Subversive Fingering with Claire Annette
Photo by Alejandro Carvajal
Claire Annette, aka Dr. Vince Dominguez, (he/they) is a multidisciplinary artist with a doctorate in music, specializing in woodwind performance, music education, and drag entertainment. They are the recipient of two 2023 RI Options Awards for Best Local Artist and Top Drag Performer, and are the first drag artist signed by the major classical music label, Henri SELMER Paris. This summer, Claire brings Ocean State energy to Dublin, Ireland, headlining the 2024 International Clarinet Association conference.
TW: Hey Claire, thanks for making some time for us. Let’s start with your relationship to East Providence.
CA: Living in East Providence for almost four years, I've grown to *love* this community and the people who represent it. In the time that I've been here, there has been a renaissance on the rise and I'm proud to be part of it!
TW: Correct answer! We’ve introduced you a bit but, in your own words—who are you?
CA: “What are you?” and “Who are you?” are questions that have plagued me since my youth. Born in El Paso, TX and raised in Mesa, AZ—to be Mexican in predominantly conservative white spaces felt like a sin. I quickly realized that adding “gay” to that label would only magnify the scarlet letter I was already wearing. The lack of external validation I received from most areas of my life left me feeling less than whole; I was known more for my differences than for my abilities in my childhood. As I grew older, I learned to be less trustful and ask more questions, thinking critically about the world that didn't always meet me eye to eye. Once I discovered my love for music, I knew that I had finally found a lifeline that I could find joy in.
Today, I'm a professional musician who takes part in the art of drag, breaking barriers and subverting expectations in classical music. My art is political, and it's revolutionary. I'm proud to be a blueprint for other BIPOC and/or queer musicians out there and always strive to remain community-focused with the projects that I collaborate with or produce.
Photos courtesy of Claire Annette
TW: You’re self-taught, yeah?
CA: In many ways, yes! I’ve never shied away from learning something new. As a young musician, I didn't have access to private lessons until I was in 9th grade. Being primarily self-taught without the luxury of modern Google and YouTube, I was able to work my way up to first chair by the middle of 8th grade—a pivotal turning point that empowered me to realize that music could be my calling and not just a hobby.
By high school, I had found community in marching band and confidence as the clarinet provided a vehicle for fulfillment in ways that no other creative outlet had ever given me. Looking back, my high school years were formative and though I wish I could have lived with more freedom, I'm proud to have had fiercely supportive parents who never questioned my goals as I worked towards pursuing a professional career in music.
TW: Now as an adult, you’re fighting discrimination in partnership with organizations like Quinteto Latino, as well as through drag performance. Could you speak a bit more on that?
CA: With Quinteto Latino, we worked to break the racial and social barriers that have long existed in the classical music world by spotlighting and performing classical music compositions by Latina/o/e artists, empowering emerging Latina/o/e classical musicians, and providing culturally-competent K-12 classical music education and training to students and music practitioners. As a Western European art form, classical music's roots are inherently racist, discrimination among BIPOC/queer people is still very present. (I say this also speaking from personal experiences.) During my time with QL, I'm proud to have contributed to an organization whose mission is focused on changing the course of social dynamics for a more equitable future.
As a drag performer, I am also working to unpack the expectations that Western music has held on BIPOC and queer people. Being able to break barriers that my past selves could only have imagined still blows my mind and I’m super proud to be the representation for others that I never had as a kid.
TW: That feels awesome and highly collaborative. Any specific artists from the community you want to shine a light on here?
CA: Tooting my own horn, in 2020 I commissioned three new works by Mexican composers Hilda Paredes, Juan Trigos, and Victor Ibarra as part of my doctoral projects at Arizona State University. As a body of work, each piece underscored sociopolitical issues in US and Latin America and it was an honor to have amplified the voices of other Latino artists.
In the drag community, I’m highly inspired by eco-queen Pattie Gonia; she works independently to shed light on sustainable practices that better the earth while being totally herself every step of the way. I’m also loving Sapphira Cristal, another classical musician turned drag queen who is killing it on the most recent season of RuPaul’s Drag Race.
Photos courtesy of Claire Annette
TW: How about works that inspire from outside your immediate world?
CA: For poetry, Anything by Ada Limón or Alex Dimitrov. For music: The Bulletproof Musician Blog by Noa Kageyama, Ph.D. For laughs: Trixie & Katya's Guide to Modern Womanhood.
TW: You’ve traveled extensively, even outside Rhode Island! What’s out there; the good and the tough?
CA: During my first summer of grad school in 2013, I had the chance to take part in a concert tour across China with the University of Kentucky Symphony Orchestra, one of the most magnificent musical experiences of my entire career. I will never forget the gratitude of each and every audience that we performed for: standing ovations, cheering, and a love for live music that I've never experienced living in the states. These moments will always live rent free in my head.
On the flipside, in 2018, I was at a train station cafe in Europe and my clarinets were stolen due to being too comfortable in a foreign public space. This loss devastated me and forced me to start over with new instruments and completely relearn how to play in many ways during my doctoral degree years. Looking back, this is an experience that I will always wish I could redo.
TW: We also heard something about a cow farm?
CA: I also once stayed on a cow farm with a host family in Belgium during a music conference in 2011. On the day I was supposed to leave, my cell phone died, I lost track of time, and had to bike back to the ranch, get my bags, and haul them back to the Oostende train station during a gale storm because there were no taxis or rides available. It was absolutely stressful, I arrived looking a hot mess, and would have made for an *amazing* TikTok reel (lmao).
Photos courtesy of Claire Annette
TW: Speaking of digital content, we love your Musical Drag Names series and the C.L.A.I.R.E. To Keep Kids off Brass shirt merch. Are you behind all that, or are you working with a team?
CA: Thank you for asking! As a designer for 10 years, I work independently to create and market everything that you see on my social media, website, and merch page. Working alone is definitely a slow burn process, but I'm super proud to know that what I am sharing is all my own doing. For anyone reading, I'm available for design work and commissions! :)
TW: Is design work what got you linked up with Google?
CA: I signed on as a GooglePixel ambassador in 2017 after working in commercial brand partnerships for several years. As an early Instagram user, my account was added to the ‘Suggested User's’ List in 2014—that perk is now grandfathered by the app—and I was able to pursue lots of work in photography and social media PR. Working with Google, I use their products to create all my content and contribute to their internal newsletters. (Best phone camera in the game, IMO!)
TW: In addition to merch, performance fees and so on, are there other revenue streams you’re tapped into? It seems like artists in Rhode Island all have 5 side hustles.
CA: I'm a full-time freelancer working in music education, drag entertainment, and graphic design. Grants are always a plus, but I tend to fund most of my own projects and having a handle on marketing saves lots of money. I feel like I'm never not working on something, but I love the flexibility that my work schedule provides me.
Photos courtesy of Claire Annette
TW: We’re glad you mentioned grants—it’s a daunting proposition for the unfamiliar. Any pro tips?
CA: Ah, grants—I love to hate them (ha!) Like job searching, identifying and applying for grants can be a lot of work and is not usually very fun. I think that to be successful, you need to have a strong vision, call to action, and intention for your project. Make sure you know your deadlines, have a couple proofreaders before you hit submit, and always be concise, yet direct with how you break down your expenses. I'm not sure if there's a magic formula for grants, but I definitely feel that they get easier to complete the more you pursue them.
TW: Thanks, Claire. We appreciate the time! Now, please do some promo for Myrtle. Tell the people about the Strange Bird Open Stage Variety Show.
CA: Come out to the Strange Bird Open Stage Variety Show at Myrtle every 1st Tuesday! It's a wacky and wild time that is open to everyone who has a talent they want to share. So much fun and never the same. I'd have to say that John Dember singing fish songs on the accordion and Anthony Green on the toy piano were total standouts. World class vibes, top notch drinks, and hosted by yours truly!
