Beyond Bricks and Mortar: How BIPOC Cultural Ownership is Redefining the Future of Arts and Community
For decades, cultural institutions serving Black, Indigenous, and People of Color (BIPOC) communities have operated within a system often defined by precarious funding, limited control over their own spaces, and a constant need to justify their existence. But a powerful shift is underway. The concept of BIPOC institutional ownership – extending far beyond simply holding a deed – is gaining momentum, fueled by a growing recognition that true cultural empowerment demands financial, operational, and even philosophical control. This isn’t just about buildings; it’s about owning the narrative, the resources, and ultimately, the future.
The Urgent Need for Cultural Ownership
The Kelly Strayhorn Theater (KST) in Pittsburgh recently hosted “Owning Our Future: A Symposium on BIPOC Institutional Ownership,” a pivotal gathering that brought together leaders across sectors to grapple with these complex issues. The symposium wasn’t born in a vacuum. It arose from the racial reckoning of the pandemic, a period that laid bare systemic inequities and amplified calls for lasting change. As KST itself faces the loss of its long-held home in 2029, the urgency of the conversation is deeply personal.
From Financial Models to Land Back: A Multifaceted Approach
The symposium highlighted that ownership isn’t monolithic. It encompasses a spectrum of strategies. Darren Isom of The Bridgespan Group emphasized the power of endowments as tools for achieving long-term goals and advancing racial equity. This isn’t simply about accumulating wealth, but about strategically deploying capital to support community-defined priorities. Simultaneously, the symposium acknowledged the importance of movements like Land Back, which advocate for the return of Indigenous lands and resources, recognizing the deep connection between land sovereignty and cultural preservation. As Lara M. Evans from First Peoples Fund illustrated, successful models prioritize community consultation, ensuring that programming directly reflects the needs and desires of those served.
Reimagining Operational Structures for Equity
Financial stability is crucial, but it’s only one piece of the puzzle. Panel discussions focused on “Transformative Operational Practices,” exploring collaborative and adaptive organizational structures. Organizations like 1Hood Media in Pittsburgh are demonstrating innovative approaches, such as launching a 501(c)(4) arm to engage in civic and political action alongside their media and community programs. This integration of advocacy and artistic expression is a powerful example of how BIPOC-led institutions can wield influence beyond traditional cultural boundaries.
Beyond the Physical Space: Defining Cultural Ownership
A central question posed at the symposium was: what does cultural ownership truly mean? The answer, it seems, extends beyond physical walls. Architect Allan Co of Crescere Collaborative inspired attendees with visions of community-based property ownership and redevelopment, moving away from solely relying on traditional real estate models. This concept aligns with a broader trend of redefining “cultural space” – recognizing that culture isn’t confined to theaters or museums, but exists in community gardens, coffee shops, and even restaurants, as exemplified by Busboys and Poets founder Andy Shallal’s keynote address.
The Alchemy of Community Hubs
Shallal’s vision of spaces that blend restaurants, bookstores, and community gathering places underscores a critical point: BIPOC cultural ownership thrives when it’s interwoven into the fabric of daily life. These hubs become not just places for artistic expression, but also for dialogue, connection, and collective action. This holistic approach fosters a sense of belonging and empowers communities to shape their own narratives.
Pittsburgh as a Case Study: KST’s Vision for 2040
KST’s own impending displacement serves as a catalyst for reimagining its future. Their vision for 2040 – a space encompassing community gardens, coffee shops, rehearsal studios, and even wellness facilities – reflects a commitment to creating a truly integrated cultural ecosystem. This isn’t about replicating the past, but about building a 21st-century institution that actively supports the liberation of Black and queer people. It’s a bold vision, and one that requires innovative financial strategies, community engagement, and a willingness to challenge conventional models.
The conversation sparked by KST’s “Owning Our Future” symposium is a vital one. It’s a call to action for funders, policymakers, and cultural leaders to prioritize BIPOC institutional ownership not as a philanthropic gesture, but as a fundamental investment in a more just and equitable future. The future of arts and culture depends on it.
What steps can your organization take to foster greater cultural ownership within your community? Share your ideas in the comments below!
