Diversity in Classical Music has been a hot topic lately, especially given the recent announcements of upcoming seasons of organizations and the pushback many are getting recently. With the introduction of the Women Composer Database and the Composer Diversity Project, therea a push for aggregating disparate lists of composers to decenter the White Male Canon by highlighting all the Women and PoC (People of Color) composers that have long been existing in the tradition but have been systemically excluded from it except in the most tokenistic of ways.
In my previous post I discussed how ridiculously easy it would be to avoid the Art of Monstrous Men, and the post before that discusses how to Decolonize the Musical Mind. The past couple of days I’ve come across some interesting pieces about diversity in the arts (or lack thereof). The first was a piece about bringing the art of women, long buried in storage of the Uffizi Galleries in Florence, to light; the second was a piece about how the High Museum in Atlanta tripled its Nonwhite audience in two years by, well, increasing the diversity in its programming, staff, and marketing; and the third is a rebuttal of one of the myths justifying the Great White Canon of Classical Music.
*Trigger Warning* the article and video in the link below have descriptions of sexual assault
I just came across this piece about why Iggy Azalea no longer crowd surfs during concerts. While we talk about bringing in newer and younger audiences into Classical Music and how the field needs to change to reflect a changing world, I doubt (or would like to think) that those pundits and advocates intend for these types of activities to be included.
So a couple days ago I came across this. If you want to watch the actual video, go to the link here (I really don’t want to embed it in this post). What interested me more was the video of the commentary about the video.