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Tony Bennett, Differing diversities - Council of Europe

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<strong>Differing</strong> <strong>diversities</strong>the changing demographics and new cultural tastes? Structural analysis also examinesthe texts <strong>of</strong> minutes and reports to determine whether boards are sensitive tothe need for cultural programming that supports diversity based on the post-secondworld war ideas <strong>of</strong> human rights and the equality <strong>of</strong> citizens. In addition to theactors themselves and their decisions, a structural analysis examines the institutionalchannels afforded to migrant and ethnic organisations to access the culturalresources controlled by those organisations.Evaluations by watchdog organisationsEvaluations by “watchdog” organisations, such as the National Association for theAdvancement <strong>of</strong> Colored People (NAACP) and the <strong>Council</strong> on EconomicPriorities, have produced some <strong>of</strong> the most impressive improvements in expandingdiversity in the culture and media industries. Even Fortune magazine now collaborateswith the non-pr<strong>of</strong>it <strong>Council</strong> on Economic Priorities to rank the fifty bestcompanies for minorities on fifteen different quantitative and qualitative measures.Watchdog organisations use a variety <strong>of</strong> evaluation strategies including:i. Nelson polls <strong>of</strong> visible minorities to rate how much the cable, broadcast, andnewspaper industries contribute diversity coverage and respond to diversitycultural interests;ii. monitoring the effectiveness <strong>of</strong> programmes to promote diversity in culturalindustries (for example, programmes in leading multinational corporationssuch as Disney, New York Times, CMP Media, SBC Communications),including measuring the percentage <strong>of</strong> minorities at senior, middle and linemanagerial ranks who are hired and retained and customer surveys about theresponsiveness and quality <strong>of</strong> services to diverse customers and audiences;iii. analysing the percentage <strong>of</strong> ethnic minorities on boards <strong>of</strong> companies in thecultural industries;iv. publishing lists <strong>of</strong> organisations that have done the most to make employees <strong>of</strong>all races into full participants;v. interviewing minority executives to determine the percentage that have beenthe target <strong>of</strong> racial or cultural jokes at work;vi. assessing organisational opportunities and corporate culture for minorities inthe cultural sector.The publication <strong>of</strong> these evaluation results and advocacy efforts by minority coalitionshave resulted in ground-breaking diversity initiatives in the American advertising,cable-TV, broadcast, motion picture, and newspaper industries. Many <strong>of</strong> thebusinesses have signed “diversity pacts” ensuring more minority representation onboth the executive and talent sides, appointed senior vice-presidents to be accountablefor implementation, expanded minority recruitment and retention programmesand internships at various operating divisions, increased the use <strong>of</strong> minority-ownedmedia to promote cultural products, and set a minimum percentage <strong>of</strong> minority procurementon goods and services where qualified minority suppliers were available.100

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