Soothing the Itch
Part of the “Soothing the Itch” Series
by Conrhonda E. Baker
Founder & Chief Copy Editor, The Bese Saka
In arts philanthropy and cultural justice, the journey toward equity and transformation is riddled with blind spots, missed connections, and peripheral views. Quite frankly, the process is itchy. It drives many of us to scratch the surface of issues and revel in the short-lived serotonin-fueled relief. The arts sector’s landscape beckons for a new perspective—a Sankofa moment—to examine what lies beneath the surface and interrogate long-standing assumptions. We’re all being challenged to scrutinize what we’ve long taken for granted. As we navigate this terrain, it becomes clear that the status quo is insufficient, and the call for deep reflection and action remains urgent.
The Unspoken Dialogues: Confronting Bias and Misunderstanding
“What do you want never to have to say or explain to an arts funder again?” It’s a question that unveils the frustrations of artists who have been compelled to justify the significance of their work. The value of artistic expressions from global majority communities should be self-evident, yet they’ve been subjected to perpetual scrutiny. It’s high time for all funders – not just those publicly committed to the arts – to recognize that culture is not a luxury but an essential thread within the fabric of society. We can no longer tolerate the institutionalized devaluation and extraction of artistic expressions rooted in and derived from Indigenous and Black cultures. The tiresome refrain of “the art speaks for itself” has glossed over the systemic racism, unequal access, and power dynamics that underpin philanthropic investment choices. The rhetoric is vapid without acknowledgment that the environments in which art is created and presented influence its reception and perpetuate racial inequities.
Moreover, arts funders must evolve beyond mere transactional engagement. Funders must work to develop meaningful relationships with artists and communities to understand the diverse stories being told. Relationship requires us to “do life together.” We must let go of overly curated site visits and replace them with genuine personal arts patronage and curiosity about neighborhoods. Instead of relying on a one-size-fits-all approach, we must consider the context of the communities we seek to support. When was the last time you did your grocery shopping in a different part of town to see what it’s like in another zip code? No longer can we tolerate superficial diversity checkboxes; proper understanding demands genuine partnership, collaborative learning, and lived experience.
Transcending the Periphery: Embracing Innovative Approaches
The edges of philanthropic practice hold a trove of innovative concepts that should no longer be on the fringes. Collaborative efforts rooted in participatory grantmaking, mutual aid, and shared resources can strengthen the arts ecosystem. Providing multi-year general operating support liberates artists and organizations from financial constraints, enabling innovation. But the shift requires more than surface-level adjustment. It demands fundamentally reimagining the power dynamics between funders and recipients.
In response to the nonprofit industrial complex, there is an emergence of folx who are boldly speaking directly to myriad tensions, many of which reflect the nuances and discomfort of the relationship between artists and funders. Simultaneously, many arts organizations continue to adopt hierarchical business models and leadership behaviors that are antithetical to the collaborative foundations of their artistic practice. This effort to imitate well-funded organizations often results from pressures to conform to grantmaking requirements, demonstrate need, or justify their value, often at the expense of authentic artistic expression. Funders must foster an open dialogue and offer resources that empower artists with integrity and agency to navigate the United States capitalist economy (where the lines between commercial and nonprofit content creation are more blurred than ever).
Catalyzing Cultural Justice: A Call to Action
The pathway of cultural justice through arts philanthropy necessitates bold action. An escape from the clutches of bureaucracy is imperative, as is the dismantling of oppressive structures. Confronting our expectations for evaluation and comfort with capitalization support is also paramount. What would happen to the American arts ecosystem if funders readily agreed to provide debt relief, grant long-term rental/mortgage subsidies, and cover the fees for entertainment lawyers skilled in securing intellectual property rights for content creators, in addition to traditional general operating support?
As arts funders, we must look beyond the surface and embrace radical transformation. We must break free from the confines of bureaucracy, replacing it with holistic, trust-based, regenerative, and restorative approaches. Solidarity statements must be backed by financial investment and resource allocation, lest they ring hollow. This call for deep inquiry and urge for transformation is an invitation, not a condemnation. It’s an opportunity to reflect, unlearn, and rebuild. It’s encouragement to center global majority voices, relinquish complacency, and actively pursue equity. The itch of bureaucracy serves as a reminder that the process is ongoing and the time for change is now.
As we collectively move forward, let’s remember to allow reality to travel the 18 inches from your brain to your heart center. It takes courage to let an itch remain and instead choose to fervently search for irritants and root causes. Are you willing to make an interrogation of how your institution has perpetuated inequality, whether consciously or unconsciously, standard operating procedure? Only by facing the harsh truths about our practices can we hope to rectify the damage that has been done.
It takes faith to try new balms and lotions for the first time. Some folx will think we are crazy when we proactively tear down our structures that perpetuate racism and actively make space for those who have been purposefully excluded. In a world where art is both a mirror and a catalyst for societal change, philanthropy must be the brush that paints the canvas of a just and equitable future. We won’t know if these practices will heal or create new allergic reactions until we allow ourselves to be covered by their methods. So, let’s search out new ways to soothe our itching, challenge the status quo, and lay the foundation for a future where arts philanthropy uplifts, empowers, and transforms.
DISCLAIMER: Besides The Bese Saka, I work, serve, and am a member of several organizations. This contribution is my own and does not necessarily reflect those entities’ views, strategies, or opinions.
ABOUT THE AUTHOR
Photo by Decisive Moment
Conrhonda E. Baker is founder & chief copy editor of The Bese Saka. Her passion for the performing arts is grounded in her dance background, sparked by taking after-school classes at a county-wide recreational facility in rural northeast Georgia. Having grown up with limited access to the arts, she understands the importance of exposing children to creative outlets and creating opportunities for artistic expression. She believes in holistic trust-based, regenerative, and restorative approaches to grantmaking.
Her philanthropic, fundraising, government affairs, and program development experience developed through work with South Arts, Wolf Trap National Park for the Performing Arts, Alabama Dance Council, Vulcan Park and Museum, Birmingham Museum of Art, Alvin Ailey Dance Foundation, and the Howard Gilman Foundation. She has sat on grant panels for Dance/NYC, the NYC Department of Cultural Affairs, and the National Endowment for the Arts. She has sat on grant panels for Cuyahoga Arts & Culture, Dance/NYC, the NYC Department of Cultural Affairs, and the National Endowment for the Arts. In addition to being a Women of Color in the Arts member, she serves on the Board of Directors for SOLE Defined and Arts Business Collaborative. She holds a Master of Arts Management from Carnegie Mellon University and a Bachelor of Arts in African American Studies, with a minor in Dance Education, from The University of Georgia.
