Abstract

This paper considers how identity is expressed in every aspect of our artistic outputs—they cannot be separated from one another. This argument comes to fruition through an unraveling of the following concepts: identity, intersectionality, privilege, and Critical Race Theory (CRT) by drawing upon the contributions of thinkers such as Stuart Hall, Simon Frith and Audre Lorde, among others. The hope is for the concepts, theories, and issues presented to be internalized and applied towards all classical, contemporary, and new music communities—the arts as a whole. I also suggest ways in which we can move forward and form more inclusive communities and better practices. Many schools and colleges of music in higher education institutions are attempting to increase their diversity, equity, and inclusion initiatives in response to the momentum from the recent socio-political happenings, but in order for real change to be made, it must start from the bottom up, rather than the top down. The creation of truly inclusive musical communities cannot come only from policy changes and the implementation of committees, it must start with the people that make up said communities, it must start with the people that institutions serve, with us as individuals, so that when we do come together, we are able to empathize with one another, and see value and richness in differing perspectives. Fighting for equal representation and diversity is meaningless until we address the intersection in which all oppression and privilege meet—sustainable, equitable, change cannot be made without this.

Presenters

Kendra Wheeler
Assistant Professor of Saxophone, Music, Central Washington University, Washington, United States

Details

Presentation Type

Paper Presentation in a Themed Session

Theme

The Arts in Social, Political, and Community Life

KEYWORDS

Arts, Community, Inclusion, Equity, Identity, Intersectionality, Narrative, Critical Race Theory

Digital Media

Videos