For many orchestras, building an inclusive culture is both a strategic imperative and an expression of core values. Inclusion directly supports better results, greater collaboration, and stronger retention, while also making the workplace more humane, equitable, and effective for everyone.
Our research shows that those musicians and staff reporting an inclusive organizational culture typically work for orchestras with some common characteristics.
For the first time, the Inclusion Index results give us clear evidence of both the benefits of investing in orchestras’ culture and the risks of neglecting it.
Directly after the popular lead value of “highest artistic integrity” comes: “Welcoming: We foster a culture of warmth and belonging that draws the best from our employees and creates an inclusive space for our community; where everyone is accepted, valued, and treated with empathy, dignity, and respect.”
The LSO has evolved a notably welcoming culture for musicians. A forthcoming strategic plan has a section devoted to “artistic vibrancy,” which recognizes the importance of people feeling included, fostering retention.
After years of intentional work on inclusion and belonging, the DSO can now boast a notably healthy workplace. They have coined the term “one DSO.”
“We strive to build a “culture of team,” says Arkansas Symphony Orchestra (ASO) CEO Christina Littlejohn. ASO committees include members of the orchestra, board, and staff.
E. Merritt Vale, President and CEO of the Winston-Salem Symphony (“the Symphony”), often brings together staff from various departments and throws open hot topics: are things we have done for a long time still worthy? Are there other things we could invest in more productively?
“The purpose of the staff is to make it so musicians can play at their best level, for the broadest audience.” Christy Havens draws this lesson from ten years at the Virginia Symphony Orchestra (VSO), first as a substitute bassoonist, then as Director of Education, and now as Chief Operating Officer.
The majority of musicians, both contracted and substitute players, at the ProMusica Chamber Orchestra in Columbus, OH come in from out of town for every concert cycle. About ten years ago, efforts to build relationships with audience members led to a homestay program, with community members hosting individual musicians for the five days of services each month.