9 'Black Poets Speak - "The Day After the Election I Didn't Go Out" by Hanif Willis-Abdurraqib,'. In the chapter "Poetry and the News" he explains that "the larger narrative of twentieth- and twenty-first-century poetry intertwines with. The same tension between particularity of place and common sense of commonality is evident in The Day After Election .
The simplicity of the answer – soul food spot, a place of comfort and community – puts the political events in a wider context. Ramazani's statement about poetry's gaze towards the 'distant horizons of the future'20 also applies here: When the speaker returns to the day after the election in stanza eight, he talks about children playing in the street.
Oral Goes Viral – Reversing the Print Revolution
Ong, Orality and Literacy: The Technologizing of the Word (London, New York: Methuen my emphasis. 22Koputai is the original Maori name (literally = 'the belly of the tide') of the place which the British colonizers dubbed Port Chalmers is (and , before that, from the beach of Aramoana, at the relatively narrow entrance to Otago Harbour. The only affiliation that remains is his membership of the false modern tribe (Ngati) of beer-.
35Sia Figiel, 'Songs of the Fat Brown Woman,' Whetu Moana Contemporary Polynesian Poems in English ed. 41Mangaia is the southernmost of the Cook Islands and the second largest, after Rarotonga.
Jamaica Osorio’s Indigenous Poetics as a Challenge to Global Hybridity
The writer's activism, which was suppressed in the years of World War II and led to statehood in 1959, resurfaced after Hawaii's admission to the Union. This allows for varying levels of inclusion and exclusion according to the cultural awareness of the audience. An overview of this poetic practice and the role of the audience in kaona production can be found in Brandy Nālani McDougall and Georganne Nordstrom.
Each of these things is surely one level of the poem's meaning, but in Hawaiian culture breath and breathing hold special kaona. Foreword: Hawaiian Sovereignty Movement.’ Islands in Captivity: The Record of the International Tribunal on the Rights of Native Hawaiians.
Both feared and loved, an enigma to most’ 1
Zimbabwean Spoken Word and Video Poetry between Radicalisation and Disillusionment
The first video is a documentation of the poem The Sayer presented at Slam Poetry Express in Harare, and therefore can serve as an example for live performances transferred to new media. Harare based poet, MC and rapper Gerald Mugwenhi aka Synik is one of the rising stars of Harare's vibrant spoken word and Hip-Hop scene. It is part of the Uhuru Network which also runs the annual Pan-African African Hiphop Caravan festival, see Biko Mutsaurwa, "African Hiphop Caravan: Constructing a Revolutionary Counterculture," Journal of Hip Hop Studies 1.
14Pamela Dube, Contemporary English Performance Poetry in Canada and South Africa: A Comparative Study of the Main Motifs and Poetic Techniques (Heidelberg: Universitätsverlag Winter, 1997) 40. Synik was one of seven poets from Zimbabwe who qualified to perform at Slam Poetry Express of the inaugural Shock in 2011. It wasn't until Sayer entered that circle that "the ancient ritual of the cipher was complete."
Synik addresses the community directly by presenting songs that reflect the impact of hip-hop culture on society – one of the central themes in the rap genre. Synik was thus one of the eight poets who appeared in the second round, where he also scored 27 points, but failed to reach the third and final round. The video of Synik's performance tries to capture the lively atmosphere of a live performance by focusing on the poetic performance and the audience, as well as the MC, timekeeper and judges. with a small handheld camera, Shoko.
Spoken Word and Hip Hop Festival collaborate with the professional production company Nomadic Wax, which is based in the USA and exclusively documents events from the global Hip-Hop culture. Contemporary English Performance Poetry in Canada and South Africa: A Comparative Study of the Main Motives and Poetic Techniques. Collaboration with Zimbabwe's finest rappers provides a rare insight into one of the world's most demonized countries.' The Guardian, 17 Oct.
A Poetics of Climate Change: Apocalyptic Rhetoric in Selected Poems from East Africa
In the first stanza, the association of earth (soil) but also in a broader sense of earth with a painful human feeling of thirst (1), appeals to our sense of pity. In this perspective, the poet draws attention to the discrepancy between the action of the ladies and the prevailing conditions, both structurally and meaningfully. Finally, the contradictions within the poem can be read as a confirmation of the comic mode of the apocalypse.
The way the poet draws the audience into the poem resonates with Angus Fletcher's idea of an environmental poem. The first five lines invite the audience to imagine the ominous appearance of the sky. By emphasizing the nature of the damage, the poet draws attention to the economic importance of the storm.
In the last two lines, “If the rain should have rained/blessings” (28-29), the poet draws attention to the irony underlying the destructive nature of the storm. This metaphor in the context of the pounding force of the wind tends towards the comic. In apparent incongruity with this subject, the poem's title refers to "the nativity," an expression used in reference to the birth of Christ.
This idea gains ground in the second and third stanzas where the poet brings up the subject of birth contrary to the logical flow of the poem. These two stanzas seem out of place with the illustrations of the storm in the first stanza. Based on his concept of adéquation, a closer examination of the Dart's voice will reveal the river's animistic nature in which the anthropocentric and the ecocentric merge.
This self-generation also relates to Dart's fluid self, which is never stagnant. Consequently, his death and natural resurrection can be seen as a cyclical movement inherent in the natural flow of the river.
Finding a ‘German’ Voice for Courtney Sina Meredith’s Brown Girls in Bright Red Lipstick
For example, in the poem 'Aitu' (Meredith 39) I very consciously decided not to translate the word 'aitu' - but to leave it as it is to create a dialogue between the original, the translation and the reader . . In the 1970s, Samoan and Māori writers writing about their own culture were a novelty in New Zealand literature. Therefore, a German reader would not be able to read the image created here in the same way as a reader from New Zealand could read it.
A poetry translator must therefore be very precise, a perfectionist, because in the translation every word, every syllable must have its place. So a simple shift in emphasis in the first line can change the entire perception and response to the poem. In the second line, “She will eat your heart while you sleep,” the reader is confronted with many different sounds and assonances: eat at the beginning of the line shares an eye rhyme with heart, although both words have very different meanings. sound.
Another interesting feature of the language used in the poem is the element of self-reflection. This is the case, for example, in the poem 'Brown Girls in Bright Red Lipstick', where an image of young Samoan women is created that is once again at odds with expectations of how Samoan women are supposed to be. This becomes clear in an innovative way in the poem 'Basilica', where she writes about religious themes:
In the second half of the poem we find the line: 'Some Totara are higher than the gods of Apia'. Mapping the Indigenous 'Other' in Australian and New Zealand Literatures: akts de la journée d'étude organizée à Paris X-Nanterre le 28 June 2003. An interview with Patricia Grace.' Inside Out: Literature, Cultural Politics, and Identity in the New Pacific.
Interview with Kayo Chingonyi, Poet and Creative Facilitator
Writers read excerpts from works of fiction, but it's not quite the same culture of orality, because you can take a single poem, memorize it, and you've got some. I don't really have to negotiate the public and private in my writing in the sense of feeling like I can't publish a certain thing because it's too personal, because I don't write in that style very often. But even when I write something that happened in my life, I'm always engaged in some process of transformation, so that it's not just what happened, but it might be involved in some musical or rhythmic process, which it then takes out the experience alone in something else.
I'm interested in the genres of memoir and biography, those mediums that tell the truth, where it's not necessarily about a musical connection, but more about how the story moves someone. This is something that interests me more and more and is an area of literary criticism that is very compelling to me in terms of my reading. KC: It's something I'd like to do, but I'm really interested in following what comes naturally to me.
There seems to be a temporal distance between the subject, the father's passing, and the speaker, as if it were a memory later in the speaker's life. There is a sense in which such a poem cannot be satisfactorily completed because it tries to do what some elegies do and stop time in a specific moment so that the lost can be remembered. It is a lament of the way we are as children; that we don't appreciate what our parents sacrificed for us.
KC: I always tend to answer the same question differently when asked in a different context. I've only been to Mexico, but it's a place I felt, not necessarily that I belonged, but that my presence there was not cause for suspicion as such. It's a project where we host events in different cities across the UK that explore this theme of place and poetry, belonging, language and any related ideas.
Kenta
Alternate Take
A Proud Blemish
In a gray ward, two months in size eleven, she speaks in my native language, begging me to follow the steps of the music, but the discord of two languages keeps me from the truth I don't want to hear. She is dying, but I don't want to call her dead, I can't let her become: a body, a stone, an empty hospital bed.
