Nationality: Ghana

Ganthier by Kwame Dawes

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Another in the Voices from Haiti series produced by the Pulitzer Center, exploring life after the earthquake and focusing on the lives of those affected by HIV/AIDS, with poetry by Kwame Dawes, images by photographer Andre Lambertson, editing by Robin Bell and music by Kevin Simmonds. See YouTube for the text.

Precious Are The Feet of Those… by Kwame Dawes

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Another in the Voices from Haiti series produced by the Pulitzer Center, exploring life after the earthquake and focusing on the lives of those affected by HIV/AIDS, with poetry by Kwame Dawes, images by photographer Andre Lambertson, editing by Robin Bell and music by Kevin Simmonds. See YouTube for the text.

Voices from Haiti: Boy in Blue by Kwame Dawes

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This is the English version of the “visual poem” Boy in Blue with poetry by Kwame Dawes, images by photographer Andre Lambertson, editing by Robin Bell and music by Kevin Simmonds. See YouTube for the text.

I’ve decided to change course here and begin occasionally posting films that consist entirely of still images so I can feature projects like this. The technical term for a film montage of still images (often found in documentary films) is kinestasis, so that’s the name of this newest category at Moving Poems.

I previously shared Dawes’ kinestases with photographer Joshua Cogan, Live Hope Love, which was about living with HIV in Jamaica. Voices from Haiti is a newer series, also produced by the Pulitzer Center, which explores life after the earthquake in Haiti, focusing on the lives of those affected by HIV/AIDS.

At the AWP conference in Chicago the week before last, I had the pleasure of seeing Mr. Dawes speak about the collaborative process involved in making these videos, and was impressed by the extent to which he and the other artists involved in these projects seem to have stumbled upon some of the same principles that make regular videopoems or filmpoems work: the importance of the soundtrack and the need for juxtaposition rather than simple illustration to created multiple narratives in the listener’s head — “reportages in dialogue,” as he put it. These visual poems are creations in their own right, different from purely textual poems, and would not have happened without collaboration between poet, photographer and composer, he said.

Oblogo Concerto by Atukwei Okai

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Ghanaian poetry videos are a little thin on the ground, but I found three in the International Poetry Festival of Medellín’s massive video archive (African poets section), and was fascinated by Okai’s dramatic style and use of extreme alliteration. Atukwei Okai “was the first to try to take African poetry back to one of its primal origins, in percussion, by deliberately violating the syntax and lexicon of English, creating his own rhythms through startling phonetic innovations,” according to the Nigerian scholar of African Studies Femi Osofisan. In typical Medellín video style, we are shown the audience’s reactions — or lack thereof — as the poet recites.

For more on the festival, see the Guardian Weekly article, “Medellín’s poems of peace.” I would love to see the same kind of media coverage given to this festival as to the World Cup, at least on Univision. But I imagine it would have to be turned into a poetry slam-style competition for that to happen, and that would probably clash with the festival’s peace agenda.

Living and loving with HIV in Jamaica: four poems by Kwame Dawes

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I’m going to break my informal rule against featuring slideshows today, because I think these are exceptionally well done. The poet is Kwame Dawes, and the photographer is Joshua Cogan. The slideshows were produced by the Pulitzer Center, and are only one facet of a multimedia website, Live Hope Love, which includes interviews, audio of many other poems, and more. Dawes took three trips to his native Jamaica to collect materials for the project; it resembled a regular work of investigative journalism in every way, except for the fact that one of the final products was a collection of poems. His mission, according to the Pulitzer Center: “to explore the experience of people living with HIV/AIDS and to examine the ways in which the disease has shaped their lives.”