"Women creators are amazing and their work has to be seen – keeping in mind the need for equality in the arts, and having each others' backs, raising the public's awareness, not only focussing on one’s own career. This will eventually change the way of artistic creations and the display of arts. "
(Sylvia Hinz performing at the Deptford Town Hall, London - photo by Magma Studios Berlin)
I am a lucky woman. This article isn’t about me, of course, but I am lucky because the person I’m about to present is one special lady who got in touch with me a few months ago. She happens to be a musician - a brilliant recorder player with incredibly rich artistic life. And she is an activist who faithfully promotes the work of women artists, not just by raising awareness about their creations but by developing opportunities for their work to be seen and heard. Sylvia Hinz is well-known both in the field of contemporary classical music and among feminist artists. She is a performer, conductor, researcher, private lecturer, founder of numerous ensembles (listed in the interview below) and the Facebook group Women Creators. In addition, alongside Dr. Dorone Paris, Sylvia Hinz has established the organisation ArtEquality.
The struggle for equality in the art world is as present as in the other spheres of life. A Greek online magazine recently wrote: “…During the last decades following on governments’ legislative initiatives and international organisations’ interventions, there has been a conviction that the gender equality has been achieved, especially in the West. Indeed, if one looks at the laws and the documents, he/she might think that the woman has more rights than the man. This is on paper. Unfortunately, the reality is different and many times harder than the stereotypes that were imposed by the male-dominated society which has been preponderating for centuries” (“Parallaxi” magazine, 21st Oct 2017). And we know that. The Weinstein scandal and the #metoo campaign that followed served as a major reality check for society all around the globe. Moreover, harassment reports from the very heart of Europe - the European Parliament - broke out just four days ago. All these events prove that women are not being treated equally by many men. Sexual harassment and gender inequality are two very broad issues in themselves but they are also interrelated. Obviously, the above-mentioned dynamics apply to the arts as well. Artists are not exempt; they are no extraterrestrial beings just because they (sometimes) express themselves in a sophisticated way. In fact, the Guerrilla Girls, a small group of New York-based visual artists, who have been raising awareness about the inequality in the art world since the mid 1980s! The work of these feminist artists is less about harassment and more about specific aesthetics, nevertheless it is important because it shows clearly the inequality between male and female creators.
Equally important is Sylvia Hinz’s work – both in terms of her performances and her activism. As a classically trained flautist myself, who has heard quite significant amount of instrumentalists and musical works over the years, I can assure you that there are not very many players like Sylvia. She is not just technically brilliant, she is curious as musician and her artistic choices are unusual and diverse. The majority of the classically trained performers I know are not like her. But above all, she is one of the persons who work actively to get us closer to the Utopia we’re striving for.
The first part of the interview below focuses on Sylvia's work as musician and features a couple of my favourite performances by herself and her collaborators. The second half of our online conversation explores her contribution to the struggle for equality in the arts.
Q1: Sylvia, could you tell us what prompted you to start performing contemporary music on the recorder, which is predominantly known as a baroque instrument? S.H: Actually, since there is no repertoire for the recorder in the Classical and Romantical era, Contemporary music is our second natural playground after Early, Renaissance, and Baroque music. I started collaborating with composers at a very early age and because of these experiences I began appreciating the music of today. I felt more comfortable and confident in performing music which contains affects closer to mine and my life, than trying to repeat the mindset of people from another century.
The same goes for my work as a conductor - I am not interested in repeating the same repertoire over and over again, and I aim to foster contemporary music and experimental projects.
A beautiful example is my collaboration with Greek composer Nicoleta Chatzopoulou for the incredible piece "distant fields" for alto recorder and tape. She sent me fragments of music which I recorded on various recorders and sent those back to her. Afterwards, she created the tape and the score for the piece – I am performing as a soloist with the tape where you can sometimes hear me playing on several recorders, too.
(Nicoleta Chatzopoulou, "distant fields" performed by Sylvia Hinz)
Q2: What do you find interesting about the use of period instruments in contemporary music?
S.H: Using period instruments or respectively modern copies of them, is in my opinion a rich addition to the pool of possibilities in contemporary music. There are very interesting copies of such instruments in amazing ancient tunings, which are even more able to pretend to be an electronic device, for example. The recorder is a perfect instrument, especially for microtonal music, and every member of the recorder family has its own, very special sound. As a professional recorder player, I own many instruments (75 until now, I think...), thus I am able to choose the right one for every single piece or ensemble setting.
For example, when Clio Montrey wrote "Birds" for me and soprano recorder, I decided to perform it on a renaissance instrument due to its rich and earthy sound. The tuning of the instrument, which is not equal temperament, is unusual for people who are thinking in piano tuning [i.e. modern tuning], gives the piece another special layer.
Q3: And what challenges have you experienced so far, both in terms of technical difficulties and scepticism from colleagues / the audience?
S.H: Technical difficulties are always a challenge, of course, but if the piece is well thought through and the composer took the time to explore the instrument before writing for it (which is generally a great idea), everything is possible or negotiable, if needed.
My colleagues respect me highly as a professional recorder player, specialised in contemporary music and an expert in improvisation. The reactions from the audience are always positive and enthusiastic. When scheduling performances and concerts, I curate the programmes especially for the places where I perform - sometimes contemporary music, sometimes electronic material, sometimes contrasting Early Music and contemporary works, sometimes a mixture of all those.
Unfortunately, the recorder is still widely thought of as a children's instrument and a toy. I have often encountered funny first meetings with ensembles or orchestras, where the members told me after the rehearsal that they never thought it was possible to "play fast notes" or "all those incredible sounds" on the recorder. The situation improved in the last years and more people recognise the instrument as a fascinating one to produce exciting sounds. Still, there is a long way ahead…
(Sylvia holding the Paetzold sub double bass recorder - 2,45m height, photo by Magma Studios Berlin)
It may furthermore convince sceptics of the beauty of the recorder to listen to my recording “windserie”, for example - 9 tracks on the topic wind and water sounds that have been with me since I've grown up close to the sea.
Q4: Could you tell us something about your cross-art collaborations?
S.H: My first favourite interdisciplinary project is my close collaboration with artist Carola Czempik. We meet as often as possible, in general twice a year, in her or my studio and exchange ideas. For example, I join her in her atelier, select a few of her paintings and transform the essence of her works into sound, while she is drawing new works. After a while, whenever our time allows, we meet again and go on communicating through art, creating something new and/or improve what is already there.
(Carola Czempik & Sylvia Hinz, "...schweigende Dämmerung...")
Another favourite project of mine is working with international artists from the electronic field, like Catenation from Germany or Michele Abondano from Colombia. We exchange tracks and basically see where it can go from there (like with the Translúcida track by M. Abondano), which is always very exciting and unforeseeable.
Furthermore, I love to work with artists form the fields of literature and dance, also architecture and sculpture.
Q5; As far as your activitist work is concerned, could you tell us how and why did you start pushing effectively for equality among the male and female creators?
S.H: I grew up in the German countryside, in Lower Saxony, where the structures are very patriarchal. For example, it was questioned by my grandmother if higher education was really necessary for me since I am supposed to marry anyway… Luckily, my mother thought otherwise, convinced everybody else, and I was allowed to finish school, get the university-entrance dimploma and study music afterwards.
So I learned from an early age that as a woman you have to stand up for your rights and decided to work primarily with women. When I put together programmes for concerts or festivals or commission new works, I aim for a 50/50 ratio at least, trying to include as many works by women as possible. The same goes for the performers I work with. Since there is the same amount of good quality works by female composers as there is by male, there is no problem in obtaining sufficient material.
As a performer, conductor, soloist, improviser, bass player in a metal band (Coma Cluster Void), curator, researcher, founder of several ensembles (XelmYa, UMBRATONO, the bewitched project), private lecturer and more, I am working within the boys' club and have to face blatant misogyny and belittlement all the time. Men are empowered and believe that they are entitled to whatever they like every second, while women have to work much harder with little or no support. This needs to change!
When the World Wide Web came into existence, I started building my own international network with women artists and activists, also joined other networks like female:pressure. It is great to be able to work with like-minded artists, live empowerment and create role models.
To raise awareness, I created the group WOMEN CREATORS on facebook as “a place for women and folks with marginalised genders / identities in art: networking, promotion, collaboration!”, and a safe space for artists to share their work and experiences. In addition, I often spread the word about women composers in my series HAPPY DISSONANT FRIDAY, including a playlist on youtube.
(Sylvia Hinz conducting the ensembles Multiphon, Progress, Beatlab and Andererseits at the Klangwerkstatt, Berlin - photo by Magma Studios Berlin)
Q6: Apart from the socio-philosophical aspect of the matter (which is, for example, talking and/or protesting about an issue), are there any practical actions towards the achievement of equality between men and women in the arts that the female art community undertakes?
S.H: Yes, for example my ArtEquality organisation's public performances of the piece “For Utopia #2 - In the Lion's Den” by Dr. Dorone Paris in Cork (Ireland), London (UK), and Berlin (Germany). In Cork and Berlin, we performed outdoors in public spaces, and in London as a part of the Goldsmith's conference about music and politics. It was very interesting to compare the reactions of “normal people” to people within the academic world. To sum it up, the problems regarding patriarchal structures in the higher education are still very present.
(Dr. Dorone Paris "For Utopia II - In the Lion's Den" at the Goerlitzer Park, Berlin - photo by Magma Studios Berlin)
We also participated in Bosnia's first ever feminist festival: Blasfem - banjalučki feministički festival with a workshop & presentation, and joined the conference "The Politics of Performance and Play. Feminist Matters" in Leiden (the Netherlands) for a presentation.
Q7: What more needs to be done in the above-mentioned area?
S.H: We need to support each other more, build circles / covens, empower each other; we must aim for the greater good. Women creators are amazing and their work has to be seen – keeping in mind the need for equality in the arts, and having each others' backs, raising the public's awareness, not only focussing on one’s own career. This will eventually change the way of artistic creations and the display of arts.
Through this, we will be able to build our own structures of support, and won't fall for the trap of only copying patriarchal structures.
Q8: What advise would you give to any young woman who aspires to promote herself as an artist?
S.H: Search for role models but be yourself. Try to reflect on your art and your standing as an artist as much as possible but stay confident. Search for your own voice, your personal way of creating art.
Use social media, especially youtube (unlimited length for uploads, better audio and video quality than on bandcamp, soundcloud, etc.).
Collaborate with other artists but do not lose your focus. Believe in yourself, be persistent and NEVER GIVE UP!
Q9: Are you optimistic or pessimistic about the future role of women in the world’s art scene?
S.H: I am optimistic, even if I think it all takes way too long. There is certain movement evolving and we have to keep the ball in the game, and keep up the pressure and the fight for equality. Specific female qualities have always been needed but people realise their benefits and importance way too slow, some still call those ‘weaknesses’. Eventually, gender won't matter anymore but we are far from being there due to constant backlashes of bigoted-minded politicians, institutions, groups, people … still - I am optimistic!
(Sylvia Hinz, photo by Magma Studios Berlin)
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