Where Are We Going and What Are We Doing?
It’s a crazy time to be in Seattle and to be alive, in general. If I’m honest, I have no idea what to do with myself, and maybe you feel that way too. I’m not motivated to practice viola right now, I had my last week of movement teaching, and I haven’t been quite sure what to write about here. I’m technically a freelance musician and teacher, with a per service contract with the ballet here, with partial benefits, meaning that my health insurance is partially paid for. Yet, every ensemble in the country is in a state of chaos, with thousands of people wondering if they’ll get paid for booked weeks in the future, wondering if their arts organization can weather this financial storm, whether it’s time to change career, and what the future of orchestras and arts organizations are moving forward. I have no answers to these very real and pressing questions, but here are some of the things I’ve been thinking about.
If you’re a freelancer, it’s hard, if not impossible to get unemployment right now, even if you were booked for many weeks in the future. This doesn’t discriminate between being a lead singer at the Met (and the show isn’t happening), playing in a local orchestra, or subbing in many different ensembles in one area. In Washington, in order to apply for unemployment, you need to substantiate that you worked 680 hours in the base year. The catch is that orchestral musicians usually work 20-25 hours a week, so you’d have to sub (or play) 30 weeks of a season with an ensemble to be eligible. The ballet I play with doesn’t even have a 30 weeks season, but I definitely played more than 30 weeks between the different groups I play with. I don’t know if that makes me eligible at all.
On one hand, arts organizations are trying to keep their organization afloat. On the other hand, not paying folks at all is a real problem, especially with groups like the Metropolitan Opera, where people travel from around the world, book lodging and flights, and don’t get paid prior to working. How do organizations straddle the boundary between caring for its employees (not just the musicians, but the ushers, sales office, parking, administrative team, etc), and keeping the organization in business?
Arts Organizations cannot cut benefits right now, specifically health care. I’m grateful that the ballet I work for with not be eliminating any health benefits for anyone, but as organizations make cuts in general, this is one that needs to be addressed on a national level, as well as for freelancers. Prior to having health insurance, I paid between 300-500 dollars a month, plus my deductibles and fees, including my mandatory MRI’s for my pituitary tumor. As long as health insurance is privatized and for profit in the US, arts organizations will spend a lot of money (and so will musicians) to keep themselves and their family insured.
Even when we start work again and the quarantine is lifted, ticket sales will be lower than usual. Until there is an easily accessible solution, there will be an inevitable fear about large gatherings, and many classical music listeners are older, retired, and over 60. Projected revenues will not match past years.
How will more digital concerts impact live event sales? Many ensembles have been offering free digital streaming or performances of a concert or many concerts. What will the impact of these things be as we move back to work? Will the availability of free digital concerts impact ticket sales?
Are orchestras still holding professional auditions, and is it ethical to do so? Aren’t they putting performers at risk in traveling, despite cancelling part of their own season? While some musicians (like myself) may find themselves with a lot of practice time (until their savings run out or work starts), others are now suddenly full time parents, sometimes to young children or multiple children. Practicing is most likely low priority. Others may be taking on other work, non musical jobs, or teaching more to make money, which will impact practicing.
It’s really lonely to practice one’s instrument without any contact with any other musicians, i.e. lessons, chamber music, ensembles, etc. While some of those things are digitally possible, I’m finding it very hard to be motivated to practice, “just for myself.”
My primary (other) job is teaching pilates and yoga. Most studios and teachers are suddenly offering online classes and sessions, often for lower rates than in person, and I’m wondering how that will impact things down the line. I have recorded movement videos in the past for clients and friends, and I’ll be putting those online soon, but I wonder how that will impact teachers when we go back to the studios and spaces.
I don’t have a lot of answers to things in these uneasy times. But a few (less negative) things I have learned so far.
My dog sheds a lot. Even though I’m home more now, no amount of vacuuming can contain this 13 lb shedding machine.
Sunny days in Seattle make quarantine better.
Hiking is still possible, either by yourself or with social distancing. I’ve been lucky enough to go on some beautiful hikes this week.
Never before have I had so much time to organize and clean. And while I’m totally unmotivated to do so, I’m mostly just noticing random patches of dog hair and vacuuming it up.
Streaming services have never been so appealing. While there are tons of good things to watch, there’s also Love is Blind, and there’s no shame in watching some crazy tv to get through this.
There is a lot of cooking happening, and it’s for the best.
And last, but not least, if you’re suddenly a full time parent of one or more children, you’re doing great. It’s one thing to spend time with your children every day, it’s another to suddenly become the primary teacher, after school entertainment, PE teacher, librarian, and primary social contact for your child or children. It’s a lot, and I commend you all.