Posts in Category: Videopoems

Open Season by Caroline Rumley

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From Caroline Rumley, a film-maker/poet I admire greatly, this is Open Season, a melancholy response to living in the USA since 9/11. Rumley’s description on Vimeo:

After reading Albert Samaha’s powerful reporting on the first hate crime after 9/11 in the United States, I was inspired to make this found footage retelling of a glimpse of his story.

Here’s the Buzzfeed article she drew upon for her information and some of the text.

There Are Bullets in This Poem by Jan Bottiglieri, Chris Green, cin salach, and Tony Trigilio

This is Semi-Automatic Pantoum, directed by Matt Mullins, made to accompany the collection Semi-Automatic Pantoums: A Collaboration on Gun Violence [PDF] by the Chicago-based collective Poetic Justice League. According to their origin story,

In 2018, in the season of Donald Trump and longing for another time, Chris Green was driving down a Chicago road to see his poetic super heroes Jan Bottiglieri, cin salach, and Tony Trigilio. He proposed The Poetic Justice League, a group for poetic non-silence on the big issues of the day. They dreamed up PJL to unfold group poems, to wake up poets and readers to a sense of newborn responsibility. [links added]

The pantoum is one of those forms with repeating lines, which makes it a good if macabre fit for the subject of semi-automatic weapons and the semi-automatic reactions of various political factions to the American epidemic of mass shootings. Matt Mullins added some lines of his own to the video, but otherwise the text is the same as “There Are Bullets in This Poem” (page 5 of the collection). As Matt said in an email on Monday,

It’s intensely disturbing that these horrific mass shooting events just won’t stop happening (I write you this the morning after we realize that families can’t even go to a food festival without being murdered by someone with an assault rifle.) American gun violence has gone far beyond insanity, and yet, as we all know, the politicians in the palm of the NRA will do nothing.

To write your own semi-automatic pantoum, see the collective’s instructions for teachers.

The Poetic Justice League hopes that high school students form their own PJL chapters! You will receive a PJL hat and will be included in all publishing and promotional ventures . . . and we will continue to include you in all future PJL political poetry adventures.

The only requirement is that students contribute their own collaborative political poems modeled after PJL projects. For now, we’re seeking semi-automatic pantoums–we will post the pantoums on our site.

City Swans by Bernard O’Rourke

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Bernard O’Rourke is an Irish writer, film-maker, and spoken word artist, new to Moving Poems. Filmed along Dublin’s Grand Canal, his City Swans reflects discontent and restlessness within the enclosures of city life. The poem is richly voiced by Bernard himself, woven into the melancholy whimsy of Brendan Carvill’s guitar chords. As an ensemble, the piece evokes a sense of sky-born hope glimpsed in lowly places. It was a finalist in 2018 for the Ó Bhéal Poetry Film Prize at the IndieCork Film Festival, Ireland.

Alphonso’s Jaw by Sarahjane Swan and Roger Simian

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Recently I became part of an international collective of artists called Agitate:21C. In its short existence, it has attracted about 300 outstanding experimental, avant-garde, and generally ‘other’ artists from around the world, including film-makers, poets, curators, critics, lovers of the arts, and just about any kind of alternative creator, focused on any medium, genre, style or form.

Originally part of a larger art installation created for Alchemy Film and Moving Image Festival, Alphonso’s Jaw was the first poetry film I found via A21C. It is written and directed by Scottish artists Sarahjane Swan and Roger Simian, also known as Avant Kinema. Sarahjane appears in the film and voices the piece in English and French. I find it virtuosic in its fusing of word, soundscape and image, as well as deeply moving in its meditation on the timeless horrors of war in the lives of individuals.

This is an excerpt from what the artists have to say on the film’s page at Vimeo:

The installation, and our subsequent short film, were inspired by our fascination for two objects we discovered amongst Edinburgh University’s Anatomy Collection: (1) the cast of a disfigured face; (2) a prosthetic jaw constructed on an early nineteenth century battlefield.

Through some research we unearthed the story of Alphonse Luis, a young French gunner struck by shrapnel at the Siege of Antwerp, 1832. Having suffered horrific facial injuries, losing his lower face, Alphonse’s quality of life was eventually improved when the Surgeon-Major and a local Belgian artist collaborated on the construction of a silver prosthetic jaw, painted in flesh tones and adorned with whiskers.

We uncovered historical accounts of Alphonse Luis’ injury, surgery, recuperation and rehabilitation in medical journals of the day, and drew on these for an exploration of identity, disfigurement and reconstruction.

In Alphonso’s Jaw we imagine that Alphonse Luis has become dislocated from history to exist outside of any specific time or place, trapped in eternal convalescence, soothed by the dreams of his Battlefield Muse, who is equal parts Night Nurse, Scheherazade and Beauty from Beauty and the Beast. Luis’ Battlefield Muse is, in turn, both horrified and fascinated by her patient.

The poem, titled “Beauty and the Silver Mask,” can be read at Avant Kinema’s blog, in both its full English version and the short fragment of it spoken in French, which was translated by Raymond Meyer.

Snow Memory by Brendan Bonsack

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Fellow Australian film-maker Brendan Bonsack is one of the finest of the lyrical video poets I have encountered. Multi-talented, skilled and prolific in filmpoetry, photography, performance, and music, he is also a generous supporter of poets and their culture in this country, especially in Melbourne, where he is co-producer of a community radio show devoted to the spoken word.

Snow Memory is a wordless video poem, alluding to its themes in beautifully composed images and music. There are suggestions of fragmented narrative to be found in the precisely rhythmic editing between images, some shot by Brendan, others drawn from archival and alternative sources.

Whether finding expression in videos, poems, or any of his other chosen forms, Brendan’s work is inspiring to say the least, its effect on audiences well described here:

“Bonsack has one of those voices that fills a room with golden light…”
Nkechi Anele, Triple J Radio, Australia

In the case of this film, it’s a snowy silver.

Write Out: A Scribe’s Haiku #3 by Kathryn Darnell

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In my first post as a contributor to Moving Poems, I am delighted to introduce to the site the work of Kathryn Darnell. Her Write Out: A Scribe’s Haiku #3 is part of a series of animations of original haiku about her work as a calligrapher. Music is by Elden Kelly.

Kathryn has been a professional illustrator and calligrapher for over 30 years, dividing her time between commercial art and fine art practice. Her “animated calligraphics” are an extension of her passion for letters. Her personal artwork is regularly exhibited in galleries, and she is an adjunct professor of art at Lansing Community College.

In 2018, her video, Things I Found in the Hedge, in collaboration with UK poet Lucy English, was the winner of the inaugural edition of the Atticus Review Videopoem Contest, which I judged and discussed in Moving Poems Magazine.

Commit to Memory: The Precipice of Extinction by Nicelle Davis

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What better way for Moving Poems to return from hiatus than with the latest video collaboration between artist Cheryl Gross and poet Nicelle Davis? And as a nature lover, the subject matter is close to my heart. I feel that way too few poets really grasp the severity and horror of the extinction crisis, let alone the threat it poses to the human imagination and, arguably, our very souls. I found this cycle of poems so moving, especially accompanied by Cheryl’s inimitable, unsettling animation.

Nicelle has a brief column about the collaboration up at Cultural Weekly:

Death is a charmer; nothing makes us feel more alive than brushing shoulders with Death at a bar, in our cars, or at 5,000 feet in the air. Every time we risk and survive there is a thrill. We feel like we won more life because we are not the one dying.

There is something sexy about Death, how when poachers take a machete to the face of an elephant, the gaping wound resemble a wet vagina, how sex is always better once it’s gone, or when whalers take a grenade harpoon to a whale—even more so when an entire species is gone, how life looks for life even inside a zoo.

But Death is a trickster. We can never win at Death’s game. We remain alive, while our humanity is dying. Soon, there will be nothing of our lives worth living for.

Commit to Memory: The Precipice of Extinction is a multi-platform project that addresses the eventual disappearance of our culture using animals as metaphors. We explore issues of global warming, displacement, assault and poverty.

Read the rest.