EXP LORING PROMISING PRACTICES Exploring Pr actices for Diversity, Equity, and Inclusion in Arts and Culture Nonprofits University of Colorado Denver School of Public Affa irs Author Note Send correspondence to: This client-based project is submitted in partial fulfillment of the requirements for the degree of Mas ter of Public Admi nis tra tion in the School of Public Affairs at the Univ ersity of Colorado Denver Denver, Colorado Spring 2019
1 EXP LORING PROMISING PRACTICES Capstone Project Disclosure s This client-based project was completed on behalf of the Bonfils-Stanton Foundation and supervised by PUAD 5361 Capstone course instructor Dr. Robyn Mobbs and second fa culty reader Dr. Jane Hansberry This project does not necessarily refl ect the views of the School of Public Affairs or the faculty readers. Raw data were not included in this document, rather relevant ma terials were provided directly to the client. Permi ssions to include this project in the Auraria Library Digital Repository are found in the final Appendix. Questions about this capstone project should be directed to the st udent author.
2 EXP LORING PROMISING PRACTICES Table of Contents
EXP LORING PROMISING PRACTICES 3 Appendi c es Appendix 1 Bon f i l s Sta n ton Foundation Equity/ V alu e s S t at e m ent Appendix 2 In t erviewees Appendix 3 In t erview I n st r u m ent Appendix 4 Sele c ted R esponses fr o m In t ervie w ees on D E I Goals and Success Appendix 5 Organiz a t i o n Profiles Appendix 6 Local and N at i on a l DEI Exper t s, Id e nt i fied by I n te r v iewees Appendix 7 MPA C ore Co m pet e ncies Supple m ent a l Documentation
4 EXP LORING PROMISING PRACTICES Executive Summary This project explores pr omi sing practices in Diversity, Equity and Inclusion (DEI) in arts and culture nonprofits in Denver. The Bonfils-Stanton Foundation seeks to be tter understand how local organiz ati ons leading in DEI are implementing such prac tices, both int ernally and externally. This project aims to explore the following research questions:
5 EXP LORING PROMISING PRACTICES consistentl y identified as secto r ne eds and interest in resource-sharing between organizations implementing DEI work was high. Those interviewed agree that DEI work requires willingness to take risks and make mi stakes. With these findings, the Bonfils-Stanton Foundation has an opportunit y to broadly share and en courage DEI promi sing practices in arts and culture nonprofits in Denver. Recommendations for the Bonfil s-Stanton Foundation are offered related to building the fi eld, supporting a dive rse workforce, and measuring progress. Finally, study limitations and ideas for future research are di scussed.
6 EXP LORING PROMISING PRACTICES Introduction According to the U.S. Census Bureau (2015), by 2044, no single racial or ethnic group will be in the majority in Ame ric a. With a population of just over 700,000 as of July 2017, Denver represents a city where these trends are already in play (U.S. Census Bureau, n.d.). A recent pres entation from the Colorado State Demography Offic e (2019) showed that , while Denver Countys current population as a whole is already more diverse that th e state of Colorado and the nation, at 50% white and 50% minority, the youth population under 17 is already majority minority, with those identifying as Hispanic in the majority at 53% (Slide 19). Nationally, however, white populations are overrepresented in attendance and participa tion in arts and culture (National Endowment for the Arts, 2016, p. 2). The Denver me tropolitan area has a rich and unique cultural environment, partially due to the presence of the Scientific and Cultural Facilities District (SCFD), in existence since 1989. Using funds from a one tenth of one percent sales and use tax, SCF D supports cultural facil ities throughout the seve n-county me tropolitan area, specifically for production, presentation, exhibition, advancement and preservation of visual arts, perf orming arts, cultural history, natural history, and natural sciences (Scientific and Cultural Facilities District, 2019, para. 1). These funds also make possible free and discounted admi ssion at participating institutions several time s a year, known as SCFD Free Days. A study of nationwide arts participation rates conducted by the Nati onal Endowment for the Arts in 2016 found Coloradans had particularly high arts participation rates, ranking second in the nation for wa tching movies, visiting art galleries, seeing plays, or reading books and third in the nation for atte nding live music, theater, or dance performances (Wenzel, 2016, para. 2). As Denvers population has grown, so too has interest in arts and culture. In 2018, the Colorado Business Committee for the Arts (CBCA) reported that
7 EXP LORING PROMISING PRACTICES cultural at tendance reached 15 million people annually, the me tro areas second highest since CBconomic ac tivity study in 1992. Sinc e that time, CBCA also found that cultural atte ndance has increased at nearly twice the pace of Denver me tro area population growth (Colorado Business Committee for the Arts, 2018, p. 2). Despite the strong attendance and enthusiasm these statistics indicate for arts and culture locally, the se ctor still falls short in engaging diverse populations. In 2013, Denver Arts and Venues, the City and County of Denvers cultural agency, worked with Corona Insights to conduct a public telephone survey as part of the cr eation of the city cultural plan since 1989 (Denver Arts and Venues, 2019, para. 1). In 2017, the same firm completed a follow-up survey. Interesti ngly, comparison of this data reve ale d that, while in 2017, 89% of residents agreed wit h s, Culture and Creati vit y in Denver Bring communities together, from 84% in 2013, good/excellent ra tings of the amount of culturally dive rse progr ams in Denver fell from 68 to 54% (Corona Insights, 2018, p.7-13). Furth os and African-Ame ric ans in Denver are less likely to attend arts and cultural events, are feeling less represented in the cultural scene, and are more likely to face obstacles such as concerns about parking, a lack of information and feelings of exclusion at cultural ev ents than white (Wenzel, 2017, para. 1). More speci fic ally, Hispanic/Latinx respondents: were interested in the arts but currently were not participating as much as they would like; found it more difficult to find arts, culture, and creativity; had more difficulty finding out about arts, culture, and cr eativity in Denver; and faced slightly different ba rriers that prevent them from participating in arts, culture, and creativity more, including lack of parking and information, not feeling welcomed, and not feeling like they were represented in arts, culture, and creativity, bot h in terms of participation and employment (Corona Insights, 2017, p. 12-13). Corona Insi ghts (2017) also found that
8 EXP LORING PROMISING PRACTICES Ame ricans: were interested in the arts but currently were not participating as much as they would like; found it more difficult to find arts, culture, and creativity; and faced slightly different barriers that prevent them from participating in arts, culture, and creativity more, similar to Hispanic/ Latinx identifying populations (p. 14-15). Both Hispanic/Latinx and Afric anAme rican r esidents were less likely to believe that the arts had a positive impact on Denver than their peers of other rac es. Organizat i o n The client, the B onfil s Stan t on Fou n dat i on, is t h e so l e priv a te f oundat i on in Colo r ado chi e fly sup p or t ing the a r ts i n Denve r . Accord i ng to i ts websi t e, the Bon f il s Stan t on F o undat i on
9 EXP LORING PROMISING PRACTICES Deborah Jordy, Elaine Mariner, Dr. Nita Mosby Tyler, Deni ry, M aruca Salazar, and Elaine D. Torres. Gina Ferrari, Dir ector, Grants Program, is the contact for this capstone project. Given the loc al challenges outlined in the Introduction, the Bonfils-Stanton Foundation is eager to learn more about how it might best support a more diverse, equitable, and inclusive landsc ape of arts and culture nonprofits in Denv er. The organi zation originally supported a variety of causes but decided to shift its focus specifically to the arts in 20 ure needed the money, the thinking went, and by targeting one area, the foundation could set itself apart from its peers and become a real player in the communit In 2015, to serve the cult ural community, the Bonfils-Stanton Foundation contrac ted with nationally known audience development expert Donna Walker Kuhne to conduct focus groups and meet one on one with local arts and culture organi zations to as sess needs and develop strategies related to engaging and building diverse audiences. Resulting recommendations were shared with the field, including to : lop common understanding and language of such te rms as diversity and privilege; improve staf f recruitment and development through increased organiza tional commitment, support, and capacity for engaging divers e audiences; change organizational culture by making this work a part of every department and position; develop long term partnerships to tackle this work together through sharing knowledge and effe ctive stra tegies; and embrace diverse communities as part of core audiences beyond demographically diverse participants already attending on SCF D te uer , 2015, para. 5). Internally, the Bonfil s-Stanton Foundation has also expanded its board to include more community trustee sl ots to add diverse voices from the field and become more intentional in considering equity as part of funding decisions, incl uding reviewing efforts in accessibility, outreach, and internal processes in grant applications (Steuer, 2016, para. 7).
10 EXP LORING PROMISING PRACTICES Project Purpose This project seeks to explore promising practices in Diversity, Equity, and Inclusion (DEI) in arts and culture nonprofits in Denver. The Bonfils-Stanton Foundation seeks to better understand how local organizations le ading in DEI are implementing such practices, both internally and externally. The goal of this research is to generate recommendations to assist the Bonfil s-Stanton Foundation in determining how it might best support these efforts in Denver through informing the field as well as its own prac tices of identifying organizations strong in this a rea. This project aims to explore the following research questions: W hat a re pro m is i ng practi c es of increas i ng D E I ef f or t s in a r t s and cu l tu r e nonprofits in Denve r ? o W hat do a r t s and cu l t u re nonprofits understand DEI to m ean? o W hat do e s a ddress i ng D EI successf u l l y in an arts and cu l t u ral nonprofit l o ok l i k e ? o How do arts a nd cul t u re organi z at i o n s know they a r e successful in D E I work? W hat s t r u c t u res can support p r o g ress in DEI in arts and c u l t u re nonprofits in Denver? o W hat c hal l e nges exist in addressing D E I i n arts a nd cul t u re n onprofit s ? Lit e ratu r e Review The l i ter a ture review has focused on defining Di v er s ity, Equi t y, and Inclusion (D E I) work; s t rat e gies for addressing DEI in organizations; what ef f or t s have ta ken p l ace in com m uni t ies to unde r s tand how D E I work m ight best be i m p le m ent e d; a nd gaps and l i m i t at i ons in ex i s t i ng research. Defin i tion of D E I Kapil a , Hin e s, and Searby (2016) define diversity
11 EXP LORING PROMISING PRACTICES anothe ara. 3). These characteristics include race, ethnicity, gender, age, nati onal origin, religion, disability, sexual orientation, socioeconomic st atus , education, ma rital status, language, and physical appearance. Kapila et al. (2016) also recognize the intersectionality of diversity, at individuals affiliate with multi ple identities. a five-year coalition to advance diversity, equity and inclusion in philant hropy, defines diversity as focused particularly on greater representation of racial and ethnic groups (Asian Ame ricans and Pacific Islanders, Hispanics/Latinos/Latinas, African Americans and blacks, and Ame rican Indians and Alaska Natives), LGBT populations, people with disabilities, and women (The Center for Effective Philanthrop it y is the fair treatment, ac cess, opportunity, and advancement for all people, while at the same time striving to identify and eliminate barriers that have prevented the full participation of somle inclusion is the act of creating environments in which any individual or group can be and feel welcomed, respected, supported, and valued to fully part icipate (Kapila et al., 2016, para. 4). Grantmakers in the Art s or GIA (2019), the national association of arts and culture funders in the US, adds that understanding of equity requires an understanding of the root causes of dispar ities in society and implicit bias and that, an inclusive group is by definition diverse, a diverse group i always inclusi (para. 10). Diversity, Equity and Inclusion (DEI, or sometimes cal led EDI ) initiatives seek to promote these concepts within organizations, both internally and externally. In this vein, several leading member-based associa tions in arts and culture, not specific to artistic media or discipline, have released stat ements in recent years promoting DEI. Americans for the Arts (AFTA) , a nonprofit advancing the arts in the U.S., released the following statement support a ful l cr eative life for all, Americans for the Arts commits to championing policies and practices of cultural equity that empower a just, inclusive, and equitab
12 EXP LORING PROMISING PRACTICES accompanied by such in the United States, there are systems of power that grant privilege and access unequally such that inequity and injustice result, and that must be continuousl y addressed and changed; cultural equity is critical to the long-t erm viability of the arts se ctor ; and everyone deserves equal access to a full, vibrant creative life, which is essential to a healt hy and democratic societ y.TA (2016) also defines cult ural equity as dismantling discr iminatory systems of all forms, many of which touch the pursuit of ra cial equity (equity specific to race) as well as other forms of inequity. GIA focuses even more specifically on racial equity, believing progress in this area will si gnificant positive impact on challenging other di scriminati on-based injustice (Grantmakers in the Arts, 2019, para. 2). GIA also uses the racial and ethnic identifiers African, Latinx, Asian, Arab, and Native Americ an (ALAANA) rather than the phrase ple of color believing this term tes together entire groups of people and as a contrast to white other sources reviewed do use people of color when speaking of these groups (Grantmakers in the Arts, n.d., para. 3). The organization released an extensive statement of purpose in 2015, most recently revised in 2019, including inclusion and equity as two of its four guiding principles. As leaders in the arts management field, these statements indicate that addr essing DEI has become a best practice for arts and culture nonprofits. Strategies for Addr essing DEI in Organizations In its Statement of Purpose, GIA (2019) also includes re commendations for action for organizations in DEI, including: establishing a racial equity advisory com mitt ee; using regular communications to promote racial equity; advocating research and data collection that accurately represents demographics served by and serving in the organization; providing opportunities for trai ning for board and staff; intentionally considering, selecting, and supporting diverse
13 EXP LORING PROMISING PRACTICES candidates and candidates who value racial equity for boards and staff; assuring that a racial equity lens informs decisions, progr ams, and poli cies; and collaborating with other organizations working toward greater racial equity to provide resources and share best practices. Delving deeper into one of these re commendations, board co mmitment to DEI, BoardSource, a leading resource for boards, also has created an in-dept h stat ement of commitment to DEI, as it tion that prioritizes, supports, and invests in diversity, inclus (BoardSource, 2019, para. 1). Further, Ramirez (2016), in describing the James Irvine Foundati encouraging arts participation among California and low-income communities, menti maintaining a board representative of your com munity, with the capacity to help share that communit st ory, is captured in the spirit of why boards exist in the nonpr ofi t struct urepa ra. 11). To diversify boards, Koya Leadershi p Partners (2019) recommends trying new recruiting strategies (such as identifying local and national resources, asking staff, and curating a one-t ime nominating me eting with communities), bringing on members of color in groups, and adding board members in training, while advi sing avoiding tokenism by not just on who you want board members to be but also what you want them ). In January 2019, AFTA released a report on their progress as an organization, outlining two years of w AFT A has expanded and created programs to promote diversity in the arts workforce in general, as well as in leadership through a Diversity in Arts Leadership internship program, an arts and cultural equity fe llowship, and diffe rent demographic constituency networks, aiming to support those working in the field through connections with peers , developing communities of practice, and decre asing isolation (Lord, 2019, p. 11). Lord (2019) also outlines conducting research to set benchmarks related to
14 EXP LORING PROMISING PRACTICES demographics, though the author mentions a lack of measurable goals, suggesting fut ure work will develop tter incremental, measurable and manageable me trics of progr 15). In this vein, several organizations serving the overall nonprofit sector have created guides for me asur ing of DEI progress. Third Sector New England s (2011) Step-by-Step Guide to Achieving Di versity and Inclusion in the Workplace, recommends infusing evaluation at the very beginning of this work, as well as engaging a consultant to bring an objective perspective while working with an internal committee (p. 6). Equity in the Cent ers (2019) Awake to Woke to Work: Building A Race Equity Culture presents seven strategic elements, or le vers, with accompanying personal beliefs and behaviors, policies and processes, and data to measure stages and rate organizational DEI progress. The levers include: senior leaders, managers, boards of direct ors , community, lear ning environment, data and organiz ati onal culture. To get started, Equity in the Center recommends establishing a shared vocabulary, identifying race equity champions at the board or senior leader levels, naming race equity work as a strategi c imperative, opening a continuous dialogue about race equity work, and reviewing data to get a clear pict ure of inequities and outcomes gaps both internally and externally (p. 20). However, Mauldin, Kidd, & Ruskin (2016) note that even this last piece can be difficult, as measurement ries by type of organizations, programs and pa rtnerships involved, as well as by funder mandates and the socioeconomi c makeup of target populations, among other facto (p. 36). Further, nonprofits may struggle with evaluation in general. Chung and Tran (2015), in conducting The State of Evaluation in Nonprofit Sector, found overall that evalua tion one of the least prioritized areas when it comes to allocating organiz and common barriers inc ck of evaluation-specific staff, limited staff time, and insuffi cient ).
15 EXP LORING PROMISING PRACTICES In 2018, the League of Ame rican Orches tras, a national membe rship-based organiza tion, a DEI planning process including a survey, stakeholder interviews, and focus groups. That same year, the organization relea sed A Strategic Framework for Equity, Diversity, and Inclusion with a vision, values, approaches, goals and indicators of progress (League of Ame rican Orchestras, 2019a). One such key approach is humility, owledging that the answers can be elusive and uncomf ortable, but entering into the work of EDI with openness, object ivity, and deep institutional com mitm (p. 6). This work sparked its Catalyst Fund grantmaking initiative, with activities eligible for support including: capacity building through strategic thinking, improving competency through trai ning and peer and group-based learning; creating a DEI plan; performing an organization al DEI audit ; and measuring internal progress (League of American Orchestras, 2019b, para. 6). Grantees will also be paired with an experienced EDI practitioner while being supported through cohort-based learning. Locally, The Landscape Proje ct, commi ssioned by The Denver Foundation (2018), is a a baseline of the nonprofit sectors self-assessment of its diversity, inclusiveness, and racial equity work, across all types of nonprofits (p. 3). Overall, broad consensus among participants that racial equity within an organization is linked to the exten t to which its st aff, leadership, and board refl ect the community, as defined by its mi ssion stat em as well as agre ement that commitment and consistency are ke y to long-term change in organizational culture, including the ability to h ave difficult conversations about thes e i ssues (The Denver Foundation, 2018, p. 11-12). However, results presented divergent narratives between st aff of different identities, with one participant stati everyone there I was the only one of color. That is uncomfortable are al l of the share the same
16 EXP LORING PROMISING PRACTICES culture as me, and they king about this rac fied barriers included lack of a diverse staff pipeline and no simple or broadly agreed measure of racial equity (p. 4) . The study presented se veral recommendations to address these issues, including creating mon progr ess measures neede d to promote greater unity and coordination between all organizations working toward needed systemic change (p. 18). In addition, to address fears about nonprofit leaders of color having decreased fundraising abiliti es, creating a dedicated funding stream in collaboration with other funders was put forth (p. 18). Finally, relating to recruiting divers e candidates, looking beyond educational levels to re cognize lived experience and transferrable skills of dive rse candidates, cultivating growth opportunities and building supportive organizational culture were all recom mended pra ctices for nonprofits (p. 18). Further ex ami ning diversity issues in the arts workforce, a report commi ssioned by the William and Flora Hewett Foundation on arts leadership in California found limite d opportunities for earl y to mid-career leaders advance as Baby Boomers delayed retirement due to such factors as the economic re cession and choosing to work longer, combined with very few demographically diverse arts administrat ors (Ono, 2016, p.8). To address this, Ono recommends supporting individual career pathways to cultivate and retain leaders of color through such activities as establishing and supporting networks for leaders of color (w ithout age restriction) and paid internships and mentorships for future leaders of color (p. 16). Kunreuther and ThomasBreitfeld (2017) found more similarities than di ffe rences in background and preparation between people of color compared to white respondents from a survey of 4,300 nonprofit staff (p. 1). While this research found people of color aspi re to nonprofit leadership more than their white colleagues, they are often frustrated by the stress of being called upon to represent a community; further, rather than focus on the per ceived deficits of potential le aders of color, the se ctor
17 EXP LORING PROMISING PRACTICES should concentrate on educating nonprofit decision-makers on the issues of race equity and implicit biasrganizational culture change, hiring and promotion practices, and systems of support for up and coming leaders of color to address barriers (Kunreuther & Thomas-Breitfeld, 2017, p. 1-4). Examining DEI in Arts and Culture in Several Citie s Several cities have attempted to take stock of how arts and culture organi zations in their communities are approaching DEI work, most ta king a quantitative approach. In Calgary, Canada, Calgary Arts Development (2017) conducted an Equity, Diversity, and Inclusion survey of Calgar ys arts sector, distributed to 161 nonprofi t arts organizations they fund annually. The survey focused on three ar eas: proce sses: equit y and diversity policies in place at Calgary arts organizations; program ming: the number of activities for and with diverse participants undertaken by Calgary arts organizations; and people: the de mographics of the arts sector, including arti sts, admi nistrat ors and voluntee (Calgary Arts Development, 2017, p. i). The urpose was defined ato provide detailed data necessary to construct a demographic profile of Calga se ctor and to understand the extent to which Calgary arts organi zations have access to policies and procedures that promote equitable and diverse workpl Arts Development, 2017, p. i). Key findings included that the arts sector is less than half as ethnically diverse than the population of Calgary, board members and those with higher income s tend to identify as older and ma le, and younger sector members showed greater diversity. In 2016, the New York City Department of Cultural Affairs worked with Ithaka S+R to ad m ini st er a quantitative sur vey to nearly 1,000 nonprofit c ultural organizations located in New York City to establish a baseline rel a ted to diversity. This survey collected demographic data on ra ce /e thnicity, gender, di sabi lity, age, job type , and level of seniority, with a few accompanying
18 EXP LORING PROMISING PRACTICES open-ended questions (NYC Department of Cultural Affairs , 2016, p. 2). The quanti tative data indica does not refl ect the racial and et hnic diversity of the city, though, in the last decade, the most diverse group of employees was hired. Notably, among those struggling with diversifying staff 75% cite lack of a viable pipeline of divers e job candidates as a major chal ea dership is less diverse (56% of junior staff are white, compared to 73% of senior staff NY C Department of Cultural Affairs , 2016, p. 3). Only one of the findings came from qualitative data: respondents identified peer-to-peer sharing of successful pr actices and diversity workshops as services they would value (NYC De partment of Cultural Affairs, 2016, p. 4). Out of this report, several opportunities were highlighted, such partnering with educational institutions and organi zations to ac cess a more divers e s taffing pool. In Los Angeles, the Los Angeles County Arts Commi ssion admini stered DataArt Workforce Demographic survey to staff members, board, volunteers, and independent contractors associated with 386 cultural nonprofits. Study results present a demographic pict ure of the county: the arts and culture workforce is more homogenous (60% White, nonHispanic ) than th e countys population (27% White, non-Hispanic); board members are the least diverse of the workforce cohorts; and younger workforce members are more racially dive rse than are older members of the workforce (DataArts, 2017, p. 6). DataArts notes that these findings sparks questions about educational re quirements for positions in the arts, given that only 30% of the population of Los Angeles County aged 25 and over have a bachelor s, graduate, or postgraduate degrees and 59% of those pe rsons are White non-Hispani and recommend exploring possible workforce pipelines with high schools, community colle ges, and four-year ins titution (p. 35). Gaps and Limitations in the Research
19 EXP LORING PROMISING PRACTICES The research performed in these cities shares some simila rities to the surveys of me tro Denver audiences mentioned in th e Introduction. However, this aforementioned research has all been quantitative or focused on the nonprofit sector as a whole, leaving an opportunit y for qualitative re search to more deeply examine successes, chal lenges, and barriers for implementing DEI efforts in nonprofit arts and culture organizations in a spe cific city, from the perspective of staff. Cuyler (2017), who has writ ten extensively about th e lack of diversity among both arts admi nis trators and arts admi nistration students, points out tural sector needs more research relative to DEI in cultural organizations...how should the sector operationalize this concept to make it more possible to implement in practice (para. 6). Mauldin et al. (2016) note the emergence of current research in this area, with limited publications in peer-reviewed journals, sayint erest in the question of diversity, cultural equity, and inc lusion in the arts and culture sector has been on the rise in late 2015 and ear ol utions are di fficult to ). In its Cultural Equity policy brief, Cr eatequity (2017) agrees, rei n lies the rub: the further we delved into the lite rature around cultural equity, and the more we consulted experts and connected with some of the activists who precede us, the more we came to realize that sha red understanding sim s There are many opportunities to expl orat does/ can equity look like within a he althy arts ecosystem? (Createquity, 2017, para. 21). More specifically, in terms of the scope of this proje ct, what are promi sing practices of increa sing DEI efforts and what structures can support progr ess in DEI in arts and culture nonprofits in Denver? Me t hodology A qualitati v e s t udy was conduc t ed t h rough se m i st r u ctured inter v iews wi t h 10 a r t s a nd cul t u re non p rofit leaders in t he Denv e r area to ex p lo r e pro m ising DEI practic e s, supportive st r u c tu r es, a nd cha l leng e s. As Ni s hishiba, Jone s , and Kraner (20 1 4) po i nt out, t his ty p e of
20 EXP LORING PROMISING PRACTICES research design can allow f cription of phenomena of interest than can be accomplished with numbers 5). Interviews lasted approximately one hour and al l occurred in person. In terms of sampling, all int erview subjects were selected by the client organization. Bonfil s-Stanton Foundatio za tions came from knowledge and awareness of organizational practices gleaned from reviewing grant applications, as well as from ion in the Arts and Diversity Taskforce, informed by the work done by Ms. Walke rown equity values (Appendix 1). Further, five out of the ten organizations are led by Livingston Fellows, a progra m of Bonfils-Stanton Foundation that recogniz es excepti onal nonprofit le aders with potential for unique and significant local contributi ons. As leaders of nonprofits in Denver recognized by the client organization as successful in DEI work, these individuals can be considered subject ma tter experts. The full list of interview subjects and qualitative instrument used for conducting interviews are included as Appendices 2 & 3. The development of the 10 open-ended que stions and follow-up probes used in the qualitativ e instrument and accompanying descriptive data form were guided by the literat ure review process, as well as Denver-specific data and previous work by the client. As s tated by D.W. Turner (201en-endedness allows the particip ants to contribute as much detailed information as they desire and it also allows the researcher to ask probing ques tions as a means of foll ow756). Interviews were re corded and transcribed, then analyzed via thematic analysis using inductive reasoning, where the evaluator reviews the ma terials and generates organizing cate gorie s that adequately summariz e the con ic k & Rogers, 2015, p. 577). Transcripts were read and open coding was conducted, followed by pattern coding and cate gorizi ng, including identifying quotes to illustrate categories. Finally, manifest and latent
21 EXP LORING PROMISING PRACTICES themes were identified by the evaluator. Google Sheets, Google Docs, and Microsoft Word were used to tr ack and dist ill codes to categories to themes, supported by writing done to elicit connections and emerging relationships between the data and the literat ure (Goodric k & Rogers, 2015, p. 578). Recommendations have been generated through these analyses, informed by the literat ure review. As such hermeneutic methods privilege criteria such as trustworthiness, the evaluator strove to me et the five high-level evalua tion standards for qualitative data analysis identified by Goodrick & Rogers (2015): utility, accuracy, feasibility, propriety, and accountability (p. 589). Resul t s The f ol l owing r esults were fou n d, based on the m es i dent i fied in t he d ata gathered f r o m in t e rv i ews with r epres e ntatives fr o m le a ding arts and c u l t ure nonprofits. B elow, each res e a rch ques t ion, with su b que s tions, is p resented with its correspon d ing findings. What a re pro m ising pract i c es of incr e asing D EI ef f orts i n arts and culture nonprofits in Denver? In t er m s of the first sub ques t ion,
22 EXP LORING PROMISING PRACTICES Foundation this subject in 2018, The Loyalty Target . Those int erviewed contrasted these strategies with su ch examples as presenting a theatre production with a diverse cast and assuming this would automatic ally lead to diverse audiences atte nding or tr ying to engage a specific community to im mediat ely participate in an organization nt . In te rms of audiences, interviewees were familiar with current sector discus sions related to issues of national arts audiences la cking divers ity, particularly in terms of race and ethnic background as well as socioeconomic st atus (National Endowment for the Arts, 2016). Locally, some organizations had heard from such communities they needed to be come more representative in terms of staff, board and programming to stay relevant . Many of those inter viewed also mentioned shifting demographics in Metro Denver, including intensifying issues of limited affordable housing, gentrification, and displacement over th e pa st 5-10 years, which have disproportionatel y affe cted communities of color and lower socioeconomic st atus. As some families have moved from Denver to surrounding counties, such as Adams and Arapahoe due to high costs of living, some organizations were aware of barriers, such as transportation, increasing among those currently underrepresented in arts audiences. Arts and culture leader s inter viewed consistent ly agreed that definiti ons of DEI should include access, which they indicated meant ensuring that the needs of people with disabilities were being included in discussions of these topi cs. Accessibility also came up in terms of gender identity, particularly considering the needs and being inclusive of those identifying as transgender; gender identity was also discussed as an area where organizations felt they needed to gain gr eater understanding of how to be inclusive, particul arly related to welcoming those with nonbinary identities and transgender audiences. During inter views, some examples of grappling with accessibility included transportation, making equipment ac cessible to people
23 EXP LORING PROMISING PRACTICES using a whee lchai r or who are blind, and creating a gender inclusive restroom. Interestingly, the definiti ons from this project are in contrast to how some organizations in the research have defined DEI; many have focused more tightly on racial equity (Americ ans for the Arts, 2016; Grantmakers in the Arts, 2018; Equity in the Cent er, 2019). Some interviewees felt that when they heard racial equity emphasized in discussions about DEI that is sue s of access were being excluded. In addition, there was a sense that the int ersectionality of different identities was not recei ving as much attention in DEI work. Several of those interviewed agreed that is sues of DEI were integral to the founding of their organizations, suc h as in response to experiences of discr imination and structural oppression; however, at the time, they were not using the terminol aware of DEI being a significant topic in th e cultural sector; many noted how, in the past, the focus wa s just on diversity but that inclusion and equity required moving beyond representation to truly in corporate diverse perspectives into an organization (Kapila et al., 2016; Grantmakers in the Arts, 2018). In addition, more than half of respondents, both those identifying as people of color and not, discussed their understanding of DEI developing from personal experience and emphasized an evolving process of learning and growing in their understanding; as one said, the deeper you re never going to go back Several recognized the foundation community as well as Denver Arts and Venues positively for making DEI work a prior ity locally. The second sub-question res sing DEI successfully in an arts and cultural nonprofits look likelected DEI goal responses are included in Appendix 4. In te rms of DEI goal setting and pr actices related to boards, audience, and staff, inter viewees all agreed diversity was important, some even more specifically defining this as reflecting the demographic diversity of the seven county SCFD region. (R amirez, 2016; Grantmakers in the Arts, 2019; The
24 EXP LORING PROMISING PRACTICES Denver Foundation, 2018). Half of interviewees noticed more diverse organizational audiences over the past 5-10 years . Half of interviewees also noticed increased diversity in their boards, with almost all remaining inter vie wee s mentioning that this type of shift was in progress; a few mentioned staff divers ity was improving or had inc reased; and volunteer demographic shifts were not mentioned. Several mentioned intentional efforts to increase diversity among boards, staff, and audience while also acknowledging significant changes in the Denver me tro area over this period. To achieve thi s goal with their boards, some organizations were using de mographic quotas, some were considering this strategy, and some did not see the need or did not want to approach the work in this way, focusing more on building and maintaining community relationships. Arts and culture leaders emphasized caution around trying to find a certain number of board members with a particular identity; the y did not want to tokenize community members and also ne eded to ensure particular skillsets were represented in thei r boards (Koya Leadership Partners, 2019). Interviewees also poi nted out that having a dive rse board, especially in terms of rac the same thing as engaging boards in the DEI work they were doing; board commitment to this work was extremely important (BoardSour ce, 2019; Grantmakers in the Arts, 2019). As boards represent organizations in the com munity, as do company members, faculty, contractors and others who are affiliated with an organization, but are not necessarily entrenched in organi zational cult ure the same way staff are, ensuring all of these parties get the same trai ning and have the same discussions emerged as a priority. The importance of solidifying the com mitment of organizations, boards, and leaders to DEI in terms of language was seen as a prominent theme across intervi ews (The Denver Foundation, 2018). For some, like those who called DEI integral to the formation of their
25 EXP LORING PROMISING PRACTICES organizations, this is a process of forma lizing policy and institutional knowledge. Almost al l organizations had developed an equity values statement in some form, either int ernal or external, which is discussed in greater depth below; those shared are included in Appendix 5. Having a written commitment to DEI integrated throughout the organization and supported by leadership and supervisors who recognize its value was identified by thos e interviewed as important due to the challenging and ongoing nature of this work (Equity at the Center, 2019; The Denver Foundation, 2018; League of Orchestras, 2019a) . Another major theme across intervi ews wa s that arts and culture leaders recognized it was important to have staff of diverse identities represented in their organizations but struggled to find people with these identities to fill both admi nis tra tive and artistic roles (The Denver Foundation, 2019; Calgary Arts Development, 2017; NYC Department of Cultural Affairs, 2016; DataArts, 2017). Homogeneous perspectives brought by homogeneous staff were identified as a problem. Interview conversations focused on recruiting diverse staff, particularly people of color, with some organizations mentioning that few with these identities applied for their op en positions. Many att ributed this to limited diversity in the arts and cultur e sector overall in Denver, though some mentioned that they were currently exami ning their own hiring practices with an eye toward this issue (The Denver Founda tion, 2018) . Some larger organizations saw diversity gains in staff but more at lower levels; it remained a challenge at leadership levels, where people tended to stay in posi tions for a long time (Ono, 2016; Kunreuther & ThomasBreitfeld, 2017). Intervi ewees had less to say about the retention and experiences of staff who identify as people of color; some of those interviewed confirmed research showing people with these identities can be tasked with taking on a signifi cant burden of DEI work and may be retra uma tiz ed as other staff learn basic DEI concepts in their organizations (Kunreuther &
26 EXP LORING PROMISING PRACTICES Thomas-Breitfeld, 2017; The Denver Foundation, 2018). In terms of current staff understanding the importance of DEI, several arts and culture leaders interviewed mentioned examples including discussions about DEI during staff me etings, sharing and talking about DEI related articles and the presenc e of que stions about DEI i mplementation as part of performance goals and evaluations. In this vein, those interviewed emphasized the importance of DEI being a focus across an organization, ingrained into staff culture and not compartmentalized within one department (Equity in the Center, 2019, The Denver Foundation, 2018). During the interviews, arts and culture leaders were probed about the presence of the following list of DEI pra ctices in their organization, informe d by the research: an equity values stat ement; conducting a DEI assessment/data collection; creating a DEI plan; establishing an internal DEI committ ee; creating a st aff position responsible for le ading DEI work; considering DEI in terms of programs, fundraising and/or vendors; and/or collaborating and/or sharing information with other organizations. All those int erviewed are consistently considering DEI in terms of their programs, with everything from reduced admi ssion for those eligi ble for SNAP benefits to a GLBTQ family day to decisions made in terms of a season of performances. In addition, they were all involved in and inter ested in sharing inf orma tion related to DEI with other organizations. As mentioned above, ne arl y all organizations had either created an equity values stat ement or were in the process of creating or considering one (Appendix 5). The majority of organizations also had formed DEI internal committees, some in partnershi p with their boards (with both staff and board members), some with several committees of only staff, and some organizations were small enough that DEI topics were discussed as part of regular staff me etings. When asked about organi zational DEI plans, many said they included th em as part of strategic or ma ster plans; few organizati ons had them exist alone.
27 EXP LORING PROMISING PRACTICES On the subject of having a dedicated staff person related to DEI, few organizations had the ca pac ity for a dedicated role. Often, the work was shared among positions, some times including the executive director, or part of community engagement or outreach work; sometimes carving out DEI capacity meant prioritizing it over another organizational need, such as marketing. One organization had a dedicated DEI staff role but found it ineffective due to lack of authority and then opted to share the work among several positions and d epartments; another started with sharing the work among several positions and d epartments but was now hiring for one dedicated role to oversee DEI work. Several mentioned the importance of this work not being compartmentalized but rather, infused throughout organizational culture. Few organizations were considering DEI in terms of vendors at this point and over all, little came up in terms of fundraising beyond grant applica tions including questions about organi zat ional DEI work and donors being mostly supportive. In te rms of the last sub-question, ow do arts and culture organizations know they are successful in Drall, successes mentioned related to the following theme s: receiving positive feedback; being recognized by peers, audiences, funders, and policy makers; and changing organizational culture. Selecte d respons es to this question are included i n Appendix 4. Those interviewed consistently ident ified being recognized positively by audiences and those in their artistic disciplin e and field, both locally and nationally, as a sign of success. Such indicat ors included being invited to do trainings, present at conferences, and create and share documents and tools , as well as recei ving a grant for DEI work and being complimented by people encountering the organization internally and externally, such as new staff and long-t ime audience-members. Arts and culture leaders interviewed also defined succe ss as seeing diversifying audiences, staff, and boards in terms of demographics, though methods of achieving
28 EXP LORING PROMISING PRACTICES this and intentionality differed among organizations. Building authentic relationships and seeing community partners want to continue and grow their partnerships was also classified as success. Another gauge of success mentioned was the ability to have conversations about diverse experiences and pers pectives, particularly relating to race, both for staff and board members (The Denver Foundation, 2018). This success was attributed to the presence of diversity fir st but also f rom creating openness in organizational culture so that staff felt comfortable speaking about their experiences and knowing they would be listened to, even if it caused some discomfort. How organizations measured progress in DEI work was not at all consistent, similar to the research reviewed (The Denver Foundation, 2018; Lord, 2019; Mauldin et al., 2016). Some organizations used strategies such as demographic tracking, surveying audiences and staf f on their experiences, performance evaluations, and conducting focus groups to both establish baselines and track change over time, sometimes tied to goals and performance indicat ors wit hin organizational plans. Others had no formal systems of evaluation. These organizations tended to rely on a mix of what they described as a gut ch and anecdotal evidence whether if they got it wrong (or very right), they would receive feedback. Some of those interviewed mentioned feeling behind when it came to how to measure DEI progress . In summary, in answering the first research qu what are pr omi sing practices of increasing DEI efforts in arts and culture nonprofits in Denveris study found that, to arts and culture nonprofits, DEI means organizations are: welcoming, co-creating with the communities they are engaging, aware of community issues such as displacement and gentrification and thei r effe cts on marginalized populations, and considering access, more specificall y in terms of serving people with disabilities and diffe rent gender identities, in te rms of programming and facilities. For these organizations, addressing these issues as an organization includes creating a
29 EXP LORING PROMISING PRACTICES diverse board, which could be accomplished in a variety of ways, and ensuring boards (and others repres enting the organization to the com munity) ma tch the organization in terms of their understanding of DEI concepts and practices. Written, solidified and forma lized DEI commitments are important. Idea lly, staf f represent diverse identities but at the present moment, it is difficult to find such candidates for both artistic and administrative roles and staff should understand the importance of DEI. Al l of those int erviewed are considering DEI in their programs and all are interested in informa tion sharing. Almost all organizations in this study have equity values statements and many have internal DEI committ ees and DEI plans as part of other organiz ati onal plans. Few have a staff person solely dedicated to DEI work and few are considering DEI issues in terms of vendors and fundraising. Denvers leading arts and culture organizations in DEI define their su ccess through: field, discipline, and audience recogniti on; diversifying audiences; building authentic relationships with communities; and having the ability to have honest organizational conversa tions about diverse experiences and perspectives. At this time, there is no consistency in measuring DEI progress across thes e organizations. What str uctures can support progress in DEI in arts and culture nonprofits in Denver? In discussing challenges existing in addressing DEI, the sub-question for this second research ques tion, those interviewed emphasized challenges in terms of benchmarking and measuring progress; hiring diverse staff, both admi nis tra tive and artistic, regardless of whether organization served div erse audiences; and addres sing accessi bility. These issues have been discussed in more depth as part of findings for the previous research question. Arts and culture leaders interviewed agreed, that though they perceived many in the se ctor were talking about DEI, few organizations were exempl ary in addres sing it and much of the talk centered on how to
30 EXP LORING PROMISING PRACTICES do it better. They also agr eed that a one size fi ch to DEI practices in organizations is not likely to be effe ctive. Those interviewed agreed that the following stru ctures could support progress in DEI in arts and culture nonprofits in Denver. Capacity and time were consistently identified as needs within the sector, with funding necessary to move the work forward, espec ially in terms of evaluation and measurement. Responses were mixed in terms of desiring more resources, tool kits and guidel ines. Some expressed that there were enough of these in the sector and the focus now should be implementation; others de sired more and looked to conveners such as funders, committ ees, and member-based org anizations to provide these, both from local and national sources. However, interest in sharing resource s between organizations implementing DEI work was high. Some mentioned participating in structured learning cohorts, including Impact United t hrough the Mile High United Way and the Cultural Competence Learning Institute, through the Association of Sc ience-Technology Centers, as supportive in implementing DEI pra ctices in their organizations, similar to the League of Ameri can Orche st Fund program. Those inter viewed identified a large number of local and national experts in DEI work in arts and culture organizations; a full list is included as Appendix 6. Overall , arts and culture leaders emphasized that DEI work requires boldness, confidence, willingness to take risks and willingness to make mi stakes on the part of organizations. Int erviewees mentioned seeing some organizations delay starting because the to approach DEI in the wrong way, indicating a strong need for supportive structures. Conclusions Discussion and Recommendations
31 EXP LORING PROMISING PRACTICES The research results offer findings on the two main questions posed in the study, as sta ted above, with thre e rec ommendations for consideration by the Bonfils-Stanton Foundation going forward: building the field, supporting a diverse workforce, and measuring progress. Interestingly, many of these results are in strong alignment with the findings shared by Ms. Walke r-K uhne (Steuer, 2015). In te rms of building the fi eld, with the identification of these promi sing practices, the Bonfil s-Stanton Foundation has the opportunity to increase its role as a convener for arts and culture organizations interested in implementi ng DEI work. While Bonfil s-Stanton Foundation is already doing this as part of its Arts and Diversity Task Force, there may be opport unities for growth through establishing networks through settings such as online channels, like a listserv; larger forums and talks, by invitation and open to the public; workshops and cohort-b ased learning; and tours and site visits with leading organizations. For example, as co-creation and authentic community relationships emerged as a promi sing practice, the Bonfils-Stanton Foundation could host a public forum where Curious Theatre Company presented The Loyalty Target. Diving in to this work through such convenings, regardless of form, could help address the worries about making mi stakes and hesitancy to get started mentioned during interviews, especially for arts and culture organizations just embarking on DEI practices. Further, taking a group approach, beyond the Arts and Diversity Task Force, could also answer questions in the nonprofit arts and cult ure sector that eme rged around understanding the needs of people with disabilities, transgender and nonbinary identities, and marginali zed groups who are being pushed out of Denver. As some groups are approaching these is sues effectively, such as through one dollar admi ssion for families who are SNA P-e ligible, the client organi zation could provide a platform for learning for the whole sector. The Bonfils-Stanton Foundation could also facilitate
32 EXP LORING PROMISING PRACTICES shared understanding in the field on how to define DEI, whether specific to racial equity or a broader definition. Finally, as many resources were identif ied from outside the arts field, collaborating with the wider nonprofi t community could also produce innovative results; as The Denver Foundati onshowed, many organizations are tackling the same issues. Supporting a diverse workforce has emerged strongly as a major issue in the arts and culture field, both in the literature and project result s. The Bonfils-Stanton Foundation has shown great leadership in addressing thi s area of need through its support of the inaugural cohort of the Arts and Diversity Internship, a pai d opportunity underway this summer. Other potential approaches to explore include: collaborating with other org anizations, including foundations to support nonprofit leaders of color; encouraging nonprofit arts and cult ure organizations to examine education requir ements in hiring, putting more value in lived experience and transferrable skills; creating constituency networks to build community and decrease isolation, such as an arts admi nis trators of color group; supporting mentorship opportunities, regardless of age; and partnering with educational insti tutions, such as high schools, community colleges and four-year ins titutions (The Denver Foundation, 2018; Lord, 2019; Ono, 2016; NYC Department of Cultural Affa irs, 2016; DataArts, 2017). As indicated in the literat ure, hiring diverse staff is only a first st epsupportive organizational cultures, versed in understanding race equity and implicit bias, must be cultivated to ensure success, retention, and growth (The Denver Foundation, 2018; Equity at the Center, 2019; Kunreuther & Thomas-Breitfeld, 2017). In addition, exploring the needs of diverse staff already in plac e at arts and culture organi zations, as well as supporting a leadership pipeline, are opportunities for future research in this area, particularly given the literature and project findings pointed to stress and negative experiences among those with these identities in the sector .
33 EXP LORING PROMISING PRACTICES Finally, both the liter ature review and study results suggest that measuring DEI is extremely challe nging for nonprofit organizations in general, beyond the arts and culture field, combined with limited overall evalua tion capacity (Mauldin et al., 2016; Chung & Tran, 2015; Lord, 2019). Few self-ass essments are available; those that are, such as the one created by Equity at the Center (2019), while valuable, prima ril y come from fields outside arts and culture and often are not geared toward beginners. Given the complexity of addressing DEI, measuring progress seems to fall behind implementation. To increase capa cit y for this important component, the Bonfils-Stanton Foundation could explore supporting an evaluator and/or experienced DEI practitioner to provide consultation to organiz ati ons, either as a shared contractor or staff member (Third Sector New England, 2011; League of American Orchestras; 2019b). Supporting the creation of com mon progre ss measures, perhaps by such an evaluator, could make this even more effe ctive; it would give organizations a starting point that they could customize and it would also make it easier for the Bonfils-Stanton Foundation to measure progress sect or-wide (The Denver Foundation, 2018). Limitations and future research The researcher is confident in these findings; however, there are several limitations to this project. The sample size for interviewees was small (n=10) and the sampling purposive, rather than random. Further, this research de sign, with semi-s tructured inter views conducted and analyzed by one researcher, creates many opportunities for general and confirmation bias. During the int erview process, to ensure accurate understanding and interpretation of interview responses, the researcher conducted sporadic member checks. In addition, the content analyzed in the interviews seems to have reached saturation, as similar themes began appearing again and again (Nishishiba, Jones and Kraner, 2014, p. 289). Conducting additional research, with a larger
34 EXP LORING PROMISING PRACTICES sample size and multi ple researchers , particularly in the analysis phase, could be methods of addressing bias concerns. A few additional limitations included that, in large organizations, it can be difficult for one person to know the full extent of the scope of DEI work; the researcher also only talked to staf f rather than other roles such as board members and volunteers. As interview subj ects included those from very small and very large arts and culture nonprofits in Denver, there was a large variance in organization size and discipline, making it difficult to generaliz e these findings for all such organizations. More information about each organization is included in Appendix 6. Future research might focus more specifically, such as exploring these topics in large organizations only and int erviewing multi ple people involved in DEI initiatives. Further, in this project, four out of the ten inter vie w subjects identified as people of color and each brought a unique lens in viewing this work compared to their white count erparts . As mentioned, exploring the experience of people of color working in arts and culture nonprofits in Denver could be rich area in which to conduct research th at would be useful to the fi eld, particularly given the identified theme of lack of diversity in the Denver arts and culture workforce. Finally, it is important to acknowledge the power dynamic existing in this research: the Bonfils-S tanton Foundation is the sole funder chiefly supporting the arts in Denver and all of the interviewed organizations receive th eir funding in some form. While interview subjects were assured that their participation (or dec lining to participate) would have no effe ct on fut ure funding and the researchers impression was that most were very candid in the experiences and thoughts they shared, having a funder behind this study might skew responses. If the client organization seeks to mitigate this as a potential issue, future research could be done in partnership with a more neutral party, such as a university, the City and County of Denver (who is also a funder ) or a
35 EXP LORING PROMISING PRACTICES member organization such as the Col orado Assoc iation of Funders or the Colorado Funders for Inclusiveness and Equity. Despite these limitations, the project successfully answered the identified research questions, me eting the Bonfils-Stanto exploring promi sing practices in increasing DEI efforts and structures that can support progress in DEI in arts and culture nonprofits in Denver. As the sector continues to discuss bot h concepts and implementation of promi sing practices related to DEI, it is hoped that these findings will help inform the growing body of research available. There are many opportunities to build on this study and examine DEI in arts and culture nonprofits both loc all y and nationally.
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37 EXP LORING PROMISING PRACTICES Culture. Retrieved from http://cbca.or g/economic-activity-study/ Colorado State Demography Office. (2019, February 21). Denver Population and Demographic Trends [ P owerpoint Sl i des]. Presen t at i on g iven to Denver Publ i c Li b ra r y Co m m is s ion Meeting. Corona Insights. (2017). I M A G INE 2020 Public S urvey [ P owerpoint Slides ] . Retr i eved fr o m ht t p : / / w w w.artsand v en u esdenv e r . c o m /a s se t s/doc/Coron a Ins i ght s IM A GIN E 2020 Survey Re p or t 201 7 10 19 70eb51 3 2c3.pdf Corona Insights. (2018). Public Survey 2017: Changes seen since 2013 [ P owerpoint S l i des]. Retr i e v ed fr o m ht t p://w w w.artsand v enuesd e nv e r.co m /a s se t s/doc/Coron a Insights Co m bine d I202 0 Prese n tatio n 2017 . 2018 53624 f c254.pdf Crea t eq u i t y. (2017 ) . Cu l tural Equ i t y . Retr i e v ed fr o m ht t p : / / c reat e qui t y.co m /2017 / 10/cult u ra l equity/ Curious Th e a t re Co m pany. (2018). The Loyal t y Targe t . Retrieved from ht t ps://ww w .curiousthe a t r e.or g / l o y alt y targ e t/ Cuyler, A. C . (2017 ) . Di v er s ity, Equi t y, & I n c lusion (DEI) i n the Cult u ral Sector: W h a t s ne x t? Cultur e Work, 21 (3 ) . Re t r i eved from ht t ps:/ / cul t u re w ork.u o regon.edu/201 7 /07 / 03 / jun e 2017 vol 2 1 no 3 d ive r s i t y equi t y i n clu s ion dei i n th e cultu r a l s e ctor w h at s ne x t anton i o c c u yler/ DataAr t s. ( 2 017). The De m ographi c s of the Arts and Cultural Workforce in Los Angeles Count y . Retr i e v ed fr o m ht t ps://ww w .la c ountyarts.org/sites/ d efault/files/pd f s/ a r t swor k forcede m o g 2017.pdf Denver Ar t s and Venues. ( 2019). A b out I magine 2020. Retr i e ved fr o m ht t p : / / w w w.artsand v en u esdenv e r . c o m /abou t i m a gin e 2020
38 EXP LORING PROMISING PRACTICES The Denver Foundation. (2018). The Landscape Report. Retrieved from ht t p://floodl i ght.denverf o undat i on. o rg/Portals/ 0 /Uploads/Doc u m ent s /Landscape % 20Pr o je ct % 20Repo r t.pdf Equity in t h e Cente r . (201 9 ). Awake to W oke to W ork: Build i ng a Race Equity Cul t ure. ProInspir e . Retr i e v ed fr o m ht t ps:/ / static1.squar e sp a ce.co m /s t atic/56b910 c c b 6aa60c971 d 5f98a/t / 5c7 e fd03e2c483e87f 624538/1551826191759 / Equit y in C ent e r A w ak e W oke W o r k 2019 fin a l.pdf Goodrick, D., & Roge r s, P.J. (2015 ) . Quali t a t i ve Data Analysis. I n Ne w c o m er, K.E., H at r y, H.P., & W holey, J .S. (Ed.), Handbook of P rac t ical Pr o gram Evalua t ion (4th ed.). H o boken, NJ: John W i l ey & Sons, I nc. Grant m ake r s in t he A r ts. (n.d.). Rac i al Equit y . R etriev e d fr o m ht t ps://ww w .giarts.o r g /art s funding / raci a l eq u i t y Grant m ake r s in t he A r ts. (2019, Apr i l 11 ) . Raci a l Equity in A rts Funding Sta t ement o f Purpose and Recom m endat i ons for Actio n . Retr i e v ed fr o m ht t ps://ww w .gia r ts.org/ r a c ia l equity ar t s ph i lan t h ropy Kapil a , M., Hines, E., & Searby, M. (2016 ) . W hy Diversity, E qui t y, and Inclusion M at t er. Independe n t Sec t or . Re t rieved from h t t ps:/ / independentse c to r . org / resourc e /wh y dive r s i t y e q ui t y and i nc lus i on m at t e r/ Koya Leader s hip Partn e rs. (2019 ) . T he Governance Gap: E x amining Diversity and E qui t y on Nonprofit B oards of Di r ec t or s . R e t r ieved f rom h t tps : //koyap a r t ners.co m /wp cont e n t /up l o ads / 2019/03/K O Y A _ Gov e rnance_ G ap_Final.pdf Kunreuther, F. & Tho m as Breit f eld, S . (2017 ) . Race to Lea d : Con f ron t ing t he Nonp r ofit Raci a l
39 EXP LORING PROMISING PRACTICES Leade r s h ip Gap. Buildi n g Movement Projec t . R e trieved from ht t p : //racetolead.org/race to lead/ League of A m er i can Orch e st r a s. (20 1 9a). Equity, Diver s ity, and Inclus i on: An Evolving Stra t e g ic Fra m ework . Retriev e d fr o m ht t ps:/ / a m er i cano r ch e str a s.org/ i m ages/storie s /d i v e rsi t y /EDI_F r a m e work.pdf League of A m er i can Orch e st r a s. (20 1 9b). The Catalyst Fund. Retr i e v ed fr o m ht t ps:/ / a m er i cano r ch e str a s.org/ i m ages/storie s /Cat a lys t _Fund/ C at a l y st_Fu n d_R F P.pdf Lord, C. (2019). Mapp i n g Our Progress t oward Cultural E q ui t y : Ameri c ans for the Arts' Diver s ity, E qui t y, and Inclusion E f f o rts Since the 2016 A dopt i on of t h e S t atement on Cultural E q ui ty . Re t r i e v ed fr o m ht t ps://ww w .a m er i cansfor t he a r t s. o rg/sites/ d efault/ f i l e s /M a pp i ng%20Our % 20Progre s s%2 0toward%2 0 Cultu r a l % 2 0 Equity%20 F INA L _0.pdf Mau l din, B., Kidd, S.L., & Ruskin, J. (2016). Cu l tu r a l Equity and Inclusi o n In i tia t ive Lit e ratu r e Review. Los Angeles C o unty Arts C o m m is s io n . Retrieved fr o m ht t ps://ww w .la c ountyarts.org/site s / d efault/files/pd f s/ c ei i _ litr e v_final.pdf Nation a l E n dow m ent f o r t he Arts. ( 2 016, July). A rts Data Pr o f i le #10: Re s ul t s from the A nnual Arts Basic Survey (20 1 ) : Re s earch Br i e f #4: Gender, Race and Ethnicity, and Age of Ar t s Pa r ticipan ts . R e trieved from h t t ps://ww w .arts.gov/sit e s/d e faul t /files/aab s re s e a rc h b rie f 4.pdf Nishishib a , M., Jone s , M., & Kran e r, M. ( 2014 ) . Resear c h Methods a n d Sta t ist i c s for Public a n d Nonprofit A dministrato r s: A Prac t ical Guid e . L o s Angele s , C A : Sage Public a t i ons, Inc. N Y C Depart m ent of Cultu r al Af f ai r s. (2016 ) . Di v ers i ty Surv e y Overv i ew. Retr i e v ed fr o m ht t ps://ww w 1.nyc.gov/ a s se t s/div e rsi t y/downloads/dc l a_ d iver s i t y_sur v ey _ overview.p d f
40 EXP LORING PROMISING PRACTICES Ono, E. M. (2016). Moving Arts Leadership Forward. The William and Flora Hewlett Foundation . Retr i e v ed fr o m ht t ps://ww w .cc i a r t s. o rg/_Library/d o cs / Moving _ Arts_Le a d e rship_Fo r wa r d_ 2016.pdf R a m i r ez, J. (2016). I f Y our Board Looked Like Your C o m m u ni t y. M ediu m : New Fa c es | New Space s . Retrieved from h t t ps:// m edium.c o m /ne w faces new s pace s /i f yo u r boar d loo k e d l i k e your c omm uni t y 203c878bb0a0. Rinaldi, R . M. (2015, J u ne 25). Denv e r s Bon f ils Stan t on g o es all i n for t he a r ts; infl u ence g r ows. The Denver Pos t . Retri e ved fr o m ht t ps://ww w .denve r post . co m /2015 / 06/25 / denv e r s bonfils stanton goe s all i n for t h e ar t s influenc e g ro w s/ Scientific and C ul t ural Facilities Di s tri c t. ( 2019). About SCF D . Retr i eved fr o m ht t p : / / s cfd.org/p/abou t s cfd.ht m l Steue r , G. ( 2 015, Nov e m ber 5). Enh a ncing Ar t s E ngagement wi t h Diverse Co m munit i e s . Bon f i l s Sta n ton Founda t i o n. Retriev e d fr o m ht t ps: / /bonf i l s st a ntonfou n dat i on. o rg / e nhanc i n g arts engage m en t wit h diverse com m u n i t ies/ Steue r , G. ( 2 016, May 25 ) . So m e Th o ughts on the A m er i cans f or t he Arts Sta t e m ent on Cul t ural Equity. M i l e High Musi n gs on Arts, Cultur e , Cr e at i v i t y and P hi l anthr o p y . Retr i e v ed fr o m ht t p: / / m i l ehigh c ulture.b l ogsp o t . co m /2016 / 05/so m e though t s on a m e r i cans for ar t s. h t m l Third Se c t o r N ew England. (2011). Ste p b y Step G uide t o A c hie v ing Div e rs i ty and In c lus i on in the W ork p l a c e . ht t p s://ww w .tsn e .org / sites / d efault/ f i l e s /Achiev e Diver s i t y StepBy S tep Guide.pdf Turne r , D. W . (2010 ) . Qualitative I nte r v iew Design: A Practic a l Guide for N ovice Investi g ators.
41 EXP LORING PROMISING PRACTICES The Quali t a t ive Repo r t, 15 (3 ) , 754 7 60. Retriev e d fr o m ht t p : / / w w w.nova.edu/s s s s/QR/Q R 1 5 3/q i d.pdf U. S . Census Bureau. ( n . d.). U.S. C ensus Bureau QuickFac t s Denver city, C olorado; D enver County, Colorado . Retrieved from ht t ps://ww w .censu s .gov/quick f ac t s /fact/ table/d e n vercitycolo r ado,denvercountycol o rado/ R H I425217 U. S . Census Bureau. ( 2 0 15, Ma r ch 3 ). New Census Bureau Report Anal yz es U.S. Popula t ion Proje c tions . Retr i e v ed fr o m ht t ps://ww w .censu s .gov/newsro o m /p r es s r el e a s es / 201 5 /cb1 5 tps16 . ht m l W enze l , J. (2016, O ctob e r 22 ) . Col o rado takes top spots in n e w N EA art s engage m ent study. The Denver Post. Retr i e v ed from ht t ps://ww w .denve r post . co m /20 1 6/08 / 31/colorado first arts p artic i p a t i o n / W enze l , J. (2017, N ovember 14). Div e rsity, m aking c u l tu r e The Kno w . Retriev e d fr o m ht t ps:/ / thekno w .denve r post.co m /2017 / 11/14 / d e n ve r a r t s cul t ur e s u rvey 2 017 dive r s i t y /1 6 6627/
42 EXP LORING PROMISING PRACTICES Appendix 1: Bonfils-S tanton Foundation Equity/Values Statement We believe that access to the arts, as an appreciator, participant and/or creat or, are basic human rights that shoul d be enjoyed by all those who live in our community. We also believe that factors like rac ism, ablei sm, sexism, gender bias and lack of economic opportunity have prevented these cult ural opportunities from being equally enjoyed by all. These factors have contributed to lack of equal access to leadership opportunities, within the arts and the entire nonprofit sector. We will ensure that we operate in a way that recognizes these inequities, and that we work to mitigate them. This includes our grantmaking, program matic activity, and community engagement. We hope to inspire and cultivate an arts and culture sector that also embraces equity in thei r work. We recognize that th ere are significant societal struct ural issues that are beyond our capacity to change, but with the tools that ARE at our disposal will do all we can to ensure that our cultural community is healthy, artistically vibrant, equitably supported, and serving the full spect rum of our re sidents. We also recognize that doing this work requires that we continually be alert to the necessity that our board, staff and vendors reflect the diverse nature of our community, and that our systems and procedures are examined for bias and changed if necessary. We value open, honest communication with all o ur constituencies grantees, potential grantees, Livingston Fe llows, funding colleagues, and civic leaders . With grantees we will always strive to have the sort of relationship that, to the b est of our ability, is transpar e nt and coll ab orative, avoiding th e pit fa lls of the power d if f er entia l d ynamic.
43 EXP LORING PROMISING PRACTICES We will oper ate our organization in a way that fosters collegiality, opportunity, fairnes s and honesty, in all we do, striving to ma ximize the potential of all our employees, trust ees and team members
44 EXP LORING PROMISING PRACTICES Appendix 2: Interviewees 1.Ph a m aly Theatre Co m p a ny, Sasha Hutch i ngs, Managing Director; Regan Linton, Ar t istic Director; P a ul Behrhors t , Director of Produc t ion 2.RedLine Conte m porary Art Cente r , Louise M ar t orano, Exe c ut i ve D i re c t o r 3.Curious Th e at r e Co m pany, Katie M al t a is, M a na ging Di r e c t o r 4.Denver Botanic Garden s , Yvonne G ar c ia B a rdwell, Co mm uni t y Relations Manager 5.Cleo Parker Robinson Dance, M a l i k Robinson, Execu t i v e Director 6.Denver Mu s eum o f N at u re and Scie n ce, Andra Giron Mathern, Director Com m uni t y Resea r ch a n d Engage m e nt Strategies 7.Art Students League of D enve r , Ra c hel Basye, E xecu t i v e Director 8.Youth on Record, J a m i Duffy, Execut i ve D i re c t o r 9.Child r e n
45 EXP LORING PROMISING PRACTICES Appendix 3: Interview Instrument 1.Tell m e about what DEI (Diversity, Equity and Inclus i o n ) means t o you, spec i fic a l l y in te r m s of arts and cul t u re organi z at i o n s. a. Probe: W here and how did you l e a rn about this c o ncept? b.Probe: W hat p r actices m ight be as s o c ia t ed w i th t h is? 2.In t er m s of focus i ng on D E I work i n your o r ganizat i on, wh a t or who has motivat e d o r cont i nu e s to m ot i vate y o u? a. Probe: Have you not i ced any sh i fts i n te r m s of your audien c e over t h e last 5 10 yea r s ? b.Probe: Dur i ng th i s ti m e have you not i ced shifts i n your staf f , volun t e e r a n d board m akeup? 3. W hat DEI goals do you have for your o r ganiza t i o n, both i n t ernally and e x te r n a l l y ? a. Probe: How does t hese goals r e late to your le a d ership, gove r n ance a nd b o ard, st a f f , and volun t e e rs? b.Probe: For staf f , how are t hese goals re l a ted t o recruit m e nt, r et e n t ion and t r a in i n g ? c. Probe: How are these g o als rel a ted t o engag i ng a u dien c e s ? d.Probe: How do your o r g a niz a
46 EXP LORING PROMISING PRACTICES D E I i n te r m s of progra m s, fundraising, and/or vendors; an d / o r co l labo r a ted and/or sha r ed info r m at i on with o t her organ i za t io n s... 5. How are you m easur i ng prog r ess in th i s wor k ? 6. W hat s uccesses have you ach i eve d ? How do you d e fine succes s ? 7. W hat c hal l e nges and barriers have you encountered in this w ork? 8. W hat t ools, policies and re s ources would be he l p ful in DEI im ple m ent a t i on in your organization? 9. Locally, who do you consider ex p er t s in t h is area a nd who is i m ple m e nt i ng t h ese practices ef f ec t ive l y ? 10. Is there an y t h ing further
47 EXP LORING PROMISING PRACTICES Appendix 4: Selected Responses from Interviewees on DEI Goals and Success Goa l s Concer t ed e f f ort to b r i n g in younger audi e nc e s, cr e a te s uc ce ssful progra m s for teens and cr e a te s hort e r, l ower cost prog r a m s. Bring i n dif f er e nt types o f art, m edia and facul t y t o engage n e w audiences Diversify sta f f, includ i n g ful l ti m e s taff Learn m ore about how to w el c o m e d if f er e nt gender id e n titi e s, such a s through all g e nd e r re s troo m s Diversify sta f f Crea t e m entor prog r am for st a ff fr o m his t oric a l l y m argina l ized co mm uni t ies to conne c t with o t h e r e m ploye e s Have a s t aff that re s e m bles the SCFD region, de m ographically Make volun t ee r ing m ore inc l u s ive Be intentio n al a nd s t r a tegic in ter m s of c o m m un i ty partne r s Make physical sp a ce more a c c ess i b le for ne e ds of people with dis a b iliti e s Honor the whole person when they co m e to work, valu i ng a n d al l owing t h em to show up as t hey a re Engage the Lat i no co m m uni t y in Denver t h rough re l e v ant progra m m ing Expand board skillset Provide tra n sportation to engage n e w audi e nc e s W ork wi t h c o m m uni t ie s , com m uni ty based a nd a dvocacy organizations to des i gn prog r am m i n g Build on creating signage in English and Spani s h by incorpor a t i ng other l a ng u ages
48 EXP LORING PROMISING PRACTICES Solicit feed b ack from di v er s e grou p s through surveys and focus groups Plan for changing de m o graphic s , pa r t icul a r l y i n cr e a s ing o l d er adult po p ulation Engage f a m i l ies m oving ou t side De n ver County Tell s to r ies of people of dif f er e nt i d e nt i ties th r o u gh shows More r a cially diver s e a u dien c e, bo a rd, and staff Put DEI policies and p rocesses in p l a ce Evalua t e h o w inclu s i v e expe r ience i s with o r ga n iz a tion, f rom st a ff and audi e nce perspectives Connect t o n ew c o m m u n i t ies aut h entically Be recognized as welc o m ing Preserve insti t u t i on a l k n owledge Successes W ork i ng with per f or m er s , st a ff m e m bers, desig n er s , and tec h nic i a n s who are peo p le wi t h dis a b i lities, as well as ha ve oth e r identities For m er organiz a tion m e m bers have gone on to change the c u l t ure at their new organizations Ind i vid u al i m pact Accolad e s f r o m the a dvocacy a nd so c ial justice c omm uni t y for organ i z at i o
49 EXP LORING PROMISING PRACTICES Trip l ing t he n u m ber of people i d ent i f ying as peo p le of color in their aud i e nce Gett i ng inv i ted to pre s ent at conferences about t h eir work and to be p a rt of groups and conve r s a t i o n s Succes s fully i m pl e m ent i ng SN A P a d m is s ion p r ogra m , where el i g ib l e v isito r s rec e ive $1 ad m is s ion; other la r ge c u l t ural or g anizat i o n s exploring i m ple m ent i ng si m i l a r p r ogra m s Peers and c omm uni t y m e m bers t e ll t h em they a re doing a go o d job Success is doing an event and people show up and want to c o nt i nue wor k i n g with us Using pe r fo r m ance go a ls a s pa r t of p erfor m ance a ppraisal s y st e m Success is doing provocative p r ogra mm ing t hat e xplo r es ch a s m s in s oci e ty and h a vi n g them be well re c eiv e d A new st a ff m e m ber of color com m e nt i ng on h o w happy they are to see so m uch dive r s i t y in prog r am m i n g Having an equity c u l t ure st a te m ent Increased diversity in a p pl i c a t i ons f o r r e s i dency prog r am High rates o f reten t ion and diver s e m akeup o f staf f , m any o f w h o m part i cipated i n organizational program m ing i n the p a st Recogni t ion as a
50 EXP LORING PROMISING PRACTICES Appendix 5: Organization Profiles Small Organizations (Under $1 Million Annual Operating Budget) Ph a m aly Theatre Co m p a ny (2016 990) o Managing D i r e c tor: Sas h a Hutch i ngs o E m ploye e s: 13 o Volunteers: 180 o Established 1991 o 13 vot i ng m e m bers of board o $753,755 annual operating budget o Equity Val u es St a te m ent: Not yet created Youth on Record ( 2017 9 90) o Executive D i r e c tor: Ja m i Duffy o E m ploye e s: 6 o Volunteers: 0 o Established 2008 o 17 vot i ng m e m bers of board o $738,761 annual operating budget o Equity Val u es St a te m ent: NA ( i nte r n al) Mid Si z ed Organ i z at i ons $ 1 10 Mill i on A n nual Oper a t i ng B u dget) Art Students League of D enver (20 1 7 990) o Executive D i r e c tor: Ra c hel Basye o 164 e m plo y ees o 230 volun t e ers
51 EXP LORING PROMISING PRACTICES o Established 1992 o 16 vot i ng m e m bers of board o Cause a r e a : Arts Educ a t i on/Schoo l s, Arts Se r v i ce Activit i e s / O rganizations, V isu a l Arts Org a n i za t io n s o $1,722,556 m i l l i on annual operating budget o Equity Val u es St a te m ent: Diver s i t y S t r a teg i c I m p er a tive: W e a r e com m i t ted t o prov i ding open access t o the v i s u al arts to ever y one who is inte r e s ted in the m . W e would l i ke t h e div e rsity profile of A SLD to m i r ror the c o mm u ni t y in which w e l i ve. W e will encourage artis t s of a l l ages, b a ck g roun d s, in c o m es and e x p er i e n ces to part i c ipate in our pro g ram m ing i n order t o e n r i ch the e x p er i e n ces of a ll invo l ved. W e will re a ch beyond our m ain bu i ld i ng to m ake o ur p r ogra m s acc e s s ib l e to all th r ough col l ab o rati o n and pa r t ne rship. Child r e n o Executive D i r e c tor: M i k e Yankovich o E m ploye e s: 154 o Volunteers: 957 o Established 1974 o 19 vot i ng m e m bers of board o $6,549,972 annual op e rating budget o Equity Val u es St a te m ent: NA Cleo Parker Robinson Dance ( a k a New D ance The a tre; 2016 990) o Executive D i r e c tor: Malik R obinson o E m ploye e s: 22
52 EXP LORING PROMISING PRACTICES o Volunteers: 200 o Established 1970 o 10 vot i ng m e m bers of board o $1,106,808 annual op e rating budget o Equity Val u es St a te m ent: Sh a red D e ci s ion t r e e Guiding qu e s tions: Are we prov i ding i n spi r a t i on a l and artistic move m ent p r ogra m m ing? Are we l i vi n g our phi l osophy of O ne Spi r i t , Many Voice s ? Are we awakening co mm uni t ies w ho need us? A r e we unlock i ng the spirit and t a lents o f art i s ts a t all level s ? Are we bui l ding so c ial eq u i t y in com m uni t ies? Curious Th e at r e Co m pany (2017 990) o Managing D i r e c tor: Katie Malta i s o E m ploye e s: 88 o Volunteers: 99 o Established 1998 o 14 vot i ng m e m bers of board o $1,227,492 annual op e rating budget o Equity Val u es St a te m e n t: As part of core v a lue s ,
53 EXP LORING PROMISING PRACTICES ra c is m , sexis m , or m argina l ization of any kind o Executive D i r e c tor: Kendra W hi t lock I ngram o E m ploye e s: 26 o Volunteers: 150 o Established 2002 o 8 advi s ory b oard m e m b e rs o $2.5 m i l l i on annual op e rating budget o Equity Val u es St a te m ent: Not yet created RedLine Conte m porary Art Center (aka R edl i ne, 2017 990) o Executive D i r e c tor: Louise Martrano o E m ploye e s: 12 o Volunteers: 90 o Established 2008 o 16 vot i ng m e m bers of board o $1,454,927 annual op e rating budget o Equity Val u es St a te m ent: NA ( i nte r n al) Large Orga n i z at i ons ($10 50 Million A nn u al Operating Budget) Denver Botanic Gardens (aka Denver B otan i c Ga r den, Inc; 2016 990)
54 EXP LORING PROMISING PRACTICES o Executive D i r e c tor: Bri a n Vogt o E m ploye e s: 320 o Volunteers: 2,383 o Established 1952 o 39 vot i ng m e m bers of board o $ 22,929,529 annual op e rating budget Denver Mu s eum o f N at u re and Scie n ce ( aka Col o rado Museum of Nature History, 20 1 7 990) o Executive D i r e c tor: George Sparks o E m ploye e s: 561 o Volunteers: 1,740 o Establish e d 1939 o 29 vot i ng m e m bers of board o $44,979,731 annual op e rating budget o Equity Val u es St a te m ent: Inclusi v i t y Sta t e m ent: Scien c e h elps us under s t a nd that dive r s i t y in our natural world c r e ates st r en g th and nurtu r e s l i fe. W e s t r i v e to be a dive r se and col l ab o rati v e t e am
55 EXP LORING PROMISING PRACTICES Appendix 6: Local and National DEI Experts, Identified by Interviewees Local Experts Tony G ar c ia, Su T ea t ro Denver Mu s eum o f N at u re and Scie n ce Dr. Nita M o sby Tyle r , T he Equi t y P r oje c t Curious Th e at r e Co m pany Tar i ana Na v a s Nieves, D enver Arts and V enues Chrissy De a l, W E STAF Access i b l e Audience E xperiences o Denver Center Theatre C o m pany o Local Theater Co m pany in Boulder o Co mm uni t y College of A uro r a o S o m e pa r ts of University of Colorado Boulder Do w ntown Aurora Vis u al Arts Denver Art Museum Ally Rexe s : Infor m al happy hour gro u p fr o m la r ge cu l t u ral o rganization s , or i gi n al l y st a rted f or GL B T c o m mun i ty staff Co m al / Focus Poin t s Child r en ' s Museum o f Denver Denver Public Library Kalyn Hef f e rnan Access Ga l lery Cleo Parker Robinson Dance
56 EXP LORING PROMISING PRACTICES Serv i c ios de la Raza Jul i e Gonz a les, State Se n ator The Center G L BT C o mm uni t y Cen t er of C olo r a do Kebaya Consul t ing A n t i Oppress i on Tra i ning University o f D enve r , offer i ng t rain i ng on bias National Exper t s Car m en M o rgan, Art E q ui t y Mix e d Blo o d Cultu r a l Co m pet e nce L ea r ning Inst i tu t e Chic a go Ch i ld r en ' s Mus e u m Associ a tion of C hi l dren's Museu m s People ' s Institute f or Survival o Anti Oppre s sion T r a in i n g
57 EXP LORING PROMISING PRACTICES Appendix 7: MPA Core Competencies Supplemental Documentation C ompleting this project with the Bonfils-Stanton Foundation offered the opportunity to demonstrate competency in four of five areas that are core tenants of the MPA progra m. These four areas, as well as how they were informed by coursework, are described below. To lead and manage in public governance Conceiving of and completing this project required understanding of the context of public se ctor work and its role in society, particularly nonprofit arts and culture organi zations which are unique in the Denver area due to the support of the Science and Facilities Cultural District. In addition, understanding organizational theory and behavior and theories of leadershi p also informed the project, specifically in researching nonprofit structure s and staffing and leadership models related to DEI. This knowledge was gained through coursework in PUAD 5001, Introduction to Public Admi nistration; PUAD 5002, Organiza tional Management and Behavior; and PUAD 5006, Public Service Le adership. Further, exploring promi sing practices in DEI in arts and culture nonprofits in Denver through qualitative methods, particula rly in creating the inter view ins trument, required a thorough understanding of the role of mi ssion, goals, performance indicators, and financial and program matic resources in these types of organizations. Conducting effective interviews also required a high degree of emotional intelligence, indicative of competency in this area, particularly as some interviewees shared very personal expe riences. To participate in and contri bute to the public policy process Understanding the context and proc ess of policy making at all le vels of government was extremely important in ensuring sufficient understanding of the chosen topic and that the appropriate liter ature was reviewed. Further, the history of structural and systemic oppre ssion,
58 EXP LORING PROMISING PRACTICES directly created through policy, and effe cts on rac ial equity were critical to gra sp in exploring this topic. Recommendations for the client org anization generated by project results were informed by coursework completed in PUAD 5005, The Policy Process and Democ racy. In this vein, application of techniques for generating and selecting a mong policy alternatives, identification of barriers to implementation and how they might be overcome, and comprehension of the intersection of policy and admi nistrative processes all were key in developing results and conclusions for this project. To analyze, synthesize, think critically, solve problems and make decisions. Thorough unders tanding of this co mpetency was cri tical to the conception and completion of this project, including selecting the appropriate research design and methods to achieve project goals and critically assessing and selecting relevant res earc h to be included in the literat ure review. Collecting and analyzing data to conducting this project also demonstrated competency in this area. Finally, consideration of di ffe rent pers pec tives, understanding of decision-making processes, and awareness of ethics were crit ical in successfully conduct ing the int ervi ews with arts and culture leaders. Skills and knowledge gained from participation in PUAD 5003, Researc h and Analytic Methods; PUAD 5008, Evidence-Based Decision-M aking; and PUAD 5350, Program Evaluation provided an integral foundation. To com muni cate and interact productively with a divers e and changing workforce and citizenry This project, in me eting both client and course goa ls, adds to scholarship concerning the value of supporting diverse ba ckgrounds and viewpoints in the public sector, particularly as the literat ure review indicated there was a dearth of researc h exploring this topic. The resulting findings have been communicated effectively in writing, via visual pr esentations, and in a spoken format. By expressing recommendations in a variety of formats, the client may share this project across
59 EXP LORING PROMISING PRACTICES Denvers arts and cult ure nonprofit landscape, such as with its Arts and Diversity Task Force, encouraging adoption of promi sing practices. Knowledge and understanding gained in the following courses were utilized in proj ect execution: PUAD 5001, Introduction to Public Admi nis tration; PUAD 5002, Organiz ati onal Management and Behavior; PUAD 5006, Public Service Le adership; and PUAD 5380, Citizen Participation Theory and Practice.
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