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Advocacy & Collaboration

Using Values-Based Messaging in Your Advocacy with Liza Beth of Chorus America

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Have you heard of MasterClass, an online collection of classes featuring an amazing line-up of famous folks? They hooked me when I saw they had a class by Bill Nye (the science guy) and Amanda Gorman. Months later, who knew I needed to know how to become a ninja or learn how to make electronic dance music? But here we are and I’ve really been enjoying the stories told and lessons learned in many of the classes. What’s the point? Currently, I’m in the middle of “The Art of Storytelling,” by Neil Gaiman. He says in the introduction, “Humans are fundamentally storytelling creatures. Whether you’re talking to a friend or penning a novel, you’re using the same tools to form a connection with people, to entertain them, and to make them think differently about the world.” That’s a perfect intro for today’s Advocacy & Collaboration post.

We all know that feeling when you have a story you just can’t wait to tell your best friend and it literally takes an entire brunch to get through all the details. How do we get that excited and connected telling folks the stories behind our incredible choirs? How can we connect, entertain, and ultimately gain supporters for our choral community through value-based messaging (also known as quality, fact-based storytelling)?

In this blog post, based on an interview curated by the Advocacy & Collaboration Committee, you’ll learn how to utilize data to support your impact and further tell your choir’s story – the glamorous and quiet ones – from Liza Beth, Vice-President of Communications and Membership for Chorus America. We dive into the story of what Chorus America has done with their Chorus Impact Study and how it can provide us all with data and tools, and as Liza Beth says, a “to-do list to become a marketing storytelling guru.” Let’s break the content down by using some quotes pulled directly from Liza Beth’s interview:

“Connecting your advocacy to the why behind it.”

“Values-based messaging” means it is tied directly to your why (or mission statement). It’s the backbone of the story. We don’t need a MasterClass course to remember that a good story has characters, setting, plot, problem, and solution. Liza explains that the point is to tell stories that “create a positive and broad impact that connects to the why” of your organization. What does that mean for choral music? Liza broadly breaks those “whys” into two categories:

“Artistic Why: meaning we create beautiful music that moves us, our singers, and our audiences and we have all felt the realness and importance of that in and of itself.”

“The Ripple Effects of Choral Music: also known as the big why of choral music. The ability of choral music to create community and connect people. We want to tap into that because it is a powerful argument for the work we all do in the field.” Liza explains that in this kind of case making, even those who don’t sing in a chorus or have never been to a concert can get behind how a choral organization benefits its members and the community at large – if the story is told clearly.

“Choral singing: it’s a unique participatory art form and a wonderful community of really giving, really collaborative, really generous people.”

To support “the ripple effect,” you need big picture data and evidence, like that found in the Chorus Impact Study. For example, hard facts related to the numbers of how much singers give back to their communities. Choir members are more likely to vote, volunteer, give philanthropically, and have “higher levels of tolerance.” These data points come from the stats in the Chorus Impact study. This is Liza Beth’s favorite stat: “63% of singers credit singing with making them more accepting of people that are different from them.”

But, it is not just the general data. It is important that you share the data intertwined with your chorus and your organization; you have to make the transfer so your story makes sense and connects to the listener. How are you building community and connecting people? Who are you reaching and why? What relationships are you fostering through programming? What cool things are you doing and why? Talk about these things to your supporters. Tell them the stories fully equipped with characters, a setting, plot, problem, and solution, and then sprinkle in additional data if needed. Focus on what you’re doing. These are things you know and should be so proud to talk about! Brunch quality storytelling, folks!

“It’s all incredibly related . . . the work in the schools, colleges, and universities. That is all part of the choral pipeline and that is what is contributing to a healthy, thriving choral ecosystem today.”

Liza wraps up the interview by talking through tools to tell your story on social media and other marketing platforms. She specifically talks about the RediscoverHarmony.com campaign which provides resources to support the idea that “singing together has the power to bring us together.” The campaign and website was created as we all  “emerge from isolation, let’s #RediscoverHarmony together. Choruses, choirs, and singing groups bring harmony to our communities in a way that is more important now than ever before. With our interactive tool, you can create your own harmony using the voices of real choral singers.”

Based on what we learned from this interview, here are three quick things that you can do to create a value-based marketing campaign right now:

  1. Tell a story that connects with your why, such as a quote from a singer, a success story from a program, or picture from rehearsal that demonstrates singers “rediscovering harmony” together.
  2. Share the harmonizer from rediscover harmony and offer ways for even non-singers to rediscover harmony (https://rediscoverharmony.com/lets-harmonize/).
  3. If safe in your area, follow up with an invitation to a formal concert or event, or informal open rehearsal or sharing session so more people (in and out of your choir) can “rediscover harmony” live!

How has your choir “rediscovered harmony?” Where can you add data to that story to create a story a potentially new supporter could get behind? That’s the point of today’s blog. And if you’re looking for more, check out Liza Beth’s entire interview. You can even watch this episode on YouTube (or Episode 105 on the “Music (ed) Matters” Podcast wherever you listen to pods).

Epilogue: The day this blog publishes just happens to also be the first day of the Chorus America annual conference, June 15-17, 2022, in Baltimore, Maryland. A coincidence! We hadn’t honestly planned that, but cool, yes! Interested in being a part of this year’s Chorus American conference – happening right now as you’re reading this – you can support Chorus America through the virtual Gala and Silent and Live Auction (Thursday, June 16, in the evening) (https://paybee.io/hybrid-event/choruscon/1). Interested in more resources in general? Check out https://chorusamerica.org/ for advocacy and management resources as well as membership. Ready to get started with more “values-based messaging,” or looking for more tools to help tell your story? Check out RediscoverHarmony.com (I love the harmonizer: https://rediscoverharmony.com/lets-harmonize/).

Learn more about Liza Beth: https://chorusamerica.org/node/9023.

Read more from The Chorus Impact Study, Singing for a Lifetime: https://chorusamerica.org/resource/chorus-impact-study-singing-lifetime. Connect with your Advocacy and Collaboration Committee: [email protected]org.

Dr. Emily Williams Burch chairs ACDA’s Advocacy & Collaboration Committee. Since 2014, Dr. Burch has served in various positions for ACDA at the state, regional, and national level in a variety of roles, including co-programming chair and honor choir coordinator for the Southern Region ACDA conferences. You can subscribe to her podcast for music educators wherever you get your podcasts, or at EmilyBurch.org/podcast.

Best. Interview. Ever! “Doing whatever it takes” with Superstar Deke Sharon

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Imagine walking onto the set of a potentially epic movie with a seemingly large task ahead of you: create an “award winning” choir out of a collection of humans, none of which have ever sung in choir, in one month, with one hour of rehearsal a day. Go! Daunting? Fun? A bit intimidating? But possible – yes!

While the above scenario may not be your challenge of choice or what you want to do in this choral career field, it is exactly what this month’s Advocacy & Collaboration (A&C) curated series guest, Deke Sharon, encountered when he walked on the “low budget” set of the first Pitch Perfect movie. And you know what happened . . . a major motion picture, a sequel, and so much more! How? That’s what this blog post will give insight into. Along the way you’ll gain some tangible tools you can use to, as Mr. Sharon says, simply “do whatever it takes.”

This content comes on purpose at this time of the year. It’s that post concert, post testing, the smell of summer is in the air time when things are getting even more challenging for most of us. In fact, just before writing this, an Instagram story flashed with a quote: “stop telling teachers to remember their why and start helping teachers figure out why to stay.” Perfect, that’s the point of this blog post and the central idea to this entire A&C podcast series: advocacy, endurance, motivation, and all the things needed to keep showing up and continue “doing whatever it takes” to keep choral music alive and thriving. Let’s dig in!

First, we have to get on the “Deke Sharon Soapbox” – yes, we are preaching to the choir, literally, but what really is the point of our day-to-day life? According to Mr. Sharon: “Get as many people singing and back to the way it was before recorded music.” What did that prerecorded music world look like and why should we care?

Before recorded music, everybody sang. People got together and sang, it was simply the way things were. If you wanted music, you made it. It was part of the culture; music was everywhere because we were making it.

Now, music is everywhere, but we aren’t the ones making it. Thus, the respect for and the importance of music education has been slipping ever since. Yes, we have the advocacy research as why people should participate and need music in their lives, but respect is still slipping. It’s why we are often the only music educator in our school or why districts cut music programs altogether.

Where’s the solace in this and the point of this seemly sad reality? When students come back to visit their schools, when they talk about growing up or memorable moments, who and what do they talk about? Music, theater, musicals . . . us! It’s in the music spaces where the holistic teaching happens. It’s that incredible life-long impact we get to have on our musicians; it’s the making music together that matters and changes lives. And it’s from this point that Mr. Sharon steps on his soapbox about the need to “get as many people singing and back to the way it was before recorded music.”

So how do we fight for our programs and advocate for getting more singers involved and invested and engaged? According to Mr. Sharon, stop thinking about the why music, and instead look at why should I stay?

Now that we understand Mr. Sharon’s soapbox, let’s explore ideas for “doing whatever it takes.” Mr. Sharon’s ideas can be organized into three big pieces: Build. Be Seen. Shift Focus.

1. Build – Connect and Teach

“Nobody listens to music because it is perfect. At the end of a long day you listen to it because of the way it makes you feel.” People run to technical precision because of our traditional training/schooling, and that’s important, but not to be obsessed over! If you want to change the world, if you want more people in your program, stop focusing simply on perfection. “Focus and energy should be on reaching your community and getting in front of people.”

Know what your singers and community need and make it happen. Stop teaching to the test and make it all about the outside world. “It’s not about avoiding the likes of Bach, there’s a time and place . . . You don’t teach people to read by reading Shakespeare,” instead, start from the beginning and connect with them where they are, meet them halfway and get them in, make them want to stay!

2. Be Seen – Connect and Perform

Pick songs that overlap something your group does well and something that connects with your community, make that meaningful music for people.

Change the metric. Move away from simply technical precision and instead think of your own value as an ensemble. How can we put music out there that gets more people excited? How can we use recordings, videos, social media, concerts, radio, TV, the list goes on. How can we get creative to get in front of more people. Again, the point: more people making music together (or enjoying live music) together.

3. Shift Focus – Connect and Transfer

“Music is not about perfection, but how it makes one feel.” We are connected to the arts through the story it tells and the meaning it has; the purpose behind the music should come first. Help your singers, your audience, your community feel and see that connection. Get them involved in it too!

No words can really express the power of this interview and full episode, but hopefully this blog post has offered you some ideas and some hope for why we are sincerely needed in our incredible profession. You are doing great things, and if you’re feeling like you can’t “do whatever it takes,” let your ACDA community help and support you! Just as it’s connecting and community that keeps our singers and audience coming back, you have a community and we would love to connect and help you figure out what you need to successfully and enjoyably, “do whatever it takes!”

Learn more about and connect with Mr. Deke Sharon: https://www.dekesharon.com/bio-2/ or https://en.wikipedia.org/wiki/Deke_Sharon.

Watch this episode on YouTube: https://youtu.be/vUFgsfQl3Tc (or episode 103 on the “Music (ed) Matters” Podcast where ever you listen to pods).

Connect with your Advocacy and Collaboration Committee: .

Dr. Emily Williams Burch chairs ACDA’s Advocacy & Collaboration Committee. Dr. Burch has served in various positions for ACDA at the state, regional, and national level in a variety of roles, including co-programming chair and honor choir coordinator for the Southern Region ACDA conferences since 2014. You can subscribe to her podcast for music educators wherever you get your podcasts, or at EmilyBurch.org/podcast.

“Advocacy” = “A story”

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“Advocacy.” Sometimes it is an intimidating word. It’s not too fancy, not too hard to spell, but it can feel a bit daunting. We’ve all heard situations where colleagues had to advocate to keep to their programs or where larger communities had to find the data to fight for the arts. Those can be intimidating experiences.

Demystifying “advocacy” is a big part of our job as your Advocacy and Collaboration Standing Committee. So, in today’s blog, we focus on creating the fun association of “a story” with “advocacy.” When you say the word “advocacy” out loud…with a little vowel modification and a slight emphasis on the right syllables, you can almost make it sound like “a story” (go ahead, say it,  try it…“Ah-dvoh-cah-see…..ah-stoh-ree”). In all seriousness, linguistically, the word “advocacy” stems from the Latin root meaning “to summon,” “ to voice,” or “to call to.” Let’s talk about summoning our stories and how to use them as a voice to call to those ears that need to hear – let’s tell “a story.”

You know you have that friend who tells the best stories – the ones that keep you interested every step of the way and you reach the end completely engrossed. What makes a good storyteller? It’s a lot of “just enough” but “not too much” combined with “engaging” but “not too pedantic.” A good story is a balance of facts, engagement, and purpose. Why this story? Why does it matter to the listener? Why should time be spent listening to it?

That’s the challenge. Figuring out what stories of our musical/choral/educator lives are worth storytelling. Which data is important and how can it be woven into a story to impact an administrator, donor, or other decision-makers? Let’s get specific on how to customize your story:

  1. Are you trying to convince a business to give you money? They may need some heartwarming stories, but stories also tied with facts and figures to show that you’re a solid bet with enough organizational capacity to do the job you’re asking them to invest into.

  2. Trying to recruit new singers?  Telling stories about the success of your existing or alumni singers and how they directly correlate their success to participating in your program is key. (For example, do you know how many of your singers use their choir experiences in their college applications or job interviews? That can be both good data and good stories)

  3. Trying to convince your community why they need a choral program?  Comparing data and/or cultural inventories with other cities of the same size could be a good starting point (and an excellent chance to collaborate with your colleagues in other areas).

Where do we find our stories? Start with yourself and your singers. That’s where this month’s A&C curated Series on the Music (ed) Matters Podcast (Episode 98) comes in. We welcome ACDA President-elect, Dr. Edith (Edie) Copley, to the show so she can share her story, encourage our individual journeys, and share historical knowledge of where our choral art has come from.

After listening to Dr. Copley’s story, there are really four big life lessons we can all take with us as we pursue our own unique choral journeys:

  • Trust the process.

  • Don’t be afraid of new things.

  • Be willing to try.

  • Ask the questions.

  • Enjoy every moment.

In case no one has told you today – your story matters! The path you are on, it’s exactly where you should be, and if you are feeling unsettled, try something new. If you are falling into comparison, stop, and trust your own individual process. And no matter what is going on, find something in this moment to be grateful for. We get this one musical life, create your story, save your favorite moments, and use these stories (the good, the bad, the interesting, the exhilarating) to advocate for your part of the choral world. We believe in you, and if we can help, don’t hesitate to ask. Let’s go tell a story!

Read Dr. Copley’s full bio here.

Watch this episode on YouTube: https://youtu.be/374m5aWlCp4

 (or episode 98 on the “Music (ed) Matters” Podcast wherever you listen to pods).

Dr. Emily Williams Burch chairs ACDA’s Advocacy & Collaboration Committee. Dr. Burch has served in various positions for ACDA at the state, regional, and national level in a variety of roles, including co-programming chair and honor choir coordinator for the Southern Region ACDA conferences since 2014. You can subscribe to her podcast for music educators wherever you get your podcasts, or at EmilyBurch.org/podcast.

Together in Music…Collaboration tips and “squashing the why (not)!”

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Some of the most common FAQs presented to the ACDA Advocacy and Collaboration Committee include “how do I find someone to collaborate with” and “how do we make it work?” So often, finding that “perfect” partnership is the barrier in and of itself (hint: there is no such thing as “perfect” but we’ll get to that). Where do you look? What questions do you ask? How do you ensure both parties are enjoying a mutually beneficial partnership? When are you evaluating the impact and value of the collaboration? … and where does the time come to do all of these things?

If “advocacy” is the ability to tell the story and/or demonstrate impact, “collaboration” is really the “togetherness” that creates something bigger and more powerful or impactful. It is that togetherness in music that we focus on in this month’s A&C curated Series on the Music (ed) Matters Podcast (Episode 96).

This month’s A&C guest is Dr. Amy Williams, the Executive Director for the Savannah Philharmonic Orchestra. Dr. Williams lives out her passion for the togetherness that comes with music through intentional community building, meaningful collaborations, and a mindset that any barrier can be squashed somehow. In a recent podcast conversation, we talked about how she went from being THAT kid who was swinging the flute on her stand to picking up a bassoon all the way to a DMA and how those degrees and experiences prepared her for massive success in the arts admin world. (There are some great interview tips at the end of the conversation, too – great for those pre-service teachers about to enter the workplace, check it out.)

Dr. Williams offers four steps to create your own “together in music” moments:

Step One: Take time to actually build community. It’s during this time that you develop the “who” and “why.” Dr. Williams suggests actually picking up the phone and making calls, taking time to meet and talk face-to-face when possible, and most importantly: “More listening than talking…that’s the big key to building a community.”

Step Two: Listen to the barriers (the why it isn’t happening or isn’t possible). During this phase, figure out the “where” and “what.” Barriers often include comments like “we’ve always done this” or “that has never happened.” This is your chance to get creative, ask more questions, and figure out how to “squash the why.” However, remember, nothing is perfect, but almost anything is possible with the right motivation and resources – especially if you’re listening. Dr. Williams joyously says, “Don’t be afraid to step on the why (not) and squash it!”

Step Three: Create meaningful collaborations. This means making (or finding the time) by connecting to your mission or vision. Dr. Williams was adamant when she said, “You don’t have time NOT to collaborate.” Collaborations don’t have to be all-consuming, figure out what can feasibly work for you.

Step Four: Use your skills in your favor. Use collaborations as a way to build impact, grow knowledge, and make intentional transfers. These are the moments to “fill the gap.” Dr. Williams explains this using her experiences interviewing and working a variety of arts administration jobs. She intentionally sought out opportunities and collaborations to use the skills she gained from her DMA to succeed in administrative positions. She had to be willing to ask questions and follow all the steps she just outlined to find long-term success.

What’s the point of all this? Like advocacy, collaboration isn’t about finding a one-size-fits-all solution or creating a stamp and repeating that over and over. Collaborations are organic, yet intentional, and need to align to mission, vision, and purpose. Meaningful collaborations begin like a seed, you must first build community, figure out the needs and barriers, develop solutions, and while acknowledging the skills you’re bringing to the table, also be willing to work with others to fill gaps and develop something bigger than just you. Collaboration is more than designing a party and asking another organization to bring the chips and dip…. it’s inviting the possible collaborators to the table, listening to their needs, and creating something together. Be willing to let go of the chips and dip my friends…you never know what amazing project is out there when you “squash the why (not)” through building community first. Patience pays off and we can’t wait to see what you end up creating!

Learn more about Dr. Amy Williams (https://savannahphilharmonic.org/amy/) and The Savannah Philharmonic Orchestra (savannahphilharmonic.org).

Watch this episode on YouTube: https://youtu.be/SOT6gMEv-4k (or episode 96 on the “Music (ed) Matters” Podcast where ever you listen to pods).

Dr. Emily Williams Burch chairs ACDA’s Advocacy & Collaboration Committee. Dr. Burch has served in various positions for ACDA at the state, regional, national level in a variety of roles, including co-programming chair and honor choir coordinator for the Southern Region ACDA conferences since 2014. You can subscribe to her podcast for music educators wherever you get your podcasts, or at EmilyBurch.org/podcast.

Equity Sings…advocacy, collaboration, Maslow and ADEIBR

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While the dictionary defines “equity” as a noun, the quality of being fair and impartial, this blog post (and the podcast that accompanies it) morphs “equity” into a verb, with tangible and actionable ideas. How do we define “equity?” What actions can we take and how can we employ from the various DEIB or ADEI or DEIA acronyms? And how can any of this help us become a better choral leader, musician, or educator?

Enter composer, conductor, equity coach, and nonprofit strategist committed to diversity, equity, inclusion, and belonging, in this month’s Advocacy and Collaboration Curated Episode on the “Music (ed) Matters” Podcast: Arreon A. Harley-Emerson.

Mr. Harley-Emerson is the Director of Music and Operations of the Choir School of Delaware where he is responsible for the musical components of the renowned Choir School program as well as the day-to-day operations of the organization. He’s also the chair of the ACDA Diversity Initiatives Committee.

Committed to the principles of Diversity, Equity, Inclusion, and Belonging (DEIB), Mr. Harley-Emerson has established a thriving consultancy to assist arts and culture nonprofit organizations in remaining relevant in the 21st century. His work includes longitudinal studies, strategic planning, board governance, resource and asset development, and board diversification – and we talk about it all in this incredible conversation! Specifically, we talk in this one about cultural scaffolding, The Gang Mentality of Choir (a 2015 TedxTalk of Mr. Harley-Emerson), Maslow, Kirk Franklin, and the “Peabody voice,” the history that led to ADEIBR and how to define and use it as a tool for change and action, and the power infusing joy in all the things!

But how? According to Mr. Harley-Emerson, “leadership is commitment in action,” so step one is making the commitment and step two is figuring out how to take action.

By defining ADEIBR we can create a sequential procedure to help us reach that point in Maslow’s Hierarchy of Needs, a pyramid of “self-actualization” where motivation thrives because needs are met for all our singers. First, accessibility – can all singers gain access into your space? Once there, are they experiencing a diverse range of teaching styles, music, and overall experiences? Beyond that, is there equity, both the noun and verb; do actions provide a safe space that is fair and welcome? Is everyone represented and included? As singers are welcomed and included, do they know they belong? How do they see themselves and live in the space? And finally, where do restorative practices play out to build the community and repair in order for additional growth and learning to happen?

Advocacy isn’t about finding a one-size-fits-all solution, or doing the work once and considering it done. It is a constant assessment and analysis that you show up for every day in order to create spaces where all humans can be impacted by the power of collective song. In this podcast episode, Mr. Harley-Emerson references a 1998 Kirk Franklin jam, and it perfectly echoes how this conversation left me feeling, ready for a “revolution!” And now, with these steps, we have some direction on how to start.

Learn more about and connect with Mr. Harley-Emerson https://equitysings.com and choirschoolofdelaware.org.

Watch this episode on YouTube: https://youtu.be/KHF649tk-rQ.

Dr. Emily Williams Burch chairs ACDA’s Advocacy & Collaboration Committee. Dr. Burch has served in various positions for ACDA at the state, regional, national level in a variety of roles, including co-programming chair and honor choir coordinator for the Southern Region ACDA conferences since 2014. You can subscribe to her podcast for music educators wherever you get your podcasts, or at EmilyBurch.org/podcast.

Advocacy, Collaboration, and . . . moving from survival to vision

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It’s been an interesting start to the semester, yet again, but we are resilient and we keep showing up for choir and our singers. Go us! However, there is always that chance for budget cuts, restrictions, or worse, canceled programs. With decreasing numbers, uncertainty, and pandemic fatigue, how do we move from survival mode to creating a vision and sustainability?

 

According to music educator and advocacy consultant Dr. John Benham, regardless of your situation, there is always a solution and someone to help. His key recommendation and requirement aligns well with our hearts as choral leaders and educators: always keep the student at the center of any discussion.

 

In this month’s Advocacy & Collaboration (A&C) curated episode on the Music (ed) Matters podcast (episode 89), learn about key issues and strategies for building, saving, and restoring music programs. Teaser: you’re going to learn about known cuts, hidden cuts, and all the tips to help navigate the politics that come with keeping music education alive and thriving.

 

Learn more about Dr. Benham at http://www.save-music.org/ or find his book at https://www.giamusic.com/store/resource/music-advocacy-book-g9199.

 

Listen wherever you find your podcasts or watch this episode on YouTube: https://youtu.be/zpoixZSjFzs.

 

Dr. Emily Williams Burch chairs ACDA’s Advocacy & Collaboration Committee. Dr. Burch has served in various positions for ACDA at the state, regional, and national level in a variety of roles, including co-programming chair and honor choir coordinator for the Southern Region ACDA conferences since 2014. You can subscribe to her podcast for music educators wherever you get your podcasts, or at EmilyBurch.org/podcast.

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