We Are Aware-Creative Writing, Concrete Poetry and Writers' Resistance/ Ons Kyk Vanself-Kreatiewe Skryfkuns, Konkrete Poesie En 'N Verset Teen Skrywersnorme

By Kleyn, Leti | Literator: Journal of Literary Criticism, comparative linguistics and literary studies, April 2012 | Go to article overview

We Are Aware-Creative Writing, Concrete Poetry and Writers' Resistance/ Ons Kyk Vanself-Kreatiewe Skryfkuns, Konkrete Poesie En 'N Verset Teen Skrywersnorme


Kleyn, Leti, Literator: Journal of Literary Criticism, comparative linguistics and literary studies


In this article, the focus is on the artist's book--Sanity on the line--a catalogue of individual work (of students) compiled from a cut-up poetry project that was exhibited as part of the Transgressions and boundaries of the page artist's book project. Amongst others, the phenomenon known as concrete poetry, which was developed by Hunley (2007) as an alternative approach to teaching through the creative art of writing workshop method, is explored. Furthermore, a few individual works in the cut-up poetry project are discussed by relating them to existing South African examples of concrete poetry. A strong focus is placed on examples from Afrikaans literature as well as the work of Willem Boshoff and Wopko Jensma.

In hierdie artikel word daar gefokus op die kunstenaarsboek Sanity on the line--'n katalogus van individuele (studente-)werk saamgestel uit 'n snipperdigprojek wat as deel van die kunstenaarsboekprojek Oor die einders van die bladsy uitgestal is. Daar word onder meer gekyk na die fenomeen bekend as konkrete poesie, wat deur Hunley (2007) as 'n alternatiewe onderrigbenadering tot die kreatiewe skryfkunswerkswinkelmetode ontwikkel is. Vervolgens word enkele individuele werke in die snipperdigprojek bespreek deur onder meer verbandhoudende elemente daarvan in bestaande Suid-Afrikaanse voorbeelde van konkrete poesie te ondersoek. Daar word sterk gefokus op onder andere voorbeelde uit die Afrikaanse letterkunde en die werk van Willem Boshoff en Wopko Jensma.

'[O]ns [word] deur die oog gelei en verlei om op die rym af te lees' (Opperman 1959:100).

Die meeste van daardie goed [kykafrikaans] is geskryf om te doen wat mense se jy nie moet doen nie. As hulle se jy moet ekonomies skryf, dan het ek te veel woorde gebruik. As hulle gese het jy moet dit en dit doen, dan het ek presies die teenoorgestelde probeer doen. So dis meer 'n verset teen skrywersnorme. Dis ook 'n politieke verset.--Willem Boshoff (aangehaal in Marais & Kleyn 2007).

Inleiding

In die kunstenaarsboekprojek Oor die einders van die bladsy (NWU 2009-2011) word daar in 'n paar van die werke van poetiese tekste gebruik gemaak, onder andere die volgende:

* Louisemarie Combrink se reeks Hidden narratives--digters of vertalers se soeke na betekenis in 'n nuwe taal.

* Leon de Villiers se Delikaat--20 liefdesgedigte op vragmotorbinne- en -buitebande.

* Franci Greyling se Tinboektoe foe-waarin die Middelste Meisiekind haar poskaarte in gedigvorm skryf;

* Leti Kleyn se Sanity on the line--'n versameling snippergedigte. (1)

* Hennie Meyer se 'Beurspeur', 'Winkel van wanklanke vol I' en Sakdoek as boek--konkrete poesie in die vorm van 'gevinde gedigte' in 'n beursie, 'n vuurhoutjieboksieboek en 'n sakdoekboek.

* Alwyn Roux se Die gedig as 'n vreemdeling se graf- prosagedig op x-straalfoto gedruk; en

* Paul Schutte se Boom van my lewe--lewensverhaal in omdigting deur Heiina du Plooy.

In hierdie werke word gedigte aangebied op 'n visuele wyse wat in so 'n mate van die tradisionele sienings van die poesie--sover dit aanbieding betref--wegbreek dat enkele van hierdie werke ook as konkrete poesie beskou kan word.

In die (Suid-)Afrikaanse letterkunde--maar ook internasionaal--is daar tot dusver min waardering vir konkrete poesie mtgespreek en is Willem Boshoff tot op hede die enigste visuele kunstenaar (ook digter) wat plaaslik 'n versameling konkrete gedigte in boekvorm die lig laat sien het (vergelyk ook die mening van Michelson in Wildman [1969:vii-xi] vir internasionale opvattings). Kykafrikaans (1980) (2) was vir die destydse leser so onverstaanbaar dat dit nie verkoop het nie. Die uitgewer het Boshoff se boek gratis weggegee as 'n klant boeke vir meer as 'n sekere bedrag bestel het (Boshoff in onderhoud met Siebrits 2007a:17). Tot aan die begin van die negentigerjare het Boshoff se bundel ook nie werklik enige erkenning geniet nie (Boshoff in onderhoud met Siebrits 2007a:40). …

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We Are Aware-Creative Writing, Concrete Poetry and Writers' Resistance/ Ons Kyk Vanself-Kreatiewe Skryfkuns, Konkrete Poesie En 'N Verset Teen Skrywersnorme
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