Die “photopoem”, with specific reference to the
collection Notas uit die empire
In order to define the phenomenon of photopoetry, the practical
experiences of the author in the production of the collection
Notas uit die Empire (Notes from the empire) have been
exploited. Further research has produced incontrovertible
material to support the statement that photopoetry is greatly
viable and could be practiced as an independent genre with its
own particular dynamic.
Certain aspects of photography as an art form correlate
with aspects of poetry, such as affinities for certain
circumstances, a possible optical subconscious, hidden
information and ways to expose it, and the rhetoric of images.
Aspects of poetry can augment the reading of photo’s in
the same manner as the close reading and scanning of poems.
Self-referenciality, polysemic potential and movement in poetry
are key concepts. The tradition of ekphrasis provides certain
possibilities, but has its own uniqie problems.
Through the usage of photography and poetry on the
same plane, the unique features of each art form are able to
support and reinforce one another, to create new levels of
meaning. A similar comparison exposes the limitations and
weaknesses of both poetry and photography.
The following conclusions are reached:
♦ Photopoems can provide solutions to the unique problems
created by the practice of ekphrasis.
♦ Photography and poetry can supplement one another as
each has unique features that correlate, even though both
may be found at different extremes of a spectrum of art
forms.
♦ The presentation of photography on the same physical
plane as poetry creates a unique dynamic that differs
fundamentally from that of ekphrastic poetry, or photo’s
supplemented with descriptive or prosaic text.
♦ A process of scrutinising and rescrutinising of the photoand
poem segments is essential for the maximal
enjoyment of the photopoem.
♦ The fully integrated experience or reception delivers new
levels and dimensions of meaning that are not possible by
reading or looking at the photo- and poem segments in
isolation.
♦ For the best functioning of the dynamic of photopoetry,
care should be taken that the photo- and poem segments
do not overwhelm or dominate one another.
♦ An introduction or supplementary notes are necessary to
illuminate and support the dynamic of photopoetry.
♦ Critical work on photopoetry is still very rare in most
literatures. Care should be taken that such criticism
develop its own principles and do not fall back on the
reception of, for example, visual poetry or the
considerable critical corpus around ekphrasis.
♦ It can be argued that photopoetry does not fall within the
parameters of ekphrasis at all, since the “work of art”
involved is fully present on the same level as the text.
Die “fotogedig”, met spesifieke verwysing na die
bundel Notas uit die empire
Ten einde die verskynsel van fotogedigte te omskryf en
eienskappe daarvan vas te stel, word geput uit die praktiese
ervaringe van die skrywer in die produksie van die bundel Notas
uit die Empire. Bykomende navorsing verskaf onteenseglike
materiaal ter ondersteuning van die stelling dat die fotodigkuns
groot lewensvatbaarheid het en as ‘n selfstandige genre met ‘n
eiesoortige dinamika bedryf kan word.
Aspekte van die fotografie toon bepaalde korrelasies met
aspekte van die digkuns, onder andere affiniteite vir sekere
omstandighede, ‘n moontlike optiese onderbewuste, verskuilde
inligting en gewaarwordings en maniere om hulle te onthul, en
die retoriek van beelde.
Aspekte van die poësie kan ‘n proses van die lesing van
foto’s aanvul op dieselfde wyse as wat gedigte ontleed en
geskandeer word. Self-referensialiteit, polisemiese potensiaal,
en beweging in die proses van lesing is sleutelkonsepte.
Die gesamentlike gebruik van fotografie en poësie kan so
beoefen word dat die unieke eienskappe van beide kunsvorme
mekaar kan versterk. Op dieselfde wyse kan die beperkinge en
swakhede van beide die fotografie en die poësie blootgestel
word.
Die volgende spesifieke gevolgtrekkings is gemaak:
♦ Fotogedigte kan oplossings verskaf vir die unieke
probleme wat ontstaan in die beoefening van die tradisie
van ekphrasis.
♦ Fotografie en poësie kan mekaar aanvul deurdat daar
unieke eienskappe van beide is wat met mekaar kan
korreleer, al sou beide aan teenoorgestelde uiterstes van
die spektrum van kunsvorme geplaas word.
♦ Die aanbod van fotografie op dieselfde fisiese vlak as die
digkuns skep ‘n eiesoortige dinamika wat fundamentele
verskille toon met ekphrastiese gedigte, of foto’s met
beskrywende of prosaïese teks daarby.
♦ ‘n Proses van wedersydse fynkamming en
herfynkamming van die foto- en diggedeeltes vanuit
mekaar is noodsaaklik vir die maksimale genieting van
die fotogedig.
♦ Die gehele geïntegreerde belewenis of ontvangs lewer
nuwe vlakke en dimensies van betekenis op wat nie
moontlik is deur die foto- en diggedeeltes in afsondering
te lees of te bekyk nie.
♦ Ten einde die dinamika van die fotogedig die beste te laat
werk, moet sorg gedra word dat die foto- en diggedeeltes
mekaar nie oorstem, of domineer nie.
♦ ‘n Inleiding of begeleidende notas is nodig om die
dinamika van die fotogedig toe te lig en te ondersteun ten
einde die maksimale genieting van die fotogedig moontlik
te maak.
♦ Kritiese werk oor fotogedigte is nog baie skraps in die
meeste literature. Sorg sal gedra moet word dat sulke
kritiek sy eie beginsels ontwikkel en nie terugval op die
ontvangs van byvoorbeeld die visuele gedig of die
aansienlike kritiese korpus rondom ekphrasis nie.
♦ Die moontlikheid moet verder ondersoek word dat
fotogedigte glad nie deel is van die tradisie van ekphrasis
nie, omdat, anders as by ekphrastiese vorme, die
betrokke “kunswerk” saam met en op ‘n gelyke vlak as
die teksgedeelte aangebied word.
