Do you like Chinese with your Racism?
Cellist Bows Painful Notes of Racism and Hate
Cellist Eugene Lifschitz, principal cello of the Hamburg Symphony, made the above racist comments.
The Hamburg Symphony responded to public outcry on Facebook:
A Tone Deaf Response
This tone deaf response is a flagrant display of institutionalized racism. It confirms support for their racist cellist over the humanity of Chinese people. It’s an act of racial violence against all people of color. Like most orchestras, they haven’t made diversity and inclusion a priority.
At minimum, the orchestra should apologize and express disappointment. Mr. Lifschitz refuses and has no regrets. When white, you’re presumed always right. Being white affords you the camouflage of benevolent innocence. Being called a racist fills you with white fragility, shame, anxiety, anger, and resentment for people of color.
A commitment to “the art of the people of the world” should include the Chinese. Musicians are responsible for reflecting society.
Making music lets us equitably see our unique beauty in others. It allows us to model ideal human relationships, learning who we are. Music teaches us what it means to be human.
Most telling is the statement,
“We have always acted like this and will always do so in the future.”
So you’ve always been a safe harbor for racist cellists and will continue?
You say you represent “global solidarity.”
Want be in “solidarity” with the Chinese? Fire your principal cellist! The entire Asian community is being used as scapegoats during the corona pandemic. Daily, they are physically and verbally attacked.
Racism isn’t about “optimism.” It’s group prejudice back by institutional power. It’s an omnipresent reality for people of color (PoC). People wait for the most “acceptable” time in society to express it. When cultural institutions support racist behavior, they bridge knowledge with ignorant stereotypes. This entombs institutionalized racism.
Silent Complicity
Silence on racism is complicity.
Like the Hanau shooter, Mr. Lifschitz didn’t act alone. He spoke for all white musicians who perpetually turn a blind eye to racism. Because it makes whites uncomfortable — and white comfort is all that matters — racism is ignored and denied. For German’s, racism forces them to relive a not so distant Nazi past, although history is presently repeating itself.
Mr. Lifschitz was so brazen in his racist statements, he wrote them down on Facebook. He knew fellow white musicians would give him the benefit of the doubt with silent complicity. I’m sure they all got a great laugh.
Meanwhile, Asians fear coughing in public.
Fire Him or You’re Complicit
Fire your solo cello. Keeping Mr. Lifschitz employed says you value him more than the safety and humanity of Chinese musicians. A responsible orchestra fires employees who makes racist statements that marginalize an entire nation of fervent classical music supporters and musicians.
The Shanghai Quartet fired their 2nd violinist after calling the Chinese “pigs.” Nascar suspended driver Kyle Larson for using the nword during a virtual race. In the US, employees are fired for racist comments.
Germany created the 20th-century’s largest genocide machine. Why are racist musicians coddled in Germany? Because of a culture of silent complicity in racism.
How would you ever be able to tour China with Mr. Lifschitz on your roster? How can you represent music and the profession? How can you properly represent the German people by showing devout complicity with racism?
Do you like Chinese food?
Like Chinese food? Of course you do! All musicians love after concert Chinese.
Racism necessitated Chinese restaurants in the US. The Chinese Exclusion Act banned their immigration. A loophole was if you had your own business. Through ingenuity and hard work, Chinese immigrants became restauranteurs, inviting their relatives from China in droves, often aided by Jewish landlords.
As a Black conductor, my world is consumed by racism. It’s a world you’ll never know, understand, or wish to care/hear about.
It was only a couple weeks ago I was called the nword at the Dresden central station. The police did nothing. People get up when I sit on the train. Germans punch me in the arm, push and sometimes kick me, or ask me to move away in public spaces. Wearing a face mask as a Black man during corona has made me fearful of racial profiling.
This doesn’t concern white musicians at all of course. Racism doesn’t require their empathy.
Notes of racial hatred
I speak truth to power. White artists hide refusing a duty to connect ALL people through music. Hiding one’s head in the sand when racism is discussed doesn’t make things better.
Audiences are dwindling and orchestras are losing relevancy. In this time of economic peril, society reminds classical musicians how expendable we are.
Music can connect us through shared emotion and empathy, yet many musicians use it to divide.
Keeping musicians like Mr Lifschitz doesn’t show humanity, empathy, a devotion to music, or any figment of the “global solidarity” you proclaim. It fills your notes with racial hatred and prejudice with a devout devotion to racism and the marginalization Asians.
Racial assault towards Asians is assault towards all people of color. I empathize with them. Can you?
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Noted conductor, educator and activist Brandon Keith Brown engineers society from the podium by decreasing the racial stigmatization of underrepresented minority classical musicians. Brown is a prizewinner and the audience favorite of the 2012 International Sir Georg Solti Competition for Conductors, and guest conducts prominent European orchestras including the Rundfunk Sinfonieorchester-Berlin, Badisches Staatskapelle, Staatskapelle Weimar, members of the Vienna Philharmonic, and the Jena Philharmonie among others. Upcoming debuts include the Konzerthaus Orchestra Berlin, WDR Funkhaus Orchestra Köln, and the Cape Town Philharmonic. Upcoming debuts include the Johannesburg Philharmonic, the Slovak State Philharmonic Košice and the Simon Bolivar Symphony Orchestra. He is a student of David Zinman, Lorin Maazel, Kurt Masur, and Gustav Meier. graduating with a master’s from Johns Hopkins University. Initially trained as a violinist, he attended the Oberlin Conservatory of Music studying under Roland and Almita Vamos.
A noted social justice advocate, Brown’s writings on race have been featured on The Medium and in the Berlin Tagesspiegel. He is a frequent podcast guest and speaker on the intersection of race in music and education.
Email: info@brandonkeithbrown.com
Website: www.brandonkeithbrown.com
Instagram: @brandonkeithbrownconductor
