<span class='italic'>Poesía en voz alta</span>: A Trajectory of Poetry and Performance in México

doi:10.1017/9781108917315.009

Chapter 8 - Poesía en voz alta: A Trajectory of Poetry and Performance in México

Published online by Cambridge University Press: 21 March 2024

Jill S. Kuhnheim

Edited by

José Ramón Ruisánchez Serra ,

Anna M. Nogar and

Ignacio M. Sánchez Prado

Show author details

José Ramón Ruisánchez Serra: Affiliation:
University of Houston

Book contents

Get access

Summary

This chapter is devoted to the forms of public activation of poetry. Such poetic performances comprise the spectacular (and heavily attended) mode of public performance that marked the success of Modernista poet Amado Nervo, and, later, the declamaciones by Berta Singerman. The decline of this type of dramatic performance was followed by more intimate poetic activations that can be traced through the recordings of collections such as Voz Viva de México. Even this sotto voce reading – in which the music of the verse plays a central role –has been challenged more recently by poets attuned to spoken word and poetry slam practices, and who have garnered considerable and well-deserved attention, among them Rojo Córdova, José Eugenio Sánchez, and Rocío Cerón.

Keywords

Amado Nervo Berta Singerman Rojo Córdova Rocío Cerón José Eugenio Sánchez recitation poetry performance, poetry slam, hip hop, radio broadcast, audio recording.

Type: Chapter
Information: A History of Mexican Poetry , pp. 143 - 159

DOI: https://doi.org/10.1017/9781108917315.009 [Opens in a new window]

Publisher: Cambridge University Press

Print publication year: 2024

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Bierhorst, John. Cantares Mexicanos: Songs of the Aztecs. Stanford University Press, 1985.Google Scholar

Brun, Josefina. “Poesía en Voz Alta y la escena universitaria en los años cincuenta y sesenta.” Voces de lo efímero: La puesta en escena en los teatros de la universidad, edited by Raya, Mónica, Universidad Nacional Autónoma de México, 2007, pp. 75–85.Google Scholar

Caplan, David. Rhymes’ Challenge: Hip Hop, Poetry, and Contemporary Rhyming Culture. Oxford University Press, 2014.Google Scholar

Cerón, Rocío. “Rocío Cerón.” www.rocioceron.com/bio.Google Scholar

Cerón, Rocío. “Sonic Bubbles.” Feb. 2021, www.rocioceron.com/poesia2/sonic-burbles.Google Scholar

Cerón, Rocío. “La Observante Escucha.” www.rocioceron.com/piezas.Google Scholar

Chávez, Alex E. “Huapango Arribeño: A Mexican Músico-Poetic Tradition at the Interstices of Postmodernity (1968–1982).” Latin American Music Review, vol. 33, no. 2, Fall/Winter 2012, pp. 185–226.CrossRef Google Scholar

Córdova, Rojo. “Rojo que te quiero rojo.” http://rojoquerojo.blogspot.com/.Google Scholar

Córdova, Rojo. “Tributo.” www.youtube.com/watch?v=HOPtbIpN9Ww.Google Scholar

Cuando una mujer avanza: Mare Advertencia Lírika. ManoVuelta Films, 2012, www.youtube.com/watch?v=AvVtDcXC0XU.Google Scholar

Gallo, Rubén. “The Madness of Radio: Wireless Adventures in the 1920s.” Studies in Latin American Popular Culture, vol. 20, 1 Jan. 2002, pp. 51–68.Google Scholar

Kuhnheim, Jill S. Beyond the Page: Poetry and Performance in Spanish America. Univerity of Arizona Press, 2014.Google Scholar

Leal, Luis. “La poesía de Amado Nervo: A cuarenta años de distancia.” Hispania, vol. 43, no. 1, Mar. 1960, pp. 43–47.CrossRef Google Scholar

Ledezma Campos, Miguel. “Poesía y deriva: Burbujas sónicas de Rocío Cerón en el Parque Hidalgo.” El Independiente de Hidalgo, 6 Oct. 2019, www.elindependientedehidalgo.com.mx/poesia-y-deriva-burbujas-sonicas-de-rocio-ceron-en-el-parque-hidalgo/.Google Scholar

Mare Advertencia Lirika. “¿Y tú qué esperas?” www.youtube.com/watch?v=aEs7Okf0SPc.Google Scholar

Martínez, José María. “Introducción.” Amado Nervo. En voz baja. La amada inmóvil, Cátedra, 2002, pp. 13–98.Google Scholar

Mignolo, Walter. “Afterword: Writing and Recorded Knowledge in Colonial and Postcolonial Situations.” Writing Without Words: Alternative Literacies in Mesoamerica and the Andes, edited by Mignolo, Walter and Boone Hill, Elizabeth, Duke Universit Press, 1994, pp. 292–312.Google Scholar

Monsiváis, Carlos. Yo te bendigo, vida. Amado Nervo: Crónica de vida y obra. Hoja Casa Editorial, 2002.Google Scholar

Noland, Carrie. Poetry at Stake: Lyric Aesthetics and the Challenge of Technology. Princeton University Press, 1999.Google Scholar

Ong, Walter. Orality and Literacy: The Technologizing of the Word. Routledge, 1982.CrossRef Google Scholar

Ramos, Julio. Divergent Modernities: Culture and Politics in Nineteenth-Century Latin America. Translated by Blanco, John D., Duke University Press, 2001.Google Scholar

Reynosa, Minerva, and Moreno., Benjamín R. “iremos que te pienso entre las filas y el olfato pobre de un paisaje con borrachos o ahorcados.” www.youtube.com/watch?v=w8Ai7WgKOVk.Google Scholar

Rosenwong, Anna. “‘Here the Sun’s For Real’: The Language and Politics of Translating José Eugenio Sánchez.” World Literature Today, vol. 87, no. 5, Sept./Oct. 2013, pp. 24–28.CrossRef Google Scholar

Ruisánchez Serra, José Ramón. “Miguel Martínez Rendón, lector.” Revista de Estudios Hispánicos, vol. 45, no. 2, 2011, pp. 397–416.Google Scholar

Sánchez, José Eugenio. “la felicidad es un arma caliente!” Sin embargo, 13 Dec. 2018, www.sinembargo.mx/11-06-2016/3052663.Google Scholar

Sánchez Prado, Ignacio. “José Eugenio Sánchez: El humor y la cita.” Historia crítica de la poesía mexicana, Vol. 2, edited by Guedea, Rogelio, Fondo de Cultura Económica, 2015, pp. 478–488.Google Scholar

Seidman, Anthony. “The Poetry of José Eugenio Sánchez.” Blog. Los Angeles Review of Books, 13 Dec. 2018, https://blog.lareviewofbooks.org/reviews/poetry-jose-eugenio-sanchez/.Google Scholar

Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Duke University Press, 2003.Google Scholar

dir.Terrazas, Kizza Somos lengua. Viento del Norte, TV UNAM, 2016.Google Scholar

The Popol Vuh. Translated by Michael Bazzett, Milkweed Editions, 2018.Google Scholar

The Popol Vuh: The Mayan Book of the Dawn of Life. Translated by Tedlock, Dennis, Simon, and Schuster, , 1996.Google Scholar

Willis, Bruce Dean. “Songs of the Cenzontle: Re-cording Orality in Contemporary Mexican Lyric Poetry.” Teaching Modern Latin American Poetries, edited by Kuhnheim, Jill S. and Nicholson, Melanie, Modern Language Association Press, 2019, pp. 134–146.Google Scholar