{"id":33864,"date":"2022-12-06T14:05:00","date_gmt":"2022-12-06T21:05:00","guid":{"rendered":"https:\/\/suzukiassociation.org\/?post_type=journalarticle&p=33864"},"modified":"2024-05-14T10:35:31","modified_gmt":"2024-05-14T16:35:31","slug":"meet-the-board-of-directors-andrea-raza-and-april-losey","status":"publish","type":"journalarticle","link":"https:\/\/suzukiassociation.org\/es\/journalarticle\/meet-the-board-of-directors-andrea-raza-and-april-losey\/","title":{"rendered":"Conozca a la Junta Directiva: Andrea Raza y April Losey"},"content":{"rendered":"\n

One of the great things about the SAA is the richness and variety of viewpoints represented in our diverse community. This is reflected by the members of the SAA board of directors. Two new board members, Andrea Raza and April Losey, were kind enough to share their backgrounds, current work, and hopes for the future of the SAA. Moreso than simple introductions, these interviews shine a light onto the wealth of experiences and viewpoints present throughout the SAA, and showcase some of the vibrant personalities in our community.<\/p>\n\n\n\n

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[img=https:\/\/lh4.googleusercontent.com\/d_uG4jAiUBqVo9sR9umEinQMrAdf5lPbGKB3BNNY2SGHTwzf59OGZRr3n3x_TtLlEJ96565vsn-cPygD_xPugExzo0m7jmWFfnANFkvPulXZT59o0D8Cz_AgJx481KQNv0sOmIKJhFwz2lWqymCaSwhTeaffkPnW9Lw2y_eMmUyUIcwu5FXYrR6mPVCbMQ]<\/p>\n\n\n\n

Andrea working with a student at the INEPE school in Ecuador.<\/em><\/p>\n\n\n\n

Andrea Raza has spent her life deeply immersed in community education. Her family was among the founders of INEPE (Instituto de Investigaci\u00f3n, Educaci\u00f3n, y Promoci\u00f3n Popular del Ecuador) in a marginal urban area in the southwest of Quito, Ecuador. INEPE is a school for rural students with the belief that every child can and should learn, while respecting students\u2019 dreams and imaginations. Sound familar? She is one of the foundational figures of Suzuki education in Equador, and she joined the SAA Board of Directors in August 2022.<\/p>\n\n\n\n

Tell us about your career and your current work.<\/em><\/p>\n\n\n\n

I teach piano, voice, and conduct the childrens\u2019 choir at INEPE in Quito, Ecuador, and I am one of three coordinators for our music program. I also work on the board of INEPE. Along with the team of teachers of our Suzuki program, we founded and organize the annual Festival Internacional Suzuki Ecuador (Suzuki Festival of Ecuador).<\/p>\n\n\n\n

Can you describe the philosophy of INEPE and its mission?<\/em><\/p>\n\n\n\n

While the biggest part of INEPE is the school, it\u2019s much more than that\u2014it\u2019s a community organization. Our goal is to provide students and families from rural and vulnerable areas with different type of education that can change society. We believe in a wholistic approach: education aimed at improving our students and families\u2019 quality of life. As for our approach to students, we believe that childrens\u2019 dreams, their contexts, thinking, and imaginations must be respected.<\/p>\n\n\n\n

What is the origin of the INEPE school?<\/em><\/p>\n\n\n\n

My parents were part of the group that founded the institute in the 1980s. They were university students at the time and were inspired by the ideas of the groundbreaking Brazilian thinker, Paulo Freire, wrote the famous Pedagogy of the Oppressed. Freire sought to empower everyone\u2014farmers, the working class, the common people\u2014to become critical thinkers and beings that could transform society. My parents led workshops with rural leaders in Quito and indigenous communities in Ecuador, and they were eventually invited to our current location, a marginal urban neighborhood in the southwest of Quito to begin teaching adults. Since this process used to take place at night, those adults brought their kids and observed that they were also learning. This eventually led to the founding of the school for children, and the INEPE school arose from this.<\/p>\n\n\n\n

How did the music program begin at INEPE and what was your involvement in it?<\/em><\/p>\n\n\n\n

I studied piano at the Conservatory of Music \u201cJaime Mola\u201d from the age of six while also attending the INEPE school. As a high school student, I founded a children\u2019s choir at INEPE in 2000, which still exists today. I continued leading the choir at INEPE during my university years, while also teaching music and english. In 2005, we started a small recorder group, and students began asking to learn more instruments, so I knew I needed to broaden the music program.<\/p>\n\n\n\n

How did the Suzuki method come into your life and your work at INEPE?<\/em><\/p>\n\n\n\n

When the students first approached me about learning an instrument, I recommended that they go to other academies or the conservatory. But they all came back and told me, \u201cWe don\u2019t like the way they teach us, we don\u2019t like the way the teachers treat us. We want YOU to teach us!\u201d As I thought about it, I could see the disconnect between the traditional method of musical instruction and their studies at INEPE. These students were used to being in a space where teachers respect them, a place where they feel loved. I began to think of how I could translate Paulo Freire\u2019s vision and philosophy into teaching music.<\/p>\n\n\n\n

That\u2019s when I created a pilot music program that launched in 2008 with 66 INEPE students. We didn\u2019t have instruments\u2014only a small keyboard, a very old guitar, and one donated saxophone. And then, people started to spread the word, other families started to come\u2014not only families from the school, but families from other places.<\/p>\n\n\n\n

As the program grew, I brought in more teachers and found someone, Juan Carlos Ruales, to teach violin. When I explained the philosophy of our school to him, he told me \u201cAndrea, INEPE is the perfect place for a method I know that focuses on building a noble heart and a whole person first\u2014not only teaching.\u201d And that\u2019s how we first \u201cmet\u201d Suzuki in 2010.<\/p>\n\n\n\n

At that time, how prevalent was the Suzuki method in Ecuador?<\/em><\/p>\n\n\n\n

It was not known in our country\u2014when you said Suzuki, everyone thought about the motorcycles! Juan Carlos said that we must take training, so we raised funds to travel to the Suzuki Festival in Lima, Peru. This inspired me to found the International Suzuki Festival in Ecuador in 2012, and we just celebrated our tenth year! By founding the festival and growing our program, when someone says that they are a Suzuki teacher in Ecuador, everyone here knows that it\u2019s music, not motorcycles!<\/p>\n\n\n\n

I gather that you were responsible for popularizing the suzuki method in Ecuador.<\/em><\/p>\n\n\n\n

Yes, we have been called the pioneers of Suzuki here. We also started to see the results in our own students, and to see the real change that it brought in our community. As part of my masters degree, I did a case study on our program. In speaking with the families, one parent told me that being part of the Suzuki program has brought dignity to their child. This has been a very strong motivator for me.<\/p>\n\n\n\n

What unites us here at INEPE is not money, but the real conviction that we are living the legacy of Dr. Suzuki, because we see how music is transforming the lives of the children. They could be doing different things at home, in dangerous neighborhoods, but instead they are here, ready for their lessons, or playing in orchestra rehearsals. It gives a sense of purpose to our lives.<\/p>\n\n\n\n

What would you like to accomplish on the SAA Board?<\/em><\/p>\n\n\n\n

As a part of the Latin American Suzuki community, I am interested in collaborating within the SAA to share wealth of things happening in Latin America. I\u2019ve always liked to be a person that makes decisions in a collective way, and that\u2019s why I believe strongly in building a team that vibrates on the same frequency. Thanks to that, I think life has opened many doors, and allowed me to share my experiences, meet new people, and spread the ideas of Suzuki. I am excited about the energy of integration within the Board and the entire SAA community.<\/p>\n\n\n

[img=https:\/\/lh4.googleusercontent.com\/9Xc2xEa4_dunPoV41jC1lcYSlDsWQXTgyiR29z6mIl953G5NCKWRUeKY7BD09_CcxoUlITeykBBhW2IX8ZalN8eTOR_XiP4EG_lQvQgtEfwcGqMqo4nGskRMqiSp6bJBsaSyZtskKEBBM37Iq8JnP_2gLjZ0xpSwHS1-e1w4B3UwU5EHAOZjx5EmVoJzAw]<\/p>\n\n\n\n

April Losey brings a wealth of musical experience to the SAA Board. She grew up in the Suzuki Method and gone on to become a Viola Teacher Trainer. In addition to maintaining a large private studio of violinists and violists in Redlands, CA, April has served as the director of the Los Angeles Suzuki Institute, performs through the LA area, and actively promotes new research in pedagogy and repertoire.<\/p>\n\n\n

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Can you talk about your musical upbringing, and what led you to the viola?<\/em><\/p>\n\n\n\n

I grew up on the Canadian prairie in Rosebud, Alberta (which at the time was a hamlet of about 60 people). Living 100km from the nearest urban center, I didn’t have as many performing opportunities as a lot of other young violinists\u2014it was a challenge just to get into the city for my weekly lessons. I was extremely fortunate to study Suzuki violin with wonderful teachers including Kathy Wood and Theresa Plotnick and both have had, and continue to have, profound impacts on my life.<\/p>\n\n\n\n

For undergrad I went to Washington Adventist University just outside of Washington D.C. and that is where I experienced my first orchestral playing. Besides the musical experiences, it was a huge cultural shock moving from rural Alberta to an urban center in the United States as a seventeen-year-old, but I soon had a teaching studio and was performing with my college orchestra and in chamber groups. I grew as a musician and as a person and developed a much more expansive world view.<\/p>\n\n\n\n

During my senior year I happened to start playing viola in orchestra. I know it sounds cliche to say, but I fell in love with the viola tone and the role viola plays in chamber music. I immediately added some viola pieces to my senior violin recital. Later, I completed my masters of music in viola performance from Arizona State University, and studied privately with Donald McInnes.<\/p>\n\n\n\n

As a biased violist myself, I think that the viola is the quintessential Suzuki instrument, since its most distinguishing feature is its tone. What excites you most about teaching the viola, and how do you see the viola fitting into the overall Suzuki landscape?<\/em><\/p>\n\n\n\n

Beautiful tone, beautiful heart\u2014and what better way to express that than through the rich tone of a viola? To be honest, beautiful tone is beautiful tone, no matter what instrument it is played on, and that is one of the most exciting components of Suzuki method, this continuous focus on creating a beautiful sound. Whether it is playing the very first open string notes or polishing Schubert\u2019s Arpeggione Sonata, the goal of a beautiful tone is present! Within the Suzuki landscape, I enjoy watching how each student develops an identity with their instrument. I find it especially rewarding to facilitate the development of this identity in young violists.<\/p>\n\n\n\n

One of the things that helps develop the identity of a violist is developing a quality tone, which is why I am excited to see so many advancements in the quality of fractional violas. Smaller fractional violas are starting to become much more available, which in turn makes it easier to start younger students on viola from the very beginning.<\/p>\n\n\n\n

You\u2019re involved in a huge array of musical activities, from institute director to teacher trainer to performer, and more. What binds all of these activities together, and how to they combine to shape your overall mission?<\/em><\/p>\n\n\n\n

The opportunity to build community inspires me in each of my musical roles: as a teacher, I help children learn music and then guide them in sharing their music with others in performances; as a performer I bring members of my community together for concerts; as a (now former) institute director I have brought together families, students, teachers and faculty from all over the world to share the Suzuki experience in a summer camp setting; as a teacher trainer I share teaching ideas with teachers who then share those ideas in their home studios.<\/p>\n\n\n\n

In this issue of the journal, we\u2019re exploring the idea of the Suzuki Practice and its broad influence in our lives. How have Suzuki principles integrated into your daily life?<\/em><\/p>\n\n\n\n

The Suzuki Method isn\u2019t just about learning to play a musical instrument, it is a way of life. Just the other day, I was learning how to do the latch on a new bicycle helmet for my four-year-old, and when I got it to work, my four-year-old cellist innocently suggested that I practice opening and closing the buckle a bunch of times so it would get easier. The idea that one can take difficult things and work at them and persist so that they become easier is a skill that applies to so many areas of life! Grit, delayed gratification, and long term goals are skills that we all want our children to have in so many areas of their lives, not just when it comes to their music.<\/p>\n\n\n\n

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[img=https:\/\/lh6.googleusercontent.com\/9a8dnhMXp2DsrsmIxteD8jLRamCk_ZRYYxffMPdfQmuFvvwlHtZd31yZlUe46SedvGmtiNcmWdgVTfm1d8NlWXOpOmn4LQC7A7mExi7C8Q6p9H9M4uNauEKo17-S-xg_si1PlWaOJDKyCmRJKuQdOOCYPeuZ7bFqGJLgIVNnZpRirnZ25R8N54I18xnX1g]<\/p>\n\n\n\n

April Losey working with a student in her studio.<\/em><\/p>\n\n\n\n

One of the parts of the Suzuki philosophy that I admire most is its adaptability and Suzuki\u2019s embrace of re-examination and continuous development. How have you changed in your life as a Suzuki practitioner?<\/em><\/p>\n\n\n\n

One of my favorite concepts is that of the life long learner: I am continuously evolving and learning and changing. Every student and family whom I work with, every course I take, every concert I play, I am learning more and changing and adapting.<\/p>\n\n\n\n

The most recent big change for me has been experiencing the third side of the Suzuki triangle, that of being a parent to a Suzuki cellist. The level of patience and creativity that it takes to successfully practice with a child on a daily basis has given me a new appreciation and awareness for all the parents I have worked with in my studio.<\/p>\n\n\n\n

You\u2019ve written and presented extensively about broad array of topics. What current research or creative projects are you working on?<\/em><\/p>\n\n\n\n

Last summer, I had the privilege of teaching a supplementary viola repertoire class at the Greater Austin Suzuki Institute. I specifically chose repertoire with a focus on compositions by women and diverse composers. There was such a wealth of repertoire for the class\u2014it was challenging to narrow it down to the number of selections that would fit in a ten-hour class. Some of my favorite selections were by Violet Archer, Christine Donkin, Rebecca Clarke, and Pamela Harrison. I am continuing to research repertoire to add to the viola literature, with a focus on pieces that are composed by women and are accessible to less advanced players.<\/p>\n\n\n\n

This summer I just finished teaching a Viola Unit One course in Ontario, Canada. This may not sound like it\u2019s that exciting, but viola teacher training courses are most often taught from Unit Four and up, so getting to work with teachers on how young violists are started at the very beginning was special.<\/p>\n\n\n\n

I am also working on writing formalized instructions for a fingerboard geography game called \u201cPink Cheetah.\u201d It is a highly popular game that I have been having my students play in group class for many years.<\/p>\n\n\n\n

What drew you to serve on the Board, and what goals do you hope to accomplish?<\/em><\/p>\n\n\n\n

The rapid pace of change taking place throughout the world makes it increasingly vital that our children have access to grow beautiful hearts through music. It is particularly important to me to ensure that teacher training and summer institutes evolve to meet the needs of a diverse community and adapt to advances in educational technology.<\/p>\n\n\n\n

My goal is to represent all of the Americas, bringing my experience to the endeavor of sharing and promoting the Suzuki philosophy through community-building and engagement. I am excited about the opportunity to contribute to the strategic vision and organizational leadership of the SAA as we strive toward developing an ever more vibrant and equitable Suzuki community throughout the Americas.<\/p>\n","protected":false},"excerpt":{"rendered":"

One of the great things about the SAA is the richness and variety of viewpoints represented in our diverse community. This is reflected by the members of the SAA board of directors. Two new board members, Andrea Raza and April Losey, were kind enough to share their backgrounds, current work, and hopes for the future…<\/p>","protected":false},"featured_media":34777,"template":"","meta":{"_acf_changed":true,"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"pmpro_default_level":"0","_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_price":"","_stock":"","_tribe_ticket_header":"","_tribe_default_ticket_provider":"","_tribe_ticket_capacity":"0","_ticket_start_date":"","_ticket_end_date":"","_tribe_ticket_show_description":"","_tribe_ticket_show_not_going":false,"_tribe_ticket_use_global_stock":"","_tribe_ticket_global_stock_level":"","_global_stock_mode":"","_global_stock_cap":"","_tribe_rsvp_for_event":"","_tribe_ticket_going_count":"","_tribe_ticket_not_going_count":"","_tribe_tickets_list":"[]","_tribe_ticket_has_attendee_info_fields":false,"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":""},"article-tag":[],"journalsection":[],"class_list":["post-33864","journalarticle","type-journalarticle","status-publish","has-post-thumbnail","hentry","pmpro-has-access"],"acf":[],"taxonomy_info":[],"featured_image_src_large":["https:\/\/suzukiassociation.org\/wp-content\/uploads\/2024\/05\/Untitled-4-1024x768-1.jpg",1024,768,false],"author_info":[],"comment_info":"","_links":{"self":[{"href":"https:\/\/suzukiassociation.org\/es\/wp-json\/wp\/v2\/journalarticle\/33864","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/suzukiassociation.org\/es\/wp-json\/wp\/v2\/journalarticle"}],"about":[{"href":"https:\/\/suzukiassociation.org\/es\/wp-json\/wp\/v2\/types\/journalarticle"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/suzukiassociation.org\/es\/wp-json\/wp\/v2\/media\/34777"}],"wp:attachment":[{"href":"https:\/\/suzukiassociation.org\/es\/wp-json\/wp\/v2\/media?parent=33864"}],"wp:term":[{"taxonomy":"article-tag","embeddable":true,"href":"https:\/\/suzukiassociation.org\/es\/wp-json\/wp\/v2\/article-tag?post=33864"},{"taxonomy":"journalsection","embeddable":true,"href":"https:\/\/suzukiassociation.org\/es\/wp-json\/wp\/v2\/journalsection?post=33864"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}