PASS IT ON!_®

So-You Want to Be in Children's Music?

by Mary Kerr

From Pass It On! Issue #42 (Fall 2002)

One morning this spring, I made the decision to stay with-or rather, come back into--children's music. I have been a member of CMN since 1995, have been to a number of gatherings, both regional and national, but, after moving a couple of times in as many years for my husband's career, my own career started to feel like a moving target. I have been lucky enough to be involved in children's music in one form or another for the last twenty years. I started as a volunteer singing with my children's classes. Then I went on to work at several preschools as a music specialist, to perform at school assemblies, libraries and festivals, and to take part in teacher training and songwriting residencies. I established a clientele--not once, but twice--and, after a long break, I'm going at it for a third time. 

Texas was supposed to be a temporary move for us. Accordingly, I decided that rather than plug in and get attached only to say goodbye yet again, I would just sit this one out, do some kind of temporary work, and be able to leave without looking back. Well, there is a saying, "If you want to make God laugh, tell her your plans." I think she still must be laughing, as now the temporary stint in Dallas has turned into a permanent one, and all I've done is collect dust. So, one morning, I turned to our online community and asked them to treat me as though I were beginning anew as a performer and to tell me how to go about getting myself out there. What ensued was a wonderful conversation full of wise and compassionate guidance. If you want to pursue a career in children's music, read on. Perhaps the collected insights gathered from our CMN online community could be of some help. 

Getting Organized 

You'll want to think about your audience: the ages for whom you'll be developing a program, as well as how to keep them involved. Getting your music organized might be a great way to start this process. Tina Stone had great advice for organizing a binder to help with developing a set list. She has developed a set book with an 81/2-by-11-inch sheet for each theme, all filed thematically in a three-ring binder. She continually updates the binder as she learns new songs. 

Finding Materials 

I'm always combing used bookstores and sales for old music teaching manuals that give sample lesson plans, age appropriate activities, and other useful ideas. It is always nice to have some of that material to hold in reserve. There are also some great websites, including CMN's site and the www.childrensmusic.org site. But, by far, I have received the most truly great, truly appropriate material at the regional and national gatherings with the wealth of great songs written and/or shared by our very own CMN members. 

Programming Performances 

Keeping your audience involved is key to an engaging performance. This topic alone led to an entire discussion called "The Science of Sets," but I'll touch lightly on a few points. It was suggested that one should look through songs themselves for ways to involve an audience. As Laurie Vela so beautifully stated, "Audiences generally live for Ôtheir part,' so give them one!" Observing other artists in action can help you see how to keep your audience involved, what parts you can give them. Consider the dynamics of the show. You'll want to have some kind of balance between sitting, standing, singing, listening, hand motions/sign language, physical activity, fast songs, and slower songs. You will also want to have more music planned than you think you could possibly need. The online community even brought up topics and ideas for the close of a concert. There was great discussion about how to dismiss children from school performances addressing, in particular, the need to make sure that kids are not so excited that the teachers have a big job reeling them back in. And, pragmatically, Jenny Heitler-Klevans suggested saying in closing something like "I perform full-time at all sort of places such as schools, libraries, festivals, and camps. If you have a place you'd like me to play, please come see me afterward." She says this statement has generated a lot of gigs. 

Staying Busy 

Now that you've gotten your set list together, you might want to consider volunteering to present your music in a classroom, at a nursery school, or even to a friendly mothers' play group. This can be a valuable start for a number of reasons. Say you give a performance at a library, and though no money changes hands, you ask for a referral to the other libraries. You can't put a price on word-of-mouth advertising. Getting this kind of "in" can open up all sorts of work. Besides getting yourself out there, volunteering your services can be a great way for the beginning performer to work out the kinks in a program: to determine, for example, what is age-appropriate and what isn't. Another suggestion was to offer an "Introductory Local Special" show for a very low fee: perhaps fifty to seventy-five dollars a show. Artist in education showcases are yet another way to get acquainted with the PTA parents, as well as a way to meet the other artists in your area. You can find out about these by calling your local arts council. 

Setting Fees 

At some point you are going to start wondering about what to charge for your services. You might want to get together with other artists to get a feel for what the "going rate" is in your area. It was also suggested that when asked what your fee is, a good answer is "I can be somewhat flexible; what is your budget?" As one person said, "Seven out of ten times you'll be offered an amount you can be happy with (and sometimes overjoyed about--don't let it show)." 

Beginning Publicity 

Now that you've had a little experience, it's time to start sending out a brochure. It was suggested that you include a bio that could be used as a press release, as well as a recent photo, which, for instance, a library could send to the local paper. Places to consider sending your brochure are arts centers, children's museums, community centers, coffeehouses, parks and recreation departments, libraries, and even businesses that might put on family events. Both nursery schools and preschools are listed in your local phone book. Read the entertainment section of the local paper to see where the festivals are, and call the information number to see where to send your brochure. While you're at it, ask if they know where you can find a list of all the area festivals. I have found that people genuinely want to help and will happily give you whatever information they can. Beth Bierko suggested both contacting the state education department, and mailing your brochure to the "cultural arts coordinator," who in most cases is a PTA member. Some districts even have their school addresses and phone numbers on a computer disc in a mailing label format. 

Creating a Positive Mindset 

It's scary starting out, even starting out for the third time! However, I remember that when I was trying out new material before, the thing that got me through the nervousness was to remember that I love this world of children's music. As idealistic as it may sound, I try to present music that I feel will make a difference, that will teach us enough about our differences that we can see how similar we all are. I try to present it in a way that says we are in this thing together, no matter our size, our color, our beliefs. I found that if I connected with the kids, made eye contact, talked to the kids as they filed in for the concert, it helped to establish a two-way trust and an excitement of getting to share the time together: a time filled with singing, laughing, and learning together. This isn't a guarantee that all will go smoothly; this is, after all, live performance where anything can and will happen. As Bob Reid points out, we can learn as much from the failures as the successes--maybe more. Each of the things I've touched on could easily be an article of its own. This is just to give a starting point. I think starting may be one of the biggest hurdles to overcome, but the rewards--the fulfillment as well a great online community to talk things over with--make it a hurdle I feel I have a running start on. Many thanks to an empowering online community that is willing to share expertise and encouragement. Thanks to Bob Reid, Skip Jones, Will Hale, Beth and Scott Bierko, Janet Sclaroff, Laurie Vela, Leslie Zak, Nancy Schimmel, Tina Stone, Jenny Heitler-Klevans, and anyone whom I have inadvertently failed to mention for your part in this Brave New Topic. See you online! 

Mary Kerr has recently returned to her roots in the CMN Mid-Atlantic Region where, as soon as she unpacks, she intends to put all of the loving guidance of her fellow CMNers into action.