Roots Torn, Routes Chosen
A story of Black Migration for wind ensemble and spoken word
Roots Torn, Roots Chosen is a powerful work for wind ensemble and spoken word that journeys through the vast history, endurance, and contributions of Black people across centuries through the lens of migration to the United States. Through an evocative blend of musical textures and spoken word, this piece sheds light on the experiences that have shaped generations, affirming the strength, resilience, and vibrant cultural legacy of the African diaspora. The unifying theme between each of the movements is a motive, essentially “spelling out” the word “Africa” (A, F, Eb, D/Db, C, A).
The first movement, “Echoes of Africa,” opens with an evocation of pre-colonial Africa—a place of kingdoms, culture, and communal life. Here, the ensemble paints scenes of vibrant life through distinct African drumming rhythms, lush harmonies and interwoven melodies, symbolizing the diversity and unity found across ancient African civilizations. The folk song “Che Che Kolay” comes after the scene is set—leading the way to a “vamp” of West-African rhythms, building to the celebratory chant in the horns, trombones, and tenor sax. This chant gives way as the spoken word shifts tone to the emergence of colonialism. The oboe restates the folk song in a minor mode over the drones of the lowest instruments in the ensemble.
With the striking tonal shift, the music transports us to the dark days of colonialism and the slave trade, the middle passage, and the era of slavery in “Cries of the Stolen”. The spoken word suddenly takes on the first person of a woman enduring these horrors. The first part begins with the Africa motif featuring tension-filled rhythms and dissonance underscore the unimaginable suffering and forced displacement, a harrowing journey that tore people from their homelands. The texture of the second section reflects a churning sea—eventually being haunted by the cries of those lost on the middle passage. The final section pays homage to spirituals as the language of the enslaved people and the layered cacophony reflects how many enslaved people spoke different languages. The movement ends with an allusion to the frequency of enslaved women losing their children at birth.
The ensemble then moves to the era of Jim Crow for “Shadows of Oppression”, representing a time when Black Americans faced segregation and systemic oppression despite the freedom granted with the Emancipation Proclamation. Stark contrasts in instrumentation and dynamics capture the restrictions, the fight for civil rights, and the unyielding courage of individuals who refused to yield to prejudice. This movement uses the spiritual “Nobody Knows de Trouble I’ve Seen” to convey the struggle of Black people and their reliance on the church for strength. A clarinet chorale of this signifies unity, however, this is soon overshadowed by minstrel tunes, emulating the prevalence of racist systems and the fight against them. The spoken word channels the frustrations of legislation and systems, such as sharecropping, made to prohibit Black Americans from attaining rights despite their freedom on paper.
The work then flows into a lighter, syncopated rhythm, opening with a “call” from the congas, symbolizing the wave of Caribbean migration to the United States in the 1950s. “New Waves and New Horizons” features a fusion of styles and rhythmic diversity illustrates the cultural exchange, energy, and richness these communities brought through using the national anthems from the home countries in a calypso style. The spoken word pays homage to these individuals’ journey, weaving the joys and challenges of building new lives in a foreign land, all while enriching the cultural fabric of their new homes. The tutti melody at the end reflects the fusion of these cultures into one, all culminating with the melody of “America the Beautiful” while reintroducing the motive.
The final movement, “Sounds of Resilience” celebrates the modern-day contributions and resilience of Black people. Vibrant motifs and melodic fragments in the ensemble represent triumph and achievement across fields, from the arts and sciences to social justice and community leadership. Quotes from each movement and the prevalence of the motif tie the work together. The middle section takes melodic fragments of the recurring section to form the basis of the major blues signifying the musical contributions of Black people—allowing players to demonstrate freedom and accomplishment through improvised solos. The spoken word channels the dreams, pride, and contributions of Black voices today, proclaiming their indispensable role in shaping society. The mixed modes at the end and ambiguity of the open fifths signal that in spite of all these advancements, there are still elements of systemic racism that overshadow everything.