Since graduating from the GGS and earning a Master of Music Leadership from Northeastern University, Angelica Hairston (PDP ‘15), and has become known for her performances and passion for social change – as a musician, educator, activist and entrepreneur. Each of these roles supports her mission to create social impact through the power of the arts.
She is now regarded as one of the most in-demand Black harpists in the United States, dedicating her career to commissioning, arranging and promoting the works of BIPOC composers.
Challenge the Stats, a concert series she founded in 2016, is dedicated to empowering artists of color and sparking dialogue about diversity, inclusion, and equity, both on and off the concert stage. This project continues to reach new audiences and provide a platform for emerging Black and Latinx artists.
Angelica is a current member of the Sphinx Organization's SphinxLEAD cohort and serves as a Specialist in the area of Education and Equity for National Public Radio’s From the Top and the Boston University Tanglewood Institute. She was a keynote speaker at the Woodruff Arts Center Educator Conference, was a member of the League of American Orchestras’ Essentials of Orchestra Management, and a panel moderator for SphinxConnect.
Angelica currently serves as the Artistic Director of the Urban Youth Harp Ensemble where she provides free harp instruction to over 90 students at Drew Charter School in Atlanta, GA.
For her contributions to Georgia’s civic and cultural vitality through excellence and service, she was celebrated as one of the youngest recipients of that state’s 2019 Governor’s Awards for the Arts & Humanities.
We had the chance to catch up with Angelica about that various aspects of her multifaceted career.
Sounds Like GGS!: Your career impressively spans the areas of performance, education and advocacy. How does your work in any one area, impact that of the other two? Are these distinct roles, or do they have more of a synergistic relationship?
Angelica Hairston: All of my work is centered around amplifying the voices of BIPOC artists and using music as a tool for racial justice. As an artist, educator, and activist, there’s really no way to separate one facet of my career from another; all are deeply intertwined.
Sounds Like GGS!: How would you say that your classical music training has impacted the way that you tackle new projects? Has it always been a benefit, or has it posed any challenges for you to overcome?
Angelica Hairston: Much of my career is committed to dismantling systems of oppression. That’s a HUGE task and not something that happens overnight. The truth is, my classical music training has a major influence on the way I go about my work and I’m deeply grateful to have had the opportunity to learn from the best, Judy Loman!
My studies taught me how to break complex concepts down into smaller pieces, how to take history and context into account when approaching new ideas, how to collaborate in solidarity with others, and how to commit myself to a constant path of personal and collective growth.
Whether performing a premiere onstage, teaching a class of harpists online, or in the day-to-day running of a nonprofit, all of the skills from my classical training are deeply influential in the way I navigate my career and interact with the world.
Sounds Like GGS!: As we start the new year, what would you say are the most important learnings from a year that posed so many challenges for musicians – in terms of engaging with both other performers and audiences?
Angelica Hairston: If 2020 taught me anything, it’s that our artistry has undeniable power and each of us must take responsibility for collectively working toward change. As we continue to live through what will certainly be marked in history books, it’s critical that our music not only be used for healing and comfort but to quote the words of the late, John Lewis, some “good trouble”.
