I sometimes wonder if, unbeknownst to me, other musical traditions have their own diversity wars. Do the Chinese lambaste their operatic tradition for not having enough white people? Do Indians feel shame at the lack of sub-Saharan Africans performing Indian classical music? Do Indonesians moan about the underrepresentation of Hispanics in gamelan music? No, I imagine not. How lucky they are.
The reason I bring this up is that I just read an article titled ‘Systemic Discrimination: the Burden of Sameness in American Orchestras’ on the music site I CARE IF YOU LISTEN. The author, Douglas Shadle, argues that there is a ‘lack of diversity on concert programs [that] is built into the institutional structure of American classical music organizations, leading to systemic discrimination against women, people of color, and other historically underrepresented musicians.’ Orchestras therefore need to commit to having ‘inclusive’ programming, and audiences should hold them to account if they don’t.
There is a core disagreement between those like myself, who believe that music can be judged aesthetically, and those like Shadle who believe that the quality of a piece of music is inextricably linked to its reception and cultural milieu. He writes:
…the underlying premise here is the false belief that greatness is a quality inherent in a piece of music, rather than a culturally conditioned designation given by someone else.
Ask yourself: do you love Bach’s music because someone told you to like Bach, or do you love it because it is great music?
Shadle later continues the theme:
Drop the singular focus on phony subjective concepts like “great symphonic music” and “the highest level of artistic excellence,” since these in no way conflict with diversity.
This is the pernicious reality of egalitarianism. Merit is substituted for equality and diversity. Therefore, if I see that the first violin walks onto stage and he or she is black, or if I see an ethnic minority or a woman composer being championed, a voice in my head whispers ‘affirmative action’. And I feel horrible for it, as it brings into question the merit of someone who is most likely an extraordinary musician or composer. This is the dangerous egalitarian game we are playing. Surely it can only breed disillusionment and resentment?
I say it is a ‘dangerous game we are playing’ because, contrary to what Shadle suggests, these diversity policies are already in place. One orchestra he singles out for its systemic racism and sexism is the Chicago Symphony Orchestra. Well, like most orchestras the CSO has an explicit commitment to diversity. From their website: ‘The Chicago Symphony Orchestra Association is an Equal Opportunity employer which values and encourages a diverse workforce’. You will find the ‘Equal Opportunities’ stamp on most orchestras’ websites, and if you are applying for a job you may well be asked to fill out an ominously titled ‘Equal Opportunities Monitoring Form’ detailing your ethnicity, gender, and any disabilities you may have.
In a recent Telegraph interview, the great baritone Roderick Williams, who happens to be half Jamaican, made a brief but revealing comment about how his ethnicity has affected his career:
Has my colour stopped me being cast in certain roles? Well, that’s something I’ll never know, because I never hear what gets said on audition panels. But nowadays I imagine that our obsession with diversity means that, if anything, it works in my favour. Quite honestly, I would rather people judged me on the basis of my singing.
How wonderfully sensible. It’ll never catch on.