DIVERSITY AND INCLUSION IN CORPORATE SOCIAL ENGAGEMENT ACCELERATE - - PowerPoint PPT Presentation

DIVERSITY AND INCLUSION IN CORPORATE SOCIAL ENGAGEMENT ACCELERATE COMMUNITY

COMPANY SPOTLIGHT/”GOOD PRACTICES” (NEW YORK LIFE)

Small Group Sharing

• What are some of

the things you have heard that can be helpful to your company?

• What do you want to

learn more about?

• What question(s) do

you still have?

LEADERSHIP/INCLUSIVE LEADERSHIP

The Four Leadership Behaviors Linked to Inclusion

Source: www.catalyst.org/knowledge/inclusive-leadership-view-six-countries

Empowerment

Enabling direct reports to develop and excel.

Humility

Admitting mistakes. Learning from criticism and different points of view. Acknowledging and seeking contributions of others to

• vercome one’s limitations.

Courage

Putting personal interests aside to achieve what needs to be done. Acting

• n convictions and

principles even when it requires personal risk-taking.

Accountability

Demonstrating confidence in direct reports by holding them responsible for performance they can control.

Countries surveyed: Australia, China, Germany, Mexico, and the United States.

Leadership

• How would you

describe the leadership support in your company?

• What could be

done differently?

EXTERNAL LENS: EDDIE TORRES, GRANTMAKERS IN THE ARTS

CECP February 21, 2019

@NYCulture | #CultureForAll

@NYCulture | #CultureForAll

Survey Findings: Seniority

SURVEY FINDINGS: SENIORITY

As organizations grow in budget size, they become decreasingly diverse.

Budget totals and percentage white non-Hispanic

• Equity, Diversity and Inclusion are three different

things

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

15

Diversity

• Focus is on variety
• The point of intervention is the individual
• The methodology is often human resources, hiring
• These practices maintain inequitable structures,

while helping some individuals

• These practices can lead to tokenism

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

16

Inclusion

• Listening and including diverse voices in decision-

making processes

• Management and governance
• Like diversity, leaves racialized structures intact
• Can lead to minor-scale power and agency for

individuals

• Not designed for major-scale power and agency for

peoples or communities

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

17

Equity

• The focus is on resources and power for

communities (as defined by geography or identity or both)

• Requires systemic changes that redress historic

subjugation to create and increase self- determination by those affected

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

18

Philanthropic Racial Equity:

• Racial equity in philanthropy is the investment
• f social and financial resources in policies,

practices, and actions that produce equitable access, power, and outcomes for African, Latinx, Arab, Asian, Native-American (ALAANA) communities/communities of color.

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

19

Social Impact of the Arts study

• The presence of cultural assets, such as arts organizations,

artists, art participants, is positively correlated with improved outcomes in:

• Health
• Education
• Safety
• This correlation was higher in low-income

communities/communities of color

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

20

21

Arts Funding in the Context of Race

• Arts foundations and nonprofit leaders are increasingly

aware of diversity, equity and inclusion issues in the nonprofit sector.

• Despite this, 2% of all cultural institutions receive nearly 60%
• f foundation giving in the arts, up 5% from a decade ago.
• In a country where 33% of residents are people of color, just

4% of cultural philanthropy goes to organizations of color.

* Source: “Not Just Money: Equity Issues in Arts Philanthropy”, Helicon Collaborative, 2017

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

Arts Funding in the Context of Race

• The largest predominantly white nonprofit theatre

companies in America have budgets between $50- $60 million.

• The largest predominantly African-American theatre

company has a budget of $3.5 million.

• Largest predominantly Latino company: $2.5

million.

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

23

Root Causes

• We have copied the practices of high-net-worth individual

donors.

• Leverage favors organizations who have wealthy individuals

in their networks.

• This rewarded institutions in their moneyed networks,

instead of organizations in low-income communities.

• This practice remains enshrined in giving practices of

foundations and government agencies.

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

24

Arts poli licy shapes racia ial outcomes:

Ford Foundation Expansion Arts National Endowment for the Arts

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

26

Race in Arts & Culture Codes Code Plain English Possible Responses I'm concerned about the quality

• f the work.

I'm concerned that the work is not Western Euopean, European- American, white. Different cultures have different standards of quality. We could ask members of that culture whether it's quality work. Mainstream artist/organization. Western Euopean, European- American, white artist/organization. Calling European American or white organizations and art, "mainstream" implies that European Americans or whites are the norm against which

• ther cultures should be compared. What if we just call them Western

Euopean, European-American, white? A general/mainstream audience. A majority white audience. Calling European American or white audiences, "mainstream" implies that European Americans or whites are the norm against which other cultures should be compared. What if we just call them Western Euopean, European-American, white? Culturally-specific

• rganization/artist.

Organization of color, artists of color. All cultures are specific, including Western Europe, and Western European-

• American. Organizations of color are being explicit about their cultures.

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

Str Strategies for

• r In

Intervention – Bon

• nfils-Stan

anton Fou

• undation

27

Strategies for Intervention – Bonfils-Stanton Foundation

• Broadened their pool of nominators - entirely opened up the

nominating process

• Rotated the selection panel members and ensured a higher

proportion of poc individuals on the selection panel

• Have become more embracing of leaders of smaller organizations

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

28

Strategies for Intervention – Bonfils-Stanton Foundation

• POC grantees in their leadership-development program have gone

from 20% to an average of 50% over past 5 years

• Over the past 5 years the percentage of Bonfils-Stanton’s dollars

going to organizations of color from 2.4% to 13.1%

• Bonfils-Stanton’s Board of Trustees has gone from never having a POC

individual on the board to now having 3 out of 9 board members

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

29

Advice from Bonfils-Stanton Foundation:

• Take a broad view of organizations
• Try to build strong, honest relationship with grantees
• Give multi-year general operating support
• Provide risk capital to support both artistic risk and

administrative/operating risks

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

30

GIA IA: : Racial Equity in in Arts Philanthropy

Strategies for Intervention – Andrew W. Mellon Foundation & National Performance Network’s Leveraging a Network for Equity (LANE)

31

Strategies for Intervention – Andrew W. Mellon Foundation & National Performance Network’s Leveraging a Network for Equity (LANE)

• Focuses on organizations of color, and geographically isolated and/or

small- to mid-sized community groups

• A mix of convening, consultancy, and financial capital to remediate years
• f divestment
• Phase 1 (2015–16) involved diagnostics, education, and planning
• Phases 2 and 3 (2016–24) engage cohorts of 6 organizations each in a

process of convening together and designing individual road maps for sustainability

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

32

Strategies for Intervention – Andrew W. Mellon Foundation & National Performance Network’s Leveraging a Network for Equity (LANE) Each organizational participant receives:

• up to $100,000 in recovery capital
• up to $500,000 in change/risk capital
• ongoing and in-person convenings with peers
• a customized plan outlining potential shifts in their business model and

infrastructure

• continued professional development and consulting
• general operating funds

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

33

Strategies for Intervention – Andrew W. Mellon Foundation & National Performance Network’s Leveraging a Network for Equity (LANE)

By 2024, NPN’s intent, through LANE, is:

• To infuse 24 of the most vulnerable members of its network with up

to $15M in total capital

• To develop new business models that can adapt to changing

landscapes

• To ensure cultural diversity within the network and growing

leadership in the field.

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

34

Advice – Andrew W. Mellon Foundation & National Performance Network’s Leveraging a Network for Equity (LANE)

• Individual work: how do we personally walk through the world as

antiracists?

• Question the norms and hidden biases in your life and work
• Get out of your field:
• Other sectors have been doing social justice work for a long time
• Engage with folks who have been doing it better and longer
• Cross-sector collaborations are essential

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

35

Strategies for Intervention: NY Community Trust’s Mosaic Network & Fund

• Provide flexible and strategic support that strengthens the
• rganizational capacity of organizations of color in New York

City

• Increase overall philanthropic support for NYC arts groups of

color by facilitating funder commitments to new grantees

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

36

Strategies for Intervention: NY Community Trust’s Mosaic Network & Fund

• Create a learning community of arts funders and practitioners

who are dedicated to helping arts organizations of color to thrive

• Advocate for more equitable policies and practices for cultural

workers of color

• Shift the narrative around arts groups of color and racial equity

in the arts

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

37

Strategies for Intervention: NY Community Trust’s Mosaic Network & Fund

• In 2019, the Fund will host a series of learning exchanges to

connect funders with arts practitioners of color and facilitate mutual learning and community building

• After, it will launch a program to provide multi-year flexible

grants alongside other strategies to enhance arts groups of color in New York City

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

38

• Altman Foundation
• Bloomberg Philanthropies
• Nathan Cummings Foundation
• Deutsche Bank Americas

Foundation

• Doris Duke Charitable Foundation
• Doris Duke Foundation for Islamic

Art

• Ford Foundation
• Grantmakers in the Arts
• Howard Gilman Foundation
• Mertz Gilmore Foundation
• Andrew W. Mellon Foundation
• The New York Community Trust
• Stavros Niarchos Foundation
• Surdna Foundation

GIA IA: Racial Equity in in Arts Philanthropy

Strategies for Intervention: NY Community Trust’s Mosaic Network & Fund

39

Closing

• Are you supporting organizations led by the people you hope to

serve?

• If so, please share information on those organizations with your

colleagues

• If not, please ask your colleagues about who they support

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

40

Resources: GIA’s Statement on Racial Equity and resource page: https://www.giarts.org/category/arts-funding/racial-equity Not Just Money by Helicon Collaborative: http://heliconcollab.net/our_work/not-just-money/ University of Pennsylvania’s Social Impact of the Arts: https://repository.upenn.edu/siap_culture_nyc/

GIA IA: Racia ial Equit ity in in Arts Phil ilanthropy

41

FUTURE FOCUS

Building D&I Knowledge and Understanding within the Company; Essential to be able to Take Appropriate Actions and Measure Progress

• What methods have been effective at your

company?

• What are the challenges?

Link D&I and CSE – Establish Closer Coordination, Finding Common Ground/Benefits, Understanding, Shared Goals

• What methods have been effective at your

company?

• What are the challenges?

Engage with Employee Resource Groups (ERGs)

• What is the current state, effectiveness?
• How do ERGs relate to your company’s CSE?
• Opportunities to empower ERGs with ability

to influence/direct grantmaking?

Assess Current Grantmaking Practices and Policies

• What is current level of integration with D&I

factors (outreach parameters, decision criteria, internal grantee policies)?

• Opportunities for greater alignment with D&I

goals and objectives?

NEXT STEPS/PLANNING FOR MEETING #3