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Journal articles on the topic 'Spoken word poetry and slam'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Henze, Adam D. "Read This Book Out Loud: A Critical Analysis of Young Adult Works by Artists from the Poetry Slam Community." International Journal of Literacy, Culture, and Language Education 4 (August 1, 2015): 37–53. http://dx.doi.org/10.14434/ijlcle.v4i0.26915.

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This article examines the efforts of notable authors from the poetry slam community who have published Young Adult works intended for the classroom. Numerous secondary educators have embraced spoken word poetry as an engaging art form for teenagers yet often express difficulty in finding age‐appropriate material to share in school settings. This literature review hopes to serve as an introductory reference for secondary educators and researchers, and differs from slam‐themed reviews in that it specifically highlights artists from the slam circuit who have transitioned into YA publishing. Since the featured authors hail from backgrounds in theatre and performance, the works discussed often incorporate characteristics of oral verse that seemingly transcend the print medium. Also examined is the inherent barrier between oppositional, profane narratives embraced by youth, and the expectations of educational institutions who use censorship to sterilize places of learning. Written by an educator and academic who has been a part of the slam community for over a decade, this article offers an insider’s perspective for secondary educators, researchers, and fans of spoken word poetry who wish to know more about integrating the works of prominent ‘slammers’ into their classroom curricula.

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2

Perry, Maureen. "Resources for your rhymes: Sites for slam/spoken word/performance poetry." College & Research Libraries News 72, no. 3 (March 1, 2011): 143–46. http://dx.doi.org/10.5860/crln.72.3.8526.

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3

Johnson, Javon. "Manning Up: Race, Gender, and Sexuality in Los Angeles' Slam and Spoken Word Poetry Communities." Text and Performance Quarterly 30, no. 4 (October 2010): 396–419. http://dx.doi.org/10.1080/10462937.2010.511252.

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4

Yanofsky, David, Barry van Driel, and James Kass. "“Spoken Word” and “Poetry Slams”: the voice of youth today." European Journal of Intercultural studies 10, no. 3 (November 1999): 339–42. http://dx.doi.org/10.1080/0952391990100318.

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5

Kassir, Amal, and Nina Zietlow. "Poetry, Identity, and Family: An Interview with Amal Kassir Conducted by Nina Zietlow." Review of Middle East Studies 53, no. 2 (December 2019): 321–27. http://dx.doi.org/10.1017/rms.2019.60.

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Amal Kassir is a 23-year-old Syrian-American spoken word poet and artist. Kassir has performed in 10 countries and over 45 cities and has conducted workshops, given lectures, and recited her poetry in venues ranging from youth prisons to orphanages, refugee camps to universities, and churches to community spaces. She hopes to take part in the global effort to support literacy in war-struck areas and refugee camps and runs a project called More than Metaphors that focuses on helping to educate displaced Syrian children. Recipient of multiple awards, including the Grand Slam at the Brave New Voices International Youth Competition, Kassir has performed on the TED stage and been featured on the PBS NewsHour.

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Pinto, Pedro Alberto Ribeiro. "ASPECTOS EDITORIAIS DA POESIA SPOKEN WORD: OS DICIONÁRIOS PARATÓPICOS DE NI BRISANT." Pontos de Interrogação — Revista de Crítica Cultural 7, no. 1 (August 29, 2017): 143. http://dx.doi.org/10.30620/p.i..v7i1.3935.

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Este artigo tece considerações sobre as manifestações da chamada poesia spoken word (definida, lato sensu, como "poesia falada") e dos poetry slams (batalhas de poesia) no Brasil contemporâneo, a partir da perspectiva das materialidades da cultura e dos estudos discursivos. Toma-se como objeto de análise certa produção poética do autor Ni Brisant, avançando a hipótese de que os processos envolvidos na declamação e no registro de poemas configuram-se como práticas discursivas de caráter editorial, que implicam uma gestão de textualidades e autorias em uma cultura da conexão (Jenkins, Green & Ford, 2014).

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7

Strzemżalska, Aneta. "Slam in the Name of Country: Nationalism in Contemporary Azerbaijani Meykhana." Slavic Review 79, no. 2 (2020): 323–44. http://dx.doi.org/10.1017/slr.2020.86.

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Meykhana is spoken word improvisation, verbal recitatives, and a kind of entertainment that in the last two decades has largely spread across Azerbaijan. Contemporary meykhana, although it retains its characteristic rhythm, increasingly resembles popular songs rather than classical Middle Eastern poetry, and is now often being sung, not read. Thus, in its form and function, it has become an element of mass popular culture. At the same time, meykhana is increasingly considered to be one of the national symbols on a par with other traditional musical genres such as mugham and ashig art. Meykhana's contemporary dual nature, which is understood differently by different constituencies within the Azerbaijani population, with their own politicized agenda, is inherently nationalist in nature. Using such aspects of nationalism as ethnicity, tradition, modernization, and folkloricization I analyze different levels of meykhana and the various actors involved in its implementation. This paper contributes a case study to the rich body of literature on nationalism in musical performances by analyzing the ways in which identities are constructed and mobilized.

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8

Hartsock, Katie. "Review: Put Your Hands Together: A Review of Javon Johnson’s Killing Poetry: Blackness and the Making of Slam and Spoken Word Communities." Departures in Critical Qualitative Research 9, no. 4 (2020): 114–17. http://dx.doi.org/10.1525/dcqr.2020.9.4.114.

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9

Chepp, Valerie. "Activating Politics with Poetry and Spoken Word." Contexts 15, no. 4 (November 2016): 42–47. http://dx.doi.org/10.1177/1536504216685109.

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10

Ekesa, Beatrice Jane. "Integration of Work and Leisure in the Performance of Spoken Word Poetry in Kenya." Journal of Critical Studies in Language and Literature 1, no. 3 (August 18, 2020): 9–13. http://dx.doi.org/10.46809/jcsll.v1i3.23.

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Spoken word poetry, an emerging genre in Kenyan literature, is popular among the urban population. The performance of this creative work draws audience from different socio-economic backgrounds who view it as a source of entertainment. Majority of these poets begin off by staging performances in order to exercise their talents and entertain their audience without financial gain. However, once they get the desired popularity, their interests change and they begin to view the performance of spoken word poetry as an alternative source of income. It is against this background that this paper seeks to explore the relationship between work and leisure in the performance of spoken word poetry in Kenya. Scholars in the field of leisure studies are constantly seeking the relationship between work and leisure. This research seeks to examine the representation of labour and leisure in the creative industry of spoken word poetry in Kenya. The study explores the characteristics of work and leisure to determine the leisure/work relationship in the performance of spoken word poetry in Kenyan literature.

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11

Burton, Jennifer, and Saskia Van Viegen. "Spoken Word Poetry with Multilingual Youth from Refugee Backgrounds." Journal of Adolescent & Adult Literacy 65, no. 1 (June 28, 2021): 75–84. http://dx.doi.org/10.1002/jaal.1178.

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12

Englund, Harri. "Love and homophobia in Malawi's spoken-word poetry movement." Africa 91, no. 3 (April 26, 2021): 361–87. http://dx.doi.org/10.1017/s0001972021000255.

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AbstractBy the early 2010s, a number of Malawian poets in their twenties had begun to substitute the elliptical expression of earlier generations with a language that resonated with popular idioms. As poetry directed at ‘the people’, its medium is spoken word rather than print, performed to live audiences and distributed through CDs, radio programmes and the internet. Crafted predominantly in Chichewa, the poems also address topics of popular interest. The selection of poetry presented here comes from a female and a male poet, who, unbeknown to each other, prepared poems sharply critical of homosexuality and what they regarded as its foreign and local advocacy. The same poets have also gained success for their love poems, which have depicted intimate desires in remarkably compatible ways for both women and men. The poets who performed ‘homophobic’ verse went against popular gender stereotypes in their depictions of romantic love and female and male desires. This introductory essay, as a contribution toAfrica's Local Intellectuals series, discusses the aesthetic challenges that the new poets have launched in the context of Malawi's modern poetry. With regard to gender relations in their love poems, the introduction also considers the poets’ possible countercultural contribution despite their avowed commitment to perform for ‘the people’.

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Jonsson, Andrea. "Slam ô Féminin’s Collective Relationship to Print, the Spoken Word, and Marginalia." French Review 90, no. 3 (2017): 100–114. http://dx.doi.org/10.1353/tfr.2017.0288.

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14

Dodd, Elizabeth S. "Spoken Word and Spirit’s Breath: A Theopoetics of Performance Poetry." Literature and Theology 33, no. 3 (September 1, 2019): 292–306. http://dx.doi.org/10.1093/litthe/frz020.

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Abstract Stanley Romaine Hopper defined theopoiesis as a performative form of thinking that ‘effect[s] disclosure through the crucial nexus of event’. Unlike theology which seeks an explanation of the revelatory through the tools of rational discourse, this poetic and participatory activity is ‘a breathing with the inhale and exhale of Being … that “the god” may breathe through us’. Following Hopper, this article addresses the performative ‘event’ of the spoken word as a window into a discussion of creative breath, exploring its implications for a theology that seeks to ‘breathe with’ the Spirit. The use of breath in the work of contemporary poets Tony Walsh and Kate Tempest demonstrates a perhaps largely unacknowledged form of poetic ‘difficulty’ (one of Geoffrey Hill’s criteria for good poetry) in the spoken word. Their intriguing practices of creative breath may contribute to a theopoetics of the Spirit that takes poetic performance seriously as a means of revelatory disclosure.

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15

Williams, Wendy R. "Attempting arts integration: secondary teachers’ experiences with spoken word poetry." Pedagogies: An International Journal 13, no. 2 (March 21, 2018): 92–105. http://dx.doi.org/10.1080/1554480x.2018.1453817.

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16

Weinstein, Susan, and Anna West. "Call and Responsibility: Critical Questions for Youth Spoken Word Poetry." Harvard Educational Review 82, no. 2 (June 1, 2012): 282–302. http://dx.doi.org/10.17763/haer.82.2.c35775k021728538.

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In this article, Susan Weinstein and Anna West embark on a critical analysis of the maturing field of youth spoken word poetry (YSW). Through a blend of firsthand experience, analysis of YSW-related films and television, and interview data from six years of research, the authors identify specific dynamics that challenge young poets as they participate in YSW-related activities. Participants discuss the risks of being overly identified with the subject matter of the poems they perform, the tendency of some YSW communities to create a “star” system among youth poets, and the implications of the intensified public gaze trained on youth poets by growing media attention to YSW. Weinstein and West argue that risks and tensions are intrinsic to the nature of a deeply social youth arts context but that the field's long-term sustenance depends on all participants' willingness to have honest, ongoing discussions about such challenges.

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17

Dooley, Matthew A. "Beautiful words: Spoken word poetry and a pedagogy of beauty." Journal of Poetry Therapy 27, no. 2 (April 2014): 83–87. http://dx.doi.org/10.1080/08893675.2014.895490.

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18

Wells, Celeste C., and Daniel DeLeon. "Slam and the Citizen Orator: Teaching Civic Oration and Engagement through Spoken Word." Communication Teacher 29, no. 4 (August 17, 2015): 201–5. http://dx.doi.org/10.1080/17404622.2015.1058405.

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19

Merriweather, Lisa R. "The Spoken Word as Arts-Based Adult Education." Journal of Adult and Continuing Education 17, no. 2 (November 2011): 51–63. http://dx.doi.org/10.7227/jace.17.2.6.

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Arts-based adult education has been embraced by a growing number of adult educators. These educators have explored its potential in the workplace, in the community and in academia. This article contributes to this work by exploring the Spoken Word, an art form located within the genre of poetry, and its potential as a tool of arts-based adult education. Through engagement, imaginative learning, authenticity and embodying democratic ideals and practices, I explore how the Spoken Word's educational goals are consistent with core goals of adult education such as meaning-making, transformation and critical reflection which I believe makes it an important yet overlooked practice of adult learning.

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20

Ellis, Hugh. "‘Why don’t you let me flow in my space?’." Matatu 50, no. 2 (February 13, 2020): 444–55. http://dx.doi.org/10.1163/18757421-05002012.

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Abstract The practice of performance or ‘spoken word’ poetry has gained a significant foothold among the youth in urban Namibia in the last two decades. While this poetry has been put to many socio-political uses, one of the main ones has been a protest against patriarchal elements in Namibian society and culture, and an outcry against Namibia’s high rates of gender-based violence. Patriarchal aspects of Namibia’s national culture are often explicitly linked to violence and to the intersectional nature of oppression. Spoken word poetry has also often given LGBT+ women a space to speak out against their oppression and to normalise their existence. This article shows how women performers have used and modified the conventions of poetry and song to get this challenging—in the Namibian context often radical—message across. The paper argues that poetry in this context has the potential to approximate a localised ‘public sphere’ where inclusive discourse can be held around social issues—bearing mind that people are not excluded from this discourse because of arbitrary reasons such as gender or sexuality.

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21

Welsh, Ryan C. "Book Review: Slam School: Learning Through Conflict in a Hip-Hop and Spoken Word Classroom." Urban Education 50, no. 4 (October 16, 2013): 505–11. http://dx.doi.org/10.1177/0042085913492783.

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22

Kelly, Erica. "The Fifth Element: Social Justice Pedagogy through Spoken Word Poetry (Book Review)." Studies in Social Justice 11, no. 1 (February 8, 2017): 174–77. http://dx.doi.org/10.26522/ssj.v11i1.1475.

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23

Xerri, Daniel. "Combating voice poverty through spoken word poetry: an interview with Candy Royalle." Journal of Poetry Therapy 30, no. 4 (July 13, 2017): 262–70. http://dx.doi.org/10.1080/08893675.2017.1352066.

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24

Williams, Del, and Mark Stover. "Front and Center: Hip-Hop and Spoken Word Poetry in Academic Libraries." portal: Libraries and the Academy 19, no. 2 (2019): 215–21. http://dx.doi.org/10.1353/pla.2019.0012.

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25

Alvarez, Nadia, and Jack Mearns. "The benefits of writing and performing in the spoken word poetry community." Arts in Psychotherapy 41, no. 3 (July 2014): 263–68. http://dx.doi.org/10.1016/j.aip.2014.03.004.

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26

Pintarič, Miha. "Hate Speech and French Mediaeval Literature." Acta Neophilologica 51, no. 1-2 (November 21, 2018): 63–70. http://dx.doi.org/10.4312/an.51.1-2.63-70.

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Hate speech is spoken or written word which expresses a hostile attitude of a dominating majority towards any kind of minority. The author analyses a few examples of hate speech in literary history and concludes that such a phenomenon is typical of The Song of Roland, whether uttered in a direct way or spoken between the lines. One will expect hate speech in epic and heroic poetry, less in the Troubadour poetry. Yet we come across this awkward characteristic even in their love poetry. To be quite clear, in the poetry of Bernart de Ventadorn. The last part of the article is about the courtly romance. The author concludes that hate speech can only be controlled by love, not any, but the love that makes one a better person, and which the Troubadours called fin’amors.

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27

Somers-Willett, Susan B. A. "Def Poetry's Public: Spoken Word Poetry and the Racial Politics of Going Mainstream." Iowa Journal of Cultural Studies 8, no. 1 (2006): 72–89. http://dx.doi.org/10.17077/2168-569x.1074.

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PETTIGREW, SARAH E. "The Poetry of Growing Up a Girl: Excerpts from a Spoken Word Performance." Educational Studies 41, no. 3 (May 25, 2007): 187–93. http://dx.doi.org/10.1080/00131940701325639.

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29

Call-Cummings, Meagan, Melissa Hauber-Özer, Vilma LePelch, Kelly L. DeSenti, Michele Colandene, Katelyn Sultana, and Emily Scicli. "“Hopefully This Motivates a Bout of Realization”: Spoken Word Poetry as Critical Literacy." Journal of Adolescent & Adult Literacy 64, no. 2 (September 2020): 191–99. http://dx.doi.org/10.1002/jaal.1082.

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30

Rigby, Carlos. "Homenaje al poeta costeño Carlos Rigby (1945-2017)." Cultura de Paz 23, no. 72 (October 2, 2017): 43–48. http://dx.doi.org/10.5377/cultura.v23i72.4973.

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Carlos Rigby nació el 19 de junio de 1945 en Laguna de Perlas. Es una de las figuras más representativas de la poesía Nicaribeña, con una obra de estilo único, la cual incorpora elementos del spoken word poetry (poesía oral afrodescendiente) y de la poesía performática.

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31

FISHER, MAISHA. "Open Mics and Open Minds: Spoken Word Poetry in African Diaspora Participatory Literacy Communities." Harvard Educational Review 73, no. 3 (September 1, 2003): 362–89. http://dx.doi.org/10.17763/haer.73.3.642q2564m1k90670.

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In this article, Maisha T. Fisher explores the resurgence of spoken word and poetry venues in the Black community and their salience as venues for cultural identity development and literacy practice. Calling them African Diaspora Participatory Literacy Communities (ADPLCs), Fisher describes two open mic poetry settings that recall the feeling and communal centrality of jazz clubs and literary circles of the Harlem Renaissance. These ADPLCs are predominantly created and supported by people of African descent who actively participate in literacy-centered events outside of school and work settings. Through ethnographic research, Fisher explores how these venues function as literacy centers in two communities. Fisher discusses the cultural practices that underlie the organization and orchestration of these events, explores what inspires and motivates participants, and examines how these venues operate as sites for multiple literacies.

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32

Saran, Rupam. "Slam school: Learning through conflict in the hip-hop and spoken word classroom, by Bronwen E. Low." Anthropological Forum 22, no. 3 (November 2012): 316–18. http://dx.doi.org/10.1080/00664677.2012.717024.

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33

Fields, Amanda. "Slam School: Learning Through Conflict in the Hip-Hop and Spoken Word Classroom by Bronwen E. Low." Community Literacy Journal 8, no. 1 (2013): 117–20. http://dx.doi.org/10.1353/clj.2013.0020.

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34

Jones, Katelyn, and Jen Scott Curwood. "Tell the Story, Speak the Truth: Creating a Third Space Through Spoken Word Poetry." Journal of Adolescent & Adult Literacy 64, no. 3 (September 10, 2020): 281–89. http://dx.doi.org/10.1002/jaal.1080.

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35

Wild, Fridolin, Lawrence Marshall, Jay Bernard, Eric White, and John Twycross. "UNBODY: A Poetry Escape Room in Augmented Reality." Information 12, no. 8 (July 26, 2021): 295. http://dx.doi.org/10.3390/info12080295.

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The integration of augmented reality (AR) technology into personal computing is happening fast, and augmented workplaces for professionals in areas such as Industry 4.0 or digital health can reasonably be expected to form liminal zones that push the boundary of what currently possible. The application potential in the creative industries, however, is vast and can target broad audiences, so with UNBODY, we set out to push boundaries of a different kind and depart from the graphic-centric worlds of AR to explore textual and aural dimensions of an extended reality, in which words haunt and re-create our physical selves. UNBODY is an AR installation for smart glasses that embeds poetry in the user’s surroundings. The augmented experience turns reality into a medium where holographic texts and film clips spill from dayglow billboards and totems. In this paper, we develop a blueprint for an AR escape room dedicated to the spoken and written word, with its open source code facilitating uptake by others into existing or new AR escape rooms. We outline the user-centered process of designing, building, and evaluating UNBODY. More specifically, we deployed a system usability scale (SUS) and a spatial interaction evaluation (SPINE) in order to validate its wider applicability. In this paper, we also describe the composition and concept of the experience, identifying several components (trigger posters, posters with video overlay, word dropper totem, floating object gallery, and a user trail visualization) as part of our first version before evaluation. UNBODY provides a sense of situational awareness and immersivity from inside an escape room. The recorded average mean for the SUS was 59.7, slightly under the recommended 68 average but still above ‘OK’ in the zone of low marginal acceptable. The findings for the SPINE were moderately positive, with the highest scores for output modalities and navigation support. This indicated that the proposed components and escape room concept work. Based on these results, we improved the experience, adding, among others, an interactive word composer component. We conclude that a poetry escape room is possible, outline our co-creation process, and deliver an open source technical framework as a blueprint for adding enhanced support for the spoken and written word to existing or coming AR escape room experiences. In an outlook, we discuss additional insight on timing, alignment, and the right level of personalization.

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Molebatsiv, Natalia, and Raphael d'Abdon. "From Poetry to Floetry: Music's Influence in the Spoken Word Art of Young South Africa." Muziki 4, no. 2 (November 2007): 171–77. http://dx.doi.org/10.1080/18125980802298575.

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37

Hughes, Janette Michelle, Laura Jane Morrison, and Cornelia Hoogland. "You Don’t Know Me: Adolescent Identity Development Through Poetry Performance." in education 20, no. 2 (October 24, 2014): 59–77. http://dx.doi.org/10.37119/ojs2014.v20i2.160.

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Our study concerns adolescents using poetry writing as an interrogative and creative means of shaping and creating “voices” or “identities.” Toronto-based high school students were challenged to be creators (rather than solely consumers) of available social practices within a digital landscape using mobile devices and social networking platforms. The students engaged in the processes of creating poetry that included experimentation with form (including spoken word, found, and rhyming couplet poetry), research, and writing-induced challenges of received ideas. Their creations of their multiple “Resonant Voices,” which in some cases were powerful statements of self-discovery and social criticism, were further amplified because they occurred in a formal educational setting.Keywords: adolescents; identity; digital literacies; multiliteracies; poetry; social practices; social networking sites; Facebook; pedagogy; mobile devices; Android app; poetic inquiry; metacognitive

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38

Kerr, Greg. "Laughing Matter: Charles Cros, from Paléophone to Monologue." Nottingham French Studies 59, no. 1 (March 2020): 34–50. http://dx.doi.org/10.3366/nfs.2020.0270.

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Nineteenth-century poet, savant and inventor Charles Cros is a figure whose endeavours were exceptionally wide-ranging. They include a proposed instrument which would be the first of its kind capable of recording sound (the ‘paléophone’); treatises on photography and interplanetary communication; poetry, and a body of comic monologues which belong to the current of fumisme. This article argues that Cros's monologues are subtly inflected by his interest in the faculty of speech and technologies of sound reproduction. While they do not explicitly evoke such technologies, they show an acute sensitivity to the quirks and accidents of the spoken word to which neither dramatic convention nor indeed norms of social discourse attribute sense. It is this ill-formed matter, amounting to a kind of discursive ‘noise’, which allows Cros to offer a wry commentary on the pretensions of a fin-de-siècle culture preoccupied with the strategizing of utterance and the production of an objectified record of the spoken word.

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39

Keith, Anthony, and Crystal Leigh Endsley. "Knowledge of Self: Possibilities for Spoken Word Poetry, Hip Hop Pedagogy, and “Blackout Poetic Transcription” in Critical Qualitative Research." International Journal of Critical Media Literacy 2, no. 1 (September 7, 2020): 56–82. http://dx.doi.org/10.1163/25900110-00201004.

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This article traces the development of Blackout Poetic Transcription (BPT) as a critical methodology for artist-scholars engaged with Hip Hop pedagogy in higher education spaces. We include Keith’s outline of the BPT method and Endsly’s first hand account of implementing the practice in an undergraduate classroom. Together, the authors grapple with mainstream and alternative identities within their Hip Hop praxis as spoken word artists and educators.

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40

LANE, CATHY. "Voices from the Past: compositional approaches to using recorded speech." Organised Sound 11, no. 1 (March 15, 2006): 3–11. http://dx.doi.org/10.1017/s1355771806000021.

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This paper investigates some of the ways in which composers and sound artists have used recordings of speech, especially in works mediated by technology. It will consider this within a wider context of spoken word, text composition and performance-based genres such as sound poetry. It will attempt to categorise some of the compositional techniques that may be used to work with speech, make specific reference to archive and oral history material and attempt to draw some conclusions.

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41

Endsley, Crystal Leigh. "“Something Good Distracts Us from the Bad”." Girlhood Studies 11, no. 2 (June 1, 2018): 63–78. http://dx.doi.org/10.3167/ghs.2018.110206.

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There are increasing demands that scholars of girlhood studies pay attention to the ways in which girls of color challenge the powerful discourses that work to constrain them. I take up this call to action through an analysis of the spoken word poetry of black, brown, and mixed-race high school girls in New Orleans, Louisiana. I discuss varying levels of consciousness about these discourses as represented in the poems of three girls aged 14, 15, and 16 that offer nuanced entry into the ambiguous process of their developing identities. I link instances of disruption highlighted through their poetry to aspects of their day-to-day experience to present a theoretical intervention that I call cultivated disruption that points to the ways in which girls of color are already practicing poetry as pleasurable and creative survival.

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42

Novak, Julia. "Pete Bearder. 2019. Stage Invasion: Poetry & the Spoken Word Renaissance. London: Outspoken Press, 210 pp., € 12.50." Anglia 138, no. 1 (March 4, 2020): 191–93. http://dx.doi.org/10.1515/ang-2020-0015.

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43

Desai, Shiv R. "“It’s Both What You Say and How You Say It”: Transgressive Language Practices Via Spoken Word Poetry." Critical Inquiry in Language Studies 14, no. 4 (February 28, 2017): 347–70. http://dx.doi.org/10.1080/15427587.2017.1288570.

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44

Bokarev, A. S. "Review of Kargashin, I. (2017). Russian poetic narrations in the 17th–21st centuries: Genesis. Evolution. Poetics. Moscow: Yazyki slavyanskoy kultury. 336 pages." Voprosy literatury, no. 6 (February 7, 2019): 368–73. http://dx.doi.org/10.31425/0042-8795-2018-6-368-373.

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The review is concerned with detailed analysis of I. Kargashin’s monograph on Russian poetic narrations in the 17th–21st centuries. Normally applied to the epic genre, the concept of skaz [oral narration, tale] is extrapolated by the scholar to describe lyrical poetry. Hence the broad scope of issues discussed in the book: how accurately can the term be applied to lyrical works, since poetry is anti-narrative in its ‘pure form’? How can one structure the subjective sphere of poems, given that a skaz recreates a consciousness other than that of the author, unlike in lyrical poetry, where the author and the hero are inseparable? Following the questions, the scholar identifies typological characteristics of the examined phenomenon (appropriation of another’s consciousness, realization of this consciousness through a colloquial monologue, and depiction of the subject’s speech in verse), uncovers the reasons for its emergence (including ‘emancipation’ of the hero and transition to the spoken word), and traces its history and development.

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Liu, Joey Yung-Jun. "FINDING AUTHENTICITY THROUGH STORYTELLING: REFLECTIONS FROM A HIGH SCHOOL CLASSROOM." McGill Journal of Education 54, no. 3 (June 4, 2020): 670–79. http://dx.doi.org/10.7202/1069775ar.

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This piece is an auto-biographical reflection on my year-long experience creating a new course called Oral Interpretations and Expressions. Teaching the course allowed me to find an authenticity and identity in my work, which had been eluding me as I conformed to administrative norms in education. Through the practice of story-telling in spoken word poetry, my students and I found healing and transformation. This note invites the reader to consider how story-telling might be used in their own teaching spaces to empower a deeper connection to authenticity within themselves and their students.

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d’Abdon, Raphael. "Teaching spoken word poetry as a tool for decolonizing and africanizing the South African curricula and implementing “literocracy”." Scrutiny2 21, no. 2 (May 3, 2016): 44–62. http://dx.doi.org/10.1080/18125441.2016.1192676.

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Unseld, Frederik. "Rhythms of the unemployed: making art and making do through spoken word in Kisumu, Kenya." Africa 91, no. 1 (January 2021): 77–94. http://dx.doi.org/10.1017/s0001972020000856.

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AbstractYoung people from the low-income settlements in Kenya's third-largest city, Kisumu, struggling with unemployment refer to their efforts to generate a livelihood as ‘hustling’. At the same time, many of them put art (dance, music, poetry) at the centre of their lives. This article attempts to account for the significant popularity of the arts among Kisumu's youth. It understands the ‘way of the artist’ as an alternative interpretation of work and a framework in which people situate their experiences of unemployment, waiting and insecure work. To examine this framework in action, the article follows Janabii, a poet who has been at the centre of attempts to establish a spoken word scene in Kisumu. Janabii has spent several years in limbo, oscillating between glittering performances and a more discreet daily life, marked by functional homelessness and a refusal to surrender to the violence of Kenya's informal world of work. The article contributes to recent studies about hustling by combining an ethnography of a week in Janabii's life with a literary analysis of excerpts from one of his poems, in order to elucidate how his struggles to get by are narrated and stylized through a spoken word, artistic imaginary that interrelates with his everyday life.

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Urban, Klaus K. "From creativity to Responsible Createlligence®." Gifted Education International 30, no. 3 (May 14, 2013): 237–47. http://dx.doi.org/10.1177/0261429413485399.

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A creative life is described with a dual perspective. Starting with the input of family and schools and crystallizing around the aspects of ‘spoken word’ and ‘need of/for novelty’, a scholarly career and research of new topics (in the country) developed on the one hand; on the other hand, creative activities and products in several domains of arts emerged, with particularly successful highlights in later life (poetry slamming). Finally, in expanding Urban’s components model of creativity, a capacious model structure is delineated to provide a foundation for creative education concerning the challenges, tasks and necessary competencies for the future: the model of Responsible Createlligence®.

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Apa, Livia. "“Our skin is a monument”: corpo, raça, mulher em alguma poesia africana em português." Elyra, no. 16 (2020): 107–16. http://dx.doi.org/10.21747/21828954/ely16a7.

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My article focuses on how poetic word works as an instrument of emancipation in issues related to gender and race in the Portuguese-speaking African space and diaspora. Starting from the 1950s and from the notebook / manifesto Poesia Negra de Expressão Portuguesaorganized by Mário Pinto de Andrade and Francisco José Tenreiro, and considering the idea that knowledge and its artistic manifestations create genealogies of concepts, I intend to present a brief overview to illustrate the moments of rupture and cleavage that have existed in the evolution of such themes. In this context, particular attention will also be paid to the most recent experiences of new textualities created in Portugal by Afro-descendant and anti-racist subjectivities, such as Djidiu: A Herança do Ouvido, an idea of collective textual production contaminated by practices such as rap or slam poetry.

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Morkina, Julia. "Language and poetics: analysis of the conceptions of A.A. Potebnja’s followers. Part I: A.A. Potebnja, V. Kharzeev, B.A. Lezin." Filosofiya osvity. Philosophy of Education 24, no. 1 (December 5, 2019): 154–73. http://dx.doi.org/10.31874/2309-1606-2019-24-1-154-173.

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In 1907 – 1923 in Kharkov a non-periodical collection of works of the so-called "Kharkov school" – the followers of A.A. Potebnja and A.N. Veselovskiy – was published. Its title was "Questions of Theory and Psychology of Creativity". This article deals with the works included in this collection and in one way or another connected with the theory of poetic creativity. I show that some ideas of the researchers of the "Kharkov school" are still relevant for the philosophy of poetic creativity and philosophy of education and analyze the relevance of A.A. Potebnja’s, V. Kharzeev’s and B.A. Lezin’s works for the contemporary philosophy. A famous linguist of the 19th century A.A. Potebnja (now a classic of philology), considered language to be an elementary form of poetry. Language, he believed, is poetic in its essence; a word is the simplest, most elementary form of a poetic work. Word as a poetic work originated in the prehistoric times and continues to re-emerge in everyone who speaks and hears nowadays. According to Potebnja, understanding takes place in such a way: the meaning of a word is not directly transmitted from the speaker to the listener, but the spoken word of the speaker induces the birth of meaning in the mind of the listener from its own semantic stock, semantic reserves. Therefore, both the pronunciation (birth) of a word by a speaker (teacher) and the understanding of it (rebirth) by a listener (student) is a creative act: in verbal communication a movement of thought takes place. In the article, the relevance of some ideas of such of Potebnja’s followers as V. Kharzeev, B.А. Lezin for the leaching process is also studied. Kharzeev in detail considers such tropes as metonymy, synecdoche and metaphor from the point of view of their use in literary poetry. But the main Kharzeev’s achievement is precisely the descriptions and analysis of the elementary forms of poetry, which is the language (word) functioning according to the laws described above by the author. Lezin considers creativity as a kind of economy of thought. His ideas on creativity seem valuable for the philosophy of education.

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