The first programs to be cut from school curriculums, at least in the United States, are the arts. They are considered dispensable, a luxury, not important, but they may well be a necessity. There is a transformative nature to all arts. For many people, participation in an art form is the first time they experience possibilities undreamt of before.

While doing research for my book, I came across an inspiring story about a high school in Compton, California, plagued with student violence and crime. Although the school had no money to support activities in the arts, two teachers (one black, one white) wanted to stage a play. It would be the school’s first theatrical production in 40 years.

Because there were no funds and no facilities, the teachers chose an inherently bare bones play, Our Town, a quintessentially Yankee drama, to be cast with predominantly Hispanic and African-American students, many of them gang members. Lacking any semblance of an auditorium, they used the cafeteria for rehearsals and performances.

It seemed to begin as an exercise in futility. Nobody quite understood why they had to take part in this foolishness—they complained, made fun, made gang signs—yet nobody quit. They stuck with the task without quite understanding why. Over time, a sense of purpose and understanding developed.  Many cast members described their feelings as it being the first time they felt they could do something important and there was a palpable sense of pride.

The transformation was exhilarating and the performances were sold out. Family, friends, classmates, and community members came. A Los Angeles city councilman attended, and the school was given a grant for the next year’s production.

Southern California is also home to the Los Angeles Philharmonic, one of the best orchestras in the world, currently led by the great, much acclaimed conductor, Gustavo Dudamel. Dudamel is a product of Venezuela’s Sistema.

One of many expressions of the Sistema is the world famous Simon Bolivar Youth Orchestra. All of this was the vision and accomplishment of Sr. Jose Antonio Abreu.  He gave poor children instruments and lessons and put them in musical groups. The number of Venezuelan children who are products of the Sistema and playing in various orchestras has grown exponentially and future plans are now to include homeless children as well.

Sr. Abreu made a compelling case. He convinced successive governments that if you give a child an instrument, teach him to play, include him in a musical group, perhaps an Orchestra, and teach him to love music, he will not pick up a gun. And for the last 40 years in Venezuela, no matter which political party has been in power, all have supported the Sistema.

These examples in Compton and Venezuela stand as a striking challenge to the common United States assumption that youth arts programs are nonessential.

Barbara & Oliver