Diversity in action

Since 1986, Talawa Theatre Company has platformed and championed artists of African and Caribbean heritage and diaspora. As well as actors, our pipeline for industry talent encompasses writers, directors, lighting designers, stage managers, sound designers, composers and producers.

As we approach our 40^th year, we look forward to celebrating this rich history of talent, welcoming audiences and supporting sector organisations through our Unconscious Bias, Anti-Racism and Diversity (UBARD) training programme. 

Reflecting on the current landscape of Equality, Diversity and Inclusion (EDI) in the arts sector, there have been a number of positive shifts over the last decade. Arts Council England’s (ACE) report on EDI, covering the last ten years, features positive trends. But, in contrast, ACE’s 2022/23 annual report registered a decrease in Global Majority staff.

Part of our language

A core investment principle in the Let’s Create strategy is the need to diversify the cultural sector. Since 2012, Creative Access has provided access to jobs and career-long support in the creative industries for people from under-represented communities.

Artistic Directors of the Future, founded by Simeilia Hodge Dalloway, has delivered bespoke development programmes, generated access to positions of authority, and cultivated opportunities for aspiring artistic leaders. The Anti-Racism Tourism Rider, released in 2021, established the baseline of expectations between companies, venues and artists on a touring production.

And within the timescale of our tenures, we’ve seen the appointment of Global Majority artistic directors and chief executives, and an increase in Global Majority artists being cast in productions. And.. we talk more about diversity now than we did ten years ago – it’s become part of our language.  

A programme that speaks to overt and covert racism

UBARD training re-launched in November this year, following a full redesign. To note, the training is named Unconscious Bias, Anti-Racism and Diversity training purposefully to be explicit about its proactive nature. An immense amount of thought, energy and consideration has gone into what is most needed for a programme that speaks to both overt and covert racism in the UK in 2024. 

Diversity doesn’t only feature in language but in the action and operations of what we do, who we appoint as our new leaders, how we programme our work, how we invest in people, ideas and the future of the arts sector. It even asks who are the key deciders and influencers for fundamental issues such as funding.

UBARD training is our positive contribution, providing arts organisations with practical frameworks to support institutional change. EDI considerations involve much more than the visibility of a Black actor, for example. Although that is progress, there is still a long way to go.  

The arts are often perceived as a liberal and inclusive space yet, earlier this year, a Black actor in a lead stage role faced an onslaught of racism. This coincided with the physical threat of racist violence impacting communities of the Global Majority across the UK.

Where is the industry support?

The fact that performers can endure racist abuse while fulfilling their roles raises serious questions about industry-wide support, highlighting that the problems are not just external, but are present within the sector. 

In response, Global Majority-led arts organisations – including Talawa Theatre Company, Tara Theatre, Tamasha Theatre Company, New Earth Theatre, Tiatza Fhodzi and Beyond Face – came together to release a collective statement addressing the race riots. Additionally, they organised a series of well-being sessions for Global Majority artists, providing much-needed support and fostering connection during a time of crisis. 

This response highlights the often unseen and undervalued labour these organisations undertake to support marginalised communities ensuring their safety, well-being, and sense of belonging. Despite a positive shift in the industry around EDI, it is imperative to view the sector as a microcosm of society. The arts are not a separate entity; societal problems affect us too. We explore important real-world topics on stage, so shouldn’t we be having these conversations in our organisations too?

Creating an inclusive environment

At Talawa, we know the importance of rehearsal, which is why our UBARD training is designed to hold space for both practical action and practicing action.EDI needs to be embedded in organisational practice to have a positive impact on decision making, recruitment, programming and audiences.

We know diversity is a benefit to organisations and those with a diverse workforce are 35% more likely to experience greater financial returns than those with less to little diversity.

So it’s essential to create an inclusive environment in the workplace: to support the well-being of individuals and promote lasting change. If the question is ‘What now?’, then in 2025 and beyond there is no room for fear or for perceiving diversity as a risk. We shouldn’t be afraid of the richness that comes from difference.

Sector interest in EDI spikes during world events, such as the Black Lives Matter movement. We hope to see a sector-wide approach from the reactive to the proactive when planning and investing in inclusive infrastructures.

We encourage opening up a dialogue with the communities you want to reach and listening to them – what are their concerns, what are their needs? Reflect on decision making, evaluate priorities.

While we don’t claim to have all the answers, as society evolves the sector changes, and the language shifts. We do know it’s important to keep the conversation going. If we change nothing, then nothing changes.