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Vienneau, Alexandra. "'À coups de tambour de mots' suivi d’une réflexion sur les différences entre le 'spoken word poetry' et le slam de poésie chez Marjolaine Beauchamp, Sarah Kay et Grand Corps Malade." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34129.
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La présente thèse en création littéraire comporte deux parties.
La première est un recueil de poésie divisé entre les deux types de poésies orales que nous avons étudiés : le spoken word poetry et le slam de poésie. À travers cette expérience de création, notre objectif était de montrer les différences entre les deux styles ainsi que leur courbe évolutive. Pour y arriver, nous avons pris comme point de départ un poème dans le style plus traditionnel de la poésie. À partir de ce texte « sacrifié » (selon la méthode mise en place durant les soirées de Slam), nous avons donc organisé les poèmes en suivant notre adaptation aux exigences du slam de poésie et du spoken word poetry. À travers ce travail, nous avons aussi dressé un plan thématique pour compléter l’organisation du recueil.
La seconde partie est composée de deux chapitres. Le premier est une étude théorique sur les différences entre les deux styles de poésie : il serait alors question de l’évolution progressive d’une poésie orale vers une autre en plus des orientations prises par chacune au fil des années. Comme genre littéraire, le spoken word, qui reste plus près des sources, est beaucoup plus libre que le Slam, qui s’implante dans le milieu actuel avec ses thèmes et doit suivre les règles rigides de la compétition. Le deuxième chapitre est un retour réflexif sur ma propre création à partir des notions vues au premier chapitre. Il explique en profondeur l’organisation de mon recueil de même que le plan thématique de ses deux parties.
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Strobel, Wesley/Kaileigh. "(TRANS)FORM: Spoken Word as Queer and Transgender Testimony." Otterbein University Distinction Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=otbndist1620462465460833.
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Brummer, Pind Daniella. "Poetry Slam. En studie av vilken betydelse Poetry Slam har som litteratur och som identitetsskapande verksamhet för ett antal tävlingsdeltagare." Thesis, Högskolan i Borås, Institutionen Biblioteks- och informationsvetenskap / Bibliotekshögskolan, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-18510.
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Today, the definition of literature has changed. Walter J. Ong talks about the secondary spoken language that has surfaced as a result of new technical innovations to our writing tools. This also transforms our attitude towards literature and we can see a return to literature based on verbal characteristics. According to Hans Hertel the verbal renaissance reflects a modern man need to come closer to each other and create togetherness. This master thesis adheres to these views and states that Poetry Slam is a manifestation of these theories. It also argues that Poetry Slam can not only be viewed upon as a literary movement. Besides providing literary teaching practices for large quantities of individuals, performing Poetry Slam also facilitates personal development. The master thesis is an interview based study, which aims to ascertain the importance of Poetry Slam as literature and its effect on the identity defining processes of those participating in Poetry Slam contests. The foundation for the essay’s line of questioning is based on the literary theories of Pierre Bourdieu. It also incorporates the theories of identity creation in a modern day society by Thomas Ziehe. The subjects interviewed have a thorough understanding on how to assess verbal art forms. It is also a common understanding that poetry is a wider art form than literature. Despite this, there is a positive interpretation and evaluation of the literature in question. Several of the subjects supplying the underpinning information firmly believes that participation in Poetry Slam sessions will further their carriers as poets. This consequently leads to a conflict between their goals and the aim and purpose of Poetry Slam.Uppsatsnivå: D
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Lindeman, Harriet. "Spoken Resistance: Slam Poetry Performance as a Diasporic Response to Discursive Violence." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1032.
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This project foregrounds the work and perspectives of spoken word poets of Middle Eastern and North African (MENA) descent in connection to the NYC slam poetry scene. I trace the parallel racialization of MENA diaspora communities in the US and the development of slam poetry as a space for raising “othered” voices. Through ethnographic analysis, I consider slam poetry as a site of intersectional struggle, arguing that the engagement of MENA diaspora poets with this scene reveals the ways in which poetry both constitutes resistance to discursive violence through representation and works to mobilize audiences against tangible structures of violence.
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Malm, Erik. "Scenankomst : Finns det en plats för slam i skolsammanhang?" Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-55739.
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This degree project essay examines the literary culture phenomenon known as poetry slam, a competitive format for performance poetry, with the purpose of discussing whether poetry slam could contribute to upper secondary school Swedish teaching or not. The essay consists of two parts, one where poetry slam is presented and one where poetry slam is discussed from a didactic perspective. In the first part, a brief history of poetry slam and its origins in the U.S. is presented, followed by a discussion of the ideology within the slam movement. Furthermore, the set of rules that regulate poetry slams are presented and finally the first part of the essay is ended with a discussion of poetry slam as a poetic genre of its own. The second part starts by presenting and discussing the concept of aesthetic learning processes and how poetry slam might enable such processes. Poetry slam is then related to the Swedish subject syllabus for upper secondary school in order to analyse whether there is any rationale for poetry slam in Swedish teaching or not. Furthermore, poetry slam is related to literacy development, first by discussing creative writing and then by discussing oral performance. The results of the analysis shows that poetry slam is foremost motivated in Swedish teaching as a literary historical content, partly as an opportunity to work with oral performance, and also to cultivate students’ linguistic subjectivity. Poetry slam could possibly enable aesthetic learning processes, although it may be questioned whether poetry slam qualifies as an artistic community professional enough to provide artistic working methods. The very concept of a school poetry slam could also be seen as a contradiction, when considering the slam movement’s self image of counter culture, as schools themselves could be interpreted as dominant literary establishments. Possible pitfalls related to poetry slam in Swedish teaching are the competitive format’s effect on students socio-emotional safety and the scoring system that may be hazardous for students’ linguistic subjectivity. Also, poetry slam may not meet the curricular demands on rhetoric performances which are mandatory in the upper secondary school Swedish courses, and thus questions may be raised if oral poetic performances can be prioritised at the expense of oral rhetoric performances. Moreover, the free, creative space provided to students within creative writing processes puts high demands on the teacher balancing students’ creative freedom, in order to possibly articulate hidden knowledge, with making sure that students do not spend time procrastinating.
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Brown, Jonathan Alexander. "You Gotta Crack A Few Begs To Make An Honest." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2247.
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Bergman, Madeleine. "Estradpoesi som politisk handling : En retorisk analys av SM i Poetry slam 2019." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-402901.
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Traditionellt sett har poesin varit talad, inte skriven, något som framförts på scen framför en publik. Den politiska användningen av estradpoesi är inget nytt påfund. Brukspoesi och tillfällespoesi i flera olika former har använts för att övertyga eller övertala publiken om olika samhällspolitiska frågor. Det retoriska talet har fått mycket uppmärksamhet för sin starka relation till politik, men hur fungerar det när talet är poesi? Denna uppsats vill fördjupa förståelsen av poesi som framförs på scen och hur den fungerar som en politisk handling. Detta görs genom att undersöka en specifik poesigenre: Poetry slam. Poetry slam är en tävling i estradpoesi som under de senaste trettio åren växt fram världen över, och många utnyttjar sin tid framför micken till att ta upp politiska åsikter eller personliga berättelser med en politisk agenda. Uppsatsen undersöker hur åtta olika poeter som tävlade i SM i Poetry slam 2019 använder sig av Poetry slam som en politisk plattform. Den undersöker på vilket sätt dikterna tar upp aktuella samhällspolitiska frågor, hur dessa frågor gestaltas samt hur olika strategiska manövreringar väcker identifikation hos publiken. Då dikterna måste vara skrivna av poeterna själva, men inte måste vara baserade på egna erfarenheter, blir det tydligt att poeterna genom dikterna konstruerar en identitet. Uppsatsen undersöker därför även hur detta används som ett medel för att övertyga eller övertala.
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Goursaud, Bastien. "Du spoken word à la parole publique : inscrire la performance dans la poésie britannique contemporaine." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL132.
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Depuis les années 1980, la poésie britannique contemporaine se caractérise par l’émergence de voix minoritaires et la diversité des formes et des pratiques. Cette expansion de la carte poétique est souvent lue à l’aune de ce que Sean O’Brien a décrit comme une dérégulation, en référence aux changements politiques et sociaux qui ont affecté la société britannique depuis le thatchérisme. Cette thèse se propose d’examiner un facteur essentiel de ce phénomène, à savoir la centralité accrue d’une conception du poème comme parole publique. En s’appuyant sur un corpus de poètes présentant des voix minoritaires ou invisibilisées, à mi-chemin entre la poésie spoken word et d’autres pratiques de performance, elle souligne que le pluralisme poétique est le fruit d’une pluralisation du poème même. Le texte poétique se transforme sur d’autres médiums et d’autres formes artistiques (musiques populaires, cinéma, peinture), permettant un décentrement et une remise en question de toute forme de centralité. Le poème hors du livre devient un geste à la fois esthétique et politique. La figure publique du poète que construisent les œuvres est un jeu de masques qui tente de défaire les assignations, entre fiction et parole lyrique. Le poème comme parole publique problématise le rapport du corps au texte en performance, mais aussi la matérialité du poème sur la page. Ce faisant, il interroge donc nos modes de réception de la poésie contemporaine. De même, le rapport structurel de cette poésie à la présence d’une communauté durant la performance suppose d’envisager des figures du commun et de la parole collective malgré la multiplication, voire l’éclatement, du poème sur une pluralité de médiumsSince the 1980s, contemporary British poetry has been characterized by the emergence of minority voices and a diversity of forms and practices. That expansion of the poetic map is often read through what Sean O’Brien called a deregulation, in reference to the social and political changes which have influenced British society since Thatcherism. This thesis looks at a central aspect of that phenomenon: the development of a conception of the poem as public utterance. By focusing on a range of poets representing minority backgrounds or unheard voices and working across spoken word poetry and other types of performance poetry, it demonstrates that poetic diversity is the result of a pluralization of the poem itself. Poems are transformed by other mediums and by exchanges with other art forms (popular music, cinema, painting) which in turn questions hierarchies and dominant poetic forms. Poetry off the page becomes both an aesthetic and political experiment. The poet’s public figure constructed by the poems is an elusive mask which oscillates between fiction and lyrical poetry. The poem as public utterance interrogates the relationship of the body to the text in performance, as well as the materiality of the poem on the page. In so doing, it also questions the way contemporary poetry is received and discussed. Similarly, in spite of the multiplication or atomization of the poem on several mediums, the structural relationship of this type of poetry with the presence of a community in performance creates representations of the community and collective utterance
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Tenn-Yuk, Jenna. "Where My Girls At? A Critical Discourse Analysis of Gender, Race, Sexuality, Voice and Activism in Ottawa’s Capital Slam Poetry Scene." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31573.
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Ottawa’s Capital Slam poetry scene has transformed over the past decade, marking a shift in the identities, discourses and performance styles of local poets. This thesis investigates these changes and trends within the time periods of 2008-2010 and 2012-
2014. This thesis demonstrates the shift from male poets of colour in 2008-2010 to female voices in 2012-2014 at Capital Slam, through an examination of Ottawa’s history and a multimodal critical discourse analysis of online performances. In particular, the creation of local alternative poetry shows over the past five years has increased the representation of female poets and transformed the racial dynamics of the scene. During the period 2008-2010 and 2012-2014, poets used key historical elements of slam poetry such as storytelling and speaking through personal experiences to effectively demonstrate how marginalized individuals can speak counter-narratives to dominant culture. The use of storytelling allowed these poets to engage, connect and dialogue with the audience, as well as demonstrate their different identities, discourses and performance styles.
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Parlati, Luigia. "Faire le slam : une ethnographie des pratiques poétiques collectives entre Paris et Marseille." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH169.
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Cette recherche porte sur une pratique de création poétique, le slam, qui est née à la fin des années 1980 aux États-Unis et qui est aujourd’hui largement répandue dans plusieurs pays, notamment en France. Si le succès de public (en 2006) d’artistes comme Grand Corps Malade est la forme plus reconnaissable de cette pratique de par sa médiatisation, il existe une hétérogénéité de « formes slam » et de pratiques qui sont devenues l’objet de cette thèse. Un slam de poésie est un espace de parole ouvert à tous et il est organisé selon différents dispositifs, de la compétition au « micro ouvert » et dans plusieurs typologies de lieu (bar, salle de spectacle, bibliothèques, espaces publics). Toute personne ayant un texte à dire (qui peut être écrit au préalable ou pas) peut donc le faire devant un public, sans qu’on lui impose aucune contrainte de style ou de contenu. Cette simplicité apparente du fonctionnement du slam vient interroger en réalité plusieurs types de « frontières » qui font sens pour certains acteurs du monde de la création littéraire (poésie écrite/poésie à voix haute), de l’éducation linguistique (parler littéraire/parler ordinaire) et de la formation du goût artistique (excellence/banalité). Mais les slameurs et slameuses rencontré.e.s dans mes enquêtes entre Paris et Marseille (ainsi qu’à l’internationale), témoignent d’un autre monde commun, où l’expérimentation verbale, vocale et performative coexiste avec le désir de partager librement la parole ou de s’engager dans une démarche artistique. Croisant les discours des acteurs avec la doxa et la littérature sur le sujet, cette thèse a pour ambition de proposer des analyses situées de cette pratique poétique collective, afin de rendre compte de son extrême disponibilité à accueillir tout acte de parole dite à voix haute et en public. C’est une recherche qui se donne pour objectif d’au moins mettre à jour les nœuds, tensions et enjeux suscités par cette liberté du slam à être agencé et participéThis research focuses on poetry slam, a practice of poetic performance, born in the late 1980s in the United States and now widespread in several countries, including France. If the public success (in 2006) of artists such as Grand Corps Malade is the most recognizable form of this practice through its media coverage, there is a heterogeneity of "slam forms" that have become the subject of this thesis. Poetry slam is an open platform and it is organized according to different approaches, from competition to "open microphone" and in several kinds of places (bar, stages, libraries, public spaces). Anyone with a text to say (which can be written in advance or not) can therefore do it in front of an audience, without any injunction of style or content. This apparent simplicity of poetry slam actually questions several types of "boundaries" that make sense to some actors in the world of literary creation (written poetry/poetry readings), language education (literary/common language) and artistic creation (excellence/triviality). But the slammers I’ve met in my fieldwork between Paris and Marseille (as well as abroad), participate of another common world, where verbal, vocal and performative experimentation cohabit with the desire to freely share their words or being engaged in an artistic endeavor. Crossing the discourses of the actors with the doxa and literature on the subject, this thesis aims to propose some analysis based on this collective poetic practice, in order to account for its extreme readiness to accommodate any speech act aloud and in public. This research aims to at least elucidate the tensions and issues raised by poetry’s slam freedom to be empowered and be engaged
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Huang, Kai. "Oral Medicine: A Role for Spoken Word Poetry in Medical Education." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17295869.
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During my time at Harvard Medical School (HMS), I have been fortunate enough to be able to continue pursuing a unique passion of mine. Spoken word poetry is a passion that falls far from the traditional medical school curriculum. In this paper, however, I will argue that this need not be the case. I will argue that spoken word poetry has an important role to play in the education and professional development of physicians and other health care providers.
First, I will present a brief history of spoken word poetry. My intent here is to orient my audience, composed mostly of academic physicians, to this rich and fascinating genre of performance art. Next, I will provide an overview of how poetry and other forms of creative writing are already being used to help train more well-rounded, humanistic physicians. I will describe how the inclusion of spoken word poetry in particular has the potential to enhance these initiatives in unique and powerful ways. Finally, I will present an original curriculum made up of four contiguous spoken word poetry workshops specifically geared towards medical students and physicians. This course will be designed in the spirit of month-long electives at my home institution and at many other medical schools.
It is my hope that through this project, I might help academic physicians gain a greater appreciation for the unconventional art form that is spoken word poetry and for the role it might play in advancing our profession, our relationships to patients, and ultimately our patients’ outcomes.
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Törnqvist, Sara. "Speaking through poetry- Using spoken word poetry to lower speaking anxiety among Swedish EFL learners." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-76300.
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This paper presents a qualitative study investigating whether exercises inspired by spoken word poetry can be used as anxiety-lowering speaking exercises for Grade 9 students in Swedish secondary school and increase their motivation for speaking English in class. My initial hypothesis was that the students would feel less anxious to speak English in class when performing spoken word than when doing oral presentations. I also thought that the students would feel less anxious performing found poems, where the words in poems are taken from a model poem. To test my hypothesis, I conducted a lesson study consisting of three research lessons and interviews with an in-service teacher and three case students. The findings show that while some students did feel less anxious speaking English when performing spoken word poetry, most of the students’ motivation to perform was unaffected by the exercises used in the research lessons. Instead, the research showed that giving the students the opportunity to choose between writing and performing in groups or alone had the most impact on their motivation to perform. Understanding the poems was another factor with great impact on the students’ motivation to perform. These findings are discussed, and it is proposed that teachers who want to use spoken word poetry in their classroom practice should focus on accommodating their teaching practice to the students’ needs, and that more lesson time should be spent on analyzing the poems than on writing them.
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Maloney, Leslie Don Bellinger W. H. "A word fitly spoken poetic artistry in the first four acrostics of the Hebrew psalter /." Waco, Tex. : Baylor University, 2005. http://hdl.handle.net/2104/3002.
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Soflin, Elizabeth Louise, and Elizabeth Louise Soflin. "Text as Music, Music as Text: Stuart Saunders Smith's Works for Percussion and Spoken Word." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/624573.
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American composer Stuart Saunders Smith (b. 1948) has been active in the composition of contemporary art music for over forty years, composing over 200 musical and interdisciplinary works. His music ties the experimental world of contemporary music to his experiences living, composing, and teaching in the northeastern United States. Many of his works have included spoken word as a percussion instrument, either alone or blended with instrumental percussion writing. Although not unique in blurring the boundaries between text and music, Stuart Saunders Smith’s texted percussion works manage to both belong to tradition and exist as a unique body of works, as can be seen by studying the context of their creation, technique in synthesizing music and text, and usage of text as melodic material.
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Acker, Tristan D. "CONFESSIONS OF A HIP-HOP HIPPIE." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/60.
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This Statement of Purpose does not give a history of hip-hop or hip-hop poetry but rather how this particular poet fits into the current phase of hip-hop and performance poetry. In it, I discuss and explain the new pro-working class hip-hop performance poetic. This includes extensive discussion of how rap poetry conveys meaning through sound. Also discussed is the socioeconomic context for the suburban southwestern topics found in the manuscript. This statement is a parallel piece to the manuscript itself in that it explains a brown kid from San Bernardino’s journey of connecting words and music for purposes of personal expression and potentially the betterment of his community. This statement also discusses my aesthetic beliefs and preferences as a sound poet with a background in performance and music.
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Borstlap, Mari. "Poësie performances : ‘n ondersoek na die moontlikhede vir poësie performance." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20064.
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Thesis (MDram)--Stellenbosch University, 2012ENGLISH ABSTRACT: Poetry performance as a universal phenomenon is a performing art form. The aim of this study is to explore the diverse nature of this art form. The different types are investigated according to their nature and the reasons provided as motivation for the way in which these types are presented. This study focuses on the following types: poetry found in ritual, poetry readings, poetry recitals, poetry as part of word art (woordkuns), sung poetry, the verse drama and drama’s based on poetry. Under each of these categories relevant examples of each type are discussed. A background study which is primarily focused on a brief overview of the history of poetry performance in relation to its origin and development serves as an introduction and foundation for the study. Hereupon the different types of poetry performances, with relevant and contemporary variations as examples, are being compared to each other with the aim to elucidate the main similarities as well as differences between these examples. As part of the research of poetry performance, a practical project exploring the specific nature of dramas based on poetry was executed. This drama, called Ontslape, shares various comparisons as well as differences with other examples of contemporary drama’s based on poetry. It also shares similarities with word art (woordkuns). Although it is possible to distinguish between certain types of poetry performance, it however also appears that some types overlap in more than one way and therefore the conclusion can be made that poetry performance as a phenomenon consists of various possibilities.
AFRIKAANSE OPSOMMING: Poësie performance as universiële verskynsel is ‘n uitvoerende kunsvorm. In hierdie studie word die diversiteit van die kunsvorm ondersoek. Die onderskeie tipes word ondersoek na aanleiding van die aard en doel van die aanbieding. Die studie fokus op die volgende tipes: poësie in rituele verband, poësie in voorlesing, poësie en voordrag, poësie as deel van woordkuns, poësie in sangvorm, die versdrama en poësie gebasseerde drama’s. Onder elk van hierdie afdelings word relevante voorbeelde van elke tipe breedvoerig bespreek. ‘n Agtergrondstudie wat hoofsaaklik fokus op ‘n historiese oorsig met betrekking tot die oorsprong en ontwikkeling van poësie performance dien as basis vir en inleiding tot die studie. Hierop word onderskeie tipes poësie performance met relevante en kontemporêre voorbeelde en variasies belig met die doel om die ooreenkomste en verskille tussen tipes en voorbeelde uit te lig. As deel van die verkenning van poësie performances is ‘n praktiese projek uitgevoer wat by nader ondersoek ‘n voorbeeld van ‘n poësie gebasseerde drama is. Hierdie drama, getiteld Ontslape, toon verskille en ooreenkomste met ander kontemporêre poësie gebasseerde drama’s. Dit toon ook ooreenkomste met woordkuns. Alhoewel sekere tipes poësie performances duidelik van ander geskei kan word, blyk dit dus dat sekere tipes met mekaar oorvleuel en daar word dus gevolglik tot die konklusie gekom dat poësie performance as verskynsel oor ‘n legio aantal moontlikhede beskik.
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Eldridge, Jr Reginald. "Shifting Blackness: How the Arts Revolutionize Black Identity in the Postmodern West." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3087.
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The contemporary experiences of racially marginalized people in the West are affected deeply by the hegemonic capitalist Orthodox cultural codes, or episteme, in which blackness operates as the symbol of Chaos. As it relates to people of African descent, these affects are marked by a denial of the black person's full status as an unproblematic subject, by ontological voids arising from the practice of enslavement over the past centuries, and by problems of representation within the West, where examples and points of reference for black identity are always tied up with conflicting interests.
Utilizing Sylvia Wynter's model of the Ceremony as one means of describing the ways in which blacks in the West maneuver the extant psychological and philosophical perils of race in the Western world, I argue that the history of black responses to the West's ontological violence is alive and well, particularly in art forms like spoken word, where the power to define/name oneself is of paramount importance. Focusing on how art shaped black responses to ontologically debilitating circumstances, I argue that there has always existed a model for liberation within African American culture and tradition.
This work takes an approach that is philosophical and theoretical in nature in order to address the wide breadth of the black experience that lies beyond the realm of statistics. The goal of this approach is to continue the work of unraveling hidden or under-discussed aspects of the black experience in order to more clearly find possibilities for addressing problems in the construction of race and marginalized people within the Western episteme. This work attempts to redefine the struggle for a healthier ontology within the framework of a process of liberation that transcends Orthodox limitations on the marginalized subject.
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Noah, Agnese. "POESI (OCH LIVET I EN PARENTES) : EN GENUSVETENSKAPLIG STUDIE AV WOMEN OF COLOR-POETERS ERFARENHETER AV SKAPANDE OCH FRAMTRÄDANDE." Thesis, Uppsala universitet, Centrum för genusvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-385740.
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Tre women of color-poeters utgångspunkter och hur de orienterar, upplever och erfar sitt poesiskapande och framträdande är i fokus för denna studie. Intervjustudien har utgått från ett (queer)fenomenologiskt och intersektionellt perspektiv både i intervju- och analysmetod där jag utifrån en vidare tematisk analysstruktur identifierat tre olika teman presenterade i varsitt avsnitt. Det första handlar om hur poeterna introduceras till poesi och vändpunkten i identifikationen som poet. Jag tar avstamp i hur poeterna började skapa och framträda med poesi för att sedan förstå hur de orienterar sig i sitt skapande från dessa utgångs- eller nollpunkter. Klassbakgrunden blir här viktig för att förstå poeternas senare identifikationer som poeter som sker i mötet med skolans skrivundervisning. Skolan förstås här som ett orienteringsverktyg som skapar utrymme och riktar poeterna till framtida linjer längs vilka de mer seriöst ägnar sig åt poesiskapande och så småningom framträdande. Det andra temat utgår från kroppens relation till poesiskapande och framträdande. Genom främst queer- och vithetsfenomenologiska perspektiv utforskar jag poesiskapande och framträdande som levda erfarenheter utifrån de förkroppsligade poeternas upplevelser av världen och poesin genom kroppen. Centralt för kroppsliga upplevelser av världen blir vilka känslor som finns fastklibbade på dessa kroppar och i vilka intersektioner dessa befinner sig i. Poeterna marginaliseras bland annat könsmässigt, rasmässigt och sexuellt. Dessa marginaliseringar samverkar och går därmed inte att separera, och de positioner som blir tillgängliga för dem påverkar deras poesi. Under det tredje temat följer jag dessa kroppar in till de olika poesirum de bebor. Hur de bebor olika sammanhang och rum, hur de orienterar sig i dessa och kan förlänga sig i dem blir här mitt fokus. Det blir tydligt att poeternas olika marginaliseringar och de linjer de följer skapar hinder för dem att bekvämt förlänga sig i en majoritet av de poesisammanhang de rör sig i. Dock finns en subversiv potential i denna obekvämlighet som de alla tvingar sig ut i för att sätta saker i gungning och rörelse.
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Avila, Alex. "THE BRONX COCKED BACK AND SMOKING MULTIFARIOUS PROSE PERFORMANCE." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/394.
Full textAbstract:
The Bronx Cocked Back And Smoking is a collection of multifarious prose performances recounting the historical, personal, social, political and cultural constructs of a city birthed by violence. This body of work is accompanied by video, audio, photography, and theatre performance texts. St. Mary’s Housing project, in the Bronx, is the foundation where most of this literary work takes place. The modern day Griot (storyteller) is a Poet, guiding his audience through the social inequalities and disparities that plague St. Mary’s community. The Poet shares personal traumatic insights while simultaneously utilizing writing as a form of survival to the conditions of the Bronx. This multi-platform performance highlights the metaphorical and physical concerns with the cycle of violence. This question is answered through the Poet’s choice by selecting the pen over the gun.
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Bashonga, Ragi. "Selling Narratives : an ethnography of the Spoken Word movement in Pretoria and Johannesburg." Diss., 2015. http://hdl.handle.net/2263/44239.
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Spoken Word poetry in South Africa is understood as a genre of poetry which encompasses elements of textuality, musicality and performance, and is currently produced and frequented predominantly by a young, black public, according to Molebatsi and D’Abdon (2007). By means of ethnography, content analysis, and interviews with thirteen poets, this study demonstrates that the genre is used for expressing the life experiences of artists and their communities (Sole, 2008), as well as narrating social ills and concerns, including political, religious and other social experiences. In this sense, it is argued that Spoken Word may be termed as being a contemporary form of liberation politics (Judge, 1993) that is employed to serve a social function beyond directly political aims. This is made visible through the narratives, styles and identifications that distinguish members of this movement. This study provides a description of the scene in Pretoria and Johannesburg, drawing out various features of the movement. The social and political significance of the movement is presented by emphasising the poets’ perspectives on the Spoken Word movement, and engaging in a thematic content analysis of poems under the themes race and politics, gender and sexuality, and religion. International literature is engaged to demonstrate differences and similarities between South Africa’s Spoken Word scene and that of the USA by consulting works of scholars such as Weber (1999), Bruce & Davis (2000) and Hoffman (2001). It is demonstrated that similar to the genre in the USA, South African Spoken Word stresses performance to be an important distinguisher of this type of poetry. Also, in both contexts this art form has links to identity politics of previously marginalized groups. The study presents a similar finding to D’Abdon’s (2014) argument that the narratives presented in the post-apartheid Spoken Word movement greatly reflect Black Consciousness ideology, yet also importantly stresses that the movement also presents discontinuities with this discourse, allowing for a much broader array of narrative to permeate the performance poetry scene. This study makes an additional contribution to the existing literature through its key findings. Firstly, the study argues that although there has been a significant increase of women into the scene, Spoken Word remains a gendered space. Secondly, this study demonstrates that narratives produced by this movement contribute to experiences of community, but also play an exclusionary role to certain groups. Finally, the study illustrates that poets of the present day Spoken Word scene have begun a move towards commercialisation of the art form, subsequently also aiming for the valuation of African literature. In essence, it is argued that the present day Spoken Word poetry movement has great social and cultural value, and presents great potential of being a vehicle through which political and social consciousness can be both created and sustained.
Key words: Spoken Word, poetry, South Africa, oral literature, slam, open mic, post-apartheid, literature, narratives, Black Consciousness, politics, social change, art, liberation poetry, liberation politics, culture, hip-hop, conscious art, resistant political artDissertation (MSocSci)--University of Pretoria, 2015.
Sociology
Unrestricted
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Hsieh, Hsiao-lin, and 謝筱琳. "In and Out of the Spoken Word: The Stand-up Poetry of Denise Duhamel." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/49443925893697692422.
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碩士國立中央大學
英美語文學研究所
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Denise Duhamel is a one-woman phenomenon in modern American poetry. Her work is read, heard and appreciated by a broad audience which crosses generations, as well as gender, political, racial and other divides. She has been identified as a seminal figure in the movement that has come to be known as stand-up poetry, and is one of the most acknowledged and reprinted American poets of recent decades. This thesis considers Duhamel''s work in the context of her life and career. It seeks to identify the characteristics of her poetry which account for her genre-transcending appeal, and to trace the genesis of those characteristics in her experiences, especially those during her time as a graduate student in the Creative Writing Program at Sarah Lawrence College in New York in the eighties. One interesting and important factor is her use of humor in her poems, and her appropriation of elements from stand-up comedy (a feature often cited as the hallmark of stand-up poetry). A significant part of the present thesis is therefore devoted to an analysis of this much under-theorized area of literary culture, with a view to better understanding Duhamel''s use of humor and “joke-work,” and in particular the way in which she makes use of comedy and comedic devices to build a rapport with her audience. This aspect of her work is compared and contrasted with the way in which similar themes are used by stand-up comics themselves, with a focus on the role played by the theme of abjection, and two great exponents of abject humor from past and present: Lenny Bruce, and Sarah Silverman. Having considered these aspects in some detail, the thesis closes with a brief assessment of the characterization of Duhamel as a stand-up poet, and concludes that Sandra Tarling''s definition of the stand-up poet as writing firstly for the page, and only subsequently for the stage, does not fit Duhamel especially well, since her poetry is first and foremost a performative endeavor.
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Endsley, Crystal Leigh Gonick Marnina. "One of ya'll got my lyrics student artists exploring spoken word poetry, performance, and activism /." 2009. http://etda.libraries.psu.edu/theses/approved/WorldWideIndex/ETD-3746/index.html.
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Rozman, Rachel Beth. "The evolved radical feminism of spoken word : Alix Olson, C.C. Carter, and Suheir Hammad." 2013. http://hdl.handle.net/2152/22520.
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Radical feminism is often associated with the 1970s and 1980s in the United States. Although powerful in its goals of solidarity and coalitions, the movement is often criticized for its lack of attention to intersecting systems of power. However, several contemporary feminist spoken word poets are reconceptualizing radical feminism in their political projects, using the theories and activist strategies while paying attention to race, class, and sexuality. This piece traces some of the history and literature of radical feminism, Woman of Color feminism, contemporary Islamic feminism, and spoken word poetry. Using these frameworks, I close-read three poems: "Womyn Before" by Alix Olson, "The Herstory of My Hips" by C.C. Carter, and "99 cent lipstick" by Suheir Hammad to discuss the manner in which each uses coalitions. Olson's poem provides an analysis of the performative and textual aspects of the poem as a way to envision an activist project grounded in old social movements. Carter's poem connects history and archives, using a Woman of Color framework, and through Hammad, the structural critiques of an unjust system that disadvantages minority youth are seen through lenses of Women of Color and Islamic feminism. While these poets gain some knowledge from radical feminism, they interpret it in their poetry in ways that address the intersections of identity.text
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""Listen to the Poet": What Schools Can Learn from a Diverse Spoken Word Poetry Group in the Urban Southwest." Doctoral diss., 2015. http://hdl.handle.net/2286/R.I.29775.
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abstract: This dissertation shares findings from a yearlong qualitative case study of Young Voices Rise (YVR), a diverse spoken word poetry group in the urban Southwest. The study examined the group's characteristics and practices, adolescent members' views of their writing and themselves as writers, and changes members attributed to their experiences in YVR. Data sources included interviews with six adolescent poets and two adult teaching artists, observations of writing workshops and poetry slams, collection of group announcements through social media, and collection of poems. Sociocultural theory guided the study's design, and grounded theory was used to analyze data. This study found that YVR is a community of practice that offers multiple possibilities for engagement and fosters a safe space for storytelling. The adolescent participants have distinct writing practices and a strong sense of writing self; furthermore, they believe YVR has changed them and their writing. This study has several implications for secondary English language arts. Specifically, it recommends that teachers build safe spaces for storytelling, offer spoken word poetry as an option for exploring various topics and purposes, attend to writers' practices and preferences, encourage authentic participation and identity exploration, and support spoken word poetry school-wide.Dissertation/Thesis
Doctoral Dissertation Curriculum and Instruction 2015
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Rachel, Larabee. "(En)Compassing Heart: A Youth-led, Grassroots NGOs Navigation Towards Sustainability." Thesis, 2009. http://hdl.handle.net/1807/18120.
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(En)Compassing Heart explores and documents the organizational journey of POR AMOR Community Enhancement Initiatives. POR AMOR is a current, Toronto based, youth-led, non-profit organization I co-founded with three other young women in 2003. POR AMOR initiatives focus on youth empowerment and specifically helping young people to make responsible transitions into adulthood and become active leaders in their communities.
Through the use of arts-informed methodological practices, this project is constructed as a modern narrative, infused with spoken-word poetry, to track the journey of a young girl from her passion for the arts to becoming an empowered individual within her community. The young protagonist is representative of the journey of POR AMOR, our journey as young people navigating our way to meaningful work in communities. The mission of POR AMOR is to promote and facilitate art-based youth empowerment initiatives in local and international community contexts.