Raphael d’Abdon
Biographic Data
| ID | 6827878 |
|---|---|
| NAME | Raphael d’Abdon |
| GIVEN NAMES | Raphael |
| FAMILY NAME | d’Abdon |
| SIGNATURE | D’ABDON R |
| AFFILIATIONS | University of South Africa |
| ORCID | 0000-0002-6972-3245 |
| VERIFIED | Yes |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 9 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2007 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 2 |
The Truth Hurts But Silence Kills”
Bless Me Father, the autobiography of South African-Italian poet Mario d'Offizi, enriches the spectrum of masculinities presented in South African white male poets' autobiographies.It narrates the story of a "marginal" white man growing up under apartheid, and provides an innovative testimony within the rich autobiographical tradition of South Africa.The focus in this article is placed on traumatic episodes in the author's past and on the relatio…
Slam to Heal
In termini generali, la slam poetry può essere descritta come poesia competitiva recitata/letta in spazi pubblici da poeti in erba. Nei tornei di slam poetry, i giovani concorrenti affrontano argomenti come intersezionalità, violenza di genere, storia, traumi, ecc. di fronte a folle attente e partecipative, catalizzando la loro attenzione e la loro energia in luoghi carichi di emozioni. Tuttavia, a causa della sua forma problematica e della sua i…
Middlesea Blues | Migrant Blues
Living Archives and the Project of Poetry Recurriculation in South Africa
This article, dedicated to the memory of the late Poet Laureate of South Africa and patron of the South African Poetry Project (ZAPP), Professor Keorapetse Kgositsile, situates itself within Kgositsile's struggle for cultural liberation through the arts and education. It is also located within the current South African project of decolonising the curriculum. The call to decolonise existing educational curricula—to transform colonial curricula thr…
Teaching spoken word poetry as a tool for decolonizing and africanizing the South African curricula and implementing “literocracy”
This article offers a definition of spoken word poetry that challenges the view that sees it as something different from “poetry”, and as a minor subgenre produced by marginal writers in sites unworthy of academic investigation. It maintains that spoken word poetry is poetry inscribed with textual and extra-textual elements, and – because of its multimodal “nature”, versatility, and sensitivity towards youth culture – it is particularly fit to be…
Reconceptualising Poetry as a Multimodal Genre
This conceptual article theorises the role of poetry in English classrooms from a multimodal perspective. It discusses the gap between the practices of poetry inside and outside South African schools, particularly where English is taught as an additional language ( EAL ). The former is shown to be monomodal and prescriptive, while the latter is multimodal and exciting. The reconceptualisation of poetry as a multimodal genre is effected through th…
Raising-consciousness art in post-apartheid South Africa
In his 2001 Biko Memorial Lecture, Zakes Mda defines “raising-consciousness poetry” as a self-empowering poetry performed by young South African spoken word artists, young “conscientized” poets who (often) operate at the margins of the mainstream industries of culture. Mda calls these young artists the “children of Biko”, thus identifying the members of this fluid community as today's heirs and innovators of the Black Consciousness leader's unfor…
The commercialization of celebratory poetry
In post-apartheid South Africa spoken word poetry has emerged as one of the most powerful channels of expression for cultural and political criticism for performing artists (especially the younger ones). The mosaic that composes spoken word poetry is the result of the combination of several poetic languages and sub-genres, such as ‘resistance poetry’, slam poetry, rap, dub poetry, lyrical poetry. Among them izibongo (praise poetry) certainly dese…
Behind the scenes”
(2011). “Behind the scenes”: An exploration of the process of creation, self-production and performance in the all-female spoken word poetry show Body of words. Scrutiny2: Vol. 16, No. 2, pp. 56-61
From Poetry to Floetry
The current pattern around music created by young spoken word artists in South Africa makes one think of musicality as a strong influence and force in today's poetry; from accompanying bands of instruments at live performances, to CD recordings with background music and experimental projects. Musicality within the observed poetry goes beyond the traditional praise poet's voice and love for percussions, but validates these poets as musicians in th…
Reconceptualising Poetry as a Multimodal Genre
This conceptual article theorises the role of poetry in English classrooms from a multimodal perspective. It discusses the gap between the practices of poetry inside and outside South African schools, particularly where English is taught as an additional language ( EAL ). The former is shown to be monomodal and prescriptive, while the latter is multimodal and exciting. The reconceptualisation of poetry as a multimodal genre is effected through th…
Teaching spoken word poetry as a tool for decolonizing and africanizing the South African curricula and implementing “literocracy”
This article offers a definition of spoken word poetry that challenges the view that sees it as something different from “poetry”, and as a minor subgenre produced by marginal writers in sites unworthy of academic investigation. It maintains that spoken word poetry is poetry inscribed with textual and extra-textual elements, and – because of its multimodal “nature”, versatility, and sensitivity towards youth culture – it is particularly fit to be…
Behind the scenes”
(2011). “Behind the scenes”: An exploration of the process of creation, self-production and performance in the all-female spoken word poetry show Body of words. Scrutiny2: Vol. 16, No. 2, pp. 56-61
The commercialization of celebratory poetry
In post-apartheid South Africa spoken word poetry has emerged as one of the most powerful channels of expression for cultural and political criticism for performing artists (especially the younger ones). The mosaic that composes spoken word poetry is the result of the combination of several poetic languages and sub-genres, such as ‘resistance poetry’, slam poetry, rap, dub poetry, lyrical poetry. Among them izibongo (praise poetry) certainly dese…
From Poetry to Floetry
The current pattern around music created by young spoken word artists in South Africa makes one think of musicality as a strong influence and force in today's poetry; from accompanying bands of instruments at live performances, to CD recordings with background music and experimental projects. Musicality within the observed poetry goes beyond the traditional praise poet's voice and love for percussions, but validates these poets as musicians in th…
Behind the scenes”
(2011). “Behind the scenes”: An exploration of the process of creation, self-production and performance in the all-female spoken word poetry show Body of words. Scrutiny2: Vol. 16, No. 2, pp. 56-61
Raising-consciousness art in post-apartheid South Africa
In his 2001 Biko Memorial Lecture, Zakes Mda defines “raising-consciousness poetry” as a self-empowering poetry performed by young South African spoken word artists, young “conscientized” poets who (often) operate at the margins of the mainstream industries of culture. Mda calls these young artists the “children of Biko”, thus identifying the members of this fluid community as today's heirs and innovators of the Black Consciousness leader's unfor…
The commercialization of celebratory poetry
In post-apartheid South Africa spoken word poetry has emerged as one of the most powerful channels of expression for cultural and political criticism for performing artists (especially the younger ones). The mosaic that composes spoken word poetry is the result of the combination of several poetic languages and sub-genres, such as ‘resistance poetry’, slam poetry, rap, dub poetry, lyrical poetry. Among them izibongo (praise poetry) certainly dese…
Reconceptualising Poetry as a Multimodal Genre
This conceptual article theorises the role of poetry in English classrooms from a multimodal perspective. It discusses the gap between the practices of poetry inside and outside South African schools, particularly where English is taught as an additional language ( EAL ). The former is shown to be monomodal and prescriptive, while the latter is multimodal and exciting. The reconceptualisation of poetry as a multimodal genre is effected through th…
Teaching spoken word poetry as a tool for decolonizing and africanizing the South African curricula and implementing “literocracy”
This article offers a definition of spoken word poetry that challenges the view that sees it as something different from “poetry”, and as a minor subgenre produced by marginal writers in sites unworthy of academic investigation. It maintains that spoken word poetry is poetry inscribed with textual and extra-textual elements, and – because of its multimodal “nature”, versatility, and sensitivity towards youth culture – it is particularly fit to be…
Living Archives and the Project of Poetry Recurriculation in South Africa
This article, dedicated to the memory of the late Poet Laureate of South Africa and patron of the South African Poetry Project (ZAPP), Professor Keorapetse Kgositsile, situates itself within Kgositsile's struggle for cultural liberation through the arts and education. It is also located within the current South African project of decolonising the curriculum. The call to decolonise existing educational curricula—to transform colonial curricula thr…
Slam to Heal
In termini generali, la slam poetry può essere descritta come poesia competitiva recitata/letta in spazi pubblici da poeti in erba. Nei tornei di slam poetry, i giovani concorrenti affrontano argomenti come intersezionalità, violenza di genere, storia, traumi, ecc. di fronte a folle attente e partecipative, catalizzando la loro attenzione e la loro energia in luoghi carichi di emozioni. Tuttavia, a causa della sua forma problematica e della sua i…
Middlesea Blues | Migrant Blues
The Truth Hurts But Silence Kills”
Bless Me Father, the autobiography of South African-Italian poet Mario d'Offizi, enriches the spectrum of masculinities presented in South African white male poets' autobiographies.It narrates the story of a "marginal" white man growing up under apartheid, and provides an innovative testimony within the rich autobiographical tradition of South Africa.The focus in this article is placed on traumatic episodes in the author's past and on the relatio…
Art (9 works) · Poetry (8 works) · Literature (7 works) · Philosophy (6 works) · Linguistics (5 works) · Aesthetics (4 works) · Discourse Analysis in Language Studies (4 works) · Music History and Culture (4 works) · Philosophy (4 works) · Sociology (4 works)