ITEA Journal Volume 48 Number 3 (Spring 2021)

TESJI:
by Jasmine Pigott

The Tuba Euphonium Social Justice Initiative

Jasmine "Jazzie" Pigott began to play the tuba at the age of ten after accidentally choosing the trombone and playing that for a year; she quickly excelled. As a college junior in 2018, Jasmine was invited to be a solo artist on the "Promising Artists of the 21st Century" concert series tour in Costa Rica. There, she realized her true passion for performing for people of marginalized backgrounds. Since then, Jasmine has become an activist for increasing the diversity in the field of classical music. With this mission, she has participated in several research projects, performed concerts in marginalized communities, and developed performance-based projects and presentations. In February 2020, Jasmine was awarded the first prize in the Michigan State University Running Start Competition for her grant proposal to commission composers of color to write tuba pieces in black music styles for an album. In addition to playing tuba, Jasmine is a mezzo-soprano with a voice that fits a diversity of styles. She also actively writes fiction and poetry with hopes to get published one day.

Empowering Black Voices Beyond Black History Month

by Jasmine "Jazzie" Pigott, Vice-President of the Tuba-Euphonium Social Justice Initiative

Every year February rolls around, and with it the celebration of Black composers and performers. But only a few short weeks later, "normal" programming returns. This is a trend I have noticed every year. Given the events of summer 2020, I was surprised to not see more done to commemorate Black History Month in 2021 (COVID-19 aside). Rather than complain about a lack of things done, I have decided to put my energy towards providing some ways for us to continue to empower the Black community throughout the year.

Jasmine "Jazzie" Pigott, Vice-President of the Tuba-Euphonium Social Justice Initiative

1. Continue to discuss Black composers and performers alongside the "standard" composers and performers

With every diversity push, there is an element of tokenization that develops simultaneously. Rather than categorize composers by their identities, it is important that we begin to normalize them within the curriculum. It is important to acknowledge that a Black composer is Black, but they are still a composer just as all the other composers are. We never point out how we're playing a work by a white cis-male composer, yet when programming works by people of other identities, there is always a perceived need to state their identity (more on the virtue signaling in my next point). This in turn perpetuates the culture of white supremacy that diversity initiatives seek to eliminate. In order to create a true culturally-affirming curriculum or classroom, we must begin to minimize the labels and make it so the word "composer" doesn't automatically generate pictures of cis-white men.

However, labels do have their purpose, and this has been something I have been increasingly conflicted with in the past year. While we shouldn't other composers with underrepresented identities, we must still find a way to acknowledge their identity since it may have been underrepresented in the past. For example, it would be ignorant to talk about Robert Nathaniel Dett's music without bringing up that he was Black and his music is heavily influenced by African American traditions. After much thought, I've realized that this largely depends on the situation. In a classroom or curriculum, one way to avoid othering while acknowledging identity would be through presenting biographical information about every performer or composer you are introducing. On a recital program, sharing performance recordings, or when using a composer's music for a theory example, think about whether it is truly necessary to point out that you are featuring a Black composer. That leads me to my next point…

2. Program or commission works by Black composers without virtue signaling that it's by a Black composer

Make sure you continue to program and promote works by Black composers outside of Black History Month and beyond this academic year. In order for true change to happen, this needs to be normalized by our generation. But while this is important, be careful to avoid virtue signaling. Virtue signaling is defined in the Oxford dictionary as "publicly expressing opinions or sentiments intended to demonstrate the moral correctness of one's position on a particular issue."

Does this sound familiar? "Check out my recital! I have a diverse program featuring a Black composer, a woman composer, and a queer composer!"

I have seen this a countless number of times within the past year, and every time, it makes me roll my eyes. Think: what is the reasoning to only state the marginalized identities of a composers other than seeking some level of reward or validation from the public? If you are performing a program that features composers from diverse backgrounds, great, but there is no need to advertise it in that way. This type of advertising promotes the culture of white supremacy by highlighting the ways people's identities are different from what is "normal." Instead, to advertise (and normalize), juststate the pieces you're playing or simply name the actual composers. Reducing a person to a token just to stroke your ego with virtual reward is problematic.

3. Do your research about music of different styles before programming it

One time in my undergrad, I sat through someone's mock lesson and listened in horror as they used a spiritual to teach emotion in music because it was "happy." It is problematic to program works that have culturally significant meanings without investigating their root culture. This frequently happens with spirituals, but it can easily happen in other repertoire as well. Music holds incredible value and meaning to society. Every piece out there has a story and culture to which it is tied. If you are going to take on the initiative to promote Black music and musicians, it is imperative that you do your research to ensure you are respecting the cultural background and are promoting that to your audience or students.

Many people seem to be afraid of programming works from other cultures; they fear they don't know enough or that it's wrong for them to be teaching/performing a piece that doesn't match their identity. First, it is important that you feature diverse repertoire in predominately white classrooms because you are exposing your students to an identity or culture they may have never interacted with. Second, you (can) know more than you think you know. Google is a beautiful tool that allows you to do research almost effortlessly. Make sure you're using reputable sources, and if you can, contact someone who is an expert on the culture you are exploring. This person could potentially come speak to your class (hooray for Zoom!), lead a workshop, or offer some insight on the nuances of the music you are studying. That experience would be more valuable than anything you could do on your own, and it would reduce the fear around exploring other cultures.

4. Find opportunities to discuss race relations in your studio/classroom

It is very easy to practice color-blind teaching and pretend that the problems in the world don't extend into your space. We live in a society, however, in which the events happening outside the classroom impact everyone's wellbeing. In order to show your Black students that you care, find opportunities to discuss the issues in the country as they are happening. For non-Black students, encourage dialogue to help them understand the true weight of the events. Without exposure to other perspectives, many people develop stubborn views of the world. As a teacher, you have the power to introduce these perspectives to challenge your students' potentially problematic beliefs. Remember, racism is not a political issue, so there is no excuse for not bringing it up in the classroom.

In addition to the benefits of having these discussions, be aware that not having them sends a message to your Black students. Silence and inaction is incredibly powerful, so be wise with how you use it.

5. Practice anti-racism in as many ways as you can

Finally, the best thing you can do to continue supporting the Black community is actively practicing anti-racism. Anti-racism is taking action to dismantle the systems that have allowed racism to develop. It is more than simply not being racist. It takes shape by calling out (or calling in) people who commit overt racism or microaggressions, educating ignorant friends and family about the systemic problems that have led us to this point, and not leaving a person of color alone to defend themselves in a racialized situation. As white allies, you have the power to speak up and educate other white people on their level -something that people of color will never be able to do. Use this ability to continue to dismantle the systems of oppression that prevail in society today.

I hope this post has given you ideas on how to continue supporting the Black community when the issues are not in the forefront.

Remember, just because Black History Month is over and there are no publicized active protests going on does not mean that we can return to the way things were before these conversations. Black lives still matter!

To learn more about Jazzie and read her blog, visit jasminepigott.com.

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