Learning Leadership at The Lewis Prize for Music
A Conversation with Nadia Johnson and Raiyasha Paris

 
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Learning Leadership at The Lewis Prize for Music
A Conversation with Nadia Johnson and Raiyasha Paris

The Lewis Prize for Music and The Ensemble

10-02-2024

The Lewis Prize for Music (TLPM) has supported our field over the past five years by granting significant awards to programs across the U.S. In addition, TLPM sometimes brings students from the programs they support into the organization’s leadership development projects.

TLPM recently brought two of these young leaders into conversation about the impact these professional experiences have had on their learning and their lives. Nadia Johnson, a former student at the Mosaic Youth Theater of Detroit, is now a sophomore at University of Michigan, studying choral music, education, and playwriting. Raiyasha Paris, a former student at My Voice Music in Portland, OR, is now a teacher of music, theater, choreography, vocals, and theory. Ensemble Contributing Editor Eric Booth also took part in the conversation.

Below are highlights of the recorded conversation. (You can watch the Zoom video recording of the full conversation here).

We hope you’ll enjoy and learn from this experiment that has combined grant-making with empowering youth voice!

TLPM: Tell us about your involvement with the Lewis Prize.

Nadia Johnson.

NJ: I had the opportunity to interview the film score composer Stephanie Matthews. I also helped to produce my first podcast and to interview gospel legend Kirk Franklin.

They both inspired me not to box myself into musical genres. They’ve taken risks; they’ve mixed gospel with hip hop and R&B. They showed me that if you don’t limit yourself, you can open yourself up to amazing opportunities—even outside of music. I love writing plays and stories as well.

RP: I was asked to be a part of panelist committees to choose the next generation of Lewis Prize awardees. In 2022, I was part of the first-round committee, and in 2023, I was part of the finalist panel.

This work involved taking deep dives into organizations that do amazing, beautiful work around the world, and seeing how that work matched the mantra and mission of TLPM. I came to understand more about how music connects us all by fostering social justice, social change, and creativity.

TLPM: Have you been able to apply this learning in other areas in your personal life, or professionally, or at school?

NJ: Doing the podcasts helped get me ready for doing interviews for schools and jobs—by helping me think about how important it is to know how to tell your story. For example, to find out about Kirk Franklin, I could just search the internet. But think how much more I can learn by actually talking with him!

It’s the same when you go for an interview. They already have your resumé. But by telling your story well, and representing yourself the way you want to, you can define how they’ll think about you when you walk out of the room.

RP: Being part of the selection panels was challenging, because all the applicants’ goals and work were so good. How do you choose? But the process reinforced my belief in the power of music as an art form, as a way to connect with others and to express yourself when words can’t suffice.

It was great for me professionally, as well, to have a chance to contribute impactfully in projects that matter to me. It humbled me in the best way. I don’t mean to sound cheesy, but it reminded me of what music is all about!

EB: One of the things people say about young people speaking up is that too often, they just say the stuff they think grownups want to hear. How do you think about selecting what you’re going to share? 

Raiyasha Paris.

RP: Before I say something, I think: What effect will this have? Does it bring more answers or more questions to the conversation? And, am I okay with being uncomfortable?

TLPM: In the work you’ve done with TLPM, you’ve both had a level of responsibility and authority in decision-making. How did you feel about that?

RP: Full transparency: it was intimidating at first, especially on my first go-round. I wanted to make sure that the way I showed up reflected well both on TLPM and on my earlier program, My Voice Music.

Sometimes there were comments made, even unintentionally, that felt excluding to me. But Annette and Dalouge at TLPM took the time to check with me about those, which was comforting and created a safe space. My confidence grew. I learned there were times to step up and answer and also times to step back and listen—in other words, I was encouraged both to share my voice more openly and to be observant and listen.

NJ: I agree. Our voices were being heard, but we were also being given guidelines to work within. Some people say: oh, boundaries, they’re so restricting! But it was actually great, because we were learning from people who were more experienced. This was helpful, because then we knew the foundations we could build from. It helped us make thoughtful decisions.

TLPM: Can you tell us about any challenges or moments of growth during your involvement?

RP: Being in a room full of those I call my elders—because they’re wiser than I am, even if they’re not much older—I felt in the background. But I learned that these are also my comrades. I deserve to be at the table, and to share my perspective. I belong.

NJ: In making the podcast, it was a challenge for me as a young artist to be in a position to choose what issues and topics we wanted to address. It was hard to narrow down our ideas so we could have a focused conversation. For example, we might choose the topic “hometown.” So, how to keep this an engaging conversation in our different hometowns? Food, music, entertainment…it’s a big topic!

Also, awkward silences are really not your friend when you’re doing podcasts. So we learned how to answer off of each other, how to naturally not talk over someone, and how to keep a balance. There was a lot of learning there.

TLPM: Having leadership positions in TLPM—how did that influence your life and your community?

RP: It gave me confidence, in general—that’s the main thing. One of my many jobs is writing little backstories for scientific papers that are going through the IRB process before being published. We’re focusing on health experiences of black men and women, especially with chronic pain. Having learned to be in a position of decision-making at the Lewis Prize, I have more confidence now about decision-making around scientific publication. I can also bring that same sense of confidence to my work as a theater director with kids. That’s what I want to bring to every space I go to.

NJ: For me, the main thing is that I have a stronger sense of the power of collaboration. Being creatively involved with people whose work I may not be able to do myself, but knowing how to communicate my ideas effectively to them…knowing how not to compromise my own values, but also how to work well with others…This sense of collaboration is something I love about music, about the Lewis Prize, and about Mosaic: all the different pieces coming together to make a wonderful masterpiece.

EB: Is there a specific idea or story you’ve been able to tell that you wouldn’t have been able to tell without the Lewis Prize opportunities?

NJ: Doing the podcast, one of the prompts we were given was about burnout—which is really important, especially in the world of music, but some people don’t want to talk about it or think about it.

I was able to share my own story about this. When I was a sophomore in high school, I had the opportunity to create a summer curriculum that included original music, original videos, and lesson plans. But the deadlines were crazy: “You’ve got to have this printed, you have to have this recorded, you have to edit this.” I felt, there’s just no way. But then, so many people came in to help, and I learned that I didn’t have to rely only on myself. It was amazing to find out I didn’t have to be alone, even if it was “my” project.

RP: Last spring I had the opportunity to be part of a table read for a play. It was very last-minute. It also involved opera, and they asked me to sing. I am an actor and a singer. But I knew that it was just too short notice for me. So I said no, even though it was uncomfortable; I really wanted to do what they were requesting. It was at The Lewis Prize that I learned how just showing up authentically as yourself is always the best way to show up.

EB: Why do you think adults don’t make more efforts to listen to young people?

RP: Great question! I would guess that as we get older, we feel we have the answers. We feel that our experience gives validity to what we’re saying. Whereas when we are younger, we listen to our adults. It’s a human cycle.

NJ: To be honest, sometimes young people have no respect for older people, so they don’t understand how to articulate their ideas respectfully. And sometimes adults have bad experiences with that and decide they’re just not going to put up with it. Respect and patience—those are hard for both adults and young people, I think.

TLPM: Do you both believe that you should be directly involved in decision-making processes in programs such as the Lewis Prize for Music? Why or why not?

RP: Having done it, I’m a bit biased. But yes, I think it’s important. Everyone brings a different perspective and different understanding, so if you have all voices involved, you have well-rounded organizations.

NJ: I think it’s definitely important for youth to have the opportunity to see—okay, what I have to say matters, and I actually have the power to make change happen. In my case, I would love to own my own fine arts school someday, which will require leadership and decision-making. So being able to lead in small ways now is great preparation for me.

EB: Have you ever found yourself wanting to say things that you think adult listeners might not want to hear? If so, how did you manage it?

RP: Yes, I have. Sometimes I write down what I’m going to say before I say it. And then sometimes I rewrite it in a way that’s more approachable and will lead to the more fruitful, respectful conversation we both desire.

NJ: It’s important to move forward in these situations, and not beat about the bush or come in with fear. What I often do is to seek counsel beforehand from older people whose wisdom I respect—to help me think and plan before jumping in.

TLPM: How do you think organizations can better support young voices in leadership roles?

NJ: I think the best thing organizations can do is to provide great guidelines that encourage growth, but also provide resources for us to continue that growth.

Giving guidelines is important—not breathing down our necks, but also not allowing everything to be loosy-goosy and free-rein. Because for us, these are opportunities to learn how to be good leaders, and then to pass the torch and train others.

TLPM: If adults listened to young people more, what do you think would be different?

RP: It would create more space—more opportunity, more mutual learning. And more understanding between people as just humans, despite their age and despite where they’re coming from.

NJ: Raiyasha, your answers are awesome! I’m also thinking about grownups and kids. Parents try to guide kids so that they can be the best they can be. But they also need to listen to their kids—because, often, kids know what they were put on the earth to do. They know what their passion is, or why they have certain gifts and talents. Listen to that. It’s important.

artistic expression, Arts Education, choral music, Collaboration, community impact, Creativity, decision-making, empowering youth voice, grant-making, leadership development, leadership opportunities, Lewis Prize for Music, Mentorship, music and social change, Music Education, mutual learning, Nadia Johnson, October 2024, personal growth, Playwriting, Podcasting, Raiyasha Paris, respect, Social Justice, storytelling, storytelling in music, TLPM, Youth Leadership, youth perspective

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