PROGRAMS

While Cuba has a rich history of jazz, there is a dearth of resources to formally study the form. Our education programs provide expert instruction, new pedagogies and methods that are integrated into student training and curriculum by local instructors. Our education advisors Victor Goines, Yosvany Terry and Chad Eby are world-renowned musicians and teaching faculty at Northwestern University, Harvard University and University of North Carolina at Greensboro. We produce annual music and cultural exchange residencies we call Jazz Amistad residencies. We recruit volunteer U.S. jazz musicians and partners such as Jazz at Lincoln Center, Preservation Hall Foundation and Trombone Shorty Foundation to teach the residencies which include:

• Teacher’s workshops to address the needs of the local music educator;

• Student sectional workshops (by instrument);

• Student ensemble workshops; and

• Performances by our faculty and student performers
  

BRINGING THE SPIRIT OF JAZZ TO MUSIC STUDENTS

Our Jazz Amistad residencies go beyond music education to include cultural “intercambio” or exchange. Exchanges happen in Cuba and the U.S. and are designed to:

• Increase musical knowledge and technical capacity;

• Broaden perspectives of educators;

• Spark cultural partnerships and learning; and

• Inspire students personally and professionally.

We view jazz as a global language and as a shared bridge between Cuba and the U.S., because music transcends boundaries of geography, politics, culture, language and even time. Life-changing for students and professors on both sides, Jazz Amistads provide opportunities to preserve musical legacies and to encourage young musicians to innovate and create their own musical futures. Ultimately Jazz Amistads are not just about musical technique –they are about instilling the improvisational and collaborative spirit of jazz.

STRENGTHENING TIES BETWEEN COUNTRIES USING SHARED MUSICAL TRADITIONS

A proper instrument in good working condition is essential to a musician. In Cuba, many issues affect instrument quality and access: weather damage; multiple and long-term usage; affordability and availability issues; and more. This situation impedes the educational and professional opportunities of students. In 2010 we recruited the renowned instrument artisan David Gage of New York City’s David Gage String Instrument Repair and with Judy Epstein Gage, formed the Instrument Artisans Council, a group of volunteer instrument artisans who oversee annual visits to the island for repair and training work. Families, students, music professors and other music professionals come to our workshop from throughout the island. We have now trained local artisans and have made over 7000 instrument repairs. CNEART, The Ministry of Culture’s arts school administration, donated the building for the permanent repair shop and hired six Cuban repair technicians (partially trained by our master artisans) to fix instruments for students in Cuba’s music schools.

FULFILLING DREAMS OF ASPIRING YOUNG MUSICIANS

Many students do not own their own instrument. They are only able to play on instruments loaned by their schools so they can perform in class. The quality of these instruments varies and often students must share instruments.
They also must return these instruments once they finish their studies. For young musicians, owning an instrument often makes the difference between pursuing music as a career after graduation or not. Horns to Havana works to address this need by working with our local partners to identify students in need of instruments and to match them with donated instruments. Thanks to the generous donations of high quality used and new instruments by our supporters across the U.S., we have been able to provide a multitude of instruments to music students. We continue to find new partners like Trombone Shorty Foundation to assist in bringing instruments and parts to individuals in Cuba. These instruments are changing lives, and we are grateful!

JAZZ DIGS INTO OUR COMMON PAST AND REMOVES POLITICS FROM THE DISCUSSION