The New Georgia Encyclopedia is a project of Georgia Humanities, in partnership with the Office of the Governor, the University of Georgia Press, and the University System of Georgia/GALILEO. The first state encyclopedia to be conceived and designed exclusively for publication on the Internet, the NGE is an important and authoritative digital resource for all Georgians.

3 replies
  1. Burroughston Broch says:

    Dr. Romanstein, what percentage of instrumental performance majors at GSU are not white? What percentage of voice performance majors are not white? What percentage of Master of Art History majors are not white?
    Looking forward to your response.Report

    Reply
  2. Emily says:

    Most orchestras in the US and Europe conduct blind auditions, i.e., the jury cannot see the candidates, and therefore have no knowledge of their gender, race, age, etc.Report

    Reply
  3. Burroughston Broch says:

    Dr. Romanstein, I aked you three days ago for simple demographic information about three of GSU’s arts programs. You have not responded and I assume you do not intend to respond. I think the requested information would show that the vast majority of GSU’s students in these programs are white. This information plus Emily’s post would discredit what you wrote.Report

    Reply

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