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Vancouver Fringe Festival Equity, Diversity, Inclusion (EDI) Audit
Final Report
January 2018
─
Anoushka Ratnarajah
Gavin Kade Somers
lee williams boudakian
www.shapeshiftarts.com
Final Report_Fringe_2 of 49
Table of Contents:
I. Introduction 4
Overview 4
Background 4
How Our Work Took Shape: 4
II. Planning 6
Equity, Diversity, Inclusion; A Framework 6
Definition of Terms 7
Our Positionality 8
III. Internal Audit: 9
Overview 9
Core Questions 9
Potential Confounds 9
A. Questionnaire 10
Method 10
Selected Sample of Findings 10
Analysis of Findings 10
B. Interviews 11
Method 11
Themes 11
Analysis 13
IV. External Audit 16
Overview 16
Core Questions 16
Diversity Lottery 16
Potential Confounds 16
A. Focus Groups 17
Method 17
Themes 18
Needs Participants Identified 19
Specific Recommendations from Participants: 20
Analysis of Focus Groups 20
Analysis of Diversity Lottery 21
B. Artist Forum 22
Method 22
Themes 22
Analysis of Diversity Lottery Question 23
V. Recommendations 23
Organization (Internally) 23
Outreach and Support 28
Diversity Lottery 29
EDI Phased Approach 29
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VII. Appendix 31
Links 31
Glossary of Terms 32
Calls For Participation 35
Interview Questions 35
Questionnaire 41
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I. Introduction
Overview
Background
The Vancouver Fringe Festival was founded in 1985 with a mandate of “Theatre for
Everyone.” The use of a first-come first served artist selection process was intended to
favour artists who may not have the opportunity to participate in the theatre practice of the
establishment. Over 30 years later, the Vancouver Fringe are aware that they may be in
danger of cultivating a “Fringe establishment.” Although Fringe has maintained a non-
curated, non-adjudicated, selection process process, modes of communication, production
and presentation have resulted in a festival where the majority of artists are white and come
from euro-centric theatre traditions. On order to understand this lack of diversity more
deeply, The Vancouver Fringe Festival began working with ShapeShift Arts to conduct a
diversity audit.
The following priority areas were identified at the outset of this work:
● Current levels of “inclusivity literacy” of staff and board members
● Current perceptions of the Fringe from underrepresented artists
● Current perceptions of Fringe from artists past and present
● Barriers to festival participation for underrepresented communities
The core aims, as we understood them, were to gain a more comprehensive analysis
regarding the lack of diversity within the festival and the factors (both internal and external)
contributing to these realities.
How Our Work Took Shape:
Based on initial meetings and consultation, we developed a plan for our work, which took
place over a period of six months and involved the following phases:
1. Planning (May-June)
2. Internal Audit (June-July)
3. External Audit (July-September)
4. Data Analysis & Recommendations (August-November)
5. Staff & Board Training (October)
6. Findings Session (November)
7. Final Report (November-December)
Consulting Team
Anoushka Ratnarajah is a queer, mixed race femme and artist and organizer based in
Vancouver. Her arts based and anti-oppression work is rooted in her intersectional identities
and experiences as a queer woman of colour and settler on unceded Coast Salish
Territories. Her facilitation practice engages with many social, political and cultural issues,
Final Report_Fringe_5 of 49
through a critical intersectional lens interrogating race, gender, sexuality, colonialism and
class. She is invested in supporting work that shines a light on histories and contemporary
stories that are underrepresented. She has worked as an organizer on grassroots and
institutional levels for the past ten years, both in supportive and leadership roles. She
supports, collaborates and creates with artists and communities who experience
marginalization, around and into ideas of community, belonging, and identity. As a mixed
race person from settler/immigrant histories, she works from a place of unlearning and re-
learning the complex histories that dictate the ways in which we move through the world.
Gavin Kade is a white trans genderqueer writer, musician and [gender] activist. Fusing
passions of collaborative art making with mixed media and social justice, Gavin aims to
connect with people to create space for self-expression, exploration and growth. As a
facilitator, Gavin brings people together through workshops using a combination of
experiential activities, arts and media to create space for dialogue around personal
experience and systemic violence. Gavin aims to address the impact of marginalized
identities through an intersectional lens and has extensive training and lived experience
unpacking complex issues around gender, sex, and sexual identity.
lee williams boudakian (uses they, them, theirs pronouns) is an interdisciplinary artist, writer,
producer, facilitator, and consultant based in Vancouver, unceded Coast Salish territories.
lee’s work emerges from their experiences as a queer, trans, mixed race settler born into an
immigrant family. Their creative and facilitation work is critical and necessarily intersectional,
examining ancestry, race, culture, gender, sexuality, (im)migration, mental wellness, ability,
class and the impacts/implications of colonization and systemic violence. As of 2015, lee has
been working under ShapeShift Arts and Kalik. Both of these projects house their creative
collaborations and represent models for how they are currently building an arts, education,
and consultation practice.
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II. Planning
Equity, Diversity, Inclusion; A Framework
“Diversity, equity, and inclusion are interrelated though distinct concepts, which often
get conflated or confused in discussions and action… Diversity and inclusion focus,
respectively, on people and processes; equity is about impact. Efforts to realize DEI
can create synergy, but each requires specific attention. It is possible for an
organization to be committed to diversity but not inclusion, or to diversity and
inclusion without taking the larger step toward equity.”
-- D5 Coalition
Prior to delving into the audit, we took care to consider a framework for undertaking this
work. Over the last handful of years, the arts sectors as a whole, and the theatre community
of Vancouver, in particular, has been specifically called on by artists and community to
examine issues of representation and the lack of diversity and inclusion within performance
practices1. In direct response, we now see organizations taking important steps to address
Diversity and Inclusion, including the Vancouver Fringe Festival.
A call for more Diversity reflects the need for greater representation of people across a wide
spectrum of lived experiences and realities, including race, ethnicity, gender, sexuality,
ability, class, migration and more. Inclusion, on the other hand, is about the ability for all
involved people to authentically participate and engage at every level of the organization
from leadership to audience. Hence, Diversity and Inclusion are important elements that
require attention in order to change the nature of representation in the arts.
For the purpose of our work, however, we understand Diversity and Inclusion as two parts of
a larger effort that must necessarily also include and forefront Equity in its framework. Equity
focuses on strategy, policy and procedure, personnel, and a clear analysis. It places the
emphasis on the organizations seeking to enhance Diversity and Inclusion and holds to
account the various ways organizations operate. An Equity framework is one that
understands different communities will have different needs, and therefore orients its
strategies and efforts to appropriately meet each of the communities it strives to
reach/represent/include. It underscores that the issues don’t exclusively lie external to the
organization and cannot be fixed solely by making additional spaces available, but rather
highlights that the necessary changes will take time, relationship building, and require the
development of a comprehensive internal analysis in order for the desired outcomes to
become possible.
It is significant to note that a good deal of precedence for Equity, Diversity, and Inclusion
(EDI) work exists at the level of larger scale institutions, organizations and bureaucracies,
including institutions for higher learning (colleges and universities), medical establishments,
and governments (municipal, provincial, federal). However, arts and culture is populated with
many smaller non-profit organizations who are often challenged at the level of daily
operations to such an extent that undertaking Equity, Diversity, and Inclusion efforts often
feel beyond reach.
1 There have been numerous examples, to cite one example, ReaCT’s letter to the Jessie’s:
https://www.straight.com/arts/495941/ad-hoc-group-sparks-discussion-racial-representation-vancouvers-stage-scene-letter
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During our work with Vancouver Fringe Festival, we researched a range of EDI audit,
training, and organizational frameworks, developing tailored materials to offer a reasonable
analysis and series of recommendations. Our aim in this work is not only to survey the
particular situation of/for the Vancouver Fringe Festival, but to create a framework for EDI
and a model of inquiry that can be useful for many arts organizations, practitioners, and
festivals.
Definition of Terms
Equity
Equity means justice, and focuses on outcomes that are most appropriate for a given group,
recognizing different challenges, needs, and histories. It is distinct from diversity, which can
simply mean variety (the presence of individuals with various identities). It is also not
equality, or “same treatment,” which doesn’t take differing needs or disparate outcomes into
account. Systemic equity involves a robust system and dynamic process consciously
designed to create, support and sustain social justice. (Race Forward)
Strategies that advance equity require an analysis of the historical and, in many cases
persistent (systemic) factors that create unequal conditions and thus unequal opportunity for
certain groups of people. The pursuit of equity recognizes and accounts for the complex
interaction between the dynamics of identity, socio-economic forces, and policy and practice
that operate in any given environment and context. (D5 Coalition)
Diversity
There are many kinds of diversity, based on race, gender, sexual orientation, class, age,
country of origin, education, religion, geography, physical, or cognitive abilities. Valuing
diversity means recognizing differences between people, acknowledging that these
differences are a valued asset, and striving for diverse representation as a critical step
towards equity. (Race Forward)
Diversity may or may not be linked to the issue of equity. A diverse workplace is not
necessarily an equitable workplace. Nor does the presence of people who are diverse
necessarily produce decision-making that optimizes results for the groups their diversity
reflects. A foundation that focuses only on diversity cannot presume that it has equity as a
goal. For these reasons, diversity and equity are conceptually separate. The more the term
diversity is used to refer to any feature of an individual’s being or choices, the more likely it is
to be uncoupled definitionally from issues and structures that produce and maintain power
differentials. (D5 Coalition)
Inclusion
Being included within a group or structure. More than simply diversity and quantitative
representation, inclusion involves authentic and empowered participation, with a true sense
of belonging and full access to opportunities. (Race Forward)
It is the ability of diverse peoples to raise their perspectives authentically and for those
voices to matter and affect decisions within majority-group settings where the organizational
culture has been enabled for that to happen. It is also the initiative of majority-group
members to access non-majority voices in the latter’s own settings and through their own
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informational vehicles, so that majority-group members enlarge their understanding of issues
and relationships. (D5 Coalition)
Underrepresented Artists and Communities
Taking an intersectional approach to examining EDI means that we are paying attention to
artist representation across spectrums of race, culture, ethnicity, gender, sexuality, ability,
class, immigration status, and more. For the purpose of this report and study, we are using
the terms “Underrepresented Artists” and “Underrepresented Communities" to describe
“diverse” artists and communities currently underrepresented in the Vancouver Fringe
Festival.
We use the term underrepresented as well because it highlights the structural and systemic
power imbalances that marginalized artists have to navigate. These artists are marginalized
and experience oppression, not just in terms of representation and access to theatre and the
Fringe, but in every aspect of their lives. We chose the term underrepresented to place this
audit within a larger context and emphasize the need for marginalized artists to be
represented. Furthermore, we desired to move away from terminology of “diverse” and
“diversity,” because true representation means more than just a diverse body count, but
deeper and more nuanced stories taking centre stage.
Our Positionality
We come to this work as artists, educators and consultants living at the intersections of
many of the identities and lived experiences that are currently underrepresented at the
Vancouver Fringe. We have been transparent from the outset that our positionality will guide
our research findings, as we are not only seeking the opinions of particular communities, but
indeed, we are impacted by the very issues we are here to research. This undoubtedly leads
us to design and interpret the data through our lens of lived experiences.
While we have attempted to remain as neutral in our methodologies and analysis as
possible, we believe that neutrality is not necessarily something that benefits this work. We
see our strength as a team attributable to our experiences as marginalized artists in theatre
and the arts in Vancouver.
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III. Internal Audit:
Overview
The Internal Audit was created as a means to examine the internal literacy of equity,
diversity and inclusion within the Vancouver Fringe Festival. Through the audit, we explored
the shared knowledge, practices, and policies regarding EDI within the organization. The
Internal Audit took place from June to July of 2017 and involved a questionnaire, followed by
interviews with each of the Board and Staff of Vancouver Fringe at that time.
Core Questions
● What is the internal literacy of Equity, Diversity and Inclusion?
● Where is the organization currently with EDI in terms of: commitment, policy
(formal/informal), operations, programming/administrating festival, staff & board
dynamics, accountability and evaluation measures?
● How is EDI integrated into internal workings?
These questions were important in creating a foundation of understanding of the internal
perceptions, knowledge, commitment, application and evaluation of EDI within the
organization. In asking these questions, we were able to discern both qualitative data (what
staff and board perceived and felt about EDI generally, and within the organization) and
quantitative data (how many participants had a working definition of EDI, as well as practices
and policies within the organization).
Potential Confounds
In undergoing any form of research, it must be noted that there are always potential
confounds, which can obscure the results and our analysis. The following is a brief overview
of a few of the more obvious possible confounds related to our work.
● Language (what do different terms mean, are the right terms being used)
○ Some of the language we used in the questionnaire may have led to false
responses. That is to say, the answer that people gave may not in fact reflect
the truth of their understanding, but rather a misunderstanding of the
language in the questionnaire or interview questions.
● Successful at gauging Perception, not necessarily Facts
○ The findings from the questions posed by our questionnaire and interviews
were successful at gauging internal perceptions of EDI and what individuals
thought about its place within the organization, rather than establishing any
concrete or verifiable facts about whether EDI principles exist in written
internal policy, or implemented through consistent organizational practice.
The answers discovered through both methods (questionnaire and
interviews), were able to bring to light what individuals working for the
organization thought about organizational EDI definitions and practices.
○ Perception here is based on the experiences of staff and board working within
the organization, and this is important qualitative data that demonstrates the
gaps in knowledge, communication and practices around EDI.
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● Design of Questionnaire
○ We informed our approach through a combination of research, conducting a
review of other existing questionnaires, and information given to us through
initial meetings with Vancouver Fringe in order to understand the kinds of
information the organization felt they wanted answers to at the outset.
A. Questionnaire
Method
The Questionnaire was shared with all Board and Staff prior to the interviews. A sample of
the Questionnaire can be found in the Appendix.
Selected Sample of Findings
57.1% said yes, Fringe prioritizes Equity and Diversity, with 28.6% saying they don't
know and 14.3% saying no.
50% of staff and board said they don't know whether Equity Statements or
Objectives existed within the organization, with 28.6% saying yes, and 21.4% saying
no.
61.5% said yes Equity Statements exist within the organization's Mission Statement,
with 23.1% saying no, and 15.4% saying they don’t know.
64.3% said yes, Equity Objectives are included within Strategic Goals, plans and
initiatives, 35.7% said they don’t know.
78.6% said they don’t know if equity principles were included in the organization’s
operational plans, with 14.3% saying yes, and 7.1% saying no.
53.8% said no, equity objectives are not posted or available internally for staff and
board, with 30.8% saying they don’t know, and 15.4% saying yes.
53.8% said no, there are no mechanisms in place to measure equity achievements
within the organization, with 30.8% saying they don’t know, and 15.4% saying yes.
46.2% said no, equity objectives and outcomes are not explicitly assigned to anyone
in the organization, with 46.2% saying they don't know, and 7.7% saying yes.
76.9% said yes, equity objectives and outcomes should be assigned to someone
within the organization, with 23.1% saying they don't know.
53.8% said that there was no training or resources provided to staff and board
regarding EDI, with 30.8% saying yes, and 15.4% saying they don’t know.
Analysis of Findings
Strong Commitment to Diversity and Inclusion; Uncertain commitment to Equity
● The findings revealed that individuals have a strong expressed commitment to
improving the implementation and practice of Diversity and Inclusion.
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● However, there is an uncertain commitment to Equity, especially given that some
individuals do not necessarily have a working definition of Equity, and often confuse
or conflate Equity with/for Diversity and Inclusion.
Inconsistent Working definitions for EDI exist
● Staff and board have some working definitions of EDI, but are aware of significant
knowledge gaps, and consistently expressed desire for more training, resources and
support to fill in those gaps.
● Some staff and board mixed up terms and definitions; for instance, some definitions
of equity were more suited to a definition or practice of inclusion, or diversity, or visa
versa.
Conflicting Perceptions of EDI Policies and Practices
● The data brought to light that staff and board have conflicting perceptions of whether
the organization currently has EDI intentions or practices in place.
● These statistics illustrate the internal disparities between what is known and unknown
by staff and board regarding EDI statements, objectives, practices and
measurements within the organization. This demonstrates that if information exists, it
is not shared transparently with staff and board.
A need for documented policies and practices for EDI
● Informal and uncertain existing practices should be identified, explicitly named,
discussed, agreed upon and formalized.
B. Interviews
Method
Interviews were conducted one to one, with a member of the ShapeShift Arts team and
Vancouver Fringe staff or board member. Interviews were roughly one hour long. Each
person interviewed was asked a series of predetermined questions. These interviews were
designed as an opportunity to collect more qualitative data exploring themes concerning EDI
within the organization.
Themes
Lack of continuity building relationships
● Executive Director was identified as the key relationship holder for the organization,
leaving the responsibility and history of relationships with one person in the
organization, and creating difficulty in terms of the sustainability and continuity of
those relationships.
● Temporary and seasonal staff with existing relationships have historically offered
support in building relationships with underrepresented communities. However, there
has been a repeated difficulty in maintaining those relationships once temporary or
seasonal staff leave the organization.
Final Report_Fringe_12 of 49
Dependent on seasonal hiring to add to diversity in the staff
● Several interviewees mentioned the hiring of seasonal staff (and festival volunteers)
as a key area where diversity was created within the organization. However,
permanent staff do not reflect the same diversity.
A need for EDI training, resources and support
● All staff indicated a strong desire for more training, resources, and organizational
support concerning Equity, Diversity and Inclusion.
● There was concern shared by staff in not feeling adequately prepared to support the
needs of underrepresented artists.
● A number of staff revealed feeling an undue strain and burden to educate other staff,
particularly regarding their own lived experiences, as well as having to be
spokespeople for their communities.
A need for time to plan
● Many expressed feeling that there are a lack of clear plans concerning EDI to date,
and expressed eagerness to receive the results of this Audit in order to move into
planning.
● Strong desire among Staff and Board to participate in the strategic planning and a
need for clearly documented plans that are accessible to all personnel.
Disconnection between Board and Staff
● While very common in many non-profits, there is a noted disconnection between
Board and Staff. Many members of each commented that they don’t know very much
about the operations of the other.
● Many expressed a desire to know more about how the other operates, and to have
more opportunities to connect about the work and responsibilities that each body
oversees.
● Information is not shared between board and staff, with many feeling like they don’t
have enough information about key activities, programs, initiatives.
● Due to the nature of a volunteer Board, with time being a rare resource, the Board
was identified as resistant to full participation in EDI efforts because of the
requirements of time.
Outreach: and how to do that Outreach
● The desire to do outreach is present, but there is concern about how to initiate and
sustain new relationships given capacity of the organization and individual workloads
● Board acknowledged that key relationships were built with fundraising and other hard
skills in mind, (ie, recruitment focuses on people with desirable professional skills,
like accounting, law, etc) and that cultural, artistic or community partners (especially
those currently underrepresented in Fringe) were not as prioritized on a board level.
Final Report_Fringe_13 of 49
● Many staff and board expressed feeling that Diversity initiatives should be focused on
increasing diverse artist representation in the festival and that the answer to issues of
underrepresentation largely lie external to the organization.
Conflict Resolution
● Developing Conflict Resolution skills was something that emerged for many staff.
This was brought up not only in relation to staff dynamics but regarding working and
responding to underrepresented artists and participating in the Festival.
● Burden of dealing with conflict is placed on the marginalized or affected staff person.
● When conflict comes up unsure what to do.
Additional Challenges to EDI
● Staff and board expressed concern for their ability to devise and implement policies
and/or practices based on size of organization and current work-load
● Regardless, an expressed desire for strategy, clarity, communication, and designated
roles/responsibilities for EDI
● Discrepancy between how much information is shared and known for/between Staff
and Board; As a result: perceptions of the current landscape vary and conflict
Analysis
High levels of enthusiasm
● Desire to learn
○ The desire to learn and grow skills pertaining to EDI was reiterated in all
interviews with staff and board. There is an acknowledgement that the work is
in it’s beginning stages and that a commitment to EDI must be long term and
involve working with and learning from those who hold particular knowledge
regarding EDI. Literature, workshops and other resources were cited by staff
and board as a way to approach this learning.
● Openness and Willingness
○ Staff and board appeared to be willing and open to the challenges, learning
and work involved in committing to EDI organizationally. Even with concerns
regarding uncertainty as to where to begin and the potential increase to
personal and professional workloads, staff and board are clear that EDI can
and should be a priority for the organization.
● Lots of conversations around Diversity
○ Staff and board all expressed that conversations about EDI are increasingly
present in relation to the organization, and in theatre and the arts sector
generally. There is an understanding that EDI is becoming more of a priority
in the workplace, on stage and in audiences. Fringe board and staff see
themselves as part of a broader conversation about EDI happening between
and within arts organizations in Vancouver and Canada.
○ It should be noted that generally, conversations about EDI as related by staff
and board were focused more on Diversity and Inclusion for/of
Final Report_Fringe_14 of 49
underrepresented artists and communities, rather than an Equity framework.
This likely reflects a better understanding of Diversity and Inclusion than
Equity by staff and board.
● See Vancouver Fringe as potential leader in theatre community doing this work
○ This sentiment was repeated by some staff and board; that Fringe, with the
mandate and mission of being “theatre for everyone,” is in a prime position to
be a model for how to do this work within the theatre industry. Furthermore,
there is a desire to step into this leadership role as an organization.
A Need for Capacity-Building Through Trainings, Resources and Organizational Support
● Many people feeling like they aren’t educated enough or don’t know enough
○ Fears of saying and doing the wrong thing often prevented staff and board
from engaging in conversations or taking action in support of EDI. There was
an anxiety felt around the idea of creating further harm to a person or a
relationship, and a fear of the perception of ignorance.
○ People are at different places of awareness in regards to EDI, and there is a
challenge in getting everyone on the same page-- and a desire for everyone
to be on the same page. There is a general understanding that this work will
“never be finished” and that learning is ongoing despite differences in
experiences and knowledge.
Internal Communications
● Lack information disseminating between staff members
○ No clear communication regarding how EDI would factor into each staff
member’s responsibilities.
● Lack of information disseminating between board members
○ Board does not have a shared understanding how EDI can and should factor
into governance of the organization. If individual Board members have
particular connections to underrepresented communities/artists etc, this
information is not shared across the Board.
● Disconnect between Board and Staff
○ Want more opportunities to connect internally between staff & board. Board
and staff do not know each other, or have an understanding of who is
responsible for what within the organization. There has been a hyper reliance
on the ED to hold all of these relationships and the knowledge that comes
with them.
A Need for Longterm and Shortterm Planning
● High degree of concern about time, workload, and personnel
○ Staff shared concerns about how implementing EDI would impact their
current workloads, especially during Festival season.
○ Questions arose regarding whether EDI would shift their current
responsibilities, add to them, or if there would be the need for additional hires
to do this work.
Final Report_Fringe_15 of 49
○ There was often a question of what is achievable in the short term, and what
could be done immediately. Ideas for long term goals and vision are less
clear.
○ As a volunteer Board, there was also concern about time and energy and
investment involved in implementing EDI.
● Unclear plan, and aware that implementation will be a challenge
○ Staff and board made clear they are aware that there is currently no clear
plan to implement EDI, nor is there a process to set that plan in place.
However, there was a clear desire to create such a plan post-Audit, and all
understand that this is necessary in order to proceed with clarity and with
achievable goals in mind.
Conflicting Views and Priorities
● Believe that more diverse artists in festival is the number one priority, audience
second.
○ This sentiment was echoed throughout interviews with staff and board. There
is a core belief that diversity on the stage should be a top priority for the
organization. However, ideas for further resources, outreach and support for
marginalized or underrepresented artists are underdeveloped.
○ It will remain problematic if pressure is exclusively or heavily placed on artists
to uphold or represent EDI without efforts being made in other areas or the
organization including internal infrastructure, staffing, partnerships, outreach,
mentorship and more.
○ Currently, outreach, accessibility, programming for marginalized communities
and artists are maintained per festival season, rather than building
relationships and programming throughout the year or with long term vision.
● Contrasting views that organization is simultaneously very welcoming (for staff,
board, and participating artists); but that conflict is not well-tolerated and there are no
clear paths for resolving conflict (internally or with participating artists and
communities)
○ This conflicting information came up throughout interviews with staff and
board. Among some individuals there is a perception and experience of the
organization as being inclusive, both in the workplace and at the festival,
while for others, this perception/experience is not shared, and instead there is
a feeling of conflict avoidance, inclusive of when issues of EDI came up in the
workplace and Festival.
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IV. External Audit:
Overview
The External Audit was designed as a means to consult with communities of theatre artists
regarding their experiences, perceptions, and desired involvement with the Vancouver
Fringe Festival. As part of this process we conducted three focus groups with theatre artists
currently underrepresented within the Vancouver Fringe Festival. Following the focus groups
we held an Artists Forum for theatre artists who have participated in the Fringe Festival
(whether this year or in years past). This work took place from July to September of 2017.
Core Questions
● What are the barriers for participation?
● What are the barriers to applying?
● What do artists need in order make the Fringe a viable option for their work?
The above questions represent the core questions that our team identified. The full list of
questions asked in the focus groups are attached in the Appendix.
Questions were designed to help uncover how Fringe is perceived by artists who have not
previously participated, and how their perceptions and assumptions have impacted their
decisions to apply or not apply. Participants’ perceptions have been informed by reviewing
Fringe Festival advertising and social media, through conversations with other artists and
through comparison with experiences and perceptions of other arts festivals.
Once barriers were identified, we asked for suggestions from participants as to how Fringe
could better avail itself as a supportive platform for these underrepresented artists (ie what
kinds of support they expect in order to participate).
Diversity Lottery
Prior to beginning the External Audit, Vancouver Fringe identified that artists had previously
called into questions the role of the ”Lottery” in creating and shaping inequitable access for
underrepresented artists. As a result, Vancouver Fringe wanted to test the idea of having
priority spaces reserved for “diverse” artists that apply, seeking feedback and direction from
participants. Hence, in each of the Focus Groups and Artist Forum, a section of time was
used to address the question of the Diversity Lottery.
Potential Confounds
The following is a brief overview of a few of the more obvious possible confounds related to
the External Audit:
● Sample Selection and Size
○ Participants were selected by responding to a callout for the Focus Groups
and filling in a pre-selection survey. We worked hard to distribute the callout
widely, and through as many channels as possible. That said, the reach of
this callout will reflect the turnout; and the method of selection may have
posed barriers for participation.
Final Report_Fringe_17 of 49
○ The sample size for the Focus Groups was 30 people total (with 8-12 people
per focus group), and a total of 15 people for the Artist Forum. This is a
relatively small sampling of people and the results should not necessarily be
taken as the perspectives of all underrepresented artists, but rather a
reflection of the people that participated in these sessions.
● Structure of Focus Groups and Forum
○ In order to best use our team’s time and resources, and in order to focus in on
a few specific ideas and questions (i.e. the diversity lottery), the methods we
used involved groups of people coming together, rather than one-to-one
interviews. As a result, participants often elaborated on each other’s ideas,
rather than the singular perspective of a participant being recorded. We see
this as a strength for the kinds of dialogue that were possible.
● Variety and Diversity of Perspectives
○ Not all underrepresented artists feel or see things the same. Further there is a
great deal of difference (in terms of identity and perspective) between all
artists who participated in this study.
○ While there were commonalities between participants, it should be taken with
significant awareness that there are many different people with different lived
experiences coming together for this study.
● Perception
○ We use the word “perception” here with caution -- as “perception” can often
be used as a way to dismiss people’s experiences as erroneous (ex: “that’s
not how it really is, that’s just how you think it is”). Rather, how
underrepresented artists perceive the Fringe is a very significant step to
understanding some of the gaps between the Fringe and the communities
they seek to serve. Additionally, as artists explained in the Focus Groups, p
A. Focus Groups
Method
● Three focus groups with 8-12 participants; total sample size 30 people, including
artists of colour, d/Deaf and deaf/blind artists, queer and trans artists, artists with
disabilities (including a spectrum of physical and neurological abilities), and low
income artists.
● Conducted: August 28th, September 1st, and September 2nd
● Each focus group was asked the same set of questions
● Participants’ artistic practices included:
○ Actors
○ Playwrights
○ Producers
○ Interdisciplinary Artists & Performers
○ Musicians
○ Performing Poets
○ Expressive Arts Practitioners
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Themes
Fringe could offer great opportunity for artists
● In all focus groups, participants saw Fringe as a breakthrough opportunity for
emerging artists.
● Participants also saw the Fringe as a place to engage and grow new audiences.
● Fringe is seen as one of the more “accessible” places for emerging artists to get their
work staged. It is perceived to have fewer barriers than other theatre festivals or
companies.
Not really Theatre for Everyone
● Participants agreed that the idea of “theatre for everyone” was not how they saw or
experienced the Festival; that the proposition that the Festival can be everything to
everybody is neither true, nor possible.
● Participants said that most of the Fringe seemed to feature stories that are already
dominantly represented in theatre and other media, and remarked not having seen
shows that reflected their own lived experiences.
● Participants brought up that diverse artists need specific kinds of supports
(administrative, financial, physical access, organizational) in order to produce their
work, and that they did not perceive Fringe to have these kinds of supports in place.
Perception that the “Fringe Establishment” is an exclusive group of artists, mostly white
● Participants reflected that they perceived there to be a Fringe Establishment, of
repeat artists, most of whom seemed to be white men and/or repeat artists.
Uncertain if Fringe is for Diverse Artists
● There was a desire to participate in the Fringe, but resistance to taking the step
because of the perception that there is little support available for diverse artists
● Without the support needed for marginalized artists, fears expressed that artists
would be set up for failure.
● This failure bears an extra burden for underrepresented artists because of the burden
of representation placed upon them (ie: the idea that marginalized and
underrepresented people are held to higher standards than privileged and dominant
people-- they are expected to represent a broad cross section of people within their
perceived identity group).
Barriers of Time/Money/Resources
● Like most artists, emerging or otherwise, participants cited the struggle with time,
money and other resources when creating and producing work. However,
marginalized artists face extra barriers to these resources due to the intersections of
race, class, gender, ability, language etc. The struggle begins long before Fringe, but
would be compounded during applications, lead up and festival time.
Lack of Diverse representation in the Organization is a Barrier
● Participants brought up that seeing a lack of diverse representation within the
organization (staff) meant that they were less likely to trust that the organization was
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committed to nurturing diverse artists, since there are few people on staff who have
experiential knowledge regarding what diverse artists need.
Lack of existing networks to tap into
● Underrepresented and marginalized artists have fewer networks to tap into for
collaborators, audiences, fundraisers etc. Participants expressed desire for more
networking, mentorship and guidance opportunities in order to grow and create
networks and foster relationships between underrepresented artists and other artists
and arts professionals at the Fringe.
Needs Participants Identified
Resources, Financial Support
● Bursaries for fees
● Stipend for participating artists
○ Participants cited that the “no money guarantee” of doing a Fringe run is a
major barrier to participating.
● Focused attention and resources for Accessibility
○ Participants stated their access needs were not met by Fringe, and that
accessibility does not come off as a priority, and needs to be given more care
by the organization.
● Childcare options
○ A fair number of focus group participants are parents. The lack of childcare
for artists is a major barrier for these artists to mount a Fringe show or attend
any of the ancillary programming.
More Information
● Make it clearer how to apply (on website)
○ Many people commented on finding the website difficult to navigate.
■ Specific reasons they went to the site included: looking for application
deadline, application form, information on the festival for artists,
accessibility information, bios on the staff, bios of the board,
information on past festivals.
■ Many found the site pleasing to look at, but not necessarily clear on
how to find what they wanted, or found the site to be lacking in
important content they were looking for.
● Information sessions for first-time applicants
○ Many commented that they would like to see/attend information sessions for
first-time applicants. They recommended several of these sessions taking
place at different locations in the community (i.e. not all on Granville Island).
Mentorship Opportunities
● Many underrepresented artists discussed the lack of opportunities available to them
to develop their craft and prepare for a Fringe show.
● Core areas identified included
○ Dramaturgical support
○ Producing support
○ Networking and building community
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Events & Year-round Programming
● Fringe events (like an open mic/ like performance jam).
● Year-round programming that enables people to plug into Fringe.
○ Many folks identified a lack of connection to the Fringe and suggested that
year-round programming would offer people different entry-points to begin
building a relationship with the Fringe.
Specific Recommendations from Participants:
● Think about offering audience incentives
● Low income tickets (or sliding scale tickets)
● Outreach and partnerships with communities
● Address diversity within the mandate and mission.
● Shift to an outreach mandate: make it so that outreach is what drives the entire
machine: accessing young folks, giving people a space, accessing artists who don’t
have a lot of money, getting critical feedback, could be putting money into developing
a few key events that lead up to the festival, etc.
● Mentorship opportunities
● Fringe events (like an open mic/ like performance jam)
● Should have some process of curation
● Guest curators (local or from other places) - this pool of our lottery, have workshops,
getting into the grassroots of the community and infusing it with long sustainable life.
● Don’t have volunteers only during the show, have volunteers and staff year-round as
part of an outreach team
● Waive the fees for diverse artists
● Have a community liaison piece
● Artist socials, opportunities to convene (during festival and throughout the year)
● Fringe to really examine “why this work is important right now” and reassess their
identity a bit
Analysis of Focus Groups
There is desire to engage with the Fringe
● Fringe is seen as an opportunity for experimentation, growth, and a place for
emerging artists to breakthrough.
Fringe Establishment
● There was the belief that the Fringe does have an establishment that is difficult to
break into, understand the merits of, and generally excludes adequate supports for
marginalized artists.
Perception of who the Fringe is for
● General perception that the “fringe is not for artists like me” and does not include the
work of other “artists like me.”
● Many artists expressed feeling that their work and talent does not belong in the
Fringe Festival.
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● Further many believed that based on the prior performance history of the Fringe, the
anticipated audiences, and the organization that diverse artists would not feel safe
bringing their work to the Fringe.
Multiple perceived and actual barriers for participation
● From the financial and time requirements, the lack of familiarity with the Fringe,
compounded the strong belief that the Fringe doesn’t support marginalized artists.
Desire for supported entry into the festival
● Participants suggested that entry to the festival could be fostered by support at the
levels of (Including, but not limited to) : application, funding, networking, marketing,
and producing.
Outreach and relationship Development
● Strong need to see outreach and meaningful development of relationships
came up repeatedly in a number of different ways, with the emphasis being that the
Fringe needs to work on building relationships with artists, communities, and
organizations.
Analysis of Diversity Lottery
General Response of Skepticism
● The general response to diversity lottery was skepticism. On the whole, most were
not in favour of the "diversity lottery.”
● Many questions arose regarding the effectiveness of the “diversity lottery” including
how to determine which works were suitable, how to understand the nuances of
underrepresented communities and the impact on artists and shows selected through
this process.
Recommend approaching lack of diversity through Partnerships and Programming
● Participants expressed openness and interest in the Vancouver Fringe exploring
initiatives that prioritize diverse artists, specifically taking the shape of partnerships,
and/or curated or spotlighted programming.
Hire and Partner with Underrepresented Artists to lead Diversity Initiatives
● There was a strong and repeating recommendation that people of/from
underrepresented communities be actively involved in leading whatever
programming Vancouver Fringe initiates. The other suggestion that came up in every
focus group was that the "lottery" is not the answer, and further internal work is
where future efforts need to placed.”
A Need to Witness Organizational Commitment to the ongoing work of EDI
● Artists are largely uninterested in priority spaces and opportunities that do not also
come with a feeling of safety with the organization.
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B. Artist Forum
Method
● Artist Forum aiming for 15-20 participants; total sample size 12 people including deaf
artists, artists of colour, queer and trans artists, artists with disabilities, artists whose
practice lives outside of mainstream theatre
● Conducted: September 12th, 2017
● Asked a predetermined set of questions, followed by discussion
Themes
Fringe Offers Unique Opportunity to gain access and recognition
● All participants shared that a major reason they chose the fringe was to gain access
to opportunities for sharing their work and having it get recognized.
● Select participants went on to share that they felt it was the only place they could see
their work going (because of barriers accessing mainstream theatre programming
seasons and/or venues).
Fringe As a Place for Experimenting
● Artists came to the Fringe as they understood it to be a space where the conventions
of “real theatre” are thrown out and there is room to experiment.
Structure of the Fringe Hard on Participants
● Several participants shared that a Fringe Show “runs artists into the ground.”
● The costs to put on the show (inclusive of Fringe fee, but also all the other
time/labour/costs associated with creating, rehearsing, and preparing the show);
quick load in and strike times; the amount of shows; the lack of time to rehearse and
get tech right; the burden of self-producing as well as creating; Lack of childcare;
trying to juggle work, etc.
● Uncertain box office makes the risks associated with putting on a show very
challenging for artists to carry.
Challenges Communicating with Fringe Staff
● Participants shared difficulties connecting with Fringe Staff regarding access needs
(ex: ASL interpreters, technical needs like lighting for blind/low-vision folks, etc).
Expensive and Difficult to Sustain
● Financial instability
● Cost is high and artists make very little money generally.
Fringe Establishment and Feelings of Not Belonging
● Having attended some of the events, workshops, and awards ceremony in addition to
mounting their shows, participants felt on the outside of the experience. They
expressed finding it difficult to find like-minded people and that there was a feeling
that others were part of something that they weren’t part of
Specific Recommendations from Forum Participants:
● Targeted Mentorship Programs for Diverse Communities
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● Cooperative Box Office Model
● Emphasis on Accessibility
● Advocate for Funding Participating Artists
● Attention to Communications Materials and Messaging of Callouts
● Attention to the Structure of the Fringe
Analysis of Diversity Lottery Question
General Response of Skepticism
● The artist forum presented the same skeptical general response to diversity lottery as
the focus groups. On the whole, most were not in favour of idea of implementing a
"diversity lottery.”
● Concerns that Diversity Lottery would not reflect well on the artists and the work (i.e.
that it tokenizes and ghettoizes the work.
Questions about Process
● If the Fringe moves forward with a Diversity Lottery, there will be a real need to
examine how the process will work: how will artists self-identify, what will the
administration of that section look like, who will manage it, etc.
Diversity Lottery Is not the Answer
● A sense from participants that a Diversity Lottery is not the answer, but is rather a
“bandaid solution.”
V. Recommendations
Organization (Internally)
1. Internal Meetings - For Board & Staff
While it makes sense that not all members of the staff and board team would share all
information regarding EDI, identifying key information to be shared and scheduling meetings
at regular intervals (ex: quarterly meetings) for all of the staff and board to come together is
significantly important. These meetings could also be opportunities to share resources on
EDI and chip away at a particular element of EDI (self-assessment, visioning, strategy).
Having team buy-in and many people contributing to ongoing self-education and strategic
development, will ensure effective implementation of EDI policy, practices, and operations.
Specifically, as part of the Internal Audit, the Board was identified as resistant to full
participation in EDI efforts. Acknowledging the constraints of time for a volunteer board, it is
still significant that both board and staff commit and participate in this process.
Comprehensive buy-in is advised in order to fully move forward with EDI.
2. Capacity-Building Through Trainings -- For Board & Staff
Staff and Board competency regarding EDI is essential. In order to build literacy and
competency with EDI, recommend Staff and Board trainings for EDI on an ongoing basis as
an opportunity to continue learning, enhance team competency, bring people together, etc.
Trainings can and should move from more introductory concepts/ideas-based trainings to
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sessions geared to tackle specific issues surfacing for Vancouver Fringe staff and board. In
order to best utilize Board time and participation, these trainings could occur during Board
Meetings or other regularly scheduled meetings, whether these be annually, quarterly, or at
other intervals of time.
3. Visioning, Strategic Planning & Operations
Visioning sessions, which can be seen as different/separate from Strategic Planning
sessions, allow for the organization (inclusive of staff and board) to come together and
imagine different ways to create and implement EDI policies and practices. It allows for team
building, group cohesion, and participation of all members, all of which contribute to
meaningful implementation of plans.
In addition to wider organizational Strategic Plans, or as part of those plans, it is advisable to
create an Equity, Diversity, Inclusion Plan that examines:
○ Practice & Policy
○ Operations
○ Festival
○ Additional Programming
○ Outreach
○ Communications
○ Data Tracking
○ Evaluation
Post Visioning, Strategic Planning sessions can allow the organization to identify specific
and achievable goals for each year. It is recommended that the organization create EDI
specific goals, and revisit, evaluate and build upon these goals annually.
4. Data Collection
Data collection can play a significant part in measuring and evaluating the success of EDI
commitment and practices over time. This information can also serve as a vital guide to the
kinds of adjustments and changes that need to take place, and can serve as an aid to
making the case for and securing funding to support EDI initiatives. Therefore, it is significant
to gather precise data about artists applying for and selected to be in the festival, as well as
concerning volunteers, audiences, staff, and board.
Asking marginalized people for information concerning their identities and lived experiences
is a responsibility to be taken seriously. This practice, though important in terms of
identifying applicants and what they may need from your organization, can present issues
related to the choice of language, the framing of questions, and the impact of your language
and questions upon applicants. Artists may be turned off by your approach or terminology,
and the language you choose can be see as an indicator of whether or not your organization
is, in fact, an empowering platform for their work. It is recommended that multiple references
be sought out, and care and adaptability be taken with the implementation of new data
collection measures.
Some Guiding examples :
● On festival/lottery application forms and/or artist information forms, allow the
opportunity for artists to identify themselves. One approach is to have a voluntary
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self-identification form or section (the Canada Council uses the approach of utilizing
a separate form that goes along with applications), or you can have fields that are
part of the form itself. These fields should be indicated as optional, allowing
applicants the opportunity to identify as they feel comfortable, rather than imposing
this on all people.
● In the case of a separate form or section of the form, using the Canada Council’s
self-identification form as a model, you can create a document that specifically asks
people about2:
○ Age (date of birth)
○ Gender
○ Place of Residence
○ Home city/town/hamlet
○ Citizenship and Immigration or country of residence
○ Languages Spoken
○ D/deaf, hard of hearing
○ Has or lives with a disability (including blind, low vision, physical disability,
mobility issues, learning disability, living with mental or chronic illness)
○ Indigenous, First Nations, Métis, Aboriginal
○ Person of Colour, Culturally Diverse (person of African, East-Asian,
Southeast-Asian, South-Asian, Southwest-Asian/North African, Latin
American or Mixed heritage descent)
(Please Specify: ____________________)
○ Parent, Guardian of children/youth (under age 18)
○ Low Income
● You may elect to have an added option/field for folks to share anything additional,
such as:
○ If we have missed an identity that is significant for you, or if there is anything
else about how you identify that you would like us to know, please
specify:____________
● Forms should also include an introduction stating why the information is being
collected, how it is being used, who has access to it, and where it is being stored. As
part of naming why the information is being requested, you may want to include a
statement regarding your commitment to EDI. This will contextualize the data
collection and allow people to make an informed decision about how or if they
choose to respond.
○ Example of Canada Council’s Self-Identification Preamble:
“The Canada Council for the Arts encourages you to complete this voluntary
self-identification form to help determine whether our programs and services
are reaching a diverse range of Canadian artists. Anyone applying to the
Canada Council for the Arts, participating on a peer assessment committee or
being nominated or accepting a prize is invited to complete this form.
2 Canada Council Self-Identification Form
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The Canada Council for the Arts aims to support a vital and diverse arts
ecology that enriches the lives of Canadians, and equity is a critical means to
achieve this. All citizens deserve to benefit from a vibrant, accessible and
pluralistic arts sector, and all creative expressions should have the same
chance to flourish.”
● You can implement similar data collection methods with similar languaging to
accompany audience surveys, volunteer forms, employment and/or board
recruitment, etc.
5. Communications Plan and Strategy
Clear communication strategies are important, not only in terms of recruitment, but in
developing new relationships, as well as establishing and maintaining trust.
● Key Areas to include in Communications Plans:
○ Festival Theme
○ Festival Guide
○ Newsletter
○ Social Media
○ Press Releases and Public Announcements
○ Funders
Additional Notes Regarding Communications Materials:
Festival Theme:
● The theme you select each year will communicate a great deal about the kinds of
artists and work you are seeking to uplift.
● There are many opportunities here to consult and engage communities in selecting
the chosen theme (ex: community consultations, social media campaigns, focus
groups, community callouts, working closely with individuals you already have
relationships with)
Festival Guide:
● Paying close attention to the imaging and wording in Festival Guides will be
significant.
● Design and original art for Festival Guides are another excellent opportunity to hire
and work with underrepresented artists.
6. EDI Policies, Practices and Operations
Highly recommend incremental revisions to the organization’s policies, practices and
operations with EDI. “Hardwiring” the organizations commitments to EDI will go a long way
to institutionalizing EDI and making the need for EDI policies and practices clear to staff and
board. This will also mean EDI will become more organically integrated into the short and
long term work and mission of the organization.
Recommendations and Possible Approaches:
● Create and clarify written documents laying out the organization’s EDI intentions,
objectives and measurements. Ensure documents are available to staff and board to
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review, understand and refer to. Update documents as needed to reflect changes in
practice or developing EDI objectives.
● Create and maintain mechanisms to measure equity achievements within the
organization, including assigning responsibilities to particular relevant staff and board
members to keep track of EDI objectives. Create and maintain transparency
regarding these mechanisms and measurements.
● Include and clarify EDI objectives within the organization’s mission statement, and
ensure the mission statement is known and understood by all staff and board.
● Include and clarify EDI objectives within organizational strategic goals, plans and
initiatives, and ensure staff and board have access to these strategic goals, plans
and initiatives.
● Offer training and resources for staff and board and institute this as a part of staff and
board commitments.
● Revise Board Recruitment and Hiring Policies and Procedures, taking time to ensure
committing to hiring and recruitment practices that prioritize EDI.
7. Moving Slowly, and Building Over Time
It’s clear there are no quick fix solutions for implementing EDI practices. While deliverables
and results are both necessary and desirable, it is important to stress the need to take things
slowly. Understanding the organization’s true intentions behind EDI work, and solidifying the
commitment to doing this work for the long term, requires pushing back against inclinations
for speedy and quick turnaround. Making this clear to the public, funders, and internally will
go a long way to ensuring the plans that get implemented, the relationships that develop,
and the new outcomes that emerge are generative, lasting and sustainable.
Additionally, normalizing “not knowing” and “not being there yet” can help with the
sustainability of this work. Since staff and board expressed concerns at the magnitude and
scope of EDI work. Recognizing this work as a long term initiative that builds upon itself may
ease some of these anxieties. Furthermore, rushing this work is a disservice to the time and
rigor it deserves and requires; premature efforts can generate new obstacles and conflict
with the communities Vancouver Fringe seeks to connect with.
8. Working with Consultant(s) to Implement EDI
Recommend ongoing work with consultants to assist with the understanding, crafting and
implementation of EDI. Marginalized and intersectional artists and communities require
different approaches to building relationships, and it is recommended that in order to
understand those approaches best, Vancouver Fringe works with consultants who have lived
experiences of the diverse identities and communities Fringe wishes to better serve.
9. Resources for Underrepresented Communities
Whether working with Consultants, hiring temporary or seasonal staff, or seeking to
collaborate with underrepresented and marginalized artists and communities, it is important
to adequately compensate people for their time and involvement. It will be important to
source and allocate resources to support the time, labour and expertise of the people you
seek to connect with.
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It is important for you to move away from free volunteers and temporary seasonal contract
staff as a means of ensuring diversity within the organization, and instead focus on
increasing the representation of diverse identities on the board and permanent staff. Relying
upon seasonal hires and volunteers as a way to fulfill expectations around diversity, and
further inclusion and equity, will trap the organization in a cycle of non-reciprocal and short
term relationships with diverse hires and volunteers. Committing to further bolstering
diversity within permanent staff and board levels will both prove a deeper commitment to
equity, and increase the experiential knowledgebase of the organization, which will only
strengthen the work you do.
Furthermore, it is imperative that you adequately provide support, resources, and financial
compensation to the marginalized people you work with. This work takes an inordinate
amount of emotional and mental labour for people that is often unaccounted for.
Outreach and Support
1. Community Consultations & Forums
We recommend hosting annual community consultations and forums, specifically leading up
to strategic planning sessions. This will help the organization to be informed of the
experiences and perceptions of the communities they desire to serve when creating new
strategic priorities for the year. The participants recruited should try to best reflect the
underrepresented communities Fringe wishes to engage.
2. Partnerships
Partnerships with other arts organizations that are doing similar work, and that expressly
serve marginalized artists and communities would be advantageous. These partnerships will
allow the organization to learn from others about what has worked and what hasn’t in terms
of serving diverse and marginalized artists, while also helping build relationships with the
communities and artists Fringe engages with.
Reciprocal partnerships with marginalized and underrepresented communities are equally
important and will take time, humility and care to foster. These partnerships may not
materialize quickly, as it takes continued efforts to show commitment and implementation of
EDI work and to establish trust.
3. Mentorship Opportunities & Programs
We recommend outreach to engage already experienced practicing artists from marginalized
and underrepresented communities, in order to support the work of emerging
underrepresented artists. Participants in the external audit cited that these kinds of
mentorship opportunities would be vital to their desire to participate in the Festival.
Mentorship opportunities could also be offered in other ways, including workshops and
mentorship for diverse artists who may not have access to resources and skills that
dominantly present artists find more easily accessible. This could involve tech support, or
Fringe crash course on festival logistics.
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One suggestion raised in a focus group was to offer the opportunity for first time Fringe
artists to apply to a one night only performance spotlight, where performances could be ten
minutes and several artists could be on the bill. This format would create less pressure for
first time artists and offer a platform for them to share their work.
4. Bursaries and Funding for Artists
A recurrent theme raised by underrepresented artists participating in focus groups. The need
for supported entry into the Festival is something that many underrepresented artists require
in order to make possible their participation in the festival. Consider sliding scale, reduced-
fee, and/or bursary programs. Further recommendations from the Focus Groups and Artist
Forum were to offer additional support for emerging artists and first time applicants to the
festival.
5. Developing Comprehensive Access Plans
There is a need to continue building a comprehensive access plan for the Festival. This
includes building upon existing resources and attention given to ASL and interpreting
services, physical access, washrooms, clear signage, childcare.
6. Long-term Outreach Strategy
Meaningful outreach takes time and relationship building. Like all the EDI work, but
especially regarding relationship development, it is significant to take a long term approach
and anticipate a slow process towards materializing results.
Diversity Lottery
Not This Year; Possibly Not at All
Given the concerns raised by the participants of our external audit, we do not recommend
implementing a Diversity Lottery for this year. Until measures are in place to adequately
support artists from diverse identities, a diversity lottery would be, as participants cited “a
bandaid solution” and could be merely an exercise in tokenism. A diversity lottery could be
seen as a shallow effort to try to solve a systemic problem of representation at the festival
alone, when in fact programming is reflective of broader inequities inherent within all aspects
of the organization. A lack of diverse representation onstage is only one aspect of
widespread inequity within the organization. Artists who would take part in the the Fringe as
a result of a diversity lottery would need specific support to follow. Without adequate support,
a Diversity Lottery may result in a tokenizing effort to include diverse artists in the Festival,
rather than a sustainable and committed effort to do so.
Additionally, there were a number considerations that arose from both Focus Groups and the
Artist Forum including: how applicants would self-identify, and potentially take advantage of
the diversity lottery; how to frame the application, and the organization not being ready with
the most respectful language to frame it. It is important that the necessary time be taken to
consider fully the impact and implications of a Diversity Lottery before moving forward.
EDI Phased Approach
It is very common with EDI initiatives for organizations and people to feel overwhelmed and
uncertain how to shape and implement. The following is a potential phased approach for
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Equity Diversity and Inclusion work. It is important to recognize that this is not a linear
process, and movement from Phase 1 to 6 is cyclical rather than linear, and sometimes
simultaneous (i.e. we are often working simultaneously on many phases, rather than cleanly
just on one at a time.
Phase 1: Where are WE?
● Understanding our current landscape
● Grasping the concepts, histories, ideas
● Sourcing & Allocating Budget, Time & Personnel
● Research & Education
○ Informal Approaches (Conversations, Sharing Resources, Informal
Gatherings)
○ Creative Approaches (Experimenting, Creative Mapping)
○ Education (Workshops, Trainings)
○ Formal Approaches (Audit)
Phase 2: Analysing What We Know & Preparing for What We Don’t
● Collecting and Analysing data and generating recommendations
Phase 3: Preparing For Action
● Sourcing Budget, Time & Personnel
● Sourcing external (contract/consulting) support
● Community Consultation
● Research
Phase 4: Strategic Visioning and Planning
● Planning and Visioning Sessions
● Drafting Plans
● Who, what, where, when, how to implement
● Timelines, Budget, Resources
Phase 5: Implementing
● Tackling policy, operations, programming, capacity building, communications
Phase 6: Evaluating
● Ongoing measures to evaluate
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VII. Appendix
Links
Canada Council Equity Commitments
http://canadacouncil.ca/commitments/equity
Canadian Centre for Diversity and Inclusion
http://ccdi.ca/
Center for Racial Justice Innovation
https://www.raceforward.org/
CreateNYC Culture Plan
http://createnyc.org/wp-content/uploads/2017/07/CreateNYC_Report_FIN.pdf
D5 Coalition Full Report: Equity Audits in arts funding: http://www.d5coalition.org/wp-
content/uploads/2013/09/PPP-Full-Report-11.14.13.pdf
Diversity in Mentoring
https://artofmentoring.net/diversity-in-mentoring/
Equity in Community Arts:
http://avnu.ca/avnu/uploads/2014/03/NeighbourhoodArtsNetwork_ArtsEquityToolkit1.pdf
Grantmakers in the Arts: Equity Statement
http://www.giarts.org/racial-equity-arts-philanthropy-statement-purpose
HR Diversity At Work Toolkit
http://hrcouncil.ca/hr-toolkit/diversity-recruitment.cfm
Neighbourhood Arts Network; Arst & Equity Toolkit
http://avnu.ca/avnu/uploads/2014/03/NeighbourhoodArtsNetwork_ArtsEquityToolkit1.pdf
Ontario Arts Council Equity Commitments
http://www.arts.on.ca/access-equity/equity-plan
Race Reporting Guide by Race Forward
https://www.raceforward.org/sites/default/files/Race%20Reporting%20Guide%20by%20Rac
e%20Forward_V1.1.pdf
Toronto Arts Council
http://www.torontoartscouncil.org/reports-and-resources/toronto-arts-council-equity-
framework/equity-guiding-principles
USC Diversity Toolkit: A Guide to Discussing Identity, Power and Privilege
https://msw.usc.edu/mswusc-blog/diversity-workshop-guide-to-discussing-identity-power-
and-privilege/
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Glossary of Terms3
Anti-racism: The work of actively opposing racism by advocating for changes in political,
economic, and social life. Anti-racism tends to be an individualized approach, and set up in
opposition to individual racist behaviors and impacts.
Cultural Appropriation: Taking intellectual property, traditional knowledge, cultural
expressions, or artifacts from someone else's culture without permission. This can include
unauthorized use of another culture's dance, dress, music, language, folklore, cuisine,
traditional medicine, religious symbols, etc. It's most likely to be harmful when the source
community is a minority group that has been oppressed or exploited in other ways or when
the object of appropriation is particularly sensitive, e.g. sacred objects.
Culturally Diverse Arts Organizations: Organizations that demonstrate a sustained
commitment to the creation, production, distribution and/or collection of art by Canadian arts
professionals of African, Asian, Latin American, Middle Eastern heritage, including those of
mixed racial heritage. This is reflected in its leadership, arts professionals employed and
artistic activities. These organizations are mandated and dedicate a majority of their
resources to supporting the perspectives, stories and arts practices of arts professionals
from these culturally diverse communities.
● Culturally Specific – arts organizations that are rooted in racialized communities and
are led by and dedicate a significant majority (75%) of their resources to supporting
the arts practices by culturally diverse artists.
● Intercultural – arts organizations that are mandated and dedicate the majority (at
least 51%) of resources to supporting and collaborating with culturally diverse artists.
Deaf: People with hearing loss, or are hard-of-hearing, oral-deaf, deaf-blind or late-
deafened, many of whom identify as Culturally Deaf- sharing distinct sign languages,
traditions, histories and values. Deaf with a capital “D” represents a range of experiences
from being culturally Deaf to having hearing loss, and using multiple forms of oral and visual
communication. Sign languages are regionally and culturally specific with unique syntax and
grammar, distinct from written and spoken languages. Individuals may identify as having a
disability rather than being culturally Deaf.
Disability: Disability is an experience of exclusion or disadvantage. People with disabilities
are those with actual or perceived impairments who experience discrimination and
disadvantage as a direct result of that impairment, or due to social, policy or environmental
barriers. Impairments are physical, mental or learning conditions that have long-term,
temporary or fluctuating effects.
Disability Arts: Disability arts are created by people with disabilities or with mental illness.
This includes artistic practices and processes grounded in ensuring that the lived
experiences and identities of disabled people are conveyed, explored or represented. This
typically means that disabled artists are directors, creators or main contributors to the artistic
process.
3 Many of these terms come from definitions come from:
Race Reporting guide by Race Forward & Canada Council Equity.
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Diversity: There are many kinds of diversity, based on race, gender, sexual orientation,
class, age, country of origin, education, religion, geography, physical, or cognitive abilities.
Valuing diversity means recognizing differences between people, acknowledging that these
differences are a valued asset, and striving for diverse representation as a critical step
towards equity.
Equity: Equity means fairness and justice and focuses on outcomes that are most
appropriate for a given group, recognizing different challenges, needs, and histories. It is
distinct from diversity, which can simply mean variety (the presence of individuals with
various identities). It is also not equality, or “same treatment,” which doesn’t take differing
needs or disparate outcomes into account. Systemic equity involves a robust system and
dynamic process consciously designed to create, support and sustain social justice.
Inclusion: Being included within a group or structure. More than simply diversity and
quantitative representation, inclusion involves authentic and empowered participation, with a
true sense of belonging and full access to opportunities.
Mad: Mad is a term which has emerged from the Mad Pride movement. This is a global
grassroots movement of people who have been labeled “mentally ill” or as having mental
health issues. At the core, madness is being framed in terms of identity similar to the ways
in which Deaf and disability are being reframed. Mad Pride Toronto states,“we are talking
about mad people as a people… As mad people, we have unique ways of experiencing the
world, making meaning, developing community, and creating culture.”
Mad Arts: The Canada Council recognizes mad arts within the overall Disability Arts sector.
Mad is framed as a social and political identity by people who have been labeled as mentally
ill or as having mental health issues. Rather than focusing on awareness and coping with
stigma, Mad Pride focuses on expressing the unique ways people experience the world in
terms of making meaning, developing communities, and creating culture. Mad arts is the
artistic exploration of Mad Pride focusing on mad histories and identities.
Multicultural: Involving various cultures in a society, usually with intent to promote
tolerance, inclusion, and equal respect for cultural diversity. Does not include an explicit
racial lens. Multiculturalism often focuses on interpersonal interaction and communication
between people of different cultures rather than a systemic approach to advance equity.
Racial & ethnic categories: System of organizing people into groups based on their
identified race and ethnicity, with categories that may change over time. Data is derived from
self-identification questions; however, people often do not get to select the categories from
which they must choose, making most methods of categorizing and counting highly political
and often problematic. See the section Covering Key Issues “Reporting on Racial And Ethnic
Groups.”
Racial justice: The systematic fair treatment of people of all races, resulting in equitable
opportunities and outcomes for all. Racial justice—or racial equity—goes beyond “anti-
racism.” It is not just the absence 31 of discrimination and inequities, but also the presence
of deliberate systems and supports to achieve and sustain racial equity through proactive
and preventative measures.
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“Reverse racism”: A concept based on a misunderstanding of what racism is, often used to
accuse and attack efforts made to rectify systemic injustices. Every individual can be
prejudiced and biased at one time or another about various people and behaviors, but
racism is based on power and systematic oppression. Individual prejudice and systemic
racism cannot be equated. Even though some people of color hold powerful positions, White
people overwhelmingly hold the most systemic power. The concept of “reverse racism”
ignores structural racism, which permeates all dimensions of our society, routinely
advantaging White people and disadvantaging people of color. It is deeply and historically
entrenched and in no danger of being dismantled or “reversed” any time soon.
Systemic analysis: A systemic analysis means we are examining the root causes and the
mechanisms at play that result in patterns. It involves looking beyond individual speech,
acts, and practices to the larger structures — organizations, institutions, traditions, and
systems of knowledge.
Tokenism:Tokenism is presence without meaningful participation. For example, a superficial
invitation for participation without ongoing dialogue and support, handpicked representatives
who are expected to speak for the whole (socially oppressed) group (e.g. ‘tell us how women
experience this issue’). Tokenism is often used as a band-aid solution to help the group
improve its image (e.g. ‘we’re not racist, look there’s a person of colour on the panel.’).
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Calls For Participation
The Fringe Festival: Is it for me?
Call for Focus Group Participants:
Performing Artists Who Have Never Participated in the Vancouver Fringe Festival
Background: The Vancouver Fringe Festival was founded in 1985 with a mandate of “Theatre for
Everyone.” The use of a first-come first served artist selection process was intended to favour artists
who may not have the opportunity to participate in the theatre practice of the establishment. Over 30
years later, we are aware that we may be in danger of cultivating a “Fringe establishment.” Although
we have maintained a non-curated, non-adjudicated, selection process, we are aware that our modes of
communication, production and presentation have resulted in a festival where the majority of artists
are white and come from euro-centric theatre traditions. Although we have participation from artists
of colour, women, disability and LGBT2SQ+ artists, we seek to understand our lack of diversity more
deeply. In doing so we aim to develop strategies to affect long term systemic change within our
organization and in turn the wider theatre community.
Context: The Vancouver Fringe Festival is working with ShapeShift Arts to conduct a diversity audit,
in addition to capacity building and strategic planning towards organizational systemic change. We
hope to create a model that not only serves us, but other arts organizations who are committed to
diversity and equity. As part of this process, we seek to connect with performing artists who have
never participated in the festival (as artists, volunteers, or staff). This includes folks who work
in/with performance and theatre-making of all kinds, and does not only mean those who identify as
“Professionals.”
What: There will be 3 focus groups with 8-12 participants each. Participants will discuss their artistic
practice, and in particular, their relationship (or lack thereof) with the Vancouver Fringe Festival. We
will explore what is known/perceived about the festival, what barriers there are to participation, and
what artists want/need to be able to participate in future.
Who: These focus groups are designed for folks who are currently underrepresented in the Vancouver
Fringe Festival, including LGBT2SQ+ folks; indigenous, black and people of colour; folks living with
disabilities; low income artists and artists living at the intersections of these identities.
When:
August 28th 5:30-7:30pm
September 1st 10am-12pm
September 2nd 12pm-2pm
Where:
The Post, 750 Hamilton Street
Details: Participants will receive a $50 honorarium as well as 4 tickets for the 2017 Vancouver Fringe
Festival
Accessibility Info:
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● We have ASL interpretation booked for all three sessions, based on confirmed need. If you
require ASL interpretation, please indicate in the registration form and/or contact us by the
registration deadline of August 21st, 2017.
● The Post is accessible for folks using mobility devices, and has an accessible gender neutral
bathroom on site (detailed access information to be provided on registration)
● There are three additional gender neutral bathrooms available on site
● The venue we are using is a multi-use space, and we cannot guarantee that it will be entirely
scent-free. However, we are committed to providing a scent-reduced environment and will
send out detailed information regarding scents to all registered participants
How to Sign Up: To sign up, register here, or please call or email us at:__________________.
Registration entails completing the registration form (which can be done online or over the phone),
and closes on August 21st, 2017.
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Fringe Artists: Is the Fringe Your Festival?
Artists Forum: Addressing Diversity and Equity in the Fringe
For Performing Artists in the Vancouver Fringe Festival
Background: The Vancouver Fringe Festival was founded in 1985 with a mandate of “Theatre for
Everyone.” The use of a first come, first served artist selection process was intended to favour artists
who may not have the opportunity to participate in the theatre practice of the establishment. Over 30
years later, we are aware that we may be in danger of cultivating a “Fringe establishment.” Although
we have maintained a non-curated, non-adjudicated, selection process, we are aware that our modes of
communication, production and presentation have resulted in a festival where the majority of artists
are white and come from euro-centric theatre traditions. Although we have participation from artists
of colour, women, disability, and LGBT2SQ+ artists, we seek to understand our lack of diversity
more deeply. In doing so we aim to develop strategies to affect long term systemic change within our
organization and in turn the wider theatre community.
Context: The Vancouver Fringe Festival is working with ShapeShift Arts to conduct a diversity audit,
in addition to capacity building and strategic planning towards organizational systemic change. We
hope to create a model that not only serves us, but other arts organizations who are committed to
diversity and equity. As part of this process, we are hosting an Artists Forum for
Artists/Producers who have been in the Fringe Festival. This includes artists/producers who have
been in the Festival in years past, as well as artists/producers participating this year.
What: The Artists Forum will be an opportunity to explore what it is/was like for you as an
artist/producer to be involved with the Festival. We want to know how it’s all been going. What’s
working? What’s been challenging? And how can we better support our artists moving forward?
Who: This Forum is for artists/producers who have participated in the Fringe Festival. This includes
artists from years past, and artists/producers in this year’s festival.
When:
September 12, 11am-1pm
Where:
Studio 1398 - 1398 Cartwright St.
Accessibility Info:
The venue is accessible for folks using mobility devices.
We will have ASL interpretation at this event.
Let Us Know You’re Coming:
Please RSVP: ____________________
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Interview Questions
Diversity Audit: Internal Organization For Staff & Board
Questions for the Interview:
1. What do you think about this Diversity Audit? What do you think we are here to do? What do
you hope we will discover? What do you hope for the outcome?
2. What does diversity mean to you?
3. Are you familiar with the term Equity? Can you tell us about what you think Equity is about
and why it is significant to your organization, or why it is not?
4. Do you think your organization embodies your vision of a diverse workplace? Please explain.
5. In what areas do you think your organization has been effective in promoting diversity in the
workplace?
6. What areas do you think need improvement?
7. What do you see as obstacles to diversity in your organization?
8. What do you see as strengths of your organization in terms of diversity?
9. How would you say your organization builds relationships? Are you successful at building
relationships?
10. How do you see your role as responsible for contributing to diversity and equity?
11. What support or training do you feel you need in the equity or better
understanding/implementing diversity objectives?
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Questions for Focus Group Participants:
1. Describe your performance practice
2. How would you describe your audience demographic?
3. What is your perception of Fringe performance styles? What kind of performances do
you think the Fringe hosts?
4. Does your performance practice align with this, why or why not?
5. When you hear the Fringe is for Everyone, what comes up for you?
6. Do you have any desire to bring your performance work to the fringe? Why or Why
not?
7. If no, what would make you want to engage with the Fringe festival?
8. What are your perceived barriers for applying to work with the Fringe?
9. The Fringe wants to address the issue of”Lottery” and are considering the idea of
having priority spaces reserved for “diverse” artists that apply. How does this make
you feel? Would this make you more or less likely to apply?
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Fringe Artist Forum 2017
1. What first brought you to the Fringe?
2. What were some of the things that were easy or challenging?
3. Do you feel there is a “Fringe Community”? Do you feel a part of it? Why/whynot?
4. What kinds of shows are you seeing?
5. What kinds of shows do you wish you were seeing?
6. Do you feel like you’ve had enough support/mentorship? If not, what kind of support
would you like in the future?
7. If you are returning, what encouraged you to do so? How was the process the
second time around?
8. What was your experience with the Fringe Staff?
9. What was your experience with the Fringe Volunteers?
10. What was your experience with Fringe Techs and Venues?
11. If this is not your first Fringe, was the Fringe profitable for you?
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Questionnaire
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