Looking back at the Masterclass with Aloïse Sauvage
- Aloïse Sauvage © Shelby Duncan
Last October, we welcomed Aloïse Sauvage in the framework of the Masterclasses of the Culture/Cultural Policy & Management stream. The students of this stream as well as other School of Public Affairs students had the chance to listen to the testimonial of the artist who excels in many fields. A few selected students had the opportunity to ask Aloïse Sauvage about her work as an artist, shaken by the health crisis, and wrote the article that follows.
On 14 October 2020, within the framework of the Masterclasses of the School of Public Affairs specialising in Culture and Cultural Policy & Management, we had the opportunity to meet the artist and singer Aloïse Sauvage, accompanied by one of her two managers, Elodie Filleul. This was a real opportunity for the students of the policy stream to engage in a direct dialogue with the actors and creators of the music industry in 2020.
Because of the health restrictions, Aloïse Sauvage told us about her career path and her rich experience in artistic circles from her kitchen, via Zoom. Indeed, the 28-year-old circus-trained singer and dancer has already appeared on the small and big screen and has released an album, Dévorantes. With multiple strings to her bow, Aloïse Sauvage is a complete artist who yet shows great humility about her success. She talked to us with enthusiasm about her artistic approach, her commitments, but also about the difficulties of artistic emancipation in the complex environment that is the music industry. Elodie Filleul, her co-manager (together with Melissa Phulpin), joined us in this round table to shed light on the "management" aspect of the creative process. She has been active for more than twenty years in the music industry and has worked with major labels while maintaining her independence, which is an important aspect for Aloïse Sauvage. Her experience also allowed us to talk about the profound transformations that the music industry has gone through, especially in the digital era.
We then discovered an artist whose music reflects a great vulnerability and who fully assumes it, even if this implies a counterbalance to the trends within the music industry. When the means of promotion, distribution and even production are becoming digital, our two speakers also expressed the need for proximity with the teams that surround the artists. This is especially important for a multidisciplinary artist, who asserts herself through both singing and rap but also through her body. She talked about her famous "magic microphone" which allows her to mix different disciplines on stage, especially circus and dance.
The album Dévorantes talks about codes, norms, and stereotypes as well as the labelling that this new generation of musicians, including Aloïse Sauvage, is trying to break down. However, Aloïse does not present herself as an activist when she makes music, she shows what she is, without codifying or classifying herself. It is by assuming and asserting this freedom that she considers her art to become an emancipatory vector with a real societal impact.
Aloïse Sauvage lends herself perfectly to the exercise of presenting the daily life of a contemporary music artist, especially during the carte blanche of the School of Public Affairs students. She discussed new forms of the creative process (toplines, definition of musical genre, writing ...), as well as modern issues for an artist in the music industry. She discussed frankly the difficulties involved in signing with a major label, but also the complex relationship she has with the promotional system, addressing the question of interpretation and the sometimes irrelevant journalistic appropriation of her work. With simplicity and casualness, Aloïse Sauvage and Elodie Filleul enabled the participants of the Masterclass to understand the current issues facing contemporary music artists who are far removed from the process of creation, production and exploitation.
Article written by Amor Belhiba, Chama Squalli & Anais Velle.