a gender non-conforming singer feel comfortable in your choir? If the answer is no, perhaps you could consider other options—a third option perhaps—or one gender-neutral uniform for everyone.
Ensemble Structure Like uniforms, “Men’s Choirs” and “Women’s Choirs” may not be welcoming for transgender singers. For example, would a trans man who sings soprano be welcome in a “Men’s Choir”? Just because he is a soprano makes him no less of a man. Te time may be here to re-name our ensem- bles to remove gendered labels that may no longer apply.
Choir Audition Policies (including Honor Choir Auditions) Some states have updated their honor choir audition poli- cies to honor and include trans singers. Are there policies in your organization that specify that only certain genders can audition for specific voice parts? If so, you may consider updating this policy.
Safe Space Choral conductor-teachers can let their singers know that they are supportive of all LGBTQA singers. Trough language in your handbook/syllabus/choir room posters, a safe space sticker on your classroom/office door, or spoken words, you can let all singers know that you acknowledge and honor singers of all gender identities.
Te most important thing is that choral conductor-teach- ers take the time to consider these issues and that they be unafraid to have conversations about gender and how it plays out in the choral environment. Simply put, if you don’t know, ask! Tere are many resources out there on the topic of trans students and gender identity. A few that may be particularly helpful: • Wells, K., Roberts, G., & Allan, C. (2012). Supporting transgender and transsexual students in K-12 schools: A guide for educators. Ottawa, ON, CA: Canadian Teach- ers’ Federation.
• You can download free Safe Space stickers here from GLSEN, the Gay, Lesbian, Straight Education Network.
• Visit
queeringchoir.com, a new website dedicated to LGBTQA issues in choral music education.
•
Join the LGBTQA safe space for music educators Face- book page.
All singers should feel safe in our choirs—regardless of gen- der identity. I sincerely hope that you will take some time to consider how to include all singers. If you have further questions, please email me at
josh.palkki@
csulb.edu.
References Beemyn, G., & Rankin, S. R. (2011). Te lives of transgen- der people. New York, NY: Columbia University Press.
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Miller, J. R. (2016). Creating choirs that welcome transgen- der singers. Choral Journal, 57(4), 61–63.
Palkki, J. (2017). Inclusivity in action: Transgender students in the choral classroom. Choral Journal, 57(11), 20–34.
Other Suggested Resources Aguirre, R. (2018). Finding the trans voice: A review of the literature on accommodating transgen- der singers. Update: Applications of Research in Music Education, 37(1), 36–41. https://doi. org/10.1177/8755123318772561
Hearns, L. J. (2018). One weird trick: A user’s guide to trans- gender voice. Scotts Valley, CA: CreateSpace Indepen- dent Publishing Platform.
Joshua Palkki serves as Assistant Professor of Vocal/Choral Music Education at California State University, Long Beach where he leads the University Choir and prepares future choral music educators. He is also artist in residence with South Bay Children’s Choir in Torrance, CA. He holds degrees from Michigan State Uni- versity, Northern Arizona University, and Ball State University. A sought-aſter guest conductor and scholar on LGBTQ issues, he has guest conducted in several states and presented at state and national research, choral, and music
education conferences. Joshua’s writing appears in journals including Choral Journal and Journal of Research in Music Education.
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