In a 2015 interview with the Phoenix Rising Collective, Savannah discussed some of the family history that she also drew upon in this poem.
A fascinating experiment in bilingual videopoetry from the always inventive Kate Greenstreet. Here’s the description on Vimeo, with italics and links added:
Based on early versions of poems from The End of Something translated into French by Alexander Dickow for the anthology Ligatures: Poets of France and America (Catala Press, 2017). Featuring the voice of Virginia Konchan speaking the French lines and a short video clip of Amaranth Borsuk (“the girls are gone”). This video first appeared in The Continental Review (thecontinentalreview.com).
It’s good to see The Continental Review, one of the oldest online poetry video journals, still putting out issues. Browse their latest material here. And be sure to visit Kate Greenstreet’s webpage for The End of Something to download a free music EP and watch three more videopoems based on texts in the forthcoming book. Ahsahta Press’s description begins:
In curating cartography together with lyric, poly-vocality with loneliness, and even the unspeakable with common speech, poet and artist Kate Greenstreet has created a surprising hybrid with The End of Something. The intimacy in Greenstreet’s partial narratives and slow admissions contrasts with much of what we consume as Americans, which is fleeting and feigns being “factual.”
Body With No Windows explores death and embodiment through a collage of faceless sequences from public-domain home video footage of a Pennsylvania family in the 1950s.
In “Body With No Windows” by Annelyse Gelman, “human faces have been elided,” first found and then lost. Here, the tensions between vocal annunciation and the sharp timing of archival clips showcase Gelman’s practiced hand at working in collage. A woman on camera walking alone becomes a mother holding a child’s hand just as suddenly as “the feeling that your body belongs to you” might go away. Gelman’s opening soundscape signals a kind of dread or apprehension. This tone is quickly disrupted by quotidian footage of sunbathers in crabgrass, yard dogs, and tandem swimmers curated from the Prelinger Archives. In a particular fleeting style that intermedia texts seem to capture best, Gelman asks us to recognize the uncanny that we only witness in the daily lives of others, that particular waiting “to be carried from what you cannot remember to what you cannot forsee.”
A haunting, incantatory videopoem from U.K. poet-filmmaker Cactus “Cathy” Chilly that raises disturbing questions about what we accept as normal and ordinary.
I made this video last summer in my backyard. It’s a selection of haiku that seemed to tell a story, with big letters imposed over a glitter globe I bought at the MOMA-San Francisco gift shop. It’s somewhat nostalgic for me to watch this, as it’s one of the last art projects I did before moving from California to my new home in Eugene, Oregon.
“A video poem about the relationship between film, the body, and Lyme Disease,” Body Talk was written and directed by Amy Bobeda. It was one of the films screened last Saturday in Ashland, Oregon as part of Cinema Poetica.
Anything you can do we can do bleeding
We can do anything dripping with blood
Salena Godden released this poem and video back in September in collaboration with Nasty Women UK, a London art show that raised money to combat violence against women and girls, according to a blog post.
Salena Godden, one of the UK’s most iconic poets, has stepped forward to donate her latest poem RED in a collaboration with Nasty Women UK.
“RED is a poem about periods. RED is about stigma. This is about women’s autonomy over their own bodies and their own choices. RED is a protest poem against the tampon tax, anger that sanitary products have been considered a luxury item and therefore taxable. RED is a fury that money from the UK tampon tax is funding anti-abortion charities. I have great admiration for the work of the Nasty Women’s global movement and donate this work as an endorsement. We must end all violence against all women in all its forms. We must end the tampon tax. I wish all women to have a bloody safe and bloody healthy period. Period!”
Nasty Women is a global art movement that serves to demonstrate solidarity among artists who identify with being a Nasty Woman in the face of threats to roll back women’s rights, individual rights, and abortion rights. With over 40 events across the globe Nasty Women Exhibitions also serve to support organizations defending these rights and to be a platform for organization and resistance.
Click through for the text of the poem.
The video was screened as part of Godden’s headlining performance at this past weekend’s Filmpoem Festival in Lewes.