Meet Dr. Tia Dionne Roper

We were lucky to catch up with Dr. Tia Dionne Roper recently and have shared our conversation below.

Hi Dr. Roper, so excited to talk about all sorts of important topics with you today. The first one we want to jump into is about being the only one in the room – for some that’s being the only person of color or the only non-native English speaker or the only non-MBA, etc Can you talk to us about how you have managed to be successful even when you were the only one in the room that looked like you?

Absolutely, and thanks for bringing this particular subject to the forefront. When you are the only one in the room who looks like you, there is no blending in or hiding. As an artist, that is the last thing you’d ever want to do: hide, blend in, or simply be unremarkable. I remember reading evaluation comments from a panel of judges after just performing in a prestigious music competition as a nineteen-year-old flutist. In addition to assessments about my musical expression & lyricism, stage presence, tone, and technique, one judge wrote an entire paragraph about how striking I was. This was a flattering comment indeed! However, to my family, to people in my community, and other African-American women, I’m not striking. To him – seeing me on stage performing a classical concerto by memory in a beautiful gown: I was striking. The word striking is defined as “someone who is very attractive, in a noticeable way…….someone who attracts attention by reason of being unusual, extreme, or prominent.” In a sea of competitors, no one else looked like me.

When you are often the only one in a room full of ‘non-yous’, you quickly develop the ability to speak up and advocate for yourself. More times than not, in that space, I become the spokesperson and representative for my community. With all of this comes a strong sense of self. I live by the saying: “Surround yourself with people who brighten your light, not dim it each time you see them.” I have a phenomenal group of friends and family who encourage me and lift me up. My parents have instilled self-love, self-worth, and have given me the knowledge of my ancestors whose legacy and contributions to this world are constantly with me – thereby giving me a perpetual sense of ‘you are not the only one in the room as I am with you.’

Thanks for sharing that. So, before we get any further into our conversation, can you tell our readers a bit about yourself and what you’re working on?
I am always in search of new ways to expand and broaden my mark as a flutist. I perform as a classical orchestral musician, solo recitalist, chamber musician, jazz player, and recording artist. I can now add to that list the title of premier Brand Ambassador for Fluterscooter Bags: a high-end, luxury flute & piccolo designer bag company.

Looking back, what do you think were the three qualities, skills, or areas of knowledge that were most impactful in your journey? What advice do you have for folks who are early in their journey in terms of how they can best develop or improve on these?
There are many principles of wisdom and awareness that have been indispensable in my development and success as a flutist. If I had to pick the three most essential ones, they’d be:

1) Learn, learn, and then learn some more. Knowledge is power.
2) Always advocate for yourself.
3) Create your own opportunities. One of my favorite quotes is “Do not go where the path may lead, go instead where there is no path and leave a trail.”

Awesome, really appreciate you opening up with us today and before we close maybe you can share a book recommendation with us. Has there been a book that’s been impactful in your growth and development?
“The Inner Game of Tennis: The Classic Guide to the Mental Side of Peak Performance” by Timothy Gallwey has been an exceedingly invaluable and relevant book for me as a musician. Dealing with stage fright is something most performers experience. It is natural to feel some form of anxiety. We are, after all, humans and not robots! However, we don’t want nerves to be so debilitating that we unwillingly sacrifice the musical integrity of our craft. There is a prevailing misconception that musicians are at ease with auditioning or playing to a sold out crowd. Just because we love our art form, doesn’t mean we are immune to nerves. This illuminating and enlightening book gave me infallible tools to mentally prepare for auditions and presentations with confidence and calm. It is not just about practicing until your technique is perfect, it’s also about envisioning yourself giving a beautiful performance. Mindful meditation, mock auditions, all of these key concepts are steps that contribute to rewarding presentations. I first read this book when I was a student at Juilliard Pre-College. Every two years or so, I revisit “The Inner Game of Tennis.” Each time, it is just as impactful as the last. It’s somewhat like performing a musical selection: the notes are always the same, but each time, I want to paint a different picture that is just as colorful and descriptive. Music sure is powerful!

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