In the US, discussions about diversity and cultural equity in the arts related to public policy date at least as far back as the founding of the National Endowment for the Arts (NEA) in 1965. The emergence of the NEA raised pointed questions about the public or “social value” of art as opposed to its aesthetic or “intrinsic value.” The NEA ultimately attempted to balance these “populist” and “elitist” perspectives, with the understanding that “art for art’s sake has never been a sufficient rationale for public support of the arts” (Mulcahy & Wyzomirski, 1995). In fact, “old” ideas about art such as limiting audience participation to a passive role and a focus on art for art’s sake have come to be seen as a barrier to discovering the roles art and cultural activities can play in bringing diverse people together through an artistic process that reveals cultural assets and strengthens communities (Jackson, 2009). The term “cultural equity” appears as early as 1978 in an NEA audience study where it is defined as a right to be both a producer and consumer of culture.

While these terms and concepts have changed over time, discussions of diversity, cultural equity and inclusion in the field of arts and culture have not moved in a linear fashion. Language used to write and talk about those issues has changed, as have definitions of the “problem” to be “solved.” However, issues raised as early as 1965 and even earlier continue to be issues today.