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Reopening your Orchestra, part 2 with Janet Sellery

Top 10 Learning Points from Janet Sellery – Reopening Your Orchestra, Part II
On September 10, health and safety expert Janet Sellery led an in-depth workshop with Orchestras Canada members and friends on risk assessment, planning, and preparing for the new normal in the time of COVID. While we urge you to review her PowerPoint deck, worksheets, and affiliated resources, OC’s friend Dr. Roydon Tse has prepared a summary of 10 key takeaways from the in-depth session. Thank you, Roydon! And thank you, Janet!
A Collective Commitment to Reopening Safely
At this moment, the priority is on keeping everyone healthy and safe, and – as conditions permit – creating an environment where patrons feel confident to return. A social contract where all parties agree to take precautions, understand their responsibilities, and have the tools and training necessary, will take time to build.
Know your rights and responsibilities
Be informed of your rights and responsibilities as an employee, employer, or engager, knowing that workers (paid and volunteer) have a right to participate, right to know, right to refuse work, and right to be free from reprisal should work be refused. It is the employer’s (engager’s) responsibility to provide a healthy and safe workspace.
Be informed of current Public Health restrictions
Inform yourself about the public health regulations and restrictions in your jurisdiction. Stay current on Federal, Provincial, and Municipal regulations as they evolve.
Create a COVID-19 leadership role in your organization
Whether you’re a large organization or a small one, it is best practice to identify someone in your group who can serve as the COVID-19 point person, to work closely with your stakeholder groups, your venue, and your community to enforce compliance with all protocols.
Know and Assess Risks
Take a detailed look at the various roles in your orchestra to identify tasks and their potential hazards. After conducting a risk assessment, plan the activities you can safely commence with, scaled to suit your capacity for compliance.
Eliminate, Control, and Prevent
Referring to the Hierarchy of Controls (referenced in Janet Sellery’s slide deck, and replicated below), start with an assessment of the hazards you might face, and determine which can be eliminated entirely, and which can be managed via engineering and administrative controls. PPE (“personal protective equipment”) should be used in combination with engineering and administrative controls: PPE are not a complete solution.
Consider Programming Re-design
Identify programming that can be presented safely and consider alternative programming to ensure the safety of all involved.
Prepare a Healthy Workplace
Implement steps and procedures for each activity to ensure all artists, workers, volunteers and patrons are safe, feel safe, and have adequate information and equipment to function safely. There may be a need to reassess existing schedules, create additional roles, and allocate additional resources to prepare a healthy workplace for all.
Watch out for “magical thinking”
We all want to return to “normal” as soon as possible: music is essential to our well-being as individuals and as communities. We miss it! But we need to be careful not to cherry-pick our information sources to justify our actions. Evaluate the credibility of your information sources: look for peer-reviewed research, undertaken as locally as possible, by academics and medical professionals.
Take Baby Steps
With so many details to manage, it’s best to plan a gradual and staged return to work. Test your procedures through small and controlled experiments. It is beyond important to get it right the first time: the best way to move forward is to take small, thoughtful steps first.
“If you can’t afford to do it safely, you can’t afford to do it at all.”
You can listen to a recording of the session here.
Session materials:
Reopening your Orchestra Janet Sellery presentation slides
OC Risk Assessment Janet Sellery-EN
OC COVID-19 Response Planning Janet Sellery EN
Orchestras Canada Reopening Resources Sept 10 2020
Standing Committee on Finance 2021 Pre-Budget Consultation: OC Submission
On August 7, Orchestras Canada/Orchestres Canada submitted a brief to the federal Standing Committee on Finance as part of the annual pre-budget consultation process. Drawing on the perspective of OC members, the measures we proposed in the brief will:
1. Retain jobs and key talent in arts and culture in towns and cities across the country, so we’re ready for a swift re-launch of the live performing arts sector when conditions permit;
2. Enable arts and culture groups of all sizes – from the most grassroots collectives to our major flagship institutions – to respond to their communities’ cultural needs in new and compelling ways at a time of crisis;
3. Incentivize philanthropy to encourage individuals, philanthropic foundations, and businesses to play their part;
4. Enhance cultural spaces where Canadians gather for transformative arts and culture experiences to ensure they are supported, modernized, and made safer, more accessible, and more environmentally sustainable.
We invite Canadian orchestras to read the brief, then share it with your MP or MPs: OC PreBudget Brief 07 August 2020
You can link to a customizable email message here: Cover Letter Template_Pre-Budget Brief EN
Standing Committee on Finance 2021 Pre-Budget Consultation: OC Submission August 2020 and Template Letter
Orchestras Canada is grateful for the opportunity to present the perspectives of our member orchestras to the Standing Committee on Finance. The measures that we propose in this brief will:
1. Retain jobs and key talent in arts and culture in towns and cities across the country, so we’re ready for a swift re-launch of the live performing arts sector when conditions permit;
2. Enable arts and culture groups of all sizes – from the most grassroots collectives to our major flagship institutions – to respond to their communities’ cultural needs in new and compelling ways at a time of crisis;
3. Incentivize philanthropy to encourage individuals, philanthropic foundations, and businesses to play their part;
4. Enhance cultural spaces where Canadians gather for transformative arts and culture experiences to ensure they are supported, modernized, and made safer, more accessible, and more environmentally sustainable.
Read the submission in full here: OC PreBudget Brief 07 August 2020
Customizable template cover letter for members: OC Cover Letter Template_Pre-Budget Brief EN
Reopening your Orchestra, part 1 with Chris Walroth
Top Tips from “Reopening Your Orchestra: Part I”
On August 14, Orchestras Canada hosted a webinar with Toronto Symphony Orchestra Production Manager Chris Walroth. Chris shared some key insights on how orchestras should be planning for a safe re-opening. While it’s hard to condense his presentation and the resulting discussion into just a few short points, here are some highlights.
1. You need to know the public health regulations in place in your municipality, province, and country.
2. You need a customized plan that takes into account the specifics of your orchestra
Reopening your orchestra safely requires planning and consultation with artists, organizers, operators and permit holders. You are responsible for assessing risks and implementing measures to reduce the risk of infection among all who participate in your activities, whether they’re paid or volunteers, whether they’re artists, backstage workers, administrators, or board members.
3. Slow down, and maintain safe bubbles
We know that longer contact between people increases the risk of transmission, and so we need to reduce the length of contact as well as the number of people who are working in the same space. Slow the process down, work with fewer people at the same time, take longer to do the job, and allow only mission-critical people to work in any given area.
4. Communication is Key
Communication and enforcement are the most challenging aspects of reopening safely. We all have routines and are used to working in a certain way, but reopening is a team effort that requires everyone to be on board 100%. Be consistent, be persistent, and embody the behaviours that you want to see others adopting.
5. Document and Organize Everything
We’re in a chaotic and fluid time, and the science and interpretation of the science) continue to evolve. Be organized, document your actions and interactions carefully, and try to over-prepare. This will enable you to concentrate the necessary energy on contact tracing and other new protocols that will need to be in place when you reopen.
6. Best Practices for Orchestras
Sharing of equipment (from chairs and stands to percussion equipment, and more) must be discouraged. Rehearsal procedures should be re-examined to minimize duration of exposure, and the number of people who are working together at one time. The flow of concerts should be examined, with consideration of shorter concerts with no intermission. PPE such as face masks should be mandatory for everyone until they’re seated in place on stage and ready to play. And, as Chris said, “wherever there is great art, there is also a lot of garbage!” Make sure you’re making it as easy as possible for your people to wash their hands, and safely dispose of items they’ve touched.
Orchestras Canada will continue to monitor the state of safe re-opening in jurisdictions across Canada, and we look forward to continuing the discussion and the learning with you!
Presentation slides: Reopening Your Orchestra Chris Walroth – Slides
Bibliography: Reopening Your Orchestra Chris Walroth – Bibliography
An audio recording of this session can be found here.
Reopening your Orchestra, part 1 with Chris Walroth
On August 14, 2020, OC presented the first of two webinars as part of the Re-launch online learning series designed to equip orchestras with the information and ideas they need for a safe and successful return to activity.
Session description: COVID-19 seems to have turned orchestral music-making into a high risk activity. As orchestras reopen, old routines and procedures need to be revised to keep musicians and audiences safe. This webinar focuses on the most promising evolving practices for orchestras from a practical standpoint, and examines the steps necessary to keep everyone safe. Led by Chris Walroth, Production Manager of the Toronto Symphony Orchestra.
Presentation slides: Reopening Your Orchestra Chris Walroth – Slides
Bibliography: Reopening Your Orchestra Chris Walroth – Bibliography
A summary and audiofile will be posted soon.
Submission to the Ontario Standing Committee on Finance and Economic Affairs
Image: Timmins Symphony Orchestra, Credit: Karina Miki Douglas-Takayesu
Regarding the study of the recommendations relating to the Economic and Fiscal Update Act, 2020 and the impacts of the COVID-19 crisis on certain sectors of the economy – Culture and Heritage sector.
Summary
Ontario orchestras commend the Standing Committee on Finance for studying the impact of COVID-19 on the Culture and Heritage sectors.
Like others in the live performing arts, orchestras have been deeply affected. Compared to the same period in 2019, the revenues of Ontario orchestras have already contracted almost $15 million since March 15 (about 20% of their annual revenues) due to the cancellation or postponement of all ticketed events, including concerts and fundraising events, during the last part of their 2019/20 seasons.
Orchestras are looking to all levels of government to help them bridge this crisis, so they can continue to serve their communities in creative ways, retain key team members, and ensure a quick and complete recovery when the crisis is over.
To achieve these goals, we recommend that the Province of Ontario:
- Provide stabilization funding for arts and culture;
- Provide incentives for individual and corporate giving;
- Invest in built and digital infrastructure;
- Sustain and increase investments in arts and culture through the Ontario Arts Council.
About Orchestras Canada and Ontario’s Orchestras
Orchestras Canada/Orchestres Canada (OC) is the national association for Canadian orchestras. Established in 1971 as the Association of Canadian Orchestras, OC represents 130 member orchestras, including 69 in Ontario. They range from volunteer-driven community groups, to youth and training orchestras, to regional and major professional orchestras. Most are organized as registered charities, and all are not for profit organizations.
In the 2018-19 season (a time period that typically mirrors the academic year), Ontario orchestras drew a collective audience of over 860,000 and generated over $76 million in revenue. That year, overall revenues of Ontario orchestras were a careful balance between:
- Earned income (from ticket sales and sold services): 38.3%;
- Contributed income (from donations, sponsorships, and fundraising special events): 42.9%
- Government investment (from municipal, provincial and federals bodies): 18.7%
Ontario orchestras raise a higher proportion of their annual revenues from their communities, through ticket sales and fundraising, than is the case anywhere else in Canada. In return, our orchestras invest just under 70% of their annual budgets in salaries and professional fees to artists, arts workers, and people in related businesses.
Early Impact of COVID-19 on Ontario Orchestras
In June 2020, Orchestras Canada asked our members to provide a forecast of their year-end results. From this survey, we learned that – overall – Ontario orchestras anticipate that their 19/20 seasons’ revenues will contract by an average of 20% compared to last year, due to COVID-19 cancellations. This represents a collective revenue loss of nearly $15 million since March 15.
These findings are supported by an April 2020 survey of the arts sector by the Ontario Arts Council. The 441 Ontario arts organizations surveyed by the Ontario Arts Council in April estimated that they’d lose as much as $128 million due to COVID-19 – an average of 16% of their total annual revenue. 71% said they’d be laying-off people. Another 21% indicated that it was too early to say.
Impact of COVID-19 on Ontario Orchestras – 2020/21 and Beyond
Compared with the last “typical” orchestra season, we believe that as much as 80% of Ontario orchestras’ revenues are at risk in 2020-21 and beyond. Unless governments and arts supporters act quickly, we risk losing even more than money.
The pandemic-era 2020-21 orchestral season that we want Ontario’s communities to experience includes:
- physically-distanced performances by smaller orchestras,
- outdoor performances,
- short performances in venues that will permit flexible seating,
- new partnerships with educators and community organizations, and
- creative approaches to digital sharing and musical
These programs will make use of musicians’ talents and creativity, and enable even more Ontarians to access the work of orchestras. They will also ensure a smooth and seamless return to normal programming when the time is right: by “keeping the band together”, retaining key staff, and staying in close musical contact with our communities during a time of crisis, we are confident that orchestras will be well-placed for re-opening as soon as it’s feasible to welcome large audiences back into close proximity in enclosed spaces.
However, these kinds of programs simply don’t and cannot generate the kind of revenues that a typical concert season does: they will require strong partnerships between all levels of government, a commitment to exceptional levels of government investment, and incentives for private sector involvement, too.
This is an existential crisis for the performing arts. We were one of the first sectors of the economy to be affected by the pandemic, we are among the most deeply affected, and will likely be slowest to recover. By helping us bridge to the time when we can once again convene large gatherings, the government of Ontario will help preserve the value of its long-term investment in Ontario communities through our artists and arts organizations, and ensure that Ontarians can continue to engage with the arts at a time when solace, emotional release, and collective enjoyment are more important than ever.
We support the recovery principles proposed by the Canadian Arts Coalition:
- Equity must be fundamental to the province’s approach. Due consideration of Indigenous, racialized, deaf, disabled, rural, Francophone and otherwise marginalized artists and their organizations is fundamental.
- Collaboration with federal and municipal programs is vital, to ensure that gaps in policy and investment are bridged.
- Time is of the essence. If arts and culture are going to play a role in Ontario’s recovery, they need help NOW.
Our Recommendations to the Standing Committee on Finance and Economic Affairs
We respectfully recommend that the Province of Ontario:
- Provide stabilization funding for arts and culture to complement and address gaps in existing federal support and help artists and arts organizations maintain core activities during mandated closures. This could be delivered through an agency such as the Ontario Arts Council. We see this as complementary to the Ontario Non-profit Network’s call for the establishment of a $680 million stabilization fund for the province’s charitable and not for profit sector.
- Provide incentives for individual and corporate giving to arts and culture by establishing a short-term (3-year) donation matching program for charitable gifts towards operating costs.
- In collaboration with federal and municipal governments, invest in infrastructure to:
- Support renovation and retro-fit of existing cultural facilities to ensure that public health protocols can be more easily accommodated; and
- Equip cultural venues for digital content capture and sharing so that artists and arts organizations can develop, capture and share their work while traditional venues are closed or have only limited capacity.
- Sustain and increase investments in arts and culture through the Ontario Arts Council:
- To encourage Ontarians to connect with the arts, now and when our venues re-open;
- To re-establish Ontario as an arts and entertainment destination for people beyond our borders, when the time is right;
- To permit signature “re-launch” artistic programming, to bring Ontarians and the world back to our cultural venues and events, when the time is right.
We thank the Standing Committee on Finance and Economic Affairs for your careful attention to these issues, and are standing by to further support your work.
Producing & Monetizing Digital Content
In this digital “new normal,” how can orchestras monetize online performances to offer innovative programming while recreating the exclusivity and intimacy our patrons value in our concert hall performances? On July 6th, OC welcomed Lana Leprich (Tafelmusik Baroque Orchestra), Neil Middleton (Vancouver Symphony Orchestra), and Tricia Baldwin (Isabel Bader Centre for the Performing Arts) to share their experiences, advice, and the future they see for monetizing online content.
An audio recording of this session can be found here.
Read on for a few key learnings from this session:
1. Collaborate!
Tricia emphasized the importance of collaboration to expand market access and ensure that artists are paid for their services, especially for smaller organizations and smaller population centres. Partnering with fellow arts organizations, festivals, ensembles, and more helps to pool resources for artist fees, in addition to combining audiences for greater impact.
You can also forge unlikely partnerships to incentivize ticket purchases – such as Tafelmusik’s partnership with a gelato company, offering a treat to enjoy with tickets to their digital events!
2. Where possible, create live or time-restricted events
Lana and Neil emphasized the importance of offering live or time-restricted events as part of selling an experience to potential ticket buyers. This can take the form of a true livestream performance, with musicians playing in real time. If the technical issues stress you out, though, you can pre-record performances to broadcast at a designated time (as Tafelmusik did for their Tafelmusik at Home series).
Tricia highlighted their success in engaging audiences, with the ability to ask questions and react in real time, either via social media tools or through a live Q&A with the performers.
3. Create for the medium, and take sound quality as seriously as your in-person performances
Tricia offered tips on creating high quality digital content that patrons will want to pay for: 1) High-fidelity sound, with particular attention to excellent source sound, 2) Varying camera angles throughout the performance to keep audiences captivated, and 3) Brighter lighting compared to live performances for better appearance on camera.
For their Bader and Overton Canadian Cello Competition, the Isabel Bader Centre provided a guide to performers for setting up high quality live recording technology in their homes. See the guide here.
4. Test, test, test! Prepare to handle technical difficulties
It is important to test your digital performance on the source and viewer side. Lana recommended testing on a variety of devices – smartphones, computers, tablets, smart TVs, etc – to ensure your content looks and sounds the way you want. All recommended having enough staff support at show time, monitoring and addressing any issues at their source, providing technical support to viewers if needed, and moderating chat and comments.
5. Your digital content may reach audiences beyond where you’d expect
Originally, the Vancouver Symphony predicted that the audience for their Digital Concert Hall would exist predominantly among their existing subscriber base. However, Neil and the VSO found that the audience demographics for their digital performances have gone far beyond typical expectations. He sees digital as an opportunity to reach audiences who would not otherwise travel into the city for a typical concert.
Similarly, Lana remarked that Tafelmusik’s post-concert surveys revealed that 35% of their Tafelmusik at Home patrons were new to Tafelmusik.
6. Different monetization models – Experiment!
There are many ways to approach monetization, and experimentation can help inform your efforts going forward. You may encourage a donation, require purchase of a ticket to access, or some combination of the two – e.g. a virtual “ticket” using a Pay-What-You-Choose model. Tafelmusik used the PWYC model to “test the waters” of digital content monetization – they found that, with options ranging from $5 to $20, the average donation per virtual concert ticket was a solid $13. They will use this data to inform future digital content monetization initiatives.
Going Digital – Online Fundraising Events
Orchestras of all sizes rely on in-person fundraising events to develop relationships with their donors, and to sustain the orchestra’s activities. But how do we approach fundraising now, when we must stay apart to stay safe? One option is to reimagine it – online.
OC was pleased to welcome leaders from three orchestras across the country, who shared their experiences with and advice for successful online fundraising amidst COVID-19. Jim Campbell (Calgary Philharmonic Orchestra), Chris Sharpe (Stratford Symphony Orchestra) and Jean R. Dupré and Céline Choiselat (Orchestre Métropolitain) discussed the approaches their orchestras took to moving their fundraising events online, how they managed to keep things personal with their donors, and the place they see online events holding in the future. Listen to the recording below, or read on for 4 key learnings from Jim, Chris, Jean and Céline:
An audio recording of this session can be found here.
1. Online fundraising is an opportunity to broaden your event’s reach
After moving their Cork and Canvas art auction online this spring, the Calgary Philharmonic Orchestra reached more bidders than ever before – double the number compared to their in-person auctions! Jim remarked that the auction was more accessible and inclusive in its online format for those outside its typical geographic and price range.
One of Stratford Symphony Orchestra’s existing online fundraising activities, the annual Phantom Ball, got more attention than ever this spring – even internationally. Chris remarked that as we stay home, people are especially keen for connection through the arts online. Thus, orchestras should “ride the wave” in our fundraising efforts, as Stratford Symphony plans to do while reimagining their upcoming annual Cows and Classics concert fundraiser as an online livestream.
2. Share an experience, make it special
Jean and Céline attributed the success of the Orchestre Métropolitain’s Gala Virtuel to the intimacy they were able to cultivate, even in a digital space. They capped the event at 50 guests and partnered with a renowned chef to deliver custom gift baskets right to attendees’ doorsteps, featuring champagne and hors d’œuvres to taste together (while apart) at the event. This translated the shared experience and exclusivity traditionally valued in an in-person gala to a virtual format.
3. The “Top 100 Strategy”
Jim recommended nurturing connections with your orchestra’s current top 100 donors (including government) first and foremost in tough times. Maintaining strong relationships with those who are already invested in your orchestra’s mission and success can help carry you through now, and in the future.
4. Focus on the music
Donors want more of what brings them to the orchestra in the first place – the music and the musicians! Jean and Céline noted that the highlight of Orchestre Métropolitain’s Gala Virtuel was the orchestra’s moving performance of Nimrod, an extract from Elgar’s Enigma Variations pre-recorded from their homes for the event. Jim highlighted Calgary Philharmonic’s individual videos to donors, wherein musicians recorded personalized thank you messages before performing a piece they had selected for the donor.
The Long Runway to Return
“Anchor institutions are enduring, place-based organizations that play a vital role in the social and economic success of their communities. Arts and culture organizations can take on the mantle of anchor institutions. Around the world, enduring enterprises including museums and performing arts centers, theater companies and community-based arts centers employ artists, engage companies, activate community, and pursue social justice issues through deep engagement while also driving important economic impact as well as secondary benefits through ancillary expenditures.” Steven Wolff, The Long Runway to Return.
As part of our Re-launch online learning series, we welcomed Steven Wolff of AMS Planning and Research to look forward and reimagine how orchestras can connect with people (artists, employees, board members, partners, audiences and communities), redesign programs and services, and reinvent business models. A recording of Steven’s presentation is available below, along with a panel discussion moderated by consultant and OC board member Simon Gamache. The panel discussion guests commented on Steven’s research and presentation as it pertains to their organizations, and to Canadian orchestras. Guests: Nicolas Ellis (Orchestre de l‘Agora, Orchestre Métropolitain), Robert Fraser (Organization of Canadian Symphony Musicians, Victoria Symphony), Tim Jennings (Shaw Festival), and Trudy Schroeder (Winnipeg Symphony Orchestra).
An audio recording of this session can be found here.
Steven’s article, along with his other work, can be found on the AMS Planning and Research website.
