DEIAB Resources
For Your Organization
Here are many resources called "deliverables" or "collateral" that serve as templates or examples for your organization. From the actual written material reference, to how to present the information appropriately, here is how to bring in diversity, equity, inclusivity, accessibility, and belonging to your performing arts space.
THE LAND
WE'RE ON
THE LAND THAT SURROUNDS US IS PART OF WHO WE ARE; IT REFLECTS OUR HISTORIES.
Native Governance Center is an organization led by and for Native people. Our organizational roots are in St. Paul near Wakpá Tháŋka (the Mississippi river), not far from Bdoté, the place where the Mississippi and Minnesota Rivers meet. Bdoté, along with Bde Wakan (present-day Lake Mille Lacs), are central to Dakota creation stories. There are many other sacred Dakota sites near St. Paul, including Taku Wakan Tipi (Carver’s Cave) and Eháŋna Wičháhapi (Indian Mounds Park burial mounds).
We need to protect and honor the history and people of these places.
Mni Sota Makoce (Minnesota) is the homeland of the Dakota people. The Dakota have lived here for many thousands of years. Anishinaabe people reside here, too, and reached their current homelands after following the megis shell to the food that grows on water (manoomin, or wild rice). Indigenous people from other Native nations also reside in Minnesota and have made innumerable contributions to our region.
Native nations negotiated government to government, preserving their sovereign land, rights, and privileges through treaties. When land wasn’t ceded through good faith efforts, it was often stolen from our Indigenous relatives.
In 1851, the Dakota signed the Treaty of Traverse des Sioux, ceding land in southern and western Minnesota to the United States government. Dakota leaders faced insurmountable odds during the treaty process. In addition to inflating their unpaid debts, white negotiators from the federal government threatened to push the Dakota to the Rocky Mountains by force with “100,000 men.” Dakota leaders had little choice but to sign the treaty to protect their people. In the end, the federal government has never paid the approximately $3 million promised in the treaty.
Both the State of Minnesota and the United States Government carried out genocide, ethnic cleansing, and forced removal against the Dakota as a way to acquire land. They broke promises. Despite centuries of colonial theft and violence, this is still Indigenous land. It will always be Indigenous land.
Indigenous people are not relics of the past. We are still here, and we continue to demonstrate our talents and gifts amidst a backdrop of ongoing colonialism and oppression. We are worth celebrating.
Land acknowledgment is only one small part of supporting Indigenous communities. We hope our land acknowledgment statement will inspire others to stand with us in solidarity with Native nations.
Solidarity can look like:
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Donating time and money to Indigenous-led organizations.
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Amplifying the voices of Indigenous people leading grassroots change movements.
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Returning land.
WE ARE ON DAKOTA AND ANISHINAABE LAND.
Land Acknowledgments
Land acknowledgments should comprise a few key points: 1) addressing the history of the land your space is on, with specific attention to the names of the rightful peoples the land belongs to, 2) bringing truth to the situation of how the traditional inhabitants were removed from their land and how it impacted their culture, with no sugarcoating, 3) offering a resource or resources that provide more information, and 4) an explanation of how your organization is taking action through collaborations with local indigenous peoples.
The Native Governance Center's "The Land We're On" (seen left) is the best example of a land acknowledgment and best represents all components of an actionable, respectful, and meaningful attribution.
Once your land acknowledgment is constructed, whether in a program or to be read aloud before the event begins, it is crucial that it be delivered with the utmost respect and dedication, capturing the true emotion. Words with no meaning are performative, and it is worth taking into consideration why you wish to write a land acknowledgment- if it is not addressed with the respect it deserves, you are not addressing the rightful inhabitants, their culture, and their history, with respect.
Content Warnings
Content Warnings are warnings that notify audiences or actors of the sensitive content that may be contained within a show or performance. These can be delivered to audiences and actors in multiple ways, but primarily through written and verbal communication. Some suggestions for where to include content warnings are within the event program, with ticket purchasing information for that particular show both online and at the ticket booth, and even vocalized during pre-show announcements.
Content warnings can seem daunting or deterring to sales, and theatre meant to challenge audiences, but it is safest for patrons to have blanket warnings for what content may be written into the script of a show. Some frequently used warnings include sexual assault, abuse, pedophilia/incest, self-harm and suicide, eating disorders, miscarriages/abortion, racism and racial slurs, ableism, sexism, homophobia, transphobia, and hate speech against various religions (e.g.: Anti-Semitism, Islamaphobia). Audiences who are aware of the content of a show are more readily able to prepare mentally and physically for the story of a show, which can result in a more enjoyable performance experience.
Trigger Warnings
Trigger Warnings are similar to Content Warnings, however, trigger warnings are delivered to prevent episodes in individuals with PTSD or other anxiety disorders, as well as those who may have medical emergencies caused by equipment used during the show such as epileptic episodes. These trigger warnings should be delivered near the content warnings, whether written on signs or in programs or read aloud prior to an event. If the trigger warnings coincide with content warnings, you can also ensure that venue staff is trained on the specific instances in a show that may be triggering, so that they can work with guests to implement your venue’s action plans for accessibility. It is very important to reiterate trigger warnings that could cause medical emergencies such as strobe light effects for those in the audience who are epileptic.
ASL Interpretation &
VRI Technology
Performing Arts shows and events are often hard to access for those who are deaf or hard of hearing, which can present a tough barrier for patrons. It is important to note two things: Deaf is a culture, whereas deaf refers to one’s ability to hear, and secondly, many of the Deaf community do not consider it to be a disability. Therefore, when discussing the Auxiliary Aids and Services that venues provide as required by the Americans with Disabilities Act of 1990 (ADA). Video Remote Interpreting technology (VRI) is one form of accommodation that is becoming more widely used by larger performing arts venues, but it is not the more available to smaller venues.
Other venues have begun hiring American Sign Language, or ASL, interpreters to interpret performances. This requires at least two professional ASL interpreters with lengthy rehearsal time in preparation for performances. It is important to denote performances that will utilize ASL interpreters or have VRI equipment available. This promotion should be available in written communications and promotions such as at the ticket website, ticket booth, and in the program, whether that be a permanent addition or an insert.
