Chauvinism
And the Sources of Violence:
(A Commentary On Protest Against the Vienna Philharmonic)
December 28, 2002
[Published
on the MSNBC site in January 2003 as "Music, Sexism, and War."]
by
William Osborne
This year the Vienna Philharmonic visits the USA under unusual circumstances.
The potential war with Iraq overshadows most other issues, including the
Philharmonic's employment practices, and anti-American feeling in Europe is
the strongest I have seen in the 23 years I have lived here. This raises
troubling questions. What shall protesters against the Vienna Philharmonic
make of this situation? Do protests against the Vienna Philharmonic have any
relevance in a world once again being overcome with violence?
To answer these questions it is helpful to begin with a look at the European
view. Much of the recent surge of anti-Americanism stems from the the Bush
administration's isolationism and its manifestations in unilateral militarism.
It is well-known that isolationism is a historic part of the American psyche
that can create a myopic, self-interested perspective Europeans consider both
naive and arrogant. This myopia might be symbolized by Saul Steinberg's famous
cartoon image of the New Yorker's view of the world. It blurs somewhere in the
Bronx and has a couple dots out west called Chicago and San Francisco before
the earth disappears into the Pacific ocean. The image was one of the most
famous covers ever for The New Yorker magazine.
For many Europeans, this affectionate cartoon jibe in the ribs of Big Apple
narcissism would seem to have a darker side. Many know that for New Yorkers
the city is the center of the world, and that to step outside of it is to step
into a nether land. The city is attacked, 2800 people are killed, and it seems
an apocalypse without measure. Americans have mourned for over a year and
continue to do so.
The grief is more than understandable, but in the European view, its one-sided
focus seems to reveal a troubling ethnocentricity. They would argue that in
the retaliatory attacks in Afgahnastan or Iraq, thousands of innocent people
have been or will be killed, but that Americans seem to regard those victims
as little more than nameless bystanders, identitiless shadows in a nether
world of "collateral damage". And as Europeans look over the last
forty years of US history, the story goes on to approximately one million
nameless Vietnamese, tens of thousands of Arabic people, and tens of thousands
of forgotten souls who have died in Latin America, due to US policies. These
would not seem to be the same kind of humans as in New York, but rather brown
skinned shadows whose violent demise need not touch the American realm, even
if their deaths were caused or abetted by the US government. In short, it's
just massive suffering and death in an unreal nether world, something like
images of video games beamed from the ethers.
Given this European perception of American moral myopia, many ask why we feel
entitled to protest against the Vienna Philharmonic's chauvinistic employment
policies. Doesn't America often claim a moral high ground and then use it to
be an utter bully? Aren't protests against the Vienna Philharmonic the worst
form of hypocritical righteousness?
These questions are very justified.
Without trying to minimize or relativize the moral inconsistancies of American
militarism, one might respond that well publicized protests against cultural
chauvinism help weaken its foundations everywhere -- including in the USA.
Whether American, European, Western, Arabic, Israeli or Palestinian, the forms
of violence that stem from chauvinism are underpinned and reinforced by
national orchestras whose employment policies are sexist, ethnocentric and
racist.
It is interesting to consider that it was only 300 miles south of Vienna, in
the Balkans, that Europeans were committing mass rape as a form of ethnic
cleansing in the 1990s. The United Nations estimates that at least 20,000
women were victims of those horrific crimes.
Since foreign events, even such as these, can fade into the nether world of
the average American's perspectives, we might ask ourselves how we would feel
living in Boston if we knew 20,000 women had been systematically kidnapped and
brutally raped in the Philadelphia area only five hours away. That is about
the distance from Vienna to Kosovo. And how would we feel about the symbolic
meanings of a nearby national orchestra that excludes women -- especially when
the opera formation of that orchestra receives millions in public funding?
Is there something that connects those two situations, something in our
chauvinistic attitudes about the dignity of women?
Perhaps these events provide a vivid example of how a firm stand for the
dignity of women not only increases their rights as artists, but can help
create cultural values that help prevent enormous crimes of violence. If we
lived in a world with more respect for the dignity of women, the Taliban might
not have come into existence. And we might not have had contemporary Europeans
committing mass rape five hours south of Vienna. And we might not have
American enthocentricity that regards massive civilian casualties and
suffering as acceptable, as long as they are in some land other than our own.
We see that chauvinism, degradation, and violence form a continuum. It is the
everyday slights against human dignity, sometimes hidden in the very
assumptions of high culture, that can be the tell-tale harbingers of actual
physical violence.
If chauvinism is one of the common grounds of violence, why do we celebrate
the Vienna Philharmonic's sexism, ethnocentricity and racism in our major
concert halls? Shall we question the sources of violence that exist in thought
and cultural expression, or just bury our opponents in a rain of bombs?
These thoughts might be applied on both sides of the current conflict. The
Taliban's treatment of women represented an abuse of human rights whose
systematic intensity and breadth had not been seen since the Third Reich, and
yet our government did nothing, even allowing for considerable business and
military dealings with them. And after the situation blew up in our face, one
saw that there was something distinctly masculinist in the type of John Wayne
"dead-or-alive" US war mongering that evolved -- which was
especially appalling to Europeans. Where was all that "manliness"
when far less violent international pressure might have really helped the
women of Afghanistan and brought their government to its senses?
Cultural values based on truth and dignity for women help protect all people
from violence no matter where they are.
The Vienna Philharmonic, which still excludes women and covers it up through
the use of tokenism, is an affront to the noble ideals we assign to classical
music. History illustrates again and again that when we allow violence against
the dignity of women, it creates environments that can also lead to their
physical abuse. Why do we forget that women's rights and human rights are
inseparably intertwined?
With the Vienna Philharmonic performing in Washington during their next tour,
we have a rare opportunity to take an important stand and make a valuable
statement to the world that there is never a reason to treat women as some
sort of second class humans who can be rightfully excluded from national
institutions of cultural expression. Not in Kabul, and not in the Kennedy
Center for the Arts.
There has never been a more important time for -all- people to realize that
chauvinism is a bottomless pit of hatred, violence, and death. Everytime we
protest violence against human dignity, whether physical or cultural, we help
make the world a better and more peaceful place for everyone.
William Osborne
http://www.osborne-conant.org