America is often cast as the land of freedom and opportunity, a place where the prevailing spirit is one of hope. But for almost a decade now, the emotion closest to the heart of the American people and culture has been fear. With its seeds in ignorance, and wilfully manipulated by the former political Establishment, this fear has eaten away at our sense of who we are.
Following President Obama’s speech in Cairo, we can at last begin to see a spirit of hopefulness returning to political dialogue. But the slow process of reopening the American mind cannot be conducted by politicians alone; it is a process that artists and performers such as myself have a responsibility to promote and engage in.
I began the Song of America project with the Library of Congress back in 2005 as a way of widening access to this central but neglected coalescence of our history, poetry and music. I felt this would be the best way to restore some of the lost intellectual and sensuous fabric of our society. Any history of song reads like a diary of society’s inner life, and from Francis Hopkinson – a friend of George Washington and signer of the Declaration of Independence – to Leonard Bernstein and John Adams, American song is no exception.
But the issue is more fundamental than one of spreading musical experience, for the past decade has taken a heavy toll on our sense of the meaning of culture more widely. The arts and humanities are in crisis not simply because of dwindling support and the havoc wrought on our cultural institutions by the recession. The value of the arts in America has been attacked at a much deeper level, by being mistaken for entertainment, for passive relaxation and an opportunity to forget worldly troubles.
Music and art do bring a kind of relaxation. But this is much more powerful if we understand it as an active harmonisation of ourselves in our environment. We can read the facts and figures of our history and make statistical sense of the civil and foreign wars, the waves of immigration that built our country, but song can play a uniquely powerful role in giving us access to the sensible realities of this past.
More importantly, it is by remembering who we were that we can regain the confidence once again to be ourselves. America has certainly committed wrongs in the past. Now is not a time to forget but to take responsibility for those wrongs. If righting them means holding those responsible to account, then so be it. We made it through Watergate; we can make it through this.
The heart of American identity has always been its diversity. Through active engagement in our culture, and a renewal of liberal arts education in our schools, we can once again restore to our foundational motto its former dignity: E pluribus unum.
Interview by Guy Dammann
Thomas Hampson appears as Germont (above) in “La Traviata” at the Royal Opera House, London WC2, from 18 June. In 2009-2010, to mark the 250th anniversary of the first song written in America and in association with the Library of Congress, the Song of America project will explore America’s song heritage through educational activities, exhibitions, recordings, broadcasts, cybercasts and interactive online resources. More details: http://hampsong.org