Making Summer Sing
Adaptability is the key to socially distant summer for The Philadelphia Boys Choir & Chorale’s Camps
By Stephan Stoeckl
2020 has been all about adapting—a factor not lost on camp directors. Taking active summer fun to a virtual format requires a new approach and adjusted expectations, not to mention ample patience and creativity. For the Philadelphia Vocal Conservatory (the extension program of the Philadelphia Boys and Girls Choirs running the camps), that process also meant reinterpreting musical training that so often depends on having singers in the same room. While many camps cancelled this year’s sessions, this organization prioritized developing an innovative digital solution to keep its unique summer music programs running.
Photo: Stephan Stoeckl / Philadelphia Boys and Girls Choirs
When it became clear that the traditional camp structure was no longer feasible, I sat down with Camp Director Michael Ashby and Music Director Steven Weber to revise planning with a new vision for engaging programming. As one of the only specialty options for musical kids in the region—with opera, musical theater, and choral camps for boys and girls ages 7 to 18—going virtual was essential so these young singers could hone their talents, or try something new, and connect with other kids who are just as excited about music and performing. Early discussions included ways to incorporate special opportunities for kids to receive instruction from the choir’s top instructors, as well as to attend master classes with guest teachers who are professionals in their musical styles and/or music education. New plans also necessitated that the team devise fun activities and skill challenges that campers could enjoy both during and outside the scheduled afternoon sessions. The shift to virtual programming further demonstrated the unexpected, but highly positive addition of digital skill-building activities like video production and editing, with campers working together to create and share performance videos. These established a strong framework to promote new offerings for a touch of normalcy this summer.
Ashby explains, “After running these camps and fine-tuning programming for years, it took some time to give up the idea of needing to be in control the whole time, to let go of the ideal and work to find the best option in these particular circumstances. Plus, a lot of families seemed to be waiting for a break in the pandemic to decide what they wanted to do about this summer, so attendance seemed low at first. We focused on how we could use the resources we had within and connected to the organization, and what kids could access at home, instead of only our original goals, which brought a lot more smiles, new friends, and surges in sign-ups for additional weeks of camp.”
Though a number of music professionals logged on to share stories and insights that enhanced the music education at each of the camps, the performance component of the curriculum wasn’t capturing all of the kids’ attention. It’s not that they didn’t want to perform, but virtual performance can feel lonely, and only about half of them submitted videos. We needed to change gears and develop a new set of ideas to engage campers.
Creating Happy Campers
Among the adaptations, these four concepts became essential in improving activities and making virtual camp overall more social and engaging:
Breakout rooms. Giving kids the opportunity to interact on a smaller scale was successful across the board. When it came to performances, kids were much more responsive to recording a video when a counselor or another camper was manning the controls. Without the presence of the whole group or the lead instructor, the small groups could discuss options for a task, laugh at jokes, and feel connected to camp.
Differentiated activities. With a broad range of abilities and interests among campers, there was a need for variety. By bringing in older singers from within the organization as tutors for the more-experienced campers and/or asking the experienced campers to become counselors for younger age groups, everyone was able to learn. Additionally, some kids brought their ideas for skill-development to us, like the 9-year old who asked for feedback on songwriting done on software he had learned about at camp, while others were asked to join longer-term projects, such as composing recitatives and transcribing and editing the score for a pastiche opera created by Ashby.
Competition. Kids love to compete, even when there isn’t a tangible prize. In addition to learning about music theory, technique, and the international phonetic alphabet, teams squared off in answering questions through digital platforms like Quizlet and Kahoot. For the younger kids, assigning taskmaster-style challenges led to excellent video submissions, from percussion instruments made from items around the house to speaking convincingly in the most regional accents.
Creative autonomy. Some kids experience stage fright if they’re just staring at themselves on camera. Allowing them to incorporate other images or videos made them feel more comfortable sharing their performances and giving them chances to work on additional skills, like directing and editing.
Ashby adds, “Being able to work with kids in person is certainly ideal, but as the pandemic continues, the virtual format still offers a lot of opportunities to engage people through music. Presentations from our excellent staff members and outside clinicians can reach a lot of people as we remain isolated. This is especially true for topics that drew a lot of excitement at camp, like technology—finding out about new software, free programs, and the wide variety of available tools. Plus, using blocks of time to offer virtual master classes can be incredibly dynamic and informative, with kids performing a song or aria and getting individual feedback.”
In all, by keeping the focus on the intention of the camps and staying flexible through this uncertain time, the virtual camp program was still able to bring kids together through music. Not only did attendance increase throughout the summer, but a number of campers were identified for their abilities and encouraged to audition for the Philadelphia Boys and Girls Choirs, raising the organization’s numbers overall as well.
Stephan Stoeckl is the Executive Director of the Philadelphia Boys Choir & Chorale. For more information, email info@phillyboyschoir.org or call (215) 222-3500.
Photo: Michael Ashby / Philadelphia Vocal Conservatory
About The Philadelphia Boys And Girls Choirs
Established in 1968 as the Philadelphia Boys Choir & Chorale, the organization today has both the Boys Choir and, since 2012, the Philadelphia Girls Choir. In addition, ancillary programs such as Summer Camps and voice and piano lessons are presented by the Philadelphia Vocal Conservatory.
The Philadelphia Boys Choir & Chorale, under the direction of Jeffrey R. Smith since 2004, is known as “America’s Ambassadors of Song,” having proudly represented both the city of Philadelphia and the United States on many concert tours across the globe. The choir is composed of talented boys from around the region; the chorale includes former choir members, talented dads, and others. The Philadelphia Boys Choir & Chorale has entertained several U.S. presidents and has collaborated with many ensembles, including the Philadelphia Orchestra, the Philly POPS, Pennsylvania Ballet, Opera Philadelphia, Curtis Institute, the Mendelssohn Club, Vox Ama Deus, and the Chamber Orchestra of Philadelphia. Television appearances include Good Morning, America, Saturday Night Live, and the Today Show. Its sister organization, the Philadelphia Girls Choir, under the direction of Nathan Wadley, has over 200 members between the ages of 7 and 18. Collaborations have included Opera Philadelphia, Pennsylvania Ballet, and choirs in Ireland, France, and Italy.
Website: www.phillyboyschoir.org; www.phillygirlschoir.org
Facebook: @philadelphiaboyschoir; @philadelphiagirlschoir
Twitter: @phlboyschoir; @phlgirlschoir