Participants from the Sō Percussion Summer Institute 2019
Sō Percussion is a percussion-based music organization that creates and presents new collaborative works to adventurous and curious audiences and educational initiatives to engaged students, while providing meaningful service to its communities, in order to exemplify the power of music to unite people and forge deep social bonds.
To create a new model of egalitarian artistic collaboration that respects history, champions innovation and curiosity, and creates an essential social bond through service to our audiences and our communities.
Diversity, Equity, Inclusion, and Accessibility
Sō Percussion, Inc. is examining how our organization can further our work within Diversity, Equity, Inclusion, and Accessibility (DEIA), and advance antiracist efforts. We are programming a diverse range of voices, commissioning flexible new works, and re-imagining educational programs. We are also convening and participating in advisory groups to learn more about how we can have a positive impact on our community, industry, and art form.
Here are the initiatives the organization is currently pursuing. Some are new, some represent a continuation of ongoing projects.
New Work Development Program – Flexible Commissions. Flexible instrumentation pieces provide a model of collaboration which removes barriers of access to performers and composers, and which encourages bringing many voices into the room. This year, Sō Percussion commissioned Darian Thomas, Bora Yoon, and Kendall Williams as part of our New Work Development program to write new flexible pieces. These pieces allow us to invite a diverse cohort of performers into the collaborative process with Sō Percussion. We will be continuing this program in the 21-22 season with three new composers.
New interpretations by Sō Percussion of past works written by composers of underrepresented genders, BIPOC, and LGBTQIA+ identities. In 2021, we made our first foray into the music of Julius Eastman with a recording of Stay On It, released through our new “So Percussion Editions” imprint. Check it out HERE. All of the proceeds go to the wonderful Castle of our Skins organization. We will be exploring more of Eastman’s explosive and exuberant work in the coming months. In the past year, we have also taken a deep dive into the incredible work of Pauline Oliveros, and many other pieces by past and living composers.
Programming. for our touring recitals of mixed repertoire, we include non-male and non-white composers on every program. For our self-presented programs such as Brooklyn Bound and the So Percussion Summer Institute, we are constantly curating with an eye towards featuring underrepresented voices.
Sō Percussion is proud to be a founding signatory to the
Examining Education Programs. We have permanently removed application fees for all of our festivals. In 2021 we created the Sō Percussion Collaborative Workshop, which was open to musicians of many different practices. Also beginning in 2021, the long-running Sō Percussion Summer Institute includes BIPOC scholarships as one of its multiple scholarship opportunities. As SoSI runs well into its second decade, we are making achievable strategic goals to widen the recruitment pipeline and awareness of SōSI beyond the insular music conservatory world that it has traditionally drawn from. SōSI now also includes an asynchronous track that will be available online, with unlimited potential enrollment, even when the in-person festival returns.
Intern Program. Sō’s intern program has been restructured as a paid internship. Interns participate in rotating learning opportunities with the members of Sō Percussion and our staff in both artistic and administrative areas. Participants also receive access to studio space and time.
The Studio Residency Program provides space, mentoring, and financial support to organizations by application. This year, we are proud to have
Support for BIPOC-led organizations. We have begun offering fiscal sponsorship and collaboration to music non-profits in Brooklyn, especially through our ties to the steel band community. In addition to sponsoring grants for these orgs, we are making our staff available for advice in areas of expertise. We are also establishing a fund out of our concert fees to donate to BIPOC advocacy organizations.
Expanding So Percussion’s Board of Directors and staff to include a more diverse range of voices. We are proactively recruiting a new cohort of board members each year, with the explicit goal of attracting non-male, non-white, and LGBTQIA+ members.
Living Land Acknowledgements: Sō Percussion convened a group of artists to participate in workshops with the
Some terms we use:
People of Color – First popularized in the 1960’s by Black Civil Rights activists, this term is generally used to refer to anyone who does not identify as White.
BIPOC – This term is an acronym for “Black, Indigenous, and People of Color”. This term originated more recently and names Black and Indigenous people in addition to People of Color, specifically, in an attempt to highlight the particularly concentrated forms of discrimination Black and Indigenous people face.
LGBTQIA+ – A common abbreviation for the Lesbian, Gay, Bisexual, Pansexual, Transgender, Genderqueer, Queer, Intersex, Agender, Asexual and other queer-identifying community.
One of the first things any group needs is a name. When our group was founded in 1999, we cast far and wide among our friends and family for suggestions. The winner was this simple, short word offered by Jenise Treuting, Jason’s sister. Jenise has been living and working in Japan as an English-Japanese translator for 20 years. The word “Sō” was punchy, enigmatic, and memorable.
“The Sō in Sō Percussion comes from 奏, the second character in the compound Japanese word 演奏 (ensou), to perform music. By itself, so means “to play an instrument.” But it can also mean “to be successful,” “to determine a direction and move forward,” and “to present to the gods or ruler.” Scholars have suggested that the latter comes from the character’s etymology, which included the element “to offer with both hands.” 奏 is a bold, straightforward character, but lends itself to calligraphy with a certain energy that gives so a springy, delicate look.”
– Jenise Treuting