Reducing ‘Rankism’ in an Orchestra Environment

 

The title of this post will strike some as unrealistic, unwise or even threatening. In an article by Prof. Patreese D. Ingram of Pennsylvania State University, she refers to ‘rankism’ a term coined recently by Robert W. Fuller to describe problems of exploitative behaviour towards people because of their rank in a particular hierarchy. The Hierarchy of the orchestra can be a complex one, with differing strands of authority – section leaders, conductors, managers. The parties often struggle for power and musicians are perceived to be of ‘lower rank’.

Decision making, how does the graph look in your orchestra?

Ingram suggests the following to help reduce rankism in the workplace;

1. Recognize the work that each employee contributes.

2. Include lower-level employees in major organizational social events.

3. Avoid unnecessary distinctions that may make certain groups feel like second-class citizens.

4. Provide opportunities for employees at lower ranks to offer suggestions about how to do the work better. Listen to their responses.

5. Include several levels of employees on committees and task forces, where appropriate.

Managers – Well done on achieving so much of the above already. You have said well done in last week’s concert – you had an orchestra drinks reception at the end of the year – you would never make anyone feel like a second class citizen – you are always willing to listen – and you meet with orchestra members once a month to make sure they feel included. All five boxes ticked.

Ask yourself could any of the following, from Prof. Ingram’s article apply in your workplace, maybe even without your realising? Could your ‘always willing to listen’ policy be seen for what it really is by the larger body of the team that is an orchestra as more tolerance than eagerness?

‘..rank-based mistreatment in the workplace can result in disrespect, inequity, discrimination, ridicule, and exploitation of those at lower ranks. Too often, classism in the workplace, or "rankism," goes unchallenged.

Left unchallenged, resentment builds among those in the lower ranks. Most of us are pretty good at detecting condescension or indignity in the way others' treat us. No matter what our station, we have all felt it, and it does not feel good. Some recipients of rank-based mistreatment may look for ways to sabotage the organization; others may take their frustrations out on family and friends. For many, however, who simply work in quiet desperation, their frustrations are translated into lower levels of job satisfaction and performance, and lower levels of loyalty and commitment to the organization.’

Are you happy to live with the consequences of allowing such an atmosphere survive in the environment that is an orchestra?

Is Orchestra like School?

I was chatting the other day with a school teacher who told me that parents were a huge issue in his school. The prospect of having to face parents was viewed with some trepidation. It is part of the job but a part of the job that must be endured and hopefully survived. Tom felt that this approach on the part of many of his teacher collegues was failing to recognise the potential in this interaction for increasing understanding, building trust and solving problems. His own experience was that by talking openly with the people who understand the children best, and listening to what they had to say a mutual respect emerged, which led to a much more positive environment in the classroom.

It seems to me that an orchestra management can often see musicians as a problem to be dealt with rather than an opportunity to learn. Inevitably there is a wealth of experience within the orchestra which is untapped as a resource. A musician it seems must know his place within the orchestra and not step outside his role as player of his instrument. Just as the parents of the children know their child in a way that a teacher never will, the musicians have a perspective and experience of their field that may be seen as a threat to those who manage, or as an opportunity. I am sure every manager out there feels he taps in to that potential, but how may musicians feel that this is genuinely the case? In these days of inclusivity, certain boxes may be ticked, but musicians will have a good sense of what is really going on. The report to the board room may be that management has a listening ear, and values the opinion of the orchestra members. Board members, chief executives, how do you find out for real if this is the case, or are you in any case happy with the ‘stay in your box’ approach?

An Equality Indicator

Some years ago when I was beginning in the orchestral profession, I was somewhat bemused by some of my older collegues who likened the status of musicians to servants - we wear the same uniform and are regarded with the same respect, with financial rewards and public respect not being what they might be for people who have worked so hard to get to their level in the business. I did not really share this feeling at the time, but some years later I am more inclined to agree.
A friend from the opera recently was telling me about the party thrown for the crew  on Gala night. Everybody was there - cast, chorus, backstage crew, administration, all sorts of hangers on. Nobody from the orchestra was invited. I am sure that many musicians simply want to go home after the show anyway, and admittedly the numbers in an orchestra can sometimes be an issue in situations like this. Do the ‘powers that be’ not have the ability, or the will to have musicians feel part of the team - to find a way to have these musicians represented? In an art form where there is much public subsidy does nobody feel any responsibility to treat those involved with a sense of respect and equality?

New Young Talent.

Interesting week - a young conductor who has not much experience with professional orchestras. It is important to allow new people into the profession in my opinion, and this conductor is certainly showing that he can do the job. Interesting to observe nonetheless the interaction between the experienced musicians and the relatively inexperienced conductor. There is an assumed hierarchical situation with the conductor in charge. What he does not see as he tries to fix our problems, is that the root of the problem is conducting technique which will simply not produce the result he is looking for. How can a chord be together when the technique is unclear. Eventually we ‘get it right’ when either he gets it right, or we decide in an unspoken way to ignore him and do it despite him. There is an unwritten ethic that says we do not tell the conductor he is not doing a good job - that is for him to tell us. Disturbing this principle will lead to tension and will not do the music any favours. Yet observing it apparently perpetuates the problem and the conductor does not gain from the experience, but may simply go away and tell others how ‘slow’ this orchestra is. Any ideas?

Huge pay cuts proposed in Detroit

A quick look at the current strike in Detroit Symphony Orchestra reveals that pay cuts of 33 percent are the nub of the problem. Although the orchestra offered 22 percent cuts in order to help the financial crisis, the 33 plus as well as serious loss of insurance and pension benefits was more than the musicians could bear. Musicians feel that Detroit deserves to have an institution to be proud of, and that the pay cuts would see a slipping of standards that would be to the detriment of the city. Although Sara Chang offered to give the revenues from her concert at the orchestra hall to the musicians pension fund (she was to be soloist, and instead offered a solo recital), with feelings running high she was criticised my many for passing the picket.
Best of luck to the musicians in resolving the strike.
Detroit Symphony Musicians Website

Handy List for Managers for Theatre Set Up

Whereas musicians often remain in the same employment for some time, the turnover of management is often much quicker. Many orchestra managers are very capable, but maybe not so experienced, and the last people to be involved in their training in are the musicians. Can I politely put forward some simple – maybe obvious suggestions for concerts in theatres - which may be a help to some managers out there if they want to help musicians do their job safely and well? Readers may want to put forward additions to this list – the current list relates only to lighting. Some of these suggestions will apply to other venues also, but theatres in particular strike me as the kind of venue an orchestra may visit as a once off, and the house staff may not always be very used to having one come and play. 

• Lighting should be from above to ensure good light on the music stands and not creating glare to musicians who have to read music for the two hours or so of the concert plus any rehearsals.
• Check light on music stands on the peripheries in particular.
• Make sure the conductor is well lit.
• Where side curtains exist, make sure there is lighting side stage so musicians can move safely. Often this is there during rehearsal periods, but theatre managers knock this off on the night of the performance. Actors may like to ‘break a leg’, but musicians don’t sign up for this – and the legal battles over whether the venue or the orchestra are responsible for the cost of a damaged instrument we could all do without.

How do we keep musicians in orchestras?

Sometimes it seems like there is an abundance of orchestra personnel leaving the orchestra, with a whole host of reasons. We may not always know or agree on why a person leaves, but it leaves a big hole in the orchestra that with audition and trial procedures at best taking months and not unusually taking one or even two years we have to wonder is there a way to keep musicians in the job.
We are in denial if we believe that the reason given is always the entire picture. A horn player may want to go and study law - but could that horn player as an orchestra member have felt more included in the orchestra’s decision making - artistic or administrative. Were they subject to judgements from those around them (section leader, conductor, colleagues, management) that affected their daily work environment? Of course they did not want to kick up a fuss - they would get nowhere anyway - but there was a deep unhappiness with either the atmosphere, the repertoire, the lack of control which they simply could not stand any more. A genuine coming together of all parties on a regular basis will surely promote understanding, and use the talents, expertise and knowledge of those who have much to offer through their individual and collective experience. Surely this is how we build (though I am sure it is not easy and takes time and investment of energy) a positive orchestra environment where players want to stay.