El Sistema

Teaching artistry is the sleeping giant of social change. 

And that giant is waking up. At least that’s what I claim, in my relentless advocacy for the global field. 

When the Rizoma Project launched in 2022 in São Tomé and Príncipe and Guinea-Bissau, I knew we were embarking on an ambitious journey. Our goal was clear: to establish social orchestras in communities with limited resources and significant social challenges. 

The Venezuela of 1975 is in sharp contrast to its current reality. Fifty years ago, the country was fully reconstructed after an oppressive military dictatorship and on track for economic growth. That was the context in which a young, brilliant composer and conductor, who also happened to be a gifted politician, used his combined talents to convince the government to support something that felt out of place to officialdom, but, in his vision, right at home.

Ron Davis Alvarez, Director of The Dream Orchestra in Gothenburg, Sweden, was nominated as one of the five finalists in the 2024 CNN “Heroes” contest sponsored by the United States-based multinational Cable News Network (CNN). The contest features “inspiring people who have found unique ways to help others,” and aims to elevate awareness of inspirational work by people around the world.

The Ensemble Executive Editor Patrick Scafidi recently interviewed Ron via email.

Imagine that you are walking up a staircase that leads to a school entrance, and you notice a sign that says, “ramp located at the back door.” Okay, so the sign and the ramp make the building technically accessible—but a person who can’t use stairs has to go all the way to the back of the building, locate the ramp, and hope that the door is open.

What if, instead of a staircase in front and a separate ramp in back, the architect had created a walkway that incorporates stairs and ramps all in one place?

This is the foundational metaphor of Universal Design for Learning, or UDL.

On the evening of July 10, the Ravinia Festival’s historic Pavilion stage glowed with the combined talents of the 130 students of National Seminario Ravinia. It was the final night of the 2024 Seminario, just in its second year. Students aged 11–18 from 43 El Sistema-inspired organizations around the world—including those from 17 U.S. states, Mexico, Canada, Greece, and Sweden—had gathered for four days of intensive orchestral training and mentorship from members of the Seminario Orchestra Partner, the National Orchestral Institute + Festival (NOI+F). For many of the students, it was their first time having such an experience. 

Carnegie Hall’s World Orchestra Week festival in August was a week of one “WOW!” after another, as seven youth orchestras from five different continents joined forces in and around Carnegie Hall to play for and with each other, to share singular musical works and ethos from their countries, and to show us all what the next generation’s Wishes for Our World might be.

If music is the universal language that brings people together, one would assume that this truth would hold for music education as well. But often, unfortunately, our field can pull people apart into seemingly oppositional camps. Over the course of my career as an arts education leader, I have witnessed many of these schisms, as well as their resolutions. I’d like to share three such dichotomies here.

What is music education for?

“As the world falls apart, these children unite it through music.” These are the opening remarks from El Sistema maestro Gustavo Dudamel in Side by Side’s new documentary, celebrating over ten years of collective music-making.