Women Horn Players of Chicago Part 4: Nancy Jordan Fako, Special Topics Edition
*CW: Sexual Harassment and Assault*
Hello everyone! For those of you starting another school year either as a teacher or a student, I hope you had a wonderful first Monday! (I also hope everyone had a wonderful Monday!?) This week I’m discussing Nancy Jordan Fako (b. 1942), another ground-breaking horn player who was active in Chicago. While I still will share the incredible achievements Fako accomplished during her career, today’s entry is going to be a little more serious in tone. I’m going to describe some instances of sexual harassment and assault as it relates to women musicians; this is a heavy topic, and I debated even writing about it, but I think it’s incredibly important to acknowledge that the issues I discuss today are still relevant and deserving of our attention and our action. Nancy Fako’s history is, fundamentally, the story of a talented and hard-working woman who from day one was up against a wall of behavior that ranged from sexist to blatantly hostile. I’m also going to get a little personal in this entry, so I hope my readership will bear with me as I share some of my own experiences, as well as those of someone very close to me (who has given permission for me to discuss them).
To begin with, Nancy Fako was an impossibly fast learner. Fako originally began her musical studies on piano but started horn lessons with Philip Farkas at age sixteen. Four years later – I repeat, FOUR YEARS LATER – she earned her first professional position as principal horn with the Florida Symphony. The next year, at age twenty-one, she became the first female brass player in the history of the Houston Symphony, and in 1964 she joined the Chicago Symphony Orchestra as Assistant Principal; the first woman in the section since Helen Kotas left in 1948.
The International Horn Society also owes a huge debt to Fako, who served the organization as Secretary Treasurer from 1976-1977 and again from 2000-2008, and furthermore was a member of the Advisory Council from 1974-1981 and 2000-2008. For more information about her work for IHS, visit their website here. Also of note were Nancy Fako’s contributions to the preservation of horn history. In 1998, she wrote Philip Farkas and His Horn: A Happy Worthwhile Life, the definitive biography of her mentor.
Nancy continued her career both as a freelancer and an educator upon leaving the CSO and has additionally become well-known for her alphorn playing (see video).
In 2018, in the midst of the MeToo movement, Fako published an article (please, please go read it) entitled “Equality and Respect in the Workplace.” Looking at the history of her career from an outsider’s perspective, it is easy to see only the triumphs, the major positions she won, the publications she created. The obstacles, the naysayers and the societal barriers are perhaps less obvious. Farkas himself warned a young Fako that she would only get into that coveted orchestral seat if she could “play twice as well as the men.”
What strikes me most about the article are not the examples she shares of inappropriate behavior by her colleagues – although they are, of course, extremely upsetting – but rather how her own attitudes towards them have changed.
“Over the next few years five auditions resulted in five contract offers. Consequently I never consciously felt that there was any discrimination. Keep in mind that this was the 1960s – there were no screens, no blind auditions, no orchestra committees, no repertoire lists. Fifty years later, due to all the news about sexual harassment, “glass ceilings,” maternity/paternity leave, etc., I now realize that many negative things did happen to me, things that are no longer considered acceptable, but at the time, it was all just “normal.””
It seems to me that every time our society makes progress towards equality in any capacity, the younger generations are struck by what was considered normal to their forebearers. I am very privileged to come from a musical family. In a discussion of Fako’s life with my wonderful mother, who herself is a music teacher and a violist with a career spanning forty years, she shared several stories of inappropriate behavior during her formative years in the early ‘80s. I relate one of them to you here to show that the same issues facing Fako continued into the decades of my mom’s career; when she was eighteen, she landed her first paying gig in a local orchestra. The final night of her contract, upon coming off stage the conductor of the ensemble cornered her in the wings and started kissing her against her will. She was still holding her viola but managed to push him off and get away without physical injury to herself or her instrument.
There are those who could argue that such incidents were thirty+ years ago; surely the environment has changed?!
When I was young, I was in a chamber ensemble with several men who were quite a bit older than me. During rehearsals they would brazenly discuss my appearance, including my cleavage. I was naive; I thought it was normal. I didn’t want to “rock the boat,” or get replaced in an ensemble where my presence was a kind of honor. What I cannot express enough is how dehumanizing the experience was. I felt like an object whose opinions did not matter and was given the impression that I was lucky to be included in the same space as these other brass players. I got my seat at the table, what else could I ask for?
I am including these stories not because I want pity for myself, my mother, or Nancy Fako. Instead, I ask that those who read this particular blog entry consider what actions they are taking on a daily basis to ensure that their colleagues who are vulnerable on the basis of race, gender, sexual orientation, etc. are protected, supported and heard. We as a society and as musicians have of course made progress, but we must continue to strive for equity.
Fako phrases this well. “There are some women who don’t want to take part in a discussion such as this, not wanting to be labeled a woman musician. They want to be a musician, nothing more. But there is obviously still a need for this conversation. Everyone must feel safe from sexism, racism, harassment, inequality. We must have workplaces where all people feel respected. Are we truly a meritocracy where the path to achievement is open to all? Not really. But we are surely closer than we were 50 years ago.”
“All things considered, it is in essence an issue of respect.”
Update: April 28, 2024
Hello dear readers,
It has been several years since I first published this blog post, but in light of recent events in the brass world I would like to share some additional thoughts. It has taken me more time than I would like to put these words to virtual paper, but at this point I simply cannot stay quiet any longer.
For those who may not know (or who are reading this in the distant future and need context), over the last two weeks there has been a public reckoning of several prominent brass-playing men, thanks in part to an article about two accused predators employed by the New York Philharmonic (article can be found here.) First and foremost, I would like to say that I unequivocally and without hesitation support Cara Kizer. What she endured was horrific and I sincerely hope she has found some modicum of peace in the years since these events transpired.
Since the publication of the article, more survivors and witnesses have come forward to corroborate Kizer’s story, and, what’s more, other survivors of other abusers are coming forward to shine a spotlight on people who have hidden in the shadows for far too long.
So - how did we get here?
How have we, both the music and brass communities, gotten to this point that serial sexual predators not only are allowed to continue their crimes, but are actively celebrated and given positions at some of the most prestigious institutions in the country?
First of all, power imbalances. I am a freelancer; I know what it means to have your entire livelihood depending upon your colleagues’ opinions of your playing and your personality or “vibes.” In a music industry without proper union protections, a negative comment from one principal to a contractor or conductor can make the difference of whether or not I can pay rent for the month. Power imbalances are rampant across music; just look at the differences between contractors and personnel managers vs. members of an ensemble, principals vs. their section, teachers vs. their students. As Cara’s story proves, you can be one of the very best players in the world (let’s be real, to be one of the first women in the NY Phil means you have to be an absolute rockstar) and it is STILL not enough to protect you if someone with more institutional power than you decides to oust you. And here is the fundamental difference between abusers who are supposedly “cancelled” and their survivors - many of the women who were assaulted have completely left music altogether, their careers absolutely ended due to trauma and other complications, while those who actually hurt them continue to work even after their “cancellation.”
Another element of this endemic violence against women in music (and in brass) is the existence of open secrets and the “whisper network.” Until accused predators are convicted in a court of law (a very rare occurrence), survivors and their supporters are in danger of libel lawsuits and other consequences if they openly come forward and share their experiences. Thus, a quiet, whispered game of telephone occurs in our circles. “Don’t send your women horn players to this school, that teacher consistently harasses his female students.” “Don’t go to this conference, and if you do, do not get in an elevator with this trumpet player.” “If this tuba player messages you on Facebook, don’t respond - he’ll just use it as a chance to send you explicit images.” (I’m not making these examples up, they are all very real things I have been told/said/heard first person.) Don’t get me wrong, sharing these stories person-to-person is a very valuable tool for those who do not have the power to share publicly. However, staying quiet also protects the reputations of the perpetrators. See the Catch-22 survivors have to face?
Reminder - Survivors do not owe you their stories
All this being said, the effects of harassment and abuse affect every survivor differently; incredibly, some have now reached a place in their journeys to feel like they can share publicly. To them I say a sincere and heartfelt “thank you.” Your words are holding people accountable and I applaud you.
There are many others who are not ready to share, and very possibly will never be at that point and that is ok. For those who this describes, the following message is for you - You don’t owe anyone your story. You are still strong, courageous, and brave. You’ve found the will to go on with your life. Keep your head high with pride and protect yourself and your mental wellbeing. I understand. I have several events from my past I am not willing or able to share. Every single story that comes out re-traumatizes me, and I have spent the last two weeks in alternating stages of grief and anger. Keep going, keep thriving. You’ve got this.
What can you do?
If you are in a position of power (tenured or full-time faculty, orchestra members, etc.) DO NOT ALLOW THIS BEHAVIOR FROM YOUR COLLEAGUES. The onus to report, follow through, and share publicly is on YOU, not the survivors. They have been through enough.
Call out your colleagues, your friends, your circles, WHOEVER, when you hear them engaging in sexist, racist, or homophobic behavior. Jokes like those in Mark Gould’s awful video (I don’t care if it was 2009, even high school me would not have found that funny. Grow up.) are and have been unacceptable, and are indicators of larger views of people they view as Other or lesser than themselves. BE PROFESSIONAL - it’s not that hard.
BELIEVE WOMEN. Enough said.
Dear music world, do better.
Sources
Fako, Nancy. “Equality and Respect in the Workplace: Guest Author Post.” Adaptistration, October 2, 2018. https://adaptistration.com/2018/10/04/equality-and-respect-in-the-workplace/.
“Nancy Jordan Fako.” IHS Online, July 21, 2016. https://www.hornsociety.org/ihs-people/service-medal-honorees/286-people/service-medal-honorees/723-nancy-jordan-fako.
Wagley, Judy. “Alphorn Player FAKO Has Tooted Her Horn for Years on The 'Strasse.” Petoskey News-Review. The Petoskey News-Review, July 14, 2014. https://www.petoskeynews.com/story/news/local/gaylord/2014/07/14/alphorn-player-fako-has-tooted-her-horn-for-years-on-the-strasse/45190907/.