Black Orchestral Network Protests Kansas City Symphony Tenure Decision

A letter by the network has been sent to the symphony’s leadership, calling for the reinstatement of its principal percussionist Josh Jones

 

Launched in 2022, the Black Orchestral Network (BON) works to see equitable and inclusive tenure and audition guidelines adopted within the classical music industry. It also aims to protect Black musicians, who disproportionately have trouble securing orchestral tenure and who deserve fair tenure processes.

Addressed to the Kansas City Symphony (KCS) music director Michael Stern and president and CEO Danny Beckley, the BON’s recent letter is protesting KCS’ decision to deny tenure to Black American percussionist Josh Jones. 

Previously serving as principal percussionist of the Calgary Philharmonic Orchestra, Jones was appointed to KCS as principal percussionist in 2020 in a tenure-track position. 

He has played with the Detroit and Pittsburgh symphonies, appeared at Carnegie Hall, in media, and in two documentaries on his career.

In November 2021, he was described by Stern as “an exceptional talent…added immeasurably to the performance standard and the communal culture of the Kansas City Symphony…accomplished so much with us…both on and off the stage… And this is not just my opinion — the committee and all of your colleagues support you completely.”

In a study by the League of American Orchestras, a racial disparity in orchestras sees Black musicians represent a small minority in many major orchestras. Less than 2% of orchestral musicians in the U.S. are Black. 

“When, as with Josh, our playing is not an issue, tenure committees find other, pretextual ways to criticize the way we do our jobs,” the BON’s letter stated. “Much too often, ‘leadership’ or ‘management’ or similar factors become the excuse instead.

“Black musicians rarely if ever have someone of color on their committee, or anyone trained in recognizing and preventing implicit racial biases, which often compounds problems,” it continued. “We have read the coalition letter separately signed by others and Josh’s statement attached to it. The account they give of the tenure process here is concerning. Regrettably, it is hard to rule out race as a critical factor here.”

 

As suggested by the BON, potential solutions for KCS moving forward are to grant tenure to Jones or to restart the appointment process for him using a process that is fair. 

KCS' partnership with the Sphinx Organization was also mentioned in the letter, proposing that the symphony implement equitable tenure practices outlined in Sphinx’s NAAS Recommended Audition and Tenure Guidelines — a document created with national orchestral leaders, including KCS members.

Part of the letter by the BON reads:

“On June 3, 2020, the following statement was made by the Kansas City Symphony: ‘Racism has no place in our lives, in our organization, or in our community. The Kansas City Symphony is committed: to standing united for equality and justice; to standing against hatred, racism and division; to learning; to growing and being better. We stand together with our Black community. We mourn the lives lost and the pain that is so deeply felt. We are listening.’ We would like to believe this statement is sincere and that the Kansas City Symphony will take this opportunity to listen, learn, grow, be better, and stand with the Black community. 

“American orchestras have reached a critical juncture where they need to do differently to be different. Hiring Black orchestral musicians is an opportunity worth fighting for. 

“The Kansas City Symphony is a leader among American Orchestras. The Kansas City Symphony has the opportunity to break the cycle of uneven, unfair, and biased tenure practices, including by tenuring Josh and by instituting the recommendations in the NAAS guidelines. If the Kansas City Symphony would like to discuss how to elegantly navigate the reversal of this decision, we would welcome the opportunity to participate in that effort.”

 

In response to the situation, KCS CEO Beckley told KSHB 41: “While this individual situation is a personnel matter and our comments therefore are limited, our tenure process is comprehensive and objective. This process includes regular, detailed feedback – both in-person and followed-up in writing — at scheduled intervals, so that all parties avoid any surprises about that process, or the outcome of the proceedings. Race is not a factor in these decisions.

“Principal positions in an orchestra are charged with leading their sections,” he added. “Thus, successful Principals must possess not only the on-stage artistic talent and individual performance excellence, but it is imperative that they also demonstrate the operational proficiency, leadership, organization, planning and communication skills required behind the scenes to ensure the smooth and effective functioning of the entire section.

“[We are] committed to our focus on diversity and inclusion within orchestral music, whether through the recruitment process, featuring a diverse range of composers and artists during performances, expanding the appeal of our concerts across demographics, and building new relationships throughout Greater Kansas City.”