wanted to do this film for two reasons: First, because my father has been practicing the piano for eighty years preparing for his day in the sun, but it seemed he has been waiting for someone else to “come down from On High” and hand him the recognition which he felt he deserved. So after I had some success in the film world, I decided this was something I could do for him. Secondly, American culture seems to tell young black boys that they can only hope to become ball-players, comedians, or gangsta’ rappers. I wanted to show them the life of a black American concert pianist – an image most of them haven’t seen – because I know the effect that a role model can have. Just look at the effect that Rachmaninoff had on my father’s life. I also wanted to examine the psychological effects of racism and segregation on his generation of African-Americans. My father was raised to be terrified of whites. It wasn’t until he came to France as a soldier that he came in contact with whites who didn’t treat him like a second-class citizen. It was also important to me to remind the Europeans that the United States Army – which joined forces with the Allies to defeat the Nazis – was a segregated army, and that legalized segregation continued in the United States long after the end of the Second World War. My father came here, risked his life serving his country, then returned to his homeland to the daily humiliations of segregated drinking fountains, public toilets, etc. When he first came to Fisk University and started performing the spirituals with the Jubilee Singers, I doubt that he was aware at the time of the impact the spirituals would have on his life. I know some people have difficulty with the spirituals because the messages are … well, a bit heavy. But one must remember that the people who originally sang these songs were people who had no human rights whatsoever, who were bought and sold like chattel, who were exploited to the point of collapse. These people had no choice but to believe in a God who would deliver them one day, and who would reward them in Heaven for their lives of toil and servitude. It was the only hope they had. But what is also interesting about the spiritual is the fact that the lyrics were certainly monitored by the slave-owners, who were fearful of up-risings and escape-attempts. So the songs served a double purpose: to provide a sense of emotional release for the singer, and also to convey hidden messages to other slaves. As time went on, the spirituals served to remind us of what our ancestors endured. At Fisk, the Jubilee Singers under Mr. Kennedy were being prepared for the world’s opera houses and concert stages via strict classical traditions, which he had learned at Juilliard. Hearing the spirituals sung in classical style was an experience which moved Queen Victoria to tears (as she said in her own words). This is an amazing American story. And Matthew Kennedy – armed with faith, hope, and talent – kept making music, in spite of it all.
Posted on: Fri, 19 Jul 2013 07:13:52 +0000
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