5 Changes for the Future of the Theatre

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Anyone in the theatre world who has been paying attention to social media over the past two weeks will have seen the outpouring of information related to the treatment and experiences of BIPOC folx in the theatre.

*Note: BIPOC (pronounced like “buy-pock”) stands for Black, Indigenous, and People of Color.

There is no question that - despite theatre’s tendency toward liberal ideals and actions - the theatre as an institution in America is heavily steeped in a hierarchy built to keep white folx (especially white men) in the positions of power and authority.

So, with our industry currently on pause due to a pandemic and the Black Lives Matter movement gaining steam and voice, theatre is finding itself at a crossroads.

We know it should change and needs to change, but will it? And how?

 

5 Major Changes

Howlround has been doing an excellent job of amplifying BIPOC voices for a long time, but they have doubled down on their efforts recently.

I’ve read some fantastic essays and articles written by BIPOC folx about the important structural changes the theatre is going to need to make in order to become the safe, equitable, and decolonized space that it has often claimed to be and should always have been.

Here are 5 major change takeaways from these articles, with links to the pieces they came from down below.

 

1. Dismantle the Hierarchy

Hierarchal power structures are meant to keep the people at the top in power. Their voices and opinions matter the most, always.

Due to the American theatre’s history of being established and led by wealthy white men - aka the only ones who could afford the land to build spaces - theatre across the country and at all levels has adopted this hierarchal structure that was meant to benefit this one demographic: Wealthy, white, land-owning men.

Whether or not a theatre currently has a white man at the top (whether that means Artistic Director, Producer, Director, etc.) this system is not built to amplify the voices of everyone, but the voice of one. And that one tends to listen to, enjoy, and hire other voices that sound the same.

Is there a direct solution alternative? Not yet. We haven’t yet dismantled the structure enough to truly try out alternatives. But there are certainly other options being explored, including the idea of Shared Leadership.

No matter what, this is a power structure that needs to not only be rethought, but to be dismantled altogether if we are going to have any hope of amplifying the voices and experiences of BIPOC folx in the theatre.

2. Be Anti-Microaggression

As a cis white man, I do not have the experiences to pick up on the insane multitude of daily microaggressions felt by BIPOC folx. I have certainly noticed some and have often not spoken up, which makes me part of the problem. I need to do better.

Microaggressions are: “brief and common daily verbal, behavioral, and environmental communications, whether intentional or unintentional, that transmit hostile, derogatory, or negative messages to a target person because they belong to a stigmatized group.”

White folx - I want you to pay particular attention to the part of the definition that says “whether intentional or unintentional”.

Microaggressions can range from the smallest of things - an extra beat of hesitation before answering a question - to much more readily noticeable acts, like crossing the street when you see BIPOC folx walking toward you.

Why are these so important to eradicate?

Every microaggression is linked to trauma, whether it triggers a previous trauma or creates a new one.

Allow me to repeat that - Every microaggression is linked to trauma.

That means each time someone purposely or inadvertently microaggresses toward another human, they are causing that human trauma. And according to all the stories I’ve been reading by BIPOC folx in the theatre, these are common and daily occurrences.

We need to not only be aware of microaggressions, but we need to be actively anti-microaggression. They are unacceptable. We need to call them out and stop them from being allowed as a part of our theatrical culture, immediately.

3. No More “Saving”

Bringing our white stories and white theatre history into “developing,” “at-risk,” or “under-serviced” communities is not saving anyone.

Sorry not sorry.

Bringing educational practices and exposure to theatre into communities where it does not exist is certainly well-intentioned, but it perpetuates the notion of the “White Savior” bringing their knowledge and ideas to “save” or “improve” the lives of BIPOC folx.

It’s an idea founded upon the same principles as Colonization.

It is basically saying: “I am here to invade your space because you do not have and know what I have and know, and therefore I bring you enlightenment far more important than anything you have to offer.”

This is not a good practice and we need to stop, like yesterday.

4. Stop Erasing Native Culture

We are all on Native land.

Every single one of us. Every building. Every institution.

Every bit of America is built upon Indigenous lands that were stolen, which contain the bodies of the Indigenous people who were enslaved or killed because they were in the way of colonialism.

We cannot keep erasing this fact. Theatre needs to recognize the land on which is built, create relationships with the local Native American communities, and begin representing their lives and experiences on the stage.

Theatre could have been a voice for Indigenous folx this entire time, and I’m particularly ashamed that until this was pointed out to me, it never even crossed my mind.

We have to do better.

5. Decenter Ourselves

White voices are always in the center, particularly white male voices.

When we find ourselves talking too much, over-valuing our opinions, shutting out the other voices in the room, or being attracted to only other voices that sound like our own - this is centering ourselves.

We must instead:

  1. Check our biases

  2. Listen better

  3. Step out of the center

  4. Find ways to amplify the least heard voices

  5. Fight systemic silencing of BIPOC narratives

And this cannot be done only in the interest of gaining further funding through “equity, diversity, and inclusion” programs and grants. This needs to be real work.

Our voices have had the center, always. It’s far past time we give up the microphone to everyone else.

 

And Plenty More

This is just a small sampling of the material I’ve read over the past two weeks, and there are so many more changes that need to be made. Here are links to the articles whose ideas are represented in today’s post:

We must all keep learning and improving for the betterment of our industry and for the lives, voices, and experiences of BIPOC folx.

Cheers, everyone.