Yearning for Creative Energy in the Face of Uncertainty

Overview

Date and Time : February 17, 2025, 3:00 PM
Location : Batu Studio (Yongsan, Seoul)
Participants : Eric Booth, Co-founder of ITAC & Jeehye Suh, Editorial Board Member of [arte 365]

Jeehye Suh  Eric, it's so great to see you again. I heard that this time, you’re not only visiting Korea but also traveling to several other countries in Asia. Could you share the purpose of your trip with us?

Eric Booth  This journey focuses on raising the visibility of Teaching Artistry in Asia and supporting teaching artists. I visited three cities in China, I’m now in Seoul, and next, I’ll head to Taiwan. In China, it felt like the first seed had just been planted, but you could already sense something growing beneath the surface. Even without a clear understanding of what a teaching artist is, people were actively sharing their practices, which was truly surprising. In Taiwan, most practices put art at the center. Korea, on the other hand, has developed a mature form of teaching artistry. One of the main purposes of the visit was not only to celebrate Korea’s well-established practices but also to explore the question of what comes next. At this forum, I want to emphasize the beautiful practices I’ve witnessed in Korea and present four key challenges that must be addressed to further advance this maturity and maintain global leadership in the field.
Over the past 12 years of working with ITAC (International Teaching Artist Collaborative), I’ve come to realize that teaching artistry has emerged naturally in every country. While some aspects are shared globally, there are also unique differences shaped by each country's cultural background and artistic history. Having observed this field forming since its earliest days some 50 years ago, I find it especially meaningful to witness how the identity of teaching artists is taking shape across Asia. Given that the world is facing common challenges, it’s encouraging to see how teaching artists are responding in similar ways. One issue that is frequently brought up, and is particularly prominent in China, is youth mental health. Teaching artists are offering some of the most powerful solutions to this challenge.

Jeehye Suh  Does ITAC also focus on youth mental health and other global issues? Could you share more about ITAC’s current activities?

Eric Booth  ITAC is aware of the global nature of these problems and has begun supporting arts and health initiatives. It aims to spotlight how these practices are emerging in different countries, while also empowering teaching artists to directly address mental health issues. A good example of this which is already present in the UK and increasingly adopted in the US, is the concept of “Social Prescribing”. This approach allows doctors to prescribe arts-based activities in collaboration with teaching artists as part of the treatment plan for physical or mental conditions. Amazingly, some private health insurance providers in the US now cover these programs because they are more cost-effective than traditional medical interventions. As a result, teaching artistry is increasingly being recognized as a powerful and affordable tool for addressing problems that conventional approaches have failed to resolve.
This opens up new opportunities and challenges for teaching artists. We need to become more rigorous in documenting our impact in order to persuade professionals from other fields. Until now, we’ve been somewhat loose about impact measurement because the results of teaching artistry are so evident in the field. But when collaborating with scientists or medical professionals, we need to document changes in ways that are compelling to them. One example: a New York City hospital approached Carnegie Hall with concerns about the intense stress experienced by low-income single mothers, which affected maternal-infant bonding and health. Carnegie Hall developed the Lullaby Project with teaching artists, encouraging mothers to write and sing lullabies for their babies. Medical staff objectively measured the outcomes, which showed clear health benefits. Now this program is implemented in NYC health centers and in 47 cities across 14 countries.

Jeehye Suh  Korea is one of those 14 countries. In 2019, SEM(Socially Engaged Musicians) Network, in collaboration with Carnegie Hall, launched the Lullaby Project in Korea with generous support from the Korea Arts and Culture Education Services. When the project ended, I remember one single mother saying “This was the first time I did something entirely for my child, and I realized I could do it.”

Jeehye Suh  I’d love to hear more about your recent book, Making Change. Its subtitle is ‘Teaching Artists and Their Role in Shaping a Better World’. Though it’s a slim volume, it manages to cover the complex nature of teaching artistry and to explore various ways teaching artists can contribute to society. Could you briefly introduce the book to potential readers?

Eric Booth  The book sprang from my recognition of how difficult it is to communicate to someone who doesn’t know anything about teaching artistry, and how we didn’t really have a way to do that. I wanted to communicate its unique contribution clearly and simply so that anyone could understand and connect with it. While I included a brief history of the field, the real focus is on rethinking what we mean by “art” and “teaching.” People typically associate art with opera houses or museums, and education with schools and teachers. But teaching artistry spans much more than that. I tried to find ways to express its essence with as few words as possible.
Traditional arts education was about becoming a better violinist or choreographer. But the unique value of teaching artistry lies in awakening the artistry in others. Every person has an innate creative capacity, though modern society often suppresses it. When we awaken this inner power, it can be used in countless meaningful ways. The core message of the book is this: “Everyone possesses artistry, and when that artistry is awakened, it becomes a transformative force.” Teaching artists help people harness this power in pursuit of socially meaningful goals. The book outlines seven ways in which teaching artists do this.

Jeehye Suh  I’ve had the privilege of watching you nurture and grow the field of teaching artistry over many years. What do you see as the biggest differences between its early foundations and where it stands today? Has your definition of teaching artistry changed over time?

Eric Booth  Just a few years ago, the goal of arts education at Lincoln Center was to help audiences engage more deeply with performances and artworks. I initially believed that was the essence of teaching artistry—and I still believe it plays an important role. But as I began to see its impact on youth, I realized that its influence reaches much further — to adults, professionals, and entire communities. For example, when I worked with the FedEx board of directors, I discovered that communicating with them required a different kind of languages. It was another sign of how the reach of teaching artistry continues to expand. Then came a major turning point for me—when I encountered teaching artists who were dedicated to addressing social issues: working for social justice, environmental activism, and with refugees. These practitioners profoundly shaped my current perspective. I now see teaching artistry as a “Sleeping Giant of Social Change”. No matter how loudly we preach about environmental preservation, real change rarely follows. But when we awaken people’s agency and creative capacity—through direct, community-based work—hope begins to emerge. People don’t need more instructions; they need motivation. Creative engagement fuels momentum that leads to systemic change, like shifting environmental policies. When people participate in meaningful, creative work tied to what matters to them, their mindset shifts, and behavior follows.

Jeehye Suh  That reminds me of Maxine Greene’s Releasing the Imagination, where she describes the concept of “Social Imagination”. It resonated with me deeply—the idea that awakening intrinsic and active agency can lead to actions that affect others and even address societal issues.

Eric Booth  Maxine Greene was the philosopher in residence (at Lincoln Center Institute). She would teach teaching artists, and she was my first teacher in teaching artistry. As a philosopher active in the field, she inspired countless teaching artists. One of her most powerful lessons to me was: “The role of a teaching artist is to help people imagine the world differently.” That’s the essence of our work. But teaching artists don’t stop at imagination—we prompt action. It’s where philosophy turns into practice. In creating these “alternative worlds,” we reshape perception, cultivate hope, and work toward transformation. Intrinsic motivation is central. While it starts with personal creativity, it must move beyond individual satisfaction toward collective betterment. That’s why working with children is so critical—especially around age nine, when self-consciousness begins to develop and creative potential often gets stifled. We need to help children preserve creative thinking and extend it into social imagination: reshaping communities, reimagining relationships, and envisioning shared wellbeing.

Jeehye Suh  You described the work of teaching artists as “awakening a sleeping giant”. While their efforts are essential, I believe they alone can’t make that happen. It also requires certain conditions. What do you see as the most urgent issues we need to address to help their mission thrive?

Eric Booth  Two major challenges confront the global field of teaching artistry. The first is visibility. Despite its profound impact, this field remains largely unknown to the public. Teaching artistry is humble, practice-based field that often escapes media attention. As a result, its enormous potential is recognized by only a few. ITAC is building a global network to address this, and we’ve made progress—but more effort is needed. The second issue is financial. Many teaching artists are underpaid and unable to pursue this work as a full-time career. They often have to juggle multiple jobs, and the field lacks clear entry points and systematic support. What’s worse is that experience doesn’t lead to better compensation or opportunities. I wish I could say we’ve solved these problems, but the truth is, we still have a long way to go. There are many things that need to change before teaching artistry can fully grow into a recognized professional field.

Jeehye Suh  Despite the harsh conditions, I believe ITAC plays a vital role in the evolution of this field. It feels like ITAC is at a pivotal moment with teaching artists around the world strengthening their professional identities. I remember your reaction after the Korean dancers’ performance ‘Embodying Catalysts: Dancing For/With/About/Inside/You’ at ITAC6 in Oslo. You came backstage, clearly inspired. You also mentioned it in Making Change. Could you tell us what it meant to you?

Eric Booth  At ITAC6 in Oslo, the Korean dance team presented a piece that combined film and performance. It was powerful and professional—but what amazed me most was that it centered on teaching artistry itself. We usually serve others, but in that performance, our peers turned their full attention to our world, our joys and struggles. It gave the audience, including me, the same gift we aim to offer others: recognition, joy, and resonance. As a former actor, the best feedback I could hear was, “I saw myself in your performance.” That’s exactly what I experienced. I saw my life as a teaching artist reflected on stage. The performance was of high quality, full of energy, and deeply moving. Each section brought fresh wonder, and the room erupted in cheers. It was a collective celebration of our shared identity.

Jeehye Suh  You've had a profound impact on El Sistema-inspired movements around the world, advising and walking alongside many such programs. In Korea, we’re now in the 12th year of the Dream Orchestra. These programs seem to be evolving significantly. Are there any particular changes you've found especially meaningful?

Eric Booth  While many programs don't use the term “El Sistema,” there are countless initiatives that have grown in similar ways. We refer to this field as “Music for Social Change”, and Dream Orchestra is a leading example. El Sistema has become a global movement, but only a few programs have scaled successfully and delivered outstanding results. Dream Orchestra is considered one of the most significant among them, and one of the very few that has successfully transitioned from government funding to community-based support. This achievement is rare and should be recognized as a model of sustainable transformation. It’s also worth noting that the Dream project is expanding beyond the orchestra. We’re now seeing the emergence of Dream Dance, Dream Theater, and more to come—signaling a broader and more inclusive direction. Most programs go through what I call a "honeymoon phase"—a period of high energy in the early years when everyone is excited, engagement is strong, and kids make rapid progress. But over time, many hit a plateau. At that point, the question is no longer just about keeping the program running smoothly — it becomes about how to take it to the next level, so that young people can achieve deeper, more meaningful outcomes. This requires a shift in mindset—toward amplifying social impact. We can’t think of social impact as something separate from the music-making. The music-making itself must become the driver of social change, and we need more sophisticated strategies to make that happen. When that happens, it doesn’t just transform the lives of the 30,000 children who’ve been part of Dream Orchestra; it also transforms the lives of the teaching artists. That’s when arts education becomes not just about technical skills, but a process of personal and developmental growth. It’s not just learning to play the flute—it’s about expanding one’s sense of life’s possibilities through the flute. Of course, they’ll become excellent flutists too!
I see El Sistema as one massive laboratory—a space where we’re free to experiment and explore what works best. But we now need to be more intentional. What does “getting better” actually mean? And how do we measure it? It’s time to move beyond intuition and anecdote, and develop clearer standards and evaluation methods. This is the moment for the field of arts education to dig deeper and advance with more refined goals. That’s not to downplay what we’ve achieved so far—we must acknowledge and celebrate the transformation we’ve already brought to the lives of tens of thousands of youth—but then move forward to the next level.

Jeehye Suh  In many ways, I believe El Sistema has helped us recognize new roles and possibilities in arts education. I also understand that you’ve been studying the climate crisis in recent years. I'd love to hear your thoughts on whether engaging with pressing societal issues—like climate change—is something all teaching artists should feel responsible for. In your writing, you’ve often emphasized that there are no absolute “shoulds”.

Eric Booth  The reason I emphasize connecting arts education with urgent global issues like the climate crisis is because we know that it can lead to real, tangible change. At ITAC, we’ve been experimenting around the world—exploring how teaching artists can go beyond raising awareness to actually catalyzing behavior change and civic engagement. What we’ve found is powerful: when communities engage creatively, it often leads to action. This principle applies far beyond climate—it holds true across many of today’s pressing social challenges. The process of creating something meaningful together opens people up. It invites attention, facilitates learning, and encourages change. Most climate education programs start by giving people information—but that can be overwhelming and even make people feel powerless to act. One of the teaching artist’s rules is “engagement before information”. When you begin with creative participation, curiosity arises organically. That curiosity then leads to learning, and from there, to meaningful action. A great teaching artist won’t just explain the climate crisis to children. They’ll help kids connect what they already know to lived experience—inviting them to explore, experiment, and participate creatively. That’s how you deepen personal relevance. It’s not just about adding information—it’s about building meaning. ITAC recently collaborated with renowned opera singer Joyce DiDonato on a project connected to her Eden tour, which traveled to over 30 cities. In underserved neighborhoods, local teaching artists led creative, place-based projects about local environmental concerns. Kids engaged deeply and began to see themselves as agents of change. That’s what it’s about—helping people believe they can make a difference.

Jeehye Suh  Recognizing social issues as personal ones can come from relevance, curiosity, or access to information. It might even be something we should expect of all citizens. Would you say that social awareness is a necessary mindset or core competency for teaching artists, especially those working with children and youth?

Eric Booth  Some teaching artists focus solely on the art; others lean more into social change. But I believe that activating people’s creativity is already the first step toward transformation. When people express themselves and connect through art, it naturally deepens their awareness of social issues. Most teaching artists I know care deeply about making the world a better place—and their work naturally reflects that. In Dream Orchestra, for example, the real-life challenges kids face are not hidden. They’re aware of their own stress, their families’ financial hardships, and the broader social instability around them. And yet, they keep showing up to rehearse, to collaborate, to build a new kind of community. That’s powerful. I’ve seen this kind of transformation in many countries. What starts as a small circle of children gradually expands—to families, to entire communities.
According to Maslow’s hierarchy of needs, basic needs like food and safety must be met before someone can pursue self-actualization. But in underserved areas, I’ve seen that pyramid flip. Even without food security or safety, powerful artistic experiences can ignite hope and self-discovery. Kids begin to dream. They affect not just themselves, but their families and communities. That’s what I call the “inverted pyramid effect”.

Jeehye Suh  The phrase “Teaching artist is in a yearning business” from Making Change deeply resonated with me and sparked a lot of reflection. You seemed to be speaking to how teaching artists respond to social needs and longings. But I also thought about the yearning that teaching artists carry within themselves. Even in barren conditions, many hold onto lofty ideals, yearning to share the power of art with more people. But I often witness the toll this yearning takes—the cycle of hope and disillusionment. Especially in Korea, this time of year marks the end of funding cycles. I hear teaching artists asking, ‘Should I really keep doing this?’ Yet, when the next project appears around March, they jump back in, running another 9- or 10-month marathon. This revolving door of exhaustion and purpose seems to define the rhythm of their lives. In such moments, I wonder what words Eric Booth might offer—not as a solution, but as a companion to their struggle.

Eric Booth  Yearning is a word that holds both a reach toward something deeply meaningful and an element of hope. Teaching artists live in that space—not fully having what they long for, yet still reaching, and inviting others into that pursuit. The world often makes yearning hard. Just surviving each day can crush hope. Children, who should be able to yearn freely, instead feel anxiety and pressure in school. Teaching artistry exists in the “in-between” space—between yearning and its absence. In that space, it’s okay to try the uncertain. Even if we don’t know where we’ll end up, the act of reaching itself brings vitality. Teaching artists want their participants to feel that—to experience, even briefly, the power of creative striving. The Dream Orchestra operates on a “just a little more” philosophy. Not because what’s already achieved is lacking, but because reaching further can lead to even more. That’s the heart of teaching artistry—extending ourselves toward new possibilities for both ourselves and our communities. Teaching artistry exists at many boundaries—it’s not just art, not just education, but both. Most people find boundaries uncomfortable. Teaching artists find them generative. It’s where we break old molds and create new forms. That’s a source of joy and deep aliveness. And like nature, the creative cycle of teaching artists must include fallow periods—winters. These uncertain months are essential for renewal. Yes, the life of a teaching artist is hard. It’s unstable. There are no guarantees. But the impact we make is powerful. Teaching artistry offers experiences of creative presence rarely found elsewhere. Despite the uncertainty, the joy of discovering and creating something new outweighs the hardships.

Jeehye Suh  I, along with so many other teaching artists, find myself grappling with this tension. And I think this is such a powerful question to carry with us: Am I still yearning? Every time I speak with you, Eric, I’m reminded that inspiration can arrive gently—held with care. It’s not just insight you offer, but the rare experience of feeling truly seen. For me, and I believe for many who will read this conversation, knowing that someone out there is tending to our field, not just as a peer but as a mentor, is a steady and sustaining source of strength.