Good evening, folks, and welcome to my analysis of the 2020 ICD Internal Review. After spending months systematically failing the marginalized composers they claim to advocate for, the Institute for Composer Diversity has finally taken time to stop making non-apologies and engage in some institutional introspection. While this internal review should’ve been external, this document is the most comprehensive look we’ve ever gotten at ICD’s policies, goals, and priorities. On the surface, it looks good; they grapple with many criticisms from the past year, and they make some effective changes. However, a deeper dive reveals a heavily-plagiarized document that hides major issues while further stigmatizing the composers in its care.
Overall, the review reflects the legacy of performative activism ICD has grown into. I believe the review team did their best, but the Institute doesn’t walk the walk. This hamstrings their efforts—particularly while Director Rob Deemer refuses to relinquish control.
That sucks, because I wanted better. I used to be listed in the database; Rob informally recruited me to be a data-entry lackey when I met him at the International Women’s Brass Conference in 2019. Hell, I loaned ICD one of my blog posts last spring before realizing the full extent of their harm! I want to believe this organization that gets mentions in the New York Times is doing intersectional, antiracist work to tangibly better the lives of marginalized composers. I want to believe I don’t need to warn my band director friends every time I hear they’re looking for a new batch of ensembles to recruit. But I can’t believe in ICD when they have the chance to do something right yet squander it with linguistic carelessness and inconsistent policy decisions.
It’s important that we analyze both ICD’s sweeping policy choices and the little wording decisions they make along the way. Many of ICD’s (and Rob’s) mistakes in the past year relate to concepts many of us learn over time. As a major organization dedicated to representing marginalized populations, it’s their responsibility to already know better, and I’m going to point that out a lot. When others have made the critiques publicly before, I’ll link to those posts.
But the knowledge I’m sharing here is for you, too—because with the right tools, you are capable of being a powerful force for change. And I’m really glad you’re here.
Continue reading “The ICD Internal Review Part 1: There’s No Policy Like No Policy”
Folks, it’s back-to-school time again, and I know many of my ensemble director friends are knee-deep in planning their seasons. Last fall, I had a great experience with the giveaway process for strength in all things, so this year, I’m going to do it again—but this time, you can take home two pieces if you’d like. Like last year, the idea’s the same: you can take home the pieces for free if you program one (or both) of them in 2019 or 2020. (A personal suggestion? If you’ve got the performers for it, an election year would be a great time to program People Talk.) Continue reading “2019’s Large Ensemble Giveaway: Here Be Dragons and People Talk”