Comunidad

 
El Ensemble busca conectar e informar a todas las personas que están comprometidas con la educación musical de conjunto para el empoderamiento de los jóvenes y el cambio social.
 
Boletín de noticias de Ensemble

Regiones

África

Asia/Oceanía

Europa

América Latina

América del Norte

Temas

Enseñanza y aprendizaje

Diseño del programa

Voz y liderazgo de los estudiantes

Construcción Comunitaria

Colaboraciones

Financiación y apoyo

Perspectivas y Acción Colectiva

Noticias y recursos

A Project in Cyprus and Portugal Bridges Passion and Profession

Tasos Kyriakou, Music Teacher and Project Manager, Sistema Cyprus, and Margarida Abrantes, Coordinator, Orquestra Geração

10-01-2025

What does it take to turn a young musician’s passion into a meaningful career? For Sistema Cyprus and Orquestra Geração, the answer lies in real, structured opportunity, tailored to young people who are too often overlooked by traditional systems.

Our two organizations have long collaborated on other successful European projects. Building on that experience, and seeing the similar challenges our students face, we teamed up once more to create the Erasmus+ project “InMus: From Youth to Professionalism.”

In the Democratic Republic of Congo, Music Moves Us Forward

Rene Byamungu, Workshop Leader in Musicians Without Borders’ partner program Kivu Youth Music, as told to The Ensemble

07-09-2025

In the North Kivu Province of the Democratic Republic of Congo (DRC), the capital city of Goma sits between several mining towns and valuable minerals. Part of an active volcanic region rich in resources, the city serves as an essential transport hub for the nation—and, more importantly, as home to nearly 2 million people, many of whom have been displaced.

This past year, those 2 million have lived through extraordinarily difficult circumstances as the rebel group known as M23—the March 23 Movement—took control of the city. But perhaps none are more affected than the children. Over 2,000 schools in the region have been closed, with many thousands of students displaced and forced to witness the horrors of war, including the deaths of loved ones. As the fighting continues, these young people have been increasingly isolated and ignored, left without opportunities to connect with one another, explore their feelings, and celebrate joy.

And yet, as Workshop Leader Rene Byamungu writes, joy has persisted in North Kivu through music:

EDITORIAL
Rehearsing Community for a Better Tomorrow

Gabrielle Molina, Executive Director, Project Music; Lead Program Consultant, El Sistema USA

07-09-2025

As Executive Director Liz Moulthrop remarked during El Sistema USA’s East Coast Regional Gathering, “Community is our power.” Yet too often programs operate in isolation, brilliant islands of musical striving that rarely connect with the broader archipelago of creative youth development work happening across the world. This siloing, while understandable given resource constraints and logistical challenges, represents a missed opportunity to address our urgent need for unity.

In fact, we must double down on gathering. The practice of community.

Salir de nuestra zona de confort: Invitar a las comunidades a que nos enseñen a servirlas bien

Alonzo Chadwick, Director General de Bravo Youth Orchestras

05-03-2023

Lo que hace bella a una comunidad es la diversidad y la mentalidad de pueblo establecida antes de que lleguemos. No podemos atender a un estudiante y no tener relaciones con su familia. Y no podemos tener relaciones con una familia y no tener conexiones con el pueblo y la comunidad que aman.

Pensamiento nacional, impacto local

Lauren Shelton, Directora Ejecutiva del Centro de Educación e Innovación Artística de Indianápolis

03-01-2023

Aunque aún se encuentra en su año piloto, el Centro lleva cinco años gestándose, gracias a un plan estratégico basado en las aportaciones de un Comité Directivo compuesto por representantes de más de 20 organizaciones de Indianápolis. Durante las reuniones individuales que mantuve con cada uno de los miembros del comité, surgió una preocupación constante: el temor a que el Centro fuera a por las mismas fuentes de financiación locales de las que dependían para su funcionamiento y programación. Me quedó claro que las organizaciones artísticas de Indianápolis estaban compitiendo por beber de la misma fuente.

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