Elizabeth Reitz Mullenix is the Dean of the College of Creative Arts and a professor of theater at Miami University in Ohio, where she teaches courses in world stages and American theater. As a theater historian, Mullenix writes about Antebellum culture/theater, cross-dressing, the American Civil War, first wave feminism, and gender/feminist theory. “I think theater has always been a great way to promote social change because it has the power to educate, raise consciousness, and emotionally impact audiences. The intimacy created by live theater affects people—audiences experience stories shared in real time by real people, stories about oppression and prejudice and how the world needs to change. Good theater can make people care and make them think.”

Located in Camden, New Jersey, Camden FireWorks is a Black-led, community-based arts organization that works to grow, gather, and invest in artists and artists-to-be in the Camden community. Executive Director Asiyah Kurtz is an applied anthropologist with 20 years of experience in leadership of private, nonprofit, and public sectors. “As a young arts organization, we had previously only relied on volunteers to teach our open studio workshops for our first five years of operations. With the support of our Board, one of the changes I made this year was to pay a meaningful wage to teaching artists for their time, labor, and talent. If I have anything to do with it, there will be no starving artists in Camden.” 

It is important for cultural leaders and individual artists to know the work of organizations elevating Native artists. This is of special urgency given the current challenges faced by local and regional arts agencies: Leaders in the cultural sector simply must have a broader understanding of social and economic justice issues. As our field does more to support civic engagement and informed public dialogue about these key issues, local arts leaders have the opportunity to assume leadership roles on the complex challenges in our communities—promoting equity, addressing the climate and other issues, and promoting civic literacy about the issues we face. As arts administrators and managers, it is not enough to be informed about the issues—we need to know how to communicate effectively with broader, more diverse publics that we serve. Local arts agency leaders must understand these issues on ever deeper levels as they develop meaningful competitive grant review processes and find effective ways for arts organizations to take central roles in public discourse. 

The Native Arts and Cultures Foundation (NACF) is the only national philanthropic organization focused exclusively on Native arts and cultures with a deep commitment to supporting Native artists in a spirit of advancing equity and cultural knowledge for American Indian, Native Hawaiian, and Alaska Native communities. NACF is especially active in supporting artists responding to economic justice and environment issues. Its SHIFT – Transformative Change and Indigenous Arts program gives artists opportunities to work with communities to examine complex issues from a Native perspective, while LIFT – Early Career Support for Native Artists encourages artists to develop projects that advance positive social change at the community level. And through Mentor Artist Fellowships, emphasis is put on opportunities for contemporary Native artists working both in traditional and contemporary practice to deepen their connections to the artistic traditions and heritages of their tribal communities.

Founded in 2008, with start-up funding of $10 million from the Ford Foundation, NACF supports Indigenous artists, culture bearers, and Native-led arts organizations through fellowships and project funding. Betsy Theobald Richards (Cherokee), who served as Ford’s Program Officer in Media, Arts, and Culture from 2003 to 2010, provided key leadership in establishing NACF. Other Native leaders and artists were involved from the get-go: the civil rights lawyer Walter Echo-Hawk (Pawnee), poet and musician Joy Harjo (Muscokee-Creek), museum director and artist Elizabeth Woody (Yakama Nation Wasco descent and Citizen of Confederated Tribes of Warm Springs), and singer, artist, and educator Buffy Sainte-Marie (Cree First Nation of Canada), among others. It’s powerful to have such dynamic and creative national and community-based leaders setting the stage for NACF’s work. The organization is currently in the early stages of developing a major cultural facility and new headquarters: the Center for Native Arts and Cultures in southeast Portland, Oregon, with a vision to create a “vibrant gathering place” for Indigenous artists as a convening ground for cultural ceremonies and celebrations; as an incubator for Native artists to create; and as a venue for presenting contemporary exhibitions and performances, workshops, and seminars.

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.”