The Womxn’s March made history on January 21, bringing together over 4.9 million activists across all seven continents in an unprecedented show of solidarity, strength, and resistance.
The march was the largest single-day protest in U.S. history—but it extended far beyond U.S. borders. A total of 673 marches took place in 82 countries across the globe, and in Seattle alone an estimated 175,000 people showed up and marched for women’s rights.
January 21 was an uplifting and empowering day: a palpable reminder that we are, quite literally, surrounded by strong, capable, inspiring, and unapologetically forward-thinking womxn and allies.
But the work is only just beginning.
As we press forward into a challenging new era, we’re going to need to fight every day for justice, for human rights, for dignity, respect, and peace—and we’re going to need some pretty extraordinary music to keep us inspired.
We can’t have Womxn’s Marches every day, but we can make a conscious effort each day to seek out and support artists, musicians, and activists who engage our hearts, minds, and ears with thought-provoking and empowering art.
Allow us to give you a head start on your 2017 resistance playlist with these 10 feminist anthems by female composers:
1. Ethel Smyth – The March of the Women
Equal parts classical hymn and battle cry, a century ago Ethel Smyth’s March of the Women became the anthem of the Women’s Social and Political Union and, more broadly, the women’s suffrage movement in the U.K. and beyond.
2. Ruth Crawford Seeger: String Quartet
Being a woman writing music in the early 20th century was an act of feminism in itself. In the 1920s, a critic at one performances remarked with surprise that Ruth Crawford Seeger could “sling dissonances like a man”—because, you know, what could a woman possibly know about discord?
3. Pauline Oliveros – Bye Bye Butterfly
Pauline Oliveros puts a radically feminist spin on Puccini’s politically problematic Madama Butterfly in this 20th century tape delay reconstruction. The resulting mix bids farewell, as Oliveros wrote, “not only to the music of the 19th century but also to the system of polite morality of that age and its attendant institutionalized oppression of the female sex.”
4. Meredith Monk – Education of the Girlchild
Benjamin Button meets feminist deconstruction in this interdisciplinary (and unapologetically avant-garde) one-woman opera which traces the life of a woman in reverse from old age to childhood.
5. Joan Tower – Fanfare for the Uncommon Woman
A cheeky response to Aaron Copland’s Fanfare for the Common Man, Joan Tower’s fanfare is a bolder, brassier celebration of the women who are risk-takers and adventurers—women, for instance, with the courage to create music and fight for change in a male-dominated fields.
6. Laura Kaminsky – As One
Composed for two voices, As One tells the immensely powerful tale of one transgender woman’s journey to self-discovery—celebrating trans and queer voices that are far too often silenced in the classical music sphere.
7. Matana Roberts – Coin Coin
Massive in scope, Matana Roberts’ multi-chapter one-woman masterwork stands the intersection of feminism and African-American identity, exploring the diverse trajectories of the African diaspora through a panoramic sound quilt of wailing saxophones, spoken word, field recordings, loop and effects pedals, and more.
8. My Brightest Diamond – This is My Hand
Chamber pop powerhouse Shara Nova sings an anthem of self-love and bodily autonomy— because hand, heart, mind, and voice: our bodies are our choice.
9. Miya Masaoka – Survival
Written as a reaction against the U.S. internment of her own mother (along with 120,000 other Japanese immigrants) during World War II, second generation Japanese-American composer Miya Masaoka weaves a tale of resistance and resilience through angular strings, furious rhythms, and fearless resolve.
10. Angelique Poteat – Listen to the Girls
In a world where young women are constantly being told how to act, dress, and live, Angelique Poteat had a novel idea: what if we ask the girls what they want? The resulting piece for girlchoir and orchestra offers teenage girls a chance to sing their own words—and reminds us, as audience members, to listen.
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