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.
The greatest films ever made in our history were cut on film, and I'm tenaciously hanging on to the process. I just love going into an editing room and smelling the photochemistry and seeing my editor wearing mini-strands of film around his neck.
I increasingly fear that nothing good can come of almost any adaptation, and obviously that's sweeping. There are a couple of adaptations that are perhaps as good or better than the original work. But the vast majority of them are pointless.
The only people I would care to be with now are artists and people who have suffered: those who know what beauty is, and those who know what sorrow is: nobody else interests me.
Failures are inevitable. Unfortunately, in film they live for ever and they're 40 ft wide and 20 ft high.
A musical profit outweighs a financial loss.
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.
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