Student Voice & Leadership

When I received the news that, through an exchange program, I could spend four months at Zumix (a creative youth development program in Boston, Massachusetts, USA), I checked their website. I read the phrase “Powered by Youth” and thought, “Sure, it sounds good, but it’s probably just a catchy motto.”

But when I arrived in Boston and attended my first Zumix event, a Sunday evening concert at a local park, I realized those words were true.

El Sistema USA is hosting two regional gatherings this year, bringing together program leaders, teaching artists, and students from across the country for community-building and professional development.

Music has the power to transform lives, strengthen communities, and challenge the systems that shape them—but what does that transformative process actually look like? For the past five years, The Lewis Prize for Music (TLPM) has been addressing this question by supporting organizations that harness music’s power to uplift and empower young people. 

Sirkhane Social Circus is more than just a place to learn circus skills—it is a sanctuary of joy, healing, and creative expression for children who have endured the trauma of war, displacement, and social instability. Based in Mardin, Turkey, near the Syrian border, Sirkhane provides a safe and nurturing environment where children from diverse backgrounds—Syrian, Turkish, Iraqi, and Kurdish—come together to learn, perform, and play.

Our partners at El Sistema USA recently launched an invaluable resource for students.

The Academy for Impact through Music‘s performance videos invite teaching artists to challenge the status quo in rehearsal and concert formats.

“Where can we have the most impact?”

This question will resonate with many Ensemble readers, especially those who’ve thought about starting a new program or adding more sites to their program.

For the leaders of the Canadian network Sistema New Brunswick (Sistema NB), it sparked an unusual answer: “A military base!”

Nairobi, Kenya, November 2024.

A small room bordering East Africa’s largest dumpsite. Heat scorches through tin roofs as dust rises from the cement floor. Inside, 20 Kenyan musicians focus on Belgian saxophonist Toine Thys: they take in his every gesture and expression, eager not to miss a note. In the drum section, Canadian drummer and pedagogue Karl Jannuska passes his drumsticks to a Kenyan musician and picks up the shakers. Together, they are about to carve the thick air with an Afro jazz beat.

They’re also about to embark on their first national tour.

The Harmony Program is inviting applications from New York-based music education and performance graduate students to join their inaugural Teaching Artist Fellowship.

As I pen this, I find myself looking through some of the session schedules of prominent convenings in our field over the course of the next several months. Many of these gatherings have their anchored purpose clarified and grounded—and, on paper, this is truly inspiring! However, it’s unfortunate to see that many of the topics are the same as those we discussed two, three, or four seasons ago. We continue to address the same problems, instead of new, compounded issues that we all must rally around, to course-correct.