We recently connected with Jemier Jenkins and have shared our conversation below.
Jemier, thanks for joining us, excited to have you contributing your stories and insights. What were some of the most unexpected problems you’ve faced in your career and how did you resolve those issues?
The Struggle of the Artist: Navigating Theatre’s Ethical Quandaries in an Age of Corporate Influence
As an artist deeply entrenched in the world of theatre, I have found myself grappling with an ethical dilemma that seems to be growing ever more complex and urgent: the challenge of working within institutions that are not committed to anti-racist practices. In an industry increasingly beholden to corporate sponsors and investors, the tension between artistic integrity and financial stability has never been more palpable.
Theatre has long been regarded as a platform for social commentary and change. It has the power to challenge norms, provoke thought, and spark important conversations. Yet, when art organizations prioritize financial gain over ethical principles, the integrity of the art itself is called into question. One of the most pressing issues facing artists today is the connection between art, protest, and global movements for justice. I can’t help but notice that institutions have taken the theatrical motto “safety first” with more intentionality for their stages than they’ve ever expended for Black bodies. Antiracism is what makes us safe.
As the old adage goes, “You can’t improve what you don’t measure.” This rings especially true in the context of commitments made during the COVID-19 pandemic, particularly in the realm of initiatives like WSYWAT (We See You White American Theater). While many organizations and individuals have signed onto these initiatives and made promises to support antiracist practices and create safer spaces for BIPOC artists, the question of accountability and quantifiable progress remains. However, the reality is that many art organizations receive funding from entities that are complicit in the oppression of marginalized communities. This presents a moral quandary for artists who are asked to censor themselves or compromise their principles to appease their funders.
It’s one thing to express solidarity with marginalized communities and pledge to enact change and it’s another to follow through on those promises with tangible actions and measurable outcomes. Without proper measurement and accountability mechanisms, it becomes difficult to track progress, identify areas for improvement, and hold individuals and institutions accountable for their commitments.
In the context of the global movement for justice, WSYWAT has drawn parallels to the struggle for Palestinian rights. Just as artists of color demand safety and protection within institutions, Palestinians demand safety and protection within their own land. The connection is clear: both movements are fighting against systems of oppression and for the recognition of their humanity.
The issue is not merely a matter of political correctness or ideological purity. It is a question of complicity in systems of oppression and violence. As artists, we must ask ourselves tough questions about where our allegiances lie and what kind of world we want to contribute to through our work. For many artists, the decision to refuse work from institutions that refuse to change and that align with oppressive structures is not an easy one. It means sacrificing financial stability and potentially jeopardizing future opportunities. Yet, staying silent in the face of injustice is not an option. Theatre has the power to be a force for good in the world, but only if artists are willing to stand up for what is right and hold institutions accountable for their actions.
In the end, the struggle of the artist is not just about surviving on income from our art; it is about using our voices and talents to create a more just and equitable world for all. And if that means refusing to work with institutions that perpetuate oppression, then so be it. In this way, art becomes not just a form of expression but a form of resistance. It becomes a tool for social change and a means of building solidarity across borders and boundaries. “Our art is our resistance, and our resistance is our art.
Our integrity as artists depends on it.
Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers.
Jemier Jenkins is an artist, humanitarian, and educator. Through her work with Tampa Bay Black Theatre, she’s devoted to connecting Black artists with sustainable solutions to encourage their development, creation of new Black works, and connections with the community.
Her most memorable performances include Blanche Dubois in “A Streetcar Named Desire” with the African American Shakespeare Company and Miss Pat in “The Colored Museum.”
Alongside her professional endeavors, Jemier is a dedicated member of the Zeta Upsilon Omega Chapter of Alpha Kappa Alpha Sorority, Inc. Through her work and advocacy, she remains committed to inspiring others and amplifying marginalized voices. Stay connected with Jemier’s artistic journey on social media @JemierJenkins.
How can we best help foster a strong, supportive environment for artists and creatives?
Equitable pay is undoubtedly a foundational aspect of supporting artists and creatives. Ensuring that artists receive fair compensation for their work acknowledges their contributions and enables them to sustain their livelihoods and continue pursuing their passions. Are you ensuring that artists at your local theatre are being fairly compensated? Many BIPOC artists still aren’t.
However, beyond equitable pay, society can take additional steps to fully support artists and foster a thriving creative ecosystem. One crucial aspect is providing access to affordable healthcare, housing, and studio spaces, which alleviate financial pressures and allow artists to focus on their craft without undue stress.
Moreover, investing in arts education in schools is vital for nurturing talent from a young age and instilling an appreciation for the arts in future generations. By integrating arts into the curriculum and providing resources for arts programs, we empower aspiring artists to pursue their dreams and contribute to our cultural landscape.
Additionally, promoting diversity and inclusion in the arts is essential for creating equitable opportunities and amplifying underrepresented voices. Supporting artists from marginalized communities and fostering collaborations with community organizations can enrich our cultural tapestry and create a more inclusive creative environment.
Ultimately, by prioritizing equitable pay and implementing supportive policies and initiatives, we can create a society that values and uplifts artists, recognizing their vital role in shaping our communities and enriching our lives.
Is there a particular goal or mission driving your creative journey?
Tampa Bay Black Theatre
Mision
We are devoted to connecting Black artists with sustainable solutions to encourage their development, the creation of New Black works, and connection with community. We extend this invitation through storytelling, which transcends cultural experiences, time, and circumstance to untie us in love.
We endeavor to pursue our founding principles by leveraging our people, technology, and resources with operational excellence, strategic and long-term thinking, and helping causes around the world.
Vision
A safe space for Black artists to find refuge, support, and community. A training ground for development that closes the financial gap for artists with an inability to pay for coursework. Honing skills and preparing for career opportunities.
Strategic Goals
Safe Spaces
Diversity, Inclusion, and Equity
Accessibility
Environmental Impact
Artistic Training & Personal Development
Closing Wealth Gaps
Creating Community
Contact Info:
- Instagram: https://www.instagram.com/jemierjenkins
- Facebook: https://www.facebook.com/JemierJenkins
- Linkedin: https://www.linkedin.com/in/jemierjenkins