“The Heroes Inside” Building Communities in Community Choirs Evan Dawson

“The Heroes Inside”Building Communities in Community Choirs

Evan DawsonHead of Development, Making Music

CULTURE, HEALTH & WELLBEINGINTERNATIONAL CONFERENCE, BRISTOL 2013

OVERVIEW1. INTRODUCTIONS

Making Music, Sound Sense and the TSRC

2. BACKGROUNDCommunity choirs

3. VOCALITYWhat was it?

What did we measure, and how?What did we find?

4. WHAT NEXT?...

THE HEROES INSIDEBUILDING COMMUNITIES IN COMMUNITY CHOIRS

INTRODUCTIONSThe Partners


MAKING MUSICwww.makingmusic.org.ukMaking Music is the UK’s number one organisation for voluntary music. Our 3,000 members include choirs, orchestras, music promoters, jazz and wind bands, community festivals, samba groups and more.



MAKING MUSICwww.makingmusic.org.uk

SOUND SENSEwww.soundsense.orgThe UK professional association promoting community music and supporting community musicians.



MAKING MUSICwww.makingmusic.org.uk

SOUND SENSEwww.soundsense.org

THIRD SECTOR RESEARCH CENTREwww.tsrc.ac.ukThe Third Sector Research Centre aims to enhance our knowledge of the sector through independent and critical research.

INTRODUCTIONSThe Funders


BACKGROUNDCommunity Choirs in the UK




1935 – choral societiesMaking Music formed to support amateur choirs



1935 – choral societies

1970s – community choirsPeople sing “without worrying about having a ‘good’ voice or ‘getting it right.’ Singing has been a part of life, a way of binding communities.”

(Natural Voice Network)




1970s – community choirs

1990s – community music“Active music creation, equality is central, and the music making itself somehow

tells the tale of the community that’s making it.” (Macdonald 1995)




1970s – community choirs

1990s – community music

2000s – reality tv and medical evidence

VOCALITY


RESEARCH QUESTION: “Does a singing group in an area of disadvantage contribute to community and personal development in that area; and if so, how?”

VOCALITY


EVALUATION OBJECTIVE: “To investigate the benefits and challenges of community choirs operating in areas of disadvantage as a tool for community development; and identify the best strategies for success of such choirs.”

VOCALITYthe 8 places


• Mablethorpe, Lincolnshire• Brent, London - Chalkhill Estate• Gloucester – Barton and Tredworth• East Brighton – Whitehawk and

Woodingdean• Torbay • Newport, Gwent• Cardiff – Riverside and Grangetown• Kirklees

VOCALITYparticipants


• Elders from a deprived London borough, one with a high population of people from black and minority ethnic groups

• Adults with learning difficulties• Refugees and asylum seekers• Communities in the lowest 30% of multiple deprivation• Young parents in an area of mixed ethnicity and deprivation • People of mixed language, religion and ethnicity, on a

single high-crime street• Patients at an inner-city GP surgery• Parents at a poorly-performing school

VOCALITYEvaluation framework


1. MONITORING 2. QUANTITATIVE 3. QUALITATIVE


Dealing with

problems

Feeling energeticInterested

inother

people

Interestedin new things

Feelinghealth

y

Makingdecision

s

Feelingcheerful

Singingskills

Feelingconfident

Feelingrelaxed

VOCALITYWhat singing did




1. Fun

“I really look forward to the group, it cheers me up. Tuesdays can't come around quick enough. You sit in the house and you think, tomorrow we'll all be singing together, it's a wonderful feeling.”



1. Fun2. Wellbeing

“The reason we do it is that fits with our philosophy about the ... prevention of the deterioration of mental health and wellbeing. We work with people on that basis – not as therapists but because we believe singing has therapeutic benefits.”



1. Fun2. Wellbeing3. Builds confidence

“I think that raising aspirations and wellbeing is key for me. I really saw that with all the people that came. And a real sense of achievement. I've heard a little of their stories and what's going on in their lives, and for them to come to something for a positive experience and for those things to be put on the backburner is really important to them. And to network as well. And showing all of these things is important too.”



1. Fun2. Wellbeing3. Builds confidence4. Appeals to people that other activities don’t

“I haven't seen [housing association] residents in any other project before so it was a new set of people, new in that other things hadn't quite sparked their interest.”



1. Fun2. Wellbeing3. Builds confidence4. Appeals to people that other activities don’t5. Builds inclusion

“I think they found connection to others, awareness of their wider community, feeling a bit more secure with those around them on the street. Breaking down barriers in terms of perception of other people.”



1. Fun2. Wellbeing3. Builds confidence4. Appeals to people that other activities don’t5. Builds inclusion6. Builds respect and trust

“When she sings a Kurdish song, Kurdish people love it more than if I sing it. Because it is a connection – singing in their language shows they don't hate you, they want to live with you, they are human, there is no difference between you and them.”



1. Fun2. Wellbeing3. Builds confidence4. Appeals to people that other activities don’t5. Builds inclusion6. Builds respect and trust7. The visible voice

“For these [refugee and asylum seeking] communities it is an incredibly powerful tool as so silenced. Da said, you know we feel invisible but you made us feel visible.”

VOCALITYConclusions


Can you set up a choir in a community of disadvantage and sustain it? If so, how?

VOCALITYConclusions


YES! Of the 8 projects we funded, 5 developed singing groups – in most cases from nothing, and in areas of severe disadvantage – and found pathways to at least the start of continuing the group after Vocality funding had finished.

All these 5 projects could identify a range of impacts the singing had produced; and all of them could point to tangible benefits the activity had brought to participants, to the singing leaders, to organisations directly involved in the process, and to the wider community.

Can you set up a choir in a community of disadvantage and sustain it? If so, how?

VOCALITY8 essential ingredients




1. A champion



1. A champion2. Community development worker



1. A champion2. Community development worker3. A singing leader



1. A champion2. Community development worker3. A singing leader4. Enough time and money



1. A champion2. Community development worker3. A singing leader4. Enough time and money5. The right venue



1. A champion2. Community development worker3. A singing leader4. Enough time and money5. The right venue6. A Plan ‘B’



1. A champion2. Community development worker3. A singing leader4. Enough time and money5. The right venue6. A Plan ‘B’7. A meeter and greeter



1. A champion2. Community development worker3. A singing leader4. Enough time and money5. The right venue6. A Plan ‘B’7. A meeter and greeter8. Food

WHAT NEXT?


WHAT NEXT?


1. Singing groups can have a large impact on the wellbeing of participants in a relatively short space of time, as well as deliver a range of other benefits to the participating organisations and the wider community.

WHAT NEXT?



2. It is possible to create sustainable singing groups in very challenged communities, provided that sufficient time is spent in developing relationships and support from local people, and partnerships with local organisations and community workers.

WHAT NEXT?




3. The qualities needed by the singing leader for such groups are diverse, embracing far more than just musical skills.

WHAT NEXT?





4. Participant numbers for singing groups in challenged communities can be quite small at the outset, but this can still have a strong impact, and form the basis for a sustainable group to continue. This work can take a long time to generate momentum, and short-term project funding may not be appropriate.

WHAT NEXT?





4. Participant numbers for singing groups in challenged communities can be quite small at the outset, but this can still have a strong impact, and form the basis for a sustainable group to continue. This work can take a long time to generate momentum, and short-term project funding may not be appropriate.

5. There is a powerful case for singing groups to be established in disadvantaged communities. Further research is needed to examine different models of delivery.

“The Heroes Inside”Building Communities in Community Choirs

Evan Dawson, Making Music

Kathryn Deane, Sound Sense

Prof Angus McCabe, Third Sector Research Centre

Download full report from www.makingmusic.org.uk

CULTURE, HEALTH & WELLBEINGINTERNATIONAL CONFERENCE, BRISTOL 2013

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“The Heroes Inside” Building Communities in Community Choirs Evan Dawson