Tue. Apr 23rd, 2019

What do you think about the convening of composition and orchestral conducting contests for women only?

¿Qué opina de que se convoquen concursos de composición y dirección orquestal sólo para mujeres?



Given the presence in certain cities of Europe of specific contests by orchestra directors and composers, La Vanguardia asks some women in the sector about its suitability for the visibility of female talent in the creation and musical conduction, places where its presence is very scarce and sometimes nonexistent.

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Mireia Barrera Choir director

When the presence of women in all areas is normalized, this type of contest will not make sense, but if it is done, it is to make women's talent visible and visible, which exists. Seen in isolation it is absurd to segregate, and even more segregate by sex, but the idea is that in the future it is not necessary. Because in the end, if parity is forced, it is because if it is left as something spontaneous to society, women never have space.






Patricia Soley-Beltran. Sociologist of gender and culture

It is a great idea to hold a contest to make women visible. For now they are not enough. Organizing a specific contest does not amount to doubting its existence but to putting it into value and thus facilitating real parity, often held back by invisible barriers. This disparity that still exists discourages women: positive references and policies must be created. It is one of the recommendations of the guide Compta amb nosaltres! Bones practices for a paritària cultural program that I have elaborated for the Barcelona City Council. They are recommendations to achieve parity in programming and the entities that promote it, and to make visible the role of women. Another practice would be to disseminate studies, ensure parity in the juries, apply the gender perspective so as not to generate sexist content in the creation, set targets for progressive joint quotas in selection committees, and so on.


Raquel García-Tomás. Composer

Sometimes I hear in days that 50% of the new creation of young people would have to be women, but I think it is so difficult for all of us that I do not want to claim it while we are not 50% of women who graduate in composition. When I studied, we were 10%, now that I teach, they are 33%. You can force the machine to normalize and for the imaginary to contemplate the woman, but we must see to what extent that can be done in the creation of young contemporary music.


Mireia Farrés. OBC trumpeter

Anything that is exclusive does not seem good to me as a general rule. Precisely I have fought all my life for equality. In the world of music we are first musicians and then we have a genre: I play with a musician, not with a sex, and I would not like to be called to play for my sex. In 15 years that I have been with the OBC, three women have directed us. And the balance of composers is even lower. I do not know if it's because they're excluded. It is the point that I do not understand.






Pilar Jurado. Composer and president of the SGAE

I am aware of the need to give visibility to women and that a first step to achieve this is to make obvious the existence of them in this musical context, but that always keeps the woman in a ghetto that does not correspond to her, since each We are more times the ones that have been awarded in open contests. I think that the moment we are in, the woman has to compete on equal terms. We must encourage women to be part of that common history that belongs to us and be aware that our space must be conquered through action and talent and getting more and more women present, both competing and in the juries appointed for resolution .







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