Celebrate the World Poetry Day with us. Participate in the revolution of videopoetry.
Today is a day to celebrate, to claim, to read, to enjoy poetry. And today we want to announce the launching of our forth-coming crowdfunding campaign. Versogramas documentary is about to become a reality, but still needs an extra boost.
Clicking versogramas.com/landing you can sign up to be the first to discover the surprises we are preparing. Leve your email to reserve limited rewards and receive a warning when the crowdfunding campaign is active.
With Versogramas we want to share the exciting universe of videopoetry and the work of lots of videopoets. We want to show a new and attractive way of enjoying poetry. And, above all, we want to bring poetry closer to more audiences and promote its reading (or viewing, of course!)
If you share our objective and want to be part of this project, participate!
Dictionary Illustrations is a funny and rhythmic videopoem by Marie Craven.
A rare example among the usual videopoems made in video, this animation of encyclopaedia illustrations embodies the aesthetics of gifs. This mix of an antique content with contemporary form is really interesting: a rhythmic and quick editing, a simple naïve music based on loops, typography cut off and displayed over a moving background,a hypnotic use of the usual statism that defines pictures whose only task is to inform.
Dictionary Illustrations can be defined as a result from the now extinct project The Poetry Storehouse, an American online database of poems and audio recitings that encouraged remix and free usage with the aim of creating videopoems.
Sara Sloath’s poem is a tribute to curiosity: why dictionaries don’t have a picture for verbs, why lines are like that, why is so difficult to describe the shape of leaves… The voice of the kid who recites transmits an innocence that, along with the meticulous character of music, highlights the whole videopoem.
This week we recover the work of one of Galician videopoetry’s reference voices: Yolanda Castaño. Writer, literary critic, translator, TV presenter, teacher, cultural agent… Yolanda is one of the most renowned poets of our country, with a broad and internationally awarded literary career and works translated into various languages.
“O vídeo da egoísta” is a videopoem about texts from the book “O libro da egoísta” (Galaxia, 2003). It examines indentity, her own identity in particular, ” with self-criticism and despair”, as she says. Also made in 2003, “O vídeo da egoísta” is, following Antón Reixa’s works, one of the first examples of videopoetry made in Galicia, in Galician language. It explores Yolanda’s multiplicity of personalities through tireless steps in a continuous pursuit of her career or maybe of herself. Crossing out her face, removing her makeup, are both synonyms of concealment and mask. Tom Konyves (pioneer in the genre and creator of the Videopoetry Manifesto) would catalogue this piece as an example of “Performance text”, on the basis of Yolanda’s appearance on screen. Aggressive use of colour, which saturates and distorts backgrounds, stresses a certain dreamlike drift effect. Imagery highlights the materiality of text (“word shall become flesh”): word finds a body of its own, either written directly on skin, or used as a physical object in certain actions, or overlaid on screen with multiple effects. This is a truly sensorial work. Soundtrack is particularly important within the creation of an unsettling but resounding atmosphere. Even the flow of recitation, crossed by multiplication and distortion effects, stresses the idea of a divergent identity and increases a estrangement effect within the already confusing atmosphere of the videopoem.
Here you can watch a report regarding “O libro da egoísta” and hear Yolanda’s own definition of videopoetry.