SAPPHONIX COLLETIVE

We have been lucky to find affirming churches which celebrate and uplift the work we do by allowing us to use their spaces. Often, queer people attending our events will talk about their surprise to see a rainbow flag hanging in the back of the church, and express relief at being accepted. We have used some sacred music in our programming, but we also aim to brand the organ as an instrument that can exist within both sacred and secular settings.

What has the reception been to Sapphonix collective?

Initially we had some pushback from people who thought we were being sexist by primarily catering to femmes. However, we explained that allies are welcome, and since then the reception has been widely positive. After our events, our collaborators frequently come to us with gratitude that we have created this space in which classical musicians can perform their favourite works, in a space and in front of an audience that affirms and celebrates their identities. After years of performing in churches and concert halls, in front of an audience that often does not care about who we are personally, it is really special to be able to share classical music with other young people, dressed in creative ways far from the traditional “concert black”, in more intimate venues and settings. Audiences have also approached us after events, thanking us for introducing them to classical music, explaining how they always thought classical music was “boring” or “stuffy” until seeing it performed so youthfully and passionately, juxtaposed with dancers or visual artists, and asking us about various pieces so they can download it onto their phones!

WHAT SHOULD WE DO WITH OLD HYMNS ASSOCIATED WITH COLONIAL CONQUEST?

Lydia Solodiuk Usa

A Brief Disclaimer: Not all organists select music, not all organists even play in a religious context. However, I do think it is a valuable exercise for church organists to consider the music you are playing on the organ (either for congregational or choral singing) and the history behind that music. Also, I’m writing from a North American (United States really) mainline Protestant context as a white middle class woman so I’m definitely still learning about these issues as an outsider myself.