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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A Letter from the Founders

Eric Booth and Tricia Tunstall, Cofounders of The Ensemble and The World Ensemble

01-06-2021

Let’s bring in the new year with a quick look back. We launched The Ensemble a decade ago to help strengthen the emerging movement of United States and Canadian programs inspired by Venezuela’s El Sistema. Five years later, we realized the global Sistema-inspired movement was developing so fast it required a newsletter of its own, and we started The World Ensemble. We started these newsletters because we wanted you to hear one another’s voices. And we wanted the world to hear all of your voices. It’s a continuing joy to help programs in far-flung places connect with, support, and learn from each other.

Making Time for the Milestones

Stanford Thompson, Founder and Executive Director, Play On Philly and Founding Board Chairman, El Sistema USA

01-05-2021

This past summer, the evening that Play On Philly (POP) presented its virtual showcase concert happened to mark the ten-year anniversary of our decision to launch the program. As I sat at my laptop watching, I felt sad not to be celebrating that milestone in person with my POP family. But I also felt gratitude as I reflected on how our community has supported each other since the day we started. We have always embraced the El Sistema philosophy and encouraged our students and teachers to reach for levels of learning and engagement we know are possible to achieve.

The Power of Believing in Our Communities

Axelle Miel, Ambassadors Program Leader; violinist and aspiring teaching artist

12-02-2020

I am an uncommon editorialist. A 19-year-old violinist with no professional experience who’s just finished her first semester of college is not your typical guest writer, yet here I am penning the opening piece of this month’s newsletter. It is a curious predicament, but nothing that I am not already used to. Because of the nature of my musical training, I have become accustomed to occupying spaces in which I never truly felt I belonged.

Stay the Course, or Innovate?

Lecolion Washington, Executive Director, Community Music Center of Boston, MA

12-01-2020

We are all seeking a path forward. We are all managing COVID-19 closures. And we are doing all of this alongside an upsurge of social and political unrest. We are struggling mightily and wondering what to do next. This moment of uncertainty is like no other, and as we try to understand the future role of our work, we wonder: should we continue business as usual? Or should we innovate now, and hope that we find the right recipe for future success?

Arts Education and Public Health: Building New Partnerships for a Post-COVID World

Daniel Mora-Brito, Special Advisor, External Relations and Communications Division, Global Fund to Fight AIDS, Tuberculosis and Malaria

11-04-2020

One of El Sistema’s most striking comparative advantages is its ability to bridge gaps across communities. The replication of this model in multiple geographies has repeatedly demonstrated the uniting and transformative power of music and its value as a cornerstone for social integration and cohesion. The knock-on effects of COVID-19 could undermine El Sistema’s positive impact, presenting its advocates and practitioners with great challenges. However, the pandemic also presents opportunities to rethink the tenets of arts education and its use as a vehicle for social change, wellbeing, and inclusion. How can El Sistema survive the current global crisis and, more importantly, shed light on how to help rebuild broken and diminished societies? What can be done to ensure that the model adapts to and thrives in these new circumstances and becomes part of critical policy conversation on sustainable development—and, even more important, the realm of public health?

On Organizational Service

Patrick Slevin, Executive and Artistic Director, Austin Soundwaves, TX

11-03-2020

The El Sistema-inspired field is committed to ongoing dialogue, reflection, and adaptation. We regularly analyze our successes and failures, and ask questions like, “What more can we do to support our communities?” and “How can we respond to events happening in our backyards and across the nation?”

Government Support Is Essential, Especially Right Now

Eldevina Materula, Minister of Culture and Tourism of the Republic of Mozambique; Founder of Xiquitsi Orchestra, Mozambique

10-07-2020

The COVID-19 pandemic has deeply affected many economic sectors across the world—none more so than the cultural and creative industries. Cultural heritage infrastructures, museums, libraries, galleries, cinemas, and arts education institutions have been locked down. Shows, exhibitions, fairs, cultural tourism, and international exchange opportunities for artists have been canceled. Millions of artists have lost their jobs, and people everywhere have lost access to cultural life. Less visible but equally important are the millions more whose jobs depend on the work of artists.

Editorial: September 2020

Calida Jones, Director of Engagement, The Hartt School; Managing Partner, CNJ Associates

09-01-2020

Since March 13, life has changed drastically. Arts institutions and businesses across the country shut down. Schools emptied. Everyone turned to the internet for visibility, accessibility, and relevance.

Editorial: Music, Standing Still

Laura Hassler, Founder and Director, Musicians Without Borders

08-05-2020

A guest editorial during a global pandemic. What to write, what to say? For every person and every organization dedicated to bringing people together with music: what does this pandemic mean for our work if we are literally prevented from bringing people together with music?

Editorial: July, 2020

Monique Van Willingh, Director, Master of Arts in Teaching (MAT) Program, Longy School of Music, Los Angeles, CA

07-07-2020

I had my first U.S. protest experience in Los Angeles, CA, after the murder of Michael Brown, Jr. I could hear but not see the protesters behind rows of policemen in riot gear. As circling helicopters kept me awake that night, I realized that I felt safer in my home country of South Africa, although I had directly experienced racism, gender-based violence, and crime there.

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