DOCSLIB.ORG

Gil Scott-Heron Is the Manifestation of the Modern Word

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gil Scott-Heron Is the Manifestation of the Modern Word Harlem By Langston Hughes What happens to a dream deferred? Does it dry up like a raisin in the sun? Or fester like a sore— And then run? Does it stink like rotten meat? Or crust and sugar over— like a syrupy sweet? Maybe it just sags like a heavy load. Or does it explode? The “explosion” could also be one that, while violent and disruptive, produces positive changes of some kind (e.g. a revolution). Finally, though the most of the poem projects a negative tone, the shift at the end of the poem— signaled by the new stanza and the introduction of italics—might suggest a different and altogether positive change. Hughes was a major figure in Harlem during the Harlem Renaissance; Harlem was the epicenter for America’s first embraced black arts movement. It was an explosion, so to speak, of dreams. http://lit.genius.com/Langston-hughes-harlem-what-happens-to-a-dream- deferred-annotated The Revolution Will Not Be Televised “a blast at consumer culture and its ability (or lack thereof) to lead social change” Awesome, annotated version of the poem http://lit.genius.c om/Gil-scott- heron-the- revolution-will- not-be-televised- annotated#note- 217382 (April 1, 1949 – May 27, 2011) was an American soul and jazz poet, musician, and author, known primarily for his work as a spoken word performer in the 1970s and '80s. His own term for himself was "bluesologist", which he defined as "a scientist who is concerned with the origin of the blues." His music, most notably on Pieces of a Man and Winter in America in the early 1970s, influenced and helped engender later African-American music genres such as hip hop and neo soul. Besides influencing contemporary musicians, Scott-Heron remained active until his death, and in 2010 released his first new album in 16 years, entitled I'm New Here. A memoir he had been working on for years up to the time of his death, "The Last Holiday", was also published, posthumously in January 2012. His recording work received much critical acclaim, especially one of his best- known compositions "The Revolution Will Not Be Televised". His poetic style has influenced every generation of hip hop. (Wikipedia) The song's title was originally a popular slogan among the 1960s Black Power movements in the United States. On June 16, 1966, in a speech in Greenwood, Miss. after the shooting of James Meredith during the March Against Fear, Stokely Carmichael said: “This is the twenty-seventh time I have been arrested and I ain't going to jail no more! The only way we gonna stop them white men from whuppin' us is to take over. What we gonna start sayin' now is Black Power!” (Wikipedia) Political slogan and name for various associated ideologies aimed at achieving self- determination for people of African/Black descent. Used by African Americans in the United States in the late 1960s and early 1970s, emphasizing racial pride and the creation of black political and cultural institutions to nurture and promote black collective interests and advance black values. Known in literary circles often as the Black Arts Movement (BAM). (Wikipedia) Heron had a complicated relationship with hip- hop. Countless rappers and producers have taken pains to make their debt to him clear, and it’s something he has, unfortunately, never felt comfortable with. Last year, [in 2010] The New Yorker asked him "what he thinks when people attribute rap music to him he said, ‘I just think they made a mistake.’" Nevertheless, his influence on the genre has become a major element of his legacy. From: http://www.vulture.com/2011/05/a_brief_look_at_hip-hops_love.html Here’s Chuck D, (from Public Enemy) from The New Yorker: You can go into Ginsberg and the Beat poets and Dylan, but Gil Scott-Heron is the manifestation of the modern word. He and the Last Poets http://songmeanings.com/songs/view/353 0822107858754007/ lyrics http://www.youtube.com/watch?v=8M5W _3T2Ye4 audio of song set the stage for everyone else. In what way necessary? Well, if you try to make pancakes, and you ain’t got the water or the milk or the eggs, you’re trying to do something you can’t. In combining music with the word, from the voice on down, you follow the template he laid out. His rapping is rhythmic, some of it’s songs, it’s punchy, and all those qualities are still used today. In spite of Heron’s resistance to accepting himself as a proto- rapper, his influence is most clearly evident on the many, many rap songs that sample his work. Common: The 6th sense https://www.youtube.com/watc h?v=KTGxPiEg7iM annotated lyrics are here: http://rap.genius.com/Common- the-6th-sense-lyrics Snoop Dogg: Welcome to the World of the Plastic Beach http://www.youtube.com/ watch?v=p0OVD0_YJnU Molotov: http://vimeo.com/850288 64 In an interview Scott-Heron said of the song’s “Social Justice” definition: “That song was about your mind. You have to change your mind before you change the way you live and the way you move...The thing that's going to change people will be something that no one will ever be able to capture on film. It will just be something you see and all of a sudden you realize 'I'm on the wrong page.” Heron explains it here: https://www.youtube.com/watch?v=kZvWt29OG0s Good YouTube of the pop culture references: https://www.youtube.com/watch?v=qGaoXAwl9kw &list=RDqGaoXAwl9kw From: http://www.youtube.com/watch?feature=fvwp&NR=1&v=kZvWt29OG0s http://www.youtube.com/watch?v=0w- PHXPhnCc A protest song is a song which is associated with a movement for social change and hence part of the broader category of topical songs (or songs connected to current events). It may be folk, classical, or commercial in genre. Among social movements that have an associated body of songs are the abolition movement, women's suffrage, the labor movement, the human rights movement, civil rights, the anti-war movement and 1960s counterculture, the feminist movement, the sexual revolution, the gay rights movement, animal rights movement, vegetarianism and veganism, and environmentalism. (Wikipedia) “Your Revolution” A feminist remix of “The Revolution Will Not Be Televised” The Spoken word genre in African American culture today draws on and reflects a rich literary and musical heritage, and the interaction among these genres, as in the past, has produced some of America's best- known art pieces. Like Langston Hughes and writers of the Harlem Renaissance were inspired by the feelings of the blues and the African American spiritual, contemporary hip-hop and slam poetry artists were inspired by poets like Hughes in their use of word stylings. Similarly, the experimental and often radical statements of the Black Arts Movement developed a great energy with cutting-edge jazz and funk music that would expand the boundaries of African American cultural persona, and thereby provide space for increasingly alternative political ideologies to be raised, discussed, and acknowledged. Spoken word poetry came more towards the mainstream in popularity a short time later when Gil Scott Heron released his spoken word poem “The Revolution Will Not Be Televised.” (Wikipedia) In social philosophy, objectification means treating a person as a thing, without regard to their dignity. According to the philosopher Martha Nussbaum, a person is objectified if they are treated: as a tool for another's purposes as if lacking in agency or self-determination as if owned by another; as if interchangeable; as if permissible to damage or destroy; as if there is no need for concern for their feelings and experiences. (Wikipedia) a Tony Award winning playwright and performer. Educated at Bryn Mawr College and the United Nations International School, Sarah recently returned to her UN School roots by becoming a UNICEF Goodwill Ambassador, traveling as a spokesperson on violence against children, and performing for audiences from Indonesia to Ethiopia, the Middle East and Japan. Winner of the 2007 Brendan Gill Prize, Sarah has also received grants and commissions from The Ford Foundation, NYSCA, the W. K. Kellogg Foundation, and others, and theater honors including an Obie Award, a Helen Hayes Award, two Drama Desk nominations, and HBO’s US Comedy Arts Festival’s Best One Person Show Award, as well as an NYCLU Calloway Award in recognition of Sarah as the first artist in history to sue the Federal Communications Commission for censorship. The lawsuit resulted in reversal of the censorship ruling, which had targeted her hip-hop poem recording, “Your Revolution.” (Wikipedia) Spoken word artist Sarah Jones performs at Def Poetry Jam. Remixing Gil Scott Heron's famous piece, Jones asserts "your revolution will not happen between these thighs," drawing attention to the assertions around power and privilege that are made in hip hop lyrics at the expense of women. Jones points to what the "real" revolutionary potential of hip hop might entail. http://www.thesociologicalcinema.com/1/post/2010/07/sarah-jones-your-revolution-s01-e03.html Traditionally, a lot of rap music focused on a message promoting Black empowerment in society however in contemporary media, rap music is an ever-growing genre centered on money, cars, drink, sex and women. Gill Scott Heron’s “The revolution will not be televised” from 1972 highlights the lack of black representation in the media and fights for equal rights. Sarah Jones, “Your revolution” from 1998 fights for women’s rights and launches an attack on males and female representations as objects of the male gaze.
Load more

Recommended publications
  • Tom Jennings
    12 | VARIANT 30 | WINTER 2007 Rebel Poets Reloaded Tom Jennings On April 4th this year, nationally-syndicated Notes US radio shock-jock Don Imus had a good laugh 1. Despite the plague of reactionary cockroaches crawling trading misogynist racial slurs about the Rutgers from the woodwork in his support – see the detailed University women’s basketball team – par for the account of the affair given by Ishmael Reed, ‘Imus Said Publicly What Many Media Elites Say Privately: How course, perhaps, for such malicious specimens paid Imus’ Media Collaborators Almost Rescued Their Chief’, to foster ratings through prejudicial hatred at the CounterPunch, 24 April, 2007. expense of the powerless and anyone to the left of 2. Not quite explicitly ‘by any means necessary’, though Genghis Khan. This time, though, a massive outcry censorship was obviously a subtext; whereas dealing spearheaded by the lofty liberal guardians of with the material conditions of dispossessed groups public taste left him fired a week later by CBS.1 So whose cultures include such forms of expression was not – as in the regular UK correlations between youth far, so Jade Goody – except that Imus’ whinge that music and crime in misguided but ominous anti-sociality he only parroted the language and attitudes of bandwagons. Adisa Banjoko succinctly highlights the commercial rap music was taken up and validated perspectival chasm between the US civil rights and by all sides of the argument. In a twinkle of the hip-hop generations, dismissing the focus on the use of language in ‘NAACP: Is That All You Got?’ (www.daveyd.
    [Show full text]
  • ENG 350 Summer12
    ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog.
    [Show full text]
  • A Collection Analysis of the African-American Poetry Holdings in the De Grummond Collection Sarah J
    SLIS Connecting Volume 2 | Issue 1 Article 9 2013 A Collection Analysis of the African-American Poetry Holdings in the de Grummond Collection Sarah J. Heidelberg Follow this and additional works at: http://aquila.usm.edu/slisconnecting Part of the Library and Information Science Commons Recommended Citation Heidelberg, Sarah J. (2013) "A Collection Analysis of the African-American Poetry Holdings in the de Grummond Collection," SLIS Connecting: Vol. 2: Iss. 1, Article 9. DOI: 10.18785/slis.0201.09 Available at: http://aquila.usm.edu/slisconnecting/vol2/iss1/9 This Article is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in SLIS Connecting by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. A Collection Analysis of the African‐American Poetry Holdings in the de Grummond Collection By Sarah J. Heidelberg Master’s Research Project, November 2010 Performance poetry is part of the new black poetry. Readers: Dr. M.J. Norton This includes spoken word and slam. It has been said Dr. Teresa S. Welsh that the introduction of slam poetry to children can “salvage” an almost broken “relationship with poetry” (Boudreau, 2009, 1). This is because slam Introduction poetry makes a poets’ art more palatable for the Poetry is beneficial for both children and adults; senses and draws people to poetry (Jones, 2003, 17). however, many believe it offers more benefit to Even if the poetry that is spoken at these slams is children (Vardell, 2006, 36). The reading of poetry sometimes not as developed or polished as it would correlates with literacy attainment (Maynard, 2005; be hoped (Jones, 2003, 23).
    [Show full text]
  • Word! the African American Oral Tradition and Its Rhetorical Impact on American Popular Culture by Janice D
    Word! The African American Oral Tradition and Prior to enslavement in America, Africans its Rhetorical Impact lived in societies developed around a worldview on American Popular Culture that was predicated on highly sophisticated religious By Janice D. Hamlet systems and an impressive oral communication style. The Africans believed in Nommo, which means Popular culture consists of the everyday culture the generative power of the spoken word. Nommo that comprises virtually every aspect of our existence. was believed necessary to actualize life and give Its fonns of expression include music, dance, literature, man mastery over things. "All activities of men and drama, film, poetry, language use, newspapers, radio all the movements in nature rest on the word on the and television, fashion, sports, and leisure activities. ' productive power of the word, which is water and heat Its major components are objects, persons, and events, and seed and Nommo that is, life force itself ... The but it is through the use of verbal and nonverbal force, responsibility, and commitment of the word and symbols that popular culture is constructed and has the the awareness that the word alone alters the world." In potential to persuade, influence, motivate, and inspire. traditional African culture, newborn children are mere We are surrounded every day by these constructs of things until their fathers give them names and speak popular culture. them. No medicine, potion, or magic of any sort is For many years, African Americans were simply considered effective without accompanying words. So objects within popular culture whose representation strong is the African belief in the power and absolute tended to be quite stereotypical and problematic.
    [Show full text]
  • The Purpose and Goal of This Work
    Tilburg University Transferring the Aviation Risk Management Model (ARMM) into an ambulatory healthcate organization Tal, Y.; Lichtenfeld, I. Publication date: 2010 Link to publication in Tilburg University Research Portal Citation for published version (APA): Tal, Y., & Lichtenfeld, I. (2010). Transferring the Aviation Risk Management Model (ARMM) into an ambulatory healthcate organization. [s.n.]. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 29. sep. 2021 Transferring the Aviation Risk Management Model (ARMM) into an Ambulatory Healthcare Organization Proefschrift ter verkrijging van de graad van doctor aan de Universiteit van Tilburg, op gezag van de rector magnificus, prof.dr. Ph. Eijlander, in het openbaar te verdedigen ten overstaan van een door het college voor promoties aangewezen commissie in de Ruth First zaal van de Universiteit op maandag 7 juni 2010 om 14.15 uur door Yosef Tal geboren op 24 maart 1951 in de USSR en om 15.15 uur door Itzchak Lichtenfeld geboren op 3 mei 1951 in Israel.
    [Show full text]
  • „Spoken Word Poetry“ Among African-Americans in Baltimore
    „Spoken Word Poetry“ among African-Americans in Baltimore A Social-Anthropological Analysis Corinna Letisha Green Arbeitspapiere zur Ethnologie Working Papers in Social Anthropology Institute of Ethnology Number 1 - 2016 Corinna Letisha Green „Spoken Word Poetry“ among African-Americans in Baltimore. A Social- Anthropological Analysis Masterarbeit am Institut für Ethnologie der Westfälischen Wilhelms-Universität Münster 2015 Betreuung durch Prof. Dr. Josephus Platenkamp ii Table of Contents Table of Contents ............................................................................................................ ii List of Figures ................................................................................................................ iv Introduction .................................................................................................................... 5 1. Individuality in Spoken Word Poetry ................................................................ 10 Analysis ............................................................................................................................................................. 10 Duke the Rude ............................................................................................................................................. 14 Najah James ................................................................................................................................................. 20 Love the Poet ..............................................................................................................................................
    [Show full text]
  • James Brown Is Alive!
    James Brown Is Alive! Matt Stauffer [=\ [=\ [=\ WRITER’S COMMENT: On the first day of class Seth asked us what kind of music we like. I’ve always been a huge James Brown fan (anyone who can list what he had for dinner and call it a song is all right by me). That he had recently died helped me decide that I would find some way to write about him. But explaining his importance to poetry and orality was difficult. It was a case of knowing James Brown is an important figure, but not knowing how to explain it. The solution was simply to listen to music, and hear James Brown’s influence, and hear what his influences were. People like Cab Calloway, Ella Fitzgerald, Wilson Pickett, Heavy D and a bunch of others came up, and from there it was just a matter of searching out the right information to help connect those dots. Also, I’m a big fan of the word “eschew.” —Matt Stauffer INSTRUCTOR’S COMMENT: My most immediate reaction to Matt Stauffer’s work in this essay was admiration for his ability to bridge disciplines, bringing together African American history, musicology, literary history, and close reading. As his instructor for English 4, I can see the way he integrates his reading in sound poetry and the theories of Walter Ong and Roland Barthes with his long-standing interest in funk, soul and hip-hop, the truly popular poetries of our era since the 1960s. His willingness to take seriously the ‘get back’-s and ‘hit me’-s of James Brown—sounds we usually hear but do not listen to—indeed enlivens our experience of the Godfather of Soul.
    [Show full text]
  • Educational Packet and Discussion Guide
    Educational Packet & Discussion Guide for Pieces of the Moon by Nick Flint Presented by STAGES in partnership with ONE YEAR LEASE THEATER COMPANY A new stage play adapted to a radio play for live streaming First aired at Stages in Houston TX on July 20, 2020 Originally Commissioned and Developed by One Year Lease Theater Company Directed by Ianthe Demos Sound Design by Brendan Aanes Music Direction by Granville Mullings Studio Engineering and Audio Editing by Tom Beauchel Packet Materials by Isabel Faith Billinghurst 1 oneyearlease.org ​ Who Is Gil Scott-Heron? ​ Today, Gil Scott-Heron is widely considered the “grandfather of rap,” and “the Black Bob Dylan,” though he preferred to call himself a “bluesologist,” which he defined as “a scientist who is concerned with the origin of blues.” Over the course of his life, he published two novels, a collection of poetry, thirteen studio albums, nine live albums, and posthumously published a memoir and an additional album. “It is very important to me that my ideas are understood. It is not as important that I be understood. I believe that this ​ is a matter of respect; your most significant asset is your time and your commitment to invest a portion of it considering my ideas means it is worth a sincere attempt on my part to transmit the essence of the idea. If you are looking, I want to make sure that there is something here for you to find.” A Brief Timeline of Gil’s Life April 1, 1948 - Born in Chicago, Illinois to Bobbie Scott-Heron and Giles “Gil” Heron ​ December 1950 - Moves to Jackson,
    [Show full text]
  • The Performance of Intersectionality on the 21St Century Stand-Up
    The Performance of Intersectionality on the 21st Century Stand-Up Comedy Stage © 2018 Rachel Eliza Blackburn M.F.A., Virginia Commonwealth University, 2013 B.A., Webster University Conservatory of Theatre Arts, 2005 Submitted to the graduate degree program in Theatre and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Dr. Nicole Hodges Persley Dr. Katie Batza Dr. Henry Bial Dr. Sherrie Tucker Dr. Peter Zazzali Date Defended: August 23, 2018 ii The dissertation committee for Rachel E. Blackburn certifies that this is the approved version of the following dissertation: The Performance of Intersectionality on the 21st Century Stand-Up Comedy Stage Chair: Dr. Nicole Hodges Persley Date Approved: Aug. 23, 2018 iii Abstract In 2014, Black feminist scholar bell hooks called for humor to be utilized as political weaponry in the current, post-1990s wave of intersectional activism at the National Women’s Studies Association conference in San Juan, Puerto Rico. Her call continues to challenge current stand-up comics to acknowledge intersectionality, particularly the perspectives of women of color, and to encourage comics to actively intervene in unsettling the notion that our U.S. culture is “post-gendered” or “post-racial.” This dissertation examines ways in which comics are heeding bell hooks’s call to action, focusing on the work of stand-up artists who forge a bridge between comedy and political activism by performing intersectional perspectives that expand their work beyond the entertainment value of the stage. Though performers of color and white female performers have always been working to subvert the normalcy of white male-dominated, comic space simply by taking the stage, this dissertation focuses on comics who continue to embody and challenge the current wave of intersectional activism by pushing the socially constructed boundaries of race, gender, sexuality, class, and able-bodiedness.
    [Show full text]
  • Improving the Well-Being of Disabled Young People
    Improving the Well-being of Disabled Young People Kelly, G., Kelly, B., & MacDonald, G. (2016). Improving the Well-being of Disabled Young People. Queens University Belfast. Document Version: Other version Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights Copyright 2016 The Authors General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:29. Sep. 2021 Improving the Well-being of Disabled Young People Drawing by Olivia, aged 13 Dr Grace Kelly Dr Berni Kelly Professor Geraldine Macdonald March 2016 Foreword Caitlin, Chrissie, Jamie, Rosemary, Sophie and Laura are members of the Barnardo’s Advocacy Group 6th Sense who reviewed this report. They have asked me, as Project Manager, to convey how proud they are to have been involved in the research, “Improving the Well-being of Disabled Young People”. Young people first presented the research proposal on the emotional well-being needs of adolescents with disabilities to QUB and DHSSPS at Stormont in 2008.
    [Show full text]
  • Fear of a Muslim Planet
    SOUND UNBOUND edited by Paul D. Miller aka DJ Spooky that Subliminal Kid The MIT Press Cambridge, Massachusetts London, England 6 2008 Paul D. Miller All rights reserved. No part of this book may be reproduced in any form by any elec- tronic or mechanical means (including photocopying, recording, or information stor- age and retrieval) without permission in writing from the publisher. For information about special quantity discounts, please email special_sales@mitpress .mit.edu This book was set in Minion and Syntax on 3B2 by Asco Typesetters, Hong Kong, and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Sound unbound / edited by Paul D. Miller. p. cm. Includes bibliographical references and index. ISBN 978-0-262-63363-5 (pbk. : alk. paper) 1. Music—21st century—History and criticism. 2. Music and technology. 3. Popular culture—21st century. I. DJ Spooky That Subliminal Kid. ML197.S694 2008 780.9005—dc22 2007032443 10987654321 Contents Foreword by Cory Doctorow ix 1 An Introduction, or My (Ambiguous) Life with Technology 1 Steve Reich 2 In Through the Out Door: Sampling and the Creative Act 5 Paul D. Miller aka DJ Spooky that Subliminal Kid 3 The Future of Language 21 Saul Williams 4 The Ecstasy of Influence: A Plagiarism Mosaic 25 Jonathan Lethem 5 ‘‘Roots and Wires’’ Remix: Polyrhythmic Tricks and the Black Electronic 53 Erik Davis 6 The Life and Death of Media 73 Bruce Sterling 7 Un-imagining Utopia 83 Dick Hebdige 8 Freaking the Machine: A Discussion about Keith Obadike’s Sexmachines 91 Keith + Mendi Obadike 9 Freeze Frame: Audio, Aesthetics, Sampling, and Contemporary Multimedia 97 Ken Jordan and Paul D.
    [Show full text]
  • Integration of Work and Leisure in the Performance of Spoken Word Poetry in Kenya
    Journal of Critical Studies in Language and Literature ISSN: 2732-4605 www.jcsll.gta.org.uk Integration of Work and Leisure in the Performance of Spoken Word Poetry in Kenya Beatrice Jane Ekesa (Corresponding author) Department of Literature, Faculty of Arts, University of Nairobi, Kenya Email: [email protected] Received: 27/06/2020 Accepted: 08/08/2020 Published: 01/09/2020 Volume: 1 Issue: 3 How to cite this paper: Ekesa, B. J. (2020). Integration of Work and Leisure in the Performance of Spoken Word Poetry in Kenya. Journal of Critical Studies in Language and Literature, 1(3), 9-13 DOI: https://doi.org/10.46809/jcsll.v1i3.23 Copyright © 2020 by author(s) and Global Talent Academy Ltd. This work is licensed under the Creative Commons Attribution International License (CC BY 4.0). http://creativecommons.org/licenses/by/4.0/ Abstract 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.
    [Show full text]