These French artists are regularly invited to Germany, Spain, Portugal, the United States and Argentina. However, we almost never hear them on national radio and television. Their “fault”? They sing neither in French nor in English, like everyone else, but in Basque, Corsican, Occitan, Alsatian… Are these languages of the national territory? Certainly, but that doesn’t change anything: they are almost excluded from the “major” media.
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It is to put an end to this typically tricolor paradox that Anne Etchegoyen – gold disc in 2013 with Basque Voices – is organizing a unique event on Friday September 22: a concert in regional languages… in Paris*. On the Alhambra stage, at his side, will perform notably A Filetta and Francine Massiani (Corsican), Eric Fraj (Occitan), Matskat (Alsatian), Gwennyn (Breton), Patxi Garat and the male choir Aizkoa ( Basque). For an exceptional ode to linguistic diversity.
Contrary to what is believed in the capital, the regional trend is buoyant. However little known they may be in Paris, the artists mentioned above organize numerous concerts in front of full houses. And they are not alone. Patrick Fiori is a hit with Corsu Mezu Mezu. The album Breton, by Nolwenn Leroy, has exceeded one million copies sold. Groups like I Muvrini (Corsican) and Nadau (Occitan) fill the Zénith and even the Olympia. As for events dedicated to minority cultures, they attract thousands of spectators every summer, like the Lorient Interceltic Festival (Morbihan) Or Hestiv’Oc, in Pau (Pyrénées-Atlantiques). This all makes sense, by the way. Because globalization gives the French the feeling that decisions are made far from them, they tend to invest in their immediate environment. Hence the growing interest in the historical languages of the territories where they live, which is also evidenced by the enthusiasm for so-called “immersive” schools. Sociologists have even given a name to this underlying trend: “glocalization”.
And yet, in Paris, blockages persist. Out of routine, out of intellectual laziness, out of fear of risk, out of ignorance, out of contempt, too, for everything that concerns these languages ignored by “decision-makers” (when Basque, for example, fascinates scientists around the world!). With often mediocre arguments. “We are told: ‘You are not identified enough.’ But how do you expect us to be if our music is never released?” asks Anne Etchegoyen with common sense. “On national television and radio, my interlocutors explain to me: ‘Is it in Breton? No way: people won’t understand,’ confirms singer Denez. I then ask them why they play songs in English. And they come face to face with their contradictions.”
This is why Anne Etchegoyen decided to fight. Because the concert on September 22, however innovative it may be, is only a means of achieving its true objective: to structurally improve the visibility of singers speaking in a language of France other than French. How ? Thanks to three simple levers. First, the creation of a dedicated award during the Victoires de la Musique ceremony. Then, the establishment of a specific grand prize from the Society of Authors, Composers and Music Publishers (Sacem), the organization which manages copyright in France – and to which they contribute. Finally, and above all, a modification of the rules set by Arcom (the former CSA). Today, it is simply planned a proportion “musical works of French expression or performed in a regional language of at least 40%“. (1)
The problem ? It is nowhere stated what precise percentage should be reserved for regional languages. A vagueness that music programmers take advantage of not to broadcast them at all. Hence Anne Etchegoyen’s demand: to create a specific quota for the languages of France other than French. (A subject that Arcom visibly makes fun of, which, in a week, has not found the time to answer questions from L’Express.)
For months, the singer has taken her pilgrim’s staff and knocked on the doors of TVs, radios, parliamentarians, the Ministry of Culture… Generally, we listen to her in a polite manner – when we receive her – before moving on to something else. But she is not discouraged and tirelessly unfolds her argument. She explains to her interlocutors that “all parties and all national media should relay this music since artists singing in regional languages are part of France’s wealth.” She adds that “when a Basque, a Breton, an Alsatian, a Corsican or an Occitan expresses himself in the language of his ancestors, this does not necessarily make him a bad singer and that everyone should be judged on their talent alone”.
She ends with this confession: “Even if, in my head, in my heart and in my soul, I feel Basque above all, that does not make me a bad Frenchwoman either.” The proof ? In 2003, during the opening ceremony of the world athletics championships, at the Stade de France, the artist chosen to launch The Marseillaise was called… Anne Etchegoyen.
FIND VIDEOS DEDICATED TO FRENCH AND THE LANGUAGES OF FRANCE ON my youtube channel
* Canta Kanan. Anne Etchegoyen and her guests. Friday September 22, 8 p.m., at the Alhambra, Paris (Xᵉ).
(1) A subject in which Arcom is visibly disinterested and, in one week, has not found the time to answer questions from L’Express.
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