Intersectionality
a cantata for treble chorus, piano, cello, djembe, claves, and triangle
Music by Zanaida Stewart Robles
Lyrics by Rhina P. Espaillat, Tina Chang, Amy Fogerson, and Zanaida Robles
This work employs the poetry of American women from different cultural backgrounds to tell a story of pain, power, and revelation often experienced by persons for whom the intersectionality of multiple socio-cultural identities is a life-long journey. Whether it's race, color, religion (creed), gender, gender expression, age, national origin (ancestry), disability, marital status, economic status, or sexual orientation, the struggle to condently express one's multiple sociocultural identies without being damaged or diluted by society is ongoing. It's about nding commonality, connection, and empathy from our similarities and differences. And it's about selflove.
Dr. Zanaida Stewart Robles is an award-winning Black American female composer, vocalist, and teacher. She is a erce advocate for diversity and inclusion in music education and performance. Authentic interpersonal connection and relationship-building are core principles of her composition, teaching, and performance methods. Her original compositions have been performed by professional ensembles, community choirs, educational institutions, churches, and individuals world wide. Dr. Robles was born, raised, and educated in Southern California on the unceded territory of the Gabrielino-Tongva people.
Intersectionality for SSAA Choir, Piano, Cello, and Percussion Commissioned by VOX Femina Los Angeles, Dr. Iris S. Levine, Founding Artistic Director
Words and music Zanaida Stewart Robles
1. Prologue
Copyright 2022
Text by by Rhina P. Espaillat
2. Bilingual
part
Bilingual
S. II
could not claim. could not claim. could not claim. S. I
“En glish out side this door, Spa nish in side,” he said, “y
“En glish out side this door, Spa nish in side,” he said, “y
“En glish out side this door, Spa nish in side,” he said, “y
ba sta.”
But who can di vide the world, theword ba sta.” But who can di vide the world, the word ba sta.” (mun do y pa
where his stum bled. And still where his stum bled. And still where his stum bled. And still
the heart was one. the heart was one. the heart was one.
knew that, e ven when, proud of his
ver sos,
half in fear of words he loved
ver
---to the wreck of the world, in to the to the wreck of the world, in to the to the wreck of the world, in
neck
dam age, lan guage of the pro tec
I fo raged, rst to nd
dap pling the leaves, then
I fo raged, rst to nd light dap pling the leaves, then I fo raged, rst to nd light dap pling the leaves, then
ce stral. She was a wo man who morphed in to fe line,
ce
ches, I craved what could not be seen.
ches, I craved what could not be seen.
ches, I craved what could not be seen.
4. Ripe
Text by Amy Fogerson
Violoncello
more con nec ted to, and ex cep ting of the bo dy I
more con nec ted to, and ex cep ting of the bo dy I
more con nec ted to, and ex cep ting of the bo dy I
not view the ol der bo dy with dis dain.
not view the ol der bo dy with dis dain.
not view the ol der bo dy with dis dain.
Youth need not view
Youth
Youth
ol der bo dy with dis dain.
ol der bo dy with dis dain.
ol der bo dy with dis dain.
Words and music by Zanaida Robles