Introduction to True Storytelling Institute’s Diversity, Equity, Inclusion DEI 2.0 Module Overview

Once you have read the introduction, please proceed to Taking the True Storytelling’s Diversity, Equity, and Inclusion (DEI 2.0) Journey

True Storytelling Principles,
Processes, and Tool begin
with Foundational Ethics,

Changing (2.0) training, to
set the stage for

Diversity-Equity-Inclusion (DEI 2.0)

Question: Is ‘Diversity And Inclusion’ Far From Its Roots? And What’s An NFT? The DEI (1.0) industry makes billions of dollars.

A Fractal is a pattern of self-sameness, recurring across micro to macro scalability. Labels, stereotypes, prejudice, discrimination and the glass ceiling is a recurring Single Loop Fractal Pattern. It takes real change and real true storytelling, in ensembles of action to change Single Loop Fractals into Double and Triple Loop Fractals of True Performance Ensemble Networking.

One Single Loop Fractal Pattern, is doing DEI training as a way to avoid lawsuits, or because some external body requires it be done. You sit through hours of compliance-training about implicit bias, stereotyping, gender and racial equality, and the valuing diversity. Then you leave the room, promising to do better, and nothing in the organization has really changed. The processes, the glass ceilings, the stress and tension, the bogged down performance, are still just the same.

True Storytelling begins with 7 core principles to bring about connection, honesty, transparency, trust, social responsibility, and integrity.

Too many DEI training initiatives are just about compliance in order to check the boxes, and only cover over the theater of everyday life, without changing it. What’s different about DEI 2.0 is we work with the organization processes, networking new patterns of communication.

We have 7 processes, each a word beginning with ‘B-processes’ as a way to remember them.


The B-processes are associated with each of the True Storytelling Principles.

Many organizations are mired in Spectacles of us-versus-them, in trying to go BENEATH the labeling, to pick up a BEFORE-history long forgotten when people got along, and trying to move in a new direction making new BETS ON THE FUTURE. Without getting into the Carnivalesque (a kind of humorous look at ourselves in Double Loop (of retrospective & prospective sensemaking of how we are BEING, what we can be BECOMING), then the Triple Loop, staging the BETWEEN of together-telling, does allow going BEYOND DEI 1.0 to DEI 2.0, in which ’embodied reflection’ is actually part of the work life of the organization.

A process approach to DEI 2.0 means changing the processes, not just invoking the compliance police to make sure everyone’s language is politically correct, and not going to bring about expensive lawsuits. Organization system change in the processes is required. Quantum physicist David Bohm (1980/2002) describes two ontological frameworks that can help us understand DEI 2.). The two ontological framework are about what’s happening to the whole system, in-spaces, in-times, and in material conditions. The two frameworks, implicative and explicate order are entangled.

Bohm, David. (1980/2002). Wholeness and the implicate order. First published 1980. London/NY: Routledge.

IMPLICATIVE ORDER in quantum theory is about phenomenon that changes essential factors that appear differently depending upon scales and contexts. The implicate order, is rooted in the verb, to implicate. It is to implicate, the ‘enfolded’ self-sameness at deeper and more fundamental temporal and spatial orders of reality of organizing processes. But processes petrify, and stall. When the implicate order is no long determining relationships among elements, the abstracting happens. Bohm describes a set of implicate orders which manifest in the explicate order, and his advice is a holomovement to a deeper relational order BETWEEN the two frames (Bohm, 1980/2002: 248).

EXPLICATE ORDER keeps unfolding into the frames of abstracting we human use in our five sense (seeing, hearing, smelling, touching, tasting), our retrospective-sensemaking. There is something going on BEYOND the five sense of retrospective-sensemaking. For sure, there is prospective-sensemaking, a grasping intuitively, Bohm’s (IBID. p. 211) ”multiplex”, i.e., what Grace Ann Rosile calls the 6th sense, or Horsesense of embodied reflection (More a Horsesense at Work).

David Bohm believed that dialogue groups could engage in a way of storytelling in which a different communicative pattern could emerge. The ordinary ways of organizing, developing, and changing systems (See True Storytelling’s ODC 2.0 module) are prerequisite to a deeper DEI 2.0). The Explicate (unfolded order) can be understood within a quantum field of all the implicate orders (Bohm, 1980/2002). Events in space and in time are for Bohm, said to be synchronous in the three-dimensional scene of a whole system (IBID, p. 194). “The implicate order has to be extended into a multidimensional reality” (IBID. p. 240). We call this, the Theatre of Tamara-Land, in which organizations are working out the simultaneous storytelling happening in and between rooms, and wiring in the software apps of digital technology.

In DEI 2.0, our focus is on bringing about an unbroken Whole, “the holomovement that unfolds and enfolds in a multidimensional order” (IBID.) we call the Triple Loop. To put it simple we take the existing Frames people have adopted in organizations, and begin the processes of Re-Framing to labeling, the stereotypes, the polarities and divisions.

Applying Bohm’s Holomovement to Tamara-Land Storytelling Networking of an Organization’s ManyRooms

David Bohm says that holomovement (1980/2002: 226) is the recurrence and stability of basic patterns (we call them fractal patterns of order). In stead of treating implicate and explicate order-frames as separate and distinct, the explicate order for Bohm, is the more particular age of the impolite order from which the explicate (fractal) orders are derived in the domain of experience (Bohm, 1980/2002: 226). 

We don’t know the laws of holomovement of complex adaptive systems.  We can tell you, in holonomy (Bohm 1980/2002: 211), the holon is the reaction of the part to the whole, and this is a system that intermingles, interpenetrates in spacetime: “as members of each ensemble are related through the force of an overall necessity, inherent in these situation, that can bring them together in a specifiable way” (Bohm 1980/2002: 230).

Instead of making DEI a separate and autonomous component of compliance, we do the actual work of root DEI 2.0 in the true performance of of the holomovement of the whole system navigating its environments.  This holomovement begins with Re-Framing the Labeling in Spectacles, then develops Carnival of resistance, and Third Loop of Festival. It begins with Re-Framing the Labeling happening in the Spectacle.


Festivalism Theater of Everyday Life  is “Life-affirming yet easily coopted” (Boje, 2017: 3). It gets cooped by what Aristotle (350 BCE) called the least worthy element of narrative, the Spectacle (costuming and glitz, that displaced substance).

Spectacle is defined as “total manipulation of meaning-making processes theory theatrical events to serve the production of power and managerial needs to control and spin a good story in the face of bad news” (Boje, 2017: 32). You know this in the Enron, Worldcom, and other major mega spectacle scandals of fake storytelling. 

 “Antenarrative is key to understanding complexity and chaos dynamics of the Theaters of Capitalism” (Boje, 2017: 3).  This complexity comes for working and living on so many stages networking across so many organizations. 

In DEI 2.0 “the three theaters of action (spectacle, carnival, and festival) are transformed by the action of antenarrating… Antenarrative is the grammar of the theatrical action. It intensifies and resists oppression” (Boje, 2017: 4). 

Spectacle, carnival, and festival emerge in the antenarrative processes in the flow of events of lived experience (p. 9-10). Spectacle is resisted by carnival, and festival once explored has the potential of what we call Third Loop.

Our True Storytelling purpose is to remake organizing into a more festive place and time, a third path (Boje, 2017: 14, 53) of Interactive-Communicative-Experiential, Networking-Developing (ICEND) Spectacle, carnival and festival are a hybridity in the production, consumption, and distribution, and properly balanced, they can become conscious capitalism of ecological and social corporate responsibility. 

The UK government’s race report is so shoddy, it falls to pieces under scrutiny

True Storytelling

Principles of DEI 2.0

Our passion is together-listening to inform our together-telling. We incorporate a foundation of ethics and Organizing-Developing-Changing (ODC 2.0) training as fundamental to successful Diversity-Equity-Inclusion (DEI 2.0). From there we offer ensemble leadership networking (ELN 2.0) with everyone leading something important, and aim for Sustainability in the 17 United Nations Sustainable Development Goals.


Aditya Chakrabortty Click here for article

Lorraine O’Grady used ‘carnivalesque human’ by taking pictures of people in a Gold Frame. It is a tool to showcase the ongoing situation, both its gatekeeping, and its possibilities.

EXAMPLE of Carnivalesque Theater, grotesque humor to speak back to power

Lorraine O’Grady made costume made of 180 pairs of white gloves from Manhattan thrift shops. She is carrying a white cat-o-nine-tails made of sail rope from a seaport store. It is artfully studded with white chrysanthemums. This is an exampel of what Mikhail Bakhtin calls ‘Carnivalesque’, when people dressed in costume to make fund of those in power, who looked on from their balcony. O’Grady’s first ‘unannounced’, ‘art’ invasion was an opening of Just Above Midtown, the black avant-garde gallery.

Carnivalesque is one way, and not the only way to draw attention to institutional gatekeeping, prejudice, glass ceilings, and the ongoing labeling stereotyping that is often so taken for granted, it takes a little awakening with grotesque humor.

The key work in Carnivalesque Theater was done by Mikhail Bakhtin. It is one of five dialogisms, that True Storytelling training is all about. Bakhtin pioneered dialogism as an alternative to the dialectic processes so commonplace these days (see Boje, 2008, for ways in which Bakhtin’s 5 dialogisms apply to organization strategy).

What are the Dialogisms of Conversational Storytelling in ODC 2.0 Module?

Bakhtin, Mikhail M. (1981). The Dialogic Imagination: Four essays. Austin, TX: University of Texas Press. Note: Carnivalesque is part of Bakhtin’s chronotopic dialogism defined as interplay of different kinds of spacetime (inspired by EInstein).

Boje, D. M. (2008). Storytelling Organizations. Thousand Oaks, CA: Sage.

Boje, D. M. 2016). Answers to Antenarrative Questions posed by Copenhagen Business School, blog post. Click Here (question 4 on 5 dialogisms).

Boje, D. M. (2017). Theaters of Capitalism: Creating conscious capitalism. Las Cruces, NM: Tamara-Land Publication. Order from Amazon Click Here.

Theaters of Capitalism: Creating Conscious Capitalism
Kindle $8 and Print version $22

Conscious Capitalism is possible once we raise consciousness using Carnivalesque Theater. Another example are the Carnivalesque performances of the Guerrilla Girls, who draw attention to how mostly male artists get wall space in city museums, and the paintings male artists tend to do, create an image of women, from the male gaze.

We have attended Guerrilla Girl workshops, and it gets the conversation moving towards more ‘True Storytelling’ (Click for More on Guerrilla Girls).

We want to look to the possibilities of Festivalism, as a Third Loop, beyond Single Loop (patriarchy gatekeeping, discrimination, etc.), and what is possible after Double Loop (open systems) get implemented. The Third Loop of a Festivalism Theater is possible.

Here we see one of O’Grady’s street theater performance, pointing to human potential, and a future that Single and Double Loop are leaving off their stage.

Example of Festivalism Theater “A Black girl points through a gold frame as she takes part in the 1983 African American Day Parade in Harlem, where O’Grady brought gold frames and her camera to capture the rapturous delight of Black joy, affirming the artfulness of communal celebration” (Click for More O’Grady).

Listen to National Public Radio Broadcast about this industry. It started in an amazing place, responding to John F. Kennedy’s Affirmative Action call, in response to civil rights act. Companies got scared of litigation, so trining programs were implemented, but without roots to what we call True Storytelling Principles and Processes. CLICK HERE FOR 43 Minute Podcast

The Diversity and Inclusion Industry Has Lost Its Way

Question: Why does DEI 1.0 so often inhibit the real change for which many are calling?

As news comes of the Royal family’s desire to hire a Diversity and Inclusion consultant, Kim Tran explores what True Storytelling is calling the $8 billion dollar DEI 1.0 industry that is now at a crossroads: keep pretending the substitute training programs are solving the root problems, or get back to the historical roots. Can this training find its roots again?

True Storytelling goes back to the historical roots in order enact what we term, DEI 2.0.

See current article BY KIM TRAN MAR 23, 2021 CLICK HERE FOR ARTICLE

Boje (1995) Disney as Tamara-Land article. Academy of Management Journal

Tamara-Land is the Theater of everyday organizational life

We work and live in different rooms. Storytelling is happening simultaneously in all of them. We spend our working day chasing stories from room to room. There are spectacle for show, and there are carnivalesque scene to bring change, and finally there are festival of effective performance.

Who Benefits from Spectacle Theater of Systemic Racism?

Read article by Robert Reich.

“Jamie Dimon, chief executive of JPMorgan Chase, took the knee last week before cameras at a branch of his bank. Larry Fink, CEO of giant investment fund BlackRock, decried racial bias. Starbucks vowed to “stand in solidarity with our black partners, customers and communities.” Goldman Sachs chairman and CEO David Solomon said he grieved “for the lives of George Floyd, Ahmaud Arbery, Breonna Taylor and countless other victims of racism.”

And so on across the highest reaches of corporate America, an outpouring of solidarity with those protesting brutal police killings of black Americans and systemic racism.”

But most of this is for Spectacle, just for show.

“JPMorgan has made it difficult for black people to get mortgage loans. In 2017, the bank paid $55 million to settle a justice department lawsuit accusing it of discriminating against minority borrowers. Researchers have found banks routinely charge black mortgage borrowers higher interest rates than white borrowers and deny them mortgages white applicants would have received.

BlackRock is one of the biggest investors in private prisons, disproportionately incarcerating black and Latino men.

Starbucks has prohibited baristas from wearing Black Lives Matter attire and for years has struggled with racism in its stores as managers accuse black patrons of trespassing and deny them bathrooms to which white patrons have access.

Last week, Frederick Baba, an executive at Goldman Sachs who is black, criticized managers for not supporting junior bankers from diverse backgrounds” (More).


discriminatory ::

“Microaggression is a term used for brief and commonplace daily verbal, behavioral or environmental indignities, whether intentional or unintentional, that communicate hostile, derogatory, or negative attitudes toward stigmatized or culturally marginalized groups” (More Wikipedia).

The daily verbal, behavioral, and environmental microaggressions and microinsults constitute a recurring pattern across scales, we call the Single Loop Fractal.

Our approach is to develop awareness of well-meaning folk of this fractal pattern embedded in organizations how it is enacted by people who may not be aware their behavior is insulting. A microaggression environment produces accumulations of stress on the recipients, and over time can be quite debilitating. It also creates the opposite of True Performance of the entire organization and its relationships.

With microaggression-awareness of its day-to-day Spectacle comes the potential for Carnival, and then processes of organizing, developing, and changing (ODC 2.) to what we call Festivalism practices, which are requisite to transforming compliance DEI 1.0 into DEI 2.0 double loop of conflict resolution, and the triple loop of ‘heart of care’ as the embodied reflection of True Storytelling.

WHAT IS DISCRIMINATION? Principle 1: What is True? How is it Sustained?

Here are some types of discrimination:

  • Age
  • Gender
  • Race
  • Ethnicity
  • Skin Color
  • Mental or Physical Disability
  • Genetic Information
  • Relationship to someone who may be discriminated against
  • Pregnancy or Parenthood
  • LGBTQ Discrimination
  • Religious Discrimination
  • Linguistic/Cultural Discrimination
  • National Origin
  • Socio-Economic Discrimination

In the US, Title VII of the Civil Rights Act of 1964 makes it unlawful to discriminate in hiring, discharge, promotion, referral, and other facets of employment, on the basis of color, race, religion, sex, or national origin. This is enforced by the Equal Employment Opportunity Commission (EEOC).

Distribution of EEOC Complaints

The EEOC reported the following breakdown for the charges of workplace discrimination that were received by the agency in fiscal year 2019 (see source):

This illustration describes types of workplace discrimination including "Retaliation," "Disability," "Race," "Sex," Age," "National Origin," "Color," and "Religion."
  • Retaliation: 39,110 (53.8% of all charges filed)
  • Sex: 23,532 (32.4%)
  • Race: 23,976 (33%)
  • Disability: 24,238 (33.4%)
  • Age: 15,573 (21.4%)
  • National Origin: 7,009 (9.6%)
  • Color: 3,415 (4.7%)
  • Religion: 2,725 (3.7%)
  • Equal Pay Act: 1,117 (1.5%)
  • Genetic Information: 209 (0.3%)


THE BEFORE HEART of History (Principle 2 Already there). What is the history of INTERSECTIONALITY?

Intersectionality is a framework to study the history of relationships among multiple dimensions and modes of discrimination and privilege. Everyone has their own unique experiences of discrimination and privilege. The issue of intersectionality occurs when courts and organizations use single-dimension when there are intersections, such as gender and race, or class, and nationality, etc. The term intersectionality was coined by Kimbrele Crenshaw 30 years ago (More):

“That brings us to the concept of intersectionality, which emerged from the ideas debated in critical race theory. Crenshaw first publicly laid out her theory of intersectionality in 1989, when she published a paper in the University of Chicago Legal Forum titled “Demarginalizing the Intersection of Race and Sex. The paper CLICK HERE TO READ THE COMPLETE PAPER centers on three legal cases that dealt with the issues of both racial discrimination and sex discrimination: DeGraffenreid v. General MotorsMoore v. Hughes Helicopter, Inc., and Payne v. Travenol. In each case, Crenshaw argued that the court’s narrow view of discrimination was a prime example of the “conceptual limitations of … single-issue analyses” regarding how the law considers both racism and sexism. In other words, the law seemed to forget that black women are both black and female, and thus subject to discrimination on the basis of both race, gender, and often, a combination of the two.”

“For example, DeGraffenreid v. General Motors was a 1976 case in which five black women sued General Motors for a seniority policy that they argued targeted black women exclusively. Basically, the company simply did not hire black women before 1964, meaning that when seniority-based layoffs arrived during an early 1970s recession, all the black women hired after 1964 were subsequently laid off. A policy like that didn’t fall under just gender or just race discrimination. But the court decided that efforts to bind together both racial discrimination and sex discrimination claims — rather than sue on the basis of each separately — would be unworkable.”

HOW USA LANDS OF INDIGENOUS PEOPLES ARE DECLARED ‘Public Land’ then Appropriated by another group?

“The 1851 Indian Appropriations Act allocated funds to move Western tribes onto Indian reservations where they would be protected and enclosed by the United States government” (See source).

“According to the Indian Appropriation Act of March 3, 1871, no longer was any group of Indians in the United States recognized as an independent nation by the federal government” (See Source).

Example: Grace Ann and I live on the East Mesa, across the street from public lands administered by Bureau of Land Management, and lands given to the State of New Mexico administered by State Land Office. These are lands appropriated from Original Peoples. The justification was and continues to be a cultural identity narrative that created a ‘false’, a ‘fake’ and ‘inaccurate’ history of the BEFORE. Therefore, part of True Storytelling is reclaim in Principle 2 ‘What is Already There?’ These untold stories, or marginalized stories of our region are part of the place called, Paso del Norte. It is a story of the loss of [intersectional] identities of the indigenous peoples under the Mission System, then Mexico’s settlements in what now is New Mexico and Texas, then US war with Mexico, and the expansion of US.


“Spanish explorers encountered two groups of Native Americans whom they referred to as the Mansos and the Sumas. The Mansos occupied the Rio Grande in the immediate area of El Paso, north to Las Cruces. The Sumas were found along the Rio Grande southeast of El Paso, as well as in portions of northern Chihuahua, Mexico” (More).

Original indigenous peoples maintained their community and identity under the pressures of Spanish colonization of this region, Mexican statehood, warfare with other Indigenous groups, and United States expansion (More on this history).

This video is an example of Principle 6 (Staging), the use of icons, material objects, and scenography to make an impression on stakeholders.

Next video we create will be about the Indigenous People’s who had the land before Wild West expansion and land appropriation.

Tools for Deconstructing DEI 1.0 and Reconstructing the Resituation of DEI 2.0

Boje' deconstructive method
Based on Boje (2001) Narrative Methods chapter on deconstruction

Root Cause Analysis

media literacy questions | youth, democracy & the entertainment industries

1.  WHAT’S THE STORY?  (go deeper asking why five times, to get BENEATH sympptoms to deeper, real causes.


  • Polyphony of manyVOICES/SOURCES/POV (Point-of-View):  What voices/sources are privileged/unheard?  Underlying ideology?  Systemic bias?

3.  WHAT STORIES AREN’T TOLD?  (Untold Stories)

  • Is CONTEXT explored around issues such as crime, poverty, and income inequality?  Are underlying power structures discussed?  Root causes.
  • POLITICS-SYSTEM CHANGE:  Consideration of alternative public policy?  Strategies for social change?  Root solutions.

4.  WHAT STORIES DO YOU WANT TO TELL? (More see U-Mass Blog).

How Root Cause Analysis Tool Works?

Root Cause Analysis - Tool/Concept/Definition


Bringing All the Systems into Festivalism of



We train in Ensemble Storytelling as the way to develop the potentiality of DEI 2.0 with the ongoing ODC 2.0 system improvements in quality and performance

1. Listening Tours are excellent ways to open up for discussion of What is True, and Get Beneath the preconceptions people harbor about Diversity, Equity, and Inclusion. At this stage it’s to diagnose the Single Loop.
2. Networking of Stories and Narratives takes place in True Storytelling Circles using ICEND (Interactive, Communicative, Experiential, Networking & Development) tools of active listening to one another’s stories. For example using Microsoft Teams, or Zoom breakout rooms, facilitated by staff members we train.
3. Plot the Future Together while having fewer and shorter meetings. This is possible because with the problem solving lead and learn tools we train you in, some issues are dealt with in group brainstorming, while other issues are resolved in chats or email processing.
4. Going Back in Time allows a deeper sense of history. This is emphasised to trace prior iterations of DEI, how they fared, and recover things that worked but were forgotten.
5. Back to the Future as we connect the Little Wow Moments of the past with Opportune Moments of the Future through our embodied restorying process.
6.Visual Staging Storyboarding is a tool that takes what has been learned in the first five principles, processes, and tools to make a coherent clear communication to all stakeholders that prepares the implementation of DEI 2.0.
7. The Field Tool connects people in the organization with the neighborhood, the communities, the region, and the local ecology. In this way the ODC 2.0 is connecting and amplifying the DEI 2.0 so ecological business modeling truly can take place.
RESOURCES in moving to Ecological Business Modeling that amplifies DEI 2.0:

Boje, David M.; Jorgensen, Kenneth  Mølbjerg, (2020). A ‘storytelling science’ approach making the eco-business modeling turn. Journal of Business Modeling,  Vol. 8, No. 4, pp. 8-25 Click here for pre-press pdfPlease Click here for final print version PDF

Boje, David M.; Rana, Mohammad B. (2020). Defining a Sustainably-Driven Business Modeling Strategy with a ‘Storytelling Science’ Approach. Chapter to appear in Markovic, S., Sancha, C. and Lindgreen, A. (Eds.), Handbook of Sustainability-driven Business Strategies in Practice, Northampton, MA: Edward Elgar. Click here for pre-press pdf.

Mogens Sparre and Boje, David M. (2020). Utilizing Participative Action Research With Storytelling Interventions to Create Sustainability in Danish Farming. To appear in Organizational Development Journal. Click here for pre-press pdf.

Jørgensen, Kenneth Mølbjerg; Boje, David M. Storytelling Sustainability in Problem-Based Learning. Chapter to appear. Click here for pre-press pdf.

Rosile, Grace Ann; Boje, David M; Herder Richard A.; Sanchez, Mabel. (2021). The Coalition of Immokalee Workers Uses Ensemble Storytelling Processes to Overcome Enslavement in Corporate Supply Chains. Business and Society. Business & Society, Vol. 60(2) 376–414. Click here fore pre-press pdf.

See Next Post: Taking the True Storytelling’s Diversity, Equity, and Inclusion (DEI 2.0) Journey

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