Page 64 - CJMay25

CHORTEACH
Developing Black-Belt Choral Musicians: Transferable Lessons and Methods from Brazilian Jiu-Jitsu

ARTICLE

important connection is for recruiting and retention of Stability
singer-musicians in ensembles. It is paramount to foster A tripod always has a stable foundation with at least
an environment that prioritizes connection. After all, three points of contact. This principle is valuable in a
ensemble members who are connected often play or fighting or combat scenario for balance while standing
sing much better together because they experience a or while trying to maintain a dominant position once
form of creative symbiosis. the fight progresses to the ground. This lesson trans-
fers to the rehearsal room as directors attempt to equip
singer-musicians with facility with their respective voic-
Detachment es, music literacy, and repetitive intentional practice
The principle of detachment conversely allows de- of literature. These three points of contact allow for
liberate disconnection from an opponent. Even if mo- stability amidst performance anxiety, distractions in
mentarily, detachment creates opportunities to avoid concert, and the inevitability of something eventually
stagnation, maintain advantage, or perhaps elicit a going awry musically. Imagine the two sides of the en-
desired movement from an opponent toward attack or semble somehow realize they are a measure apart mo-
submission. This principle is applicable to rehearsals mentarily because they misread a gesture or counted
in knowing when to push musicians further and when incorrectly. How will they react? With a stable founda-
to allow them to work independent of the director. It tion, they can rely on their practiced skills to quickly
is important for singer-musicians to be equipped with realize the error and take steps to rectify without the
skills, and then be given the latitude to develop inde- audience ever knowing.
pendent and collective musicianship.
The jiu-jitsu mats are a place where mistakes are
welcomed. The entire art form is built upon the prem- Method of Instruction
ise of making mistakes. The “tap” is the BJJ player’s With few exceptions, jiu-jitsu academies across the
way of saying “I surrender.” Then, the two opponents world employ a similar approach to delivering instruc-
slap hands to indicate readiness again, and they contin- tion: learn it, drill it, troubleshoot it, apply it, repeat.
ue the roll (sparring). Afterward, they exchange ideas
and ask questions, trying to discern their own mistakes • Learn it: Players form a circle around the instructor,
or draw upon the knowledge of their opponent. Failure who will demonstrate the technique from the center of
breeds success and falling short is an opportunity for the mat.
growth. These are the lessons that BJJ teaches.
Choral directors sometimes default to minimizing • Drill it: Players break into pairs (upper belt with a low-
mistakes. Allow singers space to make mistakes in a er belt) to drill the technique. The upper belt goes first
forgiving environment and identify the mistakes them- to demonstrate proper execution. Then, assists the low-
selves whenever possible. Instead of telling them that er belt with terminology, positioning, body mechanics,
they missed a rhythm, detach and ask leading questions and details. The instructor walks around to help indi-
that provide direction for ensemble members to discern viduals struggling with the technique.
their own mistakes. Experience is the greatest teach-
er, and directors must gently correct while not robbing • Troubleshoot it: Based on feedback and what the in-
singers of the opportunity to self-correct. Finally, de- structor saw while walking around during the drilling
tachment is relevant to letting go of the disciplined portion, the instructor re-circles the group oriented to
monotony related to musical skill building in rehearsals the center mat and cleans up common mistakes and
toward expressive communication in performance. De- answers questions.
tachment is often called the flow-state in other realms
and is important for internalization and ultimate en- • Apply it: The latter half of the class is usually spent at-
joyment. tempting to integrate techniques learned that day with

62 CHORAL JOURNAL May 2025 Volume 65 Number 8