Prose Choreopoem Metrical Compass Notes

Typescenes Author’s Review by Rodney A. Brown



These notes act as Review for the book Typescenes published by Unlikely Books Even tho one concern with distinguishing dance as Black is that it is a confusing situation I notice that under Black forms aesthetic and frameworks Physicality can become involved writing and reading poetry In The Body of Poetry Metrical Diversity Prof Annie Finch talks about meter presenting aesthetics of poetry especially triple rhythm as ideological alternative to the iambic pentameter— the standard meter for centuries by the mid-nineteenth century (Finch   2005) While form doesnt matter to some people In prosody determinations surrounded a poets ear privileging towards iambic or trochaic powers can oblivion poems and thus our lives Consider missing the crest in a foot middle or something of a whole head or foot a full syllable at the beginning or the ending of words— waring where to put our stress— An amputation deciding dance and poems identity In terms of the economy of form   At the baseline The prosody taking up the entire page of the book from left to right is a vehicle for certain interloping of metrical patterning psychology and physicality See example from authors preface   To be read out loud Enter an outlet Enter a few tools Enter a practicum of therapy Prayer rituals and meditations enter as an approach for us all to lean in and take good care (poem )    Ntozake Shange describes Choreopoem as poem series with occasional music and dance that make a statement a voice when all put together [the] dance to the choreopoem author an actual undoing horrible stereotyped constructs by rethinking possibilities of sound in the body for those Niggah who do Niggah dances Oh how we dance (Shange 2020) I dont know if there is an expert on choreographing the prose choreopem I have been dancing metrical diversity byway of scansion movement research This looks like making decisions to relate metrical code with a visual correlation score put on with (as in culling an essential kinfolk or protective skin) my choreographed actions Actions some refer to as Black Dance in that my movements explicitly trace African American social dancing and step dance tradition inclusive of Buck & Wing dance in the USA with stylized ambling walking limping jumping      movements Especially (appearing as odes) versioning dance movements I know of the African continent Dagara region First cut the foot.  (|)   This resulting separation wields stable but pronged constraints In the same way Typescenes was analyzed for its meter through scansion (Steven Moller) presenting a textually different look (wands and cups) to an identical product (Typescenes prose poetry form on the internet) Each identically danced movements are analyzed for its form if classified according Typescenes reader with their borderlines with diversity For example reader reads through strict Vaganovaian Classical Story Ballet language economy Narrative in tradition describing a rigorously established including type of body and body language or choreographic voice The ballet durational substituting combinations with interconnected dance steps Poems rhythm harkening to metaphor and figures of speech what Prof. Douglas Kearney calls theories of difference as choreographed gestures I see written a vehicle to voice diversities of characters For example Enter collisions involving cars and personalities (poem ) Then see the constantly rotating metrical foot throughout as especially representing queerness as in an other Reclaiming readers agency to establish boundaries byway of self-determinations Each of us can imbibe metrical variation as expressions of poets conscientized influences throughout poems sentimentalityOne               causera visible in this variant series invites us to see and hear language interchanging a more regular double meter over time Enter mothers memory Enter rocks The spondaic variations Enter last words that you spoke Further illustrating the characterizations encompassing these poems their characters realities contained within poetic line Often dactyls ending in a trochee as many dactylic lines do with one secondary stress or cretic substitution in the first foot or after midline pauses (Finch, 22)   An additional batch of lines reinforce complexity while also acting as literal / metaphorical examples Enter feeling of wearing right shoes on wrong feet (poem) Enter people in great financial need and those with lesser need (poem ) Enter anxieties that come with this manner of remembering and lived experiences (poem) These poems may appear dissimilarly conveyed texturally because these poems are overlapping rules of the prose poem and choreopoem models formally Employing phrasal and dramatic stress theory principles in order to achieve an ideological subversion that is also a reliable practice of choreographing counterpoints meter especially individual anapestic foot and trochees alternating dactyls iambs and amphibrach rhythm Another almost regular dactylic and trochaic compass continues ekphrasis of Black loss and therein enliven another example of this poems variant meter as illustrator of our lives Terror / Joy paradox  Enter tombs and black dead bodies Enter mothers memory Enter rocks (poem) Performing intimations of whats good perceived (hegedom and English) and also too poorly culturally punctuated (dialect poetry as in Paul Laurence Dunbar in legacy with rap poetry speaking slowly nawlins drawl southern) Certain scansions exhibit anapest spondee and iamb variation as ephemeral passing describing stuff metaphorically reflexive and actually causera slash / paper cut physical injury Embody Enter yourself looking at yourself (poem) Enter more and more worthlessness feelings (poem) Exit white pupils (poem) When these lines follow the previous iambic foot Enter last words that you spoke (poem) Enter your own face   (poem) Alongside dactyl and iamb meter substitutions Enter the obituary program (poem) That instructive iambic subversion in poem twenty five woke up (poem) Charges each of the previous poem lines metrical variation allegorically Asserting a personification of consciousness of diversity that may or may not apparent Black White tensions circumscribing American racial justice efforts Taking accountability through the body of poetry for this readers hand in the systems that weigh upon us all Enter repercussions of being born into a system (poem (capitol as a way of signifying a preaching)))) No matter—    Even if readers ear hears these scansions pronunciations forced To foot Typescenes as regularly non-iambic lines dances two expressive metrical substitutions The process through which poems dance as alternative to iambic pentameter or hegemonic structures is organic Variations foot as needed aid or public welfare and uses repetition language elements as a device to call out white supremacy by recording alternative history Maybe even send messages as remarked by lines from the nineteenth poems stanza Enter characteristics from other art (poem) Enter hosts Angelou Maya talked about   (poem) Rock River and Tree speaking enter   (poem) Enter their message (poem) Enter education   (poem) Enter on the pulse of morning language (poem) Enter titles (poem) Gravemarker greet the Asian the Hispanic the Jew the African the Native American the Sioux the French the Greek the Turk the Swede the German the Eskimo the Scot the Ashanti the Yoruba the Kru bought sold stolen arriving on a nightmare praying for a dream Gravemarker greet the Irish the Rabbi the Priest the Sheikh the Gay the Straight the Preacher the Privileged the Homeless the Catholic the Muslim the Teacher the Pawnee the Apache the Seneca the Cherokee Nation who rested with the hosts then forced on bloody feet— Gravemarker ask those characteristics bodies if they would bare their souls as witnesses in their own ways Enter a can of worms Exit that cans lid Enter more shelving Enter appropriate names for people Enter more stock Enter postage stamps sent through general human trafficking mail and stamps showcasing only variously at collections in book materials (poem) To experience poetry this way is to willingly subvert the metric contract so to imagine an expanded landscape for poetry writing reading with movements Typescenes amphibrachic foot (unstress stress unstress) is a limping funeral dance griefjoy waving with Oh happy day lyrics in hands Episodic of insidious undercurrents for example The actual terror certain Americans experience living our cultural mundanity The daily snatching out of lives













/ u    / u u          u //

Mourning something else\

dead does chatter at kind

deceased s __

-Rob Yern or Review too


author resulting from taking a part well-established metrical contracts A knee-jerking reaction to an arrival at poetic formalism especially writing in form with scansion confronting the prosody through metre Scene conscious through Black Arts set off cultural tactics seeking to structure our own devised movements seeing what is heard about what is written poetry That some scansion requires attention to deeply embodied form constraints right—What reader actually hears a voice mouth doing Poetics ability being Conjuring some psychology inscribing sentimentality on the page into actual feeling is overstandingly overwhelming Enter having to urinate reading about the trochaic feet in the 1st place Verse articulating bodily urging The second edge First asserting presence or state Lead into the 3rd and 4th place pyrrich spondee monometer Binding guttural intentions to release need doing in duet Placing double beats (four of two syllable) iambus / trochee principal nigh contracting their own respective shadows as to appear both interchanging ring shouts beat-tap-beat-tap-beat-tapping dancing rhythm Dimension opened Formed ionicus a majore Here compound meter increases then divides Claiming diverse perspectives complexity in wants real For here some restricting differently abled perhaps To complete that necessary Actually also requirement be a greater proportion of investment in whats fleshly (legs with hands and teeth enter) achieving pas de deux fiercely chopped &scrwed up weaving together mythology now then too tho poetry Trying to decipher voices signifying shadows concerning culturally longstanding greek to english sixteen of four eight of three or four of two syllable metrical variations Around them bodily compounding well After being taught carefully ways verse distinguishes rhythm and meter Intuit what is between edges knowing exactly when and what steps go so whatever is left (also opposite right) could be already going right down doing__ What has been referred dancing words embodying a prose poetics meter and rhythm Conscribing prose choreopoem forms basic restrictions Restaging language according Africanist techniques This way be the dance and also music Grateful to rhythms prowess and powerful agility To be so aware of our peoples mundane patterning inner knowing right then who is left dying — what can be at a level functioning automatic breathing-flowing like certain humans movements stepping out language speaking back to everything surrounding deceased s __ scaled steps which are distinctly dissimilar from those conscious scansion writing form regular iambus accounting according stress over time–One louderlonger thing followed after one stressed weaker thing that is going then to somewhere history already know off again into another office of same old variations As if a methodology of separation homaging poets        line Typescenes then without the dance

Bridge climbing back my kitchen pressed out our table _ Aligned unjustified things gone complete between centuries things taking kiros time Aiming thinking towards that that describes Black some and is so Black from agreements with Black A foreshadowing forecasting trope What has been historically inside [Negroid] Americans next death is it. Our being eye (also first personification I) in between (parts in that mundane) constantly choking life out Substituting history Alternative / u /__ this seenheard looking towards at probably seen as underedited inadequately explaining And so this is so concerning because formal poetry tailors strict rules determining when things in time Of the best ancient and modern authorities compiled by Thomas Webb expound beyond simple feet Times dissonance recording figurative literality redetermining our asserting who we are be agency germane to how speech we listens what is speaking what were hearing for diversity really


Spacing all that patterning held in the between traveling alongside us readers The variable is still the edges front or ending metrical foot. (|) How learning to read language through colored body premieres two pools all for active reflections__ Viewable substitutions As poem 10 verse states reasonability Enter (poem) Our culture of hood continuously translating badd that is interchangeable whats good in order we might perceive differences blk living is Thereby assigning dont Enter your own body (poem) Here body shields as yet another layer of topskin covering clothfragile insides within intellectualism particularly ambling about   cold thorny geographical landscapes Even outside on the streets with no green money no safety no physical home to go to as well those states within bars mentally Like our countries concrete like world systems not very easily moving Any thing cant happen Thus some other lines nature in caged as trochaic monometer acatalectic iambic monometer acatalectic pyrric monometer acatalectic trochaic monometer acatalectic iambic monometer acatalectic spondaic monometer acatalectic Each of these pretending completion inside monosyllabic hexameter words Enter what happens when things or people do not fit in (poem) Poets who survive / record ——– ljnbpyivp;okl oubvoulyh Pohj] As poets Performance language going off Own thing doing restive while gaining powers Read through compound feet Basic not regular (Choriambus) pyr monometer (Ditrochaeus) (epiritus primus) arrangement Positing unfollowing metric agreements is a part because history build up in keep breaking apart poem sign things Diverse in relation to principal or regular contracts Compound feet for example scansions multiply ways poem syllables appear        calculated feet repeating forming observable sameness Principal or regular meter in and out Form performance do hybrid remember To foot form embodying sound through some delighting in dissonance (imagine writing Accentual Poetry Jazz) Hear poly-syllable scansions choreograph phrased movements around seeing variant polyrhythmic language since the scansion extracts tha sound from the poem What goes with extracted characteristics of poetry How poetry meanings double or___ For example Enter disregard (poem) Aware that that is different from agape or love brotherly Attempting to specify why our meter be interchanging like familial tensions biological or otherwise Enter not by that brother (poem) Ill us filled with life experiences that constantly act as reharming tools and objects of healing too (the enactment) Enter more and more and more and more worthlessness
feelings (poem) Enter a lot of suicidal thoughts (poem) Enter fingers(poem) Enter blood pressure rate high (poem) Enter blood pressure rate higher (poem) A complete used also by hegemonic structures to oppress certain people systematically Enter trigger (poem) Poem goes imagining a dissonance cognitive Thing just entered told out As in Exit trigger (poem) Then there is that that both music and gun as well as certain experience does [pop] Getting at complexifying what a source is Poetry Enter hair bangs black women used to wear in the 80s (poem) Knowing how is possible through knowing that double triple meter has meaning Translation in order that it does read sound conventions new moving over or into as well in marked through we reader also For example bangs Bridge time Arrived You enter on the bridge (poem) at imagination Whatever you are poetry can Enter people assembled together your in minds eye

Connecting whatever is mistake
 In the middle of verse
flow choreographically
Marching Almost
quality indicator