{"id":1576,"date":"2021-06-17T21:08:59","date_gmt":"2021-06-17T19:08:59","guid":{"rendered":"https:\/\/www.l-tour.be\/the-belgian-lesbian-undertones-of-french-songs\/"},"modified":"2021-06-18T18:01:12","modified_gmt":"2021-06-18T16:01:12","slug":"the-belgian-lesbian-undertones-of-french-songs","status":"publish","type":"post","link":"https:\/\/www.l-tour.be\/en\/the-belgian-lesbian-undertones-of-french-songs\/","title":{"rendered":"The Belgian lesbian undertones of French songs"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

The Belgian lesbian undertones of French songs<\/strong><\/h2>\n

By Marian Lens<\/em><\/strong>[\/vc_column_text][vc_column_text]Les dessous lesbiens de la chanson is a four-handed book written by journalist L\u00e9a Lootgieter and singer-songwriter Pauline Paris . Julie Feydel\u2019s drawings illustrate each of the forty chapters devoted to a singer.<\/p>\n

The book is a rich compilation – a true goldmine – of lesbian, or even bisexual, songs, so seldom openly declared, yet mainly diffuse. It is published by the highly experienced feminist and lesbian publishing house iXe .<\/p>\n

In a very spirited style, the research is based on a revealing text that the singers have either interpreted or written. The reviews, stories and anecdotes are punctuated with interviews with primary sources – female singers, performers or those close to them – or with very detailed testimonies, both contemporary and more recent. All these interpretative or revealing approaches allow for an enlightened re-reading of the often famous songs, confirming the feelings or underground interpretations made of the songs at the time of their release.
\nA very nice commented list of bars, nightclubs, cabarets, clubs, music halls and lesbian or so-called \u2018interlope\u2019 places, completes the picture of a unique musical Parisian century.<\/p>\n

Les dessous lesbiens de la chanson sheds light on \u201ca century-long history, from the 1920s to the present day\u201d. In establishing it, the authors wanted to \u201cfirst of all multiply the insights into the vast and still under-explored landscape of lesbian song today. {And thus} allow us to discover it in its diversity, with its stretches of tenderness and melancholy, its zones of darkness and secrecy, its labyrinths where erotica intersects with desires and pleasures declined in the feminine plural form.\u201d<\/p>\n

As the publisher iXe points out at the launch of the book, \u201cdepending on the era, female homosexuality was in turn or simultaneously opprobrious, denied, and made invisible. But whether clandestine or not, whether covert or crude, this reality has found a way to express itself through song {…} from Suzy Solidor to Chris, via Barbara, Brigitte Fontaine, Marie Paule Belle, Juliette Armanet and many others.\u201d<\/p>\n

The preface is a genuine introductory research by the legendary pairing of Catherine Gonnard and Elisabeth Lebovici . It talks about how the singers restore \u201chistory and destiny in a way that is both acute and attentive, {…} the interwovenness of women, the affects, desires, pleasures of togetherness with the nostalgia of those lost moments. They do so sometimes in the form of an enigma, sometimes in a thunderous declaration. Ever since the song was introduced in the music hall and cabaret, there have been texts and singers who have accompanied each generation and who speak more specifically about us and them: about those we love, those we encounter throughout our lives, but also about our common history with its double meanings and multiple prohibitions.\u201d Further on, \u201cone writes \u2018with the left hand\u2019, admittedly, \u2018the one we have always kept hidden\u2019, but to break free from \u2018the straight path\u2019 by singing about free love with Messia and seeing L\u00e9a Pool’s film Anne Trister for the millionth time.\u201d<\/p>\n

For us, it also constitutes a springboard towards a history that transcends borders. We wanted to shed some light as to the Belgian underside brought to the world of song, which is still barely disclosed in Belgian and international historiography.
\nIs it really a coincidence that the book\u2019s foreword and the introduction of the digital version both start with the evocation of Gribouille and her Ostende, an ode to a very beautiful story of sapphic love experienced by the author-songwriter in this mythical Belgian seaside town: \u201cWe didn\u2019t choose this strange love\/Which you must hide, when the dawn breaks\u201d.[\/vc_column_text][vc_column_text]Through men, too, some of them homosexual<\/strong><\/p>\n

The authors point out that \u201cat the beginning of the 20th century, men still had exclusive rights as lyricists and women simply had to interpret the works they had created .\u201d At the dawn of women\u2019s right to vote, creative professions remained a male-dominated prerogative.<\/p>\n

Just as with homosexual men, revealing one\u2019s \u201clove for the same sex\u201d was risky business. But this danger for women, assigned as such, is even greater as it\u2019s associated with other restrictions, those reserved for these social sub-beings \u2018under male domination\u2019. It was forbidden or impossible for them, as beings, to compose, write, edit and work on subjects, among others.<\/p>\n

Half a century later, in 1953, the writer Marguerite Yourcenar used the process of autobiography by proxy and revealed her \u201cinclinations\u201d by publishing the Memoirs of Hadrian, a homosexual Roman emperor. A subtle way of defying and circumventing the forbidden.<\/p>\n

Nicole Louvier will thus courageously pay a \u201cvibrant tribute\u201d to Louis of Bavaria and his homosexual love affairs. But she dares to go even further by affirming her own: \u201cThe same love has struck us\u201d. The authors point out that this love, \u2018both for the arts and for people of the same sex, nevertheless places them on the margins of society. In the nineteenth century, the response to this \u2018deviant\u2019 behaviour was often imprisonment or institutional care\u201d .[\/vc_column_text][vc_column_text]Passing – The code of a lesbian neutral as a sometimes blurred \u2018masculine\u2019 identity<\/strong><\/p>\n

Nicole Louvier is being honoured because she \u201cloves women and has never tried to hide it\u201d. She is also known as a writer with her book Qui qu\u2019en grogne which \u201ctells the story of her love affair with Gabrielle and denounces the lesbophobia of passers-by who stare at them {…likewise} her songs carry many allusions to sapphic love, even if the artist sometimes casts doubt on the subject by referring to her lover as \u2018mon p’tit copain\u2019 (my boyfriend).\u201d<\/p>\n

In her article Femmes des sixties (Women of the Sixties), L\u00e9a Lootgieter interviews Eve Pascal who talks about the lesbian scene in the 1950s and 1960s, as well as the lesbian songs and singers of the time . \u201cIn showbiz, some stars were lesbians, but it was completely under wraps, we didn\u2019t talk about it. The only one who dared to speak directly to lesbians, even on the radio, was Nicole Louvier {…}. She was definitely our icon! She sang about our lives, misfortunes and romances in poetry. When she sang Mon p’tit copain perdu, we all knew she was talking about a woman. Despite the writing of most of her texts being neutral, she played with ambiguity.\u201d<\/p>\n

This art of so-called dodging is also practised by the singer Mick Micheyl, whose songs have been covered by famous singers such as Josephine Baker (bisexual) or Yves Montand (heterosexual). She sang for a \u201clesbian audience\u201d who \u201cused to read between the lines\u201d, \u201cwent off on a tangent\u201d, \u201clike someone who had always learned to dodge\u201d, \u201cI gently play my part\u201d .<\/p>\n

The book wonderfully decodes this law of the double life: the underground and forbidden one evoked by innuendos.<\/p>\n

And contrary to what might sometimes be reinterpreted now, it was still a lesbian neutral, even when it had a \u2018masculine\u2019 connotation – \u2018a boyfriend\u2019 – as he was \u2018passing\u2019 in the sense of \u2018pretending to be\u2019, a trick that was and still is widely used in our underground lesbian culture or to protect our identity choices. Isn\u2019t this what Mick Micheyl also implies when she addresses the camera live in 1959: \u201cYou. You who pass by me, who watches me, listen to me. You are my source, my contribution\u201d .[\/vc_column_text][vc_column_text]Or would it be a \u2018non-female\u2019 neutral lesbian?<\/strong><\/p>\n

It\u2019s also a heterosocial society that views \u2018women\u2019 so poorly when they act strong and independent, especially when they do not try to be \u2018feminine\u2019. A society which, in order to continue to be able to control them, only aims to lock them into shackles, adding new prohibitions or stereotypes to the already strict existing norms. The boyish look of La gar\u00e7onne, as Colette Mars sang in 1957.<\/p>\n

Is it really a question of \u2018masculinisation\u2019? Isn\u2019t it more like beings who live freely, with a specific identity and appeal? Indeed, \u2018lesbians\u2019 will manage to detect and recognise the identity gap of those who are \u2018different\u2019, like themselves. The pleasure of discovery or confirmation, \u201cthat\u2019s one\u201d. Free gestures and clothing that defy restraint, that are socially read as \u2018masculine\u2019, and that should be neutralised instead, as belonging to just anyone.<\/p>\n

They reveal this new found freedom in small doses by singing and chanting it. They also show it: \u201cTheir way of standing, singing, their often borrowed and clumsy way of wearing certain clothes denounce another freedom of the body, the sudden abrupt gestures do not \u2018match\u2019 the expected femininity.\u201d[\/vc_column_text][vc_column_text]Bisexuals… an entire chapter between \u2018passing\u2019 and heterosocial conventions, or simply a choice among others?
\n<\/strong><\/p>\n

Both a reality by choice or heterosocial pressure, bisexuality, which is to live in one\u2019s personal trajectory of relationships with people of \u201cboth sexes\u201d, is the majority of human relationships, as the reports of sexologists and sociologists Mc Kinsey and Shere Hite have long demonstrated.
\nThe book thus abounds with these singers, who fluctuate between a half-closeted bisexual and\/or a half-concealed \u2018lesbian\u2019 identity. Most of the \u2018women who love women\u2019 known to the general public are those who opt more or less openly for relationships with both sexes.<\/p>\n

Singers, or those who have honoured them, such as Marlene Dietrich, Josephine Baker, Barbara, Tamara de Lempicka, Suzy Solidor or Fran\u00e7oise Mallet-Joris, are remembered in a story or anecdote throughout the book, or presented in one of the four sections dedicated to them.<\/p>\n

However, calling oneself \u2018bisexual\u2019 can also be a way of camouflaging oneself, as Catherine Lara claims in Autonome: \u201cFor a long time I hid my cards under the table\u201d, \u201cFree to love a woman or a man\u201d. She prefers the more diffuse identity term of \u201chomosensual\u201d .[\/vc_column_text][vc_column_text]A truly Belgian lesbian underneath herstory as well – Brussels as a publishing or artistic springboard<\/strong><\/p>\n

Alongside L\u00e9a Lootgieter and Pauline Paris, we have Julie Feydel, who graduated from the Graphic Research School in… Brussels. The Belgian graphic and artistic schools are renowned, and attract a very international audience. Indeed, many come from France to pursue their studies there.<\/p>\n

Many artists from the world of music have also evolved in Belgium and in Brussels in particular. We reveal a few facets of this through this inspiring book.<\/p>\n

When it comes to the publication of licentious or political writings that are banned in foreign countries, Brussels has long held a prominent place. It was in Brussels that the poet Verlaine published several poems under a pen name at the end of the 1860s, notably sapphic ones such as Les amies .<\/p>\n

The singer Susy Solidor, who plays a leading role in the book, had her autobiography La Vie commence au large published in Brussels in 1944 by Editions du Sablon .
\nAs for the magnificent Barbara, it was in Brussels that she married, lived and launched her very own singing career.[\/vc_column_text][vc_column_text]At the dawn of May 1968, the love story of the singers Gribouille and Marie-Th\u00e9r\u00e8se Orain on the beaches of Ostende<\/strong><\/p>\n

The lesbian bookshop Artemys announces, in its autumn 2001 literary programme, the literary meeting it\u2019s organising with Marie-Th\u00e9r\u00e8se Orain in Etterbeek:
\n\u201cMarie-Th\u00e9r\u00e8se Orain is coming to present the book she has just published on Gribouille Je vais mourir demain, with the complete texts of Gribouille.
\nA legendary figure of the French sixties, Gribouille died at the age of 26, in January 1968, after a dazzling five-year career. She left behind iconic songs such as Mathias and Ostende, a true love song for the singer. A collection of writings of extraordinary strength, stunning poetry, a lot of tenderness, but also of despair, \u2018despair in its most seductive form\u2019 (Fran\u00e7oise Mallet-Joris).\u201d
\nIn Les dessous lesbiens de la chanson, the authors explain in detail the context of the singer\u2019s era. The theme of forbidden love is a recurring one in French music, whether in the context of adulterous relationships or between two lovers of different social classes, religions or ages. For lesbians, it is all the more poignantly relevant because even though female homosexuality has never been penalised by French law, unlike male homosexuality, it has been suppressed in a roundabout way. Many girls and other \u2018jules\u2019 were arrested outside lesbian cabarets for cross-dressing or forcibly committed to psychiatric hospitals, as Myl\u00e8ne Farmer\u2019s Maman a tort (1984) recalls. Sapphic passions are often expressed in half-truths, as in Damia\u2019s La cha\u00eene (1911) or Gribouille\u2019s Ostende (1968).\u201d[\/vc_column_text][vc_column_text]Intimate links and artistic collaborations between women – Marie Paule Belle & Fran\u00e7oise Mallet-Joris<\/strong><\/p>\n

It was no less than Fran\u00e7oise Mallet-Joris who wrote the foreword to Marie-Th\u00e9r\u00e8se Orain\u2019s biography of Gribouille. Thanks to the authors of Les Dessous lesbiens de la chanson, we discover the particularly romantic reasons for this: \u201cThe love affair between Fran\u00e7oise Mallet-Joris and Marie Paule Belle began in Paris in 1970, the year in which the singer performed at the cabaret L’\u00c9cluse, in the programme of Marie-Th\u00e9r\u00e8se Orain, who was a star there.\u201d<\/p>\n

Marie-Paule confided to the authors: \u201cOur story, which everyone knew about even if we didn\u2019t mention it by name, became a model for homosexual women, like that of Jean Cocteau and Jean Marais for gays. {…} At the time, we heard people say that it was a disease, a perversion. We tried to prove the contrary simply by living our love story naturally, which happened to be both very beautiful and simple.\u201d<\/p>\n

The female creators in the world of song also had a very professional relationship with each other. As the authors point out, Fran\u00e7oise wrote \u201calmost two thirds of Marie Paule\u2019s songs (166 out of 250!), and continued to be her lyricist even after they separated\u201d. Further on in the book, we learn that the singer-songwriter Catherine Lara wrote mainly for other women, including two songs for Barbara.[\/vc_column_text][vc_column_text]And in a rather difficult Belgium, a true lead weight shrouded Soeur Sourire (The Singing Nun, \u2018Smiling Sister\u2019 in French)<\/strong><\/p>\n

In Belgium and around the world, it was a nun, \u201cThe Singing Nun\u201d, who launched a new global phenomenon in the world of song, making the tune Dominique nique the first international \u2018hit\u2019.<\/p>\n

When the composer, under her real name Jeannine Deckers, left the religious orders only a few years later in the mid-1960s, she caused quite a scandal. This scandal was quickly buried under a genuine lead weight that hung over everything that was \u2018different\u2019 in conservative Catholic Belgium.<\/p>\n

In 1985, her suicide with Annie P\u00e9cher sent shock waves, thus revealing their love affair to the Belgian public. But even more so the real scandal that drove Jeannine Deckers to commit this act: the extent to which she had been manipulated and robbed by the Fichermont convent and the Philips record company, who alone had pocketed all the profits from the world-famous song Dominique nique. <\/p>\n

She was relentlessly harassed by tax authorities, who were complacent with those who had taken advantage of her, to make her pay taxes on the millions of records she sold, although she only started to receive royalties at the end of her life, after bitter legal battles which were still going on at the time of her death.<\/p>\n

Her death revealed the existence of a diary in which her homosexuality, although still often denied, even in recently released biographies, could be read for the first time with certainty.
\nShe never publicly acknowledged her homosexuality. Like most homosexuals, who lived in secrecy or had difficulty defining themselves as such. This being said, a few of us in the community did know that she was \u201cin search of an identity\u201d towards homosexuality, but wasn\u2019t necessarily at ease about it.<\/p>\n

Being lesbian or gay was considered \u201cshameful\u201d by the dominant Catholic religion, \u201cunnatural\u201d by various sciences, \u201cabnormal\u201d by psychology and psychiatry, and \u201camoral\u201d by society.[\/vc_column_text][vc_column_text]The revenge – In the limelight – launch of Les dessous lesbiens de la chanson in Belgium<\/strong><\/p>\n

It is Soeur Sourire who will be the bridge between the authors, L\u00e9a Lootgieter and Pauline Paris, and myself, through Carole Vidal, who suggests contacting me for the chapter on Soeur Sourire. Carole is in charge of the Archives Recherches et Cultures Lesbienne in Paris, and upon reading all that has been revealed since the death of Jeannine Deckers, deciphers an excerpt from her song \u201cOn the road of my life\/ I halted my steps\/ Deep in my heart\/ Someone was waiting there\u201d, as a reference to the \u201cjoy\u201d’ of her life, Annie P\u00e9cher.<\/p>\n

Very symbolic. The book could thus only be launched in Belgium by a profiled lesbian organisation, L-Tour , as well as by and in a modern lesbian and GBTI+ caf\u00e9-bar-concert, the \u2018Crazy Circle\u2019 . The setting of the event will be the one intended for the LGBTI+ community, as well as for a very large audience, as the singers would have loved, that of the PrideFestival (cultural and event concept launched by the RainbowHouse in Brussels).<\/p>\n

This article is the first one to be published in Belgium on this wonderful research by researcher L\u00e9a Lootgieter and singer-songwriter Pauline Paris. In the magazine of the Suzan Daniel Fund (\u201cFonds Suzan Daniel\u201d), just as symbolic to put our herstory and history in the spotlight. The singers mentioned, by revealing their lesbian and bisexual and plural loves for women, even if they often still did it in a coded or subdued way, have really opened up many avenues and possibilities. We can only honour and pay tribute to them in such a beautiful way.<\/p>\n

The book, Les dessous lesbiens de la chanson, is a true celebration of lesbian voices singing tunes of resistance, passion, and the victories in love that have so successfully defied the prohibitions of such sweet inter-womanhood.<\/p>\n

The love songs are like poems. In her diary, in May 1970, Jeannine Deckers – alias \u2018Soeur Sourire\u2019 – addresses a love poem titled Renaissance: \u201cyou have placed love under my feet {…} happiness {…}, {My life} your love has planted flowers in it, {…} your fire in me has brought happiness.\u201d[\/vc_column_text][vc_column_text]Marian Lens, Sociologist – November 2020<\/strong><\/p>\n

(Translated from French by Brussel Onthaal vzw, supervised by the author and Tamara for L-Tour \u2013 With the support of Equal.Brussels<\/a>, Equal Opportunities for the Region of Brussels) {activer l\u2019hyper-lien d\u2019Equal.Brussels}
\n*Originally published under (references to quote the article): LENS Marian, Les dessous lesbiens belges de la chanson fran\u00e7aise, in : Het ondraaglijk besef \/ La notion insupportable (Fonds Suzan Daniel), n\u00b026, december\/d\u00e9cembre 2020, pp.12-15.[\/vc_column_text][vc_column_text][i]<\/a> Les dessous lesbiens de la chanson, Editions iXe, 2019. L\u00e9a Lootgieter a notamment cofond\u00e9 la revue lesbienne Well Well Well, \u00e9t\u00e9 vice-pr\u00e9sidente de SOS Homophobie et copr\u00e9sidente de l\u2019Association des journalistes LGBT. Pauline Paris est une chanteuse-compositrice qui se place dans la lign\u00e9e de la nouvelle chanson fran\u00e7aise. Elle puise son inspiration dans la folk, le jazz, le rock, le blues et la bossa-nova.<\/p>\n

[ii]<\/a> Julie Feydel, illustratrice, graphiste et photographe ind\u00e9pendante, collabore avec de nombreuses revues et publications.<\/p>\n

[iii]<\/a> La maison d\u2019\u00e9dition iXe\u00a0 (https:\/\/www.editions-ixe.fr\/<\/a>) poursuit la lanc\u00e9e de la collection Biblioth\u00e8que du f\u00e9minisme (1991-2009) des \u00e9ditions Harmattan, en se sp\u00e9cialisant depuis 2010 sur les \u00e9tudes f\u00e9ministes, de genre et sur la sexuation.<\/p>\n

[iv]<\/a> Catherine Gonnard est un pilier du milieu lesbien, homosexuel et queer en France. Ses recherches approfondies sont r\u00e9guli\u00e8rement publi\u00e9es sous forme d\u2019articles ou de livres. Elle a notamment \u00e9t\u00e9 r\u00e9dactrice en chef de Lesbia Magazine de 1989 \u00e0 1995. Elisabeth Lebovici est historienne et critique d’art, et couvre en particulier les \u00e9tudes de genre, les politiques queer, l\u2019activisme LGBT et les arts contemporains.<\/p>\n

[v]<\/a> Introduction \u00e0 la troisi\u00e8me rubrique. p.104.<\/p>\n

[vi]<\/a> Extraits p. 52.<\/p>\n

<\/a>[vii]<\/a> Ce livre publi\u00e9 \u00e0 La Table Ronde \u00e9tait encore disponible en 1985 et vendu par la librairie lesbienne Artemys \u00e0 Bruxelles, qui fera red\u00e9couvrir cette auteure lesbienne en Belgique.<\/p>\n

[viii]<\/a> Lootgieter L\u00e9a, Femmes des sixties. Dans : Well Well Well, – la revue lesbienne, (2014)1, p. 94.<\/p>\n

[ix]<\/a> Extraits pp.82,83.<\/p>\n

[x]<\/a> Extrait p. 82. Merci \u00e0 L\u00e9a et \u00e0 Pauline de donner avec ce livre une telle source d\u2019inspiration et de nous permettre gr\u00e2ce \u00e0 cette compilation multiforme de nouvelles possibilit\u00e9s de d\u00e9coder ce qui est tr\u00e8s probablement ou assur\u00e9ment \u00e9crit ou dit entre les lignes.<\/p>\n

<\/a>[xi]<\/a> Pr\u00e9face.<\/p>\n

[xii]<\/a> Extrait p. 101.<\/p>\n

[xiii]<\/a> Les amies, publi\u00e9 par Verlaine sous le pseudonyme de Pablo de Herlagnez en d\u00e9cembre 1867, chez l’\u00e9diteur bruxellois Auguste Poulet-Malassis, connu pour publier des \u00e9crits alors consid\u00e9r\u00e9s comme licencieux, comme Les Fleurs du mal de Baudelaire. (https:\/\/fr.wikisource.org\/wiki\/Les_Amies ; derni\u00e8re modification le 19 avril 2013).<\/p>\n

[xiv]<\/a> Susy Solidor, La Vie commence au large. Bruxelles-Paris, Editions du Sablon, 1944. Repris dans Carbonel\u00a0 Marie-H\u00e9l\u00e8ne, Susy Solidor\u00a0: Une vie d\u2019amours. G\u00e9menos, Editions Autres Temps, 2007, p.20, note 41.<\/p>\n

[xv]<\/a> Rue de la Madeleine.<\/p>\n

[xvi]<\/a> Publicit\u00e9 pour la soir\u00e9e organis\u00e9e par Artemys le samedi 22 septembre 2001 au Centre Culturel d\u2019Etterbeek. R\u00e9f\u00e9rence du livre\u00a0: Orain Marie-Th\u00e9r\u00e8se, Gribouille\u00a0: Je vais mourir demain. Paris, Christian Pirot, 2001.<\/p>\n

[xvii]<\/a> Extrait p.62.<\/p>\n

[xviii]<\/a> Extrait p.90. Voir aussi sur cet aspect\u00a0: Lens Marian, Fran\u00e7oise Mallet-Joris<\/a> (1930-2016). Dans : Het ondraaglijk besef – La notion insupportable (Fonds Suzan Daniel), (2016)22, december\/d\u00e9cembre, pp 9-12. Elles vivront ensemble onze ans, et continueront une relation d\u2019estime jusqu\u2019au d\u00e9c\u00e8s de Fran\u00e7oise Mallet-Joris.<\/p>\n

[xix]<\/a> L-Tour, https:\/\/www.l-tour.be\/archives\/<\/a> \u00a0(19 septembre 2020)<\/p>\n

[xx]<\/a> Ixelles, 19 septembre 2020.<\/p>\n

[xxi]<\/a> Everaert Henry, S\u0153ur Sourire\u00a0: Une voix sans visage. Journal, Bruxelles, Didier Hatier, 1988, p.79.<\/a>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

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Julie Feydel\u2019s drawings illustrate each of the forty chapters devoted to a singer. 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