“But I want it to be good!”
I was talking ‘community participation’ project design with one of my young music performance students recently, and brainstorming the possibility of his community project having a performance outcome as part of one of his own gigs. I was enthusing about the benefits of this kind of model – the boost to audience numbers and increased support for his music, the impact that a larger-scale number can have in a smaller band’s gig, and so on – but I could see he was wrestling with the idea. Eventually he raised his hands, shrugged, and said,
“Yeah, but I want it to be good!”
I was surprised – it hadn’t occurred to me that the outcome wouldn’t be good. “Surely that is up to you,” I countered. “You will have the musical challenge of working out what it is that this group will be able to do so that it does sound good – just as you would do for any group that you lead.”
So much of what takes place in a community music project (or a creative music project) is built upon the musicianship and communication skills of the musical leader. But you also have to believe in the group, and what is possible for them to achieve, why they might want to achieve it, and how to help them get there so that it is an enjoyable and satisfying experience.
One of the skills that comes with experience is knowing the right questions to ask, or what to give your attention to. Even very young children are capable of playing a sound all together, in perfect unison. It isn’t easy – it requires all of them to be giving the task all of their focus at the same time… but they can do it. The musical leader has to work out what will motivate them to do it – what questions, or what kind of environment you need to create for them to inspire that response.
Sometimes it comes down to time and space. If you have enough time you can give attention to everything that you want! It can be frustrating, as a project leader, to have to focus on some musical elements and not others, due to restrictions of time and space. However, this frustration is not exclusive to community settings – it is also the case with professional ensembles. They just get better at working quickly – there is a base level of competence that can be assumed so that attention can go straight to other areas.
I hope my student will just try it out. Perhaps a performance outcome is too risky an idea for him to take on at this time, but I hope he will gather a group of amateurs and start to lead them in some ensemble work. I have a feeling he will be pleasantly surprised by what they are capable of, and what he can facilitate with them.