成群结队的难民涌入火车站，面带愁容，疲惫不堪。阿尔瓦雷斯（一名来自委内瑞拉的乐团指挥）看到这一景象，决定成立一个乐团，提供音乐教育抚慰伤痛的同时，也能帮助他们融入当地社会。
命运的齿轮开始转动，这一想法不仅改变了他的生活，也改变了数百个他还未曾谋面的人的命运。
然而成立乐团的道路并不是一帆风顺的，他是如何克服语言障碍、年龄差距等问题组建乐团的呢？又是如何与这些年轻人相处的呢？下面和ETTBL君一起来看看详细报道吧～

莫斯塔法-卡兹米回忆起 2016 年与阿尔瓦雷斯相识的那一天，不禁眼前一亮。

“Which instrument do you play?” the conductor asked him.

指挥家阿尔瓦雷斯问他：“你会弹哪种乐器？”

“I can’t play,” Kazemi replied.

卡兹米回答道：“我什么乐器也不会。”

Álvarez’s response was confident and unflinching: “Yes, you can. Come and pick which one you want.”

但阿尔瓦雷斯自信且坚定地回答道：“你会。来选一件你想要的乐器。”

Kazemi, originally from Afghanistan, was 16 years old at the time. He’d been in Sweden for a matter of months. No one had talked to him like this before.

卡兹米是个阿富汗人，当时只有16岁。几个月前他才刚到瑞典，之前从未有人和他说过这样的话。

So a few weeks after the Dream Orchestra began, Kazemi became one of its first members. He picked the cello, an instrument one of his friends was playing.

因此，在梦想乐团成立几周后，卡兹米就成了乐团的首批成员之一。因为他的一位朋友当时正在演奏大提琴，所以他也选择了这种乐器。

The small ensemble rehearsed on Fridays and Saturdays. Those were Álvarez’s days off, and also a time when he knew it was important to keep young people occupied and off the streets.

乐团的排练时间是每周五和周六。因为那两天是阿尔瓦雷斯的休息日，同时他也清楚要让年轻人在周末有事干，远离街头。

At first, teaching the group wasn’t easy, Álvarez recalls. He was used to instructing younger Spanish-speaking students who came from similar backgrounds. This would require a different approach.

阿尔瓦雷斯回忆说，起初，教这个乐团并不容易。阿尔瓦雷斯本人习惯于教家庭背景相似且说西班牙语的低龄学生。但由于乐团中成员的情况不一，这就需要不同的教学方法。

Álvarez spoke English, and some of the other members of the Dream Orchestra did, too. But still, misunderstandings were frequent, even comical at times.

阿尔瓦雷斯会说英语，幸而乐团中的其他成员也会说英语。但时常还会发生一些误解，有时甚至是一些非常滑稽可笑的误会。

Body language was key to overcoming those obstacles. So was finding a way to connect more deeply with each person – to learn what music they liked and where they came from and who they were.

这时候，肢体语言就十分重要了，是克服这些障碍的关键。探索与每位学生深入交流的方法也同样重要——包括了解这些学生喜欢的音乐、家庭背景、以及一些个人信息。

Another key part of Álvarez’s approach with these older students: giving them the confidence to make mistakes.

阿尔瓦雷斯与这些年龄相对较大的学生相处的另一个关键就是让他们有信心试错、敢于犯错。

“I tried to build confidence – first the confidence of the sound. That’s number one. Try to build big sound. Because the big sound is easy for me to start to (adjust), like a DJ. But it’s too difficult if it’s too little sound,” he says. “I prefer that you make a mistake. … It doesn’t matter if it’s the right note or not.”

“我努力帮助他们建立信心——首先是对声音的自信。让他们大声说唱。因为对我来说声音大很容易调低音量，就像DJ一样。但如果声音太小就很难办，”他说，“我更喜欢你们去犯错……音调对不对其实并不重要。”

The confidence comes first. Then the right notes follow as motor skills are sharpened – something that Álvarez says simply takes more time with older students.

自信是最重要的。基本功扎实了，音调自然而然就对了。阿尔瓦雷斯说得轻易，但对于年龄较大的学生来说，这还需要更多的时间。

Álvarez’s students say his passion inspired them to push themselves.

阿尔瓦雷斯的学生们说，阿尔瓦雷斯的热情激励着他们奋发向上。

Now, eight years later, the Dream Orchestra has more than 400 members from nearly 20 countries who speak around 20 languages between them. There are multiple ensembles. Some members are children of immigrants. Swedish nationals whose families have lived in the country for generations have joined, too. And some parents of the young people in the orchestra are also now in its ranks.

八年后的今天，梦想乐团拥有400 多名成员，他们来自近20个不同国家，会讲20多种语言。这个大乐团内部还有多个小型乐团。有些成员是移民的后代，有些是家族世世代代居住在瑞典的本地人。乐团中一些年轻人的父母也加入了梦想乐团。

Other teachers have joined Álvarez on staff. And he’s no longer directing El Sistema Sweden. Álvarez works for the Gothenburg Symphony as the artistic director of a summer music program. And he spends as much time as he can with the Dream Orchestra every week.

还有一些教师也加入了阿尔瓦雷斯的乐团。阿尔瓦雷斯也不再担任瑞典 El Sistema 乐团的指挥。他在哥德堡交响乐团工作，担任夏季音乐项目的艺术总监，每周都会尽力抽时间去陪伴梦想乐团。

Refugees and asylum seekers remain the core of the group, Álvarez says, “but it’s an orchestra for everyone.”

阿尔瓦雷斯说，难民和寻求庇护者仍然是乐团的核心，“但这也是一个为所有人服务的乐团。”

资料来源 | CNN

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