A follow-up conversation between Carmen Morgan, Michael Robertson, and Alexis Green reflecting on the first two artEquity conversations and the lessons they've learned.
Reflection on artEquity's Foundation and Early Years
Thursday 20 November 2025
United States
Over the last 10 years, artEquity has cultivated spaces for connecting, building deeper racial analysis, and supporting BIPOC leaders—especially Black leaders—in shaping a more just and sustainable field.
In its second and final year, the Artistic Caucus aimed to integrate its collaborative model into the workflows and budgets of four theatres while providing freelance artists with access and compensation. Lauren Halvorsen details the program’s strategies, impact, and significance for a field in need of transformation.
Community conversations about welcoming audiences with disabilities, producing within a festival context, and how to handle change when an organization comes to an ending.
Nadia Garzón, founder and executive director of Descolonizarte Teatro in Orlando, Florida, prioritizes a decolonial arts practice by uplifting Latinx, queer, and immigrant voices. Nadia releases the Western-centric ideals that dominate the theatre and uses an ensemble leadership style with empathy at the core of her work.
The founder of About…Productions, Theresa Chavez, highlights the role of the arts in enlightening and moving people and centers equity in her theatre work and youth education. She speaks about creating art with an emotional and historical component and having optimism at the core of artmaking.
The Commonweal Theatre Company acts as a model for thriving theatre in a rural setting. Robert Hubbard details the ways the company’s resident ensemble operates, highlighting their artist/administrator doubling, artistic excellence, and embeddedness in the surrounding community.
With the Founders of New York City’s HERE Arts Center
Friday 26 September 2025
New York City
The founders of HERE Arts Center gather to share their founding story and insights about the field’s evolution and to kick off Kristin Marting's new project TORCHES: 30 Years of Downtown Performance in New York City, a much-needed exploration of New York City’s unique and influential downtown performance world from the 1990s through today.
Art Management in Africa / La Gestion des Arts en Afrique
Tuesday 20 May 2025
United Kingdom and Uganda
This concluding episode summarizes the key highlights of the previous episode and offers the opportunity to consider the future of art management in Africa.
Key Takeaways on Health and Wealth in the Arts and a Panel on Navigating Change
Wednesday 2 April and Friday 4 April 2025
New York City
At this year’s Spring Summit, the A.R.T./New York team shared early findings from the data project, Health and Wealth: Supporting NYC Theatremakers through Data and Insights.
Equity specialist Quodesia D. Johnson shares about her experiences facilitating racial healing circles in performing arts spaces. She argues that theatres should be spaces of truth-telling, connection, and racial healing for everyone.
On the Enduring Challenge of Cultural, Economic, and Racial Equity in the Performing Arts Sector
Friday 28 February and Saturday 1 March 2025
Austin, Texas
Over two days, through conversations with cultural professionals and humanities scholars, this convening addressed gaps in understanding about how performing artists in the United States work and how their work is supported systemically.
Jonathan McCrory is a Tony Award and Emmy Award nominated producer and a two-time Obie Award-winning artist who has served as executive artistic director at the National Black Theatre since 2012. In this episode, hosts Jordan Ealey and Leticia Ridley talk with McCrory about his work with the National Black Theatre and his ongoing commitment to nourishing and cultivating Black creativity and Black life.
When utilized fully, social media can function as a critical extension of work being done onstage. Trevor Boffone pulls from his experience as a content creator and social media manager to share concrete steps that theatremakers and theatre companies can use to leverage the unique potentials of social media.
Lauren Halvorsen reports on the origins, development, and learnings of the Artistic Caucus, a collaborative initiative between four regional theatres. By employing a racially and geographically diverse collective of freelance artists to identify new work, scout projects, and facilitate relationships on behalf of all four theatres, the Artistic Caucus seeks to disrupt traditional curatorial practices.
Tony Garcia and Claudia de Vasco share their experiences becoming immersed in the Chicano movement, which has informed both of their careers in artistic leadership.
Munroe Shearer discusses the problem of white queer men’s positionality excusing them from anti-racism and anti-misogyny practices in theatre leadership.
Since the “great pause,” funders have shifted their giving models. Ben Cameron has seen it from every side—and he talks all about it. Through anecdotes about his experiences at organizations from Theatre Communications Group to the Jerome Foundation, Ben offers many insights into how ensemble fits in a thriving theatre ecosystem.
This dynamic summary of a panel co-curated by Rachel Penny and Nikki Shaffeeullah as part of Parallel Tracks 2.0 brings together several artists, producers, and lawyers in a discussion about contracting, how it has been impacted by COVID-19, and interrogating power dynamics within the contracting process.
