Valerie Coleman: Fanmi Imèn performed by Alexa Still and Evan Hines

Описание: Human Family by Maya Angelou

I note the obvious differences
in the human family.
Some of us are serious,
some thrive on comedy.

Some declare their lives are lived
as true profundity,
and others claim they really live
the real reality.

The variety of our skin tones
can confuse, bemuse, delight,
brown and pink and beige and purple,
tan and blue and white.

I've sailed upon the seven seas
and stopped in every land,
I've seen the wonders of the world
not yet one common man.

I know ten thousand women
called Jane and Mary Jane,
but I've not seen any two
who really were the same.

Mirror twins are different
although their features jibe,
and lovers think quite different thoughts
while lying side by side.

We love and lose in China,
we weep on England's moors,
and laugh and moan in Guinea,
and thrive on Spanish shores.

We seek success in Finland,
are born and die in Maine.
In minor ways we differ,
in major we're the same.

I note the obvious differences
between each sort and type,
but we are more alike, my friends,
than we are unalike.

We are more alike, my friends,
than we are unalike.

We are more alike, my friends,
than we are unalike.

Valerie Coleman: The title of this tone poem, Fanmi Imèn, is Haitian Creole for Maya Angelou’s famous work Human Family. Both the musical and literary poems acknowledge differences within mankind, either due to ethnicity, background, or geography, but Angelou’s poetic refrain: “we are more alike, my friends, than we are unlike,” reaffirms our humanity as a reminder of unity.

Within the flute and piano parts are motifs representing cultural differences, that come together to form a tapestry, united through tempi, and quasi cadenza-like transitions. The work begins and ends with a patriotic Americana feel, to symbolize and recognize the contributions immigrants have made towards the building of a nation as a whole.

The work includes harmonies and thematic material that represent French flute music blending with an underlying pentatonicism found in Asian traditions, a caravan through Middle Eastern parts of the world that merge with Flamenco music within the Quasi-Cadenza, and an upbeat journey southward into Africa with the sounds of the Kalimba (thumb piano). Here the flute imitates the thumb piano as it playfully taps out a tune that spells out morse code message of U-N-I-T-Y within the rhythm. The many twists and turns come together to create a sound that symbolizes a beautifully diverse human race. Performers are encouraged to embrace the cultural ‘nods’ through the interpretations.