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GALA choruses have a unique opportunity to explore issues of equity, access and belonging because our choruses offer more than just a place to sing: they are also communities of belonging.


The concept of “Asia”, particularly as a cultural signifier, has always been problematic. It assumes a high degree of commonality across what is the world’s largest continent, and has been used to homogenize and “other” what is a hugely diverse swathe of people. When Proud Voices Asia, the Asian LGBT choir network was set up, one of its greatest challenges therefore lay in trying to find coherence in this variety, not just in general terms like language or social structure, but more specifically in concepts like “queer”, “choir” and “activism”, while celebrating the multiple contexts in which they exist.


Many in GALA choruses see the times shifting around them. My own chorus now has a few cisgender women singing first tenor, post-transition transmen in three different sections, 6-8 straight cisgender men at any given time. At various times, we have had transwomen members, singing in various sections.


I have sung in one GALA chorus or another for thirty years. I have attended every GALA festival since 1989: I participated as an alto in a lesbian chorus and as an alto in a mixed chorus, then post-transition as a bass in a mixed chorus and as a baritone in a men’s chorus. Each festival I’ve attended has brought with it an experience of marginalization.