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which relationships are cultivated within an ensemble. terial resources to do so. One possibility in such situa-
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According to Deborah Bradley, social change is predi- tions is to partner with local composition students. Such
cated on a series of small steps that, over time, create a partnership has multiple advantages: composition
change. Deliberately developing community within the students are given the opportunity to write for specific
ensemble can, and in many cases must, be one of those ensembles, and the chorus has the opportunity to gain
small steps. a better understanding of place both within and be-
Developing community within the ensembles often yond the community, something that Elizabeth Parker
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manifests as “learner-centered practices” (e.g., student and others have noted is central to community-based
selected repertoire), singer leadership opportunities work.
(e.g., section leaders), and social activities outside the Key to building community is also recognizing both
rehearsal (e.g., social mixers/events). While these ex- the collective “we” within an ensemble as well as the
periences can help build community, finding ways to unique individuals. Parker also noted that conductors
deepen communal relationships between singers can often model care by caring for the ensemble as a whole,
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prove even more fruitful when seeking social change. and they encourage singers to do the same. While
As Rollo Dilworth discussed in a 2023 Choral Journal ar- this can lead to a united belief in the chorus, it can
ticle, developing these relationships can allow organiza- also be a missed opportunity to care for and recognize
tions to “sort out and redefine what we think about the the unique individuals within the ensemble. Caring for
term ‘collaboration’ and understand that...there have the individual might look like cultivating small group
to be shared goals…and an equal sense from the en- relationships within the choir, working to know each
sembles that there is a shared power in that infrastruc- individual beyond their contribution to their voice part,
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ture.” A deepened sense of community might focus and actively listening to the comments and ideas of in-
on pedagogical strategies to support singer awareness dividual singers.
about themselves, one another, and their world as they
learn to dialogue with one another. These pedagogi-
cal strategies may include asking open questions in re- What Could Working with/for the
hearsal that have multiple possible responses; modeling Broader Community Look Like?
thoughtful disagreement that allows for various experi- Finally, social change might occur when organiza-
ences to be considered; and encouraging singers to em- tions engage with the broader community outside of
body choral works through unchoreographed move- the chorus. This work must be a deliberate grassroots
ment that can create a shared experience. effort, where organizations embed themselves within
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One way to deepen relationships and the sense of the city/town and foster community and relationships
community through repertoire is by creating partner- with others in homegrown, personal ways. In pursuit
ships with artists outside of the ensemble. This can of this work, organizations can look inward and ask
include, for example, commissioning a piece from a themselves what their role might be in the community.
composer. Throughout the commissioning process, Asking such a question allows the organization to con-
singers can be involved in making artistic decisions sider the ways they might serve a wide range of singers
with the composer and/or artistic director(s), including and stakeholders.
text choice. In the same Choral Journal article, Thomas A first step toward connecting with and serving the
Lloyd remarked that within such partnerships, “You larger community can occur through examining where
need to take the time to really listen and understand and how the choir is present in that community. For
the perspective of an ensemble you hope to collaborate example, in what ways does the chorus recruit singers?
with.” How might they seek to unravel barriers to participa-
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While a greater sense of community can be felt and tion? Where are concerts and rehearsals typically locat-
achieved through commissions and partnerships with ed? Might there be alternative locations that represent
artists, we recognize that not every chorus has the ma- a larger portion of the city/town, specifically areas that

CHORAL JOURNAL November/December 2024 Volume 65 Number 4 29