ifa: You co-chair the ImpACT Coalition on Arts and Culture, a working group established in preparation for the Summit of the Future. Whose interests are represented within the group? Which artists do you aim to engage, and who typically has access to international conferences and political organizations?
Lisa Russell: The artists I work with often come from what I refer to as the "working class" or the informal art sector. These individuals are deeply embedded in their communities, which are often marginalized or overlooked. They are not the artists typically represented in mainstream institutions or international platforms.
ifa: Do you believe these artists are underrepresented within international organizations such as the UN?
Russell: While the UN has showcased a variety of artistic groups over the years since I’ve been curating artists for many high-level events, there is an opportunity to expand the diversity of artistic expressions represented. Historically, the focus has often been on more traditional art forms that often felt exclusive. While I deeply appreciate the work of the artists they now work with, I believe there is also room to embrace different artistic formats, such as poetry performances, street dance and Hip Hop which can bring in fresh perspectives and reflect a wider spectrum of cultural backgrounds.
ifa: What would a more inclusive representation of artists look like within the UN?
Russell: The conversation around inclusion is evolving, and there’s a growing recognition that representation of BIPoC (Black People, Indigenous People and People of Colour) and Global South artists should go beyond traditional forms like museum exhibitions or orchestral performances. Urban art, for example, offers a dynamic and impactful alternative that resonates with diverse audiences. I work closely with socially conscious artists, including those from genres like hip-hop, whose work reflects the struggles and aspirations of marginalized communities. It’s essential to strike a balance between honoring traditional art forms and embracing innovation to represent a more comprehensive view of the global artistic landscape.
To truly amplify the voices of youth and artists, we need to broaden the diversity of the artists we engage.
To truly amplify the voices of youth and artists, we need to broaden the diversity of the artists we engage. I think supporting an artist-led movement would assist with that because we are in these spaces and may know artists who are not mainstream, off the grid but have powerful voices for change. Young artists, as well, bring fresh, unique perspectives that can bridge generational divides and drive social change. An inclusive and sustainable ecosystem for artists is essential not only for fostering global solidarity but also for ensuring that the arts remain relevant in shaping sustainable development and societal progress.
ifa: How can the voices of young people be better integrated into the UN space?
Russell: Young artists often operate outside traditional structures. They may not be well-known or have an extensive online presence, yet their work is highly impactful at the grassroots level. They speak a different language, often in ways that aren’t immediately visible or accessible. To bring their voices into the UN, we need to rethink our systems and ensure that artists from diverse backgrounds are given greater access to policy-making spaces.
ifa: You highlight the importance of artists working within communities. How do they differ from traditional social workers, and why do we need to integrate artists into this highly specialized field?
Russell: Artists and social workers have distinct roles, though there is some overlap. Artists excel at inspiring and engaging entire communities. While they sometimes help heal through their work, their primary strength is in expressing communal challenges and mobilizing audiences for action. Social workers, by contrast, tend to focus on individual needs and take a more personal, in-depth approach to addressing social issues. Artists, however, can reach a larger, more diverse audience, helping to spark widespread social change.
Culture as a global public good
ifa: You advocate for anchoring culture as a global public good within the UN agenda. What challenges and opportunities do you see in making culture a goal in its own right?
Russell: Since the Nairobi conference, we've been involved in virtual consultations on the Pact for the Future, a key document set to be adopted at the Summit of the Future. We fought for the arts to be included, and after initial victories, we saw culture but recognized in revisions – yet, disappointingly, without the arts being specifically mentioned. This omission underscores a major disservice to our community.
ifa: What needs to happen for artists to be more effectively represented in these processes?
Russell: First, we need channels for artistic engagement within these forums. The arts should be viewed as essential to development – not as a luxury or secondary good. We must create mechanisms that empower artists and allow for their inclusion in policy-making discussions.
The arts should be viewed as essential to development – not as a luxury or secondary good.
If we had stronger representation of artists in the policy-making process, we could significantly enhance the implementation of the SDGs. Political decisions are more impactful when made with the direct involvement of those whose livelihoods are affected by them.
Getting a foot in the door
ifa: Why is it so difficult to establish culture and arts as an independent, prioritized goal within international organizations?
Russell: Member states often see arts and culture as competing with other pressing issues, such as access to clean water or affordable housing. Moreover, the UN’s institutional framework lacks the kind of robust representation that artists need. While there is a special rapporteur in the field of cultural rights and a Department of Global Communications, there is no advisory working group made up of working artists and creatives – those who can truly speak to the lived realities of the artistic community.
ifa: What challenges arise when artists are excluded from these institutional spaces?
Russell: Many artists lack the resources or the understanding of how to navigate complex institutional structures like the UN. Through my work with Create2030, I’ve been helping artists understand how they can engage effectively with these spaces. Cultural institutions often favor the work of artists, but the way these institutions operate is very different from how artists create and make a living.
ifa: What potential do you see for artists in residency programs within international organizations?
Russell: Residency programs can be valuable, but they also risk institutionalizing the artist, pushing them to conform to the language and norms of the UN or other organizations. I’ve seen this firsthand, such as at the UNEA (United Nations Environment Assembly), where two Hip Hop artists were invited to perform, but his language became so formal and technical that it lost the authenticity and power of his art.
ifa: How can these programs be improved?
Russell: Artists often participate in these programs because they’re eager to have their voices heard on such prestigious platforms. However, they can lose artistic integrity when their work is overly formalized. The key challenge is curating artists appropriately for these spaces – making sure their work is relevant, while also preserving its authenticity.
The key challenge is curating artists appropriately for these spaces – making sure their work is relevant, while also preserving its authenticity.
Artists are powerful translators of complex issues, but to truly succeed in these environments, they need to understand the institutional language and rules. By inviting artists into these spaces, we can help them learn how to communicate effectively within these structures. As Picasso said, “Learn the rules like a pro, then break them like an artist.”
Interview by Christina Buck-Rieder.
