Collective Composition

Ask any Bogotano about their perception of Colombia’s Chocó Region, and you’ll likely hear that it is a dangerous and remote place, visited primarily for whale-watching. These inter-regional biases are not uncommon—decades of armed conflict have disrupted networks of community and social cohesion, fragmenting them and threatening the practices that sustain communal life. And though a shared sense of Colombian identity exists, each of the country’s regions maintains a distinct cultural character that is often rooted in music.

Before traveling to Chocó, my perception of Colombia’s outer territories was similarly close-minded.

In a white-walled, sunlit room with arched ceilings, an El Sistema-inspired youth orchestra plays Gustav Mahler’s well-known “Bruder Martin” (“Frère Jacques”) theme—the third movement of his Symphony No. 1—under the direction of teaching artist/conductor Leila Weber. The two double bass players are six feet tall, around sixteen years old; the youngest cellist might be seven, and this is the second time she’s held a cello. Embedded among the second violins is a guest teaching artist from an orchestra based 500 miles away.

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.

At events like these, it’s easy to think about the word “community” as the people in the room. But El Sistema USA’s nifty trick was to upend that idea. Rather than celebrate our professional community—the connections we form with colleagues—the ESUSA leadership team explored the ties that bind us to larger, more diverse communities—of families, of activists, of scientists, of lawmakers, and of the folks that lawmakers tend to ignore.

We know that many programs use collective composition as a creative boost for students. But an experiment at the Los Angeles Philharmonic’s YOLA Institute Children’s Orchestra was a new one for us at The Ensemble.

An artist’s creative process is one of the most intriguing aspects of a composition—a giant basket of sights, sounds, ideas, and sensations that bring inspiration. But how do artists select and interpret these elements? And if they really are so personal to us, what happens when we share the contents of those baskets with others?

At El Sistema Greece, the B-Me: Blending Melodies – Bridging Cultural Identities project has given us a window into that process.