Steve Reich and the Politics of Race with Sumanth Gopinath
Sep 14, 2020
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Sumanth Gopinath, an associate professor of music theory at the University of Minnesota, dives deep into the complex racial politics surrounding Steve Reich's music. He discusses the controversy of Reich's past remarks and how it intersects with his works, like 'Come Out,' that engage with civil rights issues. Gopinath also critiques the influence of African music in Reich's compositions, questioning cultural appropriation. The conversation extends to the broader implications of music in tackling social justice and the nuances of privilege and cancel culture.
Steve Reich's initial focus on African American themes in the 1960s contrasts with his later withdrawal from direct racial engagement.
The resurgence of scrutiny over Reich's past remarks highlights ongoing tensions between cultural appropriation and the responsibilities of artists.
Sumanth Gopinath's scholarship emphasizes the importance of analyzing the political implications of sound and the narratives shaped by composers.
Deep dives
Reich's Evolving Engagement with Race
Steve Reich initially focused on African American voices and themes through several significant works, particularly in the 1960s. Over time, his music evolved, moving away from these direct engagements, possibly due to shifting political landscapes and personal identity explorations. While some critics view this transition as disconnection from a vital cultural dialogue, others interpret it as Reich grappling with complexities of race and representation in art. This nuanced shift raises important questions about the responsibilities of artists in representing marginalized voices.
The Controversy Surrounding Steve Reich
Recent social media discussions reignited scrutiny over a past anecdote involving Steve Reich's purportedly racist comments about African Americans. This moment highlighted long-standing tensions around his relationship with African and African American musical traditions. Critics have drawn attention to the intersection of his appropriation of African music and his political stances, especially as these concerns have evolved over the past decades. This controversy emphasizes the broader discourse on cultural appropriation and artistic responsibility in contemporary society.
Gopinath's Critical Approach to Reich's Music
Sumonth Gopinath's scholarship significantly reshaped the understanding of race within Steve Reich's music. Gopinath's journey began during his graduate studies as he sought to critically analyze Reich's racial representations in works like 'Come Out'. His insights emphasize the importance of examining the interplay between sound and the political implications of music, as well as the responsibility of composers to acknowledge their influences and the narratives they engage with. This scholarly perspective continues to provoke deeper analysis of the racialized dimensions within experimental music.
The Role of Cultural Appropriation in Composition
The conversation about cultural appropriation in Reich's work raises critical questions about the dynamics of influence in artistic creation. Gopinath suggests that while Reich's experiments with African musical elements could be seen as acts of appropriation, they also reflect the complexities of intercultural exchanges that are prevalent in the arts. The acknowledgement of influences from African music can lead to difficult dialogues about ownership and representation in creating meaningful artworks. This ongoing conversation about cultural boundaries reveals the intricacies of understanding artistic inspiration versus exploitation.
Reich's Responses to Political Changes
As sociopolitical landscapes shifted throughout the 1960s and 1970s, Steve Reich's music began to reflect his evolving understanding of identity, ethnicity, and appropriation. His early works, which prominently featured African American themes, gradually gave way to compositions that withdrew from explicitly addressing racial politics. Gopinath interprets this pivot as Reich navigating the tension between his Jewish heritage and his earlier engagements with African American culture. This evolution illustrates the broader implications of how artists reconcile their personal and cultural backgrounds with the expectations of their audience.
In light of the recent resurfacing of racist remarks that Steve Reich made in the 1970s, what are the racial politics of the composer's canonic minimalist music? What is the history of Reich's engagement with civil rights in works like Come Out, and does the influence of African music on his compositions represent a form of cultural appropriation? A conversation with Sumanth S Gopinath, associate professor of music theory at the University of Minnesota.
