In the last year, I’ve sat down several times to break down problematic and offensive programming and publishing decisions by major music institutions. Sometimes it’s started on Twitter, sometimes on my blog, but I’ve found myself circling back to many of the same issues again and again and again. In certain cases, it’s been harder to spot, because the Phantom Regiment snafu and resulting fallout look different on the surface than, say, the Larry Clark/Keiko Yamada moment or my thoughts and hesitations about Fire in my mouth. Each of these points to different, interconnected issues within our communities and the ways in which we talk about marginalized composers and their work. However, they also point to different ways in which our current mainstream discussions of these issues aren’t specific enough to make the right arguments for folks who may not be as plugged in as we are.
Because while these instances and others (looking at you, St. Louis Symphony’s History/Her Story programming) all fall under the umbrella category of Things Concerning Marginalized Composers, they don’t all deal with the same issues. In fact, they concern themselves with two distinctly different things: intentional programming and ownvoices representation.
Continue reading Ownvoices versus Intentional Programming: A Primer
If you follow me or the drum corps world, you know what happened this week with Phantom Regiment. They released their show concept for the 2019 season, based (veeeeeery loosely) on Joan of Arc, using the tagline “burn it all down” and claiming to be focused on women’s empowerment. The show repertoire accompanying this announcement revealed that Phantom would be performing this “empowering” show to a soundtrack of music written exclusively by men. I and many others critiqued the decision and battled harassment and cyberbullying in the comments sections of posts for three days before Will Pitts, head drum major of the fan-favorite 2009 Spartacus show and current head honcho at Phantom, put out a statement addressing the whole ordeal. While it was appreciated, it said little more than expected: Phantom isn’t changing its show, they didn’t realize the optics would work out this way (emphasis mine), they considered works by women composers, blah blah blah.
Let’s be clear: I in no way expected Phantom to change repertoire. They are less than a month from the start of their season, and even if they wanted to add a piece by a woman, I doubt there are many female composers (whose work they would want, anyway) who would be willing to go near them with a ten-foot pole right now. Those arranging permissions would be expensive. This announcement, while maybe preventing them from further putting their feet in their mouths, is a full two days late and several dollars short. But as much as I hope Phantom and its creative team learns from this experience and significantly reconsiders how they program their shows, experiences like this that are so widely visible both remind me why I do what I do and reinforce that as much as my own experience and perspective understands perfectly well why we should center some voices over others in artistic works, most people are not engaging with art and music on that level yet. There is still work to be done.
Continue reading I Need a Nap (Because Sexism)