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What are the issues?
The narrative we have inherited to describe the history of jazz music retains outdated and discriminatory forms of thought. Women have been historically marginalized in instrumental jazz throughout the genre's development. Young and developing female musicians are't playing the music of women composers, being exposed to performances featuring women instrumentalists, being taught by women jazz educators, or even reading about the many women who have been absolutely fundamental to the development of the genre in their jazz history textbooks. Other elements contributing to the cycle of female avoidance of jazz performance include lack of role models, stereotype threat (the fear of confirming a negative stereotype), low self-efficacy, the masculine vs. feminine stereotyping of musical instruments, and tokenism (being significantly underrepresented in a performance group). Because of the consistent perpetuation of these factors within both the performance and education scenes, too many young women in our music classrooms may simply not realize that pursuing an interest in jazz is an option. |
What are the solutions?
Women jazz musicians must be highlighted in discussions of jazz history and jazz cannon formation. From historical names such as Melba Liston and Mary Lou Williams to the many contemporary leaders of today, the contributions of women jazzers cannot be overlooked. Second, music educators must be regularly showcasing video and audio recordings featuring female jazz musicians to their students and inviting them into their classrooms as clinicians and guest artists. Young women-identifying students need to be able to view role models and ultimately "see themselves" within the genre. Third, musical instruments must be presented in a gender-neutral manner when first introduced. Research shows that a majority of the instruments traditional to a big band setting (trumpet, trombone, drums, bass) are stereotypically classified as "masculine", commonly limiting female students' opportunity for jazz participation from the very beginning of their musical careers. Finally, young women must be offered the chance for multiple small successes while learning jazz, specifically improvisation, in order to build self-efficacy and confront stereotype threat. |
How does IWJO fit in?
Since it's inception in the fall of 2017, the Iowa Women's Jazz Orchestra has been dedicated to reaching middle and high school students and educators across the state of Iowa and beyond through performance, education, and advocacy. With gigs at notable events such as the Dorian Music Camp at Luther College, the Iowa Jazz Championships, and the Iowa Bandmasters Association Conference, IWJO has inspired thousands of student musicians of all levels by featuring the highest quality local female jazz musicians and by performing the compositions and arrangements of local and international women jazz composers and arrangers. In turn, we hope to encourage Iowa band directors to recognize and equalize the gender imbalance of their jazz band programs while showcasing a directory of some of the finest musicians in the state for them to consider as guest artists and clinicians with their school jazz ensembles. Positively shifting this narrative requires universal effort. Please reach out via our contact page or direct email ([email protected]) for more information on how you can assist in feeding our mission. |