Continuing our series on activism in the arts, Kevin Osborne reflects on how his early antipathy has been transformed into a greater sense of belonging.
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While not making him rich, Kevin Osborne’s early career earnings in the music industry were enough to allow him career breaks which were important learning opportunities.
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The driving premise behind Kevin Osborne’s career has been to help people meet their basic needs, so they can achieve their full potential.
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With all the ambiguity around ethnicity terminology, Kevin Osborne is gradually coming to the view that identifying people by their colour is the best way to drive race equity.
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Kevin Osborne calls on leaders of the major classical music organisations to join his campaign to close the racial equity gap as a means of preserving their own funding.
ACE has pulled off a coup in racial and geographic equity. Kevin Osborne says now we need to fight to prevent any reversal of this progress.
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Kevin Osborne has made perhaps one of the most public and prolonged critiques of Arts Council England ever. But now he wants to set the record straight – he doesn’t hate ACE.
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Over the last three years, the arts sector has stumbled from crisis to crisis. Kevin Osborne thinks the bailouts have masked the structural issues that underpin current challenges.
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Reading ACE’s latest Equality, Diversity and Inclusion data report, it appears diversity is primarily seen as the number of people who work for or visit arts institutions like the Royal Opera House, says Kevin Osborne.
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The existential question of race inequity demands new solutions. Kevin Osborne and Genevieve Maitland Hudson explore the potential of impact investment.
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Funding ‘criteria’ tell you what a funder will or won’t support, but organisational ‘constraints’ ultimately determine what gets funded, says Kevin Osborne.
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A new strand of political correctness is reshaping conversations on race: the idea of ‘lived experience’ driving the debate. While the intention is good, Kevin Osborne argues it throws up new questions.
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A reluctance to share opinions openly is a significant block to achieving racial equity. But as Kevin Osborne argues, without understanding prevailing attitudes to racial inequity we are unlikely to reach effective solutions.
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The fight for racially equitable funding in the creative industries is what drove Kevin Osborne to set up Create Equity. Here he argues the need for Black and White leaders to work together to make it happen.
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Covid, the murder of George Floyd and the rise of the Black Lives Matter movement all led to an outpouring of statements committing to action on racial inequality in arts funding. Kevin Osborne’s initial optimism about that has since been tempered.
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Can using public money to make BAME* entrepreneurs successful be in the public interest if it makes them wealthy too? Kevin Osborne sets out the challenge.
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Kevin Osborne has long been exercised by systemic racial bias in UK arts funding. Last month he produced a panel discussion aimed at ‘digging deep’.
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With a Government report recommending the dropping of the term BAME, people have been challenging Kevin Osborne’s continued use of it. He remains ambivalent about the proposed change.
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The distribution of Arts Council England’s Culture Recovery Fund has attracted widespread criticism, not least from those campaigning for greater diversity. Kevin Osborne calls for urgent action.
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To future-proof the creative sector we must root out systemic funding bias against BAME organisations, says Kevin Osborne, starting with an equitable sharing of the £1.57 billion bailout package.
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