PAS Archive Series | Network for Concert Percussion Diversity (NDCP)

By: Aaron T. Smith

In October 2023, I spoke with several directors of the Network for Diversity in Concert Percussion (NDCP) via video call. This article is a compilation of the interviews and subsequent email exchanges.
According to the NDCP's official website, NDCP is an organization made up of musicians, educators, and businesses, and is a network that supports those who aspire to become professional percussionists. We aim to improve equity, diversity, and inclusion in the world of concert percussion, with a particular focus on people from communities underrepresented in music, including Black, Indigenous, Hispanic/Latinx, Asian, Pacific Islander, queer, and women.
In today's America, the lineups of orchestras, chamber bands, opera houses, military bands and brass bands, musical pit orchestras, and percussion sections of universities and music institutions do not fully reflect the rich backgrounds, identities, and stories of America as a whole. NDCP's mission is to address the underlying factors and make improvements.
NDCP has two artist programs that leverage the resources of the entire concert percussion community to address issues of equity, diversity, and inclusion. We provide support in the form of advocacy, mentoring, professional development, individual and group sessions, access to equipment and facilities, and financial support.

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Background of the birth of NDCP

The idea for NDCP was born out of a conversation between Dinesh Joseph, his wife Janine, and their friend Jonathan Biseshi in the summer of 2020. They discussed the inequalities that exist in American society and asked themselves, "As percussionists, what can we do?" Dinesh says, ``In order for an ensemble to call itself an American orchestra, its membership must also reflect American society.''
Dinesh and Jonathan realized that they were able to grow as musicians because they had access to "good advice and quality training." So we started thinking about how we could provide the same access to those who have been excluded from such opportunities. In the process of further fleshing out this vision, John invited Alana Wiesing to help build the organization.
Full-scale preparations took place from the end of 2020 to 2021, during which time the mission was clarified and the board of directors was elected. On the legal side, Lauren Sundground, a Washington, D.C.-based attorney and board member, played a major role, contributing greatly to the establishment of a nonprofit organization. NDCP was officially launched in July 2021.

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Organizational structure

The NDCP Board of Directors is made up of nine members and includes not only percussionists but also members from other fields. Each board member serves on one or more committees and has specific responsibilities. Two interns have joined the board of directors, and the organization is supported by an advisory board with experience in multiple arts organizations.
The executive committee is at the heart of the organization and is comprised of the chairs of three committees: curriculum, marketing, and development (funding), and determines the overall policy of NDCP.

• Curriculum Committee: Determines instructors and class content, operates the Gear Garage, and manages Alumni Futures Grants.
• Marketing Committee: Responsible for SNS and public relations activities.
• Development Committee: Raise funds and apply for grants.

NDCP's term "concert percussion" refers to percussion instruments that are played primarily in the context of symphony orchestras, wind bands, chamber music, solo performances, etc., and distinguishes them from marching instruments. However, this does not mean that students with marching percussion experience cannot apply; the condition for participation is that they have an interest in concert percussion.

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artist program

NDCP has two one-year (October to May of the following year) artist programs, each with a capacity of 5 people.

• Youth Artist Program: Equivalent to 7th grade of junior high school to 3rd year of high school (grades 6–12)
• Emerging Artist Program: Ages 18-25

Participants in both programs receive multifaceted support, including:

• 2-3 group or individual sessions per month
• Subsidies for participation and travel expenses for youth orchestras, festivals, summer camps, auditions, academic conferences and competitions
• Support for securing and using concert percussion instruments and practice spaces

Additionally, Emerging Artists act as mentors to Youth Artists, creating a cycle of learning between upper and lower generations.
In the first two years alone, each year's cohort (participants from the same year) attended approximately 20 online masterclasses and sessions (not including private lessons). While some one-on-one sessions may take place in person, the majority of activities are conducted via Zoom. There are no tuition fees required to participate in these programs.
Past sessions have featured the following performers and educators as instructors, and have covered a variety of topics (just a few):

• Javon Gilliam: Professional Career Development
• Amy Stubbs: How to wrap a timpani mallet
• Josh Jones: Orchestra snare drum
• Cynthia Yeh: Orchestra Mallet
• Third Coast Percussion: Chamber Music, Recordings, Tours
• Bonnie Whiting: Speaking Percussion Works
• Angela Thatter Nelson: Orchestra Accessories
• Chihiro Snyder: Freelance and Broadway work
• Sō Percussion: Chamber percussion ensemble, tours, and recordings
• Leo Soto: Orchestra timpani
• Jeff Luft: Business Development/Entrepreneurship
• Nancy Zeltzman: Marimba
• Britton-Rene Collins: Marimba and Chamber Music
• Escape Ten: Preparation for university undergraduate entrance exams

NDCP is not intended to "replace" participants' schools or lesson environments. While respecting the environment in which each person is placed, we aim to provide "additional support." At the beginning of the year, we meet with each participant to share their goals for the year. In particular, for students in their final year of high school or university, we will create a concrete plan that includes financial support for entering higher education or graduate school.

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Gear Garage and Alumni Support

As part of the program, we also provide equipment support called "Gear Garage." We provide mallets, instruction books, musical instruments, and more to help participants secure the tools they need to practice and perform.
NDCP is currently in its third year of students, and at the same time continues to support alumni. Graduates are invited to attend at least two online masterclasses each year, giving them the opportunity to meet working artists and share their experiences. In addition, "Alumni Grants" are available to assist with travel and lodging expenses for auditions, recording sessions, summer programs and internships, and the purchase of necessary equipment.

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Guidance counselor system

NDCP also offers free consultations with Percussion Guidance Counselors to percussionists, their instructors, and their families who are not participating in the Artist Program. The target audience is people who belong to communities that do not receive sufficient support.
The main supports provided by guidance counselors include:

• Introduction of private lesson teacher
• Suggestions for ensembles suitable for participation
• Information and introductions to music camps, festivals, auditions, and performance opportunities.
• Advice on purchasing and renting percussion instruments
• Introduction of recommended textbooks and teaching materials
• Advice on how to choose the music university and major that is right for you
• Advice on all types of audition preparation

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Commitment to small group size and characteristics of learning

Although we want to reach as many people as possible, NDCP intentionally limits the number of participants in each artist program to five. According to Alana Wiesing, this small group size allows for a "safe and intimate space" where participants feel safe interacting with each other and are close to the directors. Having too many people makes it difficult to give each person enough time and attention. The small group size allows students to feel comfortable asking questions and performing in front of others. Some sessions are held separately for Youth and Emerging, and other times the two cohorts are combined.
Wiesing says that the most impactful classes are not those that only cover so-called "basic techniques." Biseshi says that when he listens to artists talk about their career goals, he feels that whether they realize it or not, they are portraying themselves as entrepreneurs. Therefore, NDCP classes also emphasize opportunities to learn about business aspects, such as how to approach composer commissions and apply for grants. Cohorts connect with experts in a variety of fields, and our goal as a program is to cover as broad and diverse a range of topics as possible.

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Meaning for participants and the keyword “network”

At the end of the first year of the program, the Board of Directors examined whether the two programs were placing too much of a burden on students. During that discussion, Biseshi asked her mother, who has worked in education for many years, for her opinion. She said, ``Students look forward to each session. After a while, they can't imagine life without it.''
In fact, students say that from the moment they step into a Zoom meeting, they feel a sense of belonging and confidence that they don't have anywhere else. Meeting professional musicians with similar backgrounds to myself and sharing time with peers who have similar dreams has been very empowering. These experiences have created strong bonds between cohort members and with the Board of Directors. Directors realized that NDCP had become more than just a place to provide advice, training, and instruments; it had become a network in its own right. In other words, training, master classes, and equipment are "means to an end," and the ultimate value lies in the connections between people.

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Graduates' achievements and future vision

When asked by the board about specific accomplishments for the graduates, Bisese said, “That’s the hard part.” This is because we believe that each artist should decide ``what is considered an outcome'' in light of their own reality and goals, rather than NDCP unilaterally determining ``results''.
In addition, some of our graduates have been accepted into schools or summer programs, and in many cases, NDCP has played an important role in this process, such as being the first point of contact with academic advisors, and paying for flights, accommodation, and lessons. Many alumni say their time spent at the network has left them much better prepared for the percussion world, a fact the board members say is a source of great pride.
Although NDCP's goals are ambitious, the Board has also remained realistic regarding the size of the organization. By avoiding unreasonable expansion and keeping the number of employees small, the organization is able to survive for a long time. We believe that by starting small, the network of alumni will expand and influence new generations within and outside of the program. Current board member Malcolm Taylor also originally became involved with NDCP as an intern.
Bisese says he envisions NDCP as "a sapling that will one day grow into a large oak tree." In the future, the members of the board of directors may be made up of people who do not know each other personally, but I hope that when that happens, the story will be passed down and people will say, ``A long time ago, these people started this network.'' In that vision of the future, it is not difficult to imagine a day when NDCP is run by its own alumni.

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Original article

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