Diversity in classical music
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The workforce of our orchestras and ensembles is not fully reflective of the diverse society in which we live. The culture, repertoire, presentation and audiences of classical music, together with the need to develop and refine playing skills within highly prescribed parameters from a young age, all appear to introduce barriers to participation.
From the grassroots up, the classical sector is making moves to address its lack of diversity, and there are notable examples of talented individuals from diverse backgrounds flourishing within it.
Works by women composers are increasingly championed and more female conductors are at the helms of world-class ensembles. Chineke!, Europe’s first majority-BAME orchestra, and the Paraorchestra, the world’s only large-scale ensemble for professional disabled musicians, have shattered preconceptions about the talent and creativity of such musicians.
But the overwhelming public perception of the classical sector remains: there are significant barriers to participation, and the pace of change is too slow.
Just as disability, race and gender should not be barriers to entry to the classical workforce, nor should social class or personal wealth. But it seems the length and depth of the training required to become a professional musician presents many obstacles, financial and otherwise, which can disrupt even the most dedicated student’s journey into the profession.
Classical music benefits significantly from the innovation and energy which comes from more inclusivity
Over the many years I have worked in the sector – first as a violinist and teacher, then as Director of Music at Trinity Laban Conservatoire of Music and Dance and now as Director of Music at Arts Council England – I’ve heard calls for a more comprehensive data set, so we can better understand the barriers to participation in the classical music workforce. Until we have more detailed knowledge of these barriers, we can’t begin to address them and bring about change where change is needed.
Exploring our diversity
We believe that a key marker of the classical sector’s ability to fully demonstrate its power as a relevant and powerful force for good within our society is its inclusivity. As is made clear in our new Strategy, Let’s Create, we are deepening our commitment to supporting all those associated with the arts and cultural sectors – including individual musicians and those who work with them – by ensuring the creativity of everyone is valued and given the chance to flourish. But this is not work we can do alone. So, I’m pleased to announce that the Arts Council has commissioned ICM Unlimited, working in partnership with DHA Associates, to deliver a year-long research project to help us get a picture of the current diversity of the sector.
For the first time we will have the evidence needed to properly understand the challenges musicians from diverse backgrounds face, and our options for moving forward, as we seek to sustain and further diversify the classical music workforce of this country. We know that this isn’t the entire picture, but with performers of orchestral instruments, and the administrators and other professionals who work with them, sitting at the core of so much of the genre’s repertoire, this feels like a good place to start.
The project is being delivered in partnership with key organisations and individuals from within the classical sector. Together, we will identify the crucial enablers that might bring about change and stimulate debate and action. Our advisory group includes representatives from the major sector bodies from music education and industry alongside individual musicians; evidence – I believe – of the sector’s collective commitment to this initiative.
Building on existing research on this subject and reflecting the views and voices of a wide range of musicians, the major focus of our project is a survey of individual musicians, which we’re delighted to be launching today.
Views wanted
We need a broad range of those associated with classical music to complete this survey – including instrumentalists, teachers and administrative and other support staff, including learning and participation professionals. We’re keen to hear the voices of those who work on a freelance basis in addition to those on permanent contracts. Whether you have just begun your career or have been involved in the classical world for several decades, your viewpoint and experiences are highly valued.
This research presents a fantastic opportunity for us to come together and investigate the classical workforce and its talent pipelines as they are now, to help us develop an informed view of what they could become in the future.
We’d love you to share the survey with your contacts across the classical workforce, so that we are able to hear from as many people as possible. We’re particularly keen to hear from musicians because their individual voices are not necessarily always heard when organisations gather data on personal characteristics.
Once completed, I’m confident the classical sector will be better equipped to ensure its continuing relevance to contemporary society, and send a strong message that it is genuinely open to anyone with passion and talent, whoever they are and wherever they’re from.
