E DU C A T I O N F E A T U R E
INCLUSIVE MUSIC SELECTION By Corinna Garriock
“The first step toward change is awareness.”
-NATHANIEL BRANDEN
WE ARE WHAT WE SING.
NON-SECULAR MUSIC
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s singers, we communicate our values by telling musical stories that are meaningful to us. Audiences get to know us through the music we select and perform. As musical leaders, we do our best to choose music that showcases our strengths and enables our audiences to connect with us emotionally. Ideally, we also choose music that is relevant to our singers and allows them to freely explore the text of the vehicle and be emotionally vulnerable in performance. We value diversity on our risers. To foster diversity, we must be sensitive to the unique needs of our members who vary in age, religious belief, cultural and ethnic background and sexual orientation. When we choose, intentionally or unintentionally, to perform music that excludes some of our singers, we isolate those members and create a barrier to the performance freedom we seek as a team. Likewise, exclusive music can raise caution flags to potential members who might otherwise like to take part in this exciting hobby. Audiences, too, are sensitive to authenticity and vulnerability. The more inclusive your music, the greater the chance of a meaningful and memorable connection with your audience. This article shares some thoughts around inclusive music selection for your consideration. This is not an exhaustive list. It is not meant to restrict your choices, but rather to create awareness. Some of these topics are personal, emotional and difficult to address. Keep an open mind, and read on.
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October 2016 | TH EP I TC H P I P E
e are a secular organization. Our choruses consist of women of differing faiths and beliefs, including Christian, Jewish, agnostic and atheist. If you plan to sing faith-based music, consider who will be singing the repertoire you choose. Think about whether you are imposing this repertoire on members with differing belief systems. Consider also where you will be singing those selections and whether they are of interest or appropriate to the anticipated audience. My quartet Martini recently recorded Jesus, Jesus, Rest Your Head. We are all of Christian background, so it’s appropriate to us. However, before we sing it in public, we ensure that it’s appropriate to our audience, as well. For instance, a member of my region approached us for a song at a holiday afterglow, so I asked her if it would be OK to sing something that was Christian in nature. She laughed and said, “Sure. I’m Jewish, but I’d love to hear it!’ I was glad I asked first. Then, with her unreserved endorsement, we sang it for her.
PRONOUNS
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ronouns can be problematic for our LGBTQI (lesbian, gay, bisexual, trans, queer/questioning, intersex) members. A song in third person (he, she, they) will usually work since someone else’s story is being told, not the singer’s story. In Their Hearts Were Full Of Spring, for example, the song opens with “There’s