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I recently (and I mean today) discovered what the words Tokenism and Colorism mean. I found it interesting that I was not aware of these words until now, especially because I did not know there were words to describe how I, and many other people felt.

Tokenism was brought to my attention in an Instagram post, so I would like to credit @zapiartists on Instagram for making the graphic, and providing examples which I will be writing about.

According to Merriam-Webster's Dictionary, Tokenism is “the practice of doing something only to prevent criticism and give the appearance that people are being treated fairly.” The “default white” standpoint illuminates through the Broadway and theatre career. Have you ever heard of the “ethnic track” in a show? Alana from Dear Evan Hansen, or Dawn in Waitress? Casting directors can cross off “diversity” from their checklist. However, diversity is just statistics without inclusion- tokenism.

Of course, every director should look for the best person to fill the role, but they should also be aware of the many options they have. And once a person of color is hired, it should be for inclusion and cordiality. They should be hired because they are there and therefore heard, not for the sole fact that they are different. Many times, feeling like a token can be draining for many employees, not just in the theatre. They shouldn’t be hired to be the only representative for their culture and race.

I really like what Ross Jackson from The Nonprofit Quarterly said about what needs to be done: “We need to make an effort in our training facilities to practice true inclusion and equity in the theater, so that when the next generation of young professionals moves into decision- and policy-making positions within the professional sector, we won’t continue to traditionalize marginalization.”

My personal story about tokenism is that I’ve been told that “I was only cast as the lead for diversity.” From a fellow castmate (in my all white school, I may add). Everyone is aware of tokenism, but instead of learning some tend to make matters worse. That comment ignored the amount of work I put into my audition, and the years of training I had to nail it. That is not inclusion.

For roles where race does not matter in the plot, there is no excuse as to why BIPOC shouldn’t be playing them. (ahem… Elphaba...ahem). And when they do play them, it’s for inclusion, not diversity.

Read Ross Jackson’s article about Tokenism here


Fun facts of the day from @weseeyouwat on Instagram:

Asian Americans receive 1.57% of national equity contracts

On Broadway, out of 459 available principal roles over the course of 3 years, only 4 Asian actors were cast

In the past 5 years, only 3 non musicals plays that feature a part written for a black female lead have been produced on Broadway

98% of casting directors in the Casting Society of America NYC Chapter are white.

There are only 2 CSA casting directors of color working in New York City

Go check out more facts on @weseeyouwat on Instagram

What can you do?
I assume most of you reading are in high school or around that age, and there is not much we can do. So do what you can:

Look at @weseeyouwat on Instagram’s demands for future theatre and sign the petition on their website

Examine your own bias. In a few years, we will be the generation hiring actors as casting directors. Make an effort to catch assumptions you make about people. Find your biases.

If you are 100% sure you will not be a casting director (which is probably 99% of you right now), think about what you are going to start doing right now to make sure you project the voices of BIPOC in your own workplace. Don’t be afraid to call people out.

School is out of session. Now do your homework.