Hope you are having a lovely festive season. I thought I would give you an update on the rest of my first semester in Boston. The last three and a half months have been both exciting, and contemplative adventure.
I have learnt many invaluable lessons, and my learning has taken place in three ways: by the classes we have had, by experiencing programs and seminars/symposiums, as well as from the many conversations I have had with various people, including my fellow fellows. Some of our classes, which have been very informative are: strategic planning; philosophy; public speaking and presentations; the connection between music and cognitve skill development; research, assessment and evaluation; logic models; student-centred learning and professionalism. We have also visited many Sistema-inspired programs in Boston and along the East Coast.
In the last two weeks, I have been to a Symposium entitled "Breaking the Fourth Wall" in Philadelphia, which was divided into two tracks, leadership and teaching. I was part of the leadership track led by Beth Babcock (CEO of a charity called Crittenton Women's Union), and my role as a Sistema fellow was to record the many discussions that took place. Areas of focus were: starting programs, finances and funding, assessment and organizational structure. This conference was an insightful learning experience because the leadership really managed to create a culture of sharing candidly about experiences- both strengths and weaknesses, good and bad decisions, failures and triumphs. The people leading these sessions were Sistema inspired program founders: Dan Trahey (OrchKids), Stanford Thompson (Play On, Philly!) and Rey Ramirez (Soundscapes).
The final night of the symposium, we attended the Simon Bolivar Orchestra concert, which was conducted by Gustavo Dudamel (now also conductor of Los Angeles Philharmonic). This was the first time I saw this El Sistema orchestra in concert- it was an amazing experience. They play with such energy and with zest. There were some astoundingly beautiful musical moments that literally took my breath away. In the break, I also met Dr Jose Abreu, who is the founder of El Sistema, and who I admire very much. I was lucky to see the orchestra play at Carnegie Hall in New York a couple of days later- and because I was sitting further away (ok, last row on the balcony:-), I saw how they physically moved as an orchestra- with such passion, and this truly enthuses the music. In New York, we attended a dynamic and historical session, where Dr Abreu was on a panel together with Leon Botstein (Conductor and President of Bard College) and Gustavo Dudamel. Many profound statements were made!! I walked away overwhelmingly inspired. Then finally, we helped out at a seminario hosted by Carnegie Hall and St Luke's Orchestra which brought together children from five Sistema programs in New York to play in a massive orchestra. Members of the Bolivar Orchestra came to coach the children. It was amazing to see young men, who play in a professional orchestra teach with such energy, love for the children and music, as well as a complete belief in the children's ability to play well, and that learning music is a life changing experience! Wow!!!
In the last two weeks of my residency, I visited OrchKids in Baltimore, and had a great time getting to know the staff and leadership team. One of the things I learnt from watching Dan Trahey in action is the importance of gaining the balance between really knowing the children in your program, knowing the community and their families, with being able to advocate for your program in a way that is understandable and meaningful to anyone and everyone. I then went to Philadelphia and had a awesome time visiting the Play On, Philly! Program. From Stanford Thompson, I learnt the value of having a well thought out plan and vision for your program, as well as the importance of having good teachers. I then proceeded to Washington DC where I met with a lobbyist from the League of American Orchestras and had an interesting discussion about how reforming and causing change in legislature regarding arts education is approached in the USA.
Before embarking on my residency, I met with a social entrepreneur, Hubby Jones, who has for over fifty years built many non-profit organizations that deal with challenging social issues such as racial tension. One of these organizations that really fascinate me is City Year where young people dedicate a year of their lives to playing a hands-on supportive role in underserved public school classrooms to help children with Maths and Language Literacy. This is what we desperately need in South Africa- it was great to find out that there is a branch in Johannesburg. Another organization that he founded is Boston Children's Chorus, a choir that focuses on racial integration. Mr Jones was the dean of social work at Boston University for 16 years. At our lunch meeting, I boldly asked him if I could shadow him when time permits, and he said yes! I am really hoping that he becomes one of my mentors as I embark on doing similar work in South Africa.
Recently, in a conversation with one of my fellow fellows, Andrea Landin, where we were throwing around ideas in preparation for speeches we had to present at a donor reception, she said something profound. We were speaking about why we are doing this work - and she really shed light on this question for me. She said that the question can be viewed in 3 ways:
Why am I doing this?
Why am I doing this?
Why am I doing this?
It is a good question. One that I have asked myself countless times. I am just beginning to answer these pressing questions for myself as I dig deep into my own thoughts, journeys and life. As I glean from the robust field that already exists in this work, and from the many conversations and learning experiences I have had, I am realizing that the parts of this question that speak about using music as the vehicle to tackle some of our major pressing issues such as poverty, race and gender inequality, youth violence, school drop-out rates, gangsterism and even literacy levels has an ever-evolving and still developing answer. However, I do not think that this is an entirely new concept.
As to why I am wanting to do this, especially when I have spent practically 6 years studying how to become a Jazz and Classical Flute performer? My answer is two-fold: There is a great need in South Africa for something like this- not just necessarily through music- but starting to effectively address our social issues is an urgent matter. I believe that the answer lies in the education of the next generation- raising a generation of children who have a good self-esteem, are socially aware, and active in their communities. I saw this quote today, "It is easier to build strong children, than repair broken men (and women)", by Frederick Douglas. I agree.
The second part to my answer is simply this - I was born to do this. I cannot explain this feeling, but I just know that this is the 'point' of my life. I am getting to a place where the need I see becomes greater than my fear of failure or even my longing to be a successful performer. This is a time where everything in my life (my experiences, passions, failures, successes and enquiries) has shaped me to
embark on this very exciting, but challenging journey.
My favorites quote: "And the day came when the risk to remain tight in a bud was more painful than the risk it took to blossom". (Anais Nin)
Thanks for reading and therefore sharing in my journey!
In the last two weeks, I have been to a Symposium entitled "Breaking the Fourth Wall" in Philadelphia, which was divided into two tracks, leadership and teaching. I was part of the leadership track led by Beth Babcock (CEO of a charity called Crittenton Women's Union), and my role as a Sistema fellow was to record the many discussions that took place. Areas of focus were: starting programs, finances and funding, assessment and organizational structure. This conference was an insightful learning experience because the leadership really managed to create a culture of sharing candidly about experiences- both strengths and weaknesses, good and bad decisions, failures and triumphs. The people leading these sessions were Sistema inspired program founders: Dan Trahey (OrchKids), Stanford Thompson (Play On, Philly!) and Rey Ramirez (Soundscapes).
The final night of the symposium, we attended the Simon Bolivar Orchestra concert, which was conducted by Gustavo Dudamel (now also conductor of Los Angeles Philharmonic). This was the first time I saw this El Sistema orchestra in concert- it was an amazing experience. They play with such energy and with zest. There were some astoundingly beautiful musical moments that literally took my breath away. In the break, I also met Dr Jose Abreu, who is the founder of El Sistema, and who I admire very much. I was lucky to see the orchestra play at Carnegie Hall in New York a couple of days later- and because I was sitting further away (ok, last row on the balcony:-), I saw how they physically moved as an orchestra- with such passion, and this truly enthuses the music. In New York, we attended a dynamic and historical session, where Dr Abreu was on a panel together with Leon Botstein (Conductor and President of Bard College) and Gustavo Dudamel. Many profound statements were made!! I walked away overwhelmingly inspired. Then finally, we helped out at a seminario hosted by Carnegie Hall and St Luke's Orchestra which brought together children from five Sistema programs in New York to play in a massive orchestra. Members of the Bolivar Orchestra came to coach the children. It was amazing to see young men, who play in a professional orchestra teach with such energy, love for the children and music, as well as a complete belief in the children's ability to play well, and that learning music is a life changing experience! Wow!!!
In the last two weeks of my residency, I visited OrchKids in Baltimore, and had a great time getting to know the staff and leadership team. One of the things I learnt from watching Dan Trahey in action is the importance of gaining the balance between really knowing the children in your program, knowing the community and their families, with being able to advocate for your program in a way that is understandable and meaningful to anyone and everyone. I then went to Philadelphia and had a awesome time visiting the Play On, Philly! Program. From Stanford Thompson, I learnt the value of having a well thought out plan and vision for your program, as well as the importance of having good teachers. I then proceeded to Washington DC where I met with a lobbyist from the League of American Orchestras and had an interesting discussion about how reforming and causing change in legislature regarding arts education is approached in the USA.
Before embarking on my residency, I met with a social entrepreneur, Hubby Jones, who has for over fifty years built many non-profit organizations that deal with challenging social issues such as racial tension. One of these organizations that really fascinate me is City Year where young people dedicate a year of their lives to playing a hands-on supportive role in underserved public school classrooms to help children with Maths and Language Literacy. This is what we desperately need in South Africa- it was great to find out that there is a branch in Johannesburg. Another organization that he founded is Boston Children's Chorus, a choir that focuses on racial integration. Mr Jones was the dean of social work at Boston University for 16 years. At our lunch meeting, I boldly asked him if I could shadow him when time permits, and he said yes! I am really hoping that he becomes one of my mentors as I embark on doing similar work in South Africa.
Recently, in a conversation with one of my fellow fellows, Andrea Landin, where we were throwing around ideas in preparation for speeches we had to present at a donor reception, she said something profound. We were speaking about why we are doing this work - and she really shed light on this question for me. She said that the question can be viewed in 3 ways:
Why am I doing this?
Why am I doing this?
Why am I doing this?
It is a good question. One that I have asked myself countless times. I am just beginning to answer these pressing questions for myself as I dig deep into my own thoughts, journeys and life. As I glean from the robust field that already exists in this work, and from the many conversations and learning experiences I have had, I am realizing that the parts of this question that speak about using music as the vehicle to tackle some of our major pressing issues such as poverty, race and gender inequality, youth violence, school drop-out rates, gangsterism and even literacy levels has an ever-evolving and still developing answer. However, I do not think that this is an entirely new concept.
As to why I am wanting to do this, especially when I have spent practically 6 years studying how to become a Jazz and Classical Flute performer? My answer is two-fold: There is a great need in South Africa for something like this- not just necessarily through music- but starting to effectively address our social issues is an urgent matter. I believe that the answer lies in the education of the next generation- raising a generation of children who have a good self-esteem, are socially aware, and active in their communities. I saw this quote today, "It is easier to build strong children, than repair broken men (and women)", by Frederick Douglas. I agree.
The second part to my answer is simply this - I was born to do this. I cannot explain this feeling, but I just know that this is the 'point' of my life. I am getting to a place where the need I see becomes greater than my fear of failure or even my longing to be a successful performer. This is a time where everything in my life (my experiences, passions, failures, successes and enquiries) has shaped me to
embark on this very exciting, but challenging journey.
My favorites quote: "And the day came when the risk to remain tight in a bud was more painful than the risk it took to blossom". (Anais Nin)
Thanks for reading and therefore sharing in my journey!
