This week I’m delighted that Professor Robert Mitchell is bringing you Research Shorts, sharing his thoughts on Nate Holder’s recent book publication If I Were a Racist, Holder’s new book expanded from his poem of the same name, written in 2020.

Some thoughts on Nate Holder’s If I Were A Racist

Robert Mitchell

The timing of this book is critical. Although having read it as soon as it came out – by the time I was asked to write this we had a summer of rioting (after a shocking series of murders in Southport, with a mentally ill young black man now awaiting trial.) Some as young as 12 have been appearing in court as a result of violence against immigrants via action and – as happens every day online – through words.

Earlier this year we also had the sharing of a long, detailed email from a senior and long-established white UK Jazz saxophone professor – claiming that some white musicians only had black musicians in their groups/projects to get funding. This (amongst many other offensive views) propelled the message far beyond the walls of academia, and far beyond the UK. And together they only underline the need for a book like this and the difficult conversations that must be resolved.

A UK music education should have a regularly updated answer to the question: can the present culturally varied range of pupils be collectively inspired by their school music education? An ever-shifting context is indeed everything….

Many millions have headed to the polls globally this year too. This is a huge barometer being updated on where we are. We will continue to feel the effects of COVID-19 – with sporting events set to bring a potential wave of infections and the sad news on the growing tragedy of Mpox. We see so many intense discussions on AI as the powerful era underpinned by the internet – moves into another chapter as frightening as it could be inspiring. Politics. Medicine. Technology. So – after Race – these were the most potent fields on my mind reading Nate Holder’s essential book. How do we best learn to work together (if we wish to at all!), how do we heal and how do we best use tools that allow us to attend to the above and share powerful ideas/falsehoods instantly and more widely than ever before?

Within the book – the contrast between the importance of the uncomfortable subject matter, and the compact size and suggestion of its use as a tool sets an authoritative diplomatic tone. In so many ways – the book can only be fully completed by us and our positive actions going forwards. In an age of instant online criticism, slander, defamation, threat, and denial  – setting out this to be used as a tool for thinking and interrogation of the matters to be discussed encourages an atmosphere of an intent to unpack, clarify, understand, plan, and act. The blank pages for reflection complete a cycle of critical thinking for each part of this journey. A great touch that neatly keeps the instant responses in one place (and as a written exercise these days – even more valuable! ). There is no rush to post online, there is support to treat the space and make every thought and its quality count.

Memories reawakened

One memory reawakened by the book: the deep discomfort of having Debussy’s ‘Gollywog’s Cakewalk’ put on the piano for me to study at a certain stage in my music lessons. I would have been around 11 years old. When a piece of music arguably fulfills its artistic aims, but the intent is a caricature of black people  – how to resolve what to me was a shocking dissonance? Musical genius and an original – yes. When used to denigrate my heritage – why would I be expected to ignore, accept, or tolerate this? Does this deserve to be known – yes – but I think in a way that contextualizes the fuller range of elements involved. This placed in a piano collection gives one message. The same piece in a book analyzing the circumstances leading to its creation and other racially problematic music – places this in a more penetrating light. Was it of its time – yes. Why was more searching needed to find out about the appreciation of African American spirituals by Dvořák?

To find out later on that Horowitz and Rachmaninov were in awe of Art Tatum (and went to hear him more than once) – and that elements of Art’s style appeared in Rachmaninov’s ‘Rhapsody on a Theme Of Paganini‘? These parts of history are so important and have been left in the dark. Leopold Godowsky meeting and later teaching Fats Waller. Joseph Schillinger communicated by correspondence to tutor an already legendary Eubie Blake. The seminal work of George Lewis both as a hugely creative composer/trombonist – and chronicler of the AACM and undersung Black classical composers from the 60s to now. The huge popularity of pianist and entrepreneur Winifred Atwell (hailing from Trinidad and selling over 20 million albums, having a TV show, becoming a black hair salon owner in the 50s and later – a hair product creator). And yet – this amazing life story seemingly disappeared within years of her passing (when we should have had a feature film by now!).

Inclusive music education in the UK

I scratch the surface – as a fan of multiple genres when growing up – because there is so much to be said about a representative inclusive music education in the UK. One that does not water down the value, skill, cultural weight, and the story transmitting power of the cultures that have resided here – for centuries. One that would elevate the importance of learning about even just the tip of one of the tributaries of African musical creativity – with the same level of respect and detail as given to a Bach chorale (which is also not from the UK!). This all residing within one soul – is a passport to understanding and appreciation.  It is a bridge to healing by expanding the consciousness of beauty – beyond the four walls that have long been weakened by the internet, and yet are being propped up by those who believe that this expansive connected view will lower standards and weaken quality. And that ‘cultural enrichment’ is now branded as the vile threatening presence of anyone black or brown daring to sing, dance, draw, or write using the fullest inspiration inherited from millennia of inspired expression.

Another far more positive memory – as a teacher and by then a parent – is doing a project at our local primary school called ‘Songs Of The World’. This was to put together a little concert that took songs from the varied cultural make-up of several classes – to be sung in their original languages. To engage with parents and make sure the Twi, Portuguese, Pakistani, and Polish diction was good and to see the pride as students whose families from those cultures/countries explained some of the background to a song’s associated history, dress, or customs  – was incredible. We also did a Christmas version with songs from around the world (where celebrated). The song journey undertaken ended with We Wish You A Merry Xmas – now put in a hugely positive global company. And belted out in a way that I had not heard – forever! (accompanied by a partial ovation from the parents). When all the incredible cultural ingredients are embraced and valued – the result is the fuller truth of us. Much like the cultural days when students in the nearby secondary could come to school in clothes reflecting their heritage – the atmosphere is charged with a powerful connective beauty made of many vibrantly different parts.

Final thoughts

As I finish here for now – another important book  has just come out: Black History for Every Day of the Year – (David, Yinka, and Kimi Olusoga).  A brilliant structure that takes what has been on the sidelines (or typically celebrated in one month of the year)  – into a format that can be studied on any given day! Nate’s book belongs firmly in this brilliant contemporary lineage and given its immediate high charting success – will help to push for deeper thinking, and more solutions to a music education that reflects UK society – in full. One that is connected – through the violently brutal history of empire – to so many cultures that have hugely contributed to the rhythm, taste, language, sounds, and heartbeat of life here. This is all overdue for appreciation, permanent celebration, and respect (as the brilliant Beyond The Baseline exhibition at the British Library showed).

So – please get a copy of Nate’s book. The conversations being provoked will continue long after reading its 84 pages. It is one of the most important publications released this year – a year that continues to show how vital these questions are to answer.

About Robert Mitchell

Professor Robert Mitchell

Robert is a pianist/keys player, composer, bandleader, author/poet and a Steinway Artist. He is Professor of Jazz Piano at Guildhall School of Music and Drama and the Royal Academy Of Music. He has released 14 albums, 2 eps and 3 books and has toured widely. Robert is a Paul Hamlyn Composition prize winner. He is Morley Artist In Residence (2024-5. His works have been played by Bournemouth Symphony Chorus and the London Sinfonietta amongst others. He was MD on the award-winning Jazz 625 Live (BBC4 – 2019). Robert is published by Bucks Music Group (music) and Common Tone Press (poetry). He also teaches at YMM and is a MusicHE committee member. His next solo album is due in 2025 and he is one of the composers on this forthcoming animation project. During October 2024, Robert is also doing ensemble projects at the Paris Conservatoire and at Pôle Sup.