"If I cannot fly, let me sing."

       The concepts of diversity, equity, and inclusion are thankfully getting more rightful attention now than they have in our entire history as a country, yet the eradication of white supremacy is an ongoing battle that still needs more soldiers. As a voice teacher, I am strictly committed to doing what I can within the music theatre industry (and society as a whole) to help provide equitable access to all students, regardless of race, class, religion, gender, or anything else prohibiting an equal opportunity for learning.

       As a teacher, I not only include, but embrace and promote diversity within my voice studio, whether that be in regards to assigning repertoire, discussing the rich history of music theatre with my students, or in expanding my own knowledge of material created by underrepresented artists. The celebration of the marginalized creatives that have shaped and provided our industry with so much rich material is crucial to becoming an educated and informed performer, and I believe a singer can only be bettered by gaining exposure to this wide range of diverse artists.

      Additionally, I always use inclusive vocabulary in my lessons, and one of my primary goals is to create an all-inclusive, accepting environment that celebrates the individuality of all of my students. I also give my students “veto power” when assigning repertoire, which is a no-questions-asked system that allows my students to decline working on any material they may not feel comfortable with. I encourage an open dialogue, and believe communication is key to a successful learning environment.

      As a cisgender, white woman, I am the first to acknowledge my position of privilege held within the performance industry, and in society as a whole. Growing up in a public school system, I was largely taught about the world’s history through a primarily white lens. It was not until I got to college and began surrounding myself with a greater level of educational diversity that I began to uncover the untold stories and truths of the marginalized communities that they did not teach us about in my primary education, because the white “system” did not want us to know about them. Now that I am in the position of teacher, I actively work to make sure none of my students have the same non-inclusive, biased, and privileged educational experience that I did. I have also had the fortuitous opportunity to take my teaching skills abroad to China, educating young artists on the other side of the world about the joys of music theatre. The ability to provide an education to those without much access to this art form is an experience I take to heart and treasure every day of my career. I look forward to my continued work in China, and consider myself incredibly lucky that I get to be one of many providing increased access to a population whose experiences have not been as privileged as my own.

       As a promoter of diversity, equity, and inclusion, I acknowledge my task of needing to continue to educate myself on the subject matter, and I realize my learning is never done. I will continue to utilize the resources around me. I will make mistakes along the way, but I will acknowledge them and learn from them. I believe diversity, equity, and inclusion are essential assets to a life in the arts, and I only hope I can continue to play a small part in striving to increase and celebrate their existence.