Mayor's Arts Task Force - Meeting #2 Notes
(as reported for the Nov 19, 2018 Cambridge City Council meeting)

TO: Donna Lopez, City Clerk
FROM: Councillor Alanna Mallon
DATE: Nov 14th, 2018
SUBJECT: Submission - Arts Task Force Meeting Notes

Please place the attached notes from the second meeting of the Mayor’s Arts Task Force on the City Council Agenda as “Communications and Reports from Other City Officials” for the Nov 19th meeting. I am also attaching supporting documents from the Nov 8th meeting, which were given as supplemental materials to both members of the Task Force and members of the public who attended and ask that they be included in the communication as well.

Thank you,
Councillor Alanna Mallon

Mayor’s Arts Task Force - Meeting Notes

Second Meeting of the Mayor’s Arts Task Force
Date: Nov 8th, 2018
Location: Spaceus Harvard Square, 20 Brattle St.
Meeting Start: 5:39pm
Meeting Adjourned: 7:34pm

In attendance as members of the Mayor’s Task Force were: Alanna Mallon, Chair; Liana Ascolese, Aide to Councillor Mallon and Executive Assistant to the Task Force; Jero Nesson, Founder of Artspace; Ellen Shakespear, co-founder of Spaceus; Peter DiMuro, Executive Director of the Dance Complex; Ben Simon, EMF musician; Lisa Peterson, Deputy City Manager; Christopher Hope, co-founder of The Loop Lab; Eryn Johnson, Executive Director of the Community Art Center; Geeta Pradhan, President and CEO of the Cambridge Community Foundation; David De Celis, Public Arts Commission; Jason Weeks, Executive Director of the Cambridge Arts Council; Olivia D’Ambrosio, Bridge Repertory Theater; Kelly Sherman, visual artist; Martha McKenna, Director of the Creative Commons at Lesley University; and James Pierre, artist.

Invited as a guest speaker was Malia Lazu from the Urban Labs to facilitate an equity, inclusion, and anti-bias training.

Members of the public in attendance were: Catherine Siller, Robert Goss, Alex Lemski, Joe Stohlman, Jesse Moore, Liz Walker, Pat Magruder, Hannah Smith, Jannie Kitchen, Laura Jasinski, Michelle Douglas, Deidre Tao, Matt Coogan, Beryl Lipton, Jon Glancy, and Nili Ohayon.

To respect the importance of having an open, honest, and productive conversation about equity, diversity, inclusion, and bias, these notes focus on concepts and general discussion only and quotes are not attributed directly to any individual other than Councillor Mallon during her opening and closing remarks and the facilitator, Malia Lazu.

Materials related to this meeting are attached.

Councillor Mallon called the meeting to order at 5:39pm and made an opening statement. She thanked Task Force member Ellen Shakespear and her co-founder, Stephanie Lee, for the use of this space, which is an amazing space for artists to create and sell their work. Spaceus in Harvard Square is a pop up open until the middle of January. She stated the importance of having a shared common language while working on arts issues and policy. Councillor Mallon referenced a New York Times article that was handed out to all members of the Task Force, citing it as a good example of why we are having this conversation tonight, and how ballet dancers and their ballet slippers are illustrative of bias in the arts. Ballet dancers have had pink slippers because they match the skin color of a “typical” ballet dancer. She cited quotes from the article about the struggles of being a dancer of color. Many of them have been dying their slippers for their whole careers because ‘they didn’t know any different.’ The largest manufacturer of ballet slippers is now going to start selling two more colors. It highlights the important question of who belongs in the ballet world? Who owns this space and who can walk the stage? We need to think about the simply things that we often take for granted if we have privilege. What are the places where people just don’t know any different and have not thought about these things?

Councillor Mallon read a short bio introducing Ms. Lazu, tonight’s facilitator: With over two decades of experience building diverse culture in the political and civic space, Ms. Lazu felt the diversity and inclusion industry was in need of disruption in the private sector. While at MIT, Ms. Lazu launched a space for diversity research and development called The Urban Labs, which has emerged as a boutique multi-cultural agency helping corporations and institutions be more effective in their diversity and inclusion efforts. Over the last few years, Ms. Lazu has experimented in attacking ongoing diversity problems, including working with the City of Boston in the startup space, creating Accelerate Boston, an accelerator for creatives. In its first five years, Accelerate Boston helped launch 20+ minority businesses and continues to support minority entrepreneurs in their search for investment capital.

Ms. Lazu opened by stating that it was great to see that Cambridge is taking on an arts task force and that race and equity are being considered upfront instead of as an after the fact. She asked everyone to introduce themselves and use one word to describe their goals for the task force. Words used included: Afrofuturism, community, inspiration, creativity, affordability, vulnerability, access, learning, curating life, making a difference, peace, and diversity.

Ms. Lazu stated the big question is “what does diversity mean for the arts task force? What traditions are we upholding, especially in art, which is so subjective?” We need to start a conversation about bias, so we can talk with each other in a comfortable way if bias is creeping up.

Ms. Lazu went over ground rules to keep the discussion productive and open.

Ms. Lazu used the metaphor of the elephant and the giraffe to illustrate the ways in which unintentional bias can present itself.

Ms. Lazu outlined different types of biases and asked Task Force members to present situations in which each type of bias occurs in the art world. The first type is institutional bias: policies and practices of institutions that, intentionally or not, produce outcomes that chronically favor, or put racial or other minority groups at a disadvantage.

The task force members gave examples of institutional bias in the art world, such as:
- Whose art gets chosen to be showcased
- Applications that rely on technological skills and English language proficiency
- What different venues allow to be performed and displayed
- Certain types of art like graffiti being branded as “not art”
- Opportunities available through only social networks
- Who and what can get a permit from the City

Ms. Lazu asked the group what it takes to be an artist. Many don’t make a lot of money, so this pushes people out before they can ever even break into the field. She brought up the discussion of “outsider art” on an episode of Jim and Marjorie on NPR, and why certain people or types of art were considered “outsiders” and not just “art.” She stated it’s important to ask questions like what does community art mean? Who is in power? Does this truly represent the community? We need to consider the importance of terminology and the words we use to discuss certain types of art.

There was a comment about people not being able to hold more than one idea in their head about what can be “good” and “rigorous” in the art world. Dance - ballet vs. hip hop - was cited as an example.

Ms. Lazu stated that the question “who decides?” is important to consider when evaluating structural bias. Structural bias is a system in which public policies, institutional practices, cultural representations, and other norms work in various, often reinforcing ways, to perpetuate inequity. She brought up the example of norms such as the ballet shoes from the NYT article - whose feet even belong in ballet shoes? How do we ensure that norms don’t perpetuate inequity? Who is worthy of exposure and who is worthy of being paid?

Ms. Lazu stated that structural and institutional bias are things that “happen.” It’s hard to check ourselves because bias exists in institutions and structures, and we are social beings who operate within the structures given to us.

Ms. Lazu then moved the discussion to implicit bias. Implicit bias is also known as implicit social cognition, which refers to the attitudes or stereotypes that affect our understanding, actions, and decisions in an unconscious manner. This bias is deep, and often begs the question what is presentable and what is not? There is implicit bias in art and within the diversity of neighborhoods in Cambridge. It’s important to check individual implicit bias, and how will our own biases show up?

A discussion was had about Central Square and always being “stuck” with murals and graffiti. Before people saw the murals, they were skeptical that they would actually be art. This causes us to ask questions about who owns community art and who should be making decisions about it? Something that one person considers art may not be considered art in another community and vice versa.

The group moved into a discussion about exploring why people come to Cambridge and what belonging means.

A member made comments about people in Cambridge being self-righteous and too smart for their own good, they don’t want to take a step back and examine themselves, and don’t hold the mirror far enough away from themselves. The ideal collaboration is people coming together with no agenda, but too many people in Cambridge have one.

Members made comments about artist live/work space and why artists should be prioritized. There was a discussion about the bias people have towards artists and why they don’t belong - because they are poor by choice, art should be a low paying field, and that artists should just get higher paying jobs? The fundamental value of art is lower, and art is often an afterthought instead of being integrated.

One member commented that there was implicit bias within our group - who we talk to and socialize with before and after meetings, and who we are open to. Also, not everyone wants to speak to all parts of their identity, but we do have to question our own assumptions and push ourselves to make connections even if we have a perceived difference. We are all at different levels of understanding this, some people are at different levels than others.

Ms. Lazu brought up the importance of mission statements and whether businesses or arts organizations have diversity language in their mission. There are resources to help in crafting this language, which is a good opportunity to hold a mirror up to ourselves. She referenced a Ted Talk called “Flip It to Test It” to help us challenge the assumptions we make about certain groups and help question biases within ourselves.

A discussion was held about public art, and who even has access to spaces in the first place. There are many arts spaces that are off limits to certain demographics, which is why the conversation around public art is so important because it’s so accessible.

One member asked who art programs are suggested to and brought up which young people can or cannot break into the field. Only certain people are even given the opportunity to build that network and there are many biases in programming.

Many members questioned how accessible public art really is. Many people are unaware that the percent for art program is an ordinance to ensure that people have a right to art. Too many people and programs are unknown to each other - networks do not intersect.

A discussion was had about what the word access specifically means. It’s often a broad term but we need to know how and why we are using it. There are many kinds of access and non-access. Is it economic? Feeling like you belong? Physical access? Time for access?

The group discussed the way we run our own institutions and accepting a business model vs. the work that artists do no their own administrating on a shoestring budget. Artists have a wealth of information about different ways to work that other institutions should adopt. There are multiple ways to look at a problem. There is something within the nature of the business model and funding for many art projects that is too exclusive.

Ms. Lazu led the group in a discussion about the “belonging framework.” She went over the following definitions:
Diversity: the condition of having or being composed of differing elements
Inclusion: to take in or compromise as a part of a whole or group
Belonging: to be a member or a part of

Ms. Lazu explained that belonging is an emotional shift - it’s different than including someone to check a box and not caring about they feel about being included. You can’t include people and assume they should go along with the way things are, or the way you want them.

“Diversity is inviting people to the party, inclusion is asking them to dance. But belonging is asking them to help plan the party.”

The way you get to belonging is by being curious and not just making assumptions about others.

Belonging involves symbols that are shared and largely recognizable, which is hugely important in the arts.

Ms. Lazu asked the group how they know they belong in Cambridge.

One member said they do not feel like they belong in Cambridge despite being a lifelong resident. The City has changed a lot and they are uncomfortable a lot of the time because of other people’s actions. Others have been talking about this for a long time as well.

“Belonging is being absolutely comfortable.”

Another member felt like an outsider in a workplace because of not being from Cambridge or living there, despite working and being part of the community. People not being from here is a uniquely New England way because many people stay here long term. There was a discussion about the means testing of belonging, such as people asking questions, testing you, looking for cues as to who belongs.

Ms. Lazu asked how public art and art programming can promote a sense of belonging. Artists are the keepers of truth, which is what is important about them. She discussed the MLK memorial proposed for the Boston Common. What is actually the spirit of the arts? There is one choice for a statue of hands, vs. the other choice of building a space where people can protest. Arts can be used as a vehicle of justice.

We need to ask ourselves if we are seeking opinions from diverse groups of people, or if we’re in our own echo chamber. We need to be curious and test our own observations.

One member talked about art during pride and the proliferation of rainbows that helped them affirm their identity but asked why this feeling of acceptance can’t be present year-round.

Another member talked about how belonging can be two ways: the belonging that we feel, and the affirming identity that others give us. The arts are where people have their stories, cultures, and experiences reflected and affirmed, so people need to see their world in art. Everyone wants to tell their story but if there’s not a place for that, they feel like they don’t belong. We have the capacity in this group to be able to create spaces, events, opportunity for diversity in Cambridge.

Another member stated that people and buildings in Cambridge have been changing in the predictable ways. The City is gearing towards wealthier people and when you’re one of the only people left, other affirmations of your identity aren’t enough. We have a culture and system of displacement that prioritizes wealthy people, and band aid solutions aren’t enough when systems are rigged against people like artists and other low-income people.

Another member stated that changes have been brought on by gentrification. Cambridge has social justice values, but they don’t always translate. We as a society and culture have not had to grapple with that yet.

Ms. Lazu broke the task force members into small groups to discuss three questions amongst themselves:
1. What are some opportunities for the arts task force to promote belonging?
2. What do you think is the biggest challenge the task force has to overcome to be successful?
3. How will we know if we succeed?

Group #1 reported back:
Opportunities - we can help increase access to grants, applying for permits, helping with administrative issues if you’re an artist who’s not that type of person. They may have self-selected out of this process because they feel it’s a tough space. Is there a possibility of reexamining these structures and policies? We need more advocacy opportunities for artists. It may be helpful to have volunteers or hiring people on a City level to help artists in this regard to provide mentorship. It may be possible to use open studios as a launch point for organizing, creating guilds/associations to help people organize and negotiate.
Challenges - creating holistic involvement for all levels of socioeconomic access. The conversation about art in Cambridge should be focused on the critical, relevant, and hard topics. Art is relevant and a necessity, empowering and creating social change.
Success - People need to see themselves reflected and connected with larger humanity, engage with art making process. We need to embed artists in the community and create opportunities to do this.

Group #2 reported back:
Opportunities - we need to ask who is not here, move to where the people are. We need to step up and step back, looking carefully at who currently takes up the most space and how do we balance this?
Challenges - we need to have an honest dialogue, sometimes we bite our tongues on issues to not hurt feelings, but we also need to have comfort in both talking and listening. The City is divided, the landscape has changed, there are more racial and class divisions. We also need to have a specific charge and ways to implement our recommendations.
Success - we need to have agreed upon outcomes and hold each other accountable. We need to integrate the two Cambridges, making art accessible and having a higher level of awareness.

Group #3 reported back:
Opportunities - to recognize the importance of arts in the innovation DNA of the City, and to lift up the value of arts to recognize it as intrinsically valuable to the success of Cambridge. We need to also focus on the people who create the arts.
Challenges - how do we lift up the arts? How do we value the arts at the level we value business or science? Public art can be inanimate, but how can we actually support the people creating it? How do we combat the marginalization of arts? Why aren’t the arts a part of how we think about public health, inequity, violence prevention, etc.?

Group #4 reported back:
Opportunities - everyone that’s here has an opportunity to connect and get to know each other and network.
Challenges - funding, reinforcing events that the City has for everyone to enjoy in a more multimedia, multi-pronged kind of way, especially inter-generationally and in more creative and accessible ways. Weather is an issue because we only have 5-6 months to be outside and spend time as a community together. No artists have enough resources so there is often not a lot of unity - do we collectively have the ability to look at the whole landscape in a way that’s not possible with other groups?
Success - we have an opportunity to strength the arts community and we are in the process of defining how to do that. We have the potential to evaluate other City organizations and make very concrete recommendations that can be acted on to guarantee and clarify sources of funding. We need a more defined charged to know what our goals and opportunities and resources actually are.

Ms. Lazu wrapped up the training and held a short debrief.

Councillor Mallon thanked everyone for participating in the training and thanked Ms. Lazu for her facilitation. She announced that the next meeting will take place on Thurs, Dec 13th from 5:30pm-7:30pm. She stated that the meeting location is at the MIT Visual Arts Center – 345 Vassar St., which is accessible by the CT2 bus at the Amesbury St. @ Vassar St. stop.

Councillor Mallon adjourned the meeting at 7:34pm.