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Additional Resources from the Day of Learning: Working with Students with Disabilities

Resource List:  Day of Learning for Arts Educators (Working with Students with Disabilities)

Teaching Tools and Curriculum

Advocacy and Organizations


Videos of Best Practices in the Arts

Renew your Roundtable Membership or Become a Member!

Connect with the largest, most diverse group of arts education colleagues in New York City! We currently have almost 100 organizational members representing all five boroughs. Roundtable membership gives you access to members-only events and discounted rates on all our programming. Membership runs for a full year from July 1st through June 30th. Both organizational and individual members are welcome! Click here to renew your membership or become a member.

A Teaching Artist’s Confession

By Stacey Bone-Gleason, Teaching Artist and Actress.

I’m not good at everything, and that’s ok. There, I said it!

I know it sounds obvious but, as a teaching artist, I’ve found it’s hard for me to admit. I’ll happily admit the things I have trouble with outside of my artistic field: I can’t draw; I can’t cook a steak; and don’t even get me started on how bad I am at organized sports. However, when it comes to the many different ways I can be a teaching artist, I often try to be the expert in every possible residency. That is simply impossible.

That’s not to say my work isn’t strong, or that I don’t work ridiculously hard to plan for every type of residency that comes my way, or that my strengths and passions might change.  But it is important to find, and know, my niche.

I was given the advice early on as an actress to take any gig that came my way until I could have the luxury of picking and choosing. I believe that was the right path to take when I started both of my careers. As a teaching artist there are so many possible paths, subjects, and populations to work with. It takes time to find your niche. How would I ever find out what I could and couldn’t do if I didn’t try different things? I never would have known that I love, and have a talent for, directing young people had I not said “yes” the first time I was asked. I never would have known how much I love pre-show workshops or improvisation had they not fallen into my lap.

Admitting I should say “no” is easier said than done. First, there is the financial issue. We, as teaching artists, live in a constant state of financial uncertainty. Then there is the ego issue. We WANT to be good at everything as a teaching artist (or as an actress for that matter). So, when we finally realize that there is an age or population or topic that other teaching artists are better with than we are, it’s a blow to our ego and it hurts. I have just now started to feel confident in saying “no,” even when a residency fits into my schedule. And I’d be lying if I said it still didn’t hurt.

For me, the greatest indicator of which jobs to say “no” to is in my planning time. The residencies I dread planning for, that seem to exhaust rather than excite me, are the ones I need to give a second look when the offer comes in.

My advice for early career teaching artists is to take every opportunity you can. Try and find your area of expertise, the style of teaching that truly brings out your light as a teaching artist and allows you to bring out the best in your students. Just don’t be afraid, one day down the line, to say “no” when you realize that’s what’s best for both you and your students.

Stacey Bone-Gleason is a professional teaching artist and actress. She teaches for numerous cultural organizations in Westchester and NYC including Arc Stages, TADA!, CAE, Hudson Valley Shakespeare Festival, Purchase College and BAM. She has even taught pre-show lessons internationally in Istanbul. She has helped to develop and perform TYA performances for the Museum of Jewish Heritage in NYC and presented at arts education conferences such as the NY TIOS and Face to Face conferences. As an actress she has performed Off-Broadway, regionally and internationally in shows ranging from classical to contemporary and musical theater. Favorite credits include Unbroken Circle produced by Seth Rudetsky, Macbeth, Tempest and Midsummer (Tempest Ladies) in NYC and Istanbul, The Baristas (South Carolina Rep). Training: NYU/Stella Adler Studio of Acting (BFA) and Educational Theatre at CCNY (MS).

What is in Your Bag?

By Lauren Jost, Teaching Artist

A few weeks ago I was sitting on the subway and, at one of the express stops, moved my bag over to make room for another commuter in a business suit.  She sat down next to me and glanced at my bag, which was overflowing with juggling scarves and puppet legs.  She raised her eyebrow, turned to me, and said, “Looks like you’re going to have more fun today than I am.”

Being a teaching artist means always being on the go. We work at several sites a day, often for several different employers, and this means when we leave the house, we have to be prepared to switch hats several different times throughout the day. Here is a handy checklist to help you pack for a full day as a teaching artist:

  • – Water bottle
  • – Leak-proof coffee thermos
  • – Phone charger
  • – Back-up battery
  • – Breakfast
  • – GPS-enabled apps and a robust data plan
  • – Your favorite way of carrying your lesson plans. Some TAs swear by index cards.  Others carry accordion folders.  I keep mine digitally on Evernote.
  • – A warm layer for cold schools
  • – Deodorant for hot schools
  • – A change of clothes for your third gig of the day, where they require you to wear the t-shirt with the company logo
  • – An unlimited-ride MetroCard
  • – A back up MetroCard in case your other one expires
  • – A wallet with IDs for the seven different schools and non-profits for which you are teaching this week
  • – Lunch (I recommend a wrap with high protein and fiber contents that you can eat in the 10 minutes between your morning classes)
  • – A bundle of scripts for your middle school residency
  • – A bag of puppets for your early childhood class
  • – A guitar for the afterschool program
  • – Bluetooth speaker with back up cords because it hasn’t been working so well lately
  • – Movement clothes for the choreography rehearsal you are leading after after-school
  • – The hula hoop, package of peacock feathers, and bundle of juggling rings that you used in yesterday’s circus workshops and which need to be returned to the office today
  • – A power bar
  • – Laptop, or tablet with Bluetooth keyboard to take notes at the production meeting after rehearsal
  • – A frequent buyer app (with rewards!) for your favorite coffee shop so you can refill your thermos between after-school classes
  • – Reading for the subway (Your dog-eared copy of “Asking Better Questions“, and your kindle loaded with “For White People Who Teach in The Hood” because you are FINALLY going to get to it this semester…)
  • – Some plastic silverware so that you can pick up a salad at the PAX and eat it on the way to your evening seminar
  • – Earrings, heels, and lip gloss for the networking seminar this evening featuring a speaker from the DOE updating us on yet another change to the state standards
  • – A jar of Advil for your mysteriously recurring back pain
  • – And make sure to leave space to pick up the set of 24 tambourines for tomorrow while you’re on your way home!

Healthcare for Teaching Artists

By Heleya de Barros, Co-chair of the Roundtable’s TA Affairs Committee

Halloween has passed, Thanksgiving is around the corner, and that means that it is time for open enrollment for the Affordable Care Act (ACA) marketplace!  I know, for some this might inspire more dread than doing your taxes, but I’m here to share that it doesn’t have to be so terrible.  There are some fantastic resources out there to help you navigate the marketplace and get coverage as a freelance artist!

This will be the fourth year I’ve enrolled in individual health coverage through the New York marketplace.  The ACA can be cumbersome and confusing to begin with–then add in being a freelance artist into the mix and the equation gets more complicated. To help you avoid throwing your hands in the air and walking away without any coverage (I’ve been there), I wanted to share some resources I’ve found helpful as a freelance artist searching for healthcare in New York.

First, let’s get the dates straight:

  • November 1, 2016: New York State of Health open enrollment begins
  • November 16, 2016:  Renewal enrollment begins for those with existing New York State of Health coverage
  • December 15, 2016: Enrollment deadline to get coverage by January 1, 2017
  • January 31, 2017: Deadline to enroll in or make changes to a 2017 plan
    Note:  If you qualify for a special enrollment period, you may be eligible to enroll at a later date.

Whether this is your first year navigating the ACA, or not, I encourage you to check out the Actor’s Fund Artist Health Insurance Resource Center Site.   

The Actor’s Fund (not just for actors!) is a nationwide human services organization that helps professionals in all performing arts and entertainment.  They are an amazing resource in this city.  They have assisted me with healthcare navigation, affordable housing, finding a therapist, and tax information over the years.  Their ACA FAQ Tutorial is a really great place to start. It even includes a glossary of healthcare terms.

If you’re looking for a little more guidance The Actor’s Fund also holds in-person “Every Artist Insured” seminars twice weekly at their offices in Times Square.  

“Every Artist Insured”

Every Tuesday at 6pm and Thursday at 1:30 pm from November 1, 2016- January 31, 2017

No need to register, just show up!  Find out more here

I attended one of the sessions last year.  It was helpful to walk through the whole system step-by-step with a person to answer questions right there with you.  I also learned a lot about the kinds of questions I should be asking and thinking about from the other artists in the room.  Especially when it came to how to enter your income as a freelancer.  

If you want one-on-one guidance through the process that is also free and available! New York State of Health offers free In Person Assistance (IPA), or navigators, who are well versed in the system to walk people through the enrollment process.  This assistance is available in over 40 languages.  More information, click here.

The Actor’s Fund also has their own set of certified IPA’s/navigators with specific knowledge of artists budgets and lifestyles (available here).  I used one of their navigators last year.  I was able to better understand the coverage I was signing up for, and as a result, actually used my health insurance a lot more this past year!

We’d love to hear from you.  Please share other resources in the comments below! Here’s to a happy and healthy 2017!

Additional Resources:

The Why… of Teaching Artistry

By Elise May, Theater Teaching Artist

How often do you ask yourself why you do what you do?

When I started as a Teaching Artist, long before that term was coined, my work consisted of sharing my expertise in a particular area with a particular audience. My measure of success was whether or not I was asked back. If I was, it meant a job well done; if not, I took on the no call-back mantra of “they must have wanted someone taller, shorter, thinner, you name it.”

I don’t think I questioned why I took these jobs; it was something one did to supplement income while pounding pavement. The “gig” mentality was what helped to pay the rent. I wasn’t a teacher in the same classroom every day with the same students. I could justify the gigs while I was pursuing making a living as a performing artist.

Through the years, my interest in and practice of teaching artistry developed dramatically. Somewhere along the way, working a teaching “gig” wasn’t good enough anymore and a career path was born. I can’t tell you exactly when this happened but I found it harder and harder to let go of a gig. I would reflect on what I had done, what landed with the students and what the classroom teachers’ feedback was long after the gig was over. I wondered what I might do differently to achieve a desired goal. Working with a wide range of participants, teachers, administrators, corporate executives and non-profit administrators helped me focus on what I saw as a need to clarify my practice. In a world that demands quantifiable results, I found myself constantly defending the process-based ideal of my work and the value of the arts for those who may not seek a career as a performing artist but could benefit from what experiential arts training could do for them in any field they pursued.

I started assessing the quality of my programs from the points of the view of all involved. Did the program meet expectations? Were there noticeable changes in the participants? Was the number of sessions sufficient? Were there benefits seen outside the program, in other classes or social situations? I ended up with a mass of information from diverse perspectives; teachers, students, parents, administrators, participants, assistants, audiences and more. I used this information to evaluate, adjust and reflect on my programs.

While this “outside looking in” approach helped me analyze my efficacy (and certainly helped me get more funding and work), I still felt something was missing. At first, I thought perhaps I wasn’t asking the right questions. Perhaps I needed to take an “inside looking out” approach. No one ever questioned my passion or expertise, but I felt the need to question my purpose and clarify why I was doing what I was doing.

While taking the Advanced Teaching Artist Lab at Lincoln Center Education, one of the areas of focus was exactly this: the why of teaching artistry, defined as Teaching Artist Philosophy. It is easy to tell anyone who asks what a teaching artist does and how important it is. However, going deeply into personal philosophy about why we do it requires introspection.

Looking across the expanse of my years of work, honing a single philosophy felt like a mammoth task.

Fortunately, Jean E. Taylor, Lincoln Center Teaching Artist, was there to guide the process. A Master TA with Lincoln Center, Jean spoke of her profound admiration and joy of knowing philosopher Dr. Maxine Greene, who played a substantial role in the shaping of Lincoln Center Education’s teaching philosophy from the very beginning, in 1976, when the organization was known as Lincoln Center Institute. Jean stated, “Dr. Greene believed deep personal engagements with works of art served as catalysts—causing us to perceive in new ways. She thought that if we (and our students) could see more possibilities in works of art, we might see more possibilities in our own lives, and eventually in the world around us.”

On a more personal note, Jean shared: “When Maxine passed away, in May 2014, I reflected on the importance of her philosophy in my life and work as a teaching artist. I realized that Maxine’s deeply held belief in the power of the imagination (poetic, ethical, and social) had become part of my personal philosophy. Maxine’s call to action, “to imagine the world as if it could be otherwise,” has led to greater rigor and sustainability in my teaching artist practice. I am convinced that a personal teaching artist philosophy is one’s true north.”

While feeling very inspired, I didn’t know where to begin. Sharing that our philosophy is informed by our own experiences, Jean set us on the first task: finding an example of our practice, a single teaching experience that had resonated and had meaning. “Practice is philosophy in action,” Jean asserted, “so focusing on one example of your practice will help you define your philosophy.”

Choosing one example would be difficult. I have many programs for diverse populations and never thought one size fits all. How could I craft a single philosophy from disparate experiences? I opted for a residency where one elementary and one high school ESL teacher brought their students together to create a mentorship program and charged me with creating a theatrical performance for the group. One goal was to build capacity for communication confidence in English. This involved scripting a play from a picture book about diversity and including personal individuality statements. It was an amazing experience, which was later included in a book called In It Together: How Student, Family and Community Partnerships Advance Engagement and Achievement in Diverse Classrooms by Debbie Zacarian and Michael Silverstone (Corwin Press, 2015).

Jean then asked us to identify three behaviors or actions we applied to enhance or reach goals. Mine were:

1. I learned some Japanese and Spanish.
2. I journaled about the mentor/mentee relationship.
3. I met with the students at each school independently and together (when budgets and busses allowed).

We were then asked to create statements starting with “I believe…” based on the actions outlined above. Mine were:

1. I believe that I need to be able to express myself in someone else’s language to be able to help them express themselves in English.
2. I believe understanding the interpersonal, multicultural relationships in a classroom helps create a safe, respectful, and productive environment.
3. I believe that high school ESL student capacities for expression in English can be enhanced by structured play with younger children, supported by follow-up and reflection on their own turf.

The next part of this exercise to create a personal TA philosophy was to complete the sentences below:

I am
I believe
Because of my beliefs I
The field of teaching artistry is (or the arts are)
And because of this I aspire to

I am a socially conscious, entrepreneurial Teaching Artist who uses theater to enhance vocal empowerment and communication skills.

I believe every person has the need to connect and communicate with others. I believe every person has a story to tell, however, those who have different communicative abilities than the majority of the community in which they find themselves, sometimes feel judged as less worthy. I believe every person has the right to be heard and understood.

Because of my beliefs I use theater, voice, speech, and personal writing techniques to open up communication pathways to all populations in the hope of giving them the ability to feel the power of expression.

The field of teaching artistry is (or the arts are) necessary to create a more humane society of problem solvers who can make the world a better place to live in.

And because of this I aspire to help the voiceless to be heard, help the misunderstood and the challenged to express themselves, and help build communication confidence so all feel valued.

There, I did it! I actually wrote down why I do what I do.

I wondered if I would have arrived at the same conclusion if I had initially chosen a different teaching experience. I was intrigued enough to start over—with a program I created for students with special needs. My actions were very different, as were my reasons for taking them. But, to my great satisfaction, my philosophy statement still worked. It offered solid ground for my varied practice.

Jean says our personal Teaching Artist philosophy is both foundational and inspirational. It is the base we stand on as well as the heights we aspire to. Defining our personal philosophy nurtures our sustainability in the field.

I don’t know that anyone who wants to hire me will ever ask me what my philosophy is. If they do—I’m ready! Every time I enter a space with my Teaching Artist hat on I will know exactly why I am there. And my clarity of purpose informs everything I do.

Elise May is an independent Teaching Artist, educator, actor, singer, writer and storyteller who has performed and taught in the U.S. and internationally. Elise works with school districts, libraries and corporations on communications skills, community development and developing educational programs using theater arts for vocal empowerment. Elise developed Storytime Theater, Expressive Elocution, Multicultural Voices, Creative Readers (an arts education inclusion program for students with disabilities) and more. Elise is on the board of several arts organizations including Stage the Change: Theatre as a Social Voice, a Teaching Artist for the Tilles Center for the Performing Arts, and a Steering Committee member of the Arts in Special Education Consortium. She was a contributing writer for the Teaching Artist Journal and Teaching Artist Guild Quarterly, and a contributing author of In It Together – How Student, Family, and Community Partnerships Advance Engagement and Achievement in Diverse Classrooms (Zacarian, Silverstone; Corwin Press). Elise has presented at many conferences, including Balanced Mind, the Annual Conference of the Bermuda Union of Teachers, NYSTEA Educator and Student Conferences, as well as to school administrators, teachers, and parents.

Dance Educators in New Jersey Dance to Learn

Professional dance companies and teaching artists based in New Jersey joined together this week to participate in the annual Dance to Learn Community Day. Participants engaged in a range of activities to learn new ways to teach the Dance to Learn curriculum.

Dance to Learn is a four-year interdisciplinary dance curriculum with the goal to advance dance education in schools and community settings.

The Dance to Learn curriculum is both arts-based and truly arts-integrated that:

♦ Encourages students to explore, internalize and transform classroom learning and the elements of dance while developing their individual creative voices.

♦ Offers opportunities for students to reflect, critique and connect personal experiences to their learning of dance and in their classrooms.

♦ Is adaptive to any dance style, genre, or culture.

♦ Provides an inroad to kinesthetic learning and connects to language arts, mathematics, science and social studies, physical education and music curriculums.

♦ Offers formative and summative assessment and documentation tools to help measure the effectiveness of student learning and facilitator impact

Among the teaching artists participating was Roundtable admin staffer Maeve McEwen, who is an apprentice with New Jersey-based Nimbus Dance Works. McEwen said of the day-long event: “the Dance to Learn Community Day was a wonderful and inspiriting way to learn about the Dance to Learn curriculum through exploration and creativity. I enjoyed meeting and collaborating with other professional dance educators working in the New Jersey schools and learning new techniques that I’ll be bringing into my classrooms this semester.”

Dance to learn 2 crop 4

Participants explored ways to use dance for an integrated learning appraoch. For example, in improvisational exercise focused on how movement can connect to and explore a text, using the poem Walkers with the Dawn, by Langston Hughes:

Being walkers with the dawn and morning,
Walkers with the sun and morning,
We are not afraid of night,
Nor days of gloom,
Nor darkness–
Being walkers with the sun and morning.

New Jersey schools can find out more about bringing the Dance to Learn to their students by contacting Lees Hummel at

Dance to Learn is provided by Dance New Jersey in partnership with Young Audiences, made possible through the generous support of the Geraldine R. Dodge Foundation.


NYC Department of Education Arts Education Services Solicitation – Deadline: September 8, 2016

The NYCDOE Arts Education Services Solicitation for the 2017-2018 school year has a September 8th due date!

Please note the following dates:

August 17, 2016 from 11:00 A.M. to 12:00 P.M. at St. Francis College, Founders Hall Auditorium, 180 Remsen Street, Brooklyn Heights, NY 11201.

This solicitation is open indefinitely. However, to ensure continuous service for the 2017-2018 school year for those whose contracts are expiring in 2017, proposals must be submitted no later than 1:00 PM EST on September 8, 2016.

Questions regarding this solicitation should be addressed to  no later than August 18th, 2016.

Further details from the DOE

The NYC Department of Education has posted solicitation #R1129 for Arts Education Services

This solicitation is open continuously and you can submit proposals at any time, however, proposals will be reviewed primarily on a first come first serve basis.

The New York City Department of Education (NYCDOE), on behalf of the Office of Arts and Special Projects (OASP) seeks proposals from organizations experienced in providing high quality arts education services for students in grades pre-kindergarten to 12 with optional related Professional Development and/or Parent Engagement Services.

Component A: Direct Student Services with optional related Professional Development Services.
Component B: Parent Engagement Services.

The purpose of this MTAC is to continue to provide services that effect the advancement of teaching and learning in visual arts, the performing arts (dance, music, theater) and the moving image, for students who participate within the various programs. These offerings may include accompanying professional development planning and/or evaluation sessions as an addition to the delivery of the primary arts services for students. The inclusion of these additional types of services will enable schools to optimize value for the benefit of their students’ achievement in the arts and to allow the services to have meaningful impact on classroom practice and schools’ curriculum goals. Vendors should identify and include program models that have proven to work best with students.

Login to the Vendor Portal to download MTAC R1129. You will be asked to provide company information that will allow us to inform you of updates on this solicitation. If you cannot download, please send an e-mail to  with your company name, address, phone, fax, e-mail address, TAX ID number, MTAC number and title.

Questions regarding this solicitation should be addressed to  no later than August 18th, 2016 (as noted above).

Subsequent amendments and answers will be posted to Review this site periodically for important updates.

If you are interested in participating in this procurement, you can download the solicitation and requirements at:

Working Together: Intergenerational Arts Programs

There are many art programs out there for children and young adults in school and after-school, but what about the aging population?  “Every day more than 10,000 Americans will turn 65. They are living longer, healthier lives. They want and need community based programs that go beyond passive entertainment, combat social isolation and provide engaged, meaningful learning opportunities.” (1) While there are numerous robust programs that focus on older adults, some programs go above and beyond this and are geared toward pairing students with the aging. These intergenerational arts programs connect individuals who wouldn’t normally interact on a daily basis.

One of these programs is called PALETTE, which stands for Promoting Art for Life Enrichment Through Transgenerational Engagement. PALETTE’s mission is to connect students with active, older adults and help erase the stereotypes young people may have about aging. “The students aren’t ‘helping’ the older adults; rather they’re working together as peers.” (2) PALETTE offers visual arts workshops, including painting, printmaking, clay, and fiber arts. Each pair of PALs is set up next to each other with, for instance, two canvasses and two paint palettes. PALETTE also offers dancing, known as PALETTE in Motion, which pairs two or three students for every older adult.

Another such program, based in New York, is Roots&Branches Theater, which is an intergenerational ensemble that performs theater workshops, productions and other arts projects. Their goal is to “build understanding and respect between generations; celebrate the wisdom, energy and creativity of elders; and challenge stereotypes about age and aging.” (3) The actors, ranging in age from 11 to 90, collaborate each season on an original play based on the stories, life experiences, and imaginations of the ensemble members. The plays are then presented publicly at senior centers, community centers, schools, as well as Off-Broadway.

But, what about aging professional artists? Many artists create massive amounts of work, but do not always catalog or organize it properly. This leads to challenges for the family of the artist after they pass away. If work is uncatalogued and unorganized and if the family does not have experience or the time to deal with it, it may be in danger of becoming damaged, lost, or sadly thrown out.

This is why the intergenerational arts legacy project ART CART was created. ART CART, which connects aging professional visual artists with teams of graduate students, “provides direct, hands-on support and guidance to manage and preserve their life’s work” (4) Throughout an academic year, several teams of students, each working with a single artist, document a substantial number of works – collecting high-quality digital images as well as creating an oral history of the artist’s experiences and background. ART CART has been running in NYC and Washington DC since 2010 and is running in 2015-16 again in NYC and Washington DC with plans to expand to performing artists. (5)

There have been few studies done that show how art can improve the quality of life for older adults. One is the 2006 NEA Creativity and Aging Study: The Impact of Professionally Conducted Cultural Programs on Older Adults, found here. There is also an E-Book by Next Avenue called Artful Aging: How Creativity Sparks Vitality and Transforms Lives; “a collection of stories on the power of artful aging programs to bring joy, connection, improved health and a renewed sense of purpose to older adults.” (6) For more resources on art programs for older adults, there is the National Center for Creative Aging (NCCA), which works to foster an understanding of the vital relationship between creative expression and the quality of life of older people. The organization also maintains a thorough Directory of Creative Aging Programs (7).









Instrument Drive Changes Students Lives

Two years ago, WQXR held their first Instrument Drive with the goal of reaching 1,000 donated instruments to refurbish and distribute to music programs throughout NYC public schools. Little did they know, their goal would be surpassed by more than twice that, ending with over 2,500 donations within 10 days. Graham Parker, WQXR’s general manager, said he was surprised by the level of excitement behind the program. “I have been humbled by the personal stories that have accompanied many of the donations,” he said. “It becomes very real for people to think of their once-used instrument making its way into the hands of a student who can create new memories.” (1) This year, WQXR is launching its second drive from April 8-17, 2016, with the goal of collecting 6,000 instruments.

Many NYC public schools lack music programs, and the ones with them are often lacking in instruments or are in need of repair. The 2014 NYC State of the Arts reported that “from 2006 to 2013, there has been a 47 percent decline in arts programming funding and an even steeper decline in dedicated support for supplies such as musical instruments and other equipment, according to the comptroller’s report.” (2) Even though music and other arts have been proven to improve academics, they are always in danger of being lost due to budget cuts. “Children who study a musical instrument are more likely to excel in all of their studies, work better in teams, have enhanced critical thinking skills, stay in school, and pursue further education.” (3)

With the help of WQXR and thousands of generous donors, these instruments will be refurbished and distributed to students in NYC and Newark under-resourced music programs beginning in the fall of 2016. Teachers and administrators can also submit an application for their school to be considered to receive instruments.

Donate your used instrument and change a student’s life! Vsit to learn more and spread the word using #GiveMusicNYC.