I read with interest and, as will become evident, a great sense of familiarity, the article in the Winter 2018 issue of Symphony magazine entitled “Are Orchestras Culturally Specific?” This panel discussion provided some very helpful insights and challenges by the panelists.
It was refreshing to hear them identify the issue as being far beyond 1) getting people of color on the stage and in the ensembles and 2) programming music written by people of color. Both of these are, of course, exceedingly important and are rightfully placed at the forefront of the tasks of music directors and orchestra boards nationwide.
To hear the additional challenge to “de-centralize” some of the central corpus that steadfastly remains the focus and center of orchestral performance was refreshing. But also to hear that the celebration of difference is part of that equation, too, was very encouraging. As artists, part of what we do is ask everyone to hear, see, touch, feel something that is outside their experience—as well as touch something that is inside them, as well.
The only member of the League of American Orchestras in Indonesia is the Bandung Philharmonic, of which I am the music director and co-artistic director. We face this issue at every concert and with every repertoire choice. The orchestra was started by Indonesians and is comprised of 90 percent Indonesian players. When the orchestra was founded in 2016, I was asked to serve as its first music director. I pushed back hard with the question: why would they want an American to come conduct an Indonesian orchestra? Hasn’t Indonesia’s history of white colonialism taught us the dangers of that approach in the past?
The only member of the League of American Orchestras in Indonesia is the Bandung Philharmonic, of which I am the music director and co-artistic director. We face issues of diversity and inclusion at every concert and with every repertoire choice.
The way we have worked this out is still unfolding but, I think, provides a very exciting model for what celebrating difference can look like. The board of the orchestra, as well as the government officials in the city of Bandung (population over 4 million), want a Western orchestra. They affirm that art form and that body of music lend a certain kind of credibility to cities throughout Southeast Asia. Bandung’s largest industry is tourism, and many of the cities in Southeast Asia want in. When we started this orchestra, they were in the midst of a city campaign to make Bandung a “winner city”—and we helped that image develop.
But my co-artistic director, violist Michael Hall, and I have placed a condition—or, better yet, a commitment—to our participation as leaders of the organization:
- We come as cultural learners before we come as leaders. We’ve committed to learning to speak Indonesian and to becoming more conversant in Indonesian music, past and present.
- We commission a new piece by an Indonesian composer—at every concert. We are playing world premieres every time the orchestra plays.
- We have started the Bandung Philharmonic Conducting Fellowship program. Each year three young Indonesian conductors are selected by audition to participate in the life of the orchestra. They take sectional rehearsals, receive master classes, personal coaching, and perform in concerts with the orchestra. We hope to build a generation of talented young conductors.
- We held the first-ever Young Composer Competition in Indonesia and premiered the winner’s work last September.
The Bandung Philharmonic is a picture of the diversity that is Indonesia. Women wearing the hijab, sitting next to their good friend who is Christian, with a personnel manager who is Hindu, conducted by a white American, and led by a woman executive director of Chinese descent. We embody diversity.
I’m not sure anything we are doing is new or unique—but it has been one of the greatest professional experiences of my career to be part of this organization and live the cultural difference that we speak of.
I thought you might enjoy hearing how one League member has committed to facing this issue so beautifully discussed in the “Are Orchestras Culturally Specific?” article.
All the best,
Robert Nordling
Music Director
Bandung Philharmonic
Baroque on Beaver Island Festival
Lake Forest Civic Orchestra
Shoreline Music Society
This article originally appeared in the Spring 2018 issue of Symphony magazine.
