What is an inclusive workplace?

In today’s society we often see a societal ‘norm’ that is repeated and confirmed. Look for example at the people depicted in advertisements or in films or series. They usually have a similar appearance, the same cultural and social background, and have no (visible) limitations (based on Studio i, 2021). 

We also see the same ‘norm’ in the artistic landscape: this concerns which artists are given space on our stages or in our museums, who works there, and which perspectives are addressed in arts organisations. Deviations from that ‘norm’ – think for example of a different ethnic-cultural background or socio-economic status, gender diversity and physical or mental health – are less present in our arts field.

Inclusion in the arts sector means that everyone – regardless of class, gender, race or ethnicity, age, mental or physical health, etc. – is included in the various aspects of art: from creation and participation to reflection on art. 

In the text Inclusieve maatschappij [Inclusive Society], Sami Zemni and Joachim Ben Yakoub describe working inclusively as: “A process of systemic reform in which changes and modifications in the content, methods, approaches, structures and strategies of existing collectives, organisations, services, institutions – or of society as a whole – are implemented to break down barriers, with a vision that offers everyone, regardless of the target group, an equitable and participatory experience and environment. Everyone is considered a priori as part of a society.” (Ben Yakoub & Zemni, 2018).Working inclusively means that you do not place the responsibility for changes to enable participation as audience, staff, artist, etc. on the person who deviates from the social ‘norm’, but that exclusion mechanisms are actively eliminated.

Working inclusively is therefore diametrically opposed to exclusion and segregation, where anyone or anything that deviates from the ‘norm’ is simply excluded (exclusion) or separated from that ‘norm’ (segregation). Working inclusively also goes a step further than integration: with integration, anything that deviates from the norm is incorporated into the existing dominant norm, but the norm itself is not or only minimally questioned.
Inclusivity, on the other hand, requires an active degree of self-questioning and questioning of the standard itself by making room for multiple perspectives. You can detach yourself from your own perspective, look at things from different angles and empathise with or appreciate the perspective of those with whom you interact (based on DIVA, 2021).

Which exclusion mechanisms do you tackle? An intersectional approach

People who deviate from the social norm often experience discrimination and exclusion in society. This exclusion is widespread in society and is also reflected in the arts sector.

Who is and isn’t represented?
Who does or does not participate as an artist, art worker or art visitor?
How do we determine quality and (selection) criteria?  

Previously there was a major focus on ‘target-group thinking’ – with attention to different groups that experience discrimination or exclusion. This way of thinking puts people into one box and tries to specifically consider and make adjustments for that specific ‘box’. While valuable, this way of categorising is a simplification of individuals to a single aspect – or a single axis.

Intersectional thinking helps you to consciously pay attention to the layers present in a person – or in other words the intersection of different axes – and the various forms of inequality associated with these and their interplay. 

“Someone can be a woman and black. And lesbian. And a single mother. And also visually impaired. Get the picture? Then add to that the fact that she is rich, very rich. Suddenly the picture is different. Because someone who is rich occupies a completely different position in society than someone who is poor, even if they are otherwise exactly the same. That, in a nutshell, is intersectionality.” (Movisie, 2021)

Intersectionality or intersectional thinking starts from the idea that social inequality occurs along several axes that cross.

With intersectionality, the different forms of inequality are therefore not considered separately, but studied jointly and in their interconnectedness.

Intersectionality as a theoretical framework was shaped by Kimberlé Crenshaw, and translated into the Dutch context by Gloria Wekker and Helma Lutz. Helma Lutz (2002, in Ella vzw, 2014) distinguishes 14 axes that are taken into account in intersectional thinking. 

With the intersectional lens on inclusion you try to take these different axes into account, and to rethink the social norm by including multiple perspectives. We often forget this intersectional way of thinking when we focus on specific target groups.

However, the two do not have to be mutually exclusive: An intersectional framework can help you zoom out and see the general context of inclusion and exclusion, while focusing specifically on one aspect can help you zoom in to highlight and eliminate certain exclusionary mechanisms associated with that specific aspect. 

By paying attention to and being aware of exclusion, you can also look more critically at the functioning of your own (arts) organisation, and consciously make it more inclusive.