Thylias Moss's video “poam”
“Meditation on Dada” blurs and problematizes history and
language. There are a multiple of meanings in the actual words of
the poem: “a mean Amin” is a reference to Idi Amin Dada, the
infamous Ugandan dictator—it's a kind of textual playfulness,
though the reference itself and the accompanying “meanness” of
Idi Amin is disturbing. This line is also a reference to the title
of the poem, and it changes how we would typically read “Meditation
on Dada.” At first I thought this was a more-or-less
straightforward title, and I figured I'd get a poem referencing the
Dada movement. And there's plenty here that encourages that
approach, since Dada was a leftist movement founded on the
destruction of typical, bourgeois assumptions about art. The form of
this poem itself challenges artistic norms, since it works
simultaneously as visual, sound, and textual artifact. The text is
presented backwards, denying conventional reading. There's also no
coherent ordering to the different pieces of text, and it's sometimes
difficult to establish any connections between lines. But
conceptions of “Dada” keep blurring back and forth between the
art movement and the dictator. The “decapitated heads”
references Amin's violent executions of detractors and ethnic groups.
Sheen, shekina, and sheena are all “defined” as an eating
disorder, though the words have differences in the dictionary: sheen
is “a soft luster on a surface,” shekina is a Hebrew word for the
divine presence of God, and sheena (likewise of Hebrew origin) means
“God is gracious.” The “weight of blood,” when seen next to
the line about Amin, could be a reference to the dictator's ethnic
cleansing of Uganda—or it could be something more ambiguous. The
“curve of the cut” echoes the decapitated heads of the first
“stanza” of the visual triptych, and the “getting ready to say”
likewise echoes the “smiles cut into like a mouth.” Overall,
“Meditation on Dada” is a dark and cryptic poem that blends
general notions of art history with disturbing historical
particulars.
Welcome to the Poets of Color of the Twentieth and Twenty-first Centuries A small sampling of poetry by poets of color are examined in this class as a way of expanding our perception of the American poetry cannon. Our discussions investigate the new forms, open languages, and cultural origins of the works, and also how these poets intersect with the literary terrain.
Poets of Color
Elmaz Abinader, Instructor Office: 313 Mills Hall
510 430 2225 elmaz@earthlink.net
office hours: 5-6:30 Thursday and by appointment
Here are the texts for the class.
• Asian American Poetry: the Next Generation edited by Victoria Chang
• Voices from Leimert Park, ed by Shonda, Buchannan
• Effigies, An Anthology of New Indigenous Writing Pacific Rim, 2009, Okpik, Rexford McDougall, etc (Salt Publishing)
• The Wind Shifts, New Latino Poetry, Edited by Francisco Aragón
• The Essential Etheridge Knight by Etheridge Knight
• Mercy by Lucille Clifton
• Zodiac of Echoes by Khaled Mattawa
• Diwata by Barbara Jane Reyes
Sunday, September 9, 2012
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Can't wait to read more Housten, The blurring effect and the disorientation to what is the concrete is an important part of Moss's work and you nailed it. Keep going
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