The Essay: Vaughan Williams: Belonging

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The Essay: Vaughan Williams: Belonging: Vaughan Williams - Dr Rommi Smith

Vaughan Williams - Dr Rommi Smith

Vaughan Williams: Belonging

BBC Radio 3 - The Essay, Vaughan Williams: Belonging, Vaughan Williams - Dr Rommi Smith

Personal essays on what Vaughan Williams means to five different writers.

Personal essays on what Vaughan Williams means to five different writers. Writer and scholar Dr Rommi Smith explores who gets to play The Lark Ascending.

Five writers and artists not normally associated with classical music, discuss a specific example of Vaughan Williams’s work to which they have a personal connection, and why it speaks to them.

Following on from the successful Five Kinds of Beethoven Radio 3 essay series in 2020, where a wide range of Beethoven fans shared their personal relationship to the composer and his work, this new series gives similar treatment to Vaughan Williams. 

Our essayists share their unexpected perspective on Vaughan Williams’s work, taking it outside the standard ‘English pastoral’ box, in a series of accessible essays, part of the Vaughan Williams season on Radio 3. 

The Lark Ascending is Dr Rommi Smith’s favourite piece by Vaughan Williams.  It has accompanied her all over the world in her travels as a poet and teacher, reminding her of her Englishness and her home, even when as a Black woman, she is often not ‘seen’ as being English. The piece is a key part of her English DNA. This was brought home to her vividly when the violinist Tai Murray, a Black American woman, played the piece during the Proms in 2018. There was subsequent racist twitter comment, saying she had only been ‘let in’ because she is Black. Dr Rommi Smith considers her own connection to The Lark Ascending and how who performs it is significant.

Dr Rommi Smith is an award-winning poet, playwright, theatre-maker, performer and librettist. A three-time BBC Writer-in-residence, she is the inaugural British Parliamentary Writer-in-Residence and inaugural 21st century Poet-in-Residence for Keats’ House, Hampstead. A Visiting Scholar at City University New York (CUNY), she has presented her research and writing at institutions including: THE SEGAL THEATRE, THE SCHOMBURG CENTER FOR RESEARCH IN BLACK CULTURE and CITY COLLEGE NEW YORK. Rommi’s performance at THE SCHWERNER WRITERS’ SERIES in New York was at the invitation of Tyehimba Jess, Pulitzer Prize winner for Poetry. 
Rommi is a Doctor of Philosophy in English and Theatre. Her academic writing was first published by NEW YORK UNIVERSITY PRESS as part of the groundbreaking book IMAGINING QUEER METHODS (2019). Her poetry is included in publications ranging from OUT OF BOUNDS (Bloodaxe) to MORE FIYA (Canongate).
She is recipient of a HEDGEBROOK Fellowship (Cottage: Waterfall, 2014) and is a winner of THE NORTHERN WRITERS’ PRIZE for Poetry 2019 (chosen by the poet Don Paterson). She was recently awarded a prestigious CAVE CANEM fellowship in the US. Rommi was selected a SPHINX30 playwright; a prestigious programme of professional mentoring for – and by - contemporary women playwrights, led by legendary company, SPHINX THEATRE.
Rommi is a contributor to BBC radio programmes including: FRONT ROW, THE VERB and the radio documentary INVISIBLE MAN: PARABLE FOR OUR TIMES?, marking 70 years since the publication of Ralph Ellison’s iconic novel.
Rommi is poet-in-residence for the WORDSWORTH TRUST, Grasmere. 
www.rommi-smith.co.uk 
Twitter: @rommismith
Soundcloud: RommiSmith
Instagram: Rommi Smith


Writer and reader Rommi Smith
Sound designer Paul Cargill
Producers Polly Thomas and Yusra Warsama
Exec producer Eloise Whitmore

Photographic Image by Lizzie Coombes

A Naked Production for BBC Radio 3

Live music and the arts: broadcasts more live music than any other radio network. Classical music is its core. Genres include world and new music, jazz, speech and drama.

Writers and artists not normally associated with classical music, discuss a specific example of Williams' work to which they have a personal connection, and why it speaks to them.

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