The Mayhem Poets Resource Guide
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Performance Poetry New Languages and New Literary Circuits?
Performance Poetry New Languages and New Literary Circuits? Cornelia Gräbner erformance poetry in the Western world festival hall. A poem will be performed differently is a complex field—a diverse art form that if, for example, the poet knows the audience or has developed out of many different tradi- is familiar with their context. Finally, the use of Ptions. Even the term performance poetry can easily public spaces for the poetry performance makes a become misleading and, to some extent, creates strong case for poetry being a public affair. confusion. Anther term that is often applied to A third characteristic is the use of vernacu- such poetic practices is spoken-word poetry. At lars, dialects, and accents. Usually speech that is times, they are included in categories that have marked by any of the three situates the poet within a much wider scope: oral poetry, for example, or, a particular community. Oftentimes, these are in the Spanish-speaking world, polipoesía. In the marginalized communities. By using the accent in following pages, I shall stick with the term perfor- the performance, the poet reaffirms and encour- mance poetry and briefly outline some of its major ages the use of this accent and therefore, of the characteristics. group that uses it. One of the most obvious features of perfor- Finally, performance poems use elements that mance poetry is the poet’s presence on the site of appeal to the oral and the aural, and not exclu- the performance. It is controversial because the sively to the visual. This includes music, rhythm, poet, by enunciating his poem before the very recordings or imitations of nonverbal sounds, eyes of his audience, claims authorship and takes smells, and other perceptions of the senses, often- responsibility for it. -
Post-War English Literature 1945-1990
Post-War English Literature 1945-1990 Sara Martín Alegre P08/04540/02135 © FUOC • P08/04540/02135 Post-War English Literature 1945-1990 Index Introduction............................................................................................... 5 Objectives..................................................................................................... 7 1. Literature 1945-1990: cultural context........................................ 9 1.1. The book market in Britain ........................................................ 9 1.2. The relationship between Literature and the universities .......... 10 1.3. Adaptations of literary works for television and the cinema ...... 11 1.4. The minorities in English Literature: women and post-colonial writers .................................................................... 12 2. The English Novel 1945-1990.......................................................... 14 2.1. Traditionalism: between the past and the present ..................... 15 2.2. Fantasy, realism and experimentalism ........................................ 16 2.3. The post-modern novel .............................................................. 18 3. Drama in England 1945-1990......................................................... 21 3.1. West End theatre and the new English drama ........................... 21 3.2. Absurdist drama and social and political drama ........................ 22 3.3. New theatre companies and the Arts Council ............................ 23 3.4. Theatre from the mid-1960s onwards ....................................... -
A Teacher's Resource Guide for the Mayhem Poets
A Teacher’s Resource Guide for The Mayhem Poets Slam in the Schools Thursday, January 28 10 a.m. Schwab Auditorium Presented by The Center for the Performing Arts at Penn State The school-time matinees are supported, in part, by McQuaide Blasko Busing Subsidy in part by the Honey & Bill Jaffe Endowment for Audience Development The Pennsylvania Council on the Arts provides season support 1 Table of Contents Welcome to the Center for the Performing Arts presentation of The Mayhem Poets ................................ 3 Pre-performance Activity: Role of the Audience .......................................................................................... 4 Best Practices for Audience Members ...................................................................................................... 4 About the Mayhem Poets ............................................................................................................................. 5 Slam poetry--the competitive art of performance poetry ............................................................................ 7 Slam Poetry--Frequently Asked Questions ............................................................................................... 8 Slam Poetry Philosophies ........................................................................................................................ 16 Taken from the website http://www.slampapi.com/new_site/background/philosophies.htm. .......... 16 Suggested Activity: Poetic Perspective ...................................................................................................... -
President Search Aided by Hired Firm
The RenegadeBakersfield College Rip Vol. 84 ∙ No. 8 www.therip.com Thursday, September 6, 2012 President search aided by hired firm By Patricia Rocha “We’re working with an agency,” said diverse pool.” ful candidate is named. been moving forward. Editor in Chief Gomez-Heitzeberg. “That’s not unusual. From there, she said the candidates Though she could not speak about “There hasn’t been a delay in any of In fact, we’ve done that in the past when are invited to the first level of interviews, any front-runners in the search, she did those things.” Though the search is under way for we’ve done a presidential search.” which will take place on Sept. 5-7. speak on her role as interim president. She hopes the new president will con- Bakersfield College’s new president, the She said the firm is especially impor- “Out of that process, finalists will be “I have primary responsibility for all tinue this progress, as well as make the position left vacant by Greg Chamber- tant in the search right now because there identified,” she said. “Traditionally, we functions of the college, so while ‘in- difficult decisions that will arise in the lain will not be filled until at least De- are so many presidential positions avail- have had a public forum terim’ is in front of my name, future. cember. able at the community college level. held on campus that anyone Inside it doesn’t feel like interim,” “I hope we choose wisely, and I be- Chamberlain resigned from office in “In order to have a focused search, we can attend. -
The Fragmentation of Imagism It Was 1912, and a New Mode of Poetry Was Taking Root
The Fragmentation of Imagism It was 1912, and a new mode of poetry was taking root. Sparked by the ideas of T.E. Hulme and from distaste of the drippy sentimentalism of the Romantic era (Britannica “Imagist”), Ezra Pound, Richard Aldington, and H.D. literally wrote the rules of Imagism. Their dry, concise look at an image or “complex,” as Pound described it, helped lay the foundation for modernist poetry. However, the Imagists’ granite rules could not ensure strict adherence to their form, not even from founding members of Imagism themselves. As the years went by, the Imagists themselves grew weary of their own form by both their own admittance and through their later works. Ezra Pound was the first leader of the Imagist movement, and his autocratic grip on the concept of Imagism may be partly to blame for the fragmentation of the movement. Pound makes it quite clear that, “At least for myself, I want [twentieth-century poetry] so, austere, direction, free from emotional slither (“A Retrospect” 23).” He carefully selected and edited poems for published volumes of Imagist poetry, but the appearance of the popular and wealthy poet heiress Amy Lowell swept in a new democratic format for the group’s publications. Authors were to select what they considered their best work, without the stamp of approval from Pound deeming it true to the Imagist credo (Bradshaw 159). Amy Lowell and Ezra Pound clashed quite famously over the direction Imagism would take, as seen in Lowell’s poem to Pound, harshly dubbed “Astigmatism.” The poem pulls no punches; the analogy is clear in Lowell’s image of the Poet smashing lovely flowers of all kinds, saying “They are useless. -
Art, Identity, and Status in UK Poetry Slam
Oral Tradition, 23/2 (2008): 201-217 (Re)presenting Ourselves: Art, Identity, and Status in U.K. Poetry Slam Helen Gregory Introducing Poetry Slam Poetry slam is a movement, a philosophy, a form, a genre, a game, a community, an educational device, a career path, and a gimmick. It is a multi-faced creature that means many different things to many different people. At its simplest, slam is an oral poetry competition in which poets are expected to perform their own work in front of an audience. They are then scored on the quality of their writing and performance by judges who are typically randomly selected members of the audience. The story of slam reaches across more than two decades and thousands of miles. In 1986, at the helm of “The Chicago Poetry Ensemble,” Marc Smith organized the first official poetry slam at the Green Mill in Chicago under the name of the Uptown Poetry Slam (Heintz 2006; Smith 2004). This weekly event still continues today and the Uptown Poetry Slam has become a place of pilgrimage for slam poets from across the United States and indeed the world. While it parallels poetry in remaining a somewhat marginal activity, slam has arguably become the most successful poetry movement of the late twentieth and early twenty-first centuries. Its popularity is greatest in its home country, where the annual National Poetry Slam (NPS) can attract audiences in the thousands and where it has spawned shows on television and on Broadway. Beyond this, slam has spread across the globe to countries as geographically and culturally diverse as Australia, Singapore, South Africa, Poland, and the U.K. -
AV 011 KXNG CROOKED X BRONZE NAZARETH Gravitas CD
KXNG CROOKED x BRONZE NAZARETH GRAVITAS 01. Emperor’s Arrival (Intro) 02. Outer Limits (feat. Hus Kingpin & Killah Priest) 03. Slave Chains 2 Handcuffs (feat. Ras Kass, Bishop Lamont & Compton Menace) 04. Still (Reprise) 05. I Can Still Remember… 06. Westside Willie (feat. Planet Asia & P.U.R.E.) 07. Change Ur Beliefs (feat. Bronze Nazareth & Kevlaar 7) 08. Precious Moments (Interlude) (feat. Snoop Dogg) 09. French Connection (feat. Tristate, Bronze Nazareth & L.A.D. aka La The Darkman) 10. Soul Drenched 11. Get Rich (Outro) 12. Buck Shots (Remix) (feat. Ghostface Killah, Benny The Butcher & 38 Spesh) 13. Kxng Shxt (Remix) (feat. DMX, Royce Da 5’9 & Statik Selektah) 14. Fresh From The Morgue (Remix) (feat. RZA & Bronze Nazareth) Long Beach legend Kxng Crooked takes a break from his consistently dope “Weeklys” series to serve up listeners a slab of hardcore hip-hop fashioned with lauded Wu-Tang clan affiliate Bronze Nazareth. It's East meets West in a collision of sound. And plenty of Crooked and Bronze's homies come along for the ride, including Snoop Dogg, RZA, Ghostface Killah, Planet Asia, Ras Kass, and many more. Kxng Crooked aka Crooked I is best known as a former member of the hip hop supergroup Slaughterhouse with other members Joe Budden, Joell Ortiz and Royce da 5'9". Bronze Nazareth is from Grand Rapids, Michigan, and is a hip hop music producer and emcee associated with the Wu-Tang Clan. He has a solo career as an emcee and is also a part of the hip-hop group Wisemen along with his brother Kevlaar 7. -
SURREALISM IS a THING RUBRICS and OBJECTIVATION in the SURREALIST PERIODICAL, 1924–2015 Catherine Hansen
ARTICLE Downloaded from http://direct.mit.edu/artm/article-pdf/5/3/62/1832938/artm_a_00158.pdf by guest on 28 September 2021 SURREALISM IS A THING RUBRICS AND OBJECTIVATION IN THE SURREALIST PERIODICAL, 1924–2015 Catherine hansen What Will Be is the title of a 2014 anthology compiled by members of a 21st-century international network of Surrealist groups, announcing the continuing ambitions of a movement that fi rst began amid the sleeping fi ts and Dada-inspired provocations of the early 1920s. The anthology includes a special feature on the publishing activities of the various groups, which frequently coordinate their efforts across group and national boundaries—operating as a kind of dispersed organism whose vital functions have never seen fi t to cease, even as Surrealism has come to be considered a historical and concluded phenomenon. There is particular emphasis on the Surrealist attitude, in general, toward publishing, publicization, circulation, the digital revolution, and the rise of on-demand printing. Contributors, for example, speak- ing on behalf of the Montreal- and Miami-based Surrealist publisher Editions Sonámbula, state: “any attempt aiming to expand the fi eld of the real and of the poetic has necessarily to refl ect on the means of communication to use.”1 Surrealism has always claimed to extend the domain of what is 1 “The Utility of Surrealist Editions and of the Surrealist Gallery: An Inquiry,” in Ce qui sera/What Will Be/Lo que serà: Almanac of the International Surrealist Movement, “hors- série” number of Brumes Blondes, ed. Her de Vries and Laurens Vancrevel (Amsterdam: Brumes Blondes, 2014), 438–39. -
Skaldic Slam: Performance Poetry in the Norwegian Royal Court
Lokaverkefni til MA–gráðu í Norrænni trú Félagsvísindasvið Skaldic Slam: Performance Poetry in the Norwegian Royal Court Anna Millward Leiðbeinandi: Terry Gunnell Félags- og mannvísindadeild Félagsvísindasvið Háskóla Íslands December 2014 Norrænn trú Félags- og mannvísindadeild 1 Anna Millward MA in Old Nordic Religions: Thesis MA Kennitala: 150690-3749 Winter 2014 DEDICATION AND DISCLAIMER I owe special thanks to Prof. Terry Gunnell for his continued encouragement, help and enthusiasm throughout the process of researching and writing this dissertation. Many of the ideas put forward in this dissertation are borne out of interesting conversations and discussions with Prof. Gunnell, whose own work inspired me to take up this subject in the first place. It is through Prof. Gunnell’s unwavering support that this thesis came into being and, needless to say, any mistakes or errors are mine entirely. Ritgerð þessi er lokaverkefni til MA–gráðu í Norrænni Trú og er óheimilt að afrita ritgerðina á nokkurn hátt nema með leyfi rétthafa. © Anna Millward, 2014 Reykjavík, Ísland 2014 2 Anna Millward MA in Old Nordic Religions: Thesis MA Kennitala: 150690-3749 Winter 2014 CONTENTS Introduction pp. 5-13 Chapter 1. Skálds, Scholar, and the Problem of the Pen 1.1. What is Skaldic Poetry? pp. 14-15 1.2. Form and Function pp. 15-22 1.3. Preservation Context pp. 22-24 1.4. Scholarly Approaches to Skaldic Verse p. 25 1.5. Skaldic Scholarship: post-1970s pp. 26-31 1.6. Early Skaldic Scholarship: pre-1970s pp. 31-36 1.7. Skaldic as Oral Poetry, Oral Poetry as Performance pp. 36-43 1.8. -
436320 1 En Bookbackmatter 189..209
BIBLIOGRAPHY Adorno, Theodor & Max Horkheimer. Dialectic of Enlightenment. Translated by E. Jephcott, Stanford University Press, 2002. Allen, Tim & Andrew Duncan (eds.). Don’t Start Me Talking: interviews with contemporary poets. Salt, 2006. Alvarez, Al (ed.). The New Poetry. Penguin, 1966. Allnut, Gillian et al (eds). The New British Poetry. Paladin, 1988. Anderson, Simon. “Fluxus, Fluxion, Fluxshoe: the 1970s”. The Fluxus Reader, edited by Ken Friedman. Academy Editions, 1998, pp. 22–30. Andrews, Malcom. Charles Dickens and his performing selves: Dickens and public readings. Oxford University Press, 2006. Artaud, Antonin. Selected Writings, edited by Susan Sontag. Strauss & Giroux, 1976 Auslander, Philip. “On the Performativity of Performance Documentation”. After the Act—The (Re)Presentation of Performance Art, edited by Barbara Clausen. Museum Moderner Kunt Stiftung Ludwig Wien, 2005, pp. 21–33. Austin, J.L. How to Do Things with Words: the William Harvey James lectures delivered at Harvard University in 1955. Claredon Press, 1975. Badiou, Alain. Being and Event. Translated by O. Feltman, Continuum, 2007. Bakhtin, Mikhail. Rabelais and His World. Translated by L. Burchill, Indiana University Press, 1984. Barry, Peter. “Allen Fisher and ‘content-specific’ poetry”. New British Poetries: The Scope of the Possible, edited by Robert Hampson & Peter Barry. Manchester University Press, 1993, pp. 198–215. ———. Contemporary British Poetry and the City. Manchester University Press, 2000. ———. Poetry Wars: British poetry of the 1970s and the battle for Earl’s Court. Salt, 2006. © The Editor(s) (if applicable) and The Author(s) 2017 189 J. Virtanen, Poetry and Performance During the British Poetry Revival 1960–1980, Modern and Contemporary Poetry and Poetics, DOI 10.1007/978-3-319-58211-5 190 BIBLIOGRAPHY Blanc, Alberto C. -
ENG 3062-001: Intermediate Poetry Writing Charlotte Pence Eastern Illinois University
Eastern Illinois University The Keep Fall 2015 2015 Fall 8-15-2015 ENG 3062-001: Intermediate Poetry Writing Charlotte Pence Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/english_syllabi_fall2015 Part of the English Language and Literature Commons Recommended Citation Pence, Charlotte, "ENG 3062-001: Intermediate Poetry Writing" (2015). Fall 2015. 67. http://thekeep.eiu.edu/english_syllabi_fall2015/67 This Article is brought to you for free and open access by the 2015 at The Keep. It has been accepted for inclusion in Fall 2015 by an authorized administrator of The Keep. For more information, please contact [email protected]. ENGLISH 3062: INTERMEDIATE POETRY WRITING FALL 2015 3 CREDIT HOURS Dr. Charlotte Pence Course Information: Email: [email protected] MW 3-4:15 Office: 3745 Coleman Hall Room: CH 3159 Office Hours: MW 12:30-3 Section 001 and by appointment. REQUIRED TEXTS AND MATERIALS o The Poet’s Companion: A Guide to the Pleasures of Writing Poetry edited by Kim Addonizio and Dorianne Laux o Poetry: A Pocket Anthology, 7th Edition, Edited by R.S. Gwynn. (Bring to every class.) o The Alchemy of My Mortal Form by Sandy Longhorn ($15) o Course Packet with additional readings from Charleston Copy X, 219 Lincoln Ave. o A writer’s notebook of your choice. (Bring to every class.) o Three-ring binder or folder to keep all of the poems and handouts. COURSE DESCRIPTION Poet Richard Wilbur once remarked that “whatever margins the page might offer have nothing to do with the form of a poem.” In this intermediate course centered on the writing of poetry, we will accept Wilbur’s challenge and learn the variety of ways we can give shape to our lyrical expressions. -
Performance Poetry Night
Students Running the Show: 12 Performance Poetry Night Lynne Ronesi American University of Sharjah (UAE) This chapter chronicles a student-initiated performance poetry event at the American University of Sharjah (AUS) in the United Arab Emirates. The data suggest that performance poetry evening, as a student-driven initiative, was situated in the cultural context and literacy strengths of the student poet population at AUS. The students turned these evenings into opportunities for multi-vocalic expression that built commu- nity and good will across differences, and indeed, highlighted translingual strengths of “synergy” and “serendipity.” The accommodating nature of performance poetry—adjustable to local parameters and context—was suited to the participants’ affinity-space approach to negotiating an environment which was accessible, participatory, learning-filled, and evolving. Fac- ulty encouragement of and interest in extracurricular student literacy practices can support multilingual literacy develop- ment, even when—as is often the case in English-medium institutions in multilingual contexts—the writing curriculum focuses strictly on academic English writing. Keywords: performance poetry; extracurricular; participatory literacies; translingual; affinity space One spring evening in 2012, I made my way to a campus lecture hall to at- tend a performance poetry event organized by a group of four friends. The four, my former students, were on the stage experimenting with stage lighting variations, debating the placement of the lectern,