Performance, poetics, and place: public poetry as a community art【翻译】

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ABSTRACT
This dissertation refuses the assumption that poetry is a dying art
form. In this study, I focus on poets Marc Smith, David Hernández, Patricia
Smith, and Bob Holman. I place the work of these four poets within the
context of the contemporary performance poetry movement and argue that
from their position on stage, in the recording studio, or in front of the
camera, they use the performance to forge bonds across racial, ethnic, class,
and gender divides. Throughout this study, I trace the evolution of the
contemporary performance poetry movement from the local to the national,
the embodied to the virtual. I combine original research on public poetries
such as the poetry slam, the poetry-music ensemble, and video-poetry and
synthesize a variety of critical approaches, including cultural studies,
postcolonial theory, and ethnomusicology. I analyze specific elements of the
performance--the voice, music, the body on stage, and the dialogic
relationship betwee performer and audience--and discuss how these poets use
the poetry event to articulate a poetry-community-in-the-making. Throughout
this study, I argue that these poetry events demand our active engagement
with the performance and use emergent technologies to document and analyze
this poetry community. As such, "Performance" ultimately demands that we
not only rethink the relationship between these poets and their communities,
but that we rethink the place of poetry in contemporary American culture.
Abstract Approved: Adalaid Morris
Thesis Supervisor
Professor, Department of English
Title and Department
April 26, 2000
Date
PERFORMANCE, POETICS, AND PLACE: PUBLIC POETRY AS A COMMUNITY
ART
by
Julie Marie Schmid
A thesis submitted in partial fulfillment
of the requirements for the Doctor of
Philosophy degree in English
in the Graduate College of
The University of Iowa
May 2000
Thesis Supervisor: Professor Adalaide Morris
Copyright by
JULIE MARIE SCHMID
2000
All Rights Reserved
Graduate College
The University of Iowa
Iowa City, Iowa
CERTIFICATE OF APPROVAL
_______________________
PH.D. THESIS
_______________
This is to certify that the Ph.D. thesis of
Julie Marie Schmid
has been approved by the Examining Committee
for the thesis requirement for the
Doctor of Philosophy degree in English
at the May 2000 graduation.
Thesis Committee: ___________________________________
Adalaide Morris, Thesis Supervisor
___________________________________
Margaret Bass
___________________________________
Rudolf Kuenzli
___________________________________
Ashley Dawson
___________________________________
Kim Marra
To my parents, Otto and Peggy Schmid,and to Elliott
ii
ACKNOWLEDGMENTS
Writing is always a collaborative act. Given the subject matter and the format of
this dissertation, this is even truer here. I owe many people a serious debt of gratitude for
their support, intellectual, emotional, and otherwise. I would like to begin by thanking
Adalaide Morris whose support and guidance over the past four years has been integral to
this dissertation. I would like to thank the Department of English for the Edwin Ford
Piper Scholarship. This financial resource made it possible for me to travel and do the
research required to complete this dissertation. I would also like to thank the Graduate
College for awarding me a Seashore Dissertation Year Fellowship. The financial support
and the time off to concentrate on this project was a great boon. The folks involved in the
University's Electronic Thesis and Dissertation Pilot Program--John Robert Gardner,
Patty Strabala, and William Welburn-- provided me with the resources to produce this
multimedia document. The video and audio clips included here are the result of John
Brogan's and Denny Crall's handiwork. Without them, this would be a much less
aesthetically pleasing study. I would also like to thank the many poets I spoke with,
interviewed, and exchanged emails with over the past few years. You've all helped me
more than you will ever know. Finally, a big shout-out to Marc Smith, David Hernández,
Batya Goldman-Hernández, Patricia Smith, and Bob Holman. Your patience and
generosity of spirit made this dissertation possible. My heartfelt thanks to you all.
Copyright information follows for the poems, photographs, and audio and video
clips included in this study. Permission to reproduce them is gratefully acknowledged.
• "The Rules of the Slam," courtesy of Marc Smith.
• David Hernández, "Immigrants," from Rooftop Piper by David Hernández.
Copyright © 1991.
• David Hernández, "Florencia," from Elvis Is Dead but at Least He's Not Gaining
Any Weight by David Hernández. Copyright © 1995.
• David Hernández, "Elvis Is Dead but at Least He's Not Gaining Any Weight,"
from Elvis Is Dead but at Least He's Not Gaining Any Weight by David
Hernández. Copyright © 1995.
iii
• David Hernández and Street Sounds, text and audio clip of "Workers," from
David Hernández and Street Sounds by Sonidas de la Calle Poetry Music
Workshop, Inc. Copyright © 1990.
• Text and audio clip of "Roscoe Street" courtesy of David Hernández.
• Text and audio clip of "Chi-Town Brown" courtesy of David Hernández.
• Patricia Smith, "Criptic Comment," from Close to Death by Patricia Smith.
Copyright © 1993.
• Patricia Smith, "Reconstruction," from Close to Death by Patricia Smith.
Copyright © 1993.
• Patricia Smith, "Undertaker," from Close to Death by Patricia Smith. Copyright ©
1993.
• Patricia Smith, audio clip of "Reconstruction," from Patricia Smith Performs
Always in the Head and Selected Poems by Patricia Smith. Copyright © 1993.
• Patricia Smith, audio clip of "Undertaker," from Patricia Smith Performs Always
in the Head and Selected Poems by Patricia Smith. Copyright © 1993.
• Close to Death cover. Copyright © 1993 by Zoland Books, Inc., Cambridge,
Massachusetts.
• Bob Holman, video clip of "The United States of Poetry," from "Words in Your
Face." Copyright © 1991 by Twin Cities Public Television.
• Bob Holman, "The United States of Poetry," courtesy of Bob Holman.
• Bob Holman, excerpt from "Sweat & Sex & Politics," from The Collect Call of
the Wild by Bob Holman. Copyright © 1995.
• Bob Holman, excerpt from "57 Gazillion Lung-Tongue Varieties," from The
Collect Call of the Wild by Bob Holman. Copyright © 1995.
• Bob Holman, video clip of "Sweat & Sex & Politics," from Panic DJ! Copyright
© 1990 by Five Quarters Productions.
• Video clip of opening footage of The United States of Poetry. Copyright © 1996
by Washington Square Films.
• Video clip of Lois Ann Yamanaka's "Boss of the Food" from The United States of
Poetry. Copyright © 1996 by Washington Square Films.
• Video clip of Sparrow's "A Testimonial" from The United States of Poetry.
Copyright © 1996 by Washington Square Films.
• Video clip of Besmilr Brigham's "Tell Our Daughters" from The United States of
Poetry. Copyright © 1996 by Washington Square Films.
iv
TABLE OF CONTENTS
LIST OF FIGURES .......................................................................................................... vii
LIST OF AUDIO FILES ................................................................................................. viii
LIST OF VIDEO FILES.................................................................................................... ix
INTRODUCTION PERFORMANCE, POETICS, AND PLACE: PUBLIC
POETRY AS A COMMUNITY ART..............................................................1
Setting the Scene: The Contemporary Performance Poetry Movement
in Context..........................................................................................................6
Public Poetry, Public Scholarship, and the Case for XML.............................12
CHAPTER ONE MARC SMITH, THE UPTOWN POETRY SLAM, AND THE
ESTABLISHMENT OF A POETRY COMMUNITY...................................16
Crowdpleaser: Poetry, Performance, and the "Art Form of the Show"..........20
"The Points Are Not the Point. The Point Is Poetry": Marc Smith and
the Uptown Poetry Slam at the Green Mill ....................................................31
CHAPTER TWO PERFORMING THE TRANFRONTERA CONTACT ZONE:
DAVID HERNÁNDEZ AND SONIDAS DE LA CALLE/STREET
SOUNDS ........................................................................................................45
Chicago's Unofficial Poet Laureate: David Hernández and the Chicago
Poetry Scene ...................................................................................................48
David Hernández, Street Sounds, and Cross-Cultural Coalition
Building ..........................................................................................................56
CHAPTER THREE "HEARING BETWEEN THE LINES": PERFORMANCE
AND A POETICS OF WITNESS IN PATRICIA SMITH'S CLOSE TO
DEATH ...........................................................................................................71
Close to Death, the Media, and the Creation of a Communal
Counternarrative .............................................................................................82
Performance and the Extratextual Language of Witnessing: An
Audition of Smith's "Reconstruction" and "Undertaker" ...............................95
CHAPTER FOUR "IF IT AIN'T A PLEASURE, IT AIN'T A POEM": BOB
HOLMAN'S DEMOCRATIC VISION, THE UNITED STATES OF
POETRY, AND THE NEW PUBLIC SPHERE..........................................103
From Plain White Rapper to Panic*DJ!: Bob Holman, Postmodern
Technology, and the Construction of a Counterpoetic Tradition .................111
One Nation Under the Groove: Washington Square Films and the
Construction of a Virtual Public Sphere.......................................................124
CONCLUSION POETRY, COMMUNITY, AND COMMODIFICATION--SOME
CONCLUDING THOUGHTS .....................................................................132
APPENDIX A DAVID HERNÁNDEZ BIBLIOGRAPHY, DISCOGRAPHY,
ANDVIDEOGRAPHY 1971-2000 ..............................................................136
Poetry Collections.........................................................................................136
Anthologized Poems.....................................................................................136
Plays..............................................................................................................136
v
Prose Non-Fiction.........................................................................................136
Editorial ........................................................................................................137
Audio and Video Recordings........................................................................137
APPENDIX B PATRICIA SMITH BIBLIOGRAPHY, DISCOGRAPHY, AND
VIDEOGRAPHY 1989-2000 .......................................................................138
Poetry Collections.........................................................................................138
Anthologized Poems.....................................................................................138
Plays & One-Woman Shows ........................................................................139
Non-Fiction...................................................................................................139
Audio & Video Recordings ..........................................................................139
APPENDIX C BOB HOLMAN BIBLIOGRAPHY, DISCOGRAPHY, AND
VIDEOGRAPHY 1976-2000 .......................................................................140
Poetry Collections.........................................................................................140
Plays..............................................................................................................140
Edited Collections.........................................................................................140
Interviews and Essays...................................................................................140
Audio Recordings .........................................................................................141
Video Recordings .........................................................................................141
REFERENCES ................................................................................................................142