Penn Libraries的动态

I just love the mission of this sponsoring organization, A Tribe for Jazz. They are doing some deeply interdisciplinary work telling the story of jazz as a public good. This panel discussion--Hear Me Out: Democracy, Jazz, and Education-- brought together leaders in jazz advocacy and left me reflecting on what it means to "be the change" first as a human, second as a artist/academic/teacher/advocate.

This is really about our refusal to create an educated electorate. Chatting with folks in their 20s, some literally do not understand how the system works, they know they don't understand it, they see the fruits of what we've created in this very inequitable system, and they're divested. So who ends up voting? A lot of really scared, self-serving as opposed to community-driven, cynical, anti-forward thinking individuals. Who will be long dead when the country has slipped into its final morass of failed late-stage capitalism. We need to work on getting Americans aware about the voting process. Yes to more voter education -- it's a crisis now.

Value infographic here ?? Creativity = prosperity Creativity = change makers Creativity = cultural currency Read the report - support creativity - employ a design student ?? #saveoursubjects #NSEAD #highereducation #humancentereddesign

On this episode of Arts Engines, Aaron speaks to Tammy Yi, Music Education Professor at Chapman University’s College of Performing Arts, who work is a masterclass in blending education, cultural advocacy, and community engagement, all underpinned by a strong commitment to Diversity, Equity, and Inclusion (DEI) in the arts. At Chapman, Tammy isn't just educating future music teachers; she’s transforming the way they understand and interact with music. By founding the first Collegiate Mariachi Ensemble in Orange County, Tammy is empowering her Mexican-American students and introducing culturally responsive pedagogy. This initiative does more than teach music—it creates spaces of belonging and showcases the richness of diversity within educational settings. Tammy’s impact extends beyond the university. As a conductor for the Youth Orchestra of Los Angeles, she collaborates with leading figures in El Sistema-inspired programs, advocating for actionable social change. Her work highlights the importance of understanding cultural identity, not just in terms of race or ethnicity, but as a complex web of influences that shape our values and interactions. Tammy acknowledges the resistance she’s faced in her field, particularly against efforts to challenge and dismantle Eurocentric ideologies in music. Her approach is both introspective and educational—encouraging others to explore their own cultural identities and understand how they influence their work. She emphasizes the need for educators and artists to develop racial consciousness and be mindful of how their actions can either support or undermine DEI efforts. Tammy’s advice to those in the arts is clear: stay focused on the communities you serve, remain open to listening, and always strive to understand and address the impact of racial trauma. The work may be challenging, but it’s essential for creating an inclusive and equitable environment in the arts. “Use the arts to share our stories, to listen, and to co-create.” #Arts #Culture #Music #Education #DEI #Diversity #Equity #Inclusion #PerformingArts #FirstGeneration #HigherEducation #ArtsEducation #Mariachi #ChapmanUniversity #CulturallyResponsiveTeaching #YouthOrchestra #ElSistema #MusicEducation #SocialChange

What is the proper role of arts institutions in combating threats to democracy? Jesse Rosen, formerly the President and CEO of the League of American Orchestras, has published a thought-provoking essay, “What Responsibility Do Orchestras have for Democracy?” in which he writes: Orchestras have choices; they are not neutral. Maintaining the status quo is just as much a political act as addressing the pressing political issues of the day. Orchestras are part of the larger arts and entertainment community and have a historic opportunity now —a responsibility, I would argue—to join forces across the sector to advance democracy and to protect their missions of safeguarding creativity and free expression. Read more: https://lnkd.in/eVw3ddQY

Question: How can we best help foster a strong, supportive environment for artists and creatives? My Answer: The best way to make an impact is to follow your passions and engage with organizations that align with those passions. There’s a common misconception that you need to be an artist or have an arts background to contribute to arts organizations. In reality, we need board members and volunteers with diverse skills and backgrounds—those who excel in finances, marketing, event organization, insurance, sales, and advocacy. Read more to learn about my journey with music and the Alpharetta Symphony, and its impact on the Alpharetta community…

ICYMI: Our very own Professor of Psychology and Environmental Studies and Chair of Psychology, Cindy Frantz, was on NPR's Weekend Edition! In the article, which centers around musical artists and their climate activism, Frantz discusses the psychological impact of large scale movements. Read it here: https://lnkd.in/gEtskYDy ??: Tanya Rosen-Jones ’97

On this episode of Arts Engines, Aaron Dworkin spoke with Marvin Curtis, Board President of the South Bend Symphony Orchestra, about the role of board members in advancing DE&I efforts. Curtis emphasized the need for authentic, community-centered approaches to change. Takeaways from Marvin: ?? Collaboration with Decision-Makers: Open dialogues with the Conductor and Executive Director ensure that DE&I efforts are deeply embedded, not just performative. ?? Action and Accountability: It's critical to establish benchmarks for progress, such as increasing board diversity and programming works by composers of color. ?? Community Focus: Initiatives like offering Spanish translations at concerts demonstrate how to prioritize inclusion and cultural relevance. Curtis urges us to "be BOLD" in the face of resistance, especially as conversations around justice face backlash. With opposition, the commitment to equity is crucial, as Curtis says, “At the end of the day, it's about being present and working for better futures in music.” #Arts #Culture #Music #Orchestras #BoardLeadership #Community #Justice #Diversity #Equity #Inclusion

TL;DR League of American Orchestras is doing important work on many fronts, conference was great and intense, more people do good in this world than the few that behave terribly, I am a lucky duck. League conference was inspiring as always but this one hit differently. It was invigorating to connect with young intelligent feisty hopefuls, and connect/reconnect with those of us who are longer in the tooth and still advocating for meaningful positive change. It marked the official end of the year long Anne Parsons Leadership Program, from which I gained invaluable direct and indirect mentorship wisdom plus a ride or die crew of totally amazing cohort members I’m honored to call friends. This year’s conference also offered an opportunity to continue to shine a bright and unflinching light on the worst of our art form’s antiquated toxic hierarchical operating practices. I was a little terrified to serve as a panelist on Understanding and Addressing Sexual Misconduct in the Orchestral Field. It’s a very serious and very disturbing topic which can cast a pall over a celebratory call to action convening like the League conference but the League and its membership are taking this seriously, so when they came calling I said yes. For obvious reasons of sensitivity to the subject matter the panel session, facilitated by two representatives from RAINN and including the incoming League board chair and AFM head of symphonic services, was not recorded. I gave oxygen to some pretty harsh realities from my broader musician/administrator POV. I won’t be posting that statement anywhere but if anyone is interested in what I had to say I am happy to connect. I’m certain it’s incomplete and this work is just beginning so please school me. Thanks to colleagues near and far for input and raw conversations helping me prepare. HUGE thanks to Team APLP for the unwavering support all week leading up to, and during, that panel. Also huge thanks to everyone at the League for putting together so many wonderful sessions! Themes of inclusivity for lived experiences, divergent thinking, responsible fundraising, community first marketing, bold artistic visioning, and addressing systemic challenges resonated deeply for me. It’s great to be a classical music geek among geeks. Not tagging individuals in this post because it got so personal. Y’all know who y’all are and there’ll be a Tagging Festival in the next one. :)

In sport, ‘excellence’ is well-understood as an absolutely essential prerequisite. Many policy makers, arts council members, and dumbing-down academics prefer that the arts are kept in a state of enforced mediocrity at best, by rejecting the concept of excellence. Real standards in the arts would reveal how threadbare are the basic skills of many of those today who claim their work is more important than the masterpieces of the past - but want to avoid others having the chance to experience the latter, in which context their own work will be seen as wanting. As Catherine Bennett points out: ‘Hint for funding applicants: engage, as Stalin also used to recommend, “with the stories of the contemporary nation”; avoid “excellence” and its synonyms. “Terms like excellence,” the ACE authors advise, “are indicative of the way in which opera and music theatre still retains unhelpful hierarchies about what kinds of work are valued.” “Good”, while permissible, should appear in inverted commas.’ https://lnkd.in/esqvRzEH