Gender equality is for life, not just International Women’s Day

International Women’s Day is upon us again and like every year there are tons of events, concerts and festivals going on all over the world to celebrate it.

The IWD website says this for 2019:

The International Women’s Day 2019 campaign theme of #BalanceforBetter is a call-to-action for driving gender balance across the world.

But what does IWD really mean?

Does it drive towards a more gender balanced world?

Or has the work been corrupted to create more inequality and more imbalance?

The IWD website states:

International Women’s Day (March 8) is a global day celebrating the social, economic, cultural and political achievements of women. The day also marks a call to action for accelerating gender parity.

IWD is full of events promoting equality. One example is Women of the World festival at the Southbank. WOW brings together thousands of people for talks, workshops, concerts and many other events about women. WOW also showcases dozens of amazing organisations working to promote equality all year round. Last year they had demonstrations from a women’s wrestling group, networking events for women and a camp for girls to study rock music.

So, IWD is not just about celebrating the achievements of women, it’s encouraging people to work on equality all year round.

Now let’s examine IWD in the classical music industry. In 2018:

BBC Radio 3 scheduled an entire day of music by women composers.

ABC Classic FM in Australia played an entire 24 hours of women composers.

Cadogan Hall scheduled a concert entirely of female composers.

In 2019:

BBC Radio 3 and ABC are again playing an entire day of music by women composers.

BBC National Orchestra of Wales is playing a concert of female composers.

International Women’s Day (March 8) is a global day celebrating the social, economic, cultural and political achievements of women. The day also marks a call to action for accelerating gender parity.

So says the IWD website. It’s no doubt that BBC, ABC, Cadogan Hall and others do a great job doing the first part, celebrating the cultural achievements of women.

But what about the second part? Accelerating gender parity?

Let’s have a look at the rest of the year.

On ABC Classic FM music by women composers makes up 6% of all music played. (up from 2% in 2015.)

The official BBC stats are not published but the world average for radio programming and concert programming is 2%. That’s 2% of concerts a year featuring a woman composer. The BBC Proms stats for 2018 compiled by Women in Music show women composers made up 15% (21/133) of the number of composers. This is not number of works composed by women or total amount of performance time, which would both be undoubtedly much smaller percentages.

For example Sarah Walker’s Sunday Morning show on BBC Radio 3 plays 1 woman composer a week, out of at least 10 composers in a 3 hour show. Being optimistic means that’s 10% of music every week composed by a woman. (The number is probably lower and doesn’t account for actual airtime.)

Cadogan Hall are putting on about 100 concerts this year, at my count 3 of these concerts feature a woman composer.

Clearly these organisations fall short on the second part and do almost nothing the rest of the year to accelerate gender parity.

IWD should be a jumping off point to encourage more work on gender parity throughout the year. It shouldn’t be an excuse to shove all the women composers in one day and then continue marginalising them the rest of the year. That’s not gender equality.

Forbes magazine said last year:

BBC Radio 3 will spend International Women’s Day righting wrongs.

Radio 3 is slated to celebrate female composers excluded from the narrative of musical history.

Bearing in mind that the BBC are one of the organisations doing the excluding.

For example, BBC Proms has performed Dame Elizabeth Maconchy’s music 13 times while her contemporary Benjamin Britten’s music has been performed 94 times at the Proms.

Righting wrongs would be performing Dame Elizabeth Maconchy at least as much as Benjamin Britten all year round. Not playing her music once a year. Dame Maconchy and all the other hundreds of female composers have been and are being marginalised every day for decades, centuries in some cases. One day of programming is not righting this wrong. It is a step, and a very small one in the right direction but these organisations need to programme more women composers consistently throughout the year.

Also at what point on IWD do the BBC programme Louise Farrenc’s Symphony No 3 or Amanda Maier’s Violin Sonata and not think ‘Wow, this is amazing, we should play this more often’?

It’s the same with Black History Month. In classical music composers such as W.G. Still, Florence Price and Adolphus Hailstork should be played all year round. These composers are marginalised due to to deep institutional prejudice that can only be changed through constant and consistent programming, not a token performance once a year.

(Plus just pointing out black people invented blues, jazz, rock and roll, soul, disco, gospel, RnB and hip hop. Yet somehow the inventor of rock and roll, Sister Rosetta Tharpe, is only ever mentioned during BHM. Funny that.)

IWD started with a noble and worthy purpose of highlighting the achievements of women and encouraging increased dialogue on equality all year round. IWD itself promotes equality every day of the year and does amazing work.

However, too many other organisations seem to use IWD as an opportunity to put these groups in their boxes, only programme them on this one day and call it progress whilst contributing further to the inequality in the classical music industry.

Then the next year rolls around again and we’re celebrating the same ‘underrated and excluded’ composers again, brushing over the fact that they’re still excluded because the powers that be didn’t play them in the whole year in between. They wouldn’t be marginalised if they were performed more often all year round. And so the vicious cycle continues.

This IWD let’s remember this and work on creating gender parity every day of the year

The Daffodil Perspective radio show is pleased to play equal numbers of women and men composers, with equal airtime, every single week.

What can you do?

 

 

 

 

 

Gender stats: London Philharmonic Orchestra

LPO are one of the resident orchestras at the Southbank Centre.

They are playing 32 concerts in the 2018/2019 season at the Royal Festival Hall at the Southbank.

2 out of 32 concerts feature 1 woman composer each.

2/32 concerts feature a woman composer, that is 6.25%. The proportion of playing time for women composers is smaller still.

The 1st concert is an evening of contemporary work – Helen Grimes is 1 woman amongst 5 composers. 1/5, that’s maybe 20% of the evening.

The 2nd concert is Alice Mary Smith’s Andante for Clarinet which is 7 minutes long. 7 minutes out of a 90 minute concert, that is 7.7% of the concert.

We’re looking at less than 1% of total performance time devoted to women composers.

https://www.lpo.org.uk/what-s-on/introduction-to-the-lpo-s-2018-19-london-season.html

 

Gender stats: National Youth Orchestra of Great Britain

This coming 2019 season NYO are playing 9 pieces. None of them are by a woman composer.

In 2018 NYO played 13 pieces, 0 by women.

In 2017 NYO played 9 pieces, 0 by women.

In 2016 9 pieces including 1 new commission by a woman composer.

So 4 years, 40 pieces, 1 woman composer.

This is the message we are sending young people of today?!

https://www.nyo.org.uk/2019

Gender stats: English Symphony Orchestra

English Symphony Orchestra tweeted that they support living composers. I checked out their gender stats to see if they support women composers.

13 concerts this season, 2 of which have 1 woman composer in them, 1 has Kapralova and 1 has Bacewic.

2/13 concerts with 1 woman composer, that is 15.3 % of concerts featuring a woman composer.

Also coincidentally the 2 concerts featuring a woman composer are in the Venus Unwrapped series at Kings Place.

https://www.eso.co.uk/whats-on/