Looking at performance work, we thought about how theatres often programme work from marginalised voices, ask them to expose their stories and then say 'byee!' . We discussed how there should be more support for people from marginalised voices in recognition that the work they make has inherently more risk attached, and is often programmed because it discusses trauma, yet there is little support for the artists.

How theatres might help:

WORKING WITH -
Have an open dialogue with the artist - what do they need to do this work? what support might they need during and after the performance?
Pay people on time!!!!!!!!
Is the purpose of their work to celebrate their diversity? to educate? Who do they want to be in the audience?

HAVING A NICHE-
Not necessary, but good to know the limits of the support you can provide
Bring in experts from that niche who can inform the internal team about what might be needed - People from marginalised communities are so often doing the educating. Educate yourselves!

HAVE A WIDER SAFEGUARDING POLICY
Safeguarding policies should include artists - Theatres have a duty of care to artists especially those from marginalised communities, to protect the mental health and wellbeing of performers etc.
Could a councellor be present? Is this something that could be put in place?

UNIONS
Artists should be able to escalate when there are issues
Freelancer's protection should be built into contracts

The Theatres Themselves & Audiences

THE BUILDINGS & ALIENATING COMMUNITIES
Security staff - education in misgendering the public, is physical contact used? Are there a mix of genders always on staff? Do you use security wands / for which communities are you using security wands?
Is there a cafe / bar / space that you can sit in without paying for anything?

TICKETS AND OUTREACH
Do outreach even when there's not a show
Go into communities and ask what they want to see
Diversify your audiences and make sure there's a legacy for them. They won't come back if there is one show about their community and nothing else. Have sustained communication, ongoing celebration of diversity, and communication about what the communities want and need.


DIVERSIFY THE STAFF
Start with the board - make sure that you have a balance of voices
Artistic leaders have to genuinely want and care about change and be willing to listen to different communities.
If your team is not diverse - Get training! Bringing in outside, paid experts to ask questions is better than waiting until you have a member of the marginalised community in the building.

ACCESS VS ART
Programme work BY disabled artists i.e. not a play which has a BSL interpreter - get a play written not just for the hearing ocmmunity.
Who is the work for? Are you just ticking boxes? Are you trying to draw a certain audiences? Are you trying to educate? Where are the risks for artists in front of different audiences?

HOW CAN WE BE BETTER AUDIENCES?
Think about the work we're not seeing - Where can we go and see it, and shout about it?
Ticket prices - Do proper outreach, offer tickets to communities that would benefit, flexi pricing?
Out poor behaviour when you see it and celebrate the good behaviour - PUBLICALLY

REBUILDING RELATIONSHIPS
Be open when things go wrong - PUBLICALLY
Be honest about mistakes and stay accountable
Rebuild trust through open, honest dialogue.



Rachel