Originally, the plan for this week was to wrap up the thread we’ve been exploring via diversity within artistic matters by taking a deep dive into the intersection of diversity and musician complements. But where’s the fun in having your week unfold according to plan?
Consequently, we’re going to pivot a bit by using today’s post to introduce the topic, solicit your feedback, then follow through next week.
In this context, and for the sake of clarity, the term diversity is used to indicate a degree of having a group of stakeholders being comprised of different racial elements.
Interestingly enough, we’ve been examining this issue as far back as 2004 via a series of articles that ultimately settled on a longer post about racial diversity at the board level.
But in this context, I wanted to focus on musician stakeholders.
Should musician complements reflect the racial diversity of their respective community?
If you think no, I’m curious to know why. If you think yes, what do you think that process would look like and how would you approach some of the more obvious challenges.