Interview with Morgane Billet

FdD Francis Kurkdjian : Since 2019, you've been involved in directing the Fleury Mérogis prisoners' choir and, as part of this, you conduct the Ostinato orchestra. How did this collaboration come about? What motivates you to lead prison choirs?

Morgane Billet : "During my studies at the Sorbonne in musicology, there was an option for "choral conducting", after which I had the opportunity to train at the conservatory. Alongside my professional singing career, I began directing adult amateur choirs. One of them is called "À portée de notes", and it was there that I met Théo Friconneau's father, artistic director at Ostinato. Théo, knowing my work and my temperament, thought of me to lead the adventure as choral and orchestral conductor of the "En musique pour plus d'humanité" project. That was in 2019. Since then, I've remained very attached to the project and enthusiastic about it, as has the pianist Ernestine Bluteau, my partner in the workshops at the prison.

My motivation: it's a fundamentally human adventure that gives meaning to my job. Music has an incredible power, and all the tools I've amassed, such as theater, relaxation, opera singing, directing and even management, are useful to me. Then there's the constraint of the short 3-month period over which the workshops have to be run. This relieves a challenge bag! Each time, I don't know who's going to be there, whether the inmates are going to come and therefore whether I'm going to be able to run the workshops and keep them going. It's a great challenge for me, and when I manage to rise to it, it's pretty satisfying."

FdD Francis Kurkdjian : Can you tell us a little about how the work sessions go?

M.B : "They go pretty much the same way every time. I always start with a relaxation session. I get them to close their eyes, they sit down, and everyone concentrates on their breathing, the sounds around them and so on. I use relaxation and meditation tools to calm them. These fifteen minutes are a moment of transition between their daily lives and what we're going to share during the two-and-a-half-hour workshop.

Then there's the theater part, which helps build the group's confidence, goodwill and solidarity. It also nurtures their commitment to the project. My work is based on three guiding principles: kindness, humor and high standards. These theatrical exercises are sources of energy and listening. Singing in chorus is above all about paying attention to others, so that everyone sings the same thing at the same time. You also learn to let go of what's going on in prison. I remember that during the first workshops, when I asked them to close their eyes, many protected themselves by saying that in prison you can't do that because you have to be on your guard. These exercises are essential if inmates are to relax and gradually open up. We also share a few memories of their life on the outside. Everyone realizes that inmates or not, you can love lemon pie, you can love your children... it brings out things that bring us together.

Then there's the vocal training and technique part. In general, there are very different levels in the groups. Some people have already made music, while others have come a long way, but all sing with great enthusiasm and heart. I have 10 sessions to make the pieces I sing sound (demanding opera arias), so vocal technique tools are indispensable.

Then there's a time when the instrumentalist from the Ostinato orchestra comes to present his or her instrument, talk about its history and his or her musical practice. Then he or she exchanges with the inmates."

FdD Francis Kurkdjian : What do you consider important in working with prisoners?

M.B : "It's that the inmates feel elsewhere and get out of their daily lives in prison. I have the impression that it's good for them to have a day in the week when they can relax. I imagine that in detention they keep their emotions in check, so I try to make them forget their daily routine by using humor, because for me it's my basic tool. I don't know to what extent you can laugh and make jokes in detention, but I hope to bring them good humor. I remember one inmate telling me, "Morgane and I do things we wouldn't do anywhere else, and it's great". At first, it's hard for the inmates to let go, and I don't ask them to do anything crazy straight away, but after a few sessions, trust is established and we can explore, try things out, experiment. I also like the fact that the inmates rub shoulders with the beautiful, because music is beautiful, it allows us to share emotions, to flirt with the light, the funny and the profound. I try to do deep, serious things in a light-hearted way."

FdD Francis Kurkdjian : What moves you most? What do you like best?

M.B : "What touches me most is sharing and the moments when humanities meet. What I like the most is when they laugh at me with a lot of kindness. When that happens, I tell myself that I've already won and that a bond has been established. What I also like: it's when they understand what's at stake in this adventure. Some people will wait until the concert to understand, others will never understand. For those who miss it, it's just a good time, but that's where it ends. For others, it's an experience, a sharing that they'll remember for the rest of their lives. For me, the sensitivity that emanates from the music and what is played out in an adventure based above all on the human, is a window of freedom."

FdD Francis Kurkdjian : What do you deplore most?

M.B : "When I can't! For example, with drug-using inmates, who are a little less aware of reality and what's going on. In this context, I talk to them individually to try and make them understand that their behavior isn't doing me any favors. Nevertheless, even in this state, these people came back at least eight times out of ten, i.e. to virtually every workshop. What's more, sometimes the two-hour walk falls at the same time as the workshop. The inmates have to make a choice, and when they prioritize the workshop, it's quite nice. Another thing I deplore is that there aren't enough inmates in the concert audience. I'd like more of them to share a little piece of the adventure, and I think the singers would be very proud."

FdD Francis Kurkdjian : Do you have an anecdote or a memory that stands out in connection with the project?

M.B : "Every workshop has its surprising moments. I obviously have lots of anecdotes. One time, it was my first workshop, when I announced that we were going to sing a lullaby for the men, one of the inmates reacted unexpectedly by explaining that in his childhood he hadn't really heard lullabies, softness didn't exist. Among the women, one confided that she couldn't sing a lullaby because it reminded her too much of the short time she'd spent with her baby after giving birth in prison. I quickly realized that this wasn't going to be a conventional choir, and that I'd have to adapt and always be careful about the words I used.

I also remember one woman who was very committed to the workshops. She was looking forward to the concert. She was released the day before and couldn't attend. There was a mixture of disappointment and joy. Recently, during a concert, an inmate imitated me by playing the conductor of the choir and orchestra. It was great fun, and a sign that we're getting on well together. It's obvious that I'm fond of some of them."

FdD Francis Kurkdjian : What impact will the project have on prison inmates?

M.B : “I hope they will take away fond memories of this human adventure and that it will nourish their daily lives. I'd like them to remember their ability to put on a concert in 10 sessions, and to sing opera. Some of them plan to join a choir or enroll their children in a conservatory. It just goes to show the liberating power of music. The workshops transmit values such as caring and commitment, and also offer a creative break. I hope they'll remember their ability to make wonderful things happen, and recognize themselves as important people to be reckoned with.”

FdD Francis Kurkdjian : Have the workshops evolved over the years?

M.B : "Yes, the project has evolved over the years. I've noticed an increase in the number of people taking part in the workshops. There were three hundred volunteers among the men, whereas there are only thirty places. What's more, over twenty men took part in the concert, compared with barely fifteen in previous years. The same goes for the women, who were more numerous this year. Also, the inmates were much more assiduous at the workshops."

FdD Francis Kurkdjian : What are the selection criteria for inmates applying to take part in the workshops?

M.B : "I don't think I have the toughest inmates. There are profiles that are not allowed to participate in the project because they are forbidden to associate with certain people or access certain activities. I believe it's the culture and administration department that decides on the selection of participants. I have no say in the matter. On the other hand, I could point out certain behaviors during the workshops, but I don't do that. I don't think it's in their interest, or that of the workshop. In general, people who are a pain, or who don't take the workshops seriously, leave on their own."


FdD Francis Kurkdjian : What next for the 4th edition of this project?

M.B : "I think the project is working well at the moment, and I know we're going to be more demanding. There was an idea for a documentary this year, but it didn't come to fruition. I'd be delighted if it could see the light of day. A three-minute subject has already been broadcast, but for me it's not enough. It's hard to show the depth of our project in such a short space of time. On the other hand, a fifty-minute report with a real documentary follow-up would allow us to see and share what's going on behind the walls. It would show the general public the quality, originality and, above all, the humanity of this adventure, which exists nowhere else and of which I am very proud."