Untouchable took me a month and a half to write, but I spent four years trying to articulate its content. As (the blessedly many of) y’all who read it probably saw, I referenced fifteen other pieces I’ve put out since early 2017. This morning, I piled all sixteen posts into a single document to check the word count, and it came out to just under 29,000 words—or about half of the minimum requirement for a full-length novel. It was 47 pages of material. While that bodes well for any potential doctorate I may choose to pursue in the future, it says some interesting things about the likelihood of being both believed and understood within our community.
You see, I don’t expect people to believe me when I start talking about most of the things I discuss on my blog. Part of why I started writing the thoughts down was because my in-person conversations with peers were so often derailed by some level of disbelief—sometimes in the form of “[other woman] doesn’t say that,” sometimes manifesting as “I’ve never seen that so it must not be too bad,” sometimes in other forms that are intricate and nuanced and harder to illuminate. I was only rarely allowed to communicate a thought beyond its first couple sentences and almost never given the space and time to puzzle through something that felt important. On paper, though, I had the freedom to do just that, to make sure an idea was complete and concise before putting it out into the world. And while no one’s obligated to read the entirety of anything I post, I find a lot of people do. (For this, I’m incredibly grateful. Yes, that means you, sitting at the screen.)
Continue reading “Hostile Work Environments and Unraveling Tapestries: A Follow-Up to Untouchable”
Let me drop you into a situation that’s happened so many times in my admittedly-still-rather-short twenty-three years of life that I don’t even have to point you at a particular instance of it. Picture, if you will, a rehearsal space. Maybe an ensemble is rehearsing; maybe a master class is happening. In either event, an at-least-somewhat-esteemed guest artist is working with people who are ostensibly there to learn and improve, even if they’re not still in school. That artist has commanded the attention of the room and established a power differential, often simply because they are a soloist or lecturer in that context. Still, regardless of why, they are the authority in the room.
Now imagine this artist begins a piece or introduces a topic by going on a brief, sexually-charged tangent. Perhaps the ladies in the room are told to cover their ears while the artist makes a lewd joke that’s apparently supposed to be okay for men; maybe someone gets hit on during a song. Or maybe it’s comments that belittle young musicians, or a wet-blanket persona that keeps everyone’s guard up. Context aside, though, this guest artist is saying or doing something that makes you deeply uncomfortable, but due to the power dynamics at play, a callout during that moment isn’t a smart move.
So you tough it out, and when you make it to the end—of rehearsal, of the clinic, whatever—you talk to your director about it. In this hypothetical, I’m going to designate this director or teacher as a person you trust and can speak freely and honestly to. So you express your concerns, you talk through your options, and then, toward the tail end of the conversation, the inevitable pops out: “he’s from another time.”
And in every case, without exception, this is where your heart sinks a little. Continue reading “On “he’s from another time””