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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.


New Harmony Task Force members regularly have conversations with individuals, and chorus committees, who are struggling to convince chorus leaders and chorus members to embrace the important work of Equity, Access and Belonging. We’ve collected and crafted a few ideas for you to try.


Conversations on Faith and Religion Discussion Handout.


Helping a historically cisgender LGBTQ chorus to become welcoming for trans singers takes work, patience, and deep listening. Jane Ramseyer Miller shares her journey as the Artistic Director of One Voice Mixed Chorus in Minnesota.


The New Harmony Workbook provides a guide for choruses to explore deep conversations surrounding various identities or issues, asking: “Are we doing all we can (as individuals and as an organization) to foster equity, access, and a sense of belonging in our chorus and community?”


This article provides the meanings of the following terms: cultural competence, diversity, inclusion, and equity.


Dr. Robin DiAngelo is the author of “What Does it Mean to Be White? Developing White Racial Literacy” and has been an anti-racist educator, and has heard justifications of racism by white men and women in her workshops for over two decades. This justification, which she calls “white fragility,” is a state in which even a minimum amount of racial stress becomes intolerable, triggering a range of defensive moves. These moves include outward display of emotions such as anger, fear, and guilt, and behaviors such as argumentation, silence, and leaving the stress-inducing situation.