How to Catch the Butterfly?

The title of this post is the subject line of an email I received recently from a friend who is grappling with the question of how to inveigle visitors to/potential members of her chorus to return and become actual members. This is a question that all choirs face, but it is exacerbated in this case because it is a group whose members are spread over a wide geographical distance, and who only meet once a month. So the opportunities for people to 'go off the boil' (as my correspondent put it) are significantly higher than for those choirs that meet weekly.

What they do so far is to 'pamper while they are at rehearsal, follow up once or twice between rehearsal (designated officer does this).' What they don't do is issue any music or learning materials until people are paid-up members, and the email implied that not being able to practise was a significant obstacle to ignition.

There are thus two distinct but related issues lurking in here: how to keep people's enthusiasm between rehearsals, and the pragmatics of giving out chorus property.

Rituals, Habits and Anchoring

A ritual is a habit with meaning. Choirs have all kinds of habits: some good (clearing the chairs away after rehearsal), some bad (sneaking breaths in obvious places mid-phrase), some cultivated deliberately (smiling while singing), some developed by osmosis (going to the pub after a concert).

But a ritual is something both done deliberately and freighted with a specific import. It shares with habits that quality of repeated action, but it has a sense of self-awareness, of being invested with significance beyond itself. It functions to bind those participating in it together into a shared identity rooted in shared experiences. It will either implicitly embody or explicitly articulate some aspect of the choir’s values.

Sweet Adelines Back in Brum

Sweet Adelines were back in Birmingham at the weekend for the second year running for their annual convention at Symphony Hall. I commented last year about how the region’s healthy state is clearly audible in the quality of the performances they are producing, but this year’s contests were a clear step up from there.

The quartet contest was hotly contested, with a strong field of well-established quartets and experienced quartet singers dominating the top ten places. Gold medallists Echo, for example, were only in their second year as a quartet, but have the experience of two previous gold medallists within the line-up, while the second and third place quartets, Miss-Demeanour and Fortuity are the 2010 and 2011 LABBS champions respectively.

Bristol Fashion: Breath, Resonance, and the Edge of Ability

I spent last Sunday back with my friends in Bristol Fashion, who continue to go from strength to strength. I have been working with them once or twice a year now since 2009 and it is very noticeable that each time I return the skills we worked on during previous visits are always well enough embedded to build upon for the next set of developments.

For example, a couple of years ago, it was a significant challenge for the singers to sustain a line by bubbling. This time, we could take that skill for granted and build on it using a combination of ideas I picked up from Alison Thompson at the LABBS Education Day last week and the Inner Game principle of Will.

Syndicate content