Lift Every Voice: Impacting the Communities We Serve

Lift Every Voice is a column in Choral Journal concerning issues of access, diversity, equity, inclusion, belonging, and restorative practice (ADEIBR) in choral music. We hope this column can provide a space to incubate ideas about inclusive practices and provide mentorship for choral practitioners. The column has a quarterly review cycle. Submit by February 1, May 1, August 1, or November 1 to be included in that quarter’s review batch. Consider submitting for August 1!

Find more information about submissions here: https://acda-publications.s3.us-east-2.amazonaws.com/Call+for+Submissions.pdf

Following is an excerpt from an article published in the September 2023 issue of Choral Journal at acda.org/choraljournal.

Voices of Change: Impacting the Communities We Serve (Part 1)

The following panel discussion convened by Donald Dumpson, R&R Chair of Lifelong Singing, was presented at the 2022 ACDA Eastern Region Conference in Boston, Massachusetts, as part one of three in the series, “Identity and Inclusion in Choral Spaces: Pathways to Lasting Change.” The purpose of this session was to explore the identity, performance philosophy, and role in society of the choirs represented on the panel in light of a significant national reflection on American racism and inclusivity following the protests in response to the murder of George Floyd and other social justice issues that became particularly resonant during the Covid-19 pandemic. Julia Zavadsky moderated this discussion.

For the second session, “Identity, Inclusion, and Excellence in the ACDA,” Wendy Moy moderated a panel discussion with Penelope Cruz, then Eastern Region President; David Fryling, then-ACDA Vice President; Arreon Harley-Emerson, Diversity Initiatives Committee Chair; and Robyn Hilger, ACDA Executive Director. We discussed how ACDA as an organization addresses issues of diversity, equity, and inclusion with a focus on the changes for the 2022 Eastern Conference and 2023 National Conference. The third session, “Creating Choral Community: Coming Together in Song” introduced repertoire from the choirs represented on this panel. We will include a list of the pieces at the end of part two (published in the October 2023 issue of Choral Journal).

How do we exercise care for rehearsing and performing musical traditions that do not necessarily reflect the lived experience of our singers?

Rollo Dilworth: I’m not sure if I have all the answers, but I would like to offer just a quick little acronym that may be of help. The acronym is A.R.T.

The letter ‘A’ stands for attitude. There really has to be an attitude on not only the director’s part, but also on the part of the singers, that is positive and affirming. We must all believe that this music we are about to explore (music that is outside of our own lived experiences) is equally valid and equal in quality to any piece of music from the Western classical tradition. I think that if we don’t start with that kind of attitude, then why bother going any further with the work? We must make sure that we dismantle this attitude or belief that repertoire that is different from the Western classical tradition is in some ways “less than” or should be labeled as “other.” And I encourage people to look at that music with fresh eyes and not necessarily cast upon that music a Western lens by which we attempt to analyze or make meaning out of it.

Next, the letter ‘R’ stands for relationships. If we are going to venture into musical experiences that are outside the lived experiences of the people within our ensemble, and perhaps outside of our own lived experiences, we absolutely must build relationships—relationships that are not transactional or superficial, but really foundational. So, let’s say I choose a piece of Korean choral music to perform, and I have no one in my choir who can lend a lived experience and expertise (and I don’t have the expertise myself). I’m not going to wait until two or three weeks before the performance to engage someone from that culture and invite them to a rehearsal. To do so sends a message that you only value that person’s cultural experience within a specific context at a specific period of time. Build relationships over a long period of time, such that when you want someone to be a culture bearer—or I like to use the term “culture sharer”—you have already established a meaningful relationship with the community represented by the music.

Finally, the letter ‘T’ refers to time. You must allow time for the development of those relationships. Also, one must invest an equal if not double amount of time in researching and rehearsing this music so that you and the singers can attend to the cultural and stylistic nuances inherent in the tradition.

Read the full article at acda.org/choraljournal. Choose the September 2023 issue.