Tag Archives: poetry

De la palabra escrita a la palabra hablada

Una primera aproximación a la poesía dominicana reciente

Adalber Salas Hernández, PhD Candidate at the Department of Spanish and Portuguese, NYU

Proviniendo de un contexto hispanoparlante, el deseo de estudiar la poesía escrita en español en el Caribe no siempre implica una tarea sencilla. Especialmente si uno ha decidido estudiar el trabajo de poetas jóvenes, que han publicado un libro o quizás dos, y cuya difusión suele ser impar –salvo en contados, interesantísimos casos. El asunto se complica un poco más cuando se trata de la poesía dominicana: los espacios de circulación de sus autores no consagrados no siempre son fáciles de hallar. No obstante, en cuestión de días uno se encuentra con un trabajo poético vivo, múltiple, que crece devorando horizontes.

Tratándose de mi investigación, la poesía dominicana reciente es la practicada por autores nacidos a partir de 1970. Un límite arbitrario, sin duda, pero sumamente útil. En este sentido, mi primer contacto en República Dominicana fue Frank Báez. Poeta, cronista, narrador, traductor y editor, junto a Giselle Rodríguez Cid, de la revista Ping Pong, Frank es además miembro del colectivo multidisciplinario El Hombrecito –donde también se encuentra el excelente poeta Homero Pumarol–, el cual fusiona de modo muy interesante poesía y música (en su canal de YouTube pueden escucharse canciones individuales, discos enteros y hasta alguna grabación en vivo). Su quehacer lo coloca en una suerte de encrucijada: es uno de los nervios principales de la nueva poesía del país –no solamente como uno de sus practicantes más reconocidos, sino también como difusor. Gracias a su inestimable ayuda, he podido conocer dos de los principales trabajos antológicos realizados en este campo: el número especial dedicado por la revista Punto de Partida, de la UNAM, a la poesía dominicana actual (No. 171, enero-febrero de 2012) y la muestra Presencias reales, publicada en la propia revista Ping Pong, en el 2011. A través de estos trabajos antológicos, he podido conocer la obra de poetas como Ariadna Vásquez Germán, Alejandro González Luna, Rossalinna Benjamín o Luis Reynaldo Pérez: escrituras ágiles, con brío, muy diferentes entre sí, que sumé de inmediato a las que ya formaban parte de mi investigación.

En la poesía dominicana reciente, la palabra escrita mantiene un vínculo singular con la palabra hablada: siempre una está a punto de convertirse en la otra. La letra vive al borde de la voz. Cabe recordar aquí el trabajo de la poeta y performer dominicana Josefina Báez, el cual, si bien no cae en los límites de mi investigación, es necesario leer –y escuchar, y ver–, pues resulta fascinante. Y cabe también recordar que, aparte de El Hombrecito, la figura de Rita Indiana: mejor conocida por su música (Rita Indiana y Los Misterios) y por su producción narrativa, también encontré en ella una poeta de singular potencia. En esta primera aproximación, un hecho se destaca de buenas a primeras: en la poesía reciente de República Dominicana, la palabra tiene un pasaje permanente de ida y vuelta para viajar de la escritura al habla.

Exploring the Yareta of Northern Chile Through the Archives

Posted by Amanda Lotspike – MA Candidate at CLACS

To write a story of the yareta is to start from its partial absence in the Chilean altiplano. It’s a hard thing to do. The yareta demands attention; it grows “like a tortoise—big and green”[1], a plant with almost animate qualities despite its resolute grounding in the Andean volcanic belt. Thriving at altitudes of twelve to fifteen-thousand feet above sea level, the yareta is more than a single cushion shrub. Hundreds of tightly wound, waxy succulent leaves make up the flat surface area of its circular outcroppings—bulbous growths that take on the appearance of carpet moss from far away. At eye level, a heavy resin (yaretawaqa or “tears” of the yareta) smudges its bright green surface, while dried yellow flowers collect in small pockets where the slopes of the yareta rise and fall.

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The yareta, photo taken by author.

 

This summer I’ve set out to learn of and from the history of the yareta (its abundant growth, extraction and decline) in the Norte Grande of Chile. From stories of the “king” of the yareta (a Bolivian entrepreneur who led commercial exploitation of the species during the mid-twentieth century Chilean mining boom) to its representation in the writings of award-winning poet Miguel Urrelo Valdivia, I have explored the ways in which the yareta exists beyond its material presence (as a poetic imaginary, an heirloom, a divine resource and finally, a warning call).

In this series of blog posts I will highlight a few of these stories. First stop: the library at the National Service for Geology and Mining and the National Archive of Chile.
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Chronicle of an Omission Foretold: The Place of Concrete Poetry in the History of Digital Literature

Visual Poetry pieces by Augusto de Campos

Video Poetry works by Augusto de Campos exhibited during July in São Paulo

Milton Laufer, PhD Student at the Spanish and Portuguese Department.

As a PhD Student in the Spanish and Portuguese Department, my research focuses on the development in Latin America of what is known as digital literature. By this I mean a particular way of thinking about texts which is not constrained by the bounds of the device called “book”, which lays in between many other disciplines, like the visual arts, video art, and computer games. This involves not only a new paradigm, or at least a broader paradigm, in our way of conceptualizing literature, but also a meaningful political dimension, a democratization, in the sense of how cultural goods circulate—including but not limited to the Internet—and, most importantly, how they are produced: in the same fashion espoused by the avant-garde movements, in digital literature the boundaries between the producer and the consumer are blurred, calling into question not only ontological concepts like creator, art-work, and reader, but also legal ideas that have traveled a long and undisputed path, like intellectual property. Though the first two works of digital literature date back to the 1950s (Strachey, 1952 and Lutz, 1959), it was only during the past decade that a field of scholarship focused on this literary form began to emerge. In this time, digital literature has become a vital object of inquiry, not only because its trajectory is difficult to anticipate, but also—and more importantly—because it sheds light on our understanding of literary production in a broader sense.

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In Buenos Aires, Neoliberalism Is Performing Again

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The stencil on top depicts Jorge Rafael Videla, the head of the first military junta that overthrew Isabel Martínez de Perón in 1976 and initiated the neoliberalization of the country; Carlos Saúl Menem, elected president from 1989 to 1999, widely associated to neoliberal reforms; and current president Mauricio Macri, with the universal recycling symbol, as if they were -and they are!- part of the same  process. “Ni una menos” (“Not one less”) is a movement that combats violence against women.
by Ezequiel Zaidenwerg
PhD Candidate at the Spanish and Portuguese Department

July 21st 2016

I’ve been in Buenos Aires for two weeks now. I’m surprised at how much things seem to have changed since my last visit, about a year ago. Many small shops that I knew have closed: after recently elected President Macri devalued the local currency by over 60%, they can’t afford to pay the rent or the dramatically increased electricity and heating bills. For instance Aleksandr, a Russian immigrant taylor I used to take clothes I usually buy for peanuts at the Salvation Army in New York for alterations and repairs, has been priced out of his small work space in downtown Buenos Aires and I’m told he’s now moved deep into the Conurbano Bonaerense, the Capital’s sprawling, densely populated outskirts. Although neoliberalism never left -even with the Kirchners, who so ardently spoke against it- it now seems tremendously reinvigorated. To my dismay, a few days ago, the Secretary of Communications, Oscar Aguad, in a nonchalant way, invoked the infamous trickle-down economics to explain the need for further austerity measures in the energy sector.

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Andean Culture Night

Last night we celebrated Andean culture at the King Juan Carlos I of Spain Center. The Runasimi Outreach Committee and Center for Latin American Studies hosted various community groups and artists representing Ecuador, Perú and Bolivia for the last Quechua night of the year.

Participants included:

Ñukanchik Llakta Wawakuna dancing Kawsay La Vida and reading a poem

Grupo Folklorico Fuerza Peruana dancing Huaylas de Carnaval

Baila Perú New York dancing Marinera from Trujillo

Odi Gonzales reading from the poetry collection Virgenes Urbanas

Pachamama dancing Tinkus

Eduardo F. Medrano Salas reading poetry

Fraternidad Cultural Pasión Boliviano dancing Salaque

Thanks so much to all our participants and everyone else who came out to share this special night with us. We enjoyed Salteñas and Api and two hours of performances! On behalf of the Runasimi Outreach Committee we hope to see you next year.

 

Sharing Tears With Maya Chinchilla

Posted by William Ramirez – MA Candidate at CLACS

This summer I traveled to Guatemala with the intention of learning more about current trends and developments in Guatemalan literary, poetic, and artistic production. In recent years, there has been a surge in not only scholarly, but also literary and artistic production of the “Central American” (including Guatemala) in the United States (See Arturo Arias, Ana Patricia Rodriguez, Kency Cornejo, Claudia Milian). For example, in 2014, Guatemalan-American poet, Maya Chinchilla (Maya Chapina), published her first book, The Cha Cha Files: A Chapina Poética (Kórima Press), marking the first time a Guatemalan-American publishes a book of poetry with themes concerning the Guatemalan/Central American-American experience within the United States. However, her work would perhaps be lesser known within Guatemala. A question arises: what relevance would her poetry have with current Guatemalan literary and artistic trends and, moreover, with Guatemalans, in general, who perhaps have never set foot outside of the country? I came to look for what type of relation might, or might not, exist between literary, artistic, and poetic productions between Guatemalan-Americans and those within the country.

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Cover of ‘The Cha Cha Files: A Chapina Poética’ by Maya Chinchilla. Artists – Yolanda Lopez, Rio Yañez

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Emilio, Mario, Américo, ima Harawitamanta Rimanku

Emilio, Charlie, Emily Rimashanku CuscopiRunasimita yachaspa kay veranopi Cuscopi, estudiantekuna NYUmanta Emily Thompson, Charlie Uruchima, ima reqsinakuranku huk poetawan. Paypa sutin Emilio Carbajal. Kay audiopi kinsantin tinkunku iskay estudiantewan cafepi. Paykunaq sutinku Mario Antonio Cossío Olavide, Américo Mendoza-Mori, ima. Rimashanku kawsankumanta, runasimimanta, hawaritamanta ima.

Mario, Emily, Emilio, Charlie, Américo, ima WaqaypatapiEstudiando Quechua este verano en Cusco, los estudiantes de NYU Emily Thompson y Charlie Uruchima se encontraron con un nativo Quechua hablante y poeta, Emilio Carbajal. En este Podcast, se reúnen en un café con dos estudiantes más de Quechua, Mario Antonio Cossío Olavide y Américo Mendoza Mori para hablar con Emilio sobre la vida Peruana, practicar el Quechua, y escuchar la poesía de Emilio.

Emilio CuscopiWhile studying Quechua this summer in Cusco, NYU students Emily Thompson and Charlie Uruchima met native speaker and Quechua poet Emilio Carbajal. In this podcast they get together in a café with two other Quechua students, Mario Antonio Cossío Olavide and Américo Mendoza Mori.  There, they  talk about life in Peru, practice Quechua,  learn about and listen to some of Emilio’s poetry.


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