Hi there, everyone.
If you’re reading this, we’ve made it past the ICD Review. Hopefully I’ll be able to take a few weeks after this and talk about something else, both on my blog and with my partner. I’ve got a few weeks’ worth of thoughts pre-loaded for you, but before I get to that, I wanted to take a moment to sit with y’all in the wake of this massive effort.
Continue reading “yes, this is a skill set”
Over the past few years—especially since the election—I’ve seen lots of meaningful conversation, art, and advocacy on behalf of women composers and their work. I’ve seen an elevation of public consciousness—not necessarily across the board, but within classical and jazz spheres, to be certain. And yes, we’ve got a lot of work still to do with drum corps (and classical and jazz) and the more mainstream-music-listening public; our efforts need to extend further than they already do, but we’re making progress. Women working in composition are seeing a shift in how we are treated, in the opportunities open to us, and in the interactions we have with our peers, colleagues, and superiors.
From here, this post could veer in two different directions. I could keep talking about the work we need to do with equity, to ensure that women are getting a statistically fair shot whenever possible. I could go on about what that means and how I’d do it. (Spoiler alert: it would make a lot of men mad.)
But that’s not actually the route I’m taking today. Maybe I’ll come back to it someday, but for now, there’s something more pressing on my mind.
Talking about women composers isn’t enough.
Continue reading “Talking About Women Composers Isn’t Enough”
I don’t like being the only gender-marginalized person in an ensemble. If you asked my peers about it, they’d probably roll their eyes and laugh. Yeah, that’s Megan. I don’t have to be with other women, though that’s obviously a blessing when it comes along; in LA, there were plenty of occasions when I performed with a section or a group whose members were male-coded but included at least one other person somewhere on the gender spectrum beyond cis man. I’ve fallen in love with working among others whose struggles to be accepted in our professional environments speak to something in my own experience. These moments allow for subtle, important moments of solidarity: little reminders that we’re not alone.
That said, I spend a lot of time being the only gender-marginalized person in an ensemble. (#BrassPlayerProblems #JazzProblems.) It’s difficult to explain why the difference is so stark, especially when I’m trying to make sense of it to folks who have probably never found themselves in such a situation. (And even if my cis male friends have, y’all don’t have centuries of systemic gendered oppression weighing on you and affecting your treatment within that scenario.) But when a well-reasoned fear of the consequences—both professional and personal—of putting even one toe out of line has been bred into you from the moment you chose your career, when you work in an industry that has a tradition of violence of all types against your gender(s), when you’re working around people you know won’t speak up if someone makes you uncomfortable, you spend a lot more time worrying and being quiet instead of working to create the art you want.
However, it’s 2019. Professionals the world over are realizing all-male ensembles can’t continue to be their default. Overall, that’s a really good thing; doors are beginning to open for gender-marginalized folks who wouldn’t have had many options a few decades ago. There’s a dark side to the change, though: musicians are beginning to reach for women and other gender-marginalized performers to incorporate into their ensembles so they can say they have one. It’s a performative, superficial kind of inclusivity that draws in folks facing this kind of oppression without considering the systemic structural changes that might be needed to make us feel welcome. It’s hastily scribbling down the answers to your math homework in the ten minutes before class without bothering to show your work (because you’re copying someone else’s), and the results are usually the same: if you don’t have a plan for getting from point A to point B, you’ll only ever get partial credit. Continue reading “Token Hire”
Today, we’re celebrating the Madison Scouts.
Some people will read this post and tell me “celebrating” is too strong a word, and that’s fine. It’s maybe not a fireworks-and-BBQ-level blowout; no, this—on the surface—is more of a golf-claps-and-maybe-a-party-hat thing. But for anyone who identifies as a gender other than Cis Man and who’s felt the sting of not being welcome to march with a corps due to that, this is . . . big. Continue reading “The Madison Scouts and Gender-Inclusive Spaces”