Advocacy & Outreach

Below is a partial list of organizations that are relevant to the work that ethnomusicologists do and tips for ensuring productive collaboration. This is not a comprehensive list, but it may serve as a starting point for your research.

–Lydia Cullen, Amelia Lopez, Kate Mullen, Jeremy Reed

Advocacy Organizations

The Acoustic Ecology Institute
A nonprofit based in Sante Fe, New Mexico, the Acoustic Ecology Institute provides access to news, academic research, public policy advocates, and articles and essays about sound and listening. The intent of this advocacy and resource center is to provide relevant information for policy makers, the media, and individuals.

Aga Khan Development Network
The AKDN is a network of private, international, non-denominational development organizations. They work to improve the welfare and prospects of people in the developing world, particularly in Asia and Africa. While each associated organization pursues its own mandate, all of them work together within the overarching framework of the Network so that their different pursuits interact and reinforce one another.

Alliance of National Heritage Areas
A membership organization that protects and promotes congressionally designated National Heritage Areas (NHAs). Through education and advocacy the organization supports NHAs that tell ecological, cultural, and historical stories about places in the United States and people that live within them.

Amnesty International
A global human rights organization with regional offices around the world. With volunteer and membership opportunities, Amnesty International researches human rights violations by governments, corporations, and other entities, then engages in lobbying, advocacy, and campaigns to work towards social justice.

Arts Council of Ireland
The Arts Council of Ireland is the Irish government agency for developing the arts. It works in partnership with artists, arts organisations, public policy makers and others to build a central place for the arts in Irish life.

Banco de Desarrollo de América Latina (CAF)
Bank created in 1970 and owned by 17 countries of Latin America and Caribbean, Spain and Portugal, as well as 13 private Banks; promotes sustainable development and offers a large range of projects in each of their countries, in this database of projects can be found a complete list of projects developed in each country, including some cultural and education programs.

Centro Regional para la Salvaguardia del Patrimonio Cultural Inmaterial de América Latina (CRESPIAL)
This is an institution based in Peru willing to collaborate with countries that are part of UNESCO, in order to support cultural heritage safeguard activities in Latin American Countries; articulating dialogues between those countries, and strengthening a sustainable cultural development in the region. CRESPIAL has focal groups in 15 countries of Latin America.

Cultural Heritage Tourism
This website provides resources, toolkits, discussion of best practices, and funding assistance for cultural heritage tourism professionals. It focuses on both natural and cultural tourism sites.

Education Through Music
Based in New York, Education Through Music is a nonprofit organization that partners with inner-city schools to provide music education as a core subject for all students.

Fundación Bolivar, Colombia – Youth Orchestra
This is a social project created in Colombia in 2010 by the private company Fundación Bolivar Davivienda. It seeks to provide young musicians around the country the opportunity to participate in a large-scale symphony orchestra and productions. As part of their outreach activities, the musicians participants of this orchestra are part of activities with local students, promoting the demobilization of young people from violent armed forces.

Fundación Nacional Batuta
This project is geared toward children and young population of vulnerable regions in Colombia, their main goal is to help with the reconstruction of social structures, and to generate reconciliation spaces through music, with a variety of programs in cities and rural areas.

Future of Music Coalition
A nonprofit organization that supports musicians and works through research, education, and advocacy to make sure the interests of artists are represented in public policy. Using publications, events, and campaigns, the Future of Music Coalition illuminates important issues at the intersection of music, law, technology, and policy.

Gestionándote
This platform provides a large range of funding opportunities for projects and organizations in Latin America and Caribbean, in topics like sustainable development, entrepreneurship, education, culture, and so on.

The Global Leaders Program
The Global Leaders Program selects a cohort of 35 rising change-makers in music annually. The organization provides training and connects leaders with international social initiatives.

Grassroots International
Grassroots International is a funding agency that works in partnership with social movements to advance the human rights to land, water, and food through global grantmaking, building partnerships across organizations and movements, and advocacy in the US.

Human Rights Watch
Human Rights Watch is a large-scale nonprofit/NGO working on human rights violations in over 90 countries. The organization often partners with local human rights groups for research and targeted advocacy to encourage policy and practice change around the world.

International Council for Cultural Centers (I3C)
The International Council for Cultural Centers is a global network of national networks/associations of community cultural centers to share and link together ideals and practices.The aim is to develop specialized advice on how to develop individual, culturally-specific local implementation of UNESCO’s 2003 Convention on the Safeguarding of the Intangible Cultural Heritage (ICH) and more broadly on the ways local history, celebrations, and knowledge – both traditional and modern – can be an engine for social cohesion, cooperation, and sustainable community, regional, and/or national development.

International Council for Traditional Music (ICTM)
The International Council for Traditional Music is a scholarly organization which aims to further the study, practice, documentation, preservation, and dissemination of traditional music and dance of all countries.

International Federation of Arts Councils and Culture Agencies (IFACCA)
IFACCA is global network of arts councils and ministries of culture. It provides services, information and resources to member organisations and their staff focusing on four key areas: Networking, Knowledge and Analysis, Capacity Building and Advocacy.

International Music Council
IMC is an organization dedicated to the promotion of the value of music in the lives of all peoples. IMC’s mission is to develop sustainable music sectors worldwide, to create awareness about the value of music, to make music matter throughout the fabric of society,and to uphold basic music rights in all countries.

Music Against Child Labor Initiative (MACLI)
An initiative of the International Labour Organization, MACLI aims to raise awareness of child labor injustice, using music education as a combative tool and calling on musicians to dedicate performances to the issue.

Music for All
Music for All is an U.S. based non-profit with numerous affiliates. The organization’s mission is to provide and expand positively life-changing experiences through music. Music for All’s educational programs specifically support the efforts of instrumental music teachers in high schools and middle schools throughout the United States.

Music Without Borders
A student-run volunteer campaign that utilizes the arts to fundraise for Médecins Sans Frontières/Doctors Without Borders. The organization also aims to promote youth action and expose students to the importance of humanitarianism and service.

Music + Social Change Lab
The Music + Social Change Lab at NYU promotes the use of musical innovation and investigation as a tool in economic development and social change. The Lab works with NYU faculty, students, and a network of partnering organizations to develop projects.

Musicians Without Borders
Musicians Without Borders views music as a tool for promoting social change and peacebuilding. The organization trains musicians to pass on their core values through musical programming and education, also engaging in advocacy for such values through conferences and written publications.

National Association for Music Education (NAfME)
A membership organization for music educators that advocates at the local, state, and national levels; provides resources for teachers, parents, and administrators; hosts professional development events; and offers a variety of opportunities for students and teachers.

National Association of Music Merchants (NAMM)
A nonprofit membership organization for music merchants, NAMM organizes trade shows and information exchange in order to promote music making for people of all ages.

Norwegian Refugee Council (NRC)
It is an independent humanitarian organization dedicated to help people that is forced to move; in addition to providing aid with basic needs like food assistance, clean water, shelter, and legal aid, the NRC provides educational programs for these groups. This organization works across 31 countries all around the world.

Peace Brigades International
PBI provides protection, support and recognition to local human rights defenders who work in areas of repression and conflict and have requested support. PBI carries out protective accompaniment, international observation, targeted advocacy and workshops and training.

Performing Arts Alliance
As a coalition for performing arts advocates, this organization promotes diversity, equitability, and accessibility for all in the performing arts. The Performing Arts Alliance not only advocates directly to governmental agencies, but also provides website patrons with toolkits for arts advocacy and information about current issues.

Playing for Change Foundation
With fifteen music programs around the world, the Playing for Change Foundation draws on principles of economic empowerment and local leadership in music and arts education to influence positive change in the world. The nonprofit also works towards continued progress and sustainability within the programs they develop.

Prince Claus Fund for Culture and Development
Foundation based in Amsterdam and supported by the Dutch Ministry of Foreign Affairs and the Dutch Postcode Lottery, seeks to open up cultural collaborations opportunities in spaces where resources and opportunities are limited and cultural heritage is threatened. Every year they offer awards, cultural emergence response, and grants & collaborations programs.

Silkroad
Silkroad, the umbrella organization for the Silkroad Ensemble, engages difference and encourages cultural collaboration. The ensemble is made up of a rotating cast of artists, musicians, and advocates that support its mission by leading professional development workshops, creating residency programs, and performing with the group.

Sistema Nacional de Orquestas y Coros Juveniles e Infantiles de Venezuela (El Sistema)
Founded in 1975, El Sistema uses the practice of music as an opportunity for the development of children and youths in their personal, social, spiritual and intellectual layers. This program have given a space to perform in a large-scale symphony orchestra to children with scarce of means, and have open a different professional possibility to vulnerable population.

Smithsonian Folkways Recordings
Smithsonian Folkways Recordings, the nonprofit record label of the Smithsonian Institution, disseminates audio recordings and other products that represent diverse cultural heritage traditions, also providing access to educational materials such as free lesson plans and interactive resources.

UNESCO
The United Nations Educational, Scientific and Cultural Organization coordinates worldwide efforts to preserve, protect, and sustain cultural heritage. UNESCO also supports the safeguarding of intangible cultural heritage, looking beyond objects to subjects such as inherited traditions, knowledge, and performing arts.

UNICEF
UNICEF works with the United Nations to protect children’s rights globally. Areas of focus include safe shelter, protection from disaster and conflicts, and equality.

West-Eastern Divan Orchestra
Bringing together Arab and Israeli musicians, the West-Eastern Divan reaches beyond the political divides in the Middle East. The orchestra draws on a humanitarian vision and a goal to perform in all the countries represented by its musicians.

YOA Orchestra of the Americas
Pan-American youth symphony orchestra that brings together musicians from 27 countries each year, on the other hand YOA leads a Global Leadership Program, that provides a professional certificate in Civic Leadership, Teaching Artistry, Cultural Agency and Social Entrepreneurship to musicians from the Americas.

 

 

Tips for Collaboration

–Lydia Cullen, Amelia Lopez, Kate Mullen, Jeremy Reed

 

Partnerships and collaborations are invaluable in advocacy work, but can also prove to be challenging. The following list provides a few tips for cultivating successful collaborations.

  1. Build Rapport – Building rapport takes time. Whether you are partnering with an individual, group, or a large organization, allow time for multiple meetings to get to know your collaborators.
  2. Identity Needs – To build a successful collaboration try to be mindful and establish equitable partnerships. Rather than approaching a group or organization with a predetermined project, ask questions first about what needs they have and how you can be of service.
  3. Identify Strengths – As part of the planning process it is also useful to discuss various strengths and skills that each party brings to the project. Are you an experienced grant-writer? Perhaps you can help find financial support for your collaboration? Are you a skilled ethnographer? Perhaps you can help document the process and conduct interviews with project participants?
  4. Co-Design – Successful collaborations often include some sort of co-designing of the project goals and plan of action. Engage your collaborators in this process. What do you hope to accomplish? How can you accomplish this together? It is often best practice to write a memorandum of understanding (MOU) to ensure that every collaborator is on the same page.
  5. Create a Timeline – In the early stages of the collaborative planning process, create a timeline and assign accountability to all action steps. This can easily be adapted later, if needed, but a clear plan will help keep the ball rolling and establish a shared understanding of the scope of the collaboration.
  6. Communicate – Communication is key to successful partnerships. Maintain regular and respectful communication. If you are working with people from a variety of disciplines, sectors, or locations, learn to speak each other’s languages. Listen carefully to the terms that people use and politely ask for clarification, if needed.
  7. Celebrate Successes – Advocacy work can be demanding and draining. It is important to celebrate successes (big and small) with your collaborators. Taking the time to do this will help reduce burnout and reinforce partnerships.

 

 

Government & Policy Advocacy

–Aliah Ajamoughli and Kelly Bosworth

 

Depending on your project and your goals, government advocacy may be helpful or even vital to the success of your work. In this section, we have tools for effective communication with political representatives and links to existing resources that can help you make your advocacy plan. It is important to be intentional about your decision to engage in political advocacy. In some contexts, it is wise to be aware of the risks involved. It is always best to be transparent about your political work and to organize with other individuals and organizations with similar goals.

State and Local Advocacy

National representatives have more name recognition and a bigger stage, but your state and local representatives may have more influence over decisions in your community and you may have more influence over them.

  • Stay informed about state and local ballot measures and elections and vote
    • Encourage your family and friends to participate in state and local elections
    • Read a local or state-wide paper to stay informed about current events off the national stage
    • Learn the names and platforms of your local representatives (city council, school board, state legislature)
  • Invite your representatives to local events
    • If appropriate, acknowledge them publicly when they show up. Have them stand up and wave so they get some recognition from their constituents for their time and people in the audience can register their support
    • Formal invites are best, but it is also good to tag them in social media posts
  • Be visible in the local press and political conversations
    • Find out which reporters are covering the arts beat and invite them to events, send them news updates
    • Attend town halls and city council meetings
  • Congratulate winners and send thank you notes for supportive action
    • Send a brief note to a newly elected representative to let them know about your organizing group or agency and your support for the arts
      • Template: https://nasaa-arts.org/nasaa_advocacy/three-simple-ways-advocate-arts-2/
    • Send follow ups and thank you notes after a representative meets with your group, attends an event, supports a bill, or allocates funding to the arts
  • Join a state advocacy group
  • Know your state’s arts funding resources
Federal Advocacy

Your federal representatives may be more difficult to get in touch with and influence directly, but there are several ways you can make your voice heard. It is always best to contact your own representatives and emphasize that you are a constituent. Remember: they work for you.

  • Stay informed on the issues and vote in every election
  • Attend public town halls
  • Phone calls and letters
    • Calling or writing to your representative is a powerful way to get your voice heard. Your call, letter, or email will be directed to a staff member who is keeping a tally of how many people are contacting the representative on various issues. Therefore, it is best to pick a single issue and have a clear and concise message. Short letters and quick calls get the same credit as long ones.
    • Especially when calling, try not to worry about convincing the person on the phone or change their mind, although letting some of your passion through is not a bad thing.
    • If your representative has not made a statement on the issue you are writing about, feel free to ask what their position is and request that a staff member get back to you.
    • Your representative probably has several offices, one in Washington DC and at least one in your district (senators will have several offices throughout the state). You can call them all! Phone numbers will be listed online.
    • The best way to get attention with phone calls and letters is to enlist a group of people and call on the same day/week
  • Join a national advocacy group
  • Meet with your legislators locally or in DC
    • Make an appointment before you arrive
    • You will almost certainly meet with a staff member, rather than the representative
    • Come prepared
      • 15 min, leave time for questions
      • Make a one-sheet with key points and requests
      • Tell your story
      • Clearly identify an action you are requesting
      • Write a thank-you letter reinforcing the action
        • Example of a thank you letter from the National Council on Aging: https://www.ncoa.org/public-policy-action/advocacy-toolkit/meeting-with-congress/sample-thank-you-letters/
      • Get involved with national organizations and know how their funding affects your work (more information on organizations and best practices for collaboration HERE.

 

Media/Public Outreach

–Aliah Ajamoughli and Kelly Bosworth

As ethnomusicologists, we may be well versed in how to collect and analyze oral histories. However, our recorded interviews rarely feature us as the highlighted voices. The following section serves as a guide for when we engage with media in an effort to advocate for our communities of study. This guide was created in a joint effort with Indiana University’s Communications Office. If you are situated at a university, we recommend you also visit your campus communications office for more resources.

Differences between Journalism and Academia

Ethnomusicological publications are usually defined by long-term fieldwork, in-depth analysis, and slow publication. Journalism, however, operates on a shorter timeframe. Thus, it is important to consider the differences in our work so that we produce the most useable material for journalists.

  • The average length of media formats and number of audience members are vastly different from academia.
    • TV broadcasts usually consist of 10-20 second soundbites with average audience viewers aged 53.
    • Print media is usually 1-2 pages with a readership that is averages over 65 years old.
    • Radio broadcasts are similar to TV broadcasts in length, with listeners’ ages averaging over 65.
    • Social Media engagements are 100 characters or less and are often accompanied by images, graphics, or video.
  • The objective for journalists is to reach as wide of an audience as possible.
    • While ethnomusicologists are focused on the perspectives our community members articulate to us, journalists are more concerned about their audiences than their informants. This is not to say journalistic methodologies are flawed, but rather their focus is different from ours.
  • “Off the record,” while honored in some journalistic circles, is not necessarily a common practice.
  • Journalists operate on soundbites not block quotes. Make sure to condense your words in short, easy-to-digest statements.
  • We spend months to years researching in our communities of study. Journalists have one to two interviews. Be cognizant of and sympathetic to their shorter research periods.
Interviews

We, as ethnomusicologists, are well versed in the art of interviewing. However, we usually are the interviewer, not the interviewee. Moreover, we are accustomed to interviews that span a few minutes to multiple hours. Journalists often conduct interviews that last no longer than an hour. Below are tips on how to best utilize your time and the journalist’s time.

  • Before an Interview
    • Know what the goal of your interview will be.
    • Write down no more than three key messages.
      • Prepare those messages as 2-3 summary statements and be ready to expand on them if the reporter asks you to.
    • Practice your answers to anticipated questions.
      • The best people to practice with are colleagues outside of academia and/or your area of expertise. This will ensure your words are accessible to an audience unfamiliar with your area of study.
    • Be prepared. Have back-up data to support key messages, as appropriate.
    • Figure out strategies to deal with nerves. These strategies can vary from wearing comfortable but professional clothing to deep breaths before an interview.
  • Interview Tips
      Eliminate distractions—turn off your phone and ask to be interviewed in a quiet space.

    • Respond with passion.
    • Speak with clarity and avoid academic jargon. Assume the reporter and/or the reporter’s audience does not know anything about the subject you are interviewing for.
    • Offer to give the reporter further information if applicable.
    • Don’t get too comfortable and avoid talking “off the record.”
    • If an error is made, call to correct it immediately.
      • NB: correct only if the data they present is false. You cannot have a journalist correct the article if they took a different angle than you were anticipating.
    • Remember your talking points and stay on message.
    • Above all, you represent not only yourself but also your employer and your community of study.
  • Post-interview Tips
    • Don’t ask to see the story before publication.
      Find out when the story will run and read/watch/listen to it.

      • This is the most important way to see how you sound/articulate yourself.
    • Reflect on what you did well and what you could have done better.
    • If a mistake is made, seek a correction.
    • Don’t expect all of the information you provide to be in the broadcast or article.
      • Again, journalists operate on publications with less space. They will most likely condense whatever you provide.
Other Resources