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.
“Programming has a big impact on our audience, and also on musicians and how they view us,” says Summermusik Executive Director Evan Gidley, speaking of resident ensemble Cincinnati Chamber Orchestra (CCO). He believes that experiencing different music, and adjusting performance style, is both challenging and rewarding to musicians.
In 2005, the Georgetown Symphony Orchestra’s Music Director Victoria Gau powerfully demonstrated her community orchestra’s devotion to creating inclusive space both onstage and in the community. At the same time, the orchestra was renamed Capital City Symphony to reflect its citywide mission to serve neighborhoods with less access to the performing arts.
“It sounds like a cliche,” Bobby Scharmann admits, “but it’s true. We’re all a family. I have my orchestra mother, my orchestra sister.”