Thank you for this article, Susanna; I appreciate your raising important and subtle points, including the fact that there are still firsts, that ‘blind and neutral’ are not the same, and so on. There are too many points to cover, but since you mention specifics and acknowledge not having the answers, here are few thoughts:
(1) We need to take into account that men and women are socialized in ways that are suboptimal or worse for women (and for men, depending on one’s values, ethics, and goals). The inclusion of women on boards and panels and such is necessary, but not sufficient. Presence does not equate with equality; there are many more factors to consider. (For what it is worth, I have been on plenty of panels that were attentive to gender. But the imbalance continues.)
(2) You ask about role models: I am one such role model, and one for whom Judith Weir has been and continues to be an exemplary role model herself (in her role as a composer, as you say—and I have written about her work in regard to gender and other matters too). But I am sad to say that the presence of mature, experienced women is not enough either. I have been attentive to mentoring female composers, and male ones too, including but not limited to advisees interested in gender-related matters. Most of my own mentors were male, and they were and continue to be exemplary citizens in terms of gender issues and everything else. I myself am puzzled sometimes to see that there are fewer women applicants for a certain opportunity, or fewer who are likely to be considered as likely contenders.
(3) I am curious (literally) about your mention that women “lose motivation to continue studying music and musical composition, and why are they then less likely to put themselves forward”: Is that an inference from the data? Can one be sure of what is happening behind the numbers there?
(4) The ways in which decisions are made and opportunities awarded (caveat: I am in the US) can be quite informal and subjective, and the distinction between professional expertise and personal bias, in a field such as composition, is not always easy to manage.
(5) Apart from the numbers, men continue to enjoy unwarranted privilege and license; for example, how many male composers are reading this article? For how many is this topic a concern? As above, it is, for #SomeMaleComposers. Yet it continues to be the case that men are accorded license far beyond that accorded to women, and that (again, in the US), personal hunch and identification may well affect decisions. The fact that there are likely to be comments on your article that put forth blanket assertions without having worked in this area or having done any investigation to support what they say is telling. (Cue the tubas . . . ) #SomeOfUs report our experience, read books about discrimination, have discussions like this, look at data, and strategize (and worry over whether clothing is too sexy or not sexy enough, whether self-presentation is too humble or too self-important, whether manner of interaction too accommodating or too “pushy”). In response, #SomeOthers say, “Well, no, it’s really like this,” presuming to define others’ experience without having done the legwork to support their assertions. In such instances, the opinions of those how know less too often are accorded disproportionate authority. If one is not required to deal with gender on a daily basis, why would one? (The fact that some do is all the more heartening.) And if not, why consider oneself an authority on the topic? Moreover, most articles on the underrepresentation of women focus on what needs to change on the XX side of the chromosomal balance: there should be more women, why are the numbers low, what can women do. (Hence my question above about the data.) But there is much less energy being directed toward men and the changes they need to make. The frequency with which a proposal is described as “letting” women in is revealing.
(6) I am sorry to say that, as a composer with three decades’ experience now, having enjoyed opportunity, support, artistic accomplishment, and recognition, I find the persistence of gender inequity in some pockets of the composition world egregious. Another matter that that is almost never discussed is the way that women may be confronted with more, not less, discrimination as we gain wisdom and expertise, as we become elders; that has been my experience, from some quarters, I am sorry to say. I hope that my mentees and other younger composers do not encounter such resistance to their mastery. For now, being experienced and established offers no guarantee that one will be respected in the way that each one of us deserves. There is still pressure on women to deny any imbalance; we receive much positive reinforcement if we say we have not encountered challenges, that we think of ourselves “as composers first” or that we believe ourselves to have been treated fairly (great, but how could we know?). Women who acknowledge forces that work against them meet with reprisals of various sorts. (Notice the #ManyQualifiers in my discussion here; they are accurate, yet my commentary is still likely to be read as dualistic.)
(7) As some have written about in mainstream discussions of otter gender issues, again and again we are the ones who are required to adapt to circumstance. While informal, ad hoc efforts may not be effective, it is also not realistic to think that systemic/bureaucratic changes are feasible. (The amount of training that would be needed . . . ) I do not see this changing unless individuals and groups really take responsibility—a familiar term—and, more fully, unless enough of us really desire gender equity and fruitful exchange—and all the yummy fruit when the harvest comes. In order to foster a better climate for women, we need to recognize that such an endeavor is in the best interest of all, to value a community in which one individual’s success is no longer seen as another’s loss, to pay as much attention to how we do what we do as how much of it we do. I myself have been considering leaving the profession, or changing my relationship to it—in my late 40s, knowing it is my calling and that I am at the top of my creative abilities (thus far), with many more pieces in me, and devoted as ever to the next generation—specifically because the values I see espoused in so corners of the composition world have revealed themselves as abhorrent and destructive. It’s not only about gender, but it plays itself out in dishonorably gendered manner, and someone in my position must ask whether such an environment will permit one’s gifts and offerings to be of use. The fact that in saying this, I place myself, not others, at professional risk, says much. The fact that I, having been fortunate in so many ways, am still asking the question of whether it is worth persevering says more.
It is disheartening to observe how “the woman composer question” keeps flipping back to page one, without much recognition of previous chapters. I observed this in what you correctly term “the rather unedifying recent debate about women conductors.” It is encouraging that your article, despite its brevity, takes into account historical context. More frequently, though, the public discussion on this topic seems to rewind again and again to pose the first question that would open the first meeting of the first seminar in the first semester of a life’s work on being a human being and a composer. (And even, the response to that opening question may be interrupted when the kindergartners barge in and exclaim, “It’s time for recess! Where’s my cookie?”) It’s unfortunate that there is not more continuity and depth in such discussions, though it is understandable. Perhaps that is something you, in your position, could cultivate.
Is it possible to dream a world of composition and music where we place mutual respect and the greater good at the top of our priorities, where we all remember what we don’t know and remain open to one another’s experience? I would like to think so, but I have yet to see a quorum on that.
Ok, that is more than a few thoughts. Thank you again for your thoughtful and good-willed attention to the topic.
—Barbara A. White