Does Classical Music Truly Welcomes Diversity?

When we think about classical music our minds could easily head to the great masterpieces, those imposing monuments of music (too many to list them) that address elements of our humanity regardless of who we are of where we come from. Creations that because of their inward-looking human qualities, became unbiased and, while crafted by individuals, acquired the power to speak to everyone. Like any seriously crafted art form, classical music is a journey into oneself and that is why after hundreds of years of its existence, it keeps attracting audiences, amateurs in community ensembles and, young artists pursuing the art form as a career. All of this continues to expand globally as testimony of how classical music can engage in a discourse with all people, successfully and beautifully merging with their incredibly diverse backgrounds.

As a proud Puerto Rican, I am a Latino composer of classical music. I was powerfully enthralled by classical music as a teenager, to the extent that it became my purpose in life. Now I am pursuing a doctoral degree in composition at The Juilliard School following that same passion. But here is when the story unveils its truths… 

Classical music had such a powerful effect in my life that it guided me, as a U.S. citizen, to pursue involvement and connections with different professional musicians, institutions and their members in the United States. It motivated me to follow those members and artists assuming a shared understanding of what music is and what it could do. But although that same passion and motivation was definitely present in most artists and institutions, I’ve started to listen to an echo of the United States history and affairs. Every orchestra I went to, every concert I attended, even every extra musical activity organized by a musical institution presented a very evident lack of diversity. From the members of the different ensembles, the audiences and, even more strongly, in their programming. This raised in me so many questions… What I once understood as a universal expression for all, now, in the melting-pot-country of the world, seemed to be a white-majority—to not say exclusively—club. Am I able to share in this club? Do I belong here? Is my path legitimate enough to receive the alabaster approval? As James Baldwin said:

“I don’t know what most white people in this country feel, but I can only include what they feel from the state of their institutions.”

Yes, it cannot be ignored that the United States suffers from a racial discrimination history (the Civil Rights Act was passed only 56 years ago). Furthermore, classical music has long been associated with the affluent social class (which, in the U.S., happens to be predominantly white). That said, the members of the classical music community are generally part of the (disappearing) middle class. As a contrast, it could be argued that the values and education in which classical musicians tend to develop, such as conservatories, music schools, etc., are more liberal in thought. Then, why so much discrimination?

Being myself a Latino composer, member of the already big and growing community of non-white classical musicians and, knowing the general values and ideologies shared between the classical musicians community, made me question the lack of diversity in musical institutions. More so when there has been recent and well-advertised campaigns pro-diversity and anti-racism in a plurality of musical institution due to the recent police brutality murders against the communities of color. In addition to this, the many community engagement programs of different music schools and orchestras to expose to and train different underserved communities in the musical craft makes me question why is it so hurtful and problematic to achieve diversity and inclusion in this nation?

On July 2018 the Public Religion Research Institute released a rather alarming public opinion survey:

Does increased racial diversity have a positive or negative impact on America?

ALL AMERICANS
• 64% positive
• 31% negative

DEMOCRATS
• 85% positive
• 13% negative

REPUBLICANS
• 43% positive
• 50% negative

After a moment of pause, assimilating the survey’s findings and, thinking about the plausible consequences of being a non-white citizen in the U.S., it was easier to understand the situation in a general sense. It is arguable that our particular political environment might be to blame for this conclusions but it is also true that the lack of diversity in classical music is a problem older than our political climate. This leads me to my personal experience in the U.S. 

As a brown-skin Latino in the U.S. (living in NYC) I know what it is to be followed by security in shopping malls and stores, I know what it is to be treated unfairly and rudely by customer service because of the way I look, what it is to be mocked for having an accent, I know how it feels to have to tailor my daily outfits and personal look to reduce maltreatments or being taking advantage of, I know what it is to be unsafe and threatened by other musicians to “burn my music in a ritual” because, as a brown composer I can’t write “whatever I want.” I also know what it is to be screamed at, in the middle of the streets of Manhattan, to “speak English or to go back to my country.” Nonetheless, in the classical music world, or among the people with more liberal ideologies, these discriminatory behaviors tend to manifests in a different more subtle way, revealing the same conscious and unconscious beliefs cemented in irrational and uninformed biases.

For instance, as a composer, I’ve had significantly and measurably more success in competitions that only accept anonymous submissions. Also, in the networking environment (which is vital to the music profession), at the time of introducing myself to musicians, presenters and programmers, I’ve been politely rejected in many instances as organizations are “not looking for Latin Jazz at the moment” even though I’m not a jazz musician. Or with the generic “we’ll contact you for our Latino night or dance evenings.” Furthermore, I’ve received professional and honestly good-intentioned advice from distinguished and prominent musicians, to change my practice of titling my compositions in Spanish (my mother tongue) to English, as it will be more understandable to everyone. Moreover, if using my mother tongue is really needed, “a Spanish translation could be included.”

With this few examples taken from the big stack of my experiences in this nation, I can argue that the problem in the classical music ecosystem is the unchecked, unchallenged and unconscious bias against anything non-white. It is very important to clarify that the big majority of people are good-intentioned and their goal is to help the overall musical community, but when it comes to diversity, there are unconscious biases that have been left unchecked. As members of society, we all participate in a cross-educational act with each other, but it is also important to be proactive in educating ourselves. It is nearly impossible for an organization to achieve diversity with a practice of figuring outwhat is wrong with the “other.” When the initial issue manifests when once the “other” approaches in, is wrongly labeled, mistreated, abused, mocked and defined by the white majority. 

This is particularly hurtful in any case and profession, but in association to art—something that is, at least for me, so defining and embodies the definition of meaning in my life—aches in a very piercing way. It makes me wonder whether I will ever be able to share my music without having to carefully build a reason of why should a Latino’s composition be accepted and/or performed in an orchestra or ensemble. It makes me question whether my journey, exponentially longer and rougher than that of the white privileged, will ever be levelled or bring with it fair opportunities.  

This is a far more complex dilemma in our nation than I could ever articulate, but unless we agree that we have a social responsibility with societal and historical knowledge and, that we all are victims/guilty of having biases, the problem will not be able to be addressed. We are far more alike than we are different. Solving this problem is not about adapting everyone to oneself, but to coexist and understand beyond prejudices, learning from one another and applying that knowledge without forming premature conclusions. But also, from those who are privilege, accepting their responsibilities and obligations while understanding history with its good and bad events.

As maestro Daniel Barenboim said:

“It is our diversity that lets us appreciate vibrant and unique cultures and their people who can debate and positively influence each other.”

So, if you ask me today if classical music truly welcomes diverisity, I would have to say, with immense pain and sadness, No. It does not. And when “it does,” it only does so as a political and publicity stunt. Lets hope and work for this to change soon and permanently.