They ask to accelerate the inclusion of directors and composers in the Mexican orchestras

Unlike the political sphere, women’s time still does not complete The Philharmonic Orchestra of Mexico City (OFCM), the first from the podium, as a host baton, while the second through the interpretation of its work Huaxyacac.

In an interview, both creators observe that although in recent years important advances in the dynamics and ways of operating within this artistic discipline have been given in the country, several inertia of macho and inequality and inequality of gender still prevail.

In my happy world, that did not exist. I never had a problem with gender issues; I never lived her, or as a child, until I started directing. There I realized that it is a reality. When I listened to things of inequality of gender and discrimination, I said it was false, but when I began to direct myself I came across what was trueMariana Martínez points out, originally from Jalisco, who is the first of the eight women who will participate with the capital group as guest directors in this first season of the year.

“Things have changed, but I also believe that machismo is deeply rooted in the collective unconscious and at certain times it comes out in a ‘natural’ way. It is important to raise awareness of the general population and musicians from within; Maybe talks, workshops; raise awareness that we can all have an unconscious degree of machismo, because there are many generations and that remains even in the genetic code.

For me music has no genre and is a profession like any other. In it, it should not even be discussed whether you are a man or woman, as it is not debated or questioned whether there is a medical or teacher, or a teacher man. Music is a profession like any other.

According to the Chelist and composer, the inclusion of directors in the Mexican orchestras It’s a bit slowunlike the composers, whose work begins to appear less spaced in the programs of these groups.

In the case of the Orchestra Directorate, we still depend on government decisions, as in the case of the OFCM that, I understand, it was requested that it be 50 and 50 percent (of women and men), and that I appreciate very much. Thanks to these types of policies, more opportunities are opened; But without them it is still a very difficult situation. Only directors for the concerts of March 8 (International Women’s Day) are invited and with it the quota is covered. In general, the orchestras have two or three women invited a year. I think there is a lot to do.

A native of Tuxtla Gutiérrez, Chiapas, but based from a very young age in the city of Oaxaca, Dora Vera assures that in the programming of national orchestras almost never include compositions of women. As Mariana’s teacher says, cultural policies such as those that Mexico City have are needed For this situation to change.

Like the director, the composer is true that women’s time is not a fashion, but a definitive change of paradigms, and that in the case of music it must be expressed in terms of a neutral relationship, balanced between both genres. That is, it specifies that a woman and a man have the same capacities to direct an orchestra or compose, being professions like any other.

We have to get out of that macho load that we also carry and empower ourselves. Between a man and a woman, something else is needed to be a musician other than the intelligence of the human being and the skillthe author emphasizes, whose work Huaxyacac It was released in 2021 and with it seeks to celebrate the Oaxacan identity, as well as the musical traditions of that entity.

This OFCM program also includes Symphony 4 of Afro -Station Florence Price, 1945; and the ballet suite The bird of fire, of Stravinski. The concerts are in the revolts Silvestre Room of the Ollin Yoliztli Cultural Center (Peripheral South 5141, Isidro Fabela neighborhood) today at 6 pm and tomorrow at 12:30 pm.