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and we actually benefit from expecting them to be (in our sions, we choose repertoire that serves the needs of music
case, without requiring it as a prerequisite for Sing Oma- educators who work with our target demographic in the
ha membership). At Sing Omaha, we clearly articulate to hopes that we will attract teachers who will derive value
students, parents, and educators that the school program from our session and might thus be more open to sharing
comes first. In exchange, we ask for up-front communica- information about our programs with their students. We
tion about any potential scheduling conflicts, and we share are cognizant of each individual district’s policies about
that in all cases dress rehearsals trump regular rehearsals, outside groups, and avail ourselves of any opportunities to
and concerts trump any rehearsal—which must go both become approved organizations within each district.
ways.
Once we establish that we seek to be partners and not Governing Philosophy
poachers, we can turn our focus to service, recognizing that Fundamentally, our strategies are based on providing
when educators and administrators see our willingness to value and ensuring that families, educators, and adminis-
invest in their program, they are more apt to allow us to trators know that we overtly support each school’s music
share information about our program offerings to their stu- program. When these principles are in place, we generally
dents and families. find willing and supportive partners.

Service Mindset
As in any business relationship, reciprocity is critical for Jeanne Wohlgamuth
long-term mutual success, so our first priority is to assess Artistic Director
ways that Sing Omaha can bring tangible value to our Columbus Children’s Choir
partner schools. While this varies among schools and dis-
tricts, we commonly find that in-class clinics/workshops
are a valuable service for general music classrooms and Community children’s choirs benefit significantly from
ensembles at all grade levels. Other service opportunities the recommendations of school choir directors when
have included providing donations for elementary school building the strength of their program. Thus, creating
field days and faculty/staff appreciation days. The expense positive, collaborative relationships between public and
associated with providing a few cases of bottled water and private choral educators is the community children’s choir
a few bags of chips is negligible when compared to the lifeline and one of the most important relationships that
myriad ways in which their promotion of our program- can be built. If your goal is to build solid and lasting rela-
ming to students serves our nonprofit. tionships, consider the following points.

Professional Development Show Respect
In addition to serving scholastic music programs through In every professional relationship, mutual respect is at
clinics and workshops, we have also found value in offer- the core, whether you are the community choir director
ing professional development opportunities to their music or a school choir director. Establishing trust and rapport
educators. This can take many forms, but we have found with your school choir director is essential. Always use the
two models that seem to work especially well. golden rule. Treat the choir director the same way you
First, it has worked best if the school district offers pro- would like to be treated.
fessional development sessions for their music teachers. In Please take advantage of and respect the expertise and
those instances, we offer to supply a workshop at no charge, skill of your colleagues; they are valuable resources! Con-
which is attractive to them, and our organization gets both sider creating a teacher advisory board and inviting local
facetime and “marketing” opportunities in return. school directors to serve on it. Don’t be afraid to ask your
As a second opportunity, we offer free skill-building colleagues for help and actively listen to their advice. View
and/or repertoire-based professional development sessions your colleagues as a part of your team, not your competi-
at one of our studio locations. In repertoire/reading ses- tor.

ChorTeach Volume 15 • Issue 1 5 Fall 2022