In this series, mica – music austria and Austrian Music Export have collected the experiences and perspectives of women in the music business. No matter the categories, quotas or breakdowns, the goal is 100% of us working together in the struggle for feminism. Saxophonist/composer YVONNE MORIEL divides her time between Vienna and Zurich; her music mixes jazz with influences like dub, hip-hop, and electronica and is increasingly attracting attention from the international music industry and press.
What people / institutions / funding programs helped you along the way in the music business?
Yvonne Moriel: There wasn’t really a specific person or program; I kind of gathered information from different sources. However, individuals did help me now and then – by showing me a new world, giving me confidence in my own abilities and encouraging me to present them somewhere.
How and where did you get your experience in the music business? What were your biggest challenges, and how did you overcome them?
Yvonne Moriel: I’ve just tried to figure out everything there is to do, how other people have done it, and to get in touch with people I find cool and inspiring. And then just staying at it, without judging the results too harshly. Perfectionism is paralyzing a lot of the time. It’s hard if you have high standards; you often have to just swallow your fear about something not being good enough and what people are going to think of it. But the reward is that you really improve a lot by doing, and then doing again, and then doing something new. The tough part is that progress always happens stepwise; you can’t let that get to you.
“Opportunities are so important to a career; they can mean so much to the person who gets them.”
What kind of support have you received in your career? Where would you have liked (more) support?
Yvonne Moriel: I switched from classical music to jazz, and I would have liked to have more support, more trust, the opportunity to experience more and develop further. Opportunities are so important in a career; they can mean so much to the person who gets them. Little things can really jump-start a career – a mention, a recommendation, an invitation. That’s why I’m so thankful now when someone gives me a chance to do something; I don’t forget that.
Did you have role models around you to look up to? What role models do women in the music business have right now? What can you pass on to others?
Yvonne Moriel: No, I didn’t. But I think it’s great that strong, talented, independent, self-confident women are becoming more visible. It’s great for a number of reasons, but particularly because I think a person is most influenced by people and events in their immediate environment. I want to inspire and motivate people to find their own path too – and to follow it, even if it has to be built from scratch. That takes a lot of courage. It often seems smarter to just follow the beaten path, or the one people have told you is the good, reliable one.
“People always take me for much younger than I actually am, and all it does is make people take me less seriously.”
What role does age play for you?
Yvonne Moriel: It’s ridiculous how much importance people give to age, that everyone thinks it’s the ultimate goal in life (especially for women) to look as young as possible. It says so little about a person, about their life and their abilities! For instance, people always take me for much younger than I am, and all it does is make people take me less seriously. Young women are often seen as less competent and more inexperienced, even if it’s unconscious.
What would you like to see in terms of a more diverse music scene?
Yvonne Moriel: That when people meet, their impressions of one another aren’t instantly dictated by age, gender, and other surface attributes – that they get to know the person in front of them instead, respectfully and without prejudice. Then you don’t have to constantly prove yourself. Less judgment would probably be helpful, too.
What questions do you get asked that a man would never be asked?
Yvonne Moriel: “What’s it like with all those men? Isn’t it tough? Are they nice to you?” or “Why do you think there are so few/no women in [insert job] – is it maybe something genetic…?”
Translated from the German original by Philip Yaeger.