POLITICAL CORRECTNESS IN THE LATE 20th CENTURY

POLITICAL CORRECTNESS IN THE LATE 20th CENTURY
In 1998, I had a wonderful experience to create the title role in a new operatic work entitled Coyote Tales, by Henry Mollicone (composer of Face on the Bar Room Floor, and Hotel Eden) and Sheldon Harnick, (award-winning author of She Loves Me, and Fiddler on the Roof). The project took over two years in the creative process, and was very enlightening in regards to how sensitive we have become, on the one hand, to be politically correct and sensitive to the rights and feelings of others in this part of the century. Coyote Tales is based upon the Native American legends of Coyote, who, in many tribes carries elements of deification. Coyote creates the world, and the creatures who dwell therein, he steals fire, he falls in love with a star, he continues to be a trickster, and has many lives to accomplish all of these feats. Russell Patterson, General Director of the Lyric Opera of Kansas City was very sensitive to the beliefs of the varied Native American tribes, and set out to carefully initiate open discourse between leaders of the tribes as the work was being created. He felt strongly, that it was important not to say or do anything which might offend or assault the traditions and deep religious feelings on the subject of Coyote. Many conversations and even a consortium was initiated between the creative team of Patterson, Mollicone, Harnick, Vincent Liotta (the director) and myself to communicated and take counsel from leaders from Haskell University?????/ The final result was one of mutual respect and accommodation, bringing both cultures together in a spirit of mutual approbation. It was for me, the example of how the system can work to inform, and enlighten in an environment of tolerant appreciation of differences. This is quite a difference between 1966 and Hair, which purpose was to offend and affront. How interesting to see how a generation can change, at least in the realm of serious music.