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omnipoetics:turner [2025/04/02 21:45] – [Liminality and Communitas] audrianaomnipoetics:turner [2025/04/02 21:50] (current) – [Liminality and Communitas] audriana
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 ====== Liminality and Communitas ====== ====== Liminality and Communitas ======
  
-Since ethnopoetics resides in a liminal, or threshold space, ethnopoetic works act as “destabalizing agent... subverting established social constructs” and allow for “a space where humans may escape the socializing processes of performance and existence that is demanded in spaces that dictate social aggrandizement” (Bierdz, Tereszewski 346). As a result of the liminality deeply imbedded in ethnopoetics, one major focus is communitas, a shared landscape with “commonalities and a sense of belonging between people who are in liminal spaces (Fisher et. al. 254). This concept involves breaking down boundaries between cultures and dominant cultural narratives to seek intersectionality and new translations of cultural meaning. According to Turner, the //communitas// present in ethnopoetics serves to "make new models from the outpoured cultures of all people—particularly formerly oppressed or colonized kinds of people” (341-342). Within this framework, pieces such as M. NourbeSe Philip's [[omnipoetics:zong|ZONG!]] might be seen as an ethnopoetic work, utilizing both literal and metaphorical space to look at a cultural narrative of oppression through an outside perspective.+Since ethnopoetics resides in a liminal, or threshold space, ethnopoetic works act as “destabalizing agent... subverting established social constructs” and allow for “a space where humans may escape the socializing processes of performance and existence that is demanded in spaces that dictate social aggrandizement” (Bierdz, Tereszewski 346). As a result of the liminality deeply imbedded in ethnopoetics, one major focus is //communitas//, a shared landscape with “commonalities and a sense of belonging between people who are in liminal spaces (Fisher et. al. 254). This concept involves breaking down boundaries between cultures and dominant cultural narratives to seek intersectionality and new translations of cultural meaning. According to Turner, the //communitas// present in ethnopoetics serves to "make new models from the outpoured cultures of all people—particularly formerly oppressed or colonized kinds of people” (341-342). Within this framework, pieces such as M. NourbeSe Philip's [[omnipoetics:zong|ZONG!]] may be seen as ethnopoetic works, utilizing both literal and metaphorical space to look at a cultural narrative of oppression through an outside perspective.
  
 ====== Performative Nature ====== ====== Performative Nature ======
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 ====== Hall of Mirrors ====== ====== Hall of Mirrors ======
-A crucial metaphor used to describe the importance of performance for ethnopoetics is that of a hall of mirrors. At the crux of ethnopoetics is the multiplicity of difference within history. This difference might be imagined, as proposed by Turner, as a hall of magical fun house-esque mirrors. These mirrors all play different roles, “some of which enlarge, others diminish, some distort and some have images from all the others and passes them on transmuted or transmogrified.” This idea is present throughout the Serpent and the Fire anthology, which includes a large breadth of translational choices, from direct translation of one language to another to the act of transcreation, which reimagines and poeticizes the original work within the new cultural context. Turner specifies, “Within each culture is its own hall of mirrors: the social division of labor, beginning with sex-and-age-role oppositions, is charged with reflexivity, for although we are all members of one another, we are different members, both biologically and culturally” (340).+A crucial metaphor used to describe the importance of performance for ethnopoetics is that of a hall of mirrors. At the crux of ethnopoetics is the multiplicity of difference within history. This difference might be imagined, as proposed by Turner, as a hall of magical fun house-esque mirrors. These mirrors all play different roles, “some of which enlarge, others diminish, some distort and some have images from all the others and passes them on transmuted or transmogrified.” This idea is present throughout the Serpent and the Fire anthology, which includes a large breadth of translational choices, from direct translation of one language to another to the act of transcreation, a concept further expanded on in [[omnipoetics:brazilwood_poetry_manifesto|Brazilwood Poetry Manifesto]], which reimagines and poeticizes the original work within the new cultural context. Turner specifies, “Within each culture is its own hall of mirrors: the social division of labor, beginning with sex-and-age-role oppositions, is charged with reflexivity, for although we are all members of one another, we are different members, both biologically and culturally” (340).
  
    

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