The Life Of A Music Director

The Zankel Music Center is well known for its culturally rich performances. The events are not limited to music, and we have guests from all backgrounds. We have had Malala, Sweet Honey and the Rock, a Haitian poet, student performances, a Tunisian artist, basically people from all over the globe. This is all thanks to the director of the music center, Zhenelle LeBel. With the help of her, students from various backgrounds feel seen because artists from Asia and Africa, what we do not typically see at a predominantly white institution, are being invited to perform. It is imperative to have students acquaint themselves with artists from backgrounds that differ from them instead of experiencing the common White American or European artist we are used to seeing. In doing so, Zankel is not just hosting performances, but it is fostering cultural understanding, representation, and belonging for every student who walks through its doors. 

I decided to interview Ms. LeBel herself to get a glimpse of the life of a director of a music center. I hope you enjoy reading the interview below. 

• How did you first get involved with this music center?

After 12 years at my former job (the Experimental Media and Performing Arts Center at RPI in Troy, NY), I felt that it was time to emerge as a leader in my field. I interviewed for a couple Director-level positions in spring of 2022, and accepted the offer to join Skidmore College as Director of the Arthur Zankel Music Center because it seemed like the best overall fit for my skills and interests.

• Were you ever a musician yourself, or did you come into this role from a management background?

I am not a musician, rather a passionate listener of music. I’ve been going to concerts and shows since I was a teenager. At first I stuck to specific genres of music like metal, punk, and indie rock, but over time my ears opened to sounds from all over the world. I’ve always been an organizer and producer, booking DIY shows and festivals. Whenever I felt like there wasn’t a space for a certain kind of music or performance, I created one.

• What were some of the most important steps or experiences that helped you reach your current position?

I tend to accept new responsibilities so that I can learn how every aspect of running an organization works. In my previous job, I advanced from an entry level coordinator position to a senior member of the curatorial team simply by saying “yes” to work that others could not or did not want to do. I learned how to organize travel and lodging, help artists with visa applications, prepare contracts, write grants, and so much more, until finally I had all of the tools I needed to advance to the next level in my career.

I also prioritize relationships, meaning the people I work with are just as important to me as the work that I do. These relationships have helped me reach my goals, because folks are more likely to encourage and uplift you when you genuinely care for them.

• How do you make programming or performance decisions?

I try to strike a balance with my own creativity and artistic sensibilities and those of others, because collaboration is crucial to the success of any endeavor. I take other people’s ideas seriously, and when possible I bring their visions to life as if they were my own. I think I have good taste in music and the performing arts, but my opinion is just that.

• What skills do you think are essential for someone in your role?

Flexibility, positivity, and creativity are must-haves. Administrative functions can be done by lots of people, but to direct a center’s mission and public-facing program, you have to be able to balance the day-to-day operations with a healthy dose of dreaming.

As you can tell, a lot goes into being a director. What makes an individual valuable is the diverse set of skills they carry from previous jobs, which are not only transferable but also unique. I am assuming that not every director knows how to deal with visa applications to help them get into America or how to write a contract. These are skills that some workplaces would usually outsource rather than relying on a single person. This is what I mean about uniqueness making an individual valuable. Ms. LeBel got the role without even having a formal music background! I also enjoy how not only musicians perform in Zankel, but artists such as poets and comedians (if you consider comedy an art) are invited to perform as well. A general advice from me would be to be open to new work and dabble in everything because you never know how it may help you in the future. 

Ms. LeBel’s story is one of openness, community, and growth. She has added spark and diversity to Skidmore’s performances that we so desperately needed. Her approach to leadership and programming continues to shape the Zankel Music Center into a space where art, diversity, and culture join together. Furthermore, her willingness to be open and saying “yes” demonstrates how one can be led to remarkable opportunities.