News & Resources
The National Guild for Community Arts Education is a national service organization that supports creative youth development programs and teaching artists, prioritizing social justice in the arts. With current financial strains for everyone, they now offer a pay-what-you-can membership for organizations and individuals. Maybe now is the time to join and discover what they provide for their members: contact email@example.com to learn more. The Guild also offers community conversations—virtual water cooler chats—about key issues, no pre-registration required. Find them on the fourth Monday of each month, 2:00pm EDT. All who support, work in, or lead youth arts programming are welcome.
New England Conservatory’s Center for Professional Development and Performing Arts Leadership offers a two-day online workshop “Understanding El Sistema” on June 5-6, 2020. It is designed for teaching artists, administrators, and those looking to enter the creative youth development sector; faculty will include Heath Marlow (Center Director), Erik Holmgren (Mass Cultural Council) and Rodrigo Guerrero (formerly from the Mass Cultural Council), Tina Lee Hadari (Music Haven founder), Laura Jekel (MYCincinnati founder), and other featured presenters.
Two articles by Dennie Palmer Wolf of WolfBrown, one of the nation’s most respected arts learning researchers, plant significant markers in the field. “Teaching Artists as Essential Workers: Respect, Collaboration, and Heft” is a rare researcher’s recognition of the importance and vulnerability of the teaching artist workforce. She sees teaching artists as first responders and champions of social equity, pointing out what they need to thrive and—in this crisis time—to survive.
Jose Luis Hernandez, Founder/Director, Sistema Tulsa, OK
We are living in a moment of unprecedented anxiety. Those of us who know and teach the musical arts as means of expression have been busy trying to summon music’s healing powers. We know instinctively that music is the place we must go to and invite people into, to be soothed and comforted. It is one of our spiritual practices. Leonard Bernstein wrote about this at another time when our nation mourned, after the 1963 assassination of President Kennedy: “We must make music more devotedly, more intensely, than ever before,” he said. This time is different. The context in which we are to make music has changed. We have been challenged to deal with the fact that our healing business must be conducted on the Internet.
The Sphinx Competition is a national competition offering young Black and Latinx classical string players a chance to compete under the guidance of an internationally renowned panel of judges, and to perform with and receive mentorship from established professional musicians. The repertoire requirements for the 24th Annual Sphinx Competition have been announced and applications have opened online.
Aisha Moody, Cofounder and Chief Program Officer, Atlanta Music Project, GA
In February of this year, the Atlanta Music Project presented a monthlong concert series celebrating music of the African Diaspora. The Music of the African Diaspora Concert Series garnered much attention and welcomed larger audiences than most AMP events. Its success led us to make the series an annual event, not only due to our supporters’ positive response but also because of its impact on our young musicians during and leading up to the concerts.
The just-launched Collective Conservatory is a bold response to the pandemic crisis. Describing it as “Immersive Online Music Education,” founder Daniel Trahey and a faculty of established teaching artists, wellness advisors, and volunteer cultural ambassadors deliver holistic, customized, music-centered programs to partner organizations over the Internet. Read this issue’s Guest Perspectives column on this page to learn more from Daniel Trahey.
Emma Oliver-Trend, Artistic Associate and Arranger-in-Residence, Orchestras for All
I write as ‘Arranger-in-Residence’ for Orchestras for All—a U.K. music education charity that strives to remove the barriers that young people face in ensemble music-making by providing inclusive and accessible orchestral experiences in and out of school. We have three national programs; a 100-piece orchestra (National Orchestra for All, NOFA), a 30–40 school kick-start ensemble program (Modulo), and a professional development program in Ensemble Leadership (Conductors for Change).
Andrew Gesing, Program Coordinator, OrKidstra, Ottawa, Canada
“From pizza parties and Frisbee games to movie-watching and intense card matches, Fridays have been something to look even more forward to!” For Noah Linson-Hudson and almost 30 other OrKidstra students, Friday night Chamber Music and Youth Group has been the highlight of the week.