In this MEC Blog, Sooree shares their journey into the arts, from theatre to music programming, and the pivotal role music has played in their career.
Now a trustee of the Music Education Council (MEC), they reflect on the urgent need for greater access, inclusion, and systemic change in music education. Passionate about ensuring music is a right, not a privilege, Sooree highlights the barriers many young people face and the role MEC can play in shaping a more inclusive future. Read on for their insights and vision for lifelong music education below.
My own creative journey didn’t start with music. Coming from a large family, where money was often tight, instrumental tuition felt out of reach. My parents hadn’t been musical themselves, so it wasn’t something that was prioritised or even really thought about at home. Yet, creativity found its way into my life through other means. I loved taking part in drama through role-plays in English Literature class and I found that taking part didn’t require much in terms of resources - All you really needed was yourself, or at most a pen, paper, and a few other people to try a few ideas out with. That’s where it started, and over the years I was able to pursue my love of drama through an undergraduate degree, then studying mime and physical theatre in London and Paris.
As I moved forward in my career as a theatre practitioner and later working within the visual arts, music as part of my professional practice found its way in. It wasn’t western orchestral music at first—it was more South Asian classical, jazz, and experimental genres. I began programming and curating projects and festivals where I could see, in real time, the power of music to connect and inspire. One thing that stands out to me is the sense of liberation that music can offer —a space where people can truly be themselves and let go. I believe that most people have at least one piece of music that they can identify as their music, something that resonates deeply with them.
Now, a few years on, I am in the privileged position of working directly with professional orchestral musicians and engaging with people from all walks of life, of all ages, in exploring different ways we can engage with music and the positive impact it can have on our lives. When you see a participant’s eyes light up as they hear an inspirational piece of music for first time or are given the chance to make their own sound worlds, it’s undeniable how profound that experience can be – one that can stay with you for the rest of your life.
Through my work in the music sector, as well as positive examples of brilliant work, I have also noted glaring gaps in provision, where young people and children miss out on opportunities to learn or even encounter different types of music. These drop-off points—from primary to secondary school, secondary to sixth form, and beyond—are critical. Without robust structures in place, music often gets pushed aside for more “serious” pursuits. The diminishing allocation of resources and music provision we have seen in many schools over the years is not only challenging, but threatens the future of music in this country.
To me, music education isn’t just something that belongs in classrooms. It’s all around us. It enriches our lives without the barrier of language, offering a universal way to communicate and connect. Yes, formal educational settings provide valuable resources and infrastructure, but music education permeates daily life. Whether through listening, creating, or participating, it’s something that has the power to inspire creativity, unlock imaginations, and build confidence.
A belief in music’s ability to improve our lives—not just in abstract ways, but in tangible, measurable ways—is at the core of my work. For example, I’ve seen how music-making improves fine motor skills, strengthens memory, and contributes to emotional wellbeing. Organisations like the NHS have recognised how music can support people living with dementia or help alleviate anxiety in palliative care settings. It’s inspiring to see these conversations become more prominent.
All of this is part of what drew me to the Music Education Council. I see it as a vital space to not only discuss the current inequities in music education but to dream big about what the future could look like. It’s not just about acknowledging what’s missing—it’s about asking, “Where can we make real, lasting changes?” MEC’s role as a convener between policymakers, organisations, and practitioners is invaluable, providing a space for both practical collaboration and visionary thinking.
During our recent trustees' away day, I was struck by how open and collaborative the environment was. Everyone’s voice was heard. There was no hierarchy—just mutual respect and a shared mission. It felt like a microcosm of what we hope to achieve for life-long music education: inclusivity, respect, and the belief that everyone has something valuable to contribute.
Music should be for everyone. Learning music should be a right, not a privilege. Yet, I know this isn’t currently the case. In my work at Orchestras Live where I serve as the informal EDI (Equity, Diversity, and Inclusion) lead, I am constantly reminded of the need to ask who is at the table and who isn’t. Are we creating spaces where people feel they belong, or are they being left out because they don’t even know these spaces exist?
Representation and inclusion have always been central to my career. It’s not enough to offer occasional moments of visibility; we need systemic change. We need to validate the cultural knowledge that children and young people bring into classrooms, rather than sidelining it as something to celebrate during a themed week. As I believe Professor Nate Holder once said, children enter education already carrying a wealth of cultural information. Instead of asking them to leave that at the door, we should learn from it and use it to enrich everyone’s experience.
I’m particularly excited about MEC’s potential to grow and adapt. With the addition of new trustees, including myself, there’s a renewed energy and commitment to fostering dialogue and action around these issues. Our shared vision is simple: music for all, regardless of background or circumstance.
The work ahead won’t be easy, but I’m optimistic. MEC has the credibility, history, and network to make a significant impact, and I’m grateful to be part of a team that deeply cares about these issues. Together, I believe we can create meaningful change—ensuring that the joy, creativity, and connection that music brings remains accessible to everyone.
I’m looking forward to rolling up my sleeves and contributing to this vital mission. Being part of MEC feels like a natural extension of everything I’ve worked for in my career so far. I’m ready to listen, learn, and collaborate with others who share this passion. And I know that, together, we can continue to open doors for future generations of music-makers and music-lovers alike.
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