I've learned that my people are not the only ones oppressed... I have sung my songs all over the world and everywhere found that some common bond makes the people of all lands take to Negro songs as their own.
Paul RobesonRead
When I sang my American folk melodies in Budapest, Prague, Tiflis, Moscow, Oslo, or the Hebrides or on the Spanish front, the people understood and wept or rejoiced with the spirit of the songs. I found that where forces have been the same, whether people weave, build, pick cotton, or dig in the mine, they understand each other in the common language of work, suffering, and protest.
Interpretation
The quote expresses the universal power of music and the shared experiences of humanity across different cultures.
In this quote, Paul Robeson reflects on his experiences singing American folk melodies in various cities around the world. He emphasizes that regardless of geographical or cultural differences, people can connect emotionally through music, as it resonates with their shared experiences of labor, suffering, and protest. The songs become a common language that transcends boundaries and creates empathy among listeners.
In practice
This quote can be used during a speech on the importance of cultural exchange through the arts.
I've learned that my people are not the only ones oppressed... I have sung my songs all over the world and everywhere found that some common bond makes the people of all lands take to Negro songs as their own.
We ask for nothing that is not ours by right, and herein lies the great moral power of our demand.
My mother was born in your state, Mr. Walter, and my mother was a Quaker, and my ancestors in the time of Washington baked bread for George Washington's troops when they crossed the Delaware, and my own father was a slave.
The intolerance of the few, or the risk of it, carries the day against the wider humanity of the many.
I shall take my voice wherever there are those who want to hear the melody of freedom
And at home in the United States we found continued and increased persecution, first of leaders of the Communist Party, and then of all honest anti-fascists.
And so when studying faces, we do indeed measure them, but as painters, not as surveyors.
I've always considered myself an actor first and foremost.
I used to think there was something dirty about being paid for something which is a sacred thing to do. I can't disconnect the act of writing music from the act of prayer. If anyone tries to stop me working, it feels like someone is trying to stop me from taking communion.
Meet some people who care about poetry the way you do. You'll have that readership. Keep going until you know you're doing work that's worthy. And then see what happens. That's my advice.
It was an accident, although I've been involved in some kind of theatrical function or other since I was a child - in school, music, athletics. To me, acting is the most logical way for people's neuroses to manifest themselves, in this great need we all have to express ourselves. To my way of thinking, an actor's course is set even before he's out of the cradle.
When you look back on a lifetime and think of what has been given to the world by your presence, your fugitive presence, inevitably you think of your art, whatever it may be, as the gift you have made to the world in acknowledgment of the gift you have been given, which is the life itself... That work is not an expression of the desire for praise or recognition, or prizes, but the deepest manifestation of your gratitiude for the gift of life.
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