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Since beginning her career, Aya Nakamura has encountered obstacles, prejudice, and mistreatment at every turn. Despite that, Nakamura has become a music sensation. She is the most popular French-speaking artist in the world and the only woman to appear in the top 20 highest-selling albums in France in 2023. Her song “Djadja” from 2018 has nearly 1 billion views on YouTube, and her second album surpassed 1 billion streams on Spotify in 2021. When she announced two concerts at the prestigious Bercy arena in Paris last year, tickets sold out in just 15 minutes, a remarkable feat for a French-speaking artist.
Even though she is a talented French-Malian singer, she constantly faces criticism about her name and the unconventional way she sings in French, leading to debates and misunderstandings among the public.
When speculation arose in the media about President Emmanuel Macron inviting Nakamura to perform at the Paris Olympics opening ceremony, there was a backlash from the far right, which was somewhat expected.
There is significant concern about Paris’s preparedness to host the Olympic Games, handle the large influx of spectators, and produce a grand opening ceremony that will impress the international community. Amid this atmosphere, a mere rumor sparked controversy surrounding a Black French artist’s identity as French. People viewed it as a deliberate attempt to incite animosity when it was rumored that Nakamura had discussed performing an Edith Piaf song with the president.
Extreme right-wing politicians transformed the conversation into a furious story about a Black woman from the suburbs supposedly taking ownership of La Vie en Rose or any beloved songs from the renowned artist Piaf.
In the 2022 presidential elections, Éric Zemmour, known for his radical political views and past conviction for hate speech, made derogatory comments about Nakamura’s music, stating that he could only hear a “foreign language” in her songs. During a campaign rally for his Reconquête party, Zemmour’s supporters expressed their disapproval of Nakamura when he compared her music to Mozart’s. On the banks of the Seine, members of a far-right group named Les Natifs displayed a banner reading, “No way Aya! This is Paris, not the Bamako market.”
After receiving backlash from both notable artists and the Paris Olympics organizing committee for the “racist attacks” against Nakamura, the 28-year-old expressed feeling overwhelmed by the extent of the hate. In response to her detractors on X, she questioned, “You can be racist but not deaf…what do I truly owe you?” As a result, the International League Against Racism and Antisemitism filed a complaint, leading to an investigation by the Paris prosecutor regarding allegations of racial abuse towards the singer.
This incident may be seen as one of the typical tactics utilized by far-right French activists to gain political advantage through creating controversy. However, this particular case stands out because the dislike towards Nakamura is not limited to the far right.
A survey revealed that 73% of French individuals believe that Nakamura is not a representative of “French” music, and 63% disagree with the idea of her performing at the opening ceremony. This highlights the incapacity of numerous French citizens, even those who may deny any traces of racism, to envision a person of color representing France.
Nakamura’s successes are indisputable evidence. However, for some individuals influenced by misogynoir (a combination of anti-Black and sexist attitudes), the concept is unfathomable. They refuse to accept the idea of a Black woman representing French culture.
During my interview with Nakamura for GQ France last year, she mentioned that she was aware of the strong aversion she evokes in individuals who are not accustomed to seeing females like herself in prominent positions.
Like many women of color, she often gets mistaken for other Black women, despite being famous. There was even a petition against her participating in the Olympics, citing her supposed “vulgar” behavior, and it used a photo of the American rapper Megan Thee Stallion.
Beginning in 2022, Nakamura had been overlooked for top honors at the Victoires de la Musiques (the French Grammys). That year, the title of best female artist was awarded to Pomme, a Caucasian vocalist who publicly acknowledged systemic racism and expressed discomfort over her win against Nakamura, a Black artist who hails from outside central Paris and may not have the same privileges.
There have been previous instances where notable Black individuals have experienced discrimination for their involvement in representing France. In 2016, rapper Black M was scheduled to perform at the commemoration of the Battle of Verdun’s centenary, but the event had to be cancelled due to a rise in hateful and racist actions from the far right, according to the mayor of Verdun. More recently, French rapper Youssoupha was selected to write an unofficial anthem for the national football team at the 2021 European Championships, which sparked a campaign against him by Marine Le Pen’s National Rally.
Apart from those who exploit race for political purposes, France appears to have an issue with people of color who achieve success or hold positions of influence. Unless they are from other countries, such as Michelle Obama, they seem to face deep animosity – especially when they take pride in their achievements. Their mere existence serves as a unwelcome reminder that being French does not necessarily equate to being white, and that individuals of Black and Brown descent can also embody French identity. Christiane Taubira, the first Black woman to serve as France’s justice minister, was subjected to repeated, crude racial attacks. Similarly, Pap Ndiaye, the first Black education minister in France’s history, experienced a surge of racism from the moment of his appointment, leading to a short-lived tenure.
Nakamura is unapologetically herself, which may be why she receives a negative response in a country where humility and gratitude are expected from minorities. As an ambassador for a beauty brand, she challenges the traditional image of a Parisian woman, promoting tall and dark-skinned features as the norm. Unfortunately, her words and lyrics are often criticized and belittled on television shows, as if they were not meant to be accompanied by music. This reminded me of the colonial mindset of “civilizing savages” that was prevalent in France.
If the debate solely focused on the art, it’s curious why numerous individuals felt capable of giving such negative ratings to her highly praised music.
The lyrics of Nakamura, which combine French, slang, English, and terms borrowed from other languages due to immigration, frequently receive criticism for supposedly degrading the purity of the French language. Nakamura is not a politician, nor a member of the Académie Française, and therefore not responsible for preserving our language. In fact, it is her playful use of language that has accomplished the rare feat of making French music danceable.
According to a YouGov survey, a higher number of French individuals would rather have DJ and producer David Guetta or the now-separated duo Daft Punk perform at the opening ceremony instead of Nakamura. However, most of their music is in English, not French. Shouldn’t we acknowledge Nakamura’s talent in writing her own lyrics since she was a teenager?
Rephrased: Nakamura stands out as an artist of color who has achieved success on her own terms. She has refused to conform or conceal her identity to conform to the white, privileged perspective. In a society where systemic racism marginalizes minority groups, Nakamura courageously presents herself as strong and empowered. Her very presence challenges the notion of white supremacy and its belief that people of color should remain invisible and marginalized.
Some of us have long argued that France is unwilling to accord people of colour the status they deserve. The Nakamura controversy confirms just how deeply entrenched that refusal really is.
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Rokhaya Diallo is a Guardian Europe columnist
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Source: theguardian.com
