Equity, Diversity, and Inclusion in Early Music
Early Music America is about to take on an important initiative. As with the mainstream classical music community, we are acutely aware, in our specialized field, of the lack of diversity. With this in mind, EMA is planning to focus its work on broadening outreach in order to create a more inclusive community. Our approach will be sensitive to the interests and needs of individuals, organizations, and educational institutions as we work to expand and celebrate the contributions of diverse cultures in the history and performance of early music. We need the support of musicians and organizations in this endeavor, as you are the visionaries who can influence the future and ultimately serve a greater spectrum of our constituents. Your voice is extremely important to our work and will help the EMA taskforce to assess how to move forward with recommendations.
Patricia Ann Neely, Taskforce Chair
Please help launch the study by completing the performer and organization survey below by November 30, 2019.
An audience-focused survey is being developed and will be available soon.
Responses are completely anonymous. Thank you for your openness and willingness to participate.
Questions/comments may be sent to
for more information.
How do you (or your organization) define the terms "diversity," "inclusion," and "equity?"
How do you see those terms applying to early music/historical performance?
What diversity, inclusion and equity work have you or your organization done to date? For example, special performance projects, workplace culture, board culture.
Describe the context for your EDI work:
(Some people and organizations have had a focus on D&I for many years, while others have started specific D&I-focused activities in recent years, and others have no D&I-focused activity. Some experienced catalyzing moments that encouraged them to start these focused activities: conversations at national conferences, awareness of national and/or field trends in funding and audience participation, or a noted absence of certain groups at member convenings.)
Please describe any partners you are working with or would like to work with (eg collaborators, facilitators, consultants):
Please name other arts organizations you’re aware of that are active in this arena, eg Women of Color in the Arts (WOCA), Sphinx etc:
What resources, in the form of knowledge bases, or information gathering, for example, would be helpful?
If EMA is ultimately to provide case studies and best practices, which of the following areas/terms are most important to clarify, and why?
Philosophy and Practice
Please explain your selections above.
What resources are needed to do the work you’d like to achieve in early music (e.g. colleagues, funding, staff capacity)?
Would you be interested in being involved in either of the following?
In-person meeting at the Berkeley Festival & Exhibition in June 2020
Is there anything that hasn’t been asked that you would like to add?
If you have already engaged in this work in the field of early music/historical performance, please answer the following questions:
How are you evaluating and/or measuring your work, or how would you like to do so?
What efforts are showing signs of progress or success? How is your work being received by your intended audience/partners/community?
What have been your challenges and roadblocks so far?
Are you applying what you have learned towards your programs and operations?
How do you ensure that your initiatives are not short-lived?
Are you developing any resources from your work (Ex.: research, best practices, case studies, etc.)?
Page 1 of 1
Never submit passwords through Google Forms.
This form was created inside of Early Music America.