Dr Louise Devenish’s career as a percussionist has taken her around the world collaborating with a huge range of musicians and artists. Her wide-reaching approach to music making underpins the Gender Diversity in Music and Arts Conference which Devenish is convening next week at the UWA Conservatorium of Music. Seesaw mag caught up with Devenish to find out what gender diversity looks like.
Seesaw: The Gender Diversity in Music and Arts is the third in a series of national conferences focused on gender in the arts, building on the momentum generated from conferences at ANU (2017) and Monash (2018). What inspired you to host the conference in WA?
Louise Devenish: I am inspired by the strength and advocacy shown by Australian artists and academics on this issue, particularly Cat Hope, Vanessa Tomlinson, Claire Edwardes and Liza Lim. I have seen the effects of their advocacy appearing in programming, education and in general visibility in certain areas of the arts. By hosting the conference in Perth, I hoped to add more voices to the discussion and create an opportunity for people to get together to talk about gender diversity, and to broaden the discussion to include organisation and individuals across a range of genres and approaches to music and art.
S: As a woman in the performing arts industry you’ve been intentional about commissioning and collaborating with women creatives, both as a solo artist and in your ensembles Decibel and Speak Percussion and Intercurrent. Now you are championing the topic at an academic level – is grassroots activism not enough?
LD: I think there is always more to be done in terms of championing equality, and that efforts across industry, academia, community are all equally important. Particularly in the context of how artists make work today – a large number of us epitomise the portfolio career and are therefore active in a range of spaces. At UWA, one of my roles is Diversity Chair within the Conservatorium, and even in the few years since I started here I have seen change in this space. This conference is a great opportunity to invite students, staff and peers to continue focused discussion around the issue, and to expand our efforts.
S: In the past few years there has been a renewed concern about the lack of visibility for women and people of diverse gender in the music industry. What difference does a conference like this one make?
LD: Like the 2018 event, GDIMA 2019 is designed to be a very open platform. Although it’s called a conference, it is not just about the presentation of research in the field of gender studies, but also in providing a platform for gender diverse artists to share work – in short an opportunity to increase visibility. I am thrilled that there are a range of performances and creative work being presented, from emerging through to established artists, well known and relatively unknown.
S: You have invited an impressive range of guest speakers and artists including Jennifer Walshe (Ireland), Robyn Schulkowsky (U.S.), Shoeb Ahmad, Sandy O’Sullivan, Nicole Monk and Vanessa Tomlinson. What do you hope they will bring to the discussion?
LD: All of these artists are total inspirations – both artistically, but also in their ability to talk about their work and about important topics related to it. With support from range of partners including the UWA School of Design, Institute of Advanced Studies and Tura New Music, we’ve been able to draw together a range of keynotes and artists in residence working in different artistic fields, at different stages of their career, and active in different cities to share their experience.
S: The #metoo movement has been a helpful catalyst in many arenas; has it brought more awareness to gender disparity in the arts?
LD: I think it has – and in fact one of the papers presented at the conference – ‘Teaching Women in Music in the #MeToo Era’ – will focus on exactly that. Come along!
S: Larger arts organisations seem to struggle to move beyond a male-dominated canon of art. However the small-to-medium organisations have been addressing gender diversity in their programming and commissioning for awhile now. Are there examples of what is working to redress the balance?
LD: The opening plenary session is aimed at this – we have invited representatives from small-to-medium and MPAs including WASO, Wa Opera, Pica, Tura and WA Music to speak about what each organisation is doing in this space. 10am, 17 July!
S: The conference also includes three unique concerts with free access for the public. What can audiences expect?
All three are going to be fantastic. Armadillo will feature Robyn Shulkowksy’s work of the same name, performed by three generations of percussive women. Shoeb Ahmad has drawn together an ensemble to perform their work in what promises to be a really fascinating lecture-recital. Decibel 10 and 10 is part of the ensembles 10 year anniversary celebrations, and features works by women composers from WA including a world premiere by Kate Milligan.
S: Can you see a future where we will no longer need conferences promoting gender diversity in the arts?
Not yet….but I am optimistic! The response to this conference has been overwhelming already – there is a clear interest in discussing and working on gender diversity at present. I hope that another Australian city will host this event in 2020 to continue the discussions…Brisbane, Adelaide or Sydney perhaps!
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