This article first appeared in the Spring 2026 issue of NOTES, Eastman’s alumni magazine.

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The Republic of Cuba, just 150 miles off the coast of Key West, FL, is a Caribbean citadel of contrasts—dense rainforest, mountains rising from a turquoise sea, and towns alive with history, tradition, and music. For Eastman students, it feels worlds away, yet the chance to unlock the island’s mysteries and connect with young musician counterparts is an opportunity few could imagine turning down.

When Associate Professor of Viola Masumi Per Rostad boarded a plane to Havana with four of his students last year, they carried more than cameras and sheet music. They brought curiosity, and the hope that Eastman’s second visit to Cuba might strengthen a growing relationship with CAYO, the Cuban American Youth Orchestra. Still, Rostad was unsure what to expect. “I think we all have this fantasy idea of what life in Cuba is like,” he says. “But in the days leading up to the trip, I had more questions than answers.”

Those questions are exactly what CAYO aims to answer. A Minneapolis-based nonprofit founded in 2016 by Executive Director Rena Kraut, CAYO fosters cultural exchange and musical collaboration between young musicians in the United States and Cuba, supporting students and teachers through workshops, rehearsals, and performances.

WOODWIND WEEK: In May, Professor Michael Wayne and four clarinet students landed in Cuba. From left to right: Professor Wayne, Eric Butler, Kevin Jin, Audrey Bray, and Adam Kolers.

Kraut’s vision grew from her experience touring Cuba in 2015 as a clarinetist with the Minnesota Orchestra. The atmosphere then was one of optimism. “It made me wonder what the arts could possibly do to help grow a relationship between our two countries,” she recalls, imagining an organization that could soften political divides through musical exchange. Sitting beside Cuban peers, she saw the potential immediately. “This is about the interaction between people,” she says, “and using music as this tool of connection.”

Modeling CAYO loosely on the American Russian Youth Orchestra, Kraut began forming partnerships with Cuban performing arts schools—places where students balance rigorous academic study with intense musical training. She then carried the idea to American institutions, including Eastman, through Senior Associate Dean John Hain ’02E (MM), ’07E (DMA), a longtime friend from their undergraduate years at Northwestern University. That connection paved the way for Eastman’s inaugural trip in May 2025, when Professor of Clarinet Michael Wayne brought four of his students to Havana for “Woodwind Week.”

Five months later, Rostad and his students found themselves following that same path—and quickly discovered why the first group returned so inspired. From their first day, they were immersed in performing arts schools buzzing with energy, ingenuity, and a profound respect for music. “Cuban musicians often have to recycle strings,” Rostad says. “Things that we might normally discard, they find a way to extract life from.” He saw where they learned to be so resourceful, noticing the classic 1950s and ’60s cars still cruising Havana’s streets. “The cars are beautiful,” Rostad notes, “but basically held together by duct tape.”

In response to these needs, Kraut encouraged the Eastman group to bring donations. Their luggage held first aid kits, vitamins, hygiene products, and essential musical supplies—including strings Rostad brought through his D’Addario sponsorship. On their first night, Kraut organized a “donation party,” where everything was sorted into piles for each partner school. “Every day, we bring something in exchange for the school’s hospitality,” she says.

As rehearsals and classes unfolded, the Eastman students found themselves navigating a musical ecosystem both familiar and entirely distinct. “It was an extraordinary experience for me,” says third-year viola student Vivienne Lucier. “The students we worked with had inspiring determination and creativity. Whenever I catch myself not fully engaged in orchestra or music theory, I remind myself of them and think of how they would act if they were in my place.”

A UNIVERSAL LANGUAGE: Professor Rostad teaches to a class of Cuban musicians.

Rostad watched his students rise to the occasion. Thrown into rooms full of young musicians, often with a translator at their side, they were asked to lead, respond, and create meaning on the spot. “It was great to see my students being thoughtful and engaging, offering their ideas and experiences,” he says.

For CAYO teaching artist and Director of Operations Lauren Rios, the mutual impact was unmistakable. “The Eastman students arrived with a great willingness to share and learn,” she says. “They immersed themselves in the richness of Cuban music… while offering their own academic perspective.” Cuban students, she adds, “brought passion and expressive freedom to their practice despite material limitations,” while Eastman’s faculty “demonstrated incredible openness to mutual learning and guided students with profound respect.” The week culminated in a joint performance where visiting and local students stood side by side—a symbolic moment of collaboration made real.

The week reinforced something simple and true for Rostad and began to answer some of those lingering questions. “Music is the universal language,” he says. “We share that commonality despite the borders.” He hopes the exchange will one day run in both directions. “It would be wonderful if some of those talented Cuban musicians could come to Eastman.”

Lucier shared that hope as she reflected on the week. “As we flew home, I already missed the generous people who made our stay comfortable; the genuine kids we met at local schools and shared stories with; the delicious food; the lively streets filled with performers, merchants, and cats; and the dedicated students our age, with whom we played chamber music, salsa danced, and bonded with each evening.”

MAKING BONDS: Left: Eastman students like Lilianna Mahave (center) and Vivienne Lucier (far right) enjoyed hanging out and befriending the Cuban students. Right: Rene Kraut (center) and Lucier begin to organize the donation supplies.

Kraut, who visited Eastman last summer, sees limitless potential in the continued collaboration. “I now have a sense of what kind of students are attracted to go to Eastman, and why,” she says. Spending time on campus gave her a deeper appreciation for the school’s mission—and the alignment between the two organizations.

Eastman’s Dean Kate Sheeran sees this unfolding partnership as emblematic of the school’s purpose. “At its heart, Eastman is committed to creating musicians who engage meaningfully with the world,” she says. “Our collaboration with CAYO shows what can happen when students step beyond the familiar and use their artistry to build understanding, compassion, and community. That’s the kind of learning that lasts a lifetime.”

With a jazz-focused exchange already in development, and long-term hopes of hosting Eastman ensembles in Cuba, momentum continues to build. “Now,” Kraut says with a smile, “I feel like I can tell when someone’s from Eastman. There’s just something about them.”

*Featured image: Professor Rostad and his four viola students arrive in Cuba. From left to right: Liliana Mahave, Professor Rostad, Clara Smallwood, Vivienne Lucier, and Cristian Yohannes. Photo credit: Rena Kraut.