Music has long been celebrated as the purest expression of human potential—a universal language capable of bridging divides and healing wounds. But when art becomes entangled with power, its message risks distortion. This tension lies at the heart of the impassioned plea by Gabriela Montero, the internationally acclaimed Venezuelan pianist, who has called on the music world to reconsider its support of the Simón Bolívar Youth Orchestra, a flagship ensemble of the famed El Sistema program. Montero passionately speaks out about El Sistema being used as political propaganda tool in a recent Guardian Article by Tom Phillips, titled Top Venezuelan Pianist Urges Music World to Snub Youth Orchestra Linked to Maduro. Back in July 2024, the Human Rights Foundation condemned fraudulent election results in Venezuela, and called on President Nicolás Maduro, who has been holding the seat since 2013, to step down. Pianist Gabriela Montero spoke out on social media:
"Today, the Maduro regime tries to claim yet another stolen election in my homeland of Venezuela, despite overwhelming evidence that they lost by large margins. They can make the claim because they own the electoral council. They also own El Sistema, the [youth] orchestra that will go on tour this week in the United States (Los Angeles, New York, Tanglewood and Ravinia)—will preach it’s familiar gospel, that music transforms society. A regime that has destroyed our country and is stealing yet another election will send its most effective propaganda machine—children—to America’s most illustrious halls under [Gustavo] Dudamel’s baton, and no fellow musician among my friends joins me to condemn it. Indeed, the largest and most reputed classical music agency in London—Askonas Holt, continues to represent and manage it. In an age so concerned with social justice, how on earth can this invidious relationship continue without industry-wide, unequivocal condemnation? Please, fellow musicians, help me—as I have helped many of you in your various causes—to protest this massive injustice and to stop our classical music industry from laundering and profiting from my nation’s continuing, abject misery."
Montero’s critique strikes at the heart of the matter, pointing out that the orchestra has been co-opted as a diplomatic instrument to enhance the international image of Nicolás Maduro’s authoritarian regime, thereby diverting attention from its systemic repression and human rights abuses. Her appeal has ignited a global conversation about the responsibilities of cultural institutions, reminding us of the ever-present challenge to preserve the integrity of art in the face of external pressures.
When the Strings of Art Are Pulled by Power
Leading up to the 2024 presidential election, dictator Nicolás Maduro had ominously threatened that if he lost the election, there would be a “bloodbath” in Venezuela.
This isn't the first time Venezuelans have faced intimidation and suppression by a President during elections. Hugo Rafael Chávez, the 52nd president of Venezuela from 1999 until his death in 2013, was well known for his tactics.
The Human Rights Foundation stated that, "Historically, the Venezuelan government has used tools like the Tascón List (which published the names of Venezuelans who had voted in a recall referendum against Hugo Chávez) to create a climate of fear and coercion. The Tascón List was used to identify and blacklist opposition supporters, denying them access to public services and employment. Similarly, the Maisanta Program was used to target opponents for political discrimination, including tactics such as rewarding government supporters, creating a system of patronage and dependence."
It's easy to understand pianist Gabriela Montero's concerns over the exploitation of Venezuela's youth orchestra. El Sistema, celebrated globally for its transformative approach to music education, stands as one of the most influential cultural institutions in the classical music world. The Simón Bolívar Youth Orchestra has graced the stages of Carnegie Hall, the Berlin Philharmonie, and other premier venues, earning accolades for its electrifying performances and artistic brilliance. This international prestige has elevated El Sistema to an unparalleled status, making it a symbol of Venezuela’s cultural achievements. Yet, this prominence also renders it susceptible to political appropriation.
Goeffrey Baker states in the Guardian Article by Phillips, “El Sistema is essentially a political organisation … because it’s run out of the office of the president and its board of directors includes high-profile politicians including Nicolás Maduro’s son and Delcy Rodríguez." Baker is author of the book El Sistema: Orchestrating Venezuela’s Youth.
In addition to its political entanglements, El Sistema has faced serious allegations of sexual misconduct that have further tarnished its reputation. In an opinion piece for The Washington Post, Goeffrey Baker also highlighted how Venezuela’s #MeToo movement, known locally as #YoTeCreo, brought to light testimonies from former El Sistema students. These allegations included instances of sexualized grooming, underage sex between students and teachers, and the exchange of musical opportunities for sexual favors. Baker described these abuses as an “open secret,” underscoring how systemic issues within the program allowed such misconduct to persist unchecked for years.
Furthermore, there allegations of authoritarianism from Abreu, the founder of El Sistema, along with an abusive culture and financial mismanagement highlighted in the most recent article published a day after our article on January 6th, 2024 in The Times News Publication.
The Venezuelan government, facing widespread criticism for its human rights abuses and economic mismanagement, can capitalize on El Sistema’s success to project an image of cultural vitality and progress. By leveraging the orchestra’s visibility and acclaim, the regime has the ability to divert attention from domestic crises and reinforce its legitimacy on the world stage.
In this context, the program’s artistic triumphs, while extraordinary, have been repurposed to serve political agendas rather than the ideals of creativity and social uplift that underpin its founding mission. Furthermore, the program's failure to address allegations of sexual abuse demonstrates how its prestige has at times shielded it from scrutiny, leaving a troubling legacy alongside its cultural achievements.
Mission Drift and The Erosion of Core Values
El Sistema has long been celebrated as a beacon of hope—a program designed to lift children out of poverty through the transformative power of music. Founded on ideals of empowerment and community uplift, it was meant to provide a sanctuary for the powerless. Yet, over the years, it has strayed far from these noble principles, succumbing to political entanglements and, most disturbingly, allegations of sexual misconduct involving students.
Such revelations cast a dark shadow over an organization that has been a source of inspiration for so many, myself included. Having once worked for El Sistema Colorado, I hold its mission close to my heart. But it is impossible to ignore the systemic issues that can plague an institution of such immense scale, particularly when operating in an already fragile ecosystem like the classical music industry, where misconduct and abuse are far too common.
Another example of orchestras failing to protect their musicians from miscoduct due to conflicts of interest is Cara Kizer's case. The American Federation of Musicians (AFM) Local 802 has came under fire for its handling of the arbitration process that reinstated two New York Philharmonic musicians, Matthew Muckey and Liang Wang, in 2020 after their 2018 dismissals following allegations of sexual misconduct.
Central to the controversy is the union’s decision to allow the personal lawyers of the accused—Alan S. Lewis and Steven J. Hyman—to represent the union during arbitration proceedings. This apparent conflict of interest has drawn sharp criticism, as the union failed to provide similar representation or advocacy for the women who came forward with allegations, many of whom were also union members. Adding to the outrage is the involvement of Bruce H. Simon, a high-profile lawyer typically associated with labor negotiations for orchestras, in supporting the reinstatement of the accused musicians.
These actions reflect a troubling disregard for the safety and well-being of union members, further eroding trust in an organization meant to protect all musicians.
When Cultural Diplomacy Becomes Political Propaganda
El Sistema’s entanglement with political agendas has only deepened the erosion of its founding values. What began as a movement of hope has, tragically, become emblematic of how power and influence can corrupt even the most well-intentioned initiatives. The ideals it was built upon, and the countless children it was meant to serve deserve better than to be overshadowed by a legacy of exploitation and political opportunism.
Throughout history, artists and cultural institutions have been thrust into ethical dilemmas when their work intersects with political agendas. In Soviet Russia, Dmitri Shostakovich walked a perilous tightrope, composing music that subtly critiqued Stalin’s regime while avoiding overt defiance. In the West, the New York Philharmonic’s 2008 performance in North Korea sparked similar debate, hailed by some as a gesture of goodwill and criticized by others as lending legitimacy to an oppressive government.
The Venezuelan case, however, strikes a uniquely urgent chord. It underscores a universal truth: no institution, no matter how noble its origins, is immune to the seduction of power and the dangers of complicity.
As Marcus Aurelius once wrote, “Waste no more time arguing about what a good [person] should be. Be one.” For orchestras, the challenge is similar: they must not simply claim to embody the values of beauty and truth, but must actively work to safeguard those ideals against corruption.
The Eternal Struggle of Self-Interest vs. the Greater Good
Orchestras, as microcosms of society, reflect the same tensions between self-interest and collective good. When a cultural institution gains acclaim, its success often invites external influences—wealthy patrons, corporations, or governments—that may seek to shape its narrative for their own ends. The battle against corruption, then, is not a one-time fight but an ongoing process of introspection and vigilance.
For orchestras, this means recognizing that their integrity is not guaranteed by their artistry alone. As the great conductor Arturo Toscanini once said, “A real musician is not content to express himself as a virtuoso. He must express something larger than himself.”
Safeguarding that larger purpose requires constant effort.
Lessons from Other Institutions: Avoiding Ethical Discord
The challenges facing Venezuela’s youth orchestra have parallels across the music world. Consider the Chicago Symphony Orchestra, whose 2019 strike (the longest in orchestral history) over pension cuts revealed deep tensions between musicians and their governing board. Though not tied to government interference, the conflict highlighted how financial pressures can create ethical dilemmas within even the most prestigious institutions.
Similarly, the Salzburg Festival in Austria faced criticism in 2021 for accepting sponsorship from an oil company accused of environmental destruction. The backlash forced organizers to reevaluate their funding strategies and renew their commitment to ethical partnerships.
These cases illuminate pathways for orchestras to safeguard their integrity. The intersection of art, ethics, and power poses challenges that orchestras worldwide must confront. The lessons from Venezuela’s El Sistema, and similar controversies, call for introspection and reform in how orchestras operate.
Here are some insights and strategies for orchestras to operate ethically:
Create Robust Governance Structures
Establish independent oversight committees to review and ensure transparency in operations, funding, and partnerships. Regularly evaluate board members and leadership to prevent conflicts of interest, especially when dealing with governmental or corporate entities.
Commit to Ethical Funding Practices
Refuse funding from sources that contradict the organization's mission or values, such as entities tied to human rights violations, environmental destruction, or systemic exploitation. Develop a funding ethics policy that guides decision-making and ensures sponsorships align with community and organizational values.
Prioritize Safeguarding Policies
Adopt stringent anti-harassment and anti-abuse policies to protect musicians, staff, and students from misconduct. Appoint independent ombudspeople or third-party investigators to handle complaints impartially. Commit to publicly addressing and rectifying systemic issues like sexual misconduct or workplace harassment.
Engage in Ethical Programming and Touring
Avoid performances or collaborations that could be perceived as endorsing oppressive regimes or unethical practices. Partner with organizations that promote social justice, equity, and cultural exchange rather than exploitation.
Develop Whistleblower Protections
Create safe channels for reporting unethical behavior without fear of retaliation. Actively encourage transparency by publicly addressing concerns raised by whistleblowers and implementing corrective actions.
Foster Diversity and Inclusion
Ensure audition processes, hiring practices, and leadership appointments are free from bias and inclusive of underrepresented communities. Incorporate mandatory DEI (Diversity, Equity, and Inclusion) training as a core component of orchestra operations, from the boardroom to the rehearsal room.
Incorporate Ethical Decision-Making Frameworks
Train leadership and staff in ethical decision-making to navigate complex dilemmas effectively. Adopt guidelines inspired by professional ethics bodies, ensuring decisions prioritize fairness, accountability, and social impact.
Leverage Cultural Diplomacy Responsibly
When representing a nation or community, ensure the institution remains an ambassador for the people rather than a tool for political agendas. Use performances as platforms for dialogue, awareness, and advocacy for universal values like freedom, justice, and human dignity.
Engage Communities Authentically
Focus on grassroots engagement and outreach to empower local communities rather than serving elite interests or political narratives. Ensure education programs genuinely uplift participants, providing pathways to independence and self-expression rather than exploitation.
Institute Periodic Ethical Audits
Regularly review organizational practices, partnerships, and programming for alignment with ethical standards. Use audits to proactively identify risks and areas for improvement, making results publicly available to build trust.
A Call to Continuous Vigilance
The controversy surrounding Venezuela’s youth orchestra serves as a stark reminder that no institution exists in a vacuum. Music, though ethereal in its beauty, is created and sustained by humans—flawed, ambitious, and susceptible to self-interest. The task for orchestras is not to escape these realities but to confront them with honesty and resolve.
Montero’s plea is both a warning and a challenge. For orchestras around the world, it is a call to reflect on the words of Mahatma Gandhi: “You may never know what results come of your actions, but if you do nothing, there will be no result.” Safeguarding the integrity of art requires consistent effort, even when the path forward is fraught with uncertainty.
The interplay between art and power is as old as civilization itself. Yet the fact that these battles recur is not a sign of failure but of resilience. Each generation of artists and institutions must confront the forces that seek to corrupt their work and reaffirm their commitment to the ideals of beauty, truth, and justice.
As orchestras navigate this difficult terrain, they are called to remember the words of Ludwig van Beethoven: “Art demands of us that we shall not stand still.” The work of safeguarding art’s integrity is never done. It is a symphony of vigilance, a crescendo that rises and falls, but never ends.
(c) Harpsichords & Hot Sauce, 2024
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