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The Ambassadors’ Exchange: May Happenings

05-03-2023

This month, the Ambassadors were asked to explore their daily lives in their programs. Our most recent entry explores ideas such as: 1) their daily routines outside of rehearsal; 2) what their rehearsal settings look and feel like; and 3) their relationships with their colleagues/instructors. We hope to share different slices of life from different corners of the world.

Ang Misyon’s Orchestra of the Filipino Youth

Jennifer Rivera, Partnerships and Communications Manager, Orchestra of the Filipino Youth

11-02-2022

When the world stopped in 2020, Ang Misyon’s Orchestra of the Filipino Youth (OFY) had to adapt its programming to a hybrid format. Under the guidance of Gerard Salonga, OFY’s Music Director since 2021, the curriculum was reprioritized to ensure that each scholar receives hands-on mentorship while continuing to develop a sense of community with their peers.

“Music For Every Child”: A New Initiative in Toyonaka, Japan

Yutaka Kikugawa, Founder/Director, El Sistema Japan

09-07-2022

In the Shonai district, an inner-city commercial area in the southern part of the city, population is half what it was in 1970; as families with small children moved out of the area, the number of children has decreased. A survey conducted by the Toyonaka City Council (TCC) showed that only about 40 percent of the younger generation (ages 18–39) in the Shonai area say they want to keep living in their community, while among all city residents in general, that number is 60 percent.

Agrigento: Advancing Music as Social Action 

Maria Lara, Founder and Trustee, Agrigento

05-04-2022

Music for social change is a field with enormous potential, yet one that has not been fully realized because of a central paradox: a common reliance on musical and educational practices that have little to do with social change.

Finding Harmony in Chennai and Delhi

Sambhavi Mathiyazhagan, NalandaWay Foundation, Chennai

03-02-2022

In India’s most disadvantaged communities, musicianship is not always encouraged. Domestic violence is not uncommon in some homes; in others, girls are not allowed to sing due to household chores. Some families simply don’t like their children singing. And yet many of these very same communities have produced the members of the NalandaWay Foundation’s Children’s Choir.

‘Controlled Chaos’: In Soma, New Techniques Produce Stronger Rehearsals

Sara Watanabe, Soma Program Coordinator

02-02-2022

When children do this for the first time, they often begin with uncertainty. But they quickly realize that they are hearing the music in a different way. They also come to understand that each of them has an important role to play in taking responsibility and shaping the music.

Korea’s Orchestra of Dream Celebrates Ten Years with “I Contact”

Yun Hye-bin, Community Education Team, KACES

01-05-2022

KACES wrestled with the best way to plan the celebration, an important milestone for us. Ironically, minimizing human contact became the primary mission for a concert designed to bring people together. We eventually came up with the idea of a contactless concert and began putting into action a plan unlike any we had tried before.

Music Endures at the Afghanistan National Institute of Music

Eric Booth, Cofounder, The Ensemble, in conversation with Ahmad Naser Sarmast, Founder/Director, ANIM

12-01-2021

The ANIM campus had long been a target of Taliban terrorism, not only for its musical focus but also for its male/female coeducation and promotion of women. Its visionary founder/leader, Ahmad Sarmast, had once been injured in a terrorist bombing.

In August, the peaceful campus, which included dormitories and a performance space, was taken over almost immediately by the Taliban, who are now using it as an operations center. Since then, we have been holding our collective breath, worrying about the safety of ANIM’s hundreds of students and faculty.

Arts-Based Research—or at Least Our Version of It

Samantha Winterton, Orchestra Director, Sistema Whangarei – Toi Akorangi

11-03-2021

In January 2020, Sistema Whangarei – Toi Akorangi found itself in a quandary. Like many programs around the globe, Sistema Whangarei has limited access to local professional orchestras or universities; instead of their expertise, we rely on the support of our young people to create a sustainable program. It is paramount, then, that we attract and retain teenagers in our organization. But we had noticed a concerning phenomenon: students who seemed invested in our program and who were making great progress would suddenly, unexplainably leave.

The Key to Interfaith Collaboration in the Middle East? Steel Drums

Harvey Price, Founder and Executive Director, Peace Drums

10-06-2021

I was not anxious to go to either Afghanistan or Iraq. Most recently, I had been working in Israel, but had to abandon my teaching there due to the Second Intifada. I was also directing several university and secondary school steel bands at home and was impressed with how quickly the students learned, formed close bonds, and enjoyed themselves in that setting.

It hit me: What if I could start an Arab/Israeli youth music ensemble in Israel using a musical instrument that did not belong to any of the cultures in the Middle East—one that was itself born out of conflict in Trinidad and Tobago almost 70 years ago?

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