Reflections on Concertizing in a Pandemic

Novelty. An X Factor; arriving from out of the No Coincidences Department, has introduced a Known Unknown of a Global Pandemic. A Black Swan event whose passage sends ripples of change, inducing potential responses of fear and panic in vulnerable populations and potential opportunity for innovators.

Change being the only constant we do tend to re-act; but hopefully we don’t stop there. Moving on, intuitively and cognitively, into personal focus, drilling deeper into this moment of change, with observation, analysis and eventual proactive responses. This is what we should expect of leadership in a health, social – political, economic and cultural crises; and indeed, of ourselves.

I had two concerts cancelled this week, coming upon the news of a national recommendation, here in Australia, that all non-essential public gatherings, of more than 500 people be cancelled for the foreseeable future. Immediately, in the following two days, all manner of cultural activities, sporting events, festivals and even religious gatherings have been cancelled in the country. An extraordinary collective response to the recommendations of the best health practice options of Social Distancing. An attempt to minimize what is considered to be the inevitable contagion of a previously unknown viral disease. In the case of my two concerts, by community symphony orchestras, both of the scheduled events could have slipped under the 500-person guideline; but other important factors came into play. Common to both was the fact of an older audience demographic comprises a large sector of the orchestra’s patronage. A vulnerable cohort in the prognosis of this contagion who, with the unknown vector of exposure in the community, could not be encouraged to gather in public. Additionally, in one case, our orchestra also rehearses and performs at the local university, which experienced a shut down last week, due to possibilities of viral exposure from an infected overseas visitor, closing two campuses. The show will not be going on.

So, why, how and what can we do as classical performing musicians at a time of contagion and social exclusion? Do we view this situation as exceptional, close shop and hope for this current crisis to pass and then expect things to go back to “normal”; whatever that was, or could ever be again?

I think not. Instead we could look to non-ordinary approaches and innovative strategies to address the issues. Observe what we know, and translate that into the possible, for both the short and long term.

I will offer a couple of ideas in to initiate a conversation and point to some basic immediate responses to the ‘why, how and what’ of ongoing concertizing in the current context.

Why? Agency, for the performing musicians with evolved social cultural inclusion for our audiences. The fabric of culture and society is rooted in the arts of music, storytelling and the collective gestalt of participation. This is a Known Known; an essential humanizing expression that cannot, will not, be deigned. A spontaneous manifestation of this phenomena in consciousness occurring this week as nationally locked down (sic.) “self-isolated” Italians take to singing out of their apartment windows to their neighbours; becoming a digital viral event of “community music” in sharing a hope and solidarity of the “good, true and beautiful” durning socially disruptive conditions. Why, is instinctual and necessary, for collective well-being, personal and collective agency; our ability to do, be and become possible humans.

How and What are two sides of a binary coin that can flip the observed situation into a “chance” and even an opportunity. An operative strategy of the: “best defence is a good offense”.

In my own world of instrumental music, performing at an intersection of community and professional music, I see a couple of options for continued performance and social participation. One is of the ‘Small is beautiful’ ideal. Another comes under the heading of: “Don’t be afraid; transform.” Both engage notions related to the nostrum “Think global and act local” for yourself, your ensemble and within the community where you live, breathe and intend to continue to take your being.

First; small ensembles are an artistically potent and movable musical feast we can offer ourselves and the public. Flash mob concerts in public spaces, by an instrumental chamber group or choir, can appear and also dissolve easily and quickly; maintaining social distancing as we send our sounds over a distance, while creatively linking and uniting the public spontaneously with musical form, energy and connection. We might all become buskers and can also continue to produce small concerts in homes, churches and halls to fill the cultural and entertainment void that could develop in social distancing.

Large ensembles can also adopt and innovate in presenting concert music. Hold reserved seating concerts, limiting audiences to symptom free patrons, spaced apart in large halls. Musicians performing to empty halls is aesthetically deadly and artificial. Defeating the very intentions and instincts of the musical gestalt experience - stimulus and response - between player and audiences. Provide the opportunity for patrons and season ticket holders to attend your boutique concert, perhaps at premium. But also innovate at the ensembles website by introducing concession tickets, on-line, in limited reserve seating, in a first come first served fashion or possibly lotteries for the general public; good marketing and public relations. While on-line, at the website, upgrade your tech and collaborate with media professionals to offer Live Streaming of these concert events; and also include running text social commentary, monitored, coming from distant viewers and those in “isolation”. This can add to the events’ participation mystique, its artistic appreciation and a create potentials for increased ensemble reach into the public sphere. A lot of organizational work and a big technical upgrade for the ensemble to embrace; yes. But progressive opportunities to survive in the medium term and even to thrive in the longer duration.

Optimistic?

Pollyanna?

Magical Thinking?

You be the judge.

This is my story; contemplating producing three major concert outputs in my degree project.

I’m sticking to IT …   “When the going gets weird, the weird turn pro ...”  Hunter S. Thompson