New Avenues:
Rolf Brulhart and the future of
the Vancouver Swiss Choir
By Malcolm
Morgan (Canadian
Section Editor;
infoBC@europeanweekly.net)
Posted May, 2006
For a
choir that’s been around 40 years,
what ground is there left to
cover?
Looking to
the future
Rolf
Brulhart, Vice President of the
Vancouver Swiss Choir, is animated
as he discusses Swiss culture and
his choir.
He
continually rustles the flyers
advertising the choir’s upcoming
festival performances; one at the
European Festival on May 27th
in Burnaby, BC; the other at the
choir’s annual Spring Concert on
June 2nd at The German
Haus in Vancouver. He promptly
furnishes me with complimentary
tickets for both.
And
during our discussion, he often
leans toward me to make an
emphatic point, planting his
finger down on the cafeteria
table.
He has
a clear and understandable
investment in this
well-established choir.
The
Vancouver Swiss Choir was founded
in 1966, and has continually
offered an engaging sample of
traditional Swiss music to the
public of BC’s Lower Mainland.
The choir has also occasionally
co-ordinated performances with the
Swiss choir in Portland, an
invitation that Brulhart says was
“an honour,” having come from this
traditional and respected Swiss
choir of the region. In addition
to regional appearances, Brulhart
mentions that he would ideally
like to take his choir on tour in
Europe.
Brulhart
is thankful for any performance
opportunities the choir gets
because maximum exposure of the
choir’s work will draw new members
to it. This appeal to the next
generation is important because
the founding generation, which has
done the work to bring the choir
to its present point, is passing
the age of active participation.
New blood is essential – and
Brulhart is willing to go to some
unusual lengths to win it.
Extension or
Extinction
“The
second generation, they don’t have
the inclination,” says Brulhart of
the younger generation’s hesitance
to join the Swiss choir. He
explains that busy Swiss-Canadian
kids living in a distracting
consumer culture don’t find much
meaning in traditional Swiss
musical fare, such as yodeling.
“To
sing is hard work – and committing
yourself to practicing once a week
is hard as well,” continues
Brulhart, emphasizing that there
has to be something in it for the
young people if they are to
participate.
Brulhart’s formula for winning
youth loyalty is to, first of all,
give them the spotlight. “You
have to give young people the
stage,” he says, elaborating that
the veterans can’t afford to make
the performances about themselves
if they hope to gratify young
members sufficiently to keep
them.
Secondly, he thinks the choir has
to invite guest musicians who will
be of interest to the young. The
choir has already invited a
traditional Swiss instrumental
group for the May 27th performance
(Familienkapelle Walker,
from Gstaad, Switzerland). But
Brulhart’s children are urging him
to invite their favourite Swiss
rap groups.
Brulhart says it’s necessary to
change “this old-cheese image,
this numbered- bank-account image
of Switzerland [that] is embedded
in the world.” So, he’s perfectly
willing to shake things up in
order to draw in both new
participants and new audience
members – even if it means
shocking and losing some of their
old audience members.
To
change the image, says Brulhart,
they require the new cultural
influences, but also a macro
decision on the direction the
choir (and its associated guest
performances) will take. “You have
to decide which small part of
Swiss culture you will highlight,”
says Brulhart, explaining that the
choir can only ever be a glimpse
of the larger, multi-faceted Swiss
culture. “Will you teach them
(High) German songs, or Swiss
(German), or Italian, or French,
etc? Do you want to create a
Heidi group or a Zurich rap
group?”
Swiss pride,
Swiss posterity
“The
Swiss have a huge identity,” he
says. “They’re very egotistical.”
He
says that a large part of their
self-appointed stature among
European nations comes from their
status as a genuinely
multicultural state; Switzerland
is divided into French, Italian,
Swiss-German and Romansch-speaking
subcultures. These four Swiss
communities manage to coexist
(even amidst their individual
egotisms) in what is one of the
more prosperous countries of
Europe.
While
the cultural breakdown of
Switzerland itself is de facto
multiculturalism, what Brulhart
and his colleagues try to
accomplish with their choir is
what he calls a “soft
multiculturalism.” This soft
focus is what works in Canada, he
feels, where different cultural
communities can “hear each other’s
music and taste each other’s food,
but that’s about all.” This
buffet-style multiculturalism
manages to give voice to each
cultural tradition and language
group without bringing political
considerations (such as that
between the Balkan communities)
into the forum.
In
terms of the management of the
choir itself, soft
multiculturalism demands a careful
arrangement of performance
material so as to give due
representation to the
participants, who are from
different Swiss language groups.
The choir’s Music Committee,
comprised of members from each
Swiss subculture, selects the
songs for performances with a mind
to fairness for each group.
The
choir actually sings in seven
languages: the expected French,
Italian,
Swiss German
and Romansch, but also in High
German, Latin, and English. The
language profusion is impressive
and workable as far as the older
people are concerned, but actually
presents another barrier to youth
enrolment. Singing “songs in
languages they don’t understand,”
says Brulhart, doesn’t interest
the youth any more than yodeling
does.
Brulhart and company will have to
change both the old-cheese Swiss
image and the old-cheese structure
of the choir itself. It’s a tall
order, especially since Brulhart’s
ideas for reaching down new
cultural avenues mean the choir
executives will have to please an
entirely new Swiss subculture:
that of their Westernized youth.
Whether this initiative will
work or not depends on the choir’s
commitment to Brulhart’s vision –
that is, extending itself in
regard to both touring and
performance material.
If
their commitment to these efforts
is low, then they can look forward
to admitting more non-Swiss
participants, as they have done
already, out of necessity to keep
their ranks (musically, albeit not
culturally).
Brulhart recommends trying all of
his ideas, and seeing which ones
make an enduring difference. “From
all my years of cultural
experience and observation,” he
concludes (Brulhart has a
background in sociology), “there
is one thing I’ve learned: time
will show what survives.”
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