Community Engagement

Music possesses the power to transcend borders and unite hearts. That’s why, last month, a hundred children in Vanimo, Papua New Guinea packed their instruments to bring their music to Jayapura, Indonesia. It was a historic milestone: the first international tour for the students in the Queen of Paradise Project, launched seven years ago by Music Director Jesus Briceno with the support of Father Miguel de la Calle. Father Martin Prado is now the CEO of the project.

Something special happens when young musicians are invited to trace the roots of their art form to its source. This October, a group of high school students from Ravinia’s Reach Teach Play education initiatives had the rare opportunity to do just that through a cultural exchange of jazz and blues music in Clarksdale, Mississippi. 

RESEO, a European network dedicated to education, participation, and transformation through opera, music, and dance, is celebrating their 30th anniversary this year with a conference titled Making Noise: The Future that We Want.

Last month, my daughter’s choir director needed parents to take tickets to the year-end concert. I had been a choir singer and director myself, so I know the invisible work it takes to put students on a stage. When the request came, I wanted to be the kind of parent who showed up.

Then, my week got overwhelming. By the time the concert arrived, I was no longer deciding between helping and not helping. I was deciding which responsibility would boil over first if I took my attention off it.

The first chapter of a Lullaby Project song is usually written in a room where strangers have just met. Professional composers sit beside a mother who has never written music before. A child wanders around the room, curious but unsure. Participants may speak through an interpreter. Others may communicate more through gestures than words. At first, there are introductions, hesitant smiles, and long pauses. There is no score, no lyrics, no expectation of what the music should become. 

HEAL grew out of Usanii Village Africa‘s previous work with young people, including more than 50 girls and boys whose experiences helped shape the program. Since 2021, Usanii Village Africa has worked to empower young people across Uganda through the arts. In designing HEAL, we wanted to explore how the arts could engage young people in uncomfortable conversations, helping them develop leadership and communication skills while exploring adolescent health and gender equality.

There are seasons in any movement. The beginning, that electric moment when a new idea catches fire, is unforgettable. So is the end, when a movement gains a permanent foothold in society. But the middle—the developing stage—is different. The middle is where the path is no longer clear, where the just cause and the strategies for seeing it through are both tested. It’s my impression that, in many places of the world, El Sistema-inspired programs find themselves in that adolescent stage.

These growing years are critical to our future as a movement—just as the adolescent years are critical to our students’ growth. Here are a few discoveries being made by U.S. programs I’m familiar with, shared with the hope that they resonate with programs around the world.

The Creative Economy Pathways Virtual Town Hall Series explores how Creative Youth Development is expanding career pathways for young people through arts-based experiences and youth leadership.

Like many organizations across Europe, El Sistema Greece draws part of its support from European Union programs. While our work has always focused on music and social change, we’ve recently partnered with organizations beyond the music sector to explore something broader: “artivism” across different art forms. This collaboration led to the launch of a new project, co-funded with the EU and dedicated to empowering young people, especially those with fewer opportunities.

Every other week this season, I wrote updates to my Los Angeles Philharmonic colleagues—a small, internal note meant to keep our broader institution abreast of what the Learning Department was up to. On the surface, it could be viewed as mundane: a calendar snapshot, a few highlights, the ever-important statistics everyone needs. But as I scrolled back through nine months of messages, I realized the depth they carry. These were not only stories about music lessons, concerts, and special events. They were testaments to the impact of connection built across programs, networks, and industries.