The Future of the Digital Orchestra: Pride of Work
On June 4th, 2021, OC welcomed Daniel Bartholomew-Poyser (Toronto Symphony/Symphony Nova Scotia), Bob Fraser (OCSM), Andrew Bennett (Kitchener-Waterloo Symphony), and Robin Whiffen (Against the Grain Theatre) to conclude our three-part series on the Future of the Digital Orchestra. The final forum’s topic: Pride of Work.
The conversation began with a summary of research insights from The Arts Firm based on in-depth interviews with orchestras and performing arts organizations around North America, reflecting on their experience with digital activities during COVID-19 and the future they see for digital. Then, we heard from our speakers in a series of short presentations followed by panel discussion and Q&A.
Here are a few key learnings about pride of work and digital content:
Re-Thinking “Artistic Excellence”
Robin asked an incisive question: What is “artistic excellence” and who defines it? Holding fast to Eurocentric notions of excellence in classical music as skill mastery, virtuosity, or only playing works by the “greats” restricts orchestras’ artistic response to local communities. Further, as Andrew noted, musicians are often their own worst critics. The idea of “excellence” encourages artists to unhealthily connect success and pride with perfection. Bob proposed another way to measure success: how well does a work communicate with listeners? What possibilities open up if we re-think our definition of creative success in a way that is more compassionate and focused on connection? Creating ethically, with a holistic reflection of the artists and community involved?
Artist-Centered Work
Your orchestra has something to say — you carry not one vision, but a mosaic in the artists you engage. How can we ensure everyone involved is invested in and proud of these stories? By putting our artists at the center. Artist-centered work increases pride, inspires stakeholders and boosts the quality of the product! Engage artists in the decision-making process early on, rather than taking a top-down approach. Robin explored Against the Grain Theatre’s digital production Messiah/Complex as an example. In addition to fostering connections, the 200-person collaboration reimagined the piece in a digital space using new voices. Take time to learn about your people, their strengths, and what makes them unique.
Understanding The Artist
Artists’ contributions on-stage are at the heart of orchestras, but their lives off-stage are important as well. Bob noted that the media has put artists in the public eye almost 24/7, but not every orchestra musician thrives in the spotlight. The field is stressful – musicians can be three times more likely to experience anxiety and depression. How can orchestras support them? Andrew emphasized the importance of listening to the needs and comfort zones of your artists and playing to their strengths. Furthermore, as Andrew explained, when artists are inspired and satisfied, it translates to donors and funders. Orchestras are more than groups of talented people playing together; they are communities of collaborators and innovators. Fostering a sense of community support and understanding, even in digital and hybrid environments, is foundational.
The Future of our Digital Artistic Work
Daniel asserted that when using digital to convey stories, no amount of money will compensate for a lack of imagination. For many orchestras digital has been the focus for over a year, but the current scale and intensity of digital projects cannot be sustained when live performances resume. Daniel suggested that digital will stay after COVID-19, but in a smaller and nimbler form than the online concerts many orchestras are producing at the moment. Furthermore, projects will be designed specifically for the digital medium.
OC is grateful to Bob, Robin, Daniel, Andrew, and everyone that joined the discussion and offered great insight. We deeply appreciate the generous support of the Canada Council for the Arts Digital Strategy Fund in helping to make our Future of the Digital Orchestra research and events happen. We are also grateful to our steering committee ((Bernard LeBlanc from the Canadian Federation of Musicians, Robert Fraser from the Organization of Canadian Symphony Musicians, Jovanny Savoie from Conseil québécois de la musique, Tim Crouch from Soundstreams / Chair of OC’s Digital Committee, and Tanya Derksen from Philadelphia Orchestra / Board Member at OC), who provided oversight and feedback throughout the project. This project was managed by The Arts Firm. Be sure to explore the recordings, Powerpoints, and key learnings from our other two Future of the Digital Orchestra sessions: Audiences (May 21, 2021) and Finances (May 28, 2021).
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