Isabelle A Drops Hit ‘Blank of Zwart’ After Woke Language Debate
Belgian singer Isabelle A has temporarily removed her 1991 hit “Blank of Zwart” (“White or Black”) from her setlist at the Gentse Feesten festival, following renewed controversy over the song’s language. The 51-year-old Ghent-born artist confirmed the decision on July 21, telling Het Laatste Nieuws that the song is “not in my setlist for Gentse Feesten tonight so far,” adding that “it’s a bit too much woke these days.”
The Song and Its History
Released in 1991, “Blank of Zwart” was originally conceived as an anti-racism anthem, with lyrics asking “Ben je blank of ben je zwart…” (“Are you white or are you black…”) and promoting tolerance. Written by Jan De Vuyst, Peter Bauwens, and Peter Gillis, the song became a major hit and a staple of Isabelle A’s live performances.
The song gained notoriety when Isabelle A performed it during a live broadcast of the BRT program “Panorama” on September 5, 1991, about the reception of asylum seekers in Lint. The far-right Vlaams Blok party was present and protested loudly during her performance, cementing the song’s place in Belgian pop culture history.
This is not the first time Isabelle A has adjusted the song. In 2017, she already removed a controversial racial slur from the lyrics.
The Linguistic Debate
The controversy centers on the Dutch word “blank,” which has multiple meanings. While it traditionally refers to white skin color, it also means “clean,” “unstained,” “pure,” or “spotless” — as in “een blank blad” (a clean slate). Critics argue that using “blank” for white people implicitly associates whiteness with purity and cleanliness, creating a problematic contrast with “zwart” (black).
Supporters of the song counter that it was always intended as a message of tolerance and that changing lyrics decades later erases cultural history. The debate reflects a broader conversation in Flanders about language, race, and evolving social norms.
A Growing Trend in Flemish Pop Culture
Isabelle A’s decision follows a significant precedent. In September 2025, the beloved Belgian children’s group K3 changed the lyrics of their song “Iedereen K3” from “blank of zwart” to “wit of zwart,” with the members stating that “some words just don’t fit in this time anymore.” The K3 precedent has normalized the linguistic shift and put pressure on other artists to follow suit.
Earlier, in 2025, during Radio2’s “Eregalerij” (Hall of Fame) ceremony honoring Isabelle A, fellow musician Bart Peeters performed the song but used “Wit of zwart” instead of “Blank of zwart,” signaling the direction of the linguistic shift.
Isabelle A’s Conflicted Position
The singer appears genuinely torn on the issue. In a July 4 interview with HLN, she expressed doubt about performing the song at the Gentse Feesten, noting that “when I perform the song, the atmosphere sometimes changes.” She also stated that changing the title to “Wit of zwart” was not something she wanted to do, saying “people know it that way and not as ‘Wit of zwart.’”
Yet she also made clear the song is not permanently retired. “The song is certainly not finished for me,” she said, leaving the door open for its return in some form.
Broader Implications
The controversy highlights a generational shift in how race and language are discussed in Flanders. Artists performing older material face increasing pressure to update lyrics or face controversy, while significant public resistance to these changes creates a polarized cultural landscape.
The Gentse Feesten — one of Belgium’s largest cultural festivals, running from July 17 to 26 in Ghent — provided the backdrop for this latest chapter in the debate. Whether Isabelle A will eventually perform the song with modified lyrics, reintroduce the original version, or leave it out permanently remains an open question.
What’s Next
For now, Isabelle A’s performance at the Luisterplein on Belgian National Day will proceed without “Blank of Zwart.” The broader conversation about language, race, and artistic legacy in Flemish popular culture, however, shows no signs of fading. As more artists grapple with material from earlier eras, the tension between preserving cultural heritage and adapting to evolving social standards is likely to intensify.