A poem by the great prophetic poet of modernismo, Juan Ramón Molina, turned into a heavy metal song (minus a few verses) by the Honduran band Delirium, in homage to the poet on the centenary of his death. The song is also currently available on the band’s MySpace page.
Del ancho mar sonoro fui pez en los cristales,
que tuve los reflejos de gemas y metales.
Por eso amo la espuma, los agrios peñascales,
las brisas salitrosas, los vívidos corales.
Después, aleve víbora de tintes caprichosos,
magnéticas pupilas, colmillos venenosos.
Por eso amo las ciénagas, los parajes umbrosos,
los húmedos crepúsculos, los bosques calurosos.
Pájaro fui en seguida en un vergel salvaje,
que tuve todo el iris pintado en el plumaje.
Amo flores y nidos, el frescor del ramaje,
los extraños insectos, lo verde del paisaje.
Tornéme luego en águila de porte audaz y fiero,
tuve alas poderosas, garras de fino acero.
Por eso amo la nube, el alto pico austero,
el espacio sin límites, el aire vocinglero.
Después, león bravío de profusa melena,
de tronco ágil y fuerte y mirada serena.
Por eso amo los montes donde su pecho truena,
las estepas asiáticas, los desiertos de arena.
Hoy (convertido en hombre por órdenes obscuras),
siento en mi ser los gérmenes de existencias futuras.
Vidas que han de encumbrarse a mayores alturas
o que han de convertirse en génesis impuras.
¿A qué lejana estrella voy a tender el vuelo,
cuando se llegue la hora de buscar otro cielo?
¿A qué astro de ventura o planeta de duelo,
irá a posarse mi alma cuando deje este suelo?
¿O descendiendo en breve (por secretas razones),
de la terrestre vida todos los escalones,
aguardaré, en el limbo de largas gestaciones,
el sagrado momento de nuevas ascensiones?
Say what you will about heavy metal or Juan Ramón Molina; I think they’re a good fit for each other!
(UPDATE) Thanks to commenter Enrique (see below), here’s an English translation:
I was a fish in the mirrors of the sonorous ocean wide,
where I beheld the glimmer of gems and metals;
that is the reason why I love the foam, the sourly
rocky shores, the briny gales, and the vivid choral reefs.
Then I was a treacherous viper of shifty tints,
magnetic pupils, and poisonous fangs; that is
the reason why I love the swamps, the shadowy trails,
the crepuscular wetlands, and the steamy forests.
Thereafter, I became a bird in a wild garden.
I had my entire iris painted on my plumage.
Yes, I love flowers, nests, the cool branches,
rare insects, and the green colors of landscapes.
Soon I turned into an eagle of bold and feral sight.
I had mighty wings and fine iron-wrought talons;
reason why I love the clouds, the stark mountain tops,
the boisterous winds, and the limitless skies.
I once became a brave lion of profuse mane,
of rapid yet strong backlash and a serene gaze;
that is why I love the plains where he roars
like thunder, the desert sands, and the Asian steppes.
Now (turned into a Man under obscure measures),
I feel within me the germs of future existences,
lives that shall rise and soar to find higher reaches,
or else should turn into entities of impure genesis.
Towards which distant star shall I direct my flight
when the time comes to look for another heaven?
On what venturous celestial body or grieving planet
shall my soul rest when I depart from this land?
Or is it that (by undisclosed reasons) descending
all the stairways of my brief terrestrial life,
in a limbo of long gestations, I shall lie in wait
for the sacred moment of renewed ascensions?
Roberto Sosa is Honduras’ most famous living poet. This is one of several musical adaptations of his poems by the Honduran classic rock band Rajamadrex on YouTube. It’s a little unclear, but I’m guessing that the video itself was made by the band, or someone under their direction, and the captions were added much more recently by the YouTube poster, who goes by the handle Sanjeringas. Here’s the Spanish text along with my own translation.
Los pobres son muchos
Pero desconociendo sus tesoros
The poor are many:
But unaware of their gifts, they enter
That’s why it’s impossible
I did this translation 14 years ago as part of a chapbook I put together after a six-week visit to the country. I was in Honduras not just as a tourist but to attend my brother Mark’s wedding to a Honduran, my sister-in-law Luz, who is from the same small city as the just-deposed president, Mel Zelaya. The Honduran coup is therefore somewhat personal for me. Since Zelaya was deposed for siding with the poor and alienating large segments of the ruling elite, Sosa’s poem seems — sadly — as relevant as ever.
Poem and recitation by Faiz Ahmed Faiz
Video by umer05, whose description is worth quoting in full:
Faiz Ahmed Faiz is amongst the most famous poets of last century. Faiz, who was hounoured by Lenin Peace Prize in 1963, was seldom subjected to arrests by the right-wing pro-imperialist military regimes of Pakistan. Once, during the dictatorship of General Zia-ul-Haq, he was arrested and taken to the police station in front of the public. In this context, he wrote ‘Aaj Bazar mein’.
The video starts with a ‘mushairah’ (public recitation), where Faiz presents the poem, and describes its context. Then the video, with the melodious voice of Nayyara Noor in the background singing the verses of Faiz, shows the sufi culture of Pakistan, which was suppressed by the religious fundamentalist government of Zia-ul-Haq. Then, there are some clips of public floggings and public hangings of political dissidents, which were employed to ingrain terror in the people of Pakistan. Public floggings were a norm during Zia’s time. The video, then, takes us on a trip to a well-known red-light area of the Islamic Republic of Pakistan. This red-light area is in the neighbourhood of a very famous mosque, a contradiction unresolved.
Poem by the great Faiz Ahmed Faiz.
Music and video by Laal.
Love the interplay between the text of the poem and the drama in the video. The Wikipedia article linked above says that Laal are
known for singing socialist political songs, especially those written by leftist Urdu poets such as Faiz Ahmed Faiz, Habib Jalib and Ahmed Faraz. The band received mainstream attention during the Lawyers’ Movement, in which it led support to the reinstatement of the then deposed Chief Justice Iftikhar Muhammad. […] Laal has not only managed to reconnect the people of Pakistan to the forgotten revolutionary socialist poets, but also introduced them to the youth
—which should serve as a reminder that, in some cultures, poetry still retains considerable power.
Poem by Vicente Huidobro
Music by Iván Lizama, performed by Ensamble Transiente – Música Experimental Latinoamericana (see YouTube for personnel)
Que el verso sea como una llave
Inventa mundos nuevos y cuida tu palabra;
Estamos en el ciclo de los nervios.
Por qué cantáis la rosa, ¡oh Poetas!
Sólo para nosotros
El Poeta es un pequeño Dios.
Let poetry become a key
Invent new worlds and guard your word;
We dwell in a circle of nerves.
Poets! Why eulogize the rose?
Everything under the sun
The Poet is a little God.
My attempt at a translation. The last line became the slogan of the literary movement Huidobro founded, Creacionismo (“Creationism”).
Musical composition by Alden Jenks
Performed by the San Francisco Conservatory New Music Ensemble, conducted by Nicole Paiement, with mezzo-soprano Raeeka Shehabi Yaghmai
A brief peek into Yaghmai’s rehearsal with Jenks for the premiere performance of The Soup may be seen in this documentary about her from Bebin TV, starting at the 4:30 minute mark.
Poems by A.H. Afrasiabi, translated by Niloufar Talebi
Video from The Translation Project — a scene from Icarus/Rise, “a multimedia theatrical piece based on new Iranian poetry, created, translated and narrated by Niloufar Talebi, in collaboration with choreographer and video artist Alex Ketley and composer Bobak Salehi” (text from YouTube).
The Translation Project’s page goes on to say:
Based on the poetry in BELONGING: New Poetry by Iranians Around the World, ICARUS/RISE is inspired by the Iranian spoken word tradition of Naghali, which is practiced in the streets, cafes, public rituals, or ‘art music’ stage. By giving this spoken word tradition new content (new poetry in BELONGING) — rather than its usual content of classical Persian poetry and myths — and fusing it with western theatrical elements, ICARUS/RISE gives voice to hybrid-Iranians, reflecting their experience in contemporary society.