Risk taker extraordinaire: An interview with Elvera Voth

Cohen, Mary L.

doi:10.1386/ijcm.3.1.151/7

Cited by 6 publications

(5 citation statements)

References 1 publication

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“…Examining the data from three separate ethnographic studies (Cohen, 2010;Higgins, 2012;Iadeluca & Sangiorgio, 2008), the researcher proposed that acts of hospitality, mainly the open "welcome" to participation, are present in each experience and can be viewed as distinctive to the community music experience. Higgins concluded that community music programs focused on creating diverse and accessible offerings should work toward embodying the concept of unconditional hospitality.…”

Section: Research On Community Music Programsmentioning

confidence: 99%

A Cycle of Giving: Transforming Individuals, Transforming Community in a Louisiana Children's Choir

Bowers¹

2019

Proceedings of the 2019 AERA Annual Meeting

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Kids' Choir, a community children's choir in Baton Rouge, Louisiana, formed in 2014 as part of the Kids' Orchestra organization. The organization, founded in 2011, is El Sistemainspired-a model developed in 1975 by Venezuelan orchestra conductor, José Abreu. The model's mission is "to effect social change through music for children with the fewest resources and the greatest need" (Mission Statement, 2017). El Sistema's focus on social change through musical excellence may hold great promise in the United States where neighborhoods are becoming increasingly diverse. Moreover, the El Sistema philosophy responds directly to issues of segregation still present in the Baton Rouge community, but more research is needed to determine the impact of programs like these on children's development and the communities they serve. In addition, researchers have not fully investigated the musical lives of children-lives that arguably encompass a multitude of possible musical interactions.The purpose of this intrinsic case study was to examine Kids' Orchestra's philosophy of social development through musical experiences and document the teaching and learning paradigms associated with this philosophy. I explored the impact of Kids' Choir participation on the choristers from the perspective of teachers, staff, parents, and the children themselves. In addition, I investigated more deeply the relationship between three choristers' Kids' Choir experience and their musical lives outside of the organization. I provided an historical account of the evolution of the Kids' Orchestra mission and vision statements since the organization's inception and detailed how the El Sistema philosophy manifests in the organization and the Kids' Choir ensemble. I presented the Kids' Choir ! v experience as a counter-narrative to current El Sistema/El Sistema-inspired organization critiques. Findings revealed perceived benefits of increased development in choristers' resilience through holistic education highlighted by increased confidence, maturity development, and social development. Further, findings illuminated evidence of a cycle of giving involving students, parents, teachers, and community members through access, encouraging acceptance and compassion, and community education and enrichment. Finally, I discussed transforming individuals as a means of transforming communities.! vi found that the choir "added a unique nuance to producing one's own culture for both schools, and . . . [generated] social change in the participating community" (Discussion, para. 16).Meanwhile, 5,765 miles away in Bordentown, New Jersey, a choir made up of prison inmates rehearses for approximately 75 minutes a week. The choir's founders are two music education majors who began with a mission "to move beyond barriers to create communities of hope that restore, enlighten, and transform lives through music" (Abrahams, Rowland, & Kohler, 2012, p. 67). Rehearsals center on an essential question connected to a particular theme of social justice and align with a four-step reh...

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Section: Research On Community Music Programsmentioning

confidence: 99%

A Cycle of Giving: Transforming Individuals, Transforming Community in a Louisiana Children's Choir

Bowers¹

2019

Proceedings of the 2019 AERA Annual Meeting

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“…Performances create opportunities for meaningful achievement. Elvera Voth, founder of the East Hill Singers based in the minimum unit of the Lansing Correctional Facility in Kansas, frames this achievement in terms of social feeling , asking, “Do you have any idea what it feels like to be given a standing ovation, when you’ve been told your whole life you’re not worth a damn?” (Cohen, 2010, p. 152).…”

Section: Introductionmentioning

confidence: 99%

Choral Singing in Prisons: Evidence-Based Activities to Support Returning Citizens

Cohen

2019

The Prison Journal

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Choral singing in prisons can help incarcerated individuals identify as returning citizens instead of felons. Shadd Maruna argues that while many legal and penal rituals exist to convince individuals to identify as “offenders,” few such rituals are in place to reconnect formerly incarcerated people to identify as community members outside of prisons. Maruna describes successful reintegration rituals as symbolic and emotive, repetitive, community-based, and infused with a dynamic of challenge and achievement; they give form to political and social processes that enable successful reentry. I maintain that choral singing models positive reintegration rituals that promote prosocial connections between returning citizens and the societies to which they are restored.

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“…Research indicates that a wide array of music programs have positive implications for prisoners, including a variety of music therapy programs, general music classes, and choral opportunities. Some of the effects of these music programs for those who are incarcerated include opportunities to develop pro-social skills (Hakvoort, 2002;Reed, 2002;Wyatt, 2002), the chance to engage in everyday socialization (Cohen, 2012c;Cohen, 2010;Roma, 2010;Silber, 2007), the opportunity to be expressive (Anderson & Overy, 2010;Brewster, 2010;Fierro, 2010;Roma, 2010), and increased self-esteem (Cohen, 2010;Roma, 2010;Silber, 2007;Watson, 2002). The following studies and reports highlight various types of music programs for prisoners, and discuss the implications of these programs.…”

Section: Implications Of Prison Music Programsmentioning

confidence: 99%

If you listen, I'll tell you how I feel

Wilson¹

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My most profound musical experiences have always involved others, acting in cooperative spirit, fulfilling a deep need to be connected in our humanness by collective thoughts and emotions. As a part of various musical organizations, I always perceived that I was a part of something larger than myself and felt deep joy in the commonality shared with others through making music. In this spirit, I wish to acknowledge those that shared my journey and guided my path.

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Risk taker extraordinaire: An interview with Elvera Voth

Cited by 6 publications

References 1 publication

A Cycle of Giving: Transforming Individuals, Transforming Community in a Louisiana Children's Choir

A Cycle of Giving: Transforming Individuals, Transforming Community in a Louisiana Children's Choir

Choral Singing in Prisons: Evidence-Based Activities to Support Returning Citizens

If you listen, I'll tell you how I feel

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