Classical Music: Diversity in the Arts

Monday, May 14, 2007

Diversity in the Arts

Today's Enquirer tackles a big, multi-faceted problem -- the lack of minority participation in Cincinnati's largest classical music institutions.

What do you think can be done to encourage more minority participation in classical music?

24 Comments:

at 5/14/2007 10:33:00 AM

Unknown said...

I was quite disheartened to read the story on diversity in the arts this morning. To have the opera included in this article is appalling (the nicest word I can use). We have spent 16 years working on our diversity programs for all people in the city. We spent millions on Margaret Garner and John P Parker. We have two senior African Americans on our staff, numerous Board members, community dress rehersals in the middle of Over the Rhine, Opera goes to Church etc. The OPera has the most diverse audience of the big eight. Every year our performances include African American, Latin, Espanic, and Asian singers, chorus, extras and production staff.
To put this article right before our season, lumped in with two organizations that may have a diversity issue, I am not involved with either the Symphony or the May Festival is not only unfair, but not true.
Cathy Crain, President-Cincinnati OPera

at 5/14/2007 10:55:00 AM

Anonymous said...

I am African-American and have rarely missed a CSO concert over the last 10 years, since returning to Cincinnati (my home) from the east coast. I began attending the concerts as a child over 50 years ago---watching the great Max Rudolph conduct from the Gallery during the Young People's Concerts of the late 1950's and early 1960's. My classmates and I were transported to Music Hall by bus from segregated South Avondale School.

Let's fast-forward to 2007: on any given CSO concert night I may be one of only 5 to 10 African-American's in the entire audience. I have often been the only African American in the audiance.

The primary reason for this is that most African-Americans are simply not interested in European classical music---irrespective of socioeconomic status, education level, etc. I know at least two members of the so-called CSO Multi-cultural Council personally---and never see them at a concert unless there is a black artist performing.

The United States of America remains a nation terribly divided along racial and class lines---so this is not only a Cincinnati problem----it is endemic to the multiple pathologies of American Apartheid. Classical music is still seen as "European Music" by a population that has yet to be fully assimilated, after almost 500 years of residency in this country.

Because of our isolation from the American cultural mainstream, we were forced to create alternative musical genres that have often achieved more respect in Europe and on other continents than in the country of their origin: Jazz, Blues, Gospel, Rock and Roll, R&B, and most recently (with considerable controversy) Rap and Hip Hop.

Until The United States of America becomes a true cultural democracy,if that is indeed possible, there will be no change at the CSO or any other American orchestra. Both the city of Cincinnati and the Cincinnati public school system are far more segregated today than in the 1950's and early 1960's when I was transported by bus to Music Hall to hear the CSO and Max Rudolph.

Let's face the truth: if people don't even listen to the music,if it is not an organic component of their acculturation, why would they ever consider spending multiple years and thousands of dollars in a conservatory of music to learn to perform at the level required to join a major orchestra like the CSO.

at 5/14/2007 11:17:00 AM

Janelle Gelfand said...

Cathy -- Please note that I don't write the headlines. The story in fact puts the opera in a favorable light, with the best minority participation and includes praise of the board's commitment to diversity. I hope that people read beyond headlines. The chart, combining the "Big 3" is actually fairly consistent across the 3, except for local talent onstage, which I broke out to show that opera is doing best.

at 5/14/2007 11:24:00 AM

Kathleen L. McQuade said...

I too was saddened to read the story on diversity in the arts this morning. For years the Cincinnati Opera has reached out to include minorities in many different ways. On stage and behind the scenes you see the results of these efforts ... minorities participating in all aspects of production, leadership and administration. Why would the Opera be named as lacking diversity (or worse, why insinuate that they don't even try)? If a story was to be written about diversity in the arts, you might well have chosen to commend the Opera for the strides they have made and continue to make. They set an example for the rest of the arts to follow.

at 5/14/2007 12:39:00 PM

Anonymous said...

Gutsy article on diversity and the CSO as well as other organizations in town. I thought it was well researched and well written. I hope those that read it realize there are no limits on those who want to attend or perform no matter where there point of origin happens to be. They only need to show up at the ticket window or audition call. If there are any organizations that are race "neutral" in their desire to have people attend or to bring the best perfromers into the Symphony, May Festival Chorus, or Opera. The sooner we as a society move away from this diversity/quota thing the stronger we will be in the long run for all of us.
For the Opera people hyperventilating to the defense of that institution relating to this article take a step back and re-read the article and the related article and chart. The facts are the facts as far as the number of diversity of the people affiliated with any of the organizations mentioned in the article-Symphony, May Festival, and Opera. If you read the interview with Aaron Dworkin that at least from the standpoint of the Symphony that we are way ahead of the curve than institutions most larger and what is percieved as more "liberial" cities. Yeah conservative, inflexible Cincinnati. Who would have thought it!
This article was not an attack on the Opera or any of the other instituions. It presented the facts in a balanced way. If people want to change things then they can vote with their feet-by walking to the box office to buy a ticket or showing up at auditions. Until that time the numbers are what they are. Haven't we learned that no amount of outreach will work until those we want to reach motivate themselves.

Steve Deiters/Oakley

at 5/14/2007 02:38:00 PM

Unknown said...

Dear Steve, you bet I will hyperventilate about the Opera. Charts do not tell the story of the work that we have done to include all people in this community. Perhaps I could offer you a ticket to one of the Operas this summer to see that our work in the community has opened the doors of Music Hall to all. And because of this people have voted with their feet and show up to the Opera. Cathy

at 5/14/2007 04:07:00 PM

Anonymous said...

Janelle -- My reaction to your article was, to say the least, mixed. The first problem you listed in your article almost made my brain hurt, trying to understand it. You said:
"The symphony stage is mostly white because orchestras are tied to a "blind" audition process in which a screen separates artists and judges. The process was intended to eliminate prejudice and favoritism, but very few blacks or Hispanics turn up to audition."
Wow, that statement heads in so many directions at once, it's nearly impossible to understand. Is a so-called "blind" process, which seems to be merit-based (although such merit is always more subjective than objective) to be discarded JUST so greater diversity is achieved?
It would seem to me that you've downplayed the crucial aspect of this problem -- exactly how many individuals worthy of being chosen by any symphony or choral group ARE there? How many are being turned out by various schools or conservatories? You're concluding that worthy candidates of color (etc.) ARE being passed over, without providing any proof.
Much like public schools that struggle to find male or non-Caucasian candidates for teaching positions, the pool of such candidates is exceedingly shallow. The admitted fact that non-whites make up the vast majority of symphonies, etc., is not proof of discrimination. Until you can document proof of unequal ACCESS to employment, rather than unequal RESULTS, your story is shallow and quite cursory.

at 5/14/2007 05:03:00 PM

Unknown said...

Why are folks upset about the lack of minority involvement in the arts? Don’t you realize that many Cincinnati schoolchildren are going through our schools without the opportunity to participate in bands, orchestras and choirs? Where are they supposed to become acquainted with these things? Our schools have cut back on music programs. Many schools no longer schedule band or choir. One only has to look at last week’s music cutbacks to show the direction that music in this community is headed.
Here’s something you probably don’t know. Only two schools, Walnut Hills and SCPA have orchestras.
The only high schools who have a viable choir program are SCPA, Walnut Hills and Dater. Band programs in CPS are available at Taft, Withrow, SCPA, Clark Montessori and Walnut Hills. Are you seeing a pattern starting to develop here? High schools that have choirs are Dater, Walnut Hills, SCPA, and Clark Montessori.
Schools without choirs are Hughes Center, Western Hills University, Western Hills Design & Technology, Aiken Public service learning, Aiken University, Withrow International and University schools, Woodward Vocational, Virtual School, Robert Taft, and Schroder.
Students in the Western Hills University School are not even allowed to take any type of music class including music appreciation. The senior class that graduated in June of last year went through four years of high school without any exposure to music in any form. The same is true of Withrow University.
I think one could easily postulate that students who go to these schools are VERY unlikely to be found at the symphony, the opera OR the ballet.
Students in the elementary schools are for the most part, not allowed to attend the Young People’s Concerts, even though the symphony provides free transportation and admission to CPS students. They have to stay in school to “prepare for the test.”
Studies have shown that students who participate in the arts tend to do considerably better than those who do not. Just take a look at the test scores of the schools listed above.
When you look at the nuts and bolts of how Cincinnati schools react to music, it is very easy to understand why attendance continues to dwindle for students of color. (And those without, too!)
It is no accident that the CPS board of education cancelled their scheduled meeting for 5/14/07. They do not wish to hear from the public who are concerned about the music cutbacks, and there are no doubt quite a number of things to say on the subject.
The cavalier way that the district deals with music is best stated in the words of Superintendent Blackwell when I raised the subject at a Board meeting. She said “why can’t they have music AFTER school?”
VH-1 wants their musical instruments back. And those schools that ended their music programs, according to Friday’s Enquirer, will not make any effort to bring them back!
Diversity on Board of Directors is a non-issue. The arts organizations are concerned with putting “butts in the seats”. Until these organizations and the school system put music back in the schools, those “butts” will be somewhere else doing something else. As far as being “discriminatory”, I’d have to say that the indifference shown to our having viable music programs in this city is exactly that. Cincinnati remains a city with a dual-tiered approach to the arts. Until we can have equality of opportunity of exposure for ALL of our students, we will never make progress on this issue. Those who were quoted in the original article could trace their love of music to a time when they participated in musical activities. I would suggest that this could be compared to a person who wants to be a gourmet chef but can’t even hard-boil an egg. The foundation for appreciating MUST be laid before we can expect to see a return on our “investment”.
Alan Coleman

at 5/14/2007 05:03:00 PM

Unknown said...

at 5/14/2007 05:04:00 PM

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at 5/14/2007 05:04:00 PM

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at 5/15/2007 12:48:00 AM

Anonymous said...

I found it extremely ironic that this article about the lack of minorities in the arts was run two days after there was an article about Cincinnati Public disbanding music classes in the elementary schools. VH1's Save the Music program is a wonderful program, and why in the world CPS is not putting some effort into trying to maintain this program is beyond me. Considering that the instruments are free, I think that CPS could come up with some way of funding a teacher for this program...regardless of whether it comes from their budget or some grant or other monetary resource. School districts that do things like this are exactly why minorities, and actually youth in general, are not exposed to the arts.

at 5/15/2007 10:08:00 AM

Anonymous said...

I'd have to concur with the sentiments of Alan above; EDUCATION seems to be the root of this problem.

I am a minority; however i was privledged to go through a school program with all facets of the arts available to me (i'm not from OH - i grew up in eastern PA). Without this education in the arts, i find it hard to believe I would become the arts lover I am today.

A part of me is a bit conflicted with this situation; while i do want 'equal opportunity' for everyone to participate in the arts, I also want to appreciate music at its highest quality; if this means that the best possible orchestra that Cincinnati can offer only has some minorities, than so be it. This does not at all mean that minorities aren't capable of playing at a high level - it means there is only a small pool to pull from! Of course, this is going to reflect the audience make up - what you see on stage is what you're going to see in your audience. Of course i want diveristy both on and off stage; i would love nothing more than to share with EVERYONE the music i am so passionately involved with.

It seems to me that the real problem IS education, and until we solve this, I don't think the situation can change.

All 3 organizations mentioned in the article ARE involved with diversity programs; their efforts ARE commendable and should of course continue to evolve and progress, but there is only so much they can do if a majority of the population aren't susceptible to their efforts!!

at 5/15/2007 12:42:00 PM

Anonymous said...

There is one word that, of all others, sums up the cultural disparity in classical music: CLASS. Secondary to class, and an adjunct to it, is "necessary education." Members of the lower middle class, regardless of race, are not made to feel at all welcome to attend or especially discuss classical music. I know; I have seen this, and myself been a victim of it, my entire life (I am now 56). Please note that many of the greatest composers in history, among them Mozart, Beethoven, Schubert and Charles Ives, had a catch-as-catch-can education completely outside the school system. Nowadays, not one of them would be qualified to teach composition at a middle school, let alone write what they wrote. Neither would Marian Anderson be qualified to teach singing or Toscanini qualified to teach conducting. There is a lot more that I'd like to say but do not wish to be long-winded on this forum, but one item in this city sums it up: the Cincinnati Public Library downtown broadcasts WGUC on its outside speakers to keep African-Americans AWAY from the library environs. How welcoming is that??

at 5/15/2007 07:28:00 PM

Anonymous said...

Wow, Lynn, I think the martians want you immediately to come to the space ship for an important meeting...

at 5/15/2007 07:30:00 PM

Anonymous said...

Is anyone else tired of having diversity jammed down their throats, or is it just me...??

at 5/16/2007 01:40:00 AM

Anonymous said...

Janelle,

You use the word diversity so freely. Let's be specific: racial diversity, and more specifically: blacks and latinos.

First, my beef with your words...

You imply in your article that I was hired to my position as assistant conductor of the Cincinnati Symphony Orchestra because the orchestra is trying hard to add color to its image. It's unfortunate that you choose to word things the way you do. It's also unfortunate that this is something that many people here actually believe. I've been approached by many patrons making the same ignorant and insulting implications.

You imply, no actually you blatantly state, that the audition procedure of orchestras is the reason for the lack of racial diversity in its membership. Huh? So either you don't understand the concept of an EOE, or you are implying that orchestras should actually hire based on race.

You state that younger generations of minorities are not interested in classical music or are not being reached (as if they are a hopeless bunch of people). The ENTIRE younger generation is not interested in classical music, whites included. And Asians make up an incredibly large portion of the population of most of the top conservatories in this country.

You also imply that presenting subscription programs that appeal to "diverse audiences" will attract more of "them." My experience (and probably everyone else's)... you'll get some of "them" to show up to that particular concert after they're heavily advertised and basically given away for free, and then never see "them" again.

The sigh of relief in your article for me is the paragraph dealing with school music programs. "The dismantling of school music programs" is exactly where we should all be focusing our attention on, and how to fix it. Get 'em while they're young.

Especially because once you have them, affirmative action will do wonders. Special programs, special scholarships, and special admission policies just for an organization to get their minority count for whatever publicity or grant they're after.

I didn't come from a poor family or neighborhood. My middle school happened to have an orchestra program. I happened to decide to join and play the violin. I also happened to be Hispanic. A year later, I was attending a special program at a very prestigious institution specifically for minorities whose ethnicity is "underrepresented in classical music," which of course also means that I wouldn't have had the opportunity to receive a musical education otherwise.

As a middle-class kid, I got a lucky free ride.

As a minority, I was entitled?

What concerns me the most is the lack of an actual goal in all of this. Is there an end to increasing racial diversity? Or will we never be allowed to simply be the minority of the population?

Mr. Ellis-Perez is not against tough odds. If anything, the odds are now in his favor. Mr. Ellis-Perez will be just fine. And it won't be because he's a talented violinist, it'll be because he's a talented hispanic violinist.

It makes me sick to my stomach.

at 5/16/2007 10:11:00 AM

Anonymous said...

To Cathy Crain-thank you very much for the offer of the free ticket to the opera, but I have already bought mine for opening night through the box office a couple of weeks ago. A procedure that anyone can do no matter what their background is. You just pick up the phone. The bottom line is if you want to go to the Opera (Symphony, May Festival,Chamber Orchestra, etc., etc.)it is there for one and all to attend no matter what part of the diversity universe you come from. All of these things are community assets and resources and it is the choice of the people willing to pay the price of admission if they want to go or not.
There seems to be a theme emerging in this blog that music education or the lack of it is the root of declining interest. While I can't argue that these are programs have both long and short term very important value I don't think they are the ultimate salvation of the aforementioned institutions. I addition to those people the answer is in pursuing potential ticket buyers/customers who do not have that background simply because there are more of them. I did not particapate in music programs in high school nor do I play an instrument or sing, nor have I harbored deep rooted desires to do so. I developed an interest in classical music listening to the electronic classical music of Wendy/Walter Carlos (Turned on Bach) that was used in a television commercial or the opening to local TV movie programming. My interest grew from there figuring that it had survived for so many centuries in one form or another it had to be something of value. I was right. I go to about half the CSO concerts in a given season plus other performing arts events during the course of the year. My nephew on the other hand played in his high school band, graduated from CCM, and played in the Air Force Band for four years. The only time he and his wife go to the Symphony is when I give them tickets. With three kids at home and the cost of the tickets to the CSO ...well that's another issue, but you get the idea.
The other thing that has evolved in this blog is taking Ms. Gelfand to task by picking apart the smallest minutia of her article. The fact is she sifted through the available data and presented the facts as they are. Where we go from there is something that needs to be discussed and not just with the politically correct agenda on the table. I for one am glad she brought the subject up. Let's not shoot the messenger. Review the data and facts and move on from there and see where the real potential for improvement exists.

Steve Deiters

at 5/16/2007 11:54:00 AM

Anonymous said...

Tito is a terrific talent, black, latino, whatever, which is why it will be no time before he moves on to greener pastures.

at 5/16/2007 04:30:00 PM

Anonymous said...

Mr. Deiters,

A recent 10-year study by the Knight Foundation has shown that 75% of symphony concert-goers have at one point in their life played an instrument or sung in a chorus. You are obviously in that other 25%. I think it's fair to assume that most people attending classical music concerts are able to enjoy what they're seeing and hearing by being able to relate to it somehow. For most people, it's their experience being physically and emotionally involved in it.

As far as nitpicking the article... I think it's important for everyone to understand the responsibility Ms. Gelfand has as one of two music critics in this city. Cincinnati's classical music lovers (especially those that would be uninformed otherwise) get the scoop about the classical music world from her articles.

When someone in her position calls something "a big, multi-faceted problem," what is one to think? This isn't a fact, it's an opinion. There are too many of these in the article that are parading as neutral statements, when in reality they are there to "stir the pot," if you will, and create news.

I, thankfully, don't buy it. You obviously don't get it. She, like many other writers, banks on the fact that most people that read her articles just don't know any better.

at 5/17/2007 04:51:00 AM

Anonymous said...

Ms. Gelfand accurately portrays the state of diversity in the arts, in Cincinnati, and around the country.

Too much funding has been earmarked for diversity inclusion purposes. Because you stage a work with predominantly minority issues, does not give you the moniker of a "diverse" organization, nor does being located in Over the Rhine have anything to do with your "diversity." The planning and construction of music hall more than 100 years ago was not based on the predominant ethnicity of current times. Because you rehearse there means absolutely nothing.

While the Opera may have a diverse audience, and that is great, the bottom line, FOR ALL ARTS ORGANIZATIONS is simple: Those who would like to attend your performances will, irrespective of race, color and demographics. There has to be an inherent interest to want them to attend your art form.

And ABSOLUTELY, does an arts organization have to reflect the community of which it is a part of.

There lies the problem. As soon as the majority of the BIG EIGHT, particularly the CSO sheds their stuffy, inaccessible public persona, there will be no "color" in the audience other than the red seat backs.

As a top 25 budget orchestra in the United States, the CSO has the most boring concert schedule. How can Americans relate to an entire season of Estonian music? How many Erki Sven Tuur pieces are there and one or two more recognizable guest artists would be appreciated, in addition to perhaps up and coming talent from our country--the USA.

You wonder why the audiences have declined? Give your patrons something to be excited about. Evergreen contracts always produce ever-Lean audiences...CSO is on the way to running themselves out of business, especially considering their mounting deficit and the Cincy Chamber Orchestra had *maybe* 85 people in the audience in a recent performance.

If you provide an audience with something to relate to they will come. Who can relate to Paavo Jarvi and Mischa Santora who, for all intents and purposes, have not grasped the Cincinnati community. Have ticket sales spiked because Paavo and Mischa are sporting jeans and a button down? (Speaking of which, will someone at the CCO please help Mr. Santora learn how to dress and cut his hair??please?) And can anyone understand Paavo's interviews on WGUC?

We are so consumed with raising the minority levels at cultural events that the big picture of maintaining the core audience is in jeopardy.

Cathy Crain or the African-American who rarely misses CSO performances, would you attend an Eminem or Ludacris concert? Don't kid yourself. The last fiscal report from the Freedom Center was not all that encouraging either.

It is not a race or diversity issue, rather than one of preference. It is OK for people to not prefer classical music, opera and choral masterpieces.

Focus your funds on creating exciting and valuable educational outreach initiatives, based on the educational merit not how many ethnicities you will reach.

For the CSO and CCO--please re-brand your organizations. You are dying on the vine. How many more anonymous donors will bail you out year after year?

To the Board of the Chamber Orchestra--WAKE UP! The recent firing of the current Executive Director is a good start. You know who should be next. A new board President would suffice as well. Help restore this once vibrant organization.

The performing arts are very much alive, and can thrive if we let them. As with anything, it is, for a lack of a better word, the bullshit, drama, politics and administrative agendas that set the ones that survive apart from those that live off of their name recognition. Floating the latter only results in ultimate sinking.

at 5/17/2007 04:28:00 PM

Anonymous said...

Cathy Crain--

"Every year our performances include African American, Latin, Espanic, and Asian singers, chorus, extras and production staff."

What is Latin and Espanic??

at 5/19/2007 11:36:00 AM

Dave Bell said...

Janelle - Like Alan, I am also a music educator who sees the issue from the trenches, rather than a bird's eye view, which heightens both a first hand knowledge of the issue and a sense of frustration about the programs that don't really address the fundamental issues.

I hate to be a "Johnny One Note," but those who indicated in this blog discussion that the strategies must include EDUCATION, were right on target. I would add one more critical strategy, OWNERSHIP. In the November 15th blog discussion regarding the Knight study regarding developing audiences for symphony orchestras, I posted the following, "this whole issue reinforces the critical importance of arts organizations finding a way to support musical education on both the practical motivational level and at a high visibility advocacy level. Every time Maestro Kunzel brings in a high school group to perform with the Pops or the CSYO plays a joint concert with the CSO, the symphony is providing a powerful opportunity for young people to build a connection with the symphony in a way that gives them a powerful sense of ownership. In addition, it is clear that groups like the CSO who have access to political 'shakers and movers' have a vested interest in mobilizing those resources to promote music education for all. By helping to activate resources to support advocacy for such efforts as the current push being made at the state level to include a required credit in the arts for graduation in Ohio, the symphony is helping to build its own audiences for the future."

This is a difficult time for the arts. While many of the organizations like Cincinnati's Big 8, are faced with declining audiences and tightening financial budgets, they must realize that if they do not leverage their resources (primarily political, but also financial and talent) to support their "farm teams," their future is also gravely at risk.

I would be very interested to know specifics concerning how many of the consumer-based arts organizations across Ohio took an active role in support or testimony when the recent "Ohio Core" bill came before the Ohio legislature regarding the inclusion of an arts credit as a part of the required school curriculum for Ohio's children? As research like the Knight study shows, missionary, "guerrilla style" arts exposure where cultural groups simply "drop in" to provide students with a passive taste of the arts isn't going to build tomorrow's audiences anymore.

at 5/22/2007 07:14:00 PM

Janelle Gelfand said...

David,

Thanks for reminding us about that Knight study -- 10 years, and millions of dollars -- that made some interesting conclusions. Go back to this main page, and look in the Nov. 2006 archive on the left to find the post "Forget everything you've ever learned." I agree with you that music education is key, if not THE key to any possible solution for the arts. For CPS to lose their free musical instruments from VH-1 Save the Music Foundation is tragic. This is a real crisis, and I fear that arts groups don't realize it.

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Monday, May 14, 2007

Diversity in the Arts

24 Comments: