Indelible

Reflections on Queerness in the Performing Arts

Thank you to everyone who joined us for this free evening of music and community centered on the intersection of queer representation and expression in the arts! Take a peek below for an interview with panelist Miram Anderson, who was unable to join us for the event.

An Interview with Panelist, Miriam Anderson

Panelist Miriam Anderson was unable to join us for Indelible and we wanted a chance to share her incredible insights with you! Please enjoy a transcript of an interview between Lowbrow Vice President, Katie Kelley, and Miriam*:

What is the importance of uncovering the true identities of queer historical figures in music and culture?

M: This is extraordinarily important! We come from a culture where folks have been programmed [to think] that there is one heteronormative way, and that that is normal. But that has never been the case. Gender and sexual identities have never been binary, and heteronormativity has never actually been “normal”, so by looking back and viewing these figures and characters through a new lens, and letting them speak their truth to the present, we are able to continue the discourse that society is still having around these topics, start to de-normalize heteronormativity, and grow into a future where people can feel freer to be their true selves.

Can you speak to the impact of creating a space specifically for queer and gender diverse musicians to perform together?

M: It’s been really exciting to get to work with this artistic community. There’s a level of joy, openness, and ownership that I haven’t experienced in other groups. The sense of community and belonging within the ensemble is extremely strong, and the culture of acceptance and kindness that this kind of space fosters is definitely a big part of that. One of the most special things about these spaces is getting to share them with our audiences. There have been a number of folks who after seeing one of our shows, auditioned for PSW because they saw themselves and their community reflected onstage. 

Can you share some insight on the current landscape for trans and gender expansive singers in the choral arts world?

One of the biggest positive trends I’ve noticed is the movement away from using gendered language in ensemble names. Though groups are still defined by vocal range, there is no longer a gendered connotation within the name of the ensemble itself. Still, a lot of music, especially music for just the treble or bass ranges is very gendered, and that gendered language is very exclusionary towards trans and gender expansive folks. A change I would love to see more of is more support for folks going through transitions. We’ve had singers whose vocal range shifted greatly from the start of the rehearsal process to the concert, and supporting those singers, letting them sing in the section that feels best and move from one section to another, is really important. 

What are some policies or practices in place at Puget SoundWorks that ensure trans and gender expansive musicians are able to show up as their full selves in rehearsals and performances? 

Unlike most other groups, there are cultural and behavioral expectations that we put in place, specifically to help our singers feel safe. We have a code of kindness that everyone needs to sign before they can sing or volunteer with us. We believe in kindness and inclusivity- that trans men are men and trans women are women, and that in this community we support each other regardless of gender expression. We are very intentional about using pronouns and apologizing and correcting one another if someone is mis-gendered. We are also very open to changing text whenever it doesn’t work with our values, and we will often alter text to make it non-gendered. 

How can making music as a community bring about interpersonal and political peace?

This is a huge question! We all know the power of music! It has such a strong influence on emotions and perspectives, and creating and sharing music is extremely impactful. I believe strongly that it is the responsibility of the choral musician to use that platform and that power to make the world a better place. To that effect, PSW aims to perform music that says something important and that spreads a message of kindness, hope, and activism. We’re currently working on a show called ‘Down to Earth’ that is all focused on climate activism. On a community level, I try my best to model authenticity, honesty, and humility, and to lead through collaboration. I’ve found that creating a space where dialog is welcome, and where everyone’s artistic view is important- not just the director’s- really helps create a place where ideas can be shared without fear. It’s so important to feel safe to share ideas, and for people to be open to hearing the ideas of others- that’s the only way to foster understanding, and understanding is a big step towards peace!

As the entire arts industry works towards a more equitable future, where do we still stand to improve?

Many folks are working on degendering the language around choral music, but gendered language is still super prevalent. Creating spaces for trans and enby voices in certain kinds of groups- ‘women’ choirs and ‘mens’ choirs that only accept SA or TB folks. Simultaneously there’s a history of boys choirs and girls choirs- degendering these spaces for youth who are figuring out their gender identities. There is also so much further we need to go in terms of diversifying gendered and sexual representation within repertoire. I would love to see more non-heteronormative music performed!

*This transcript was edited for lenght and clarity.