Sigma Alpha Iota

P A N P I P E S Winter 2021 11 11 Listen to performances by Erica Simmons on her website at: www.ericavernicesimmons.com At left, Vocalist Denyce Graves performs " The Battle At left, Vocalist Denyce Graves performs " The Battle Hymn of the Republic" for the PBS National Memorial Hymn of the Republic" for the PBS National Memorial Day Concert in 2009. Below, Soprano Erica Simmons, Day Concert in 2009. Below, Soprano Erica Simmons, a member of the Memphis Alumnae Chapter. a member of the Memphis Alumnae Chapter. OPERA OPERA to perform at the Metropolitan Opera. She sang at the March on Washington in 1963 where Rev. Dr. Martin Luther King, Jr. gave the "I Have a Dream" speech. As a symbol of musical talent, grace, and courage, she won numerous awards prior to her death in 1993 and was initiated as an Honorary Member of Sigma Alpha Iota. Because of Anderson's journey and the very public response in the face of racism, a class of Black opera singers followed in her footsteps. e first and perhaps most well-known of this second generation of opera singers was Leon- tyne Price. Born and raised in Mississippi, Price first learned she wanted to be an opera singer when she attended a concert at age 14 that fea- tured Marian Anderson. Of that performance, Price said, "e minute she came on stage, I knew I wanted to walk like that, look like that, and if possible, sound something near that," she told an interviewer in 2008. She went on to study at HBCUs Wilberforce and Central State before attending Julliard. Coming to prominence in the 60s, she refused stereotypical roles offered to her by opera houses and turned down venues that were segregated, causing the Metropolitan Opera to discontinue segregated performances. She was the first Black leading performer and prima donna at the Met. Price spoke out very directly about race throughout her career and was awarded for her work as both a performer and a civil rights advocate. Price is an Honorary Member of Sigma Alpha Iota. Other Black opera and classical singers of the time — Jessye Norman (Delta Nu initiate and Member Laureate), and Honorary Members Grace Bumbry, Martina Arroyo, Shirley Ver- rett, and Reri Grist — all have enjoyed fame as international performers due to the incredible feats of dismantling systems of oppression that once blackballed Black women from these op- portunities simply on account of their skin color. As Leontyne Price put it, "Accomplishments have no color" and due to Marian Anderson, Leontyne Price, Paul Roberson, and others defy- ing the ideologies of race inferiority in America and in the classical music industry, singers such as SAI Honorary Member Denyce Graves have the opportunity to allow their talent to grant them any stage in front of all audiences, includ- ing Mrs. Graves' recent performance at the memorial service of Ruth Bader Ginsberg this past September. Just 81 years ago, this was not fathomable in America. While representation is the first step in dis- mantling existing systems of oppression in the classical music industry, that's not to say there aren't additional challenges for today's singers. Implicit bias and other covert versions of racism still very much exist. In recounting her current journey, Erica reflects, "[Leontyne Price] with her sleek yet robust voice, wore her hair in an afro that was kinky like mine, had skin that was dark like mine, and lips that were full like mine- -in her, I found my muse of perfection. She was simply above reproach. Unfortunately, voices like that of Ms. Price come once in a lifetime, and I was far from a prodigy. When you are black in white spaces, there is no room for er- ror, no room for humanity. When there is such a small selection of Black singers that 'make it', you are constantly compared to them as the litmus test for your success. I have been told in auditions by directors, who did not know me, that I was trying to be too regal like Leontyne. One director told me to 'be myself ' and not to try to 'speak so properly.' His implication was clear: 'You are code switching, and I want you to talk Black.' Being Black in these spaces means contorting yourself to be more palatable for white audiences and directors while simultane- ously trying to 'be yourself.' It's exhausting." We still have a ways to go in truly achieving diversity and inclusion in this country, in musi- cal industries, in organizations, and the like. If we continue to work to educate ourselves indi- vidually and professionally, more can be done to ensure true equity and equality in music. Keena Day, M.A., a 2003 initiate of the Kappa Iota chapter at Tennessee State University, has served in the Nashville and Denver Alumnae Chapters, as Psi B Province Officer, and as Re- gion 4 Regional Officer. She is cur- rently the Senior Manager of Humanities (grades 6-12) for DSST Public Schools in Colorado, where she leads humanities curriculum, assessment, and instructional practices through culturally respon- sive pedagogical practices with principals and other literacy leaders. Keena is a freelance writer and author living in Denver, CO. D uring the Metropolitan Opera's 2019-2020 Season, a number of SAIs performed in the historic production of the Gershwins' Porgy and Bess. Soprano Denyce Graves received much praise for her role as "Maria" and Soprano Leah Hawkins dazzled as the "Strawberry Woman." Ensemble Members included: Chantal Braziel, Jihanna Charlton-Davis, Dr. Christine Jobson, Tesia Kwarteng, Dr. LaToya Lain, Jamet Pittman, and Kimberli Render. Chantal Braziel shared, "Both the cast and the chorus were absolutely amazing. We all became one, big family." Photo: Mass Communication Specialist 1st Class Chad J. McNeeley.

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