For Black History Month we’re screening Black Writers Out Loud, featuring Roen Higgins, Fabrice Koffy, Faith Paré and Jason Selman.
Calling Kaie Kellough an ancestral voice is maybe presumptive or even paradoxical, considering the bold aesthetic leaps in his work, and his widening reputation as a necessary innovative voice among a rising generation of writers in Canada. Whether it be in the circuitry between voice, image, and jazz of his collaborative “UBGNLSWRE” with musician and composer Jason Sharp and Kevin Yuen Kit Lo, or in the lyrical torrent of his Magnetic Equator, winner of the Griffin Poetry Prize (McClelland & Stewart, 2019), Kaie’s poiesis is undeniably futurist. It’s from the futurism of his writing, however, that the ancestral surfaces. He is attuned to the frequencies of many Black histories unfolding all at once. The ‘past’ still reverberates with the same intensity. By weaving memoryscapes across continents in Magnetic Equator and the fiction collection Dominoes at the Crossroads (Véhicule, 2020), Kaie’s work splashes in history’s restlessness. History never knocks politely. It seeps in through the floorboards. Kaie is unafraid to go down with its tide.
Article, Interviews, SPOKENWEBLOG | "Listening, Afua Cooper, Calgary, Caribbean, Dionne Brand, Dominoes at the Crossroads, dub poetry, Fabrice Koffy, H. Nigel Thomas, Kaie Kellough, Kalmunity Vibe Collective, Lillian Allen, Listening-Sound-Agency, Listening-Sound-Agency-Forum, M. NourbeSe Philip, Magnetic Equator, Montreal, oral performance, the Wailers, The Words and Music Show
In this session, we will listen and read together, to reflect on the transformative potential of the letters. As we engage them in dialogic exchange, we will consider their aesthetic and political aims, their affective prowess, and their radical status as poetry.
This speaker series takes an algorithmically produced network diagram of publishing metadata as a jumping off point for story-telling around personal memories.
Back in the summer of 2020, still in the early months of the COVID-19 pandemic and its wide-ranging social restrictions, MA student Andrew Roberge initiated an interview with Listening, Sound, Agency symposium participant, Andre Furlani, whose recent research explores the poetics and politics of ambulation, or, walking. In this interview, learn more about Furlani’s research into the relationship between walking and sound, and about his interest in particular kinds of soundwalks. The topic seems especially poignant now, so many months into the pandemic, when walking, and simply being outside and listening, have become cherished activities for much needed sensuous experience, and for our sense of connection to our environments, and to others (even if, at a distance).
Article, Interviews, SPOKENWEBLOG | acousmatic, Andra McCartney, Andre Furlani, Balade Montrál Equinox, Cities, Eastern Townships (Quebec), Gary Winogrand, J.M.G. De Clézio, Listening-Sound-Agency-Forum, Montreal, Soundwalk, Soundwalking Interactions, Walking
Sunday, November 15th, 2020, at 8PM the Words & Music Show comes to you from the Sala Rossa with a special online show featuring some of Montreal’s top poets and spoken word artists in performance.
The event will feature performances by:
Jason (Blackbird) Selman
Adjusting the Book Launch to COVID19 In September 2020, and with the restrictions COVID19 placed on book launches and book tours, Klara du Plessis organized a series of 6-person, outdoor, and distanced discussions to celebrate her second poetry collection, Hell Light Flesh. Each discussion centered around a series of similar passages from the new book, along […]
What might an audiobook liberated from preconceived notions of the printed book sound like?
Black Noise: Poetics of Afro-Congregation If dispersal created the Afro-diaspora, then who do we become when we are gathered? This SpokenWeb Listening Practice session will feature early thoughts on how Black creators across poetry, music, and performance have explored the soundscapes of congregated Blackness, from the hold of the slave ship to contemporary uprisings in […]
While we now have a well-developed grammar for our Content Field description of audio assets that we listen to, we are interested in having a discussion about what we see when we watch and listen to literary performance, and what we want to include in our descriptions of such AV documents, with the aim of discovery and use by scholars, students and the general public.