Acquittal Report for Symphony Services 2014 Professional Development Fund Personal Details Name Organisation Title Bronwyn Lobb Melbourne Symphony Orchestra Acting Director of Education and Community Engagement Address 120-130 Southbank Boulevard, Southbank VIC 3006 Tel. 03 9626 1115 Project Detail Title Locations Hosts Experiencing El Sistema in Caracas and Los Angeles Los Angeles (United States) and Caracas (Venezuela) Los Angeles Philharmonic s Youth Orchestra of LA (YOLA), ican Santa Barbara, Harmony Project, Renaissance Arts Academy, Fundación Musical Simón Bolívar (full schedule of visits outlined below) Duration 28 Sept 12 Oct 2014 Schedule of events Arrive Los Angeles 28 September Day 1: Meeting and site visit of YOLA at LACHSA with Rebecca Segal (Coordinator, YOLA) Day 2: Meeting with Gretchen Nielsen (Director of Educational Initiatives, LA Phil), Dan Berkowitz (Manager, YOLA) and Rebecca Segal (Coordinator, YOLA) followed by a site visit of YOLA at HOLA with Dan Berkowitz (Manager, YOLA) Day 3: Meeting and site visit of Renaissance Arts Academy with PK Candaux and Sidnie Myrick (Directors and co-founders of Renaissance Arts Academy), followed by a site visit of YOLA at EXPO with Dan Berkowitz (Manager, YOLA) and Juan Filipe Molano (Conductor, YOLA). Day 4: Meeting and site visits of ican with Xóchitl Tafoya (Director, Music Program, ican, Santa Barbara). Day 5: Meeting with VYMA Longfellow cancelled as program in process of changing hands. Day 6: Meeting and site visit of Harmony Project at Alexandria Elementary School and Hollywood with Dr M. Anne Rardin (Music Director, Harmony Project) and Sarah Wass (Program Manager, Harmony Project). Evening concert at Walt Disney Concert Hall [LA Phil / Dudamel / Mahler 5]. Fly to Caracas 5 October Day 8: Meeting and site visit of Nucleo Montalban with Patricia Abdelnour.
Day 9: Meeting with Leonardo Mendez, Marlon Franco, Shayasca Castro from the Hospital, Infant and Special Education programs, followed by lunch with the International Relations Team (Maranto Borjas, Patricia Abdelnour and Ron Davis Alvarez), followed by a site visit of Nucleo Mamporal with Ron Alvarez. Day 10-11: Visit to Nucleo Los Chorros and overnight trip to Nucleo Barquisimeto cancelled due to illness. Day 12: Visit to Nucleo La Hoyada with Ron Davis Alvarez. Day 13: Observation of training workshops at the Centre for Social Action through Music, followed by introduction to the Executive Team of Fundación Musical Simón Bolívar. Evening concert at Centre for Social Action through Music [Caracas Youth Orchestra / Dietrich Parades / Beethoven Violin Concerto (soloist: Franklin Bolivar) / Stravinsky Rite of Spring] followed by an introduction to Maestro José Antonio Abreu. Day 14: Observation of training workshops at Centre for Social Action through Music. Evening concert at Centre for Social Action through Music [Simon Bolivar A Orchestra / Christian Vasquez / Mussorgsky Intermezzo in modo classic / Prokofiev Violin Concerto No. 1(soloist: Farathnaz Gonzalez) / Prokofiev 5]. Depart Caracas 12 October Report Venezuela s El Sistema provides formidable affirmation that music has the power to change the lives of our neediest children. It is the inspiration for thousands of music-for-social-change programs around the world, including the MSO s Pizzicato Effect program in the outer suburbs of metropolitan Melbourne. The opportunity to spend two weeks visiting Sistema-inspired programs in Southern California before going to the heart of the movement in Caracas was a unique and wonderful experience for which I am thankful to Symphony Services International and Marc Besen for supporting. During my travels I visited five programs, met and shared stories with incredibly enthused people, collected ideas for back home, and established strong international relations. The following report is divided into five sections, representing the five programs I visited: Youth Orchestra of Los Angeles (YOLA) at the LA Phil Renaissance Arts Academy, Eagle Rock ican Music Program, Santa Barbara Harmony Project, Hollywood El Sistema, Caracas It is my hope that this report provides useful information and anecdotes from which other organisations may benefit. I am happy to discuss my travels further with anyone who wishes to hear more.
Youth Orchestra Los Angeles (YOLA) at the LA Phil YOLA commenced in 2007, in response to the extraordinary work of Maestro Abreu s El Sistema in Venezuela. At the time, the Los Angeles Philharmonic was courting young Venezuelan conductor, Gustavo Dudamel, a graduate of El Sistema. It was important for Dudamel - who is now in his fifth season as Chief Conductor and Music Director of the LA Phil - to know that the Orchestra he would be heading was participating in this revolutionary movement, and would provide free intensive instrumental music training to students from underprivileged neighborhoods, empowering them to become vital citizens and agents of change. Since 2007, YOLA, under Dudamel s direction, has grown to encompass three sites in Los Angeles YOLA at EXPO (Exposition Park - commenced 2007), YOLA at HOLA (Heart of Los Angeles commenced 2010) and YOLA at LACHSA (Los Angeles County High School commenced 2014), engaging 700 students aged 6-18 from more than 200 schools in the LA County. Children attend the program four to five days a week to engage in orchestral instruction, Choir (on rotation) and tutorials/sectionals. Intensive after-school music study is complemented by academic support, leadership opportunities and performances in each centre s community, as well as in the Walt Disney Concert Hall and the Hollywood Bowl. The recruitment process is rigorous and the expectation around attendance, positive contribution and good behaviour is high. Parents are asked to commit to bringing their child to the program four to five days a week plus support their attendance at concerts and other YOLA activities. All YOLA programs are partnerships, with the LA Phil and its community partners providing free instruments, intensive music training, and academic support to students from underserved neighbourhoods, enabling every child to contribute using their full potential. External (non-la Phil) partners contribute approx. 30-40% of the program s costs, including venue, teaching staff and/or other aspects of the program delivery. YOLA has become a strong and proud part of the LA Phil s story, intrinsically linked to its social values, artistic programming and philanthropic giving (the Orchestra raised USD3.5mil for the Orchestra s Education programs, including YOLA, at their annual gala which took place during my stay). The Orchestra have made a clear commitment to the program s fast growth and
subsequent success. (They also acknowledge the funding potential as a key factor for how and why they have been able to grow the program so quickly.) I visited all three YOLA sites across three consecutive afternoons (sites operate four to five days a week). At each site I was introduced to the Site Coordinator and members of the teaching team and I observed rehearsals, tutorials, and introductory classes. I also had the opportunity to speak to some of the students. Some key observations across the three sites were: Strong team emphasis / use of inclusive language throughout this worked particularly well in the context of everyone working together to achieve something, as well as no one wanting to let the team down. Very high learning expectations and rigorous rehearsals. Only very short breaks (15min!) for the children across the afternoon of activity Older / more advanced children stay longer / later than the younger ones. Prominent use of peer-to-peer teaching in addition to older students mentoring younger ones. Games focused on establishing orchestral etiquette eg. children allowed to make as much noise as they like until the conductor steps on the podium, at which point they fall silent and all eyes are on the conductor. Integration methods for younger students = sibling class and waitlist choir. Teaching Artist teams have weekly meetings (30-60 min) in addition to a planning meeting at the start of each quarter and a three day orientation at start of school year to do collaborative goal setting and program plans. WBP students advanced faster than string students need to be strategic in how you set-up and/or bring together for full orchestra. When I entered a room, a child was randomly selected by their conductor/tutor to stand up and introduce themselves and their team (peers). This aspect of presentation is seen as good personal development for the child/children. Each partnership model different, with partners bringing their strengths and experience to the program eg. HOLA s core values (respect, responsibility, positive communications, support) are prominently placed throughout the building and have been adopted by the YOLA at HOLA program. YOLA at LACHSA, being at an arts high school, includes 50 high school students who take part in the YOLA at LACHSA Mentorship Program. These students have monthly professional development meetings led by the program director and partnership manager, and learn valuable skills including working with youth, leadership, and responsibility. Tasks vary from assisting with academic tutoring and assisting lead teachers, to providing private lessons or small group practice sessions with our YOLA at LACHSA students. YOLA at HOLA is also set up to train student musicians who aspire to participate in the growing El Sistema movement in the U.S. Students can earn a teaching degree and credential via a Masters of Arts in Teaching Music through Bard College and Longy School of Music. One of the lead teaching artists at the YOLA at LACHSA was a graduate of this program.
Each fully-functioning site has a Program Manager and a Program Coordinator (ideally one per 100 children) plus a Teaching Artist team of 10-14 (with some cross-over between sites) in addition to two full time LA Phil employees (YOLA Manager and Coordinator) who oversee all three sites and partnerships. Not long before I visited, they had appointed Juan Filipe Molano into the position of YOLA conductor a role which operates across all three sites. YOLA at HOLA is also currently participating in a USC Brain and Creativity Institute s 5- year longitudinal brain study to track brain, emotional and social development in students participating in intensive music study, providing insight into the musical mind. Via the partnership with The Harmony Project, students from YOLA at EXPO are currently participating in a study led by Northwestern University which is exploring the effects of music on developing the brain. (NB. More information provided in dedicated section on The Harmony Project below.) Renaissance Arts Academy, Eagle Rock Renaissance Arts Academy (RenArts) was founded by P.K. Candaux and Sidnie Gallegos Myrick in 2002 with the aim to provide equitable arts training to public school students in the belief that arts achievement and academic excellence go hand in hand. The integrated classical curriculum focuses on music and performing arts disciplines, cultivating autonomous scholarship in an ensemble setting. The School responds to the shortage of tuition-free arts training for students from all backgrounds particularly those who struggle the most. It targets cohesion and excellence, integrating a focused program of orchestral string instruments and contemporary dance with rigorous academics. Admission is by lottery and there are no auditions, interviews, prerequisites or tuition fees. All RenArts students participate in accelerated academics, mixed-age instructional groups, integrated curriculum, and disciplined arts training. The shared curriculum and school-wide arts participation create a cohesive culture that supports success for all students. A tuition-free afterschool Conservatory with multiple orchestras, choirs and dance companies is also provided. Music students have unrestricted use of school-purchased instruments and daily
group lessons under an experienced arts faculty. RenArts entire faculty works together to help students actively apply artistic self-discipline and collaborative experience to build success in all aspects of their lives. My visit to RenArts commenced with a tour around the school by a senior student, who has been at the school for five years. I then met with P.K. and Sidnie to learn more about their holistic approach to learning ( Music and creativity are at the core of everything we do - P.K. Candaux) and how El Sistema was a point of inspiration and fascination for them in establishing the school. Due to a pre-arranged visit to YOLA at EXPO that afternoon, I was unable to witness the afterschool music program and so do not have any specific observations for this program, except to say that I found my visit to RenArts very inspiring and was excited to learn that PK and Sidnie have received funding to start a second school which will encompass P-12 students. ican Music Program, Santa Barbara Now entering its third year, the ican (Incredible Children s Art Network) Music Program serves over 120 students at Franklin Elementary School, located in Santa Barbara s East Side. The program operates five-days a week during the school year for three hours, directly after school. Students receive intensive musical instruction, as well as time and support for homework completion. In the first year of the program (Grade 1), children join a choir, make paper instruments and learn to play the violin. By second grade, they are introduced to the cello and viola. Each student selects the instrument of their choice, which they practice and perform with until they reach Grade 5. At this time, they are given the option to take up a wind or brass instrument. The orchestra grows and changes as more complex instruments are added. Eventually, the orchestra becomes the primary music making vehicle for all students. At the time of my visit, a second site at a community centre in Santa Barbara s West Side had recently commenced operation, with an initial enrolment of approximately 30 children from grades 3-7. Some key observations from my visit were: This program was closest in structure and size to The Pizzicato Effect, though far more intensive in its delivery (ie. five days/week as opposed to two) and more culturally
homogenous (nb. all the programs I saw were far more culturally homogenous than The Pizzicato Effect). Each afternoon consists of 3x 45minute rotations comprising of sectionals, tutti, choir and musicianship (NB. only 2x rotations per week for choir and musicianship) and homework. Groups are streamed to match ability levels and students are given the opportunity to teach other students. At the Franklin Elementary School campus there are eight teaching artists and at the Community Centre there are four. Each site also has a program coordinator who is also a teacher and works to engage with parents (see next point). There is a strong focus on engaging parents in conversations around their children s learning and growth, so that the musical conversation continues outside of the program this was done both verbally at the end of the day (sign-out) and via newsletters and notice-boards which displayed content in both English and Spanish. A lot of work went into ensuring the program partners were value-aligned before moving into partnership. The ican Music Program exists within a greater operation of the Incredible Children s Art Network an initiative which works in partnership with the Santa Barbara Unified School District to bring quality arts programs to children in Santa Barbara County, particularly those least likely to receive them. Program funding for the Music Program currently comes from two family trusts, one is supported by a fiscal sponsor and the other is administered to the program directly. Harmony Project, Alexandria Elementary School and Hollywood Harmony Project commenced in 2001 and is Los Angeles largest nonprofit organization solely dedicated to music education for youth in low-income communities. Its mission is to bring quality music instruction and ensemble playing to children who otherwise would not have access to it; complementing music education with supporting resources and opportunities, and fostering a community of families that actively support their children s growth and development. The program operates between three and six days a week, providing instruction afterschool and on Saturday in eight schools and community centers across LA (including YOLA at EXPO, where
Harmony Project are founding partners), in addition to five affiliate programs across the US. At a minimum, students receive group instruction two days a week and ensemble instruction once a week. Students commence around age seven with musicianship and recorder for one year before selecting an instrument. They remain in the program until the end of high school. The program also offers a peer mentoring program (launched 2010), an academy program (launched 2012) and support to graduates by way of a college scholarship program (launched 2007). Most sites have full orchestral programs. Programs are funded by way of private donations and support from foundations. The Los Angeles Unified School District also contributes through provision of the Beyond the Bell Afterschool Programming service, which provides snacks and security, and manages the signin/sign-out for most of the Harmony Project school sites. Each host school allows Harmony Project to use their space at no cost. Harmony Project have recently partnered with Northwestern University to conduct a study which explores the effects of music on developing the brain. Initial results have been written up in the US Journal of Neuroscience and suggest that music can offset the ever-widening gap between privileged and underprivileged children. I visited the Alexandria Elementary School site to observe the Saturday morning Ensemble activity, followed by the Hollywood site to observe the Peer Mentoring Program. Some key observations from my visit to the Alexandria Elementary site were: This program currently only caters for strings. There are approx. 200 children and three levels of string orchestras and once the children graduate from the top orchestra they transfer to another site. Teaching artists are proportionate to number and age / level of students. For the younger orchestras they try to have one teacher per section or instrument family at a rehearsal and one teacher per ten students for a group instrumental class. For site management, they work to a basic formula of one full time program manger per 100 students. Harmony Project - like other programs I saw has high expectations around participant attendance and attitude. When students begin, they are told that they have received a scholarship (to the value of $X per year), and then outline their responsibilities for keeping that scholarship, these include 30 minutes of practice a day, taking care of the instrument, following the Code of Conduct, and agreement around participation in the program. Throughout the program, students are continually assessed (both instrument and character assessments). There is a final concert at the end of each semester and class recitals throughout the term. The organizations seven core values are: Collaboration, Commitment, Community, Integrity, Sustainability, Responsibility. The Peer Mentoring Program at Harmony Project has been running for four years. It was launched to empower students with the skills necessary to teach others and to give back to their community. Teaching artists identify and recruit students who show dedication, leadership skills, and musical excellence. Mentors attend a Summer camp to learn about curriculum
development, lesson planning, classroom management, and observe master teachers in action. They also participate in regular group discussions and personal reflection activities. As mentors graduate from the program they receive private lessons from a member of the professional teaching artist faculty and the mentees take their place as new mentors. I visited the Hollywood site to observe Dr M. Anne Radrin s seminar with young mentors and the mentor/mentee program in action. I also had the opportunity to chat with some of the students about their experiences in the program. Some key observations from my visit were: The students I met were approx. 15-16 years of age and were highly engaged in their music making. Being selected to be a mentor was an honour. Many of them were mentees themselves and so had not only benefitted directly from the program, but also knew it was a rewarding experience. Students received a 20 minute preparation session from Dr Rardin before undertaking a 30 minute corridor lesson with their mentee, during which they would work on solo repertoire, duets and orchestral parts. Various aspects of teaching, including sessions on leadership, dealing with challenging situations and making appropriate repertoire selection are explored during the prep sessions with Dr Rardin. This model has been replicated at other Harmony Project sites. El Sistema, Caracas The National System of Youth and Children s Orchestras and Choirs of Venezuela, commonly known as El Sistema, is a state funded organization. It was established in 1975 by Maestro José Antonio Abreu for the purpose of systematizing music education and promoting the collective practice of music through symphony orchestras and choruses as a means of social organization and community development. Almost forty years on, the program has been become an international success, and proven to the world that music has the power to change the lives of children, equip them with values that favour growth and help them to believe in themselves. In its wake it has inspired thousands of socially-minded music education programs throughout the world.
El Sistema currently reaches over half a million children across some 350+ nucleos throughout Venezuela, with an ambitious goal to expand to one million by 2019. Children learn sequential repertory via group instruction, with an emphasis on frequency and repetition during the early years to build fast familiarity. Depending on their age, come to the nucleo after school five days per week, and on Saturdays. During my week-long stay in Caracas, I visited three nucleos: Nucleos Montalban and La Hoyada in Caracas, and Nucleo Mamporal in the state of Miranda, approximately 1.5hrs east of Caracas. Each of these nucleos services between 800-2000 children aged 3-18yrs, and featured multiple ensembles of varying levels and genres, including string ensembles, orchestras, wind ensembles, brass ensembles, percussion ensembles, jazz bands, big bands, traditional (folk) music programs and choral programs. I also had the opportunity to meet with some of the program and administration teams, observe some training workshops for directors of regional nucleos at the National Centre for Social Action through Music in Caracas, and attend concerts by two of the five the largest orchestras of El Sistema the 260-strong Caracas Youth Orchestra (conducted by Dietrich Paredes) and the Simon Bolivar Orchestra A (conducted by Christian Vasquez). Both concerts were exceptional standard, and conducted by graduates of El Sistema and featured young soloists who perform within these orchestras. Some key observations from my time in Caracas were: El Sistema is formulaic by necessity, yet flexible enough to be adopted and adapted to suit varying environs, both within Venezuela and beyond. Even though I visited three different nucleos in three very different environments, the essential delivery and structure within each was the same. The strong underlying principals and philosophy introduced by Abreu in the 70s were evident in everything I saw. Right from the outset I was overwhelmed by the passion, determination and commitment that oozes from every single child and teacher. Not to say this wasn t evident in the programs I had seen in the United States, but this was on a whole other scale. No challenge is too great I witnessed many situations which would have been deemed too hard or a sticking point in other cultures, but had been innovatively circumnavigated or adapted to in order to keep things moving forward. An example of this was at Nucleo Mamporal, where sure to insufficient trained musicians on hand, local parents had been trained to teach students the basics. Everything is extremely goal focused, but time is also taken to reflect and refine. Due to the intensity of the program, the speed with which the children become proficient on their instrument is extraordinary. They are also very comfortable performers, with children as young as six performing solos with their peers. The pathway for program participants is really strong, with inbuilt incentives of working towards the next piece in the sequential repertoire or progressing next level of orchestra. Beyond that, you could also sense that the possibility of being selected for one of the touring orchestras or becoming a big super-star like Dudamel was really tangible for these children.
Each nucleo has a program director, a coordinator and academic coordinator and any number of teaching staff, depending on its size. Security is also engaged to manage access and duty of care at bigger nucleos or those in dangerous areas. The program continues to evolve and grow, with ambitious plans for the future. Conclusion One of the true highlights of my trip was meeting and learning from so many passionate and highly engaged people who work tirelessly to make their programs happen. I am so grateful to each and every one of them for sharing their work with me. I have returned to Melbourne full of ideas and inspiration and with a renewed energy for the challenge that lies ahead as we look closely at our own Sistema-inspired and shape its future direction. Bronwyn Lobb Caracas Youth Orchestra and Dietrich Parades at the Centre for Social Action Through Music, Caracas. Los Angeles Philharmonic and Gustavo Dudamel after Mahler 5 at the Walt Disney Concert Hall, Los Angeles.