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The El Sistema World Conference, September 2021

Patricia Abdelnour, Executive Director, El Sistema Luxembourg; Head of Cultural Programming, Mir wëllen iech Ons Heemecht weisen

12-01-2021

I was happily surprised by the fresh air and vibrant energy the Caracas conference organizers were able to summon—even online. For three days, we were virtually sitting at the same table with our peers on faraway continents, listening to each other despite extreme time differences, learning, laughing, and growing. It was an instance when virtual technology allowed us to do something we had never actually done before.

Putting Music at the Center of Global Development Conversations

Shain Shapiro, Founder and Group CEO, Sound Diplomacy; Executive Director, Center for Music Ecosystems

12-01-2021

Why is music almost entirely absent from global development conversations, outside of staging benefit concerts?

This is one of the questions that led me to launch two organizations in recent years, Sound Diplomacy and the Center for Music Ecosystems. I realized that in the key conversations that drive development decisions across the world, there is little understanding of the value of the music ecosystem and what it can bring to human development.

The Nonprofit Pay Problem and What We Can Do about It

Liz Moulthrop, Director, Paterson Music Project

11-03-2021

In the words of Petro Manzo’s article “The Real Salary Scandal” in the Stanford Social Innovation Review, the “psychic income” one receives from feeling good and fulfilled from their nonprofit work doesn’t pay the bills, and can have real consequences for individuals and their families. The concept of a “psychic income” connects to a longstanding narrative that nonprofits workers can’t make too much, for fear that they will profit from charity work. Dan Pallotta has discussed how harmful it is when we adopt the Puritan mindset that paying well somehow undermines our mission. Many funders perpetuate this narrative, too—limiting general operating funding and keeping strict ratios between overhead and direct program expenses. But our passion for our work shouldn’t hinder us from paying our bills.

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.

Scenes from the YOLA National Symposium

Libby O’Neil, Executive Director, East Lake Expression Engine

11-03-2021

The work of running an El Sistema-inspired program can sometimes feel intensely lonely. But last weekend at the YOLA National Symposium in Los Angeles, this work felt rich with community—with good music, new friends, and shared experiences. The Symposium’s umbrella theme was, simply, “Change,” and participants approached that theme with joy, experimentation, challenge, and connection.

More than Blind Hope: Measuring Social Impact through Music at the Batuta Seminar

Juan Luis Restrepo, Colombia-based musician and architect

11-03-2021

Over Batuta’s three decades of existence, though, one question has proven difficult to answer: How do we measure the impact of music in social contexts and avoid wishful declarations that “music itself will do the job?” And so, in celebration of its 30th anniversary, Batuta held an open international forum that sought to tackle this very question, hosting an International Seminar on Music and Social Transformation from September 28 – October 1.

The Life of Jorge Peña Hen, Part III: A New Calling

Lautaro Rojas Flores, Faculty (Retired), Escuela Experimental de Música Jorge Peña Hen, Universidad de La Serena

10-06-2021

Maestro Peña Hen knew he wanted to provide accessible ensemble music education to the city’s youth. But none of us had any experience with this kind of project. As we began envisioning ways to realize the maestro’s vision, we faced a real challenge: we had no students, no teachers, no instruments, and no resources.

The Irish Chamber Orchestra ‘Sings Out with Strings’

Kathrine Barnecutt, Education and Outreach Manager, Irish Chamber Orchestra

10-06-2021

Sing Out with Strings built upon this vision, with a view to immerse the Irish Chamber Orchestra in the local community by providing access to free music lessons to students in disadvantaged areas of Limerick. We began in 2008, when there was a lot of social unrest in the city of Limerick. John Kelly, ICO’s then-CEO, was inspired by Venezuela’s El Sistema program, and began to forge the way for ICO to make a real and lasting difference in Limerick communities.

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?

Welcome to the Beckmen YOLA Center 

Camille Delaney-McNeil, Director, Judith and Thomas L. Beckmen YOLA Center at Inglewood

10-06-2021

There are so many youth-centered programs, particularly in our Sistema community, that dream of creating a space just for their students. A space to design freely; a space to be a mentor. A space to perform. A space that belongs to, and works for, the community. Unfortunately, for far too many deserving programs and organizations, those dreams are not easily realized. What could it mean for the field if we call on our funders, institutions, and teams to truly commit to the change and advancement we have long sought?

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