Creating Inclusive Spaces: The Future of ADEI

Across industries, organizations that once prioritized ADEI are now facing increased scrutiny and, in some cases, outright rollbacks of their initiatives. High-profile corporations have scaled back in response to shifting public sentiment, legal pressures, and political opposition. Meanwhile, state-level legislation restricting how institutions address diversity and inclusion has resulted in an uneven and sometimes precarious environment for arts organizations striving to uphold these values. For choral organizations, this shift raises critical questions: How do ensembles sustain their commitment to ADEI? What strategies allow organizations to foster inclusive artistic spaces while navigating changing policies and funding sources?While challenges exist, one thing remains unchanged: the power of choral music to bring people together. Through intentional, mission-driven choices, choruses can not only protect their ADEI work but also refine and strengthen it for the future

The Current Landscape: How Choral and ADEI Leaders Are Responding 

Recent executive orders affecting federal arts funding have created new challenges for cultural organizations seeking to foster inclusion, connect with audiences, and stay true to their artistic vision. While many organizations may be feeling fear and uncertainty around these shifts, the core principles of ADEI have always been lawful and ethical. “People should not be scared,” says Arreon A. Harley-Emerson, president & CEO of Equity Sings. “I see undue panic about ‘unlawful ADEI’ or ‘discriminatory ADEI.’” But his response is simple: “Don’t discriminate. You shouldn’t have been discriminating in the first place. That’s never been part of ADEI principles.” One of the common myths about ADEI work is that it inherently excludes certain groups, according to author, professor, and diversity consultant antonio c. cuyler. But he pushes back against this idea: “If you’re practicing it correctly, no one should feel excluded. No one should feel discriminated against.” Many choral leaders are moving forward under this understanding, stressing that ADEI is not a separate initiative, but rather part of their organizations’ core identities. “One of the things that’s really hard right now is that things are changing so rapidly,” says Amy Jaine Wielunski, executive director of Minneapolis-based choral organization VocalEssence. “What we can truly and deeply say is that our values are not changing. […] The work that we do is important to our communities and to our singers and to our audiences.” While ADEI experts agree that organizations should keep moving forward, choruses must remain proactive in protecting their work. “Any program you have, you should be able to say […] ‘Here’s the business case for it, and here’s why it’s lawful,’” Harley[1]Emerson explains. “You should develop a plan or specific steps to ensure anything new you’re doing, you’re building around what regulations exist.” He advises that embedding ADEI in an organization’s core also means aligning it with business metrics to ensure long-term sustainability: “Tying it to business metrics is one of the most important things that you can do to continue to protect those initiatives that you have.” So, what programs and initiatives are the most at risk from a legal perspective? Dorothy Deng, partner at Whiteford, Taylor & Preston and co-chair of the Associations, Nonprofits and Political Organizations Section shared a “red light, green light” risk analysis for choruses at a Chorus America webinar in March: Red Light (programs, initiatives, and behaviors that are at highest risk of being viewed as discriminatory under the executive orders): 

• Programs with eligibility requirements that exclude participation based on race
• Targets and goals to achieve diversity based on race
• Reserved seats, vacancies, or awards based on race
• Preferred treatment of candidates based on race
• Use of race as metrics to evaluate performance Green Light (not at risk of being viewed as discriminatory):
• Collection of demographic data (provided there is no discrimination)
• Non-restricted Employee Resource

Navigating Shifts in Funding 

At the time of this article’s publication, the National Endowment for the Arts has removed the requirement that grantees certify they are in compliance with the DEI and gender ideology executive orders, but restrictions barring awarding funds for any project that appears to promote “gender ideology” remain in place. With these and other updated guidelines from the NEA evolving quickly, choruses that rely on federal funding must take a hard look at their revenue streams to determine their exposure to policy-driven funding shifts. “If you have not taken a look at your revenue and identified what is coming through some sort of federal source, I would strongly recommend doing that because you should not be making a decision without that information,” advises Harley-Emerson. te their funding sources and determine how best to sustain their work without compromising their values. Many choral leaders caution against adjusting their mission sim[1]ply to align with changing funding criteria. Ahmed Anzaldúa, artistic director for choral music nonprofit Border CrosSing, warns against reactionary shifts: “The wrong approach right now would be to bend as that the concert was a wonderful experience, and there were no comments about the ask. While the financial impact of these policy shifts is significant, Anzaldúa believes the greater challenge lies in the cultural narrative surrounding ADEI: “Yes, organizations will feel the funding problem, but where I’m seeing the impact is in the individual stories,” he says. “This focus on branding diversity, equity and inclusion as something that is wrong, that is undesirable, is making people afraid and is making the work itself harder to do.” It’s not just about budgets or policies; it’s about the people who rely on these spaces for connection, expression, and support. 

Turning Inward: How to Support Singers and Staff at the Individual Level 

While organizations grapple with funding concerns, the deeper and more immediate effects of these challenges are being felt by individuals: singers, students, and community members who now feel uncertain, fearful, or even unable to participate fully in the choral spaces that once offered them belonging. Anzaldúa emphasizes that, at its core, this work is about human relationships. “Working in a way that’s equitable, inclusive, respectful much as possible to make your organization fit whatever guidelines are coming.” Instead, organizations must stay rooted in their core values and seek sustainable, mission-aligned strategies to support their work. VocalEssence’s Witness program focuses on the contributions of the Black community to the fine arts and to choral music, and the organization is planning to pivot to different funding sources if the program loses federal funding. “It would be disappointing, but we would turn to our community and say, ‘We lost this funding from the NEA and here’s what we need to do to make it hap[1]pen,’” says Wielunski Some organizations are finding that their communities respond positively when they double down on their commitment to ADEI, even in the face of funding threats. Michael Sattler, executive director of the Rocky Mountain Arts Association (the umbrella nonprofit of the Denver Gay Men’s Chorus [DGMC] and the Denver Women’s Chorus [DWC]), shares an example of an ask made at a recent concert: “We leaned heavily into this [message that] ‘ADEI is being scaled back. You need to step up and help us continue our work in this area,’ and we raised a concert high of $7,500.” Audience support was overwhelming, with post-concert surveys showing unanimous appreciation: 100 percent of audience members either agreed or strongly agreed of people’s diversity is just […] part of the mutual agreement that we have as people in a society.” The most effective way for organizations to navigate is by centering the people they serve. “Make sure that folks are okay,” he says. “That’s how you strengthen your organization—by just caring for each other.” Many choruses, including the DGMC and the DWC, are responding by prioritizing open conversations and emotional support within their ensembles. “The artistic directors of each of the choruses have given time to the singers to come forward and express how they’re feeling,” says Sattler. “Our DEI consultant […] actually held a town hall meeting at rehearsal that took probably about 30 minutes. It was a significant chunk of rehearsal time, but that’s when we have the singers. And we had about 15–20 singers come up and give their view of how scared they were or how it was impacting them.” Building and maintaining trust is key to sustaining ADEI efforts. Choruses that center relationships—whether through direct engagement with marginalized communities or fostering open conversations within their ensembles—are better positioned to sustain this work long-term. “When you’re talking about justice work, equity work, whatever you want to call it, it really in the end comes down to it being relationship work.” says Anzaldúa. cuyler agrees. “ADEI is the enabling of human flourishing,” he explains. “If you value human flourishing, if you value human potential, if you value human abilities, human talent, you don’t want to constrain that.” The value of shared humanity was echoed at VocalEssence’s recent Witness concert. “I got the privilege to sit in the audience and experience that concert […] and it was remarkable,” says Wielunski. “You could feel the extent to which folks needed that in that moment. In talking to our singers and talking to our artists,. I think what I came away saying is that it was really impactful, both for my heart and my soul. It was what I needed in that moment. And that’s what we can do through music.” Ultimately, the priority is always people. “The purpose of making choral music is so that we as a society can feel more connected,” says Nicholas Sienkiewicz, director of the Youth Pride Chorus. “That is the reason people join choirs. They want a sense of community and love to sing. It allows people to be vulnerable.” According to Sienkiewicz, queer youth in particular may be feeling confused and afraid due to the changes in policy from the new administration. In response, he has worked to create more moments for feedback and conversation in the rehearsal room. “We’re leaving more open space for open dialogue about pieces. I also give them the opportunity every season to audition for their own solos, and I emphasize that ‘This is an opportunity for you to say your part and express yourself,’” Sienkiewicz says. Several interviewees emphasized that choral singing embodies the value of inter-connectedness—not only through the act of singing in harmony but in the way it mirrors a diverse and inclusive society. “We don’t all sing soprano, we don’t all sing alto,” says cuyler. “We’re not all Black, we’re not all white, we’re not all women, we’re not all LGBTQ+. […] You need all parts for the chorus to make this beautiful sound that can be so compelling and so inspiring for so many people.”

The Core of ADEI Work: Belonging and Inclusion 

When experiencing times of uncertainty, ADEI experts and choral leaders agree: The fundamentals of solid ADEI work have not changed. True equity and inclusion in choral music require an intersectional approach— one that acknowledges the diverse identities and experiences of singers, audiences, and communities. “Through our programming in and of itself, we can communicate to people that we are a safe place,” says Harley-Emerson. “The cultural holidays, traditions, observance months we decide to observe? Those are ways in which we can communicate what our values are as an organization.” Representation in choral music extends beyond who is on stage to the stories being told. “What story is this program telling?” asks Anzaldúa. “Are these people being portrayed in a way that is accurate and respectful? Is that story being told by the right people to tell that story?” These questions influence repertoire selection, guest artists, and collaborations. Sattler points to innovative programming that illuminates hidden histories: “The Denver Gay Men’s Chorus’s next concert is Crazy for You, which explores the intersec[1]tion of the 1930s jazz community with Gershwin and Irving Berlin,” he says. “It’s a very unknown point in history that we’re highlighting and […] bringing into the forefront for our audience members.” For Wielunski, fostering inclusion means acknowledging limitations while striving for improvement. “I think one of the things that’s at the heart of everything we’re doing is that we know we’re not going to get it right every time. But we are gonna keep learning and we are gonna keep growing and we’re gonna keep trying. So we won’t be perfect, but we’re human.” This includes reconsidering rehearsal and performance spaces—many of which are religious venues that may not be welcoming to all. Wielunski emphasizes transparency, both with singers and audiences, to address organizational decision making in this area. “We want to help [stakeholders] understand why we made this decision. It is an explana[1]tion and not an excuse, and we will continue to try to do better.” This commitment to keep learning and growing has extended into the language that VocalEssence uses in the rehearsal space. “We have to be intentional about the language that we choose to use so that we’re not reinforcing gender bias in any way, shape, or form,” says Wielunski. “We really started to identify the sections by their voice part as opposed to their gender, and even that seemingly simple thing allows someone to show up more often.” For trans singers, this inclusion is about more than just acceptance—it’s about active support, especially when their voices may be changing due to medication. “Artistic directors, at least ours, are very mindful of that and are very aware of helping a trans singer fit into the overall sound of the chorus,” says Sattler. That validation has become critically important over the past few months, especially for singers who are experiencing prejudice. “I’m having a lot of conversations with young people about what it means to be their full selves in front of folks, because they have witnessed an uptick in the amount of discrimination that has come towards them,” says Sienkiewicz. “I reaffirm it to them every single rehearsal: This is not just a space in which you can express your authentic self, but this is a space where we will advocate for and protect you.” The heart of ADEI work lies in build[1]ing truly inclusive communities. When singers from all backgrounds feel welcomed and supported, the result is a richer, more dynamic choral experience—one that resonates deeply with performers and audiences alike.

The Enduring Commitment to Equity in Choral Music 

Choral music has always reflected the people who sing it, the stories they tell, and the audiences they reach. At its best, it is a unifying force that breaks down barriers and creates spaces where all voices are valued. This moment presents an opportunity not just to sustain ADEI efforts but to refine and strengthen them for the future. “DEI work is human work,” says Sienkiewicz. “All we are doing is trying to make communities of connected people and make sure everyone has a seat at the table.” The work of advancing equity, diversity, inclusion, and belonging is never finished— it must evolve alongside our communities and the world around us. By reaffirming their commitment, adapting to challenges, and embedding ADEI into their artistic and organizational DNA, choruses can continue to shape an arts sector that is more inclusive, vibrant, and connected than ever before.

Kaeli Todd is a freelance writer and editor based in Tacoma, Washington. After singing in choruses throughout high school and undergrad and a career in nonprofit fundraising, she found her way back to the choral field as the managing editor for The Voice. Contact Kaeli at [email protected]