Racism is a complex issue that requires multifaceted strategies, each shaped by the socio-cultural, political, and personal contexts of their advocates. In his TEDx talk, “Diversity, Equity & Inclusion: Learning How to Get it Right”, Sadiq A. explores the challenges of engaging meaningfully with anti-racist practices. His reflections reveal both the potential of diversity, equity, and inclusion (EDI) initiatives and the limitations when these efforts prioritise appearances over meaningful impact.
Sadiq critiques the dominance of a homogeneous understanding of diversity and diversity training, which impedes the authentic expression of individual identities. Racism often thrives in such environments, where challenging discriminatory practices is met with resistance or repercussions. He highlights the importance of creating spaces where individuals can safely speak out against racism, laying the groundwork for sustained, meaningful change.
Through the lens of Critical Race Theory (CRT), Sadiq’s arguments resonate strongly. CRT posits that racism is endemic, systemic, and often unacknowledged (Bradbury, 2020). One principle of CRT, interest convergence (Bell, 1992), suggests that progress for minoritised groups occurs only when it aligns with the interests of dominant white elites. This echoes Sadiq’s critique that the diversity promoted by those in power often serves their interests, not those of marginalised communities.
For instance, the UK theatre industry exemplifies this dynamic. While institutions such as the National Theatre champion diverse casting, leadership roles remain dominated by white, middle-class men. This imbalance reduces diversity to a token gesture, reinforcing existing hierarchies rather than dismantling them. In this context, race, gender, class, and even age are often appropriated to serve the narratives of dominant groups, sidelining genuine equity.
My personal experiences as a theatre researcher and educator underscore these systemic challenges. As an East Asian student pursuing MA and PhD studies in the UK, I was often the sole East Asian among predominantly white cohorts. My choice to study theatre was frequently questioned, with remarks implying that theatre was not a field for someone from my background. As an educator, I faced similar biases. Students occasionally expressed surprise or discomfort at being taught Shakespeare by a Chinese teacher, reflecting the entrenched stereotypes of white elitism in both education and the arts.
These experiences reveal how racism can operate unconsciously, perpetuated by societal structures long shaped by white dominance. Yet, they have also informed my teaching practices, motivating me to address these biases proactively. I use my personal story to challenge stereotypes and critique racism within the discipline. For example, I developed a module on global perspectives in Shakespearean theatre to highlight how Shakespeare’s works are studied and performed across diverse cultures and by scholars and artists of various racial backgrounds.
Sadiq’s insights reaffirm the need for anti-racism efforts that prioritise structural change, challenge existing power dynamics, and foster inclusivity. By centring marginalised voices, critiquing systemic inequities, and embracing diverse perspectives, we can push beyond performative gestures towards a more equitable and inclusive society.
Bell, D. (1992). Faces at the Bottom of the Well: The Permanence of Racism. New York: BasicBooks.
Bradbury, A., (2020). A critical race theory framework for education policy analysis: The case of bilingual learners and assessment policy in England. Race Ethnicity and Education, 23(2), pp.241-260.