It’s been over a month since I got home from Opera.ca’s artist training and gender parity summit in September. I went into rehearsals the day after I got back, so hadn’t had a chance to sit and reflect on it until now… but… I loved it. People were excited to be there -there was practically confetti suspended in the air. And though the west coast attendees were few, I felt really welcome.
I plan to share the document reporting on the conference’s findings when it’s released, but in the meantime I wanted to share a few things that came up for me:
1 - Gender Parity: #womensupportingwomen
Left to Right: Aria Umezawa, Alaina Viau, Me, Amanda Smith
The most impactful thing in my work life this year was active, purposeful networking with fellow women in the opera industry. Sometimes it can feel like you’re working in a vacuum, and sharing stories, knowledge, and even just recognizing one another makes the difference when you get a touch of that pesky imposter syndrome. We all have our own views and there’s space for them all, so let’s lift each other up. #Ladybosses (otherwise known as… #Bosses)
ALSO - The conversation around gender often focused on whether quotas were positive or negative. Research shows they are, but anecdotal evidence around the conference suggests they’re still very controversial.
ALSO ALSO - Something that really hit me - Many professors pointed out that the gender parity on staff at their university was very good. A female professor pointed out that most of the men she knows that teach have tenure. Most of the women she knows who teach do not. It strikes me as a good argument for talking about how much we make.
FINALLY - This is a bee in my bonnet, but my experiences this year have driven home to me that even among women, the topic of having a kid in the context of a leadership career is still taboo. I’m openly seeking mentors and colleagues to join together in an open discussion on this topic! Leadership needs moms too. Don’t smash the Patriarchy, build up the Matriarchy.
2 - Artist Training: Times have changed
Three big issues are dominating the conversation about artist training:
Are we thinking too rigidly about what defines success?
Yes! We have to stop framing success the way we do. Everybody now has several jobs. That’s just the way it is. We have to de-stigmatize people finding their own way through the industry. Administrators, teachers and people making their own work are just as valuable as those that sing! Plus, you can do both. Be yourself, and be excellent at what you do.
Are companies and educational institutions communicating enough with each other?
No! See below.
Is what we’re teaching in schools preparing students for the needs of contemporary performance?
Sort of! There’s a lot to teach and only so much time to do it in. Times have changed. Music school curriculum was developed in the 50s. How can we update it? Here’s one idea: University resources are spread thin and indie companies need more purchase in the industry. Why not have the two pair up to offer students practicums and help spread the load?
Laura Lee Everett from Opera America (who is a bad-ass) has promised to share something that Opera America has been developing for the last few years: A list of standardized skills that companies have agreed singers need to possess when they enter the field. Imagine that!
Anyway, stayed tuned Canada. It’ll be interesting to see where we go from here.