How to tackle the ethical crisis in the arts

Arts organisations need to strengthen their ethical decision making and communication if they’re to avoid getting caught in controversy.

Which value should arts organisations prioritise? Artistic expression? Or the creation of safe and inclusive spaces, free from divisive issues and the possibility of offence? They often have to choose one because it’s impossible to prioritise both.

Yet, rightly or wrongly, arts organisations are facing demands that they promote both values, with some voices calling for them to prioritise safety at the expense of expression. The sheer impossibility of attempting to satisfy both values – or at least not failing in one of them and triggering a costly backlash – must be keeping the leaders of arts organisations across the country up at night.

There has always been an inherent tension between the values of artistic expression and safety (broadly defined), so there will inevitably be situations where maximising one will compromise the other. Push expression to the extreme and art can be dehumanising or promote hatred. Push safety to the fore and art would lose its power to challenge dominant narratives. This is why the arts have always had to balance the two, often leaning in favour of artistic expression, but with red lines that make things like bigotry or hate speech off-limits.

The challenge today is that we live in an increasingly fractious, polarised and volatile environment, where issues such as the conflict in Gaza are dividing communities and eroding trust and good faith. Where, in times past, onlookers might have treated an ambiguous artwork with charity, now they see endorsement of terror. Where an artist might once have been forgiven for making an off-hand remark in support of a humanitarian cause they believe in, they are now interpreted as promoting hate. This milieu has contributed to many voices – often powerful voices – calling to lower the bar for what is considered “unsafe” and, as a result, seeking to overly constrain expression.

How are arts organisations to continue to fulfil their mandate in such an environment? Given that the issues facing them are fundamentally ethical in nature, the answer comes in strengthening their ethical foundations. One way of doing that is formally adopting a clearly articulated set of values (what they think is good) and principles (the rules they adhere to) that become the sole standard for judgement when individuals make decisions on behalf of their organisation.

Couple that with robust processes for engaging in ethical decision making, and the organisation benefits from making better decisions – and avoiding hasty ones driven by panic or expedience – and is also better able to justify those decisions in the public sphere. There might still be some who criticise the decision, but even a cynic will be forced to acknowledge the consistency and integrity of the organisation.

Of course, arts organisations are not monolithic entities. Leaders and staff will inevitably vary in what they personally think is good and bad or right and wrong. And while individuals have a clear right to decide whether or not they will work with or support a particular organisation, no person can impose their own personal values and principles on those they work with. So, organisations need to have internal processes that allow this diversity to be acknowledged, while arriving at a single set of values and principles that can guide the organisation’s decisions.

And they need to do this without allowing “shadow values and principles” to subvert them. Many organisations have a lovely list of words pinned to the wall or splashed across the ‘About’ page on their website. But their internal culture promotes a different set of values by rewarding or punishing certain behaviours. As a result, it’s possible for an organisation to say it prioritises artistic expression but its actions show it values the patronage of wealthy supporters more, and it’s willing to compromise the former to satisfy the latter.

A truly ethical organisation will be self-aware enough to recognise shadow values and principles when they emerge, and a truly enlightened leadership will be able to redirect the culture towards promoting their stated values and principles.

All of this requires work. But it can be done. I have seen it first hand. I’ve worked with multiple arts organisations to help them better understand the values and principles that they wish to promote, and workshopped a range of scenarios to put its decision making processes to the test.

What would they do if an artist they’ve programmed posts something inflammatory on social media a week before they’re scheduled to perform? What if it was a controversial work from a decade ago? What are the red lines in terms of expression and what are they willing to defend? What would they do if a high-profile donor threatens to pull funding if they don’t deplatform an artist they object to? How should they treat an artist who uses the platform they’ve been given by the organisation to make a political comment unrelated to their work?

The organisations I’ve worked with have answers to these questions. The answers might not satisfy everyone, and they might involve compromises, but they are consistent with the values and principles that drive the organisation.

There may be no single correct answer to many of the ethical challenges that arts organisations face, but there are better and worse answers. Having a robust ethical framework and decision making processes won’t make arts organisations immune to controversy, but it will help them avoid much of it, and enable them to respond with integrity to whatever comes their way.

The Ethics Centre offers a range of resources to support individuals and organisations facing difficult decisions, including workshops, consulting and leadership training.