|
ethnopoetics
discourses
ethnopoetics
home
ubuweb
|
Ethnopoetics
Dennis Tedlock
Ethnopoetics is a decentered poetics, an attempt to hear and read the poetries of
distant others, outside the Western tradition as we know it now. To
have any hope of getting outside we must set aside any notion we may
have that these poetries will necessarily come from a distant time,
or from present-day peoples who are somehow living in the past, or that
they will necessarily resemble Homer, or that they will be less complex
than Western or metropolitan poetries, or that they will have been produced
in some kind of isolation from other languages or cultures.
Ethnopoetics does
not merely contrast the poetics of "ethnics" with just plain
poetics, but implies that any poetics is always an ethnopoetics. Our
main interest will indeed be the poetries of people who are ethnically
distant from ourselves, but it is precisely by the effort to reach into
distances that we bring our own ethnicity, and the poetics that goes
with it, into fuller consciousness.
Ethnopoetics originated
among poets with an interest in anthropology and linguistics and among
anthropologists and linguists with an interest in poetry, such as David
Antin, Stanley Diamond, Dell Hymes, Jerome Rothenberg, Gary Snyder,
Nathaniel Tarn (E. Michael Mendelson), and myself. The emphasis has
been on performances in which the speaking, chanting, or singing voice
gives shape to proverbs, riddles, curses, laments, praises, prayers,
prophecies, public announcements, and narratives.
Practitioners of ethnopoetics
treat the relationship between performances and texts as a field for
experimentation. Texts that were taken down in the era of handwritten
dictation and published as prose are reformatted and/or retranslated
in order to reveal their poetic features. In the case of sound recordings,
transcripts and translations serve not only as listening guides but
also as scripts or scores for further performances. An ethnopoetic score
not only takes account of the words but silences, changes in loudness
and tone of voice, the production of sound effects, and the use of gestures
and props. Whatever a score may encompass, the notion of a definitive
text has no place in ethnopoetics. Linguists and folklorists tend to
narrow their attention to the normative side of performance, recognizing
only such features as can be accounted for by general rules. Ethnopoetics
remains open to the creative side of performance, valuing features that
may be rare or even unique to a particular artist or occasion.
|