Engaging the Community

American orchestras have been performing for school audiences and participating in civic-related events for well over 150 years, despite the recent realization by some that orchestras must be cultural citizens. The New York Philharmonic was presenting thoughtful education concerts with city school officials sitting on the orchestra’s board 50 years before Leonard Bernstein’s Young People’s Concerts ®. Today, there are ample numbers of exemplary orchestra education programs, such as the recipients of the Bank of America Awards for Excellence in Orchestra Education administered by the American Symphony Orchestra League. To read about these recipients, click the following link: www.symphony.org/edu/bankawards/index.shtml .
Clearly, there is no shortage of creativity and growth in orchestra education programs, and the basic principles behind effective school partnerships are not a mystery. What may be a mystery is why, in too many orchestras, engaging the community is an after thought; not in their mission statements or a core value to the institution, but left to the marketing department or in education grants. I suspect the current urgency for community connection and relevance is related to rising orchestra costs; reduced funding options; government and legal challenges around equity (think racial diversity); and a loss of the unquestioned position of civic prestige and cachet formerly afforded symphony orchestras across the country.
Whatever the ultimate reasons, I for one am thrilled that our collective attention is squarely on figuring out how to “add value” to our communities in ways that are mutually defined. Learning how to do this well has already begun for individual artists at many educational institutions such as The Juilliard School. As Director of Educational Outreach there, I worked with young musicians, dancers, and actors who wondered if they were being prepared for a life in the arts or a job in the arts. Would their employers care to develop and benefit from all of their artistic and “non-artistic” gifts and interests? Those gifts include writing, speaking, lobbying, organizing, passing on knowledge, leadership, performing many styles, and volunteer work.
Many schools are starting to nurture these gifts. As an example, Juilliard’s Community Service Fellowship allows student groups to create and lead interactive performances in a variety of health care settings (i.e., hospices, pediatric wards, drug abuse clinics, etc.) after workshops with therapeutic specialists, role-playing, and peer coaching. These types of educational experiences do not throw artists into unfamiliar territory nor assume that a “natural aptitude for people” translates into an ability to create a rich learning experience regardless of age or setting. Instead, these experiences respect the endeavor and the artist enough to prepare and rehearse for success.
The professional world needs to take heed. Your future artists are coming with an expectation of artistic and human fulfillment in their professional life that includes being a part of their community. If orchestras truly value community connections and the individual gifts of their musicians, then orchestras will have to demonstrate that commitment in mission statements, in the audition process, in the contract (what are all the ways you could “add value” to the organization?), and on the board.