Protected: The New Ecosystem for Community-Centered Commitments
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There is no excerpt because this is a protected post.
Is your organization in it for the long haul and ready to create a roadmap to the future? In this 90-minute webinar, Jill Robinson, CEO of TRG Arts, and Zannie Voss, Director of SMU DataArts, share specific steps that can be taken to emerge from the current crisis and orient toward sustained action and resiliency.
This year, close to 1,000 orchestra professionals, volunteers and business partners gathered in St. Louis for the League’s 2013 National Conference. Here are some of the highlights.
A cross-genre, inter-disciplinary production, where message and medium work together in perfect harmony to create an uplifting plea for change and social justice
Ignacio Barrón Viela, a 2018 participant, described Essentials as an opportunity to reflect on the impact of music beyond the concert hall.
Graphic novelist R. Alan Brooks offers inspiration to artists of all kinds as he shares his belief in the potential of art to change hearts and minds across the world.
Initially duplicated with the kind permission of Thomas Cott (@youvecottmail)
Last updated: June 25, 2020
Iconic flutist and composer Valerie Coleman shared inspiration and innovation for hope, harmony, and unity as we engage our communities. Through the lens of her own journey with music, she reflected on how artists address our shared humanity and the relationship of the arts to where we are today as a society. We also awarded the Gold Baton, the League’s highest honor.
The decisions as to when and how orchestra musicians will gather again – in rehearsal, for performances, and in smaller groups and large ones – are informed first and foremost by the health and safety of all participants. Musicians will come together to rehearse before doors are opened to concert halls and other public spaces, and the use of varied musical instruments has unique implications.
How is our relationship with arts and culture being reshaped by the pandemic and its legacy? What will the audiences and communities we serve need from us in the future? And how might the orchestral experience evolve in order to best meet these needs?