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[quote=Anonymous][quote=Anonymous][quote=Anonymous][quote=Anonymous][quote=Anonymous]Here's a suggestion: stop asking people what " race " they are on every application, form and survey

Have job applicants apply by initials only with their CV

then have a selection of interviewees and choose.

Someone else can study the impacts, but it should work same way female authors got themselves published the last 100 years.

STOP choosing based on race. It does nothing to match the best qualified to the job

[/quote]

+100[/quote]

I agree with this.  Anonymizing resumes is not a new concept and many places do it.  And noting race on applications is used to do analysis AFTER the hire.  It is not in most case shared with with the people making the selection (and it is actually prohibited to do so with in most parts of the federal government.)

How do you propose handling the interview though?

The whole point of DE&I is to get people eventually to stop choosing on the basis of race.  That is, in fact, the historical problem they are trying to solve for.  The point is to attract a diverse applicant pool and to educate people about the subconscious ways preference may play a role in their decisions. [/quote]

How quaint, the modern DE&I industry is absolutely not about race blind anything.  It is all about introducing race into all aspects of hiring to make sure the "right" (not best) people get hired.

For example:

"The city’s Commission on Human Rights decided against the musicians, but found that aspects of the orchestra’s hiring system, especially regarding substitute and extra players, functioned as an old boys’ network and were discriminatory. The ruling helped prod American orchestras, finally, to try and deal with the biases that had kept them overwhelmingly white and male. The Philharmonic, and many other ensembles, began to hold auditions behind a screen, so that factors like race and gender wouldn’t influence strictly musical appraisals.

Blind auditions, as they became known, proved transformative. The percentage of women in orchestras, which hovered under 6 percent in 1970, grew. Today, women make up a third of the Boston Symphony Orchestra, and they are half the New York Philharmonic. Blind auditions changed the face of American orchestras.

But not enough.

American orchestras remain among the nation’s least racially diverse institutions, especially in regard to Black and Latino artists. In a 2014 study, only 1.8 percent of the players in top ensembles were Black; just 2.5 percent were Latino. At the time of the Philharmonic’s 1969 discrimination case, it had one Black player, the first it ever hired: Sanford Allen, a violinist. Today, in a city that is a quarter Black, just one out of 106 full-time players is Black: Anthony McGill, the principal clarinet.

The status quo is not working. [b]If things are to change, ensembles must be able to take proactive steps to address the appalling racial imbalance that remains in their ranks. Blind auditions are no longer tenable.[/b]

...

If the musicians onstage are going to better reflect the diversity of the communities they serve, the audition process has to be altered to take into fuller account artists’ backgrounds and experiences. Removing the screen is a crucial step.

Blind auditions are based on an appealing premise of pure meritocracy: An orchestra should be built from the very best players, period. But ask anyone in the field, and you’ll learn that over the past century of increasingly professionalized training, there has come to be remarkably little difference between players at the top tier. There is an athletic component to playing an instrument, and as with sprinters, gymnasts and tennis pros, the basic level of technical skill among American instrumentalists has steadily risen. A typical orchestral audition might end up attracting dozens of people who are essentially indistinguishable in their musicianship and technique.

It’s like an elite college facing a sea of applicants with straight A’s and perfect test scores. Such a school can move past those marks, [b]embrace diversity as a social virtue [/b]and assemble a freshman class that advances other values along with academic achievement. For orchestras, the qualities of an ideal player might well include talent as an educator, interest in unusual repertoire or willingness to program innovative chamber events as well as pure musicianship. American orchestras should be able to foster these values, and a diverse complement of musicians, rather than passively waiting for representation to emerge from behind the audition screen."

https://www.nytimes.com/2020/07/16/arts/music/blind-auditions-orchestras-race.html

OK, so first let me briefly put on my editor hat.  What the heck has happened to the NYT?

The basic premise doesn't hold.  If there were in fact "remarkably little difference between players at the top tier," as they claim, then there would be more than one black player in the orchestra wouldn't there?

If it was just a coin toss difference between different interchangeable players auditioning then there would end up being roughly the "right" number of black players. (which for some reason they think should match the general population in NYC, even though they provide no evidence that black New Yorkers pursue careers as professional classical musicians at the same rate as other races.)

So the obvious reason black players don't get selected in blind auditions is because they aren't as good as musicians of other races.  That means a meritocratic race (and gender) blind system needs to be replaced with a system that can be gamed, even if that means selected less talented musicians for an elite orchestra.

...and for the people here lying about what the DE&I people want, this has [b]nothing[/b]to do with anyone who was disadvantaged.  This is about picking less talented performers based on race.

[/quote]

that's a lot of words... did a person of color get your spot in a symphony or something?
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