Handbell ringing involves a lot of boundaries. From being a conductor, or co-founder, ringer, or supporter of a ringer, understanding the implications of existent and non-existent boundaries can help set the stage for a more successful existence for you and your group. Taken from Wikipedia, personal boundaries are "guidelines, rules or limits that a person creates to identify for him- or herself what are reasonable, safe and permissible ways for other people to behave around him or her and how he or she will respond when someone steps outside those limits." Given the close and sometimes intense nature of how handbell ringers have to collaborate to successfully function, I would argue that boundaries are important to the success of any group.

Group:

     As a group, being clear with where your choir can and cannot play is an important line to draw. What are the boundaries we need as a group to give our best performances? Are we clear with what environments a handbell choir sounds best in or not? For instance, while people think they want bells to play at a special dinner function as background music, is that what is best for our instrument? Do we choose functions that require an audience's attention or do we allow ourselves to be background music, which can ultimately lead to feeling defeated?

     Also involved in boundaries are performance boundaries. Do we establish clear boundaries with our audience by starting our performances right on time, even if people are still walking in the door? While this may sound harsh to some, I have found that we are establishing a boundary, one that many in the audience appreciate, as our small community has gotten used to various community art functions starting no less than 10 minutes late.

     Finally, within this category is performance set-up boundaries. When we are presented with people trying to place us in spots that are not optimal for our sound or visuals, are we able to be consistent and firm that it is not good for our instrument and we can't play there? Having these hard conversations and being the bad guy often ends up being the role of the conductor as he/she selects what venues to play in or not, and these conversations can help shape the success of the performance.

     In summary, positive group boundaries can be had by: being selective in venue and gig offers, starting on time and setting a performance standard, and being willing to have those hard conversations about what our group needs.

Conductor:

     Conductors often state what they need from their group, and oftentimes are disappointed. Ringers will not read their practice notes, they will not listen to the conductor during announcements at practice and they may throw away a reminder note the conductor has handed out at practice. I'm not judging here - this is just human nature. People are busy, often juggling many balls and families, and instead of having unrealistic expectations that it won't happen, it might help to accept that it probably will happen. Knowing that you provided the information in a clear, consistent way every time can help lessen your feelings of defeat when, yet again, someone does something that lets you down and lets the whole choir down.

     Another boundary is that of the safety of all members of the group. As a conductor, we are responsible for managing and sometimes hiding the drama that goes behind the scenes. There is a fine line of gossiping and sharing enough information so that others in the group do not make the same mistakes. It is a tricky line to navigate, but once you start to navigate it well consistently, the group will feel protected by your desire to have good boundaries.

     Almost every conductor I talk to admits to the fact that handbell choirs can involve drama, but I would argue so is any artistic endeavor that creative, strong-willed people are a part of. How we manage people's desires and needs within that choir takes an understanding of boundaries. The balancing act of micro-managing drama, giving people the space to resolve issues and letting people know that the conductor will be there to help defend and correct any wrongs that were done is precarious. However, if ringers can see that the conductor can step in and help set the standard for group dynamics, they will feel safe in that environment.

     How conductors phrase feedback to the group is a boundary as well. It takes a lot of practice and some uncomfortable situations, unfortunately, to find the correct wording so no one feels badly about having to ring something in a different way. Conductors have to be able to massage egos and understand feelings as well as conduct the beats. Being attune to subtle body language by ringers and asking the ringers frequently for feedback about how things feel will help keep communication open within the group.

     In summary, promoting positive boundaries for a conductor involves: giving as little information as necessary about drama; being specific with the group when you have needs; saving your emails and refer to communication given about your needs so you can have that in case a ringer says they never heard x, y or z; always be willing to listen but encourage people to solve their own problems; and, getting involved in the behind the scenes only when it appears to diminish the integrity of the group dynamic.

Ringer:

     As a ringer, there are physical boundary needs that people need to respect. Everyone has their own sense of space. Have people asked each other how comfortable they are getting close or not to others. Just having this discussion helps clear the air, as everyone has their own comfort level which they may or may not be having to step outside of to be at bells.

     Most people have experienced ringers wanting to take on extra bells and sometimes feel the need to do so at their own discretion. If the ringers know the conductor is ultimately in charge of who plays what bells, it will help lessen any confusion. I think it is invaluable to have a line of communication open with the conductor as to people's ideas about how to get assistance in tricky parts. However, if a ringer is faced with a tablemate trying to take over bells that aren't theirs, I encourage them to just kindly ask the conductor for help. Positive boundaries for ringers involves going to the conductor for any questions about who should ring what and asking the conductor for more space as necessary.

     I wrote this article including a lot of questions - ultimately this Socratic approach might encourage you as a reader to think about instances where the boundaries were breeched, people felt uncomfortable and something had to be remedied. My words are just a starting point for your own discussions on boundaries. In closing, I would like to say there is no "I" in handbell. By being able to establish boundaries that positively support the very dynamic and group nature of our instrument, we can help take the ego out of our process and bring our energies back to where they belong: playing the bells on the table.

--by B. Ella Saltonstall

About the Author: Ella is the Alaska State Chair and co-founder and Artistic Director of Isle Bells, a community handbell choir in remote Alaska. She has been ringing since she was a child and co-founded Penobscot Bay Ringers in Maine six years ago.

Friday, June 6 - 7:30pm, Spanaway Lutheran Church, 16001 A St., Spanaway.

Saturday, June 7 - 7:30pm, Lacey Presbyterian Church, 3045 Carpenter Road SE, Lacey.

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Tuesday, June 24 - 1:30 pm. Handbell musician Nancy Kirkner will present "Handbells....Not just for churches anymore" at the Washington State Music Teachers Association annual conference. Eastern Washington University Music Building, Cheney. Register through WSMTA at wsmta.org. More information at www.handbells.com.

Wednesday, June 25 - 11:30 am. Handbell musician Nancy Kirkner will present "Copyright considerations for music teachers" at the Washington State Music Teachers Association annual conference. Eastern Washington University Music Building, Cheney. Register through WSMTA at wsmta.org. More information at www.handbells.com.