Are you sharing bylines and stages with women colleagues, especially women of color?
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Are you declining public (not just academic) panels that exclude women, especially women of color, and are you recommending women of color to take your place? Are you highlighting your WOC colleagues’ credentials for your contacts in the public cultural field?
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If you have 5 scholar-in-residence gigs, have you considered suggesting that a colleague of color take your place for one?
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When approached to write articles, offer comment for public stories, or run workshops at cultural/heritage organizations, are you you inviting women of color to join you, or recommending them to take your place?
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If you *are* the sole scholar on a panel or running a workshop or offering comment for a news story or writing a public article, are you citing your women of color colleagues? Are you insisting on that citation if there’s a chance it may be edited out?
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Are you introducing your patrons (donors, institutional execs, editors) to your women of color colleagues? Are you vouching enthusiastically for their brilliance and charisma?
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Are you actively advocating to bring more voices into the room? Are you actively making space for others to join in? If not, why not?
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Large swaths of the general public do not believe the humanities are valuable. We have to make a persuasive case that they are.
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Which means we need people to make the case. Many people, esp people who can speak persuasively to many different audiences across many different communities. We need a critical mass of public intellectuals who consistently, convincingly *demonstrate* the value of the humanities.
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If you take up all the oxygen in the room—deliberately or not—and if you do not actively carve out space for a greater number and variety of public humanists to demonstrate that value, you diminish it.
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Make space. Insist that space be made. Share your spotlight. Lend your power and your gravitas and your celebrity to others so that they can carry it on in the future. Do right by your colleagues, your field, and the world.
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Putting the premodern in public