File

Thriving String
Programs in Haiti
2016 ASTA National Conference
Tampa, Florida
Panel
Janet Anthony • Kathryn Dey • Jordan King • Lindsay Schwartz
1
2
&
Overview of Haiti
Haitian Music Programs
Overview of Haiti
Though only 900 miles from Tampa, for newcomers, Haiti often feels a world apart. Many
don’t realize that Haiti, born in revolution, was the world’s first black republic and the
second modern nation, after the United States, to rebel successfully against European
colonialism. In our day most people, if they think of Haiti at all, conjure images of disasters
— natural or man-made — but there is SO much more to our neighbor to the south. Its
vibrant, multifaceted culture, a lively mix of African, French, and Latin influences, combined
with the immense creativity of its people provides a solid foundation for the power of
music education and performance. Music is a key pillar of cultural expression in Haiti. The
burgeoning number of music programs offers outsiders a different and very positive view
of the country. More importantly, in addition to the benefits of music education that we
are all aware of, these programs also give Haitian youngsters the opportunity to envision
a much broader range of possibilities for their futures. In the words of a former Minister of
Culture, “to encourage children to thrive by practicing music is one of the surest ways to
give them confidence and make them respectable citizens.”
Seven Largest Haitian String Programs
EMST. Ecole de Musique de Sainte Trinité is the oldest music school in the country.
Begun in the 1960s, teachers from EMST have helped many other programs get off the
ground.
EMDB. Ecole de Musique Dessaix-Baptiste, founded in 1998 in the southern coastal
city of Jacmel with help from EMST teachers. They have, in turn, helped to start music
programs all over the country.
CEMUCHCA. Founded in 1995 in the northern city of Cap Haitian. Now has annexes
across Haiti.
AMI. Ambassador’s Music Institute in Marin outside Port-au-Prince was founded by a
teacher from EMST.
1
2
AMOJ. Academie Musicale Occide Jeanty in Croix-des-Bouquets was initially begun to
help children from one of the most desperate slums in the country, giving youngsters
instruments instead of arms.
FSC. Foundation Sainte Cecile in La Plaine was also begun by a teacher from EMST.
Institut National de Musique D’Haiti in the Central Plateau region is the cornerstone
music school for the area.
There are many more music programs throughout the country. A few that we have had
personal experience with are:
North: UNCH Limbe; Marmelade, Cemuchca annexes in Limbe, Quartier Morin, Milot
Northeast: Limonade, Ft. Liberte, started by a Cemuchca student
Northwest: Port-de-Paix, St. Louis du Nord
Central Area: Gonaives, Saint Marc, Corail, Deschapelles, Cange, Mirebalais, Hinche,
Thomond
Southwest: Miragoane, Petite Riviere de Nippes, Jeremie, Les Cayes, Port Salut
Port-au-Prince and surrounding area: New Victorian School, ENARTS, Foyer Maurice
Sixto, Catherine Flon, Cadanse, Gressier
Approximately 10,000 students participate in Haitian music programs.
Impact of Music Education in Haiti
• Counters social stratification
• Offers a healthy alternative to gangs, drugs, violence, and prostitution
• Encourages individual creativity
• Comfort and help for people in need
• Music “makes us human”
• “Music can save Haiti”
3
4
How To Do
More With Less
Teaching strings in developing countries requires adaptation in:
Pedagogy • Instruction • Resources
Pedagogy
• Cultural relevancy: tailor pedagogy for students in front of you. Allow students to be
your guide to their culture.
• Rote instruction can be most efficient, especially for beginners.
• Creative exercises when no resources are available.
Instruction
• “Front line teaching” distills instruction to its essence. Goals have to be attainable at
many levels due to mixed experiences and age ranges. Language challenges can
affect and potentially streamline instruction.
• Improvise curriculum plans as needed depending on available resources, mixed
levels of student abilities, experiences, etc. Flexibility is a must!
• Students frequently create solutions as they regularly have to make things work in
their daily lives. For example: setting a sound post using a fork and some string.
• Overall teaching goals and instruction tend to be more present time.
Resources: Challenges and Solutions
• Visit www.blumehaiti.org/instrument-repair for additional detailed instructions on the
tasks listed below and for other helpful maintenance suggestions.
• Fix torn shoulder rest feet with a rubberized resurfacing product (i.e., Plasti Dip);
wash bow hair for extended life; use graphite or pencil lead to lubricate string grooves
on the bridge and nut; use resin on slipping pegs; measure string height.
• Organization: Use string winding color ID page to sort through a jumble of used
strings, label all equipment and instrument cases with detailed lists of contents and
state of “playability.”
• Inventory: Think creatively to maximize your instrument inventory and utilize the
resources within your school and community setting.
5
What Can Be Gained
by Learning About Haitian Music Programs?
•
Develops global citizenship which helps teach about social justice issues. Increases
appreciation of diversity.
•
Acknowledges the power of individuals to create change and the power of choice in
how one lives. Working together can increase this power.
•
Can give learning about the world more meaning through “real-life” scenarios.
•
Challenges misinformation and stereotyped views about Majority World countries
and helps to counter ignorance and intolerance.
•
Encourages recognition of our responsibilities toward each other and how we can
learn from and help each other. Encourages altruism.
•
“Universal language” concept: demonstrates the connections that art can create
between different societies.
•
Some students and teachers will become inspired to “go global” by teaching or
contributing in some other way using personal talents and interests. Examples:
Kenbe La movie, student initiated awareness projects. Some also pursue non-music
paths such as ethnomusicology, global development, food resources, medicine.
Suggestions for the Classroom
6
•
Watch and discuss a film with your students about music in a developing country
(see Resources for ideas).
•
Create a global music program unit and include connections to history, politics,
geography and environment, education, music traditions, etc. Units can be spread
out over the year or condensed for interdisciplinary connections to history or social
studies curriculum within the school. (World Cultures Day, Global Music Friday, etc.)
Choose cultures based on background of students in class to create more personal
connections.
•
Cross cultural string class relationships: (Internet/technology access is extremely
helpful). Students and teachers from programs communicate with each other on
pedagogy, instruction, performances, and culture using blogs, YouTube “practice
channel” shared by all, transcript project of traditional music.
7
Music Around the Globe
Countries
Haiti
Afghanistan
Brazil
Colombia
Costa Rica
Kenya
Paraguay
Tanzania
Uganda
USA, many examples!
Venezuela
www.cemuchca.org
www.ecolemusiquejacmel-haiti.com
www.saintetrinitemusique.org/entrer.htm
www.blumehaiti.org
www.kakofoundation.org
www.hopeonastring.org
www.musical-haiti.org/66/en/home
www.culturesinharmony.org
www.femusc.com.br/en/
www.fundacionbatuta.org
www.ericbooth.net/batuta-the-sistems-incolombia
www.sinem.go.cr/
www.kuef.org/KUEF-Initiatives/bliss-band
www.sibudisdekatuerra,irg.ot.
www.darajamusicinitiative.org
www.musicinafrica.net/directory/kampalamusic-school-kms
www.playonphilly.org
www.elsistemausa.org/find-an-el-sistemainspired-program.htm
www.elsistemausa.org/el-sistema-invenezuela.htm
Books
A Path Appears: Transforming Lives, Creating Opportunity, Nicholas Kristof
and Sheryl WuDunn
The Aftershocks of History, Laurent Dubois
The Artist as Citizen, Joseph W. Polisi
Artists in Times of War, Howard Zinn
Farewell, Fred Voodoo: A Letter for Haiti, Amy Wilentz
8
Resources
Krik Krak, Edwidge Danticat
Mountains Beyond Mountains, Tracy Kidder
Pedagogy of Freedom: Ethics, Democracy, and Civic Courage and Pedagogy of the Opressed, Paulo Freire
The Spirit Catches You and You Fall Down, Anne Fadiman
That the World May Know, James Dawes
Uses of Haiti, Paul Farmer
Films
The Agronomist, Jonathan Demme (About the life of journalist Jean Dominique and political turmoil he covered)
Landfill Philharmonic (Follows the Recycled Orchestra of Cateura, a musical
youth group that lives next to one of South America’s largest landfills)
Kenbe La (Stephan Anunson and Carolyn Desrosiers. A film about music education in Haiti
both before and after the 2010 earthquake)
Kinshasa Symphony (Kinshasa is the capital of the Democratic Republic of the Congo
and the home of Central Africa’s one and only symphony orchestra)
The Other Side of the Water (Haitian rara bands in Brooklyn, immigration, cultural activism)
War Dance, Sean Fine, Andrea Nix (Music school competition in Uganda)
Organizations
www.blumehaiti.org
www.chevalierdesaintgeorges, homestead.com/index.html
www.culturesinharmony.org
www.lsfusa.org (Luthiers Without Borders)
www.music4lifeinternational.org
www.musicaid.org
www.musicempowersfoundation.org/why-music/the-importance-of-music
www.musicinafrica.net
www.yoa.org (Youth Orchestra of the Americas)
Essays
www.americansforthearts.org/events/nancy-hanks-lecture/lecturetranscript-archive/2013-nancy-hanks-lecture
www.ericbooth.net
9
Presenters’ Bios
Janet Anthony, George and Marjorie Olsen Chandler Professor of Music at Lawrence
University in Appleton, Wisconsin, has taught in Haiti for the past 20 years. Since her first
visit in 1998, almost 80 Lawrence students and faculty have joined her as volunteer teachers
there and she relishes seeing the growth (individual, personal, and musical) that takes
place in this context — not only for the young American teachers but also for their Haitian
colleagues and students. The opportunity to experience life in the developing world is a rare
gift and the ability to combine service with learning, with teaching, and with reflection makes
a very powerful combination. Janet serves as president of BLUME-Haiti.
janet.anthony@lawrence.edu
Kathryn Dey is on the string faculty of the South Carolina Governor’s School for the
Arts and Humanities located in Greenville, South Carolina, and also principal violist of the
Greenville Symphony Orchestra. Her journeys to Haiti were inspired by a conversation with
a GSO music patron at a post-concert reception. She has worked primarily in the Central
Plateau region of Haiti, advising and assisting the École Bon Saveur music program of
Zanmi Lasante. Kathryn is also a certified yoga instructor.
kdey@scgsah.org
Jordan King is an elementary orchestra teacher in Upper Arlington, Ohio. He received his
undergraduate degree from the Lawrence University Conservatory of Music and is currently
pursuing a Master of Arts degree in Music Education from The Ohio State University.
Previously, he taught orchestra in Oshkosh, Wisconsin. Jordan has been volunteering
in Haiti since 2008 and serves on the board of BLUME-Haiti as chair of the Acquisitions
Committee. Jordan maintains a private studio and enjoys cycling and woodworking.
king.jordanr@gmail.com
Lindsay Schwartz is a middle school orchestra teacher in West Fargo, North Dakota. She
first traveled to Haiti in 2008 with her then cello professor, Janet Anthony, and has been
returning every summer since. Lindsay is an active cello player in the Fargo-Moorhead
community and has a large private studio. Lindsay is the current treasurer of BLUME-Haiti.
schwartz.lindsayr@gmail.com
10
11
BLUME-Haiti works with Haitian and International partners to develop leadership skills,
awaken individual potential,
and create opportunities for social and civic collaboration and economic development
through music education and performance.
We envision a Haiti where emerging leaders, thinkers, and doers
will strengthen the social and economic fabric of their nation.
Photographs by John Marquis Cahill