The Conductor as Yogi: Lead with Ahimsa

“Structural flaws can cause harm to individuals; conversely, conceptually sound and ably administered institutions can build people and enrich society. All too often we seem to disregard this important influence that institutions can have on people.”

Robert K. Greenleaf

 How do we frame our work?  As conductors, we have an overarching belief system that guides how we do what we do—musically, relationally, and structurally.  Our belief system is an amalgam of our upbringing, perhaps a faith base, our experience in the world, and the words of those who have impacted us (for good or ill).

 Ahiṃsā is the first of yoga’s ethical precepts, the yamas, the first limb of yoga.  Ahiṃsā is defined as “non-harming” and can be applied to life on and off the podium.  On the yoga mat, we learn to pause, center ourselves with breath, release what we cannot control, and move in a way that reminds us to honor our body and by extension, the “bodies” we experience in our wider world.  Beyond the physical are the structural bodies of institutions, like our choral ensembles and the organizations that house them (schools, churches, communities).

The conductor is the leader of the “institution” of the choral ensemble.  We build a structure for our choir with schedules, performances, rehearsal strategies, and explicit or implicit expectations.  We create an institution with the regular practices we employ, the way in which we use our time, and the words we say.  Greenleaf’s idea that an institution’s “structural flaws can cause harm to individuals” seems an overstatement when applied to an ensemble . . . but is it?

Recognizing our flaws as institution-builders can be the game-changer for not only having a more successful ensemble on external measures, but also and more importantly, in our mission to “build people and enrich society.”  How do we unknowingly create harm (hiṃsā) and how can we lead better, with ahiṃsā, non-harming, as our fundamental precept?

Let me say at the outset that egregious examples of harm by inappropriate behaviors or taking physical advantage of others have no place in any institution.  That line must be clear and respected, period.  But harm is not just physical violence—there are many ways we harm without realizing it, in the name of “common practice” or artistic temperament.

Harming by unrealistic programming.  We absolutely can and should challenge our ensembles by the repertoire we program; this fuels interest, engagement, and growth.  But we must match artistic expectations with the reality of the ensemble and the resources available.  Programming a balance of repertoire will allow for short-term success and long-term growth without unnecessary tedium and a conductor tantrum in the final days before a concert, jeopardizing relationships and performance joy.  Avoid choosing a piece that feeds your ego without growing the ensemble within the structure of the learning experience and calendar.  Aim for Vygotsky’s Zone of Proximal Development when finding those challenging pieces.

Harming by inefficient use of time and energy, which leads to exhaustion, vocal fatigue, or stress in terms of calendar and preparation for public performance.  Utilize foresight in planning to avoid rushed rehearsals (aka skill-and-drill only) or a time crunch in performance readiness.  Assume there will be pieces that take longer to learn than anticipated, rehearsals with missing singers due to the latest bug-du-jour, and external challenges like fire drills, snow days, or venues unavailable even though you had them reserved.  Look at the total number of rehearsals you have in the cycle for the next event and in your mind, remove two of them from your planning, to provide buffer room when it will surely be needed.

Harming through our words, actions, or biases, favoring some over others in the way we interact.  How many times do we have to learn that words matter?  Use words that invite, instruct, and inspire all singers, even while telling the truth regarding musical progress or lack of it.  We can acknowledge a stalled piece and invite discussion over what is needed to move forward without getting into shame-and-blame mode.  Even when singers drop the ball, acknowledge it, have a respectful and realistic conversation, and adapt going forward for the best possible end product.  (And reflect on your role in setting up the ensemble for success in the first place; was there anything that could have helped avoid this moment?).

Harming ourselves by not taking care of ourselves, leading to physical, emotional, or mental harm of our systems.  We must be well to lead well.  Recognize basic, whole self-care as self-less because it allows you to be the best leader you can be.  “When-I-get-time self-care” risks avoidable crises and ultimately, a more compromised choral institution.  Yes, things happen—we cannot predict everything.  But we can go a long way to controlling the controllables by coming inward to moments of retreat and rest, monitoring what we ingest (food or information), moving regularly, and finding what grounds you, like nature or spiritual inspiration or your favorite pet.

“Building People and Enriching Society” could be on our email sign-offs, websites, and business cards as our job description.  What if every choral institution humbly embraced ahiṃsā in the most holistic way possible, acknowledging all, teaching for growth, and uplifting through song?  What might that contribute to our world?

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 (and video course through Forward Motion, https://www.fwdmotion.org/sp-ramonawis-conductorasleader ).  Dr. Wis is a 500-hour CYT (Certified Yoga Teacher) and a certified Brain Longevity® Specialist.  Find her at: or ramonawis.com.