Re: Integrating Jewish Music / Culture into the Establishment

[Steven M. Singer <ssinger...>]

On Wed, 15 Apr 1998, Michael R. Leavitt wrote:

> I think the topic is great.  As a non-performer, I've occasionally
> tried to get "conventions" of Jewish groups to consider klezmorim as part
> of their entertainment, and have only had success with the more religiously
> oriented (congregations, regional groups of congregations).  

This hit me as kind of ironic --- as the director of a different kind of a
group (i.e. Jewish a cappella), I'm CONSTANTLY competing w/klezmer groups
for gigs in synagogues and JCC's.  For artist series and the like, most
Jewish organizations tend to stick to what they know --- and what their
audience knows best.  In my experience, Klezmer bands are generally seen
as the way to go.

> Do any of the
> performers on the list have direct experience "marketing" to the more
> community-oriented groups (UJAs, Jewish Community Councils, B'nai Brith,
> Hadassah, etc.)?  Any tips for how to sell in that market?

Yes...  Our group, LISTEN UP! A CAPPELLA has performed for UJA's student
leadership conference for 2 of the past 3 years.  We perform regularly for
the Chicago/Midwest region USY conferences, performed for the JYDA, and
were asked last year to perform for Hillel's student leadership conference
(although we couldn't make it).  I think that the key to marketing to
these groups is to not misunderstand their programming decisions.  The
email that was sent at the start of this thread complained about the "out
in left field" nature of a recent Jewish youth conference program.  In
many cases (especially for the UJA, United Synagogue, and Hillel
conferences), the entertainment programming is conceived and implemented
by a group of student/young leaders.  This presents two marketing
challenges (1) these "leaders" are usually interns who are working within
the organization only for a year or so, (2) the events are designed by
essential "peers" - with the likes, dislikes, and wishes of the younger
set in mind.  I've found two concepts to be key.  First, every year (every
season, every conference) there is a need to re-educate/re-market your
product.  Yes.. files are passed on, but your literature may get lost in
the change of personnel.  Second, you have to take your audience into
consideration.  i.e.  For LISTEN UP!, we don't just rely on the "hipness"
of a cappella music among young people -- we specifically design our
literature and our music/performance to embrace their needs.  If you look
at the Klezmatics versus -- let's say Brave Old World... at a critical
musical level one might not elevate one above the other.  However, if you
were to look at record sales to a younger audience, I suspect that the
Klezmatics would come out on top.  It's all in their marketing.  The key
to getting "Klezmer" gigs with a younger audience is to present the idea
of a "reinvention" of klezmer for a younger audience.  Most of these kids
don't have ANY experience with klezmer --- and just the word itself,
connotes something traditional and, you guessed it,... not attractive.  As
klezmer musicians, you really have to re-introduce the genre to this
younger audience - as if there seeing it for the first time.

Steve Singer
LISTEN UP! A CAPPELLA

http://www.jewishmusic.com