Editorials

 
The Ensemble seeks to connect and inform all people who are committed to ensemble music education for youth empowerment and social change.
 
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EDITORIAL
Universal Design for Learning: A Natural Fit for El Sistema-inspired Programs

Graciela Briceno, teaching artist and Foreign Service Officer, Accra, Ghana

10-02-2024

Imagine that you are walking up a staircase that leads to a school entrance, and you notice a sign that says, “ramp located at the back door.” Okay, so the sign and the ramp make the building technically accessible—but a person who can’t use stairs has to go all the way to the back of the building, locate the ramp, and hope that the door is open.

What if, instead of a staircase in front and a separate ramp in back, the architect had created a walkway that incorporates stairs and ramps all in one place?

This is the foundational metaphor of Universal Design for Learning, or UDL.

EDITORIAL
The Sound of the World

Anis Barnat, Co-founder, El Sistema Greece; Managing Director, Community Arts Network (CAN)

09-04-2024

National and international youth orchestra and choir festivals instill a collaborative mindset in their participants and provide all attendees with powerful, lasting memories. But they are time-consuming to organize, requiring logistical know-how and well-considered, family-flexible safeguarding policies for the children and young people. It’s not only tiring; it’s expensive. And program leaders know firsthand that students progress with or without these national or international festivals. So why bother? What do they offer to young people that their own programs can’t provide?

My answer, in a word: perspective.

EDITORIAL
Methods Change, but Community Drives Our Field Forward

Christine Taylor Conda, Director, REACH*TEACH*PLAY Education Programs at Ravinia Festival

07-10-2024

If music is the universal language that brings people together, one would assume that this truth would hold for music education as well. But often, unfortunately, our field can pull people apart into seemingly oppositional camps. Over the course of my career as an arts education leader, I have witnessed many of these schisms, as well as their resolutions. I’d like to share three such dichotomies here.

What is music education for?

EDITORIAL
A Musician’s Guide to Reaching for the Stars

Liz Moulthrop, Executive Director, El Sistema USA

06-05-2024

A year ago, I received a phone call asking me if El Sistema USA® wanted to partner with a commercial mission to space called Polaris Dawn. I was as surprised to get this call as you probably are to hear about it. My first thought was: Why El Sistema USA?

Expanding Musical Opportunities for Children

Yutaka Kikugawa, Founder and Executive Director, El Sistema Japan

05-01-2024

It’s been a decade since we launched the first El Sistema–inspired program in Japan, in the city of Soma, Fukushima Province. Our goal was to offer support, community, and dignity to the children affected by the 2011 tsunami and nuclear accident. Our vision statement at that time was: “Community regenerated by children with life skills through music.”

Since then, we’ve learned a great deal about the needs of the children we serve and the primary outcomes we want to be aiming at. Accordingly, we’ve reshaped the vision statement as follows: “Collaborative society where everyone can be free and creative.”

(Re)Understanding Creativity

Betsaleel “Bets” Charmelus, CEO, ArtistYear

04-03-2024

It’s easy for us, as teaching artists, to believe that all humans can access creativity. As the leader of ArtistYear and a practicing teaching artist myself, I understand the inclination. Any notion suggesting otherwise seems to challenge fundamental beliefs about our purpose—if there are people who can’t access creativity, then a place exists where teaching artistry is rendered ineffective. With this line of thinking, however, some nuance in the conversation is lost.

Art Heals: Arts as a basic need in humanitarian settings

Samar Bandak, Global Communications Manager, Community Arts Network

03-05-2024

I have worked in the humanitarian sector for almost 15 years, in both Jordan and Lebanon, which have the highest refugees per capita in the world. In that time, I’ve learned thousands of life stories: of people who lost their homes, their possessions, and their established lives; of traumatized children and departed loved ones; of extreme health crises, both mental and physical. Yet, despite the hardships they reveal, these stories have always been more about bravery, strength, resilience, faith, and love.

Impactful Creative Youth Development

Dalouge Smith, CEO, The Lewis Prize for Music

02-07-2024

During my 20-plus years of being an arts advocate and leader of music for social change work, I have repeatedly returned to this question: “How can we best convey the scope and complexity of our field’s impactful work to funders and policymakers?” 

I’m confident this is a question many Ensemble readers also ask. Communicating the many benefits for young people, families, and communities that result from our work is more complex than a sound bite.

The Ambassadors’ Exchange: In Our Own Voices

06-07-2023

To complement the “Ambassador (Re)Introductions” published in April, the cohort recorded video introductions for the month of June. Listen to the Ambassadors as they say hello in their native languages, from every corner of the globe.

From Music Rooms to Policy Meetings: Taking Lessons from a Life in Music

Axelle Miel, former Cohort Leader, Ensemble Ambassadors

06-07-2023

In my first Ensemble editorial, I wrote about how opportunities within classical music allowed me to bypass barriers caused by economic inequality in the Philippines. But this unequal distribution of resources still bothers me today, which is why I’m studying political science and hoping to go into policy research after graduation.

With just one year to go at college, I’ve been reflecting on the ways my musical training has influenced how I approach the social sciences. 

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