Letters from Leadership

One of the aspects of the NFA that impresses me most is the open willingness of our members to share their expertise, knowledge, enthusiasm, and skill with each other and the flute community. This is most obviously manifested in the hundreds of flutists who submit proposals to perform and present at the NFA convention each year.

For our 2026 convention in Portland, we received 487 proposals (including 14 poster presentations)—close to the number received for each of our last two conventions in San Antonio and Atlanta. Each submission represents a lifetime of training and experience and the incredible amount of thought and creativity that went into each one.

We have so many other programs in which our members share their wealth of information with everyone else:

Flutists who participate in the NFA’s online event series have shared their experience on a variety of topics since the series was introduced during the pandemic in 2022. Now shared on YouTube, the series continues to receive hundreds of views.

Less obvious is the work of our committee volunteers who meet year-round to discuss and further the NFA’s wide-ranging work and mission. As I read their reports, I’m in awe of the thought and care with which members approach their given area. Each ever-evolving team of chair and committee dig into every aspect of topics, ranging from performance health care to special publications, continually bringing new perspectives, projects, and awareness to the field. Additionally, this year Board members have started taking active liaison roles in order to both enhance communication and further contribute to the conversation.

The pedagogy committee is one of the avenues through which our members contribute to valuable repertoire resources that are available to all flutists. Its stewardship of the Selected Flute Repertoire and Studies Guide ensures that repertoire submissions are accepted and reviewed on an ongoing basis. It also makes sure the guide remains an up-to-date searchable database that meets the needs of all flute teachers and their students, from beginners to graduate level.

Another way we share our knowledge is by making sure every piece of music performed at the convention is included in the NFA’s repertoire guides, with a separate guide created for the Flute Ensemble Festival. So while flutists present and perform at the convention, their musical knowledge is shared for everyone—even beyond the convention—as a free resource on the NFA website program book pages.

So once again, thanks to all our members for your never-ending sharing of time, resources, and expertise for the benefit of the flute for now and in the future.

Jennifer Clarke
Executive Director

By the time the next issue of Flutist Quarterly is published in January 2026, I will have celebrated my fifth anniversary at the NFA. January 10, 2022, is carved into my memory—I fondly remember my first day here and my first encounters with the many members of our community.

As I stepped into the NFA’s world—a membership organization like no other—I discovered something very special. And as I have delved deeper during these last few years, I’ve come to see how the NFA membership is like a woven cloth that keeps growing, its colors ever brighter and richer, with each thread adding to the beautiful tapestry.

Members are at the center of the NFA. In my prior experience of working with organizations like this, membership might mean being on a list, receiving newsletters, or applying for a grant from time to time, with the staff and board clearly at the helm. But at the NFA, members keep the wheels turning in many vital areas. They take on roles that are fundamentally important and carry us forward year to year with the help of carefully crafted procedure guides that help each transition go smoothly. The program chair, which I think of as our convention’s artistic director, devotes hours of work, decades of experience, and a lifetime of vision to creating a convention that is artistically diverse and rich and gives flutists an inspiring and expanding experience. Other fundamental roles, such as the competition coordinator, flute choir coordinator, volunteer coordinator, and many others, are vital to convention operations and organizational strength.

Another appointee, our Membership Committee Chair (currently Kinnard Douthit), works with that committee and NFA’s Membership Manager Mily Harrod to seek ways to reach new potential members and inspire current ones to continue to renew. An important message the membership team shares is the value of being part of the NFA community, as well as how the benefits they receive can enhance a flutist’s career, education, and enjoyment of the flute, both at the convention and—especially—throughout the rest of the year.

In the past year, our membership team has worked hard to add value and benefits to membership, whether that’s discounted services or mentorship and support. For example, we recently added an additional insurance program to the very popular offerings already available, and we’ve also been spearheading and highlighting our many efforts to support teachers. As Mily reminds us: “Wherever you are in your flute journey, we welcome flutists of all levels and backgrounds. NFA members enjoy year-round opportunities for collaboration, professional growth, and active involvement in education, outreach, and advocacy initiatives.”

The NFA’s annual volunteer cycle begins again this time of year, and we appeal to our members to get involved: Nominate yourself or someone else for an appointee position (deadline is December 10), talk to your students about becoming a member (30% of our members are students), and renew your membership whether or not you’re planning to join us in Portland in August 2026. Be part of the rich tapestry of our community and help sustain this unique organization now and for the future.

As Kinnard Douthit says, “What I find to be most significant about being a member of the NFA is the opportunity to serve. Whether it is by committee work or through performance, there are so many ways to engage the organization that has given me so much over the years. NFA provides the structure and framework for the many ways any of us can engage in flute playing at the national level. As a professional, an amateur, or enthusiast, there is room for everyone!”

Jennifer Clarke
Executive Director

The NFA conventions create a unique blend of artistry, education, inspiration, community, and adventure. Each year, flutists push the boundaries of their artistic landscape to bring new and expansive musical adventures to their colleagues. Flutists share their knowledge, skills, specialties, and perspectives through workshops, panels, and lectures. At the same time, flute choirs from across the country and globe—65 this year—share the music created in their own special community with all of us who will be there.

Behind the scenes, the NFA staff and board and appointees strive as ever to make sure that everyone feels welcome at the NFA. Mariana Gariazzo’s theme of Unity and Universal Oneness illustrates the message that we all belong at the NFA, as well as at the convention.

This year we introduced two new initiatives to make sure attendees who might be newer to the convention more easily feel like they’re a part of things. It’s a sad day when I hear that a flutist came to their first convention and didn’t feel welcomed, or that it wasn’t for them. It can certainly be daunting to enter a convention center with almost 3,000 people who all seem to know each other! The staff and I are adamant that every flutist should feel they belong from the minute they arrive.

To kick things off for new attendees earlier this summer, we held an online event for first-time attendees to help prepare them for what to expect. More than 60 people attended and heard from staff and board members. NFA President Jennifer Grim talked about the participatory elements of the convention—something that separates us from many music conferences and conventions—and let people know about all the ways to get involved.

Additionally, we have introduced a mentorship program for first-time attendees that pairs new attendees with experienced NFA members to help guide their convention experience. They meet both in advance of and at the convention to make sure mentees are on track to meet their convention goals.

And while the NFA grapples with the increasing cost of putting on the convention, we strive to keep affordability front and center. This year, 70 members took advantage of our payment plan option to spread expenses over a longer period, and more than 100 flutists were offered full or partial registration scholarships. Making sure that the flutists of today can participate ensures the NFA’s vibrancy in the future.

As we prepare for our time together this August, my hope is that we can truly experience what brings us together, what unites us, and what Universal Oneness really means when we as individuals join together to create our greater, global flute community.

Jennifer Clarke
Executive Director

We are the NFA, which stands for the National Flute Association. The word “national” in our name defines our organization as one that serves all flutists, wherever they are. In some parts of the world, a “national” organization is one that is funded directly by and affiliated with the government. But that’s not true for the NFA—we are a completely independent not-for-profit (charitable) organization.

In reality, the NFA is an “international” organization, with members residing in 40 different countries. Most years, members from 28 to 30 countries participate in the convention, adding to the incredible richness of the gathering and the breadth of the cultural experiences and expressions represented.

This year we have artists from places including Zambia, Australia, China, Canada, and many parts of Europe scheduled to participate in performances and Flute Ensemble Festival events. But because of recent developments, we’re not sure all of our international members who usually come will be joining us this year. Please know how much your participation means to the entirety of the NFA, and those of you who can’t join us will be deeply missed. We are here to support you as best we can.

As the Chair of our International Liaison Committee, Cathy Collinge Herrera, wrote in her recent NFA blog post, Complexity vs. Simplicity—Solidarity and Choosing the Light:

"Connection with the international flute community is a vital part of our existence as flutists. We embrace and are inspired by music brought to us from composers and performers around the globe. We share our own music with flutists on all continents. We overcome the barrier of language to have the opportunity to learn from masters of our art or to share with students in other lands. Many of us perform on instruments crafted by the hands of foreigners, just as many foreigners are artists performing on instruments designed and created in our backyard. Now more than ever, the international language of music weaves us together in countless ways. Let us endeavor to remain steadfast in our unity and mutual support, creatively leaping hurdles that may present themselves."

For visitors traveling to the convention from another country: Be sure to check the travel requirements from your country carefully, and visit the US State Department website for more information. Countries that participate in the visa waiver program, such as those in Europe, must take another step via an electronic filing (ESTA) in order to enter the U.S. If you live in a country where visa interviews are required, you may well be offered an interview date after the convention. If that happens, let us know as soon as possible. If you already have an entry visa for the U.S., triple check that all is in order and bring printed paperwork with you. If you have a passport other than a U.S. passport, make sure it is valid for at least six months beyond your stay in the U.S.

Program Chair Mariana Gariazzo’s convention theme for Atlanta underscores the theme of unity and universal oneness. For all our members, wherever you are coming from, the NFA will welcome you and celebrate you with warmth and respect in Atlanta, as we do wherever we are. 

Jennifer Clarke
Executive Director

As a new year begins, I am marking the fourth anniversary of my tenure as the NFA’s Executive Director. Over the course of my career in arts administration and management, I’ve been fortunate enough to work with numerous organizations that help create new works and nurture and commission composers. The NFA is perhaps the most consistent and vibrant of all of them.

The NFA’s commissioning program represents a decades-long commitment to nurturing composers, amplifying their voices, and bringing new works to flutists. The New Music Advisory Committee and the Commissioning Coordinator have led the way and brought numerous composers to the flute world.

A review of the list of NFA commissions on the NFA website demonstrates the depth of the program, with more than 90 commissions since the first in 1986. The Special Projects category, which includes large-scale works, includes numerous luminaries of 20th- and 21st-century music, including Lowell Liebermann, Julia Wolfe, Shulamit Ran, and Jennifer Higdon, among many others.

Currently, the NFA has nine commissions in process, including commissions for the Young Artists, Piccolo Artists, and High School Soloists competitions for the 2025 and 2026 conventions; upcoming flute choir commissions by the IDEA and Low Flute committees for the 2026 convention; and two special commissions for the 2025 convention, placed by Program Chair Mariana Gariazzo and supported by an NFA endowment grant.

At the 2025 convention, we aim to elevate the convention experience by commissioning original compositions by Nicole Chamberlain and Tilmann Dehnhard that incorporate large flute ensembles and audience participation. These works will provide unique performance opportunities for convention attendees who don’t typically perform in the convention programming. –Program Chair Mariana Gariazzo.

I strongly believe that the creation of new work is an important investment in our artform’s future. Thanks to the NFA Board of Directors, program chairs, and members who continue to value this work at the NFA.

Read music journalist Frank Oteri’s Flutist Quarterly article “Enduring Contributions to Repertoire for Flutes: The National Flute Association’s Commissions” (Spring 2022, Volume 47, No. 3) to find out more about the history of NFA’s commissioning program.

-Jennifer Clarke
Executive Director

In the news section of this issue of Flutist Quarterly, we’ve outlined all the initiatives that begin their cycles in the fall each year. Competitions, scholarships, online programs, and education programs are NFA member-led programs that connect the NFA’s flute community with the next generation of flutists, as well as each other. Our members’ willingness to share their expertise through these programs is an inspiration and a model of the best kind of membership organization.

Rebecca Johnson’s letter, her final missive as president, outlines everything she has brought to the NFA in her many years of dedicated service. Rebecca was vice president when I first came on board, so has been there for the whole duration of my time with you so far. I’m very grateful for her wealth of NFA and flute-world knowledge, her cheerful optimism, and her problem-solving mindset—not to mention the incredible hard work she’s done on behalf of both the membership and the organization as a whole.

The NFA’s structure as a member-led organization creates an interesting dynamic between the board leadership and staff leadership. The NFA’s executive director role is unique in the level of collaboration involved in leading the organization. This collaboration creates a bedrock for sharing knowledge, expertise, and ideas, as well as moving the organization forward. As Rebecca now takes a spot in the indomitable Past President’s Council, I look forward to working with incoming President Jennifer Grim and Vice President Francesca Arnone.

As we look ahead, the new strategic plan developed by a team of members led by Michelle Stanley will guide us toward accomplishing new goals of organizational stability and membership growth, engagement, and diversity through 2027. NFA conventions, as always, will consume a large portion of our attention and resources as we work with each program chair team to facilitate their artistic vision of creating an event that is musically breathtaking and expansive while at the same time reflecting our inclusiveness goals for the future.

Transitions are constant at the NFA. A warm thank-you to Rebecca and all of the others who are completing their terms this October. And to all those stepping up in November—I look forward to working with you!

In just a few weeks, the NFA community will be heading to San Antonio for the 52nd annual convention—Flauta Mundi: Global Voices of the Flute. As always, the NFA staff will be joined by committee chairs and appointees in the enormous effort to make sure the huge array of components of the convention go off without a hitch.

Aside from the tireless and creative planning of our artistic team, Program Chair Alberto Almarza and Assistant Program Chair Sarah Shin, committees and volunteers have laid the groundwork for their sessions and concerts over a period of months and years. The New Music Advisory Committee’s commissioning program, for example, awarded commissions to three composers to write pieces for the Young Artists, High School, and Piccolo competitions as early as December 2022. These new works are performed in a dedicated program as well as during the competitions. Planning for this year’s Youth Flute Day, with more than 200 local students participating, has involved months in the planning by the Youth Engagement Committee.

And when the convention is over and we’ve taken a breath, our committees and staff focus on what comes next. While our new program chair team digs into 2025 convention planning, we begin work with the 2026 team and confirm venues for 2027 and 2028 conventions. We also get to work on all the non-convention-related programs that make the NFA a year-round organization.

Our two education programs, the Lessons Scholarship Program and the Young Artists Mentorship Program, will prepare for the next cycle of teaching, supporting, and mentoring the next generation of flutists. The next Online Events Series featuring free one-hour sessions created by flutists for our community will get underway. The 2025 NFA competition cycle will begin as more than 500 flutists review repertoire and prepare their recordings for the first round. Meanwhile, committees working in the fields of archives and oral history, performance health care, IDEA (inclusion, diversity, equity, and accessibility), and many others will seek ways to enhance the lives of flutists, honor their legacy, and build our community for the future. (See a list of all the NFA’s committees here.)

As the 2024 convention fades from our memories, I hope you will stay engaged, get involved, and be part of the NFA’s history and future.

One of the topics I hear about frequently in my conversations at the NFA is the need for transparency. I’ve been thinking about what this means at the NFA as we work together to facilitate all the activities of our unique organization.

My first stop to clarify my interpretation was the dictionary. According to Merriam-Webster, “Transparency is the bedrock of ethics. Transparency is an amalgamation of many important values that include honesty, respect, and responsibility.” The Cambridge Dictionary describes it as “A situation in which business and financial activities are done in an open way without secrets, so that people can trust that they are fair and honest.”

Putting these together, it becomes clear that when NFA members ask for transparency, they are asking for openness and honesty about how decisions are made, by whom and when, and they want to know that their voice is heard and respected. Whether this is about proposal acceptance, financial decisions, exhibit hall placement, board nominations, virtual event selections, competitions, and whatever activity involves a decision that impacts on our members and their goals.

To respond to needs for more transparency, you’ll start seeing messaging that aims to unpack some of the processes that keep the NFA’s activities on track, many of which involve a vast array of volunteers/appointees as well as our staff. You’ll see more information about how different things are funded and who is responsible for making them happen, such as a committee or appointee.

Rebecca Johnson’s piece in this issue of Flutist Quarterly, along with Alberto Almarza and Sarah Shin’s interview on the new NFA Monthly Cast, aim to show what’s involved in the proposal review process. My previous blog series and recent podcast interview on NFA’s finances unpack how the NFA’s money is spent, especially member dues and registration fees, and how the financial pieces fit together. Our podcast series is intended to give members a look “behind the curtain” at some key areas of NFA operations.

And while it has been said that the NFA can be bureaucratic at times, with forms to fill out and a review process for applications of every kind, I strongly believe that introducing structures that are the same for everyone who applies—whether it’s for a job, an internship, a nomination, or a proposal—create transparency and fairness.

Returning to our dictionary definition, trust is perhaps the most important key to sustaining a healthy organization where members feel that their voices are heard and decisions are made in an honest, fair, and open way. By increasing transparency, my hope is that we will build a more trusting community where everyone feels respected and that their goals within the flute and music world remain at the center of what we do.

-Jennifer Clarke
Executive Director of the NFA

Over the past few months I’ve had the pleasure of spending time at the Miami Music Project, where the NFA recently launched a new Lesson Scholarship. Talking with the students and teachers there reminded me that music isn’t only an art form—it can serve as a vehicle for social change.

Miami Music Project is an El Sistema–inspired program that offers free music education to students in underserved neighborhoods across South Florida. The organization’s mission is that it “uses music as an instrument for social transformation, empowering children to acquire values and achieve their full potential, positively affecting their society through the study and performance of music.” The program is rooted in the El Sistema philosophy developed by José Antonio Abreu in 1974, which viewed music as a means of addressing broader social issues. Abreu believed that intensive ensemble-based learning could foster discipline, self-worth, cooperation, and leadership in children facing significant economic and social barriers. What began as a small gathering of young musicians in Venezuela has evolved into a global movement that has lifted millions of students and reshaped entire communities.

While El Sistema programs have produced extraordinary performers, including Gustavo Dudamel, their impact reaches far beyond music. The program supports the student’s holistic development. Music may be the tool, but its influence expands into every part of a student’s life, creating confidence, resilience, community connection, and a belief in one’s own potential.

Miami Music Project fulfills this work by supporting the needs of its students and neighborhoods. The focus of instruction is group learning rather than the one-on-one private lesson model that is standard in much of the United States. This ensemble-centered approach fosters a strong sense of shared purpose, reflecting El Sistema’s core principles. Students receive free instruments, ensemble instruction, mentorship, and opportunities that expand their vision of what’s possible. Many of these young musicians would not have access to structured arts education without the program. The energy inside those classrooms, the focus, joy, and sense of belonging, is unmistakable. I saw this with my own eyes!

When the NFA formed its partnership with Miami Music Project this year through our Lesson Scholarship Program, it became clear how aligned our values are. At its heart, the NFA is a community committed to serving flutists and the broader flute world, supporting artistry, fostering connection, and creating pathways that broaden accessibility. Bringing NFA resources into a program built on equity and social empowerment reflects the kind of impact we continue to pursue.

Working with these students has reaffirmed my belief in the broader purpose of our work as musicians. Music creates community. It builds bridges across cultures and neighborhoods. It teaches listening, empathy, and shared responsibility. And in programs like the Miami Music Project, it can change a student’s future.

As we look ahead, I encourage each of you to take an active role in strengthening your own community through music. Our field depends on musicians who are willing to step forward, whether by teaching, mentoring, partnering with local organizations, or bringing the flute into spaces where it is not always supported. These efforts widen access, build connections, and ensure that the transformative power of music extends beyond our own networks.

Consider where your time, expertise, and passion can make a meaningful impact. Seek out opportunities to serve. Create them if they don’t yet exist. Be the person who opens the door for someone else. If each of us commits to paying it forward in a concrete, intentional way, the collective strength of our community will grow, and so will the reach of the music we love.

Jennifer Grim
NFA President

As we anticipate the joy of gathering together in Atlanta this August for our annual convention, I’m grateful for the rich legacy of artistry, service, and dedication that defines our NFA community. Every year, this convening provides us with an opportunity to reconnect with one another, with our shared history, and with the evolving future of the field.

At the 2025 convention we will honor three remarkable flutists who have made lasting impacts in the industry: Lilian Burkart, Sheryl Cohen, and Zart Dombourian-Eby. Each of these individuals represents the very best of our profession, with distinct contributions in flutemaking, pedagogy, and performance.

Lilian Burkart has transformed the landscape of flute- and piccolo-making through her meticulous craftsmanship and innovative design. Her instruments have become benchmarks of excellence, trusted by players around the world. Sheryl Cohen, with a legacy rooted in decades of teaching, mentorship, and authorship, has nurtured generations of flutists and teachers. Her publications and pedagogical wisdom have enriched the lives of countless musicians. Zart Domborian-Eby, a distinguished solo piccoloist, has been an enduring advocate for the instrument and a model of professionalism, mentorship, and grace. Her leadership and artistry have shaped the way we understand and celebrate the piccolo’s role in the musical ecosystem. To add to her busy schedule as solo piccoloist of the Seattle Symphony, she has dedicated her life to the NFA, serving as Program Chair (2012) and President (2014–16). She will also receive the Distinguished Service Award, the first flutist ever to receive both awards.

Each of these individuals has made significant contributions to the world of flute playing and pedagogy in remarkable ways. Their careers remind us that service, innovation, and musical mastery are not just admirable qualities; they are integral to the growth and vitality of our artistic community. We are honored to celebrate their impact, and we look forward to honoring them in Atlanta. Come to their tribute concerts and cheer for them as they receive their awards at the Gala Awards Ceremony!

The NFA has always thrived at the intersection of legacy and innovation. This commitment is visible in this year’s convention programming, expertly crafted and imagined by Program Chair Mariana Gariazzo and Assistant Program Chair Cristina Ballatori, which includes space for emerging voices, bold new repertoire, inclusive pedagogies, and fresh perspectives on what it means to be a flutist in today’s world. The energy of innovation is everywhere, from the many, many performances, workshops, panel discussions, masterclasses, and in the exhibit hall.

As we get ready for Atlanta, I invite you to reflect on how tradition and innovation inspire your work. How are you making a difference in your community? Who in your network is leading with creativity and courage? Whether you are a student, teacher, performer, technician, enthusiast, or advocate, your work matters. The future of our field is not being written by a select few; it is being shaped every day in classrooms, studios, concert halls, and communities worldwide.

As we come together at the convention, let’s take a moment to honor the path that’s brought us here and the people who’ve made it possible. Let’s also shine a light on those who are pushing boundaries and shaping what’s next. The flute world is big enough for all of us, and there’s so much we can learn from each other, past, present, and future.

Jennifer Grim
NFA President

I don’t know about you, but I’m still bouncing off the walls with excitement from the 2025 convention in Atlanta! It felt like a magical fusion of creative and artful programming, thanks to the visionary work of Mariana Gariazzo and Cristina Ballatori, and the energy of being back in one of the most vibrant and culturally diverse cities in the country. I so enjoyed hearing from so many of you about the joys of the convention, and I hope that the good feelings bring new life into your flute playing and teaching!

As we carry that energy forward, we’re thrilled to welcome several new faces into leadership this November.

Alice Jones, a thoughtful and visionary leader, was originally elected Treasurer in 2024 and will be serving another term. Brittany Trotter will be stepping into the role of Assistant Secretary, serving one year before transitioning to Secretary. Joining the Board of Directors are Adam Eccleston, Alice Kogan Weinreb, and Caroline Wong—each bringing rich and varied experiences from across the flute community. I’m excited to collaborate with them and see their impact unfold.

At the same time, we’ll be saying goodbye to several dedicated volunteers who have served the NFA with passion and commitment. A heartfelt thank-you to Kim Goodman, who is concluding her term as Secretary after also serving as Equipment Manager for an incredible 18 years. Her leadership and infectious love for the NFA have left a lasting mark.

We also bid farewell to our outstanding board members: Lisa Garner Santa, Danilo Mezzadri, and Regina Yost. Your dedication and thoughtful contributions have helped shape the NFA’s direction, and I’m deeply grateful for our conversations and shared work.

Several competition coordinators are also finishing their terms after a year of tireless effort—facilitating repertoire selection, recruiting entrants, and organizing both recorded and live rounds. These volunteers were instrumental in making the competitions one of the most popular events at the convention. Thank you to Leighann Daihl Ragusa (Baroque Flute Artist Competition/Baroque Flute Masterclass Competition Coordinator), Daniel Pardo (Frances Blaisdell Scholarship Coordinator), Shauna Thompson (General Competitions Coordinator), Deborah Rebeck Ash (Low Flute Artist Competition Coordinator), Kathleen Melago (Masterclass Performers Competition Coordinator), Ana Paola Rincones (Myrna Brown International Scholarship Coordinator), and Heather A. Small (Newly Published Music Competition Coordinator).

Our committee chairs continue to uphold the NFA’s mission through advocacy and thoughtful proposals that reflect the diverse interests of our membership. We are grateful for the leadership of Elizabeth Buck (Archives and Oral History), Achia Floyd (Development), Hilary Janysek (Flute Clubs), Michael Lynn (Historical Flutes), Paula Gudmundson (Idea), Zart Dombourian-Eby (Past President’s Council), and Catherine Ramirez (Pedagogy).

And finally, our year-round appointees are the backbone of our organization—ensuring smooth programming, and coordination with volunteers, performers, and exhibitors. Thank you to Carlos Feller (Appointees Liaison), Kathy Farmer (Convention Opening Orchestra Coordinator), Julia Carey (Exhibitors Concert/Showcase Coordinator), Dan Parasky (Flute Ensemble Festival Coordinator), Julie Maisel (Gala Awards Chair), Katherine Emeneth (Local Arrangements), Nathalie Simper (Local Arrangements), and Townes Osborn Miller (Volunteer Coordinator), for your unwavering dedication.

And of course I’m deeply grateful to the brilliant minds behind the Atlanta convention, the programming team of Mariana Gariazzo and Cristina Ballatori! The joy on everyone’s faces throughout the four days was a direct reflection of your tireless work and inspired vision. Thank you for making it unforgettable!

As we look ahead to the next season of the NFA, let us carry forward the inspiration, camaraderie, and creativity that defined our time in Atlanta. Thank you to every volunteer, leader, performer, and member who makes this community so vibrant. Here’s to another year of growth, music-making, and shared passion for the flute. We can’t wait to see what’s next!

Jennifer Grim
NFA President

In my last article for The Flutist Quarterly, I shared my journey to the NFA and the sense of belonging I found along the way. Now, in a world shifting beneath our feet, I am compelled to speak with even greater urgency about the power of unity. As musicians, educators, and advocates, we have a responsibility—to ourselves, each other, and the future of our art—to stand together, amplify all voices, and ensure that our community is not just welcoming but actively empowering.

My commitment to this mission as NFA President is unwavering: Every flutist, regardless of age, background, or career stage, must feel welcomed—not just as a member of an organization but as an essential part of a movement that drives our art forward. The NFA is not just a space for all flutists—it is a force that must evolve, expand, and uplift. From students to professionals, from classical virtuosos to avant-garde innovators, we must not only embrace our collective strength but champion it.

It is not enough to make space—we must carve out more space. We must raise the volume of voices that have been silenced, push past old barriers, and dismantle outdated notions of who gets to be seen, heard, and celebrated. We must take bold action: amplifying flutists who have gone unrecognized for too long, expanding access to critical resources, and ensuring that every program, initiative, and performance reflects the true richness of our global flute community. I want every single flutist to know—unequivocally—that they belong here, that their artistry matters, and that their contributions shape the future of our craft.

Unity within the NFA is not a passive ideal—it is an active mission. It means breaking down barriers to access, forging real connections, and creating spaces—through conventions, masterclasses, competitions, and mentorship programs—where flutists do more than simply meet. They inspire, challenge, and revolutionize. These moments of connection are not just items on an event calendar but catalysts for transformation. They are the heartbeat of our community.

And we cannot stop there. Beyond our events, beyond the digital spaces we inhabit, we must extend our hands and bring others into this family. Growth happens when we lift each other up, welcome fresh perspectives, and share our knowledge without hesitation or reservation. The future of our art depends on it.

I am deeply moved by 2025 Program Chair Mariana Gariazzo’s powerful words in outlining the theme of the convention:

It is often during times of extreme hardship that virtue and nobility emerge within the human spirit. Let us harness the power and strength of our NFA flute community worldwide to sow the seeds of peace by acknowledging our interconnected oneness. We are One. We are the NFA.

Mariana’s words are more than an inspiring sentiment—they are a call to action. Unity is not symbolic; it is tangible. It is built in the moments we share, in the mentorship we provide, and in the opportunities we create for those who have been left behind for too long.

Each year, at the NFA convention, I witness firsthand the magic that happens when flutists from across the world come together. These gatherings are not just about performances or technical mastery but about transformation. I have seen students meet their heroes and leave with newfound confidence. I have seen educators exchange groundbreaking ideas that shift entire paradigms of teaching. I have witnessed composers and performers join forces to shatter the limits of what we thought the flute could do.

These moments remind us why we are here. Music is more than notes on a page—it is a force that bridges divides, transcending language, geography, and individual experience. The NFA is more than just an organization—it is a home, a movement, and a driving force behind the future of flute playing.

But let’s be clear: This movement belongs to all of us. Every one of us has a role in shaping this community. Whether you are a performer, a teacher, a researcher, or an advocate, your voice matters. Your contributions matter. And your commitment to unity will determine the strength of our collective future.

So I ask you:
• What will you do to foster unity within the flute community?
• Who will you invite into the NFA family?
• How will you use your knowledge, experience, and passion to build something greater than yourself?

These are not abstract questions. They are challenges, demands, and the fuel for change. Together, we will not just celebrate our art—we will expand its reach. We will not just embrace the idea of togetherness—we will demand it. We will not just grow—we will soar.

Now is the time. Let’s stand together, support one another, and make the NFA not just a gathering place but a true force for transformation.

We are One. We are the NFA.

Jennifer Grim
NFA President

We each have our unique origin story for how we ended up playing the flute. For me, after a three-month failed attempt at violin lessons at age 6, I attended a school assembly where I heard a sixth grader play the flute. My eyes lit up at the beautiful sound, and I immediately wanted to learn. I began group lessons with—funnily enough—all of the other girls in my third-grade class as soon as I could.

And as they say, the rest is history—but for many people, it’s not that simple, or easy. In fact, it can be downright lonely.

In Elizabeth Rowe’s TED Talk, she refers to being a “lonely only,” one of very few women amidst a sea of male colleagues. Many of us can relate to this feeling, and growing up as a biracial Black woman, I was usually the only person of color in my ballet and gymnastics classes and youth orchestra. (Later on, I was often the only Black person in my undergraduate major, flute studio, chamber groups, department at my faculty job—I could go on and on.) I rarely saw anyone who looked like me in any environment, especially in classical music. While I always thought that the flute would play a significant role in my life, I never imagined it would be the center of my career—since I didn’t have any Black role models who were professional flutists, it didn’t occur to me that classical music would be an appropriate profession for me. Only after encouragement from my mentors—Alexandra Hawley (daughter of Frances Blaisdell) and Ransom Wilson—did I think being a professional flutist might be possible.

My origin story with the NFA began with the 2006 convention. I didn’t have the opportunity to attend when I was a student, for it was too expensive, and I often felt that it was a place that wasn’t “for me.” Once I started teaching full-time at a university, I prioritized attending the convention and trying to find my community. I will admit that it was not easy at first. The NFA is the largest single-instrument organization in the world, with a convention of 3,000 attendees, yet, it’s easy to feel isolated when you can’t find your circle.

Fast-forward to 2012, when the convention was in Las Vegas, and (2025 LAA and DSA awardee) Zart Dombourian-Eby asked me to serve as the Volunteer Coordinator. In this role I reached out to the community of flutists in the Las Vegas area, and together we helped provide a meaningful experience for attendees at Caesar’s Palace. By serving the NFA in this way I found meaning and community. The convention eventually became a place for me to reconnect with colleagues and former students and meet new friends.

After that, I became the chair of what is now called the IDEA committee in 2013, joined the Board of Directors in 2017, and became Program Chair for the canceled 2020 Dallas convention, the 2020 Summer Series, and the 2021 Virtual Convention. During the Summer Series we introduced affinity spaces and meet-up sessions, which allowed folks from all over the world to meet each other online during the most challenging period of the pandemic. I’m glad that these spaces continue to be available for our members to connect, share ideas, celebrate triumphs, and brainstorm challenges—in other words, find community.

The NFA has changed so much in the past 20 years. The 25-year-old me would have felt excitement, inspiration, and community in today’s NFA. I aim for everyone to see themselves represented in all aspects of the organization, whether through a diverse Board of Directors and staff, programming of all genres by familiar and new faces, or insightful virtual events.

Thank you for allowing me to serve as president for the next two years. I’m excited about the future of this organization, and I invite you to join me as we embrace new opportunities, drive meaningful change, and build a stronger, more inclusive community together.

-Jennifer Grim
NFA President

When considering what I wanted to include in this last piece of writing as NFA President, I read the beautiful parting notes from Penny Zent, Joanna Bassett, and Kyle Dzapo. I also pulled out the piece I wrote for this column about the value of service, from my first note for Winter 2022, which was meant to inspire people to get involved, detailing the “how” of how one becomes a part of the NFA’s volunteer structure. What it didn’t include was a lot about how meaningful it can be to serve others in any capacity, through whatever part of our lives is most important to us.

For me, that’s been the NFA. In the last 17 years, doing what I could to improve the organization’s structure and capacity over many positions, serving the NFA has been a big part of my life. It has required me to have leadership skills I wasn’t always sure I possessed. It has taught me to expand the way I listen and think about how we might incorporate all of our constituencies in a meaningful way. It has allowed me to use my organizational skills and helped me to think about how I can most positively engage with other people. And, as Kyle Dzapo said in her note for the Winter 2018 Flutist Quarterly, ultimately it’s about the people.

This is a membership organization. Every decision we make, every time we think about how we structure an event or a process, it’s about how we can serve the NFA’s membership community most fully and well. We always want to be accessible and see how much of the flute-loving world we can serve, and the energy that goes into how we do that is thoughtful and careful. Everyone comes to leadership in this organization with different skills, but we try to cultivate teams that function well and help move us forward, toward whatever the NFA will become in the future.

From our progress over the last four years that I’ve been serving as an officer, here are particular points of pride:

• The board passed a new Strategic Plan this fall to cover 2024–27. I’ll be looking forward to seeing how the goals we’ve set are able to expand our reach and do more.
• We have had a successful period of rebuilding the NFA staff, led by Jennifer Clarke, which has created a sense of stability and commitment to consistency and process that the organization needed.
• We’ve really worked to get more new voices represented in the NFA, including a more diverse appointee and board and younger appointees, taking their first steps toward NFA leadership.
• Membership is growing again, basically doubling from where we were in 2020 when everything changed during the pandemic.

All of this work is because of the amazing people who dedicate so much of their time to the NFA, many of whom also finish terms at the same time I do, on October 31. Our outgoing secretary, Lisa Bost-Sandberg, has approached the last two years thoughtfully and with an excellent attention to detail, and our records are in a better place due to her work. Our three outgoing members of the Board of Directors have been engaged throughout their time, constant contributors to the cause: Thank you to Tadeu Coelho, David Houston, and Kim Scott Strickland for your three years of service.

Among our 75 appointees, we have five competition coordinators finishing terms this cycle:

Christina Condon, Sonja Giles, Yuko Hoshi, Sanae Nakayama, and Brittany Trotter. Committee chair Lisa Fahlstrom also completes her four-year term, and Blair Mothersbaugh finishes a term as the coordinator of the Myrna Brown Dine-Around.

Additional special thanks to the program chair teams from the last two years: Ali Ryerson and Deborah MacMurray in 2023, and Alberto Almarza and Sarah Shin this year. We had very different conventions in those two years, and that’s what makes the rotating program chair position so powerful. Thank you to all of them for their dedication to the organization and the flute community.

Being a part of this institution’s leadership trio (president, vice president, and executive director) has been a remarkable experience. Working with Executive Director Jenny Clarke over nearly four years has been transformative—her tireless work for the organization keeps us on track and moves us forward. And I truly admire the two powerful women with whom I’ve served as vice president and president: Penny Zent and Jennifer Grim. They each bring different life experiences to the table, but both have served with grace and care, helping our organization grow and evolve. As I hand the reins off to Jennifer for the next two years, I know that the NFA is in good hands and that her leadership will be just what we need at this time.

We might think of seasons as something inevitable, which just happen because of the rotation of the earth as it orbits the sun, nature claiming its influence on our lives. As this NFA season comes to a close, I’m left to reflect on the seasonal aspects of our professional and personal lives. This one has left a powerful mark on me, and I look forward to everything that comes next.

-Rebecca Johnson
NFA President

Throughout the nearly two years I’ve been writing these columns, I’ve tried to include some insight on NFA procedural items to increase transparency and help folks understand how different aspects of the organization function. We’re a large organization with many different segments, and each of us has become acquainted with the NFA through our own door—perhaps through a competition, presenting or performing, online events, flute choir, or accessing membership benefits.

We’re about to gather for our annual convention in San Antonio, Texas, in early August 2024. It will, without a doubt, be a celebratory four days full of high-energy presentations and performances, an opportunity to try new products and instruments, a social experience with friends old and new, and a way to be inspired for our future. San Antonio is a vibrant city full of diversity, culture, and natural beauty, and it will be a fantastic location to come together.

But why San Antonio? At this time, in the middle of 2024, we have our 2025 and 2026 contracts for convention venues signed. We are working on 2027 and 2028 and hope to have those finalized by the end of the year. We have to commit to locations fairly far in advance to secure lower hotel rates for our members and reserve the spaces we need. This also means, of course, that we can’t alter course easily later. We have a consultant who tries to research sites that will fit our needs and works with the NFA team to build a comprehensive proposal for our Board of Directors.

Important factors for site selection:

• Our ideal weekend is the second full weekend in August, still in the first half of the month. This is (hopefully) early enough to have students and professors still in summer mode but late enough to have people free from summer festivals and programs. The second choice is the first weekend in August.
• Regional rotation. We try to bring the convention closer to all U.S.–based flutists once every three to four years. This means that it will be hot much of the time, since a large portion of the continental U.S. is likely to be hot in August.
• Available space. The NFA requires quite a lot of ballroom space compared to the size of our convention, due to our propensity for giving concerts requiring large stages. Not all cities have a venue that actually works for what we’re trying to do or are interested in our business.
• Part of booking convention sites is a negotiation of many cost-related factors. We negotiate the discounted rate for hotel rooms, how many hotel nights our attendees will book, the fees for renting space, how much catering we’re committing to, and what we’ll pay for staff rooms.
• Comfort and travel factors. Will there be hotel renovations during our dates? What is the biggest airport in the area, and how challenging is it for NFA members to get there? Is the area walkable? Are there restaurants in the area? How many hotels are we committing to and how far is the walk from the hotel to the convention center?

This brings us back to San Antonio. It’s the seventh largest city in the US and the first time the NFA has been back to Texas since 2002. With the cancellation of the 2020 convention in Dallas, when looking at our next site to book in post-pandemic times, it was natural to try again for Texas. The organization had recently looked at San Antonio, but those plans fell through. For our 2024 needs, it seemed a great fit of location, prices, and amenities, and fulfilled the goal of bringing our convention closer to a different part of the country than it had been lately. Building up to this convention, we’ve had years of planning by our Program Chair Alberto Almarza and Assistant Program Chair Sarah Shin, careful local input by Rachel Woolf, hard work by the NFA staff, and the impact of all of the NFA appointees (Board of Directors and officers, competition coordinators, committee chairs, and other specialized positions). It takes a massive team to get everything ready for this year’s event. Hope to see you there for this annual celebration of music and the flute!

-Rebecca Johnson
NFA President

Being the program chair (PC) for an NFA convention provides a much different look at the organization. I was honored to serve in this position in 2019. The NFA appoints a PC—basically an artistic director with an added load of administrative tasks—to oversee an upcoming convention about two-and-a-half years in advance, which is when the creative juices start flowing. This gives the committee a year-and-a-half before member proposals are due to decide upon the theme, select an assistant program chair (APC), map out priorities for some of the headline performers, and think about ways to incorporate the host city into the offerings.

Then, in the fall of each year, hundreds of NFA members submit proposals to present at the following summer’s convention. We often receive 400 to 450 proposals—though the two most recent conventions in Texas (2020, postponed to 2021 and virtual, and the upcoming 2024) attracted more than 500. At the same time, the NFA staff sends the PC’s team a scheduling grid with many time slots already reserved for competitions and important annual events, as well as room restrictions that are specific to each convention venue.

Along with a programming committee of 8 to 10 people, the PC and APC go through all the proposals, collated by type of event, so everything can be compared by the way they will function in the schedule. Workshops are compared to other workshops, panel discussions compared to other panels. The performance proposals (a massive number) are evaluated and honed into programs that can all be fit into the schedule grid and number of rooms that NFA has rented.

After four months of painstaking evaluation, whittling down, and schedule juggling, people are informed of the results. Unfortunately, many proposals are denied, sometimes due to lack of detail or quality of the proposal and much of the time simply due to time and schedule limitations. The acceptance rate varies between about 33% and 50%—in a very high submission year like this one, it is about one-third.

Though many excellent ideas must be denied each year for space and time reasons (please try again in the future!), there are always things folks can do to improve the quality of their submissions. For starters, each fall there’s a helpful proposal workshop where the NFA staff and program chair talk through the process and the PC team talks about their programming priorities. We encourage you to attend!

In the meantime, here are some thoughts for you to consider as you craft future proposals:

• Proposals that adhere to the theme of the convention are especially attractive.
• When proposals seem incomplete (no repertoire listed, no personnel, or some combination thereof), they are less compelling when reviewed alongside those that are very detailed, and therefore they are less likely to succeed.
• It is important to submit a recording of you playing the actual piece you’re asking to perform.
• The recordings you have on your website cannot serve as the sound samples you need. When evaluating so many proposals, there’s not time for the PC to look through what you have on offer. Please link to the actual recordings the PC should consider, even if they are in a large list on your website.
• If you’re asking to play a newly commissioned work, you need to submit recordings of yourself and of the composer’s similar work. And, of course, make sure the piece will be ready in time.
• Proposals submitted on behalf of a committee should indicate how the session will help the committee achieve its goals for the benefit of the NFA community. Committee proposals that are performance-based and don’t directly advance the goals of the committee and organization are unlikely to be selected, as are those that lack detail.

As you can see, selecting and organizing a convention’s programming is a gargantuan task for the PC—but is ultimately a rewarding part of one’s life and career. When you’re there in person seeing an audience engage with the incredible number of moving parts that comprise each NFA gathering…it is amazing! When you see us saying say “thank you” to the PC team over and over again in person, in the program book, and on our media channels, we truly mean it—this is a seriously dedicated investment of time, resources, and love.

Each year, when the NFA calls for organizational nominations, we include a call for future program chairs. I hope this might help get you thinking about who might be an amazing addition to our PC roster. We’re looking for someone who is familiar with the structure of NFA conventions, well connected in the flute community, organized and detail oriented, and a visionary artist and phenomenal flutist. It’s a tall order, but we also all know these folks exist! We take this process seriously. You’ll hear news of the 2026 PC soon, and we’ll be looking for 2027’s in next winter’s nominations cycle. We’ll hope to hear from you!

-Rebecca Johnson
NFA President