WESTERN CLASSICAL MUSIC IS RACIST…

…here are 8 steps to begin being actively anti-racist in your institution.

Professor Tanyaradzwa Tawengwa performing in John Corigliano’s “The Ghosts of Versailles” at the Royal Opera of Versailles

In recent weeks, many opera companies, symphony orchestras, universities, conservatories and young artist programs have offered statements of solidarity to the Black Lives Matter movement; however, these statements stem from a cultural tradition that has been the right-hand of White supremacy for centuries. Western classical music is neither a neutral zone nor a blank slate — it is a political performance arena on which the histories of domination and exploitation are played out for largely White audiences to witness. This tradition of reliving the histories of White supremacist ideologies delivers a heavy blow to the Black bodies seeking to find dignified representation on and off these stages. To stand in solidarity and claim active anti-racism is to admit that this work has never happened before. Active anti-racism is not a continuation for Western classical music institutions — it is the beginning.

The following steps are foundational requirements to begin the work of active anti-racism within Western classical music institutions. Compiling this list was motivated by my own traumatic experience dealing with interpersonal and institutional racism at a leading young artist program. While laboring to create this resource, I hesitated and asked myself why I must serve as a visionary on behalf of an actively racist cultural tradition that has failed to reform itself? The answer is Whiteness alone cannot remedy White supremacist systems — collaboration is desperately needed.

If your institution has issued a declaration of solidarity, here are 8 fundamental steps that you must take to begin being actively anti-racist:

1. Have a zero-tolerance policy for racism
2. Institute mandatory Equity, Diversity, Inclusion (EDI) and Restorative Justice training for all personnel. If all you have is EDI/DEI without a restorative justice component, your training is lacking and you need to supplement that training.
3. When people come to the administration with reports of racism, believe them. Eliminate the culture of silencing, gaslighting, spiritual bypassing, blacklisting and insider blackballing. Covert racism is often rationalized and minimized and this causes much harm. Hire a Diversity and Inclusion Specialist to create procedures that address racial discrimination compassionately and justly.
4. As you stand in solidarity, let your budget stand in solidarity too. Put your money where your mouth is and actively work to close the wage gap. Systemic economic inequality is an intentional by-product of racism, and it disproportionately affects Black people. Value your Black employees and pay them well.
5. Again, as you stand in solidarity, let your budget stand in solidarity too. Put your money where your mouth is and allocate long-term resources to mitigate systemic underrepresentation in key positions (boards, faculty, administration, company leadership, creative teams etc.).
6. Remove gatekeepers. In many instances, institutions abuse their power by intentionally excluding Black people. Institutions need to implement structures of accountability that ensure equitable access and true inclusivity.
7. Get out of your Echo-Chambers and check your White Fragility. Whiteness is fragile, and active anti-racism is a daily practice that requires honest introspection. Be brave and seek out truth-tellers who will lay bare the true state of your institution vis-à-vis Equity, Inclusion, Diversity and Justice.
8. Balance the narrative and teach the Black classical music canon. Reparations and restorative justice begin with Western classical music institutions proactively addressing the erasure of Black creators from the canon. The Black classical music tradition has a centuries-long existence and these composers’ voices must be heard. Hire Black classical music scholars to guide equitable and inclusive programming in your institution.

If you need guidance re-envisioning your institution’s policies, programming and organization, contact me at ttawengwa@uky.edu.

Professor Tanyaradzwa Tawengwa is a doctoral candidate in Voice Performance at the University of Kentucky. Professor Tawengwa graduated with a B.A. in Music Composition (cum laude) from Princeton University and is currently the inaugural Shirley Graham du Bois Creative in Residence with Castle of Our Skins.