What happens when the elite space of 'Western' classical music tries to diversify itself? And what are the social effects of diversity discourses in classical music institutions? Dr Kristina Kolbe, assistant professor in Sociology of Arts and Culture at ESHCC, conducted research on diversification in the 'Western' classical music sector and published her first book "The sound of difference: race, class and the politics of 'diversity' in classical music" on Tuesday 25 June.
Can you briefly explain us what the research is about?
I explored the role of diversity and inclusion in classical music institutions and how this can cause both change and inequalities around race, class and gender. To that end, I brought together an ethnographic study of a diversity project at a German opera house with an interview series of musicians and diversity officers working at different institutions, both in Germany and the UK. I found that that diversity conversations in classical music - even when conducted with genuine intentions – often tend to operate hierarchically. This can lead to minority culture producers having to bear most of the diversity work, while institutions can do that work without addressing institutional inequalities. Yet my book shows that diversity work can be a disruptive and progressive force, making space for creative justice.
What was the most enjoyable part of the process?
For me, the most enjoyable part is always the research process itself. Connecting with people in the field, especially those who strive for social change with such passion and dedication, was an inspiring and humbling experience. I also largely enjoy the writing process and discussing my findings with other researchers. It is these conversations and exchanges that I find most meaningful in academic work in general.
What did you find challenging about writing your book?
In my experience, writing a book is both enjoyable and challenging. You work on one project for so long, trying to make sense of it all, and trying to produce something meaningful that speaks to ongoing debates, both in and beyond the academy. That can be a really thrilling process, but it can also be quite lonely at times. Also, this is my first book, and I have often grappled with the anxiety around that, like putting pressure on myself or being worried that none of it makes sense. The classical impostor syndrome, basically.
What unexpected findings did you come across?
I did not expect that my research has been as much a study about music and inequality as it has been about institutions and the organisation of labour more generally. I realised how incredibly important the broader structures of politics and work are to how institutions operate creatively. And by that, of course, I mean intuitive questions like 'who does most of the work' and 'who benefits from the outcome of that work'. But also thinking about broader questions around political discourse, visa arrangements, contractual agreements and so on. Whenever we talk about diversity, inclusion, and inequality, we need to take seriously these broader political and institutional frameworks that play into creative decision-making.
What is the most important lesson from your book?
It is crucial for cultural institutions to think critically consider the wider political and economic conditions within which their work proceeds - and diversity work raises these issues in many critical ways. The cultural sector does not operate in a vacuum. We are in a time of increasing economic inequality and hardening ethnonationalism around the world, and certainly in Europe. This means that questions of diversity, inequality, or creative and social justice are increasingly important, but it also means that these progressive ideas risk being taken over by already privileged social groups or by already powerful institutions. My book addresses these challenges we face.
Yet it also shows that there are many amazing and inspiring people who are really creating the necessary space to tackle racism, classism, or misogyny. It is their work that institutions should support by allocating sufficient resources and fostering a sense of creative collaboration and experimentation.
Kristina's book is published by Manchester University press. You can find it here.
- Researcher