I don’t really see this as an issue for indies. Nearly half the directors and/or producers I’ve worked for have been women; I’ve worked on projects directed by people of various ethnicities, races and orientations. I think there’s such a great pool of diverse talent in the indie world, that it doesn’t take a lot of effort to find people to work with.
I don’t know how an inclusion rider would shake out for me on my own crews - I tend to hire people I’ve worked with before, and my crews are tiny. 3TC’s entire crew (including the post) was maybe a dozen people tops and I think it was a pretty good mix of folks, though it’s true that there were a preponderance of white dudes in post (colorist, sound designer, VFX artist, composer, and me). What “categories” of diversity count and what don’t would also be something worth thinking about - age? Member of one of the LGBTQIA categories? I’m not against this, just asking.
My casts have gotten more diverse, so I don’t know how this would impact an inclusion rider either.
On the larger projects I’ve worked on (for other folks), the shoots have both whiter and male-r, and gender segregated along traditional departmental lines (G/E/Cam = guys, HMU/costume = women). So I think this is definitely a problem for the bigger producers to deal with.
Overall, I think the “hiring qualified people” thing really isn’t a big issue. One of the biggest problems for marginalized folks is the catch-22 (need the experience to get the job/need the job to get the experience). So they all have to work twice as hard to make it the same distance professionally. What affirmative action measures have demonstrated by and large is that the fear of “hiring unqualified people” just doesn’t happen.
Mentoring and teaching are good ways to promote diversity, as well as working on/promoting/advising on other people’s projects who are helmed/crewed by members of underrepresented groups.