The Conductor as Yogi:  Thanks (in Advance)

The power of a genuine “Thank you” cannot be underestimated.  Our busy lives don’t slow down for much, but when a gesture or word of thanks comes our way, we pause and take notice of where we are and who we are with.  We smile, breathe more deeply and for a moment, think larger than ourselves.

Receiving thanks is easy, but giving thanks is more challenging especially when we base it on how we feel in the moment or on how much has been accomplished in the way we had hoped (think rehearsal goals or progress towards an upcoming performance).  Gratitude can be held in a tight fist and parceled out in a stingy way, sending a message that there’s only so much “thanks” to go around.  Without realizing it, being the arbiter of gratitude places us in a power role “above” and not “with” our singers in the creative process, and it can create an authoritarian relationship that may reflect the way we were raised, led, or what we see in the world around us.

Thanking someone only if they meet our standards or goals can also telegraph judgement about the other’s worth as a human.  Are singers worthy only if they sing really well?

I am not suggesting that we pretend everything is great when it is not.  Our role as educators, leaders, and art-makers means we want to grow, and that process means missing the mark as often (maybe more) than hitting the mark.  We need to be authentic about what we see, hear, and know when we step on the podium in order to grow as musicians but is there a way for gratitude to lead the process rather than be an elusive reward?

What if we thanked our singers in advance of rehearsal or at the beginning of our journey towards a larger goal?  If we assumed good and laid the foundation for our time together by saying in some way, “I am grateful for each of you and our work together, and I thank you in advance for focused and productive time today.”  How might that impact each singer’s sense of self-worth and reinforce their ability to influence change in a positive way? How could “thank you” set the tone for rehearsal before it begins, or refresh our relationship with singers and the creative process after a particularly rough segment of musical work?

Coming to rehearsal already grateful means we must bear a sense of santosa, or contentment, the belief that we and the process we are involved in are already good, whole, and full.  We don’t have to grasp for things outside of ourselves, like successful rehearsals or concerts, in order to feel grateful or to express gratitude to our singers. Events outside of ourselves are fleeting—both the good and the bad—so having and instilling a sense of gratitude and contentment can be an anchor for us and our singers as we together, experience, grow, and learn through the creative process.

How can we express gratitude for our singers and still challenge them to strive for better skill, understanding, awareness, and performance?  That is our charge as conductors who lead, as artists who love what we do, even (especially) when it challenges us, and as humans who respect and support those we create with every day.  It requires that we teach with skill, passion, and vision, adjusting as needed, while rooting our work in gratitude for what we experience together.

Thanks, in advance, for what you will do this week as you lead your rehearsals and create the platform upon which a new level of joy and artistry can be built!

Dr. Ramona Wis is the Mimi Rolland Endowed Professor in the Fine Arts, Professor of Music, and Director of Choral Activities at North Central College in Naperville, Illinois and the author of The Conductor as Leader:  Principles of Leadership Applied to Life on the Podium.  Dr. Wis is a 500-hour CYT (Certified Yoga Teacher) and a certified Brain Longevity® Specialist, a research-based certification on yoga and integrative medicine for brain health and healthy aging. Reach her at: or ramonawis.com.