A team of live reporter took on the difficult taks to take notes during the different sessions of the conference, with the help of participants, using an online collaborative note taking system.
You will find their notes below, as well as links to the presentation files when available.
The are not official minutes of the conference, only notes taken on the spot, but they can provide a good insight on the richness of the sessions.
We will soon provide the presentations used by the speakers and moderators.
The reporting team was:
Big thanks to them!
Welcome to Open Singing as a tool for audience development!
will present his experience in (literally) going out to grab the attention of new audience by the use of unusual performances venues and the involvement of listeners in improvisations.
The Eurochoir project was initiated by AGEC in 1982. How relevant is the project today? What have we learned from the three editions included in the VOICE project? What are the next steps in helping this unique choir become the ambassador of choral music on the continent?
Eurochoir exists since 1982, invented by AGEC. Bringing people from Europe to sing and exchange.
Musical, social and intercultural project. 32 editions. Duration: 8 to 10 days
2 counductors one local one from another country.
Organised in 13 countries
30 to 80 people in the past > very different projects
10 to 22 countries last year thanks to the VOICE project
Create good continuity is a challenge since it is not a fixed choir.
It will never be the best choir in Europe: is not the first aim!
Level of singers can be very diverse through selection by national organisations > Frustration. We now need to select.
Bring young people together, you can ask them anything! They will sing upside down. Experimentation is possible
Good situation with the growing number of of nationalities.
Over three years of VOICE we worked on:
Communication (website and domain name)
a third of singers are doing consecutive sessions (how to involve the singers more in the project > ambassadors of the Eurochoir
Former singers, asked to contribute to the developpement and promotion of the eurochoir.
promote the Eurochoir
Want to continue the work from voice with three sessions working together in Helsinki, Italy, Netherlands ??
There a more possibilities to develop the project.
Includes three sessions organised in common, we have time to decide on a common programme and concept.
IFAC: Philippe Le Fevre (PLF) prepared the last session in France. question, what is your main message to next organiser?
PLF: my advice is not about organisation, if I compare to 2013. You have 2 conductors to work together. In was the case in France, it was perfect. I was the third person, here to discuss about their problems, and help them decide and compromise. When you choose the 2 conductors, make sure they can work together. They have to know each other's work.
Question: of how to organize how the conductors work both at the same time or not
Two conductors work if you have a good team behind them
Ex-singer 1: I liked 2 conductors, you get many influence but, I had the feeling that It felt that the external was musically interesting but the local was about knowing the culture, but not artistically interesting enough.
EX-singer 2: in Pecs, we had a vocal coach but not in France, and that was useful.
DW: we are thinking about this issue. In former model, the federations were helping financially the singers.
PLF: it was a question of money! The warm up should be a responsibility of the conductors
Ex-singer 1: I had 3 sessions with a vocal coach, it should be someone who is working on the group sound,more than on individual voices (can't do much in 8 days)
DW: what does the EUrochoir mean for an audience in the different countries? We should always ask what can we bring to a community, what are we missing at this very moment?
Zdenek Kadlas (Eurochoir 2012): it was in a small city, there was a local support from politicians, it was a challenge for us to organise, and Torino was right after the eurochoir We almost cancelled the event due to lack of applications, we had 43 in the end.
PLF: in Saintes, there is a big festival, 180 events, we told them about EC; they thought it was too elitist, but the concert was a tremendous success. It is hard to describe what Eurochoir is in advance
DW: How would you convince a young singer to apply?
Ex-singer 1: EC could improve the communication towards singers, it is still in a closed network.
Ex-singer 2: If you advertise, you may not get a spot for yourself.
DW: criteria are:
3 particpations max (like in WYC)
Martine Spanjers (Zimihc): Why not a discount system and incentive system to bring new singers?
Ex-Singer 1: It is a experience that show that singing is a language that everybody can share. I think that everyone that attend the concert should feel that atmosphere, everybody can feel the group.
Côme Ferrand Cooper: Eurochoir is rehearsals, music, concerts but it is also group building and more. Hard to find the right balance.
PLF: it was sometimes a problem, but it was good to have the ambassadors. Games help get to know each other, from the first day, they shared real things. former participants can take an active role in policing the group.
ex-singer 2: I was not aware of the role of he ambassadors!
DW: we should make sure to recruit new ambassadors
FR: we thought we should bring people to help them build the group. The ambassadors sometimes did not feel their role, but it was good to have them in the assessment, but their role should be better defined
PLF: we must help singers come better prepared
DW: a conclusion: what do you see as a challenge for the next editions?
Marco Fornasier (Feniarco): we are trying to involve people from other fields, we have opportunities in big cities to cooperate with venues, institutions, other artists. It would be nice to contact schools, like circus school, to have a concert part of a larger performance, for example, to reach out to other audiences. Or with sports?
MS: the concept is great, and we like to idea of cross discipline, working with other venues, and we want to reach out to other choral singers as guide to the city, to network with the city.
Moderators: Jean Claude Wilkens and Victoria Liedbergius
Live reporting: Burak Onur Erdem
We claim that “everybody can sing”, but are we always taking the necessary steps to make sure that it happens? Inclusion is a transversal issue, that concerns all activities and necessitates a proper strategy.
Moderator: Koenraad De Meulder
Live reporting: Emanuela Farago
An inclusion project of Koor&Stem: La Noche Sin Estrallas
Antwerp Cathedral Choir (people without any disabilities), Al-arm (choir of poor people) singing together Gelijkgesternd (singers with dementia) performed, sang together.
Professional conductor he was very good with disabled people, knew how to deal with them, was the first time for him to be involved in a project like this.
The composer and the conductor were really humanitarian, could build the link between the music and these different people
Music is very accessible, easy, was written for inclusion choir, but can be combined with normal people and disabled people also, not only written for this kind of people. The score can be downloaded from the website of Koor&Stem.
It takes a lot of time to convince people to make such a thing – takes a year to learn the score for the disabled choir; but only few rehearsals for a normal choir
they enjoyed singing very much, they were very enthusiastic and proud
People who heard about this project and it’s success, started to work with inclusion in their own area.
Eg. in a carehouse for disabled people every two weeks there’s singing with their family – mentally desiesed people
It’s a very difficult task to rework this, to have a new conductor– he/she has to have social qualities, patience, competences, ect.
Hears in harmony was initiated in 2006 in France from the belief that singing can help the social inclusion of disabled people.
Other countries took over this project and developed,
Norway (with hearing-impaired and other children)
Hungary (together with the school for visually impaired children),
Catalonia (inclusion of disabled singers in general)
Serbia (inclusion of disabled singers in general) in Novi Sad there’s a yearly festival – big institution for disabled people
Sweden (children with hearing difficulties)
Belgium (inclusion of hearing-impaired singers and people with dementia)
Revolution in vision: first only about disabled people in focus; but later it was broaden to cultural background, prisoners, emigrants, everybody who can be out casted
the organization is very open
Hearts in Harmony is the European network for the social inclusion by means of singing of individuals and groups at risk of exclusion.
by means of singing
at risk of exclusion,
The HIH Network
creates awareness in the choral world and the social services for inclusion by means of singing of individuals and groups at risk of exclusion.
gathers knowledge and experience on singing with individuals and groups at risk for exclusion and shares these with the choral world in Europe.
creates a learning network on singing with individuals and groups at risk of exclusion. It’s useful tool to give information for conductors and singers how to manage inclusion in a choir
European Music Festival for young people - Liverpool Signing Choir
deaf and hearing people performing together in a concert
singing and signing (making music with their hands not their voices)
weekly half an hour rehearsal
Paralympics opening ceremony
The HiH Network implements a HiH-component in several programs
of the existing ECA-EC events or in events organized as a part of the social work.
Implementation of a HiH-component in the Europa Cantat Festival
Implementation of a HiH-component in the Europa Cantat Junior festival.
Implementation of a HiH-component in Singing Weeks.
Implementation of HiH-components in events organized as a part of the social work.
Other ideas concerning the implementation of HiH-components (tbd)
The HiH Network develops a HiH Inclusion Label for choirs who develop concrete actions for the inclusion of individuals and
groups at risk of exclusion.
Write out the guidelines for the HiH Inclusion Label.
Development of a campaign to promote the HiH Inclusion Label.
Presentation of the results of the label campaign.
Center of dementia in Flanders – publication
People keep their vocal memories – they remember all the song they knew before, Developing method for carehouses in flanders
guideline for people who work there People need lot’s of advices, open care houses for local social services. It’s not so easy task for people without singing competences
They started to look for volunteers who are willing to participate in these kind of things
30 choirs in Belgium singing with people suffering from dementia
Patients cannot talk with their beloved, the relatives can maybe feed them, but there’s no interaction, but if you manage them to sing, there is contact and interaction between them.
The Voice of our Memory (in Dutch)
Dutch and english verion of the book
Songs and CDs, piano acconp on the website
Do we need new business models for the Choral world? Is earning money much more difficult than fighting for subsidies? Public support is thinning away: let's share positive and innovative experiences or ideas to financially support choral organisations.
Moderator: Daphne Wassink
Live reporting: Cathy Al-Ghabra
Hi everyonewelcome to the economy of choral organisations
Daphne welcomes everyone
money that disappears and comes back.this is a sharing working group, so please contribute to the discussion.
Daphne: are we in e situation where we need to talk about the economy of our choral organisations?question: who has recently had problems because public funding was cut? 6who did not? 8who had an increase of private funding? 5who can give examples of successful private funding they managed?andreas' choir raises 15000 euros through crowd funding for a tourthe key to the success was that the whole group stood behind it and supported it
20% supported with action the others more in thinking
Crowd funding What did you offer people? Big concerts, small concerts from a quartet to the whole choir, postcards, inside information from our trip. Spend €5 -1000 for the concert. Partnerships were not accessible due to it being a university. Businesses - firms that are interested in culture access. It is about network. You must reach a lot of people to gain success. About 400 donors contributed. There was a minimum that you have to spend before you do the crowd funding. Crowd funding is good if you have a specific and defined project, but does not work when it is too generalised, it is a closed way of funding. It works for localised events, as the companies can gain something, but for funding abroad trips it is almost impossible. Tour - even though tourist companies are a partner for the tour abroad, they will often deny contribution. Long term partnerships - e.g. Audi youth choir academy. Lebanon - there are no choral singing traditions. People shared money with their choirs just small donations, then they put on free concerts. Do not depend on one person, they might cut the money. Politicians gave. Lotteries - with goldsmiths... Competition - winning stimulates people to give. 1990s Estonian student choir - planning a trip to USA and had a lack of money. Upper most hotel rooms always reserved for maffia. They rang the maffia and they sponsored them and came with. Two maffia pretended to be choral members. Creative book keeping. Diversification of income is important, Sonja gives example of ECAEC losing network funding but this is only 30% of their funding. Other companies were not so careful. In Europe there are lots of very different cases: two kinds of culture...UK culture where public funding is almost nothing and lots of private sponsors, and the rest of Europe where most funding comes from public money. E.g. Polyfollia one of their major public sponsors are failing, so they have to shut the organisation. When one pulls out, all the others do too, it's like a domino effect. Even if you have multiple sources of public funding you cannot be dependent. It is long term work to develop private funding partnerships. The most important question to discuss: how can we give permanent life to ECAEC? This is the main important point. When you see the figures even in the good case, we are still just working with less than €300,000. It is amazing that this association is living on only this. It is very dangerous living. How can we find a little bit more than nothing? So what other positive examples do we have in the room? Collective spirit of collaboration from members, like in local festivals. Use your partner relationships and put on workshops for free, and charge participants. Who are the organisations and how far are they ready to go? How can we build this community collectively? Dating? Private funders, how did you manage this in your organisation? Contact the person who makes the decisions, send the right person to convince them. Focusing on specific target areas can create good partnerships. The word 'youth' helps to get funding. Show companies what you can provide for them, what will benefit their work. E.g. World Choir Games are very efficient. We can use our ECAEC network to advertise that we are knowledgable - sell our skills.
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