that we captured a couple weeks ago.

(Music)

Jose Antonio Abreu: My dear friends, ladies and gentlemen,

I am overjoyed today

at being awarded the TED Prize

on behalf of all

the distinguished music teachers,

artists and educators from Venezuela

who have selflessly and loyally accompanied me for 35 years

in founding, growing and developing in Venezuela

the National System of Youth and Children's Orchestras and Choirs.

Since I was a boy,

in my early childhood,

I always wanted to be a musician,

and, thank God, I made it.

From my teachers, my family and my community,

I had all the necessary support to become a musician.

All my life I've dreamed

that all Venezuelan children

have the same opportunity that I had.

From that desire and from my heart

stemmed the idea to make music

a deep and global reality for my country.

From the very first rehearsal, I saw the bright future ahead.

Because the rehearsal meant a great challenge to me.

I had received a donation of 50 music stands

to be used by 100 boys in that rehearsal.

When I arrived at the rehearsal, only 11 kids had shown up,

and I said to myself,

"Do I close the program or multiply these kids?"

I decided to face the challenge, and on that same night,

I promised those 11 children I'd turn our orchestra

into one of the leading orchestras in the world.

Two months ago, I remembered that promise I made,

when a distinguished English critic

published an article in the London Times,

asking who could be the winner of the Orchestra World Cup.

He mentioned four great world orchestras,

and the fifth one was Venezuela's Youth Symphony Orchestra.

Today we can say

that art in Latin America

is no longer a monopoly of elites

and that it has become a social right,

a right for all the people.

Child: There is no difference here between classes,

nor white or black, nor if you have money or not.

Simply, if you are talented,

if you have the vocation and the will to be here,

you get in. You share with us and make music.

JA: During the recent tour

by the Simon Bolivar Youth Orchestra of Venezuela

of U.S. and Europe,

we saw how our music moved young audiences

to the bottom of their souls,

how children and adolescents rushed up to the stage

to receive the jackets from our musicians,

how the standing ovations, sometimes 30 minutes long,

seemed to last forever,

and how the public, after the concert was over,

went out into the street to greet our young people in triumph.

This meant not only an artistic triumph,

but also a profound emotional sympathy

between the public of the most advanced nations of the world

and the musical youth of Latin America,

as seen in Venezuela,

giving these audiences a message of music, vitality, energy,

enthusiasm and strength.

In its essence, the orchestra and the choir

are much more than artistic structures.

They are examples and schools of social life,

because to sing and to play together

means to intimately coexist

toward perfection and excellence,

following a strict discipline of organization and coordination

in order to seek the harmonic interdependence

of voices and instruments.

That's how they build a spirit of solidarity

and fraternity among them,

develop their self-esteem

and foster the ethical and aesthetical values

related to the music in all its senses.

This is why music is immensely important

in the awakening of sensibility, in the forging of values

and in the training of youngsters

to teach other kids.

Child: After all this time here,

music is life.

Nothing else.

Music is life.

JA: Each teenager and child in El Sistema has his own story,

and they are all important and of great significance to me.

Let me mention the case of Edicson Ruiz.

He is a boy from a parish in Caracas

who passionately attended to his double bass lessons

at the San Agustin's Junior Orchestra.

With his effort,

and the support of his mother, his family and his community,

he became a principal member

in the double bass segment of the Berlin Philharmonic Orchestra.

We have another well-known case -- Gustavo Dudamel.

He started as a boy member of the children's orchestra

in his hometown, Barquisimeto.

There, he grew as a violinist and as a conductor.

He became the conductor of Venezuela's junior orchestras,

and today conducts the world's greatest orchestras.

He is the musical director of Los Angeles Philharmonic,

and is still the overall leader of Venezuela's junior orchestras.

He was the conductor of the Gothenburg Symphony Orchestra,

and he's an unbeatable example

for young musicians in Latin America and the world.

The structure of El Sistema

is based on a new and flexible managing style

adapted to the features of each community and region,

and today attends to 300,000 children of the lower and middle class

all over Venezuela.

It's a program of social rescue

and deep cultural transformation

designed for the whole Venezuelan society

with absolutely no distinctions whatsoever,

but emphasizing the vulnerable and endangered social groups.

The effect of El Sistema is felt in three fundamental circles:

in the personal/social circle,

in the family circle and in the community.

In the personal/social circle,

the children in the orchestras and choirs

develop their intellectual and emotional side.

The music becomes a source

for developing the dimensions of the human being,

thus elevating the spirit

and leading man to a full development of his personality.

So, the emotional and intellectual profits are huge --

the acquisition of leadership, teaching and training principles,

the sense of commitment, responsibility,

generosity and dedication to others,

and the individual contribution to achieve great collective goals.

All this leads to the development of self-esteem and confidence.

Mother Teresa of Calcutta

insisted on something that always impressed me:

the most miserable and tragic thing about poverty

is not the lack of bread or roof,

but the feeling of being no-one --

the feeling of not being anyone,

the lack of identification,

the lack of public esteem.

That's why the child's development

in the orchestra and the choir

provides him with a noble identity

and makes him a role model for his family and community.

It makes him a better student at school

because it inspires in him a sense of responsibility,

perseverance and punctuality that will greatly help him at school.

Within the family, the parents' support is unconditional.

The child becomes a role model for both his parents,

and this is very important for a poor child.

Once the child discovers he is important to his family,

he begins to seek new ways of improving himself

and hopes better for himself and his community.

Also, he hopes for social and economic improvements for his own family.

All this makes up a constructive and ascending social dynamic.

The large majority of our children belong, as I already mentioned,

to the most vulnerable strata of the Venezuelan population.

That encourages them to embrace new dreams, new goals,

and progress in the various opportunities

that music has to offer.

Finally, in the circle of the community,

the orchestras prove to be the creative spaces of culture

and sources of exchange and new meanings.

The spontaneity music has

excludes it as a luxury item and makes it a patrimony of society.

It's what makes a child play a violin at home,

while his father works in his carpentry.

It's what makes a little girl play the clarinet at home,

while her mother does the housework.

The idea is that the families join with pride and joy

in the activities of the orchestras and the choirs

that their children belong to.