On May 16, 2021, the New Jersey Performing Arts Center (NJPAC) sponsored an important virtual panel discussion about the epidemic of hate crimes against Asian Americans and Pacific Islanders (AAPI) and the need for allyship. The program was another installment of NJPAC’s Standing in Solidarity, a series of initiatives and events promoting racial equality and social justice. The series was launched in June of 2020 in the wake of the murder of George Floyd to offer greater understanding of current racial disparities, as well as offer a forum for learning about the actions all citizens can take to advance the causes of equality and justice. NJPAC’s Social Justice Planning Task Force recognized that the resurgence of anti-AAPI violence was a critical issue to discuss and there was a dire need to help the broader community understand how they can become allies in the fight against this surging injustice. The panel was convened just as the results of a survey conducted by a new nonprofit found that 80 percent of Asian Americans “don’t feel respected and say they are discriminated against by their fellow Americans.”

Since the late 1970s, the Salt Lake City Arts Council has promoted, presented, and supported artists, arts organizations, and arts activities to further the development of the arts community and to benefit the public by expanding awareness, access, and participation. As director of the Arts Council, Felicia Baca acts as the chief arts and culture advocate for the city and oversees the development, promotion, implementation, support, and strengthening of creative programs and policy. “I’m an advocate, ambassador, and relationship-builder to elevate artists and art organizations in the city, while facilitating opportunities for residents to engage in the arts. My hope is to further the development of an arts ecosystem citywide that considers artists and arts engagement as essential for livability, equity, and economic development. Our Arts Council has a variety of functions, including granting, public art, and public programs. It all ties back to serving as an advocate for artists, and engaging residents in the many benefits of the arts.”

Following the strong, public statements of solidarity with Black Lives Matter that cultural institutions across the country made in Summer 2020, museums, artist-endowed foundations, and other arts organizations began to look inward, identifying all the ways their commitment to diversity, equity, inclusion, and access can be lived in their day-to-day activities. This has prompted endowed cultural organizations to seriously evaluate whether their investment decisions reflect their values, and to begin the journey to align their money with mission and purpose. Such a reflection is a natural outgrowth of recent debates over accepting donations earned through the sale of opioids, fossil fuels, weapons, and the operation of private prisons. It also recognizes that Next Generation art donors and foundations that fund the arts—many of whom are impact investors themselves—are beginning to evaluate an arts organization’s investments alongside its programs and policies when deciding where to give. America’s museums, libraries, art schools, performing art centers, and other cultural institutions steward more than $58 billion in financial assets through their endowments. This means investment policies and practices offer a meaningful way for cultural institutions to signal their values of diversity, equity, inclusion and access.

Since 2016, Jeremy Johnson has been executive director of Newark Arts, one of the city’s leading nonprofits. The organization makes grants to neighborhood arts programs, produces the award-winning Newark Arts Festival, and advocates for policies to uplift Newark as a city of the arts. During his tenure, Newark Arts has strengthened the city's cultural profile, including the 2020 ranking of Newark among America's Top 10 Arts-Vibrant Communities by the National Center for Arts Research. Johnson led the creation of Newark’s first community cultural plan, Newark Creates, which resulted in the city-sponsored Creative Catalyst Fund to support area artists impacted by the COVID-19 pandemic.

Civic leaders are recognizing more and more that the impact of the arts goes beyond cultural and aesthetic enhancements. The hope is that civic engagement—artists working on location in studios, museums, galleries, music, and dance performances—will attract people, and their economic infusion will foster the development of neglected downtown areas. Public art is now trending as reparations for African Americans and women. In this watershed moment—spurred by the massive uprisings and protests in response to the killings of George Floyd, Breonna Taylor, Ahmaud Arbery, Tony McDade, and too many others—we understand that bridging the deep racial and ideological chasms for environmental justice will require creative solutions and funding. I want to be counted as a catalyst to meet this moment as I continue to advocate for my public art practice by creating awareness to deepen the knowledge of the people of color’s struggle for equity. “How do we get more women and people of color into the public-art arena?” Time magazine asked me, last year. I retorted, “It’s not going to be easy!” It’s not. Of the 5,000-some-odd representational-figurative public artworks in the United States, less than five percent have been created by women; and fewer than that have been created by Black people. 

The Arts & Science Council (ASC), the local arts agency for Charlotte-Mecklenburg in North Carolina, for nearly 60 years engaged in practices that led to inequitable funding to organizations and creative individuals. In June 2019, ASC’s Board of Directors approved a Cultural Equity statement. It creates a framework to set organizational policies and practices and offers external visibility for the organization’s commitment to cultural equity. It also guides ASC’s decision to cap operating support grants for large institutions to fund small and mid-sized organizations so they can build their capacity and thrive. The board agreed that if it is committed to doing this work, ASC must report to the community on its progress. The report was not done in a vacuum. Experts in the history, equity, cultural transformation, philanthropy, and public relations space served as external readers. Their feedback was valuable. When the report was published on February 24, 2021, it felt liberating. While I knew the facts in the report were startling, I never thought I would experience so intimately the uncomfortableness, the defensiveness, and the scaredness of white people reacting to the unvarnished truth.