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And the People Celebrated Program Notes

And the People Celebrated Program Notes 

 

And the People Celebrated was commissioned by the BBC Radio 3 as part of their “25 for 25: Sounds of the Century” project, which features 25 new commissions inspired by 25 significant events which have defined the first quarter of the 2000s. This new work by Nkeiru Okoye represents 2008 and the historic election of the first African American president of the United States, Barack Obama. We are thrilled to present the world premiere at tonight’s performance ahead of the international BBC broadcast on March 22nd. 

 

And the People Celebrated is divided into 5 sections and incorporates three separate speeches by President Obama: his “Yes, We Can” New Hampshire Primary speech, his “Hope” Iowa Caucus Speech, and an excerpt of his inaugural address. These three speeches embody the importance of Barack Obama’s election to the African American community, as well as President Obama’s own cultural background. Okoye blends those elements seamlessly with her music, weaving together African rhythms, African American spirituals, and traditional American patriotic songs—all alongside elements of her own making, such as the “Presidential theme” that first occurs in the trumpets at the opening of the work. 

 

Perhaps the most noteworthy example of this comes in the second section of the piece, where Okoye has created a pentatonic (five note) melody that incorporates two different rhythmic ideas that coexist simultaneously. The first is the “Ramogi” (or Jaramogi) dance rhythm, specific to the Luo people of Kenya, which was Obama’s ancestry on his father’s side. The Ramogi is a dance used for celebrations, which is lively and punctuated with percussion. While the dancers usually attach ankle bells, Okoye has utilized the tambourine and bass drum to mimic the effect. That rhythm is then juxtaposed with the second idea, which is the 18th century snare drum pattern known as the Bellisle March from the Brigade of the American Revolution. These two ideas—of Obama’s Kenyan heritage and his position as President in a long line of leaders originating in 1776—musically represent his dual identity. 

 

Audiences will also hear allusions to works such as “Kum bah ya” and other spirituals throughout the work. These songs are not just references to early African American music, but also the use of these spirituals throughout the Civil Rights movements. In fact, the version of “Kum bah ya” that Okoye uses is in a minor key, symbolizing the urgency and desperation of African Americans traumatized through colonialism, the Middle Passage, and centuries of life in captivity. These spirituals with their biblical texts also complement Obama’s identity as a spiritual man, accentuating the allusions to scripture that are found throughout his speeches. 

 

This piece was designed first and foremost as a celebration—to honor a man who came from immigrants, who understood the history of his heritage, and was able to rise to a place that enabled him to evoke change. It is meant to recognize the importance of that rise to the African American community, who could see themselves reflected in him from both sides of the aisle. Perhaps most importantly, the work invites all of us to question what it is that we can do to evoke similar change in the world around us in a way that honors our own history. 

And the People Celebrated Program Notes

And the People Celebrated Program Notes 

 

And the People Celebrated was commissioned by the BBC Radio 3 as part of their “25 for 25: Sounds of the Century” project, which features 25 new commissions inspired by 25 significant events which have defined the first quarter of the 2000s. This new work by Nkeiru Okoye represents 2008 and the historic election of the first African American president of the United States, Barack Obama. We are thrilled to present the world premiere at tonight’s performance ahead of the international BBC broadcast on March 22nd. 

 

And the People Celebrated is divided into 5 sections and incorporates three separate speeches by President Obama: his “Yes, We Can” New Hampshire Primary speech, his “Hope” Iowa Caucus Speech, and an excerpt of his inaugural address. These three speeches embody the importance of Barack Obama’s election to the African American community, as well as President Obama’s own cultural background. Okoye blends those elements seamlessly with her music, weaving together African rhythms, African American spirituals, and traditional American patriotic songs—all alongside elements of her own making, such as the “Presidential theme” that first occurs in the trumpets at the opening of the work. 

 

Perhaps the most noteworthy example of this comes in the second section of the piece, where Okoye has created a pentatonic (five note) melody that incorporates two different rhythmic ideas that coexist simultaneously. The first is the “Ramogi” (or Jaramogi) dance rhythm, specific to the Luo people of Kenya, which was Obama’s ancestry on his father’s side. The Ramogi is a dance used for celebrations, which is lively and punctuated with percussion. While the dancers usually attach ankle bells, Okoye has utilized the tambourine and bass drum to mimic the effect. That rhythm is then juxtaposed with the second idea, which is the 18th century snare drum pattern known as the Bellisle March from the Brigade of the American Revolution. These two ideas—of Obama’s Kenyan heritage and his position as President in a long line of leaders originating in 1776—musically represent his dual identity. 

 

Audiences will also hear allusions to works such as “Kum bah ya” and other spirituals throughout the work. These songs are not just references to early African American music, but also the use of these spirituals throughout the Civil Rights movements. In fact, the version of “Kum bah ya” that Okoye uses is in a minor key, symbolizing the urgency and desperation of African Americans traumatized through colonialism, the Middle Passage, and centuries of life in captivity. These spirituals with their biblical texts also complement Obama’s identity as a spiritual man, accentuating the allusions to scripture that are found throughout his speeches. 

 

This piece was designed first and foremost as a celebration—to honor a man who came from immigrants, who understood the history of his heritage, and was able to rise to a place that enabled him to evoke change. It is meant to recognize the importance of that rise to the African American community, who could see themselves reflected in him from both sides of the aisle. Perhaps most importantly, the work invites all of us to question what it is that we can do to evoke similar change in the world around us in a way that honors our own history.