Reconfiguring access and creativity in improvised music: Practice-based perspectives from five women and non-binary musicians

This article examines barriers to participation in improvisational music for musicians
from diverse backgrounds, focusing on issues of gender, race, and accessibility. While
improvisation is often framed as a democratic and liberatory practice, historical and
structural inequalities continue to limit access for women and non-binary musicians.
Using qualitative and arts-based participatory research, this study engaged five women and non-binary musicians in a commissioning process to explore artistic and logistical strategies for fostering inclusivity in improvisation. Findings reveal that the musicians navigated discriminatory attitudes and exclusionary spaces through creative resistance, mentorship, and community-driven initiatives. Barriers were categorized into attitudinal (sexism, racism, and internalized self-doubt) and spatial (inaccessibility of venues, lack of safety, and exclusionary curatorial practices). The musicians used improvisation as a tool for activism, reimagining traditional performance contexts to create equitable opportunities. The study highlights the importance of proactive commissioning, distributed agency, and inclusive curatorial approaches to sustain diverse improvisation communities. By addressing systemic biases in music education, performance spaces, and funding structures, the research advocates for a redefinition of improvisation as a post-genre practice that prioritizes accessibility, collective creativity, and social change.