I read that somewhere recently: that it is a privilege to have time to think, to have time to process all of the Black Lives Matter stuff happening right now.

I had a whole lesson with an adult student dedicated to discussing how we can incorporate music by non-white male students into our teaching, and how to avoid problematic pieces. It’s not easy! But that doesn’t mean it isn’t important, and that, yes, I should have been thinking about this earlier, but hey, I’m doing it now, so it’ll have to do.

I teach private violin (and a few viola) lessons, so I do something that is optional and generally accessible to higher income families. There are places in the city for lower income people to go to have lessons, but I have not worried myself about doing that in my own studio. I have always told myself I didn’t have the time to worry about how to make my studio more inclusive to lower income people..and I don’t really. But maybe I should try to find some students who need lessons anyway, and either use my time to give them lessons, or solicit donations from other more affluent people in my studio to cover the lower income students. So there’s an easy thought. How to find those students? And right now isn’t the best time just because I’m only teaching online, and it’s not a good time for beginners to start.

My other thought as far as teaching is to include more diverse composers in my teaching. It’s SO easy to just follow along in a method book (I am sort of kind of a Suzuki teacher, so I tend to follow the Suzuki books which are only dead white male composers), and that means kids don’t play anything by Black people, by women, or by anyone living if I don’t branch out. I do tend to branch out a touch, but more to add in “fun pieces” like jazz or fiddle tunes, which thankfully are often written by Black people, or even living people, but that’s not enough—plus, music by Black people shouldn’t have to be FUN, it should also be used to be educational and part of the core repertoire, it should be considered good enough for that. Oh, and there is an etude book I sometimes use by a woman, and one intermediate level piece (Yes, Josephine Trott, I’m looking at you.).

Awhile back I ordered Music by Black Composers but haven’t done anything with it: it’s got a variety of pieces by a variety of composers that would be great for young students, but I was afraid to be seen as pandering (I.e. I didn’t want to give it to my Black students for fear that they would feel singled out, but I wasn’t sure how to use the book across my studio…so I did nothing.). In any case, I am going to try to start teaching one of the pieces, and then perhaps another, and go from there. I also ordered some of the other books recommended in this article on violinist.com that has stuck in my head recently. It’s about how to incorporate more diversity into the core repertoire of your teaching and is written by Claire Allen. I already have the Music by Women Composers Series and haven’t done as much with it yet either, but will. I think my conversations with my student yesterday have lit yet another fire under me to do more with all of this. I want my students to know that music can be written (and WAS written) by anyone and everyone, and that the reason that most music we play is by white men ISN’T because that music was superior (I mean, goodness, so much of it is awful and boring, so why can’t we play awful and boring music by non-white men too, why must it always be BETTER) but because of a culture of white supremacy and patriarchy. 

Okay, another step, how to increase diversity in my studio itself? I teach in the city, and I believe firmly that living in St Louis is important because I want to live in a diverse places, surrounded by different kinds of people (though the actual neighborhood I live in isn’t that diverse…but all sorts of people walk down the sidewalk in front of my house every single day), and I believe that is a step I have chosen to take and continue to take, to stay here and to be here. So my studio should reflect more kinds of people, and yet mostly I have the students of professors, teachers, doctors, and scientists. On the other hand, I think that those adults believe more strongly in music lessons and the importance of education, and also they have more money to spend on these things. I do have Black students, and non-white students, but not many of them.

So those are some of the thoughts I have bouncing around my head, how to make my teaching more inclusive. I know many other teachers are doing the same, and yes, it’s terrible we haven’t done this before. Honestly, I’m embarrassed to be writing this, and to be saying to myself, well, it’s not like you weren’t teaching ANY Black composers, and it’s not like you were doing anything differently that the norm…that’s definitely not good enough. I’ve always wanted to do better than the average, to be better than the people around me. So I will do better, and late is always better than never. And I hope that those around me also continue to do better, and I hope that somebody with more research experience than me makes a book of core repertoire to teach from, not just Black composers, or woman composers, but a whole series of books using a truly diverse selection of songs that all students can use and look at and learn violin from (without having to purchase four books at a time and know that the Black composers, and the woman composers, are in a different book than the main book). I want the main book to be for all the composers, White, Black, from other countries, Male, Female, non-binary, etc…using pieces from them all to teach kids to play the violin. With wonderful age-appropriate history and writing about them all so that music and history are taught side by side.