What Inclusion and Equity Looks Like: From One Black Artistic Director’s Point of View in Three Parts
By Tiffany Rea-Fisher
The Western Arts Alliance Board and Staff are committed to the long-term journey towards true racial justice and equity for Black Americans. We recommit our organization to ending systemic racism, colonization, and implicit bias in our community, programs, and practice. As part of this process of listening, learning, and healing, WAA will amplify Black voices and perspectives via the ongoing Black Voices blog series. If you would like to contribute to the series or have a suggestion for a post, please contact us.
At the beginning of COVID I watched as a virus that “did not discriminate” decimated my community. THE BLACK COMMUNITY. Each day COVID seemed to reveal without bias what the Black community has known for over a hundred years, that while we are no longer the property of white people our treatment, opportunities and outcomes in this country still lag behind those of people with other skin-colors.
As I was in the process of thinking about what inclusion and equity really looked like. Mulling over the question of who has access and why. I decided to look inward and see where I was embodying the field’s elitist traditions without realizing or intending to and change my own behavior.
PART 1: Calling in Black
In 2012 after the murder of Trayvon Martin my only employee at the time, a Black male, called to tell me that he was scared to leave his home, but didn’t want to let me down by not showing up to work. I told him to please take care of himself and to not worry then hung up. That conversation was a turning point for me. Although I was also emotionally raw, balancing feelings of fear, anger, confusion and displacement, I still went to work without a second thought, prioritizing deadlines, rehearsals and whatever else above my own well-being. The question dawned on me in that moment: how many other Black people were having to go about “business as usual” when the USUAL included seeing unarmed people that look like us get murdered?
“With that employee I developed what we later termed “Calling in Black”. That meant, when a Black member of my staff was forced to react civilly to an uncivilized situation just to get from A to B you have the option to “Call in Black” no questions asked. ”
With that employee I developed what we later termed “Calling in Black”. That meant, when a Black member of my staff was forced to react civilly to an uncivilized situation just to get from A to B you have the option to “Call in Black” no questions asked. Instead you would call my cell not the office number and we would take a couple of minutes to go through your actionable items for the week so I understood the status of each item and that would be the extent of the call. Once the employee felt they could come in and give 100%, they would return to work. I never thought to give a deadline on when they needed to or should return. Since 2012 my staff has expanded from 1 to 6 administrators, 0 to 3 interns, 8 to 10 dancers, and 0 to 2 apprentices. I have extended this option to every employee to come through my doors and no one has ever taken advantage.
I most recently “Called in Black” myself and requested that the organization go dark for at least one day after the grand jury failed to indict the murderers of Breonna Taylor. I think it is important that organizations go dark when injustices occur to remind ourselves that these are not just Black issues but Human issues and it is our responsibility as ethical leaders to stop and make sure that the values of our organizations are being reflected in the decisions being made internally while simultaneously supporting the humans who are an integral part of allowing us to create the work that we do.
ACTIONABLE ITEMS:
When there’s a local, state or national tragedy that centers a specific group of people, reach out to your employees who are in that group and check in on them.
Let your stance be known and make it clear you stand with your employees.
PART 2: “Responsibility to Black Artists; Is the Model Minority Archetype Hurting Us?
While rethinking my company contracts to give more flexibility to my dancers I thought about the hiring freeze that was happening field-wide. How it would be next to impossible for newly graduated students of color to get into the field. Most Artistic Directors I was speaking to were downsizing or hiring dancers they had worked with on past projects. That got me thinking were there dancers in my past that I had let go unfairly, passed over or parted ways with because at some point they were not the “model minority” so I lost faith in them or started to question whether they were a good representation of US? and could I and should I bring them back into the fold.
While in the shower I thought, “ What if Black dancers were allowed to make mistakes?” What if Black children were allowed to have an actual childhood? What if 20-something Black dancers were allowed to make 20-something choices that didn’t jeopardize their lives and livelihoods or follow them for the remainder of their careers? I want to be a safe landing place for Black artists to work hard, make mistakes, be forgiven, become great artists all while feeling safe and seen. I work every day toward this goal. Some days I do better than others, but it is always at the forefront of my mind.
“While in the shower I thought, “ What if Black dancers were allowed to make mistakes?” What if Black children were allowed to have an actual childhood? What if 20-something Black dancers were allowed to make 20-something choices that didn’t jeopardize their lives and livelihoods or follow them for the remainder of their careers? ”
And honestly friends, I can say: so far so good.
I have expanded my Elisa Monte Dance family and I feel good about my choice to do so. I think it is important to leave room for growth in our evaluation of those we employ. Please note, I have by no means lowered my expectations, however I do have a more realistic rubric to evaluate dancers. I understand that when my White dancers mess up they do not represent their entire race and are therefore treated as individuals. Their past behaviors are taken into consideration and they are given the benefit of the doubt. Therefore when my Black dancers make a mistake, I don’t attribute it immediately to character but allow it to be one part of the whole that they are. I do this out of wanting justice in how I treat people and also because I do not want my staff and dancers to be scared robots. Real people giving their all is sometimes a messy process. Mistakes and failure are important milestones in development; within my company and across the industry, I would like to encourage fearlessness.
ACTIONABLE ITEMS:
Embrace your blind spots and engage professionals who can help educate you and your employees.
Center individuality so that BIPOC employees do not have to represent their entire group. Take in each employee as an individual.
PART 3: Black Perks/YIN Yoga
In this very candid conversation I am having with you I can say publicly that in 2020 I am intentionally treating my Black dancers equitably and I’m not sorry about it. I want to be super, hyper, clear about the fact that I treat ALL of my dancers very well. However the fact remains that my Black people need a bit more TLC at the moment and I am happy to give it. Because of these policies I feel my staff and dancers are more dedicated, focused and genuinely love coming to work
Outside of “Calling in Black” I also pay for a once weekly YIN and SLEEP Yoga class to provide a mental and physical break from the constant internalization of stress from being Black in America. I was introduced to this class by a friend of mine who is friends with the teacher. He described the class as the best part of his week. During my first class I was convinced that there had been some sort of witchcraft involved. After that initial class I felt as if the volume had been turned down and I could hear myself think again. The sense of relief I felt was extraordinary and I wanted to give that same relief to my Black dancers.
ACTIONABLE ITEMS:
Focus Equity not Equality.
Don’t be afraid to provide what’s needed to those who need it.
About the Author
Tiffany Rea-Fisher (Artistic Director, Elisa Monte Dance) subscribes to the servant leadership model and uses disruption through inclusion as a way to influence her company's culture. In 2018 Tiffany was awarded a citation from the City of New York for her cultural contributions. As well as being EMD’s Artistic Director Tiffany is also the Co-Founder of Inception to Exhibition a non-profit that provides a holistic arts experience by supplying low cost, high-quality space to artists from a variety of disciplines. She was the first Dance Curator at the interdisciplinary arts organization The Tank where she now sits on their Board of Trustees. Bringing the best of modern dance directly to the public, she curates the Bryant Park Dance Summer Series providing free art access to thousands while exposing upcoming and established artists to a wider audience. Her professional affiliations include being the Vice President of the Stonewall Community Development Corporation, an Advisory Board member of Dance/NYC, COHI member of IABD, and a proud member of Women of Color of the Arts.
Instagram: @treafisher @elisamontedance
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Photo credit: Ayodele Casel