Diversity takes on a different model based on a given population, but it always means the same thing: embracing differences. A Theatre department's success and relevance within a school community is directly tied to how closely it reflects the school population. Diversity is an asset to a Theatre community, especially in schools. As a director, you have a wider range of material from which to choose. You have a variety of perspectives from which to draw. Most importantly, it broadens the impact that Theatre has within your school community, and is essentially the lifeline of your department.
Diversity isn't always obvious, nor is a lack of diversity. Ethnicity and gender tend to be the most transparent in terms of diversity. I often read posts or hear conversations about incorporating more students of color, finding appropriate and relevant material for specific ethnic groups, or casting from small pools of boys. Less common are conversations about incorporating English Language Learners and Students with Disabilities. That is not to suggest that Theatre departments don't include these students. I'm simply saying that the emphasis is generally not on strategies to reach out to these demographics.
I understand that these groups can require a lot more work than others, and by work I mean ingenuity. Some Theatre teachers who may not have training in these specialized areas may not feel equipped to address the specific needs of these populations. While they would never think to discourage anyone from becoming involved, they may not make a concerted effort to get them involved either. Quite simply, a lot of teachers may not even know how.
I work in a school that's 50% Black (African-American, West African, and West Indian) and 50% Latin American (predominantly Dominican and Puerto Rican). What diversity means in my program is not what it might mean at another school in a different area. Diversity in my school isn't something that you can necessarily see. You'd have to take each student as an individual case. Several of my students are classified as either part-time or full-time Special Education students, with disabilities ranging from emotional to learning. Many also receive speech and language services. In addition, a large number of the students in my program are classified as either English Language Learners or Former English Language Learners. These are not the students I simply ended up with; these students are drawn to the Theatre program because they see the success of students like them year after year. They want to be a part of a good thing, and they are the ones I want.
I don't discount the probability that a major reason that I have so many ELLs and SpEd students involved in my Theatre program might be the fact that I teach English as a Second Language (ESL). Many of the strategies I use in the classroom to make language accessible and comprehensible either parallel or come directly out of the Theatre training I've received. They have also been the greatest beneficiaries of the partnerships that I have coordinated in the school with performance groups from all over New York City. My deliberate effort to infuse the arts into their instruction plays a vital role in their enthusiasm and attraction to the Theatre Department.
I work in a low income area at a low performing school. Most of the students in my school fail to meet the state threshold in both Reading and Math. As a strong advocate of literacy, I started the Drama Club, in part, to address the literacy needs in my school. This meant that many of my students were starting from the same place. While I did have some proficient readers, and some very good decoders, the fact that some students struggled in literacy due to learning disability (LD) or limited English proficiency (LEP) did not distinguish them from all the others who were developing their reading skills. The environment is supportive and friendly. Table read-throughs can be arduous, but everyone is attentive and respectful. Year by year, I witness the growth and progress these students make in not only decoding and comprehension, but also the emoting and mastery of language.
Many characteristics of English Language Learners and Special Education students make them natural resources in my department. Because my ESL students have closer and direct ties to their history and culture, they bring different perspectives and insights. They can be very musical, rhythmic, and creative. They often come from backgrounds where performance is an integral part of their traditions. Some have even attended music, dance, or acting classes in their native countries. They often have a greater work ethic and are more disciplined than their English speaking peers. The only deficiency they may have is English. Many of my Special Education students are very imaginative and creative, and have unique points of view. When they are in an environment where they the can focus on their artistic strengths rather than their academic weaknesses, they flourish.
Theatre satisfies a basic need for students to adequately express themselves, where they otherwise struggle to be understood. This need is no greater for anyone than it is for English Language Learners and Students with Disabilities. The paradox of Middle School students is that they need to be allowed to be different, yet they want to feel that they're just like everyone else. No students should be disqualified from the incredible possibilities that the Theatre can provide based on factors they can't control. By encouraging diversity in a Theatre program, you can give students all students an opportunity to belong.
(Halfway through this blog, I realized it was greater than a single entry. Next week, I will be discussing different strategies I have employed in working with these populations in my Theatre Program.)