Like countless people across the nation and the world, I am shocked, angered, and grieved by the recent events that have unfolded in the United States. The needless murders of George Floyd, Ahmaud Arbery, Breonna Taylor, and many others are a sobering reminder that there is so much work to be done to dismantle systemic racism, implicit biases, and other systems of power that unjustly discriminate against people of color and other underrepresented groups. This is a significant historical moment, and coming together alongside these communities to mourn, listen, learn, and help enact positive change is more crucial now than ever.
As I’ve processed the events of this past week, my mind has occasionally turned to thinking about some of the similar, deep-seated systemic issues facing the classical music industry. I’ve written about diversity problems in classical music programming on this blog before (which you can read here), but now is the time to address it once again.
While many arts organizations are making great strides in the realm of diversity (such as the LA Phil), noticeable changes across the board are still not apparent. Works by women and composers of color are still programmed infrequently or appear on one-off, “themed” programs. Women conductors are still somewhat of an anomaly, even more so for black conductors and performers. Some opera companies and singers still insist on using blackface for specific roles, despite issues of racial and cultural appropriation. Certain instruments—such as brass—are still implicitly or explicitly gendered and widely considered to be appropriate only for men and boys. (To the people who think the tuba is a “guy’s instrument,” look up Carol Jantsch right now.) And of course, recent sex scandals surrounding James Levine, Charles Dutoit, Plácido Domingo, and others have done nothing to improve classical music’s image, making it seem skeevy, disingenuous, and out-of-touch with society.
Despite the progress that has been achieved, it’s clear that widespread discrimination, harassment, abuse, bias, and economic barriers still lurk beneath the industry’s seemingly pristine surface. These are complex and frustrating issues, and conversations must be had about how to hold the industry to a higher standard and make classical music fairer and more inclusive for ALL, whether it be composers, performers, administrators, or listeners. Something has to be done. But what?Continue reading “Diversity. Now.”