While the first workshop explored communication within ensembles, this session took a deeper look at how to structure your organisation: who does what, when to hire help, and how to maintain artistic focus while keeping the machine running.

Here are the key takeaways.

1. There’s No One-Size-Fits-All Structure

Anna Danilevskaia was clear from the beginning: her ensemble is not a democracy. She leads artistically, while others contribute to specific tasks.
But she also pointed out that democratic models can work beautifully — like in the ensemble Voces Suaves, who is also an Alumni EEEMERGING Ensemble.

💡 Tip: Choose the model that reflects your values and personalities — then be consistent. There’s no single “right” way!

 

2. Sharing Tasks Doesn’t Always Work

Sollazzo tried distributing admin tasks among musicians. The result? Endless to-do lists and less musical focus.

So Anna decided to hire help. First informally in Switzerland, then more formally in France after founding an association and receiving a grant.

💡 Tip: If delegation within the group creates confusion or resentment, it may be time to professionalise! 

3. Administrative Work Can Fuel Artistic Growth

What surprised Anna most was how applying for public funding forced her to refine her artistic vision.
Writing five-year plans, describing the ensemble’s purpose, and answering institutional questions helped her see the bigger picture — and communicate it more clearly.

💡 Tip: Use admin guidelines as opportunities to clarify your “why”. Don’t see grant writing as a chore — treat it as creative reflection.

4. Hiring Support? Stay Involved.

Hiring someone doesn’t mean outsourcing your brain. The artist must remain involved — articulating the vision, maintaining oversight, and keeping communication flowing.

💡 Tip: Admin staff can’t invent your story. They help you tell it. Stay in dialogue with them to keep your artistic and operational visions aligned.

5. Selling Concerts? Focus on Human Connections

Agents, chargé·es de diffusion, self-promotion — Sollazzo has tried them all and realised that relationships matter most.

Anna now sends about 25 highly personalised emails a year, each tailored to the presenter, their past programmes, and their aesthetic.

“I focus 70% of the email on them, not on us.”

💡 Tips:

• Make emails short, specific, and personal.

• Show you’ve done your research.

• Frame your proposal as a shared artistic opportunity — not a sales pitch.

6. Make Outreach a Ritual, Not a Task

Anna transforms concert pitching into a creative ritual. She talked about lighting a candle, pouring a glass of wine, and imagining the concert she’s proposing — visualising it before writing.

“It becomes a moment of connection — not just another job.”

💡 Tip: Shift from efficiency to intention. Give yourself time to connect emotionally with your proposal before hitting “send”.

7. Tools Help — But Vision Comes First

In the group discussions that followed, Marion guided participants through choosing the right organisational tools (shared calendars, Trello, Drive folders). But her core message was this:

“You can’t choose tools until you know who you are and where you want to go.”

💡 Tip: Before downloading apps, define your roles, goals, and rhythm. Then pick tools that support that — not the other way around.

Ready to Start?

Here’s what you can do this week:

• Define or revisit your ensemble’s five-year vision.

• List your key admin and artistic tasks. Who does what — and what needs help?

• Send one personal, intentional email to a presenter you admire.

• Try a new tool: a shared calendar, an Airtable contact list, or a simple weekly check-in.