Set on a Melbourne tram, Stander Under Anvils is from Australian film-maker Martin Kelly, and features the luminous presence of poet Bronwen Manger, who speaks her text live to camera for most of the film. It is one of several video poetry pieces that Martin has produced in a media partnership with Ian McBryde.
As with many of Bronwen’s poems, there is an enticing sense of mystery here, perhaps even a suggestion of perversity. I find shadowy and unfamiliar meanings arising from the subtle twists of soft-spoken words, ostensibly directed towards a brother. The final, almost-not-there glance at the camera creates for me a perfectly sly ending to a piece that draws me in by being quiet.
Martin is best known in the international video poetry community as co-creator of Spree, a highly-regarded video of a poem by Ian. In Spree too, the writer appears speaking the text direct to camera, inter-cut with vivid flashes of associative imagery.
Martin says of the ongoing collaboration he has with Ian:
…We hope to provide both a window into the world of poetry for those who may otherwise pass it by, but we also aim at contributing to and developing the unique genre of video poems.
Ian makes an uncredited appearance in Stander Under Anvils, as a blind passenger sitting next to Bronwen on the tram, who suddenly turns to give her a key word.
The visual stream is jazzily constructed of “found footage” from various free sources. This is in sync with the sample-based hip-hop and house music referred to but never heard in the film. Narration is by the poet, who appears in the film as well, accompanied only by the warm sound of vinyl static—warm like her strong, expressive voice.
The poem is beat-driven, funky. It conveys myriad elements of cultural identity, past, present and future:
Who we are is undefined. Might be infinite. Variable. A mystery unsolved, but not yet ready to exit.
Gen.er.a.tion X, n. People born between 1960 and 1980. Some were alive with the last survivors of enslavement.
Danielle Eliska describes herself as a “black archivist”, her life’s work to tell stories of powerful women, the Black Diaspora and the state of Black culture. She is the founder of multimedia production house Meraki Society.
Shalewa Mackall belongs to a community of artists embracing Sankofa, a word in the Twi language of Ghana that translates to “Go back and get it”. The term relates to the Asante Adinkra symbol, often represented by a bird with its head turned backwards while its feet face forward, carrying a precious egg in its mouth. This symbolises moving forward in full awareness and embrace of what has preceded, historically and culturally.
Poet, playwright, and essayist Dave Harris is featured in this latest installment in the monthly series “A Poet’s Space” from Rattle magazine and director Mike Gioia’s Blank Verse Films. For the text of the poem (which won the 2018 Rattle Poetry Prize) and some additional remarks by Harris, see the post on Rattle‘s website.
integrating [Flaherty’s] performance poetry with the original music of award-winning composer and film-maker Mark Korven […] Set against the memorable backdrop of Georgian Bay landscapes, these films will highlight the jack pines and quartz rocks of the shorelines, striving to capture in word, sound and image the unique character of this region.
Watch all three films on Korven’s Vimeo page.
This film of Brendan Constantine‘s brilliant anti-gun poem (click through for the text) kicked off a promising new YouTube channel called Blank Verse Films, the work of L.A.-based filmmaker Mike Gioia. He described his modus operandi in an email: “I travel around filming poets, and then edit the recitations into little films.” He added,
Making the videos is much more challenging and exciting than I originally anticipated. I’m trying lots of different approaches but still don’t feel like I’ve “cracked the code” of how to film poetry. Later this month I’m going to try some experiments with dramatic reenactments of poems that will use actors who speak the lines of poetry.
Merissa Victor directed this videopoem about self-acceptance, with Vancouver-based spoken-word poet Angelica Poversky contributing the original concept and lyrics. I’m blown away by Poversky’s voiceover here—refreshingly free of affectation, it’s the perfect compromise between a natural speaking voice and rhythmic musicality, to my ear. Unsurprisingly, a note in the YouTube description says it’s “Coming soon to Spotify as part of a debut album by Angelica Poversky.” The vocal accompaniment and musical direction are by rhé (Rhea Casido); moses c.c. is the producer.
Thanks to Moving Poems reader Emily Sergey for the tip.
To celebrate yesterday’s release of Liu Xia from detention, here’s a video of her reading two poems while in captivity, “Untitled” (translated by Ming Di and Jennifer Stern) and “Drinking” (translated by Yu Zhang). A 2015 post on the PEN America website has the text of both translations, as well as the back-story:
October 8, 2015, will mark five years that Liu Xia, the wife of imprisoned Chinese writer and Nobel Peace Prize Laureate Liu Xiaobo, has been under extralegal house arrest in her Beijing apartment. It was on this date in 2010 that Norwegian Nobel Committee Chairman Thorbjørn Jagland announced from Oslo that her husband was to receive the 2010 Nobel Peace Prize “for his long and nonviolent struggle for human rights in China.” Within hours, police descended on her apartment complex, cut her phone lines, and barred friends and family from entry.
In this rare video, shot in December 2013 after friends ripped past the guards to her apartment, Liu Xia is seen reading two of her own poems in her apartment. Liu casually sits at her desk just outside the soft glow of a reading lamp, smoking a cigarette and reading from her notebook. After she finishes reading the second poem, “Drinking,” she gives a hasty thumbs up to the unidentified camera operator heard whistling in approval.
On December 1, 2015, PEN will host a reading of Liu Xia’s poems from a new translation of her poetry, Empty Chairs—forthcoming on November 3 from Graywolf Press—at Book Court in New York City. Stay tuned for details to come.