The concept of edutainment, entertainment with an educational aspect, is not new. I am old enough to remember screaming in delight when “Miss Barbara” Plummer Cleveland’s Romper Room host went to the Magic Mirror and said, “I see Debbie.”
Because we shared the same last name (it didn’t matter that she was White and I was Black; we were family) I felt like she saw me and thought that of all the kids out there in television land, I was special to Miss Barbara.
Through the Romper Room games, exercises, songs, storytelling, I learned the Pledge of Allegiance, proper behavior, and can still recite “God is great. God is good. Let us thank him for our food. Amen,” as a prayer before meals. It was learning that lasts.
Defining Edutainment
Other children’s television shows such as Sesame Street are considered contemporary examples of edutainment programming. Video games, theater, dance, movies that provide both education and entertainment can also be considered edutainment. Many forms of entertainment provide passive education and could be labeled edutainment. The definition is broad and often puts the emphasis on the entertaining aspects without the associated standard learning measurements — knowledge, understanding, application, and analysis.
However, effective edutainment is intentional about moving from passive to active learning. Its goal is to educate while attracting and holding attention by engaging an audience both cognitively and emotionally.
About DEIB Edutainment
I began experimenting with edutainment in the diversity, equity, inclusion and belonging space in 2015 with a symposium on eliminating health disparities. We used dance, music, and comedy to engage researchers, patients and communities in changing conditions that impede health and limit participation in research. It was an overly ambitious attempt and the programming didn’t always connect the dots of the entertainment to the educational goals of the symposium. Still, it underscored that powerful potential that the arts held for teaching multicultural competencies.
Why DEIB Edutainment?
Having the competencies necessary to successfully navigate our increasingly multicultural, multiracial society is imperative in places where we work, live, and socialize. In our polarized society, our ability to shape a positive future will be determined not only by how we support, trust, and collaborate with those with whom we agree…but by how we understand, treat, and work with those with whom we disagree. Learning multicultural competencies requires unraveling complex issues, fostering life-long learning, and is best done in community. DEIB edutainment meets these requirements.
DEIB edutainment teaches multicultural living competencies or Me to We skillsets through the transformative power of visual media and theater arts. It aims to sharpen our thinking, challenge our assumptions, expand our world views, enlighten and inspire each other to create a society that works for everyone.
Using Theater as DEIB Edutainement
Recognizing that not everyone best learns through reading and with a strong desire to get my relational model for managing human differences out to the widest audience possible, I decided to transform three of my essays — I Wish I had a Black Friend. How Can I Get One?, A Message From Your Safe Black Friends, and To My White Friends Who Know Me into a three-act play.
As DEIB edutainment, To My White Friends Who Know Me, expands and deepens theater’s transformative nature to enhance our shared humanity and build greater human connectivity while teaching four diversity competencies — holding multiple realities, perspectives, and identities; moving from certainty to curiosity; marrying intention and impact; and using social privilege for mutual benefit. Essential to each performance is the post-show discussion designed to go deeper on the themes presented in each act.
All five of the debut performances at Karamu House, the nation’s oldest producing African American theater, sold out within 24 hours of individual tickets going on sale and received generous support from corporate and community sponsors. I was buoyed by the response and humbled by the praise for the performance as DEIB edutainment that swiftly followed:
“amazing- very thought provoking and yes, at times uncomfortable- in a meaningful way! I laughed, I cried, I listened, and I learned.”
“personal, impactful, moving”
“OUTSTANDING”
“a wonderful and meaningful performance!”
“extremely thought provoking and engaging”
“A must see”
“A very meaningful experience and one I hope to extend through more dialogue and interaction”
“breathtaking play!… fantastic, thought provoking, and powerful.”
“a way of thinking and talking about racism that was specific, empathetic, wise, and very real”
Measuring the DEIB Edutainment Impact
To My White Friends Who Know Me was described as an innovative community event that aimed to enhance social trust as foundational to building cultures of belonging and an informed citizenry invested in racial equity. We included in the playbill the performance goals:
- Enhanced social trust as a foundational aspect of a culture of belonging and an informed citizenry invested in racial equity.
- A social trust movement for fresh, forward-moving, enlightened conversations about race relations…conversations that inspire new ways of knowing, and that enhance performance and innovation in our work, learning, and home environments.
- An establishment of a cadre of individuals with agency and confidence to lead with enthusiasm and optimism across racial lines to create peaceful, transformative communities as influencers within their circle of co-workers, colleagues, students, family, and friends.
- An interruption in the current narratives about race relations that begins a shift in social media and other media outlets to a message of solidarity in support of racial equity.
We encouraged the audience to continue the conversation with their organization, university, neighborhood group, faith-based community, and social networks and provided a QR Code to a printable pdf guide of conversation starters, exercises, and a glossary of terms to continue learning, growing, and building social trust.
We also included a QR Code for an impact evaluation designed to provide data to assess attainment of the performance goals. Some results of Impact Evaluation include:
68% reported increased feeling of benevolence and caring after the performance
71% reported enhanced human connectivity
72% reported enhanced commitment to work on racial equity
The Power of DEIB Edutainment
My hope in transforming my essays into a three-act play was that they would strengthen our advocacy of “we” in places where we live, work, worship, serve, and play. Each act of the play invited the audience to join in creating a world where minds are open and human interaction is about making ourselves and each other better friends, family, neighbors, and citizens — better humans.
Since the production of To My White Friends Who Know Me, we have included three more plays in our DEIB Edutainment portfolio with Beauty Shop, an examination of women’s dialogue about race across generations; The God I Know , an exploration of religion and personal identity; and All The Women in My Family Sing! celebrating women and gender solidarity.
We have also created a documentary, Trust in Black and White, that delves deep into elusive dynamics of social trust between Black and White women, offering a raw and transformative cinematic experience and launched the Amazing Amazing Inclusion & Belonging Edutainment Experience, a professional and personal development conference using the transformative nature of the arts.
DEIB Edutainment builds social trust in a polarized society by fostering a Me to We Mindset and developing Me to We Skillsets that strengthen our shared humanity. Those are skills that cannot be AI generated or outsourced, as they allow us to build greater human connectivity in places where we work, serve, live, socialize, and worship.