• 63
  • 378
  • 40
  • 97
756 SHARES

Harmony in Representation: How Discovering a Classical Musician Who Resembles Me Transformed My Perspective

Wednesday, 20 December 2023 21:26 Opinion

Unlocking the Melodies of Identity: How Joseph Bologne's Music Led Me to Guadeloupe

Amidst the tumultuous currents of this year, where police scrutiny has unfairly targeted young Black musicians, particularly drill artists seeking an escape from poverty and gang life, there exists a beacon of hope that resonates with compassion, solidarity, and excellence—music. In the midst of this disheartening scenario, classical music emerged as my source of hope, reaching new heights during my participation in the Festival International de Musique Saint-Georges in Guadeloupe.

The festival, a tribute to Joseph Bologne, Chevalier de Saint-Georges, transported me to the heart of Guadeloupe and into the enchanting world of this extraordinary figure—a violinist, conductor, composer, master fencer, and a general during the French Revolution. Born in Baillif, Basse-Terre in Guadeloupe, Bologne was the son of a woman of African descent and a French slave trader. Astonishingly, I only discovered his legacy at the age of 20, despite growing up in France surrounded by classical music.

Classical music had been an integral part of my upbringing in France. From struggling with the flute to perform Vivaldi's Four Seasons for an exam to encountering Ravel's Bolero in a television ad and experiencing the captivating voice of "La Callas" (Maria Callas), classical melodies formed the soundtrack of my early memories. However, as my appreciation for classical music expanded, I noticed a significant gap—I couldn't find any classical musician who remotely resembled me.

Thus began a journey, spanning several years in an era before the internet, to seek out a classical musician who shared my background. My quest led me to the discovery of Chevalier de Saint-Georges after attending a concert featuring his compositions, thanks to a friend's grandmother who was a violinist. The intensity of his music astounded me, appealing to my emotions in a profound way. At that moment, I didn't fully grasp the complexity of his compositions, but the music spoke to my soul, offering both peace and restlessness.

Joseph Bologne's 300-year-old melodies not only opened a door to magic and connection but also became a catalyst for my personal journey of self-discovery. In a world where representation matters, his music bridged the gap, allowing me to find echoes of my identity in the rich tapestry of classical compositions. Guadeloupe became more than a destination—it became a vessel for understanding, acceptance, and the timeless power of music to transcend boundaries.

Diving Deeper into Bologne's World: A Musical Journey of Joy and Discovery

My recent endeavors have brought me even closer to the extraordinary legacy of Joseph Bologne. In 2020, I delved into his narrative as part of my book, "African Europeans," which explored the trajectories of remarkable individuals, including Bologne. Subsequently, in 2022, I had the privilege of working as a consultant for the Hollywood movie, "Chevalier." However, it was in October of this year that I received a special invitation to the 10th-anniversary celebration of the Festival Monde en Vues, a renowned festival of film and human rights. It was here that I was introduced to the conductor Marlon Daniel, a kindred spirit with a shared passion for music and the chevalier.

Our connection persisted, transcending geographical boundaries as Daniel, based in the US, extended an invitation for me to attend the Festival International de Musique Saint-Georges the following month. The festival unfolded as a tapestry of joy, where I shared a hotel with around 20 musicians, indulging in moments of camaraderie—swimming, conversing, living, and reveling in the intensity of our shared love for music. The demands of organizing such an event, navigating logistics, and securing essential funds did little to dampen Daniel and his team's unwavering passion for their craft.

Against the backdrop of spectacular venues in Guadeloupe—the Notre-Dame-de-Guadeloupe Cathedral, the Mémorial ACTe museum, and the Église Saint-Pierre-et-Saint-Paul in Pointe-à-Pitre—musicians representing 13 different countries wove a soul- and heart-elevating series of concerts. Masterclasses and conferences during the day enriched the experience. My role extended beyond the musical realm as I endeavored to convey to the audience what life was like for people of African descent in mid-18th century Paris—a narrative of diverse roles, from blacksmiths and barbers to maids and entrepreneurs.

The talent displayed by those involved was nothing short of awe-inspiring, featuring magnificent performers such as violinist Caitlin Edwards, harpist Megan Sesma, bassoonist Tylor Thomas, clarinetists Gocho Prakov and Pamela Coats, and the glamorous oboe player Esther Williams, a member of the UK-based Chineke! Orchestra. While Bologne has often been dubbed "the Black Mozart," Professor Marcos Balter suggests that, based on dates and compositions, it is more likely that Bologne inspired some of Mozart's work. Additionally, Bologne played a pivotal role in commissioning Franz Joseph Haydn's famous Paris symphonies, solidifying his indelible mark on the world of classical music.

Bridging Melodies and Communities: A Note of Hope from the Festival Saint-Georges

The Festival International de Musique Saint-Georges, extending far beyond the realm of influences and acknowledgments, emerged as a platform dedicated to bridging gaps and opening doors to classical music for marginalized communities. As the audience, representing diverse walks of life, united in appreciation, the astounding soprano Léïla Brédent, known as the daughter of Guadeloupe, garnered a standing ovation—a testament to the festival's commitment to inclusivity and accessibility.

For me, this year concludes on a note of hope, inspired by the transformative experiences at the Festival Saint-Georges. Looking ahead to 2024, my aspiration is for the festival to attract sponsors from across the globe, fostering an environment where individuals from all backgrounds can delve deeper into the legacy of the chevalier or continue to savor the music of a man who, 300 years ago, opened the door to European classical music for people of African descent. The echoes of this musical celebration resonate not only in melodies but in the promise of a more harmonious and inclusive future.

Olivette Otele

Distinguished Professor of the Legacies and Memory of Slavery

SOAS University of London

In conclusion, the Festival International de Musique Saint-Georges stands not only as a celebration of classical music but as a powerful vehicle for bridging societal gaps and fostering inclusivity. Beyond the influences and acknowledgments, the festival has become a beacon of hope, offering transformative experiences that resonate across diverse communities. The standing ovation for soprano Léïla Brédent, the daughter of Guadeloupe, symbolizes the festival's commitment to making classical music accessible to all.

As this year draws to a close, the notes of hope struck at the Festival Saint-Georges reverberate, inspiring a vision for 2024 that transcends borders. The aspiration is clear: to attract global sponsors and ensure that the legacy of the chevalier reaches individuals from all backgrounds. In doing so, the festival aims to perpetuate the musical journey initiated by Joseph Bologne, who, 300 years ago, opened the doors to European classical music for people of African descent. This harmonious blend of melodies and inclusivity offers a promising glimpse into a future where the transformative power of music continues to unite hearts and minds.

Olivette Otele

Distinguished Professor of the Legacies and Memory of Slavery

SOAS University of London

Next
The mother of a 6-year-old Muslim boy, who was fatally stabbed in what is believed to be a hate crime related to the ongoing conflict between Israel and Hamas