the world ensemble
The Ensemble seeks to connect and inform all people who are committed to ensemble music education for youth empowerment and social change.
News & Resources
Do you have useful definitions of mentorship that are not solely based on age, title, or perceived level of expertise? Creative Generation will publish a series of papers that disrupt and interrogate long-held ideas of mentorship—promoting youth-centered, multilateral, intergenerational, and/or cyclical mentorship models in arts and cultural education.
While Finlanders are usually modest about claiming accomplishments, a Vision 2030 publication starts with the statement, “Finnish music education is the best in the world.” Many agree. You might be interested in looking at this one-page summary of what the best music education nation envisions for its next ten years.
What do 17-year-olds actually do for fun? A new study from the Arts Council of Ireland details answers for their country—would the answers be the same for 17-year-olds in your country? Their top three “cultural activities” for several-times-a-week fun or relaxation were listening to music (87%), surfing the Internet (86%), and singing/playing a musical instrument (23%)—only one in six (14%) reads for pleasure several times a week.
Verenice Velazquez, Program Participant, Los Cenzontles Cultural Arts Academy
“Hey, Verenice! We are taking a bus with Linda to Sonora—we’d like you to join us with your fiddle.” I was in my third year at UC San Diego when Eugene Rodriguez, Founder and Director of Los Cenzontles, called me with an invitation to take a very special trip. Just a few months later, I was on a bus to Sonora, Mexico with Linda Ronstadt, Jackson Browne, several Cenzontles, and many more family and friends, embarking on a musical journey that was filmed to create Linda and the Mockingbirds.
Codi’r To (Welsh for “raising the roof”) is a Welsh-language community project that delivers the world-renowned El Sistema program in areas of multiple deprivation in North Wales. Specifically, we seek to tackle disadvantage and educational underachievement in two communities of multiple deprivation. We hope to provide inspiration and transformation for children, families, schools, and communities, changing lives for the better through music.
Tiffany Ortiz, Director, Early Childhood Programs, Carnegie Hall
Through Carnegie Hall’s Lullaby Project, families work side by side with professional musicians to create and sing personal lullabies for their children. Parents create songs that are uniquely theirs, that reflect who they are as parents and what they hope to communicate or pass on to their children. Families often express the joys, fears, and stresses of parenting, but most of all, they share their hopes, dreams, and love for their children. Each lullaby is a gift, a reflection of parent creativity, love for our youngest ones, and our basic human need for meaningful connection.
Last month, the 2020 World Ensemble Ambassadors launched their inaugural Online Musical Pen Pal Project, connecting some 25 musicians from five different programs. As of this writing, the pen pals have met twice and communicated with one another on alternate weeks. During larger group sessions, pen pals shared their respective cultures and took part in improvisation activities. Read about the project from Ambassadors Stephen Ongoma (Ghetto Classics) and Hannah Christensen (Sistema Utah).
Chris Bishop, Director of Music, Morris Isaacson Centre for Music, Soweto, South Africa
The Morris Isaacson Centre for Music in Soweto, South Africa provides music education to almost 300 students. Driving human development through music, we hold Early Childhood Development classes at local partner institutions, and also provide a comprehensive on-site program of music tuition through individual lessons, ensembles, music theory classes, and choirs to develop musicianship.
Axelle Miel, Ambassadors Program Leader; violinist and aspiring teaching artist
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.
ArtPlace America and Welcoming America have released a report exploring how arts and cultural practitioners have long been and may increasingly be partners in helping to achieve community development goals: Bridging Divides, Creating Community: Arts, Culture, and Immigration. ArtPlace America recently completed its ten-year mission as a leading funder of creative placemaking in the U.S., and they are publishing their learning in a series of reports. This report is the eighth in their series of cross-sector field scans, examining arts and culture as “a platform that helps immigration policy expand beyond a singular focus on border security to one that embraces a broader national vision of inclusive economic development, community connection and cohesion, and welcoming communities in which all people can thrive.”