Teaching Artistry with Courtney J. Boddie

"Kids have a lot of teachers. They don't have a lot of artists in their lives."

That quote, taken directly from this week's episode, frames the second part of Courtney's conversation with Russell Granet—New 42’s President and CEO! In Act 2 of Episode 40: “Striving Toward Belonging,” Courtney and Russell take a deeper dive into Russell's historical knowledge of teaching artistry. They dig into its evolution over the past few decades and discuss their hope that the profession as a whole leans into amplifying and highlighting the artistry of the extraordinary people in the field. This episode also delves into New 42's ongoing antiracism work, including the continued development of an Equity, Diversity and Inclusion (EDI) ecosystem which calls in multiple perspectives in order to make accountability, equity and liberatory practices essential parts of the fabric of New 42's systems.

If you missed it, be sure to listen to Act 1 of this great interview. In that episode, Russell talks about his journey from childhood class clown, to artist, to teaching artist, to his current role as arts administrator. Russell’s time as a teaching artist, over 30 years ago, is of particular significance in this discussion, and his career, as this is the point during which he saw the systemic inequities—in terms of access to the arts and in regards to racist and discriminatory practices—built into the New York City school system. Russell also gives some great insight into the evolution of teaching artistry from its humble beginnings to its highly respected role in the arts education field.

Courtney talks with Russell Granet, New 42’s President and CEO, about his journey from childhood class clown, to artist, to teaching artist, to his current role as arts administrator. Russell’s time as a teaching artist, over 30 years ago, is of particular significance in this discussion, and his career, as this is the point during which he saw the systemic inequities—in terms of access to the arts and in regards to racist and discriminatory practices—built into the New York City school system. Russell also gives some great insight into the evolution of teaching artistry from its humble beginnings to its highly respected role in the arts education field.

In this episode, we feature a deep discussion, from the video series, "We Can't Go Back", between panelists Toya Lillard, Robyne Walker Murphy and Durell Cooper, around a number of topics including: saviorism in arts education; relinquishing power so that younger Black practitioners can step up; and holding arts organizations accountable so that anti-racist policies don't simply become language in a mission statement, but become integrated into their core practices. Anecdotally, and Courtney states this at the top of the episode, Toya, Robyne and Durell have been influential in the development of Courtney's liberatory practices and philosophy, and it's clear why. It's quite powerful to hear just how each of these arts practitioners view the inequities—and the possibilities—in the arts education field. Arts organizations all over the nation, and their leaders, have finally been put under a microscope. There is a demand for them to dig deep in order to interrogate and examine oppressive, white supremacist policies and practices that pervade, from the roots upward, the foundation of and structures within the arts education field. In this episode, we spotlight this industry-wide crisis with one question being asked of white and BIPOC people in power at these institutions: "What are you willing to give up?"

First, Courtney sits down for a convo with Step Afrika! founder, C. Brian Williams. How can predominantly white institutions (PWIs) better respond to and dismantle their own oppressive practices in order to rebuild their infrastructure? Well, that's one question and one approach. But Williams thinks he has a better idea and call to action: cultivating a strong ecology of arts organizations that are equitably represented in the field. Williams says of arts organizations across the nation that they must examine what deeply rooted historic structures have prevented growth towards equity and telling stories that decenter whiteness, and celebrate the successes and failures that are a part of the history of this country through art. What else do Courtney and C. Brian discuss? And why does C. Brian Williams make a key reference to Dolly Parton? You'll have to listen to this inspiring conversation to find out!

Up next, we have Michael J. Bobbitt. Currently he is the Artistic Director of New Repertory Theatre, but he'll become executive director of the Massachusetts Cultural Council on February 1, 2021. In Courtney’s conversation with the well-known director, choreographer and playwright, the two longtime colleagues discuss the need for new approaches and strategies for embracing anti-racist practices in our nation's arts organizations. Simply put, Bobbitt suggests that, in order to do this, we must be co-conspirators and aim to disrupt and topple oppressive practices. To paraphrase a few of the points made in this conversation, Courtney and Michael talk about oppressive power structures in predominantly white cultural institutions and how power is at the very root of systemic oppression and racism. One of the most poignant statements Michael makes is this: without relinquishing or redistributing their power, white individuals in positions of influence will keep racism alive and thriving.

Hey, listeners! It’s our last episode of 2020 and, unlike the majority of this turbulent year, this episode is fire! The overarching question of this episode, which features both Khalia Davis and Quanice Floyd, is: “What does a liberated and racially just world look like?” And how do our guests answer this question? Well, you'll have to listen to Episode 37: “In Solidarity and Community”!

First, Courtney sits down for a chat with Khalia Davis, a multidisciplinary artist and the newly-appointed Artistic Director of Bay Area Children’s Theater, to discuss the importance of representation and creating a dialogue for kids and their families about recognizing and confronting racism. The focus of much of their conversation is Khalia’s piece, “A Kids Play About Racism,” a play for young audiences based on Jelani Memory’s, “A Kids Book About Racism.” Khalia, who sees the arts as a means of amplifying and empowering marginalized communities, hopes that, ultimately, people who look like her will cease to question their sense of belonging within the arts.

Up next, we have Quanice Floyd. “Anti-racism isn’t just a lens” is one of the sharpest, most pointed quotes from Courtney’s conversation with Quanice, and discussing what highlights the fear and hope that comes with having these very visceral conversations about race, racism and anti-racist practices. Floyd is a self-proclaimed “rebellious one” who pushes social constructs out of the way in order to fight both inside and outside the classroom and create meaningful arts learning for every kid. Her philosophy is that learning should be relatable and responsive and that our current model, steeped in white supremacy, doesn’t serve every student. And how does she do this? Listen to find out!

Courtney speaks with Alaina Newell, creator of the podcast "The Fourth Wall," as part of the video series “We Can’t Go Back.” In this insightful episode, Courtney and Alaina discuss Newell's podcast and its inception, and they confront the contradiction of theatrical safe spaces (and its severe lack of brave spaces). Candidly, Alaina admits that she has approached her participation in the field with compassion, but that compassion has not always been reciprocated, highlighting deeply-rooted institutional racism. One commonality that is very present in this episode is how and why Courtney and Alaina have both created their respective brave virtual spaces—their podcasts—in which BIPOC artists' voices must be centered, amplified and celebrated. Lastly, Courtney and Alaina discuss what is being done, what could be done and what must be done to dismantle systemic white supremacy within arts and cultural institutions. And how leading with anti-racism and amplifying Black voices—and hearing and listening to those voices—is essential to unifying and strengthening the field.

This episode opens with a discussion with our partners at Creative Generation's Jeff Poulin (Managing Director) and André Solomon (Community Engagement Specialist). An introduction to the podcast's video series, "We Can't Go Back," their dynamic discussion is around systemic racism and anti-racist practices within the fields of arts and arts education addresses the need for systemic restructuring, not incremental spotlighting of these very real issues, in order to make true change happen. And this discussion is not just theoretical. No. It's a discussion about intentional steps that both Jeff and Courtney are taking to actually make change an action, not wish, by cultivating liberated spaces and standardizing abolitionist teaching practices that decenter whiteness and honor the stories of artists who are Black, Indigenous and People of Color.

The second half of the podcast is a fascinating conversation between Courtney and two giants in the fields of arts and arts education: Adia Tamar Whitaker, Artistic Director of Àse Dance Theatre Collective; and Toya Lillard, Executive Director of viBe Theater Experience. Together, they discuss concepts like: folklore as it exists in the past, in the present and within the bodies of Black people; the direct connection between art and activism; feeling like a leader but being perceived as a problem; surviving in hopes of thriving. Through questions like: "What are some ways you embed anti-racist practices into your work?" and "What are some actions arts institutions can take to restructure and dismantle oppressive systems and policies that uphold white supremacist constructs?," Courtney, Adia and Toya have a rich and intense conversation about the necessary shifts needed to begin creating liberated and brave spaces for Black women and for all BIPOC artists to exist, explore and create art.

Final thought: What is the true change you want to see in the world? See it. Say it. Make it. Be it. #Onwards

What's in the empty space between the lines? That's just one very meta-question that is asked in the continued conversation between Courtney and artist-educator Daniel Levy, author of the book, "A Teaching Artist's Companion." Their discussion becomes less of a linear journey from child to grown-up artist, and more of an exercise in examining one's adolescence and the foundations that, despite what one might be trying to build for themself at a very young age, are laid for them, leaving very little room for personal exploration and growth. And how does one find their individuality, their creativity, under those circumstances? One emerging theme from Courtney and Daniel's conversation is finding a love of the art form of music and harnessing the power of that art form in order to propel their artistry, fueling their creative journey and helping them identify the space between the lines and become the arts educators they are today.

What's in the empty space between the lines? That's just one very meta-question that is asked in this thoughtful exchange between Courtney and artist-educator Daniel Levy, author of the book, "A Teaching Artist's Companion." Their discussion becomes less of a linear journey from child to grown-up artist, and more of an exercise in examining one's adolescence and the foundations that, despite what one might be trying to build for themself at a very young age, are laid for them, leaving very little room for personal exploration and growth. And how does one find their individuality, their creativity, under those circumstances? One emerging theme from Courtney and Daniel's conversation is finding a love of the art form of music and harnessing the power of that art form in order to propel their artistry, fueling their creative journey and helping them identify the space between the lines and become the arts educators they are today.

Race, racism, prejudice and privilege. These are all issues that, on a global scale, seem to be digging furiously upward through layers of historical ignorance and dissension, and into all aspects of our collective discourse. These are also all themes in our brand new two-part series, featuring dramaturg, writer, actor, director and teaching artist Ted Sod. In moments of darkness, of aloneness, of internal and external conflict, one thing matters most: access to the arts. But, how does a person find the arts or become an artist in the absence of culture? How can a gay man find purpose, love and light in a world that holds so much against him? How does an artist of Lebanese descent find his true artistic self in a country built upon a foundation of prejudice demanding he conform to societal norms in order to be successful? These questions, and oh so much more, drive the electric and witty conversation between Courtney and Ted Sod. Please enjoy the conclusion of their conversation.