'Ravishing Light' performed @ LyricalMyrical Festival last night

direct link:Ravishing Light @ LyricalMyrical Festival.

My second 'clip-on mic' poetry and creative movement live performance, 'Ravishing Light,' @the LyricalMyrical Festival hosted by publisher, Luciano Iacobelli, @Q Space in Toronto. The 3-day festival of LyricalMyrical authors (over 30 featured) is the last event before it closes down in a few days. We all hope Luciano resurrects Q Space at another location at some point in the future. His cafe has been a warm, welcoming, accepting, nurturing and enjoyable space for poetry in Toronto and many of us will miss it greatly. Many thanks to my brother, Allan Clews, and my friend, Jacques Albert, who took video. I edited the clips the morning after.

All photos from the video: two as is; two photoshopped.

___

 

Becoming a Performance Poet...

While I have been told I am an expressive reader, and that I am 'really a performance poet,' I think I entered the realm of Performance Poetry more completely than ever before last Thursday night.

A couple of stills from my feature at the fabulous and wicked The Beautiful and The Damned, a monthly poetry event in Toronto, currently at Q Space and hosted this month by Lizzie Violet. A great evening. Many talented, brilliant poets, and singers featured and on open mic. And really, I was totally scared to do this piece, masqued and all, but it went ok, and I didn't even flub the lines! Whew. Shhhh... don't tell anyone, but I had my eyes closed mostly throughout 'A Floral Opera' and so was able to recite my poem without the performance anxiety that usually makes me forget my hard-memorized lines.

Like I had 'ravishing light' memorized, but ran into the audience's eyes, and had to resort to the written version, and also with 'Palmistry, a Psalm,' same thing. At home on my own, I can recite from beginning to end without a hitch. So I guess I have performance anxiety. A friend suggested I wear a half mask for readings so I can keep my eyes closed without the audience knowing! Haha! No, I won't. Rather, I think I need to keep pushing my own envelope, keep trying, and eventually I'll break through to a comfort level where I can recite what I have worked so hard to memorize.



I worked on this one a bit in Photoshop for a potential profile photo (which I used on Facebook).
___

 

Brandon Pitts @ Videofag in Toronto

direct link: Brandon Pitts @ Videofag March 2013

I did some of the sort of filming that interests me last night at a poetry reading at Videofag in Toronto. This snippet isn't fully 'worked out' but it's getting there, and I'm okay with posting it.

I'm also learning new video editing software, so creating this video took awhile. Be gentle, folks. Also, I follow my rhythms, my aesthetic, in videoing and editing rather than trying to produce a facsimile for the performers (there were other video cameras running anyhow). So, with the authors' permission, I took ...liberties. Enjoy!

___

 

Notes by John Walter on video of 'Ink Ocean' poetry performance

direct link: http://youtu.be/w4Xs2dIt2m4

Honoured, I share notes my dear friend John Walter (poet, playwright, novelist, teacher, intellectual, polymath) wrote while watching me perform Ink Ocean (as recorded in this video clip):

"Where plumes drag through the ocean's gloom" "Salt water on fire!" This poem is a wakeup call if I've ever heard one.  "Burning despair of illusion"--waw. Your response to the black ocean with words is powerful and moves from despair to love, Brenda. Your performance of Ink Ocean is powerful and rhetorically dramatic. It was so great to see you in front of a live audience.
_

You get across the massive destruction, the complete wiping out of the entire environment, with the voice of a jeremiad poet who does not let herself lose herself in woe.
_

I like the image of being 'fishermen of words' , the way you blend the ocean of ink and the blackened ocean, contaminated by the oil spill.
_

"Let cold salt water wash our eyes until we swim in vision." So many great lines in this poem. I felt I was right there, in front of you, watching you perform.
_

Your theatricality is impressive. Your voice is a skillful instrument. You demonstrate your ire and sadness and yet do not succumb to it.
_

I like the way you undulate, 'anchored in the swell." The panoply of images you present is stark, and yet vast.
_

Great finish. So gladdening to see you get such enthusiastic applause.

(Dec 3, 2012)


___

 

'Ink Ocean' performed live at HOWL@QSpace

Ink Ocean: http://youtu.be/w4Xs2dIt2m4

On Nov 25, 2012, I performed my prose poem 'Ink Ocean,' on the Gulf Oil Spill, as one of the featured poets at Nik Beat's HOWL@QSpace in Toronto. I had memorized the prose poem. The image of the ink drawing, from which the poem emerged, only appears in the still for the video (I've included an image at the end of this post for you). I'm actually quite happy with the performance itself - passionate, intense, and yet clear enunciation.

Ink Ocean is about the oil spill that occurred in the Gulf of Mexico in 2010 when nearly 5 million barrels, or 210 million gallons, of crude oil were spilled into the sea due to an explosion of an off-shore drilling rig. It remains the largest marine spill in the history of the petroleum industry.

Over 5 months, hydro-carbon eating bacteria devoured 200,000 tons of oil and natural gas in the Gulf, and then stopped. Despite the massive cleaning efforts by the oil industry and governments, and the efforts of the bacteria, as of 2012, 40% of the spill remains in the waters.

This prose poem began as writing in an ink drawing. It took 6 - 8 months to finish, and was revised in preparation for this reading.  It is an experimental poem structually. A poem of utterance, of cross-currents and paradoxes. It is composed of many voices, and perspective shifts.

There are two parts. The first is on the oil spill, and the second is about love in a world bordering on oblivion, a world that's half spirit. We are in the 6th Mass Extinction on the earth. This is the backdrop.

The poem starts out in the Gulf and moves with the Gulf Stream to the Atlantic Ocean where it becomes a love poem. Can we love in a world inviting extinction? Yes, of course we can, and must.

---
With thanks to Nik Beat, Q Space and Luciano Iacobelli. It was a great evening.




Ink Ocean, 2010, 13" x 16", India ink on archival paper. My prose poem on the Gulf Oil Spill, Ink Ocean, emerged from this drawing. The poem was revised in 2012.

___

 

Dance of Gold Canvas

direct link: Dance of Gold Canvas

A performance piece, hints of the epic, the metamorphosis that life is. Age and grace. Frivolity and art. Pain and laughter. Humor and seriousness.

In the dance I speak a poetry whose volume I dimmed to just below audible. A poetry below the threshold.

And of this nearly silenced subliminal speaking? It's part of the motion poem. A tantra. Dance, the journey of the soul, guttural, the women crying for help during the tsunami, women in war, survival, a Blakean crawl across the canvas at one point and I allowed some words to rise, utterances, Butoh not in style but expression perhaps in parts, and of strength, empowerment, and the fecund, the buds of spring about to burst, Boticelli's Primavera, the rich earthy tapestries of the natural world, and Zen, laughter at the absurdity of life, and love, love everywhere, enjoyment in the body itself, sensuality, a wit, humour. Dancing with shadows of the self was intriguing in the editing, as was slipping between colours of a rich Buddha saffron and the smudging shadows of black and white. Editing itself a psychic process, shaping a moving poem.

How a video comes to be is almost surreal. Magic in the editing. I enter a state where time doesn't matter and think it closest to the dream, the mind's most deeply creative process, where you're exploring something, and you're not quite sure what it means, or where it's going, but are fascinated, compelled.

A dance poem, an enactment, a one-act play. Perhaps in this piece something visionary, in that there is resolution to the conflict, the paradoxes, in the process of art itself, in the dance of the self.

Self-conscious but daring to anyhow, give everything you've got.

The dance of the self within Krishna's cosmic dance, the spinning painting of us on the canvas, the dance we all share.



Performed, videoed and edited by Brenda Clews.

Background music by arnoldsrecords, 'There's a hole, there's a wall.'

-
Without memory, the fragile present disappears.

blog: Rubies in Crystal
art and writings: brendaclews.com
Starfire, an album of poetry performance pieces
(listen, download for free)

                                          

A Promo Player

Hey, cool! A promo player with 4 sample tracks (though it looks like it doesn't travel by RSS feed or email subscription).

From my latest poetry album: Starfire.