Words in the World Panel Discussions

Permanent URI for this collectionhttps://hdl.handle.net/10125/26976

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Performing Arts and Decolonization--kuʻualoha hoʻomanawanui Performs
(2013-08-22) hoʻomanawanui, kuʻualoha
ku'ualoha ho'omanawanui performs for an evening of spoken word poetry and music at the Words in the World Symposium.
Mele Panel and Performance--Moderator ku'ualoha ho'omanawanui Introduces the Panelists
(2013-08-22) Ho'omanawanui, Ku'ualoha
Moderator ku'ualoha ho'omanawanui introduces the panelists on the Mele Panel and Performance portion of the Words in the World Symposium. With a focus on mele Hawai‘i, the indigenous music of Hawai‘i, this panel engages with the intersection between orature and literature, as represented by the poetry of song and chant, and performance. Moderator: ku‘ualoha ho‘omanawanui Panelists: Kale Hannahs, Pualani Kanaka‘ole Kanahele, Kimo Keaulana, Jonathan Osorio
Introduction to the Words in the World Symposium
(2013-07-22) Shankar, S.
S. Shankar introduces the Words in the World Symposium: Literatures, Oratures, and New Meeting Grounds.
"Drua: The Wave of Fire" (Full Movie) and a Conversation with Kara Miller and Co-Director Vilsoni Hereniko
(2013-07-19) Miller, Kara; Hereniko, Vilsoni
Kara Miller responds to Vilsoni Hereniko's film DRUA: THE WAVE OF FIRE. Co-Director Vilsoni Hereniko and Kara Miller respond to questions from the audience. This film celebrates voyaging on double-hulled canoes in the 18th century, their demise upon contact with Europeans, and their revival in recent years. Discussion by Kara Miller
Translation(s)--Panelist S. Shankar Presents
(2013-07-19) Shankar, S.
S. Shankar presents on the Translation(s) panel. Translation(s): This panel discusses the impact of translation on the conceptualization and circulation of literatures and oratures in the world, historically and in the present. Questions shaping this discussion include: How are the challenges and benefits of translating literatures of the world into English different from translating Samoan literature into Hawaiian or Arabic into Turkish? How has translation done violence to the people and literatures of colonized nations and how does it contribute to decolonization and cultural revitalization? Should everyday, oral translation practices all over the world impact our understanding of the value of translation as a social and literary process? How can translation practices contribute to resisting a globalizing pedagogy of "world literature"? Moderator: Cristina Bacchilega Panelists: Ngũgĩ wa Thiong'o, Yung-Hee Kim, Bryan Kuwada, S. Shankar
Global Native Literary Studies Panel Q&A
(2013-07-19) Somerville, Alice Te Punga; Spitz, Chantal; Justice, Daniel; Wendt, Albert
The Global Native Literary Studies Panel concludes with questions from the audience. The Global Native Literary Studies Panel provides an opportunity to reflect on Indigenous worlds and Indigenous literary worlds. Through their fiction as well as their political, institutional, scholarly and cultural work, each of the panelists explores the range of ways and reasons for Indigenous engagement with literary arts. Chantal Spitz’s character Tetiare (in English translation) “washes away… dirt by writing.” Albert Wendt’s character Alapati is encouraged for his ability “to story our lives history and refusal to become nothing.” Daniel Justice’s character Tobhi recalls Strivix counseling a Dragonfly who claims “I don’t know how to be a Dragonfly” with the suggestion “All ye got to do it tell yer people’s story, and ye’ll figure it out.” This panel also asks, What questions, aspirations and political "lines in the sand" have underpinned "Global Native Literary Studies"? What lessons have been learned in Indigenous and Pacific worlds about writing, regionalism, and "the global"? What strengths and dimensions of Indigenous Studies and Pacific Studies could contribute to scholars and students grappling with the notion of "World Literature"? What Samoan, Tahitian and Cherokee concepts could contribute to scholars and students grappling with the notion of "World Literature"? Rather than proposing how or why Indigenous and Pacific texts might be included in a concept of (and classes about) "World Literature" on the basis of the fact these too are "part of the world," the panelists suggest how "World Literature," Pacific, and Indigenous Literary worlds might mutually engage. Moderator: Alice Te Punga Somerville Panelists: Chantal Spitz, Daniel Justice, Albert Wendt
Global Native Literary Studies--Panelist Daniel Justice Presents
(2013-07-19) Justice, Daniel
Daniel Justice presents on the Global Native Literary Studies panel. Global Native Literary Studies: This panel provides an opportunity to reflect on Indigenous worlds and Indigenous literary worlds. Through their fiction as well as their political, institutional, scholarly and cultural work, each of the panelists has explored the range of ways and reasons for Indigenous engagement with literary arts. Chantal Spitz’s character Tetiare (in English translation) “washes away… dirt by writing.” Albert Wendt’s character Alapati is encouraged for his ability “to story our lives history and refusal to become nothing.” Daniel Justice’s character Tobhi recalls Strivix counseling a Dragonfly who claims “I don’t know how to be a Dragonfly” with the suggestion “All ye got to do it tell yer people’s story, and ye’ll figure it out.” What questions, aspirations and political ‘lines in the sand’ have underpinned ‘Global Native Literary Studies’? What lessons have been learned in Indigenous and Pacific worlds about writing, regionalism and ‘the global’? What strengths and dimensions of Indigenous Studies and Pacific Studies could contribute to scholars and students grappling with the notion of ‘World Literature’? What Samoan, Tahitian and Cherokee concepts could contribute to scholars and students grappling with the notion of ‘World Literature’? Rather than proposing how or why Indigenous and Pacific texts might be included in a concept of (and classes about) ‘World Literature’ on the basis of the fact these too are ‘part of the world,’ the panelists will be invited to suggest how ‘World Literature,’ Pacific and Indigenous Literary worlds might mutually engage. Moderator: Alice Te Punga Somerville Panelists: Chantal Spitz, Daniel Justice, Albert Wendt
Global Native Literary Studies--Panelist Chantal Spitz Presents
(2013-07-18) Spitz, Chantal
Chantal Spitz presents on the Global Native Literary Studies panel. Global Native Literary Studies: This panel provides an opportunity to reflect on Indigenous worlds and Indigenous literary worlds. Through their fiction as well as their political, institutional, scholarly and cultural work, each of the panelists has explored the range of ways and reasons for Indigenous engagement with literary arts. Chantal Spitz’s character Tetiare (in English translation) “washes away… dirt by writing.” Albert Wendt’s character Alapati is encouraged for his ability “to story our lives history and refusal to become nothing.” Daniel Justice’s character Tobhi recalls Strivix counseling a Dragonfly who claims “I don’t know how to be a Dragonfly” with the suggestion “All ye got to do it tell yer people’s story, and ye’ll figure it out.” What questions, aspirations and political ‘lines in the sand’ have underpinned ‘Global Native Literary Studies’? What lessons have been learned in Indigenous and Pacific worlds about writing, regionalism and ‘the global’? What strengths and dimensions of Indigenous Studies and Pacific Studies could contribute to scholars and students grappling with the notion of ‘World Literature’? What Samoan, Tahitian and Cherokee concepts could contribute to scholars and students grappling with the notion of ‘World Literature’? Rather than proposing how or why Indigenous and Pacific texts might be included in a concept of (and classes about) ‘World Literature’ on the basis of the fact these too are ‘part of the world,’ the panelists will be invited to suggest how ‘World Literature,’ Pacific and Indigenous Literary worlds might mutually engage. Moderator: Alice Te Punga Somerville Panelists: Chantal Spitz, Daniel Justice, Albert Wendt
Literatures of the World Panel Q&A
(2013-07-18) Aboul-Ela, Hosam; Orsini, Francesca; Perez, Craig Santos; Lyons, Paul; Mabanglo, Ruth Elynia
Concluding the Literatures of the World Panel, this Q&A features Ngũgĩ wa Thiong'o's response to the presentations and a question from the audience. Literatures of the World: This panel engages from different locations the question of the pedagogical limits of the concept of World Literature, both in terms of classroom practice and theoretical understandings of literary traditions across the world. It asks as well: How might the phrase "literatures of the world" (rather than the pluralizing phrase "world literatures") work toward notions of literary commons? On what terms would such commons be envisioned as most productively countering the globalizing logics and poetics that have driven "world literature"? Moderator: Paul Lyons Panelists: Hosam Aboul-Ela, Francesca Orsini, Ruth Elynia Mabanglo, Craig Santos Perez
Literatures of the World--Panelist Hosam Aboul-Ela Presents
(2013-07-18) Aboul-Ela, Hosam
Hosam Aboul-Ela presents his paper, "What World Literature Is Not," on the Literatures of the World panel for the Words in the World Symposium. Literatures of the World: This panel engages from different locations the question of the pedagogical limits of the concept of World Literature, both in terms of classroom practice and theoretical understandings of literary traditions across the world. It asks as well: How might the phrase "literatures of the world" (rather than the pluralizing phrase "world literatures") work toward notions of literary commons? On what terms would such commons be envisioned as most productively countering the globalizing logics and poetics that have driven "world literature"? Moderator: Paul Lyons Panelists: Hosam Aboul-Ela, Francesca Orsini, Ruth Mabanglo, Craig Santos Perez
Mele Panel and Performance Q&A
(2013-07-18) Ho'omanawanui, Ku'ualoha; Hannahs, Kale; Kanahele, Pualani Kanaka'ole; Keaulana, Kimo; Osorio, Jonathan Kamakawiwo'ole
ku‘ualoha ho‘omanawanui facilitates a discussion after the panelists have completed their presentations on mele and performance. With a focus on mele Hawai‘i, the indigenous music of Hawai‘i, this panel engages with the intersection between orature and literature, as represented by the poetry of song and chant, and performance. Moderator: ku‘ualoha ho‘omanawanui Panelists: Kale Hannahs, Pualani Kanaka‘ole Kanahele, Kimo Keaulana, Jonathan Kamakawiwo'ole Osorio
Mele Panel and Performance--Jonathan Kamakawiwo'ole Osorio Presents
(2013-07-18) Osorio, Jonathan Kamakawiwo'ole
Jonathan Kamakawiwo'ole Osorio presents on the Mele Panel and Performance portion of the Words in the World Symposium. With a focus on mele Hawai‘i, the indigenous music of Hawai‘i, this panel engages with the intersection between orature and literature, as represented by the poetry of song and chant, and performance. Moderator: ku‘ualoha ho‘omanawanui Panelists: Kale Hannahs, Pualani Kanaka‘ole Kanahele, Kimo Keaulana, Jonathan Kamakawiwo'ole Osorio
Literatures of the World--Panelist Ruth Elynia Mabanglo Presents
(2013-07-09) Mabanglo, Ruth Elynia
Ruth Elynia Mabanglo presents on the Literatures of the World panel for the Words in the World Symposium. Literatures of the World: This panel engages from different locations the question of the pedagogical limits of the concept of World Literature, both in terms of classroom practice and theoretical understandings of literary traditions across the world. It asks as well: How might the phrase "literatures of the world" (rather than the pluralizing phrase "world literatures") work toward notions of literary commons? On what terms would such commons be envisioned as most productively countering the globalizing logics and poetics that have driven "world literature"? Moderator: Paul Lyons Panelists: Hosam Aboul-Ela, Francesca Orsini, Ruth Elynia Mabanglo, Craig Santos Perez
Mele Panel and Performance--Kale Hannahs Presents
(2013-07-01) Hannahs, Kale
Kale Hannahs presents on the Mele Panel and Performance portion of the Words in the World Symposium. With a focus on mele Hawai‘i, the indigenous music of Hawai‘i, this panel engages with the intersection between orature and literature, as represented by the poetry of song and chant, and performance. Moderator: ku‘ualoha ho‘omanawanui Panelists: Kale Hannahs, Pualani Kanaka‘ole Kanahele, Kimo Keaulana, Jonathan Osorio
Translation(s): Ngũgĩ wa Thiong'o Presents
(2013-07-01) wa Thiong'o, Ngũgĩ
Ngũgĩ wa Thiong'o présents on the topic of translation(s). Translation(s): This panel discusses the impact of translation on the conceptualization and circulation of literatures and oratures in the world, historically and in the present. Questions shaping this discussion include: How are the challenges and benefits of translating literatures of the world into English different from translating Samoan literature into Hawaiian or Arabic into Turkish? How has translation done violence to the people and literatures of colonized nations and how does it contribute to decolonization and cultural revitalization? Should everyday, oral translation practices all over the world impact our understanding of the value of translation as a social and literary process? How can translation practices contribute to resisting a globalizing pedagogy of "world literature"? Moderator: Cristina Bacchilega Panelists: Ngũgĩ wa Thiong'o, Yung-Hee Kim, Bryan Kuwada, S. Shankar
Literatures of the World--Panelist Craig Santos Perez Presents
(2013-06-28) Perez, Craig Santos
Craig Santos Perez presents on the Literatures of the World panel for the Words in the World Symposium. Literatures of the World: This panel engages from different locations the question of the pedagogical limits of the concept of World Literature, both in terms of classroom practice and theoretical understandings of literary traditions across the world. It asks as well: How might the phrase "literatures of the world" (rather than the pluralizing phrase "world literatures") work toward notions of literary commons? On what terms would such commons be envisioned as most productively countering the globalizing logics and poetics that have driven "world literature"? Moderator: Paul Lyons Panelists: Hosam Aboul-Ela, Francesca Orsini, Ruth Mabanglo, Craig Santos Perez
Mele Panel and Performance--Pualani Kanaka'ole Kanahele Presents
(2013-06-28) Kanahele, Pualani Kanaka'ole
Pualani Kanaka'ole Kanahele presents on the Mele Panel and Performance portion of the Words in the World Symposium. With a focus on mele Hawai‘i, the indigenous music of Hawai‘i, this panel engages with the intersection between orature and literature, as represented by the poetry of song and chant, and performance. Moderator: ku‘ualoha ho‘omanawanui Panelists: Kale Hannahs, Pualani Kanaka‘ole Kanahele, Kimo Keaulana, Jonathan Osorio
Mele Panel and Performance--Kimo Keaulana Presents
(2013-06-28) Keaulana, Kimo
Kimo Keaulana presents on the Mele Panel and Performance portion of the Words in the World Symposium. With a focus on mele Hawai‘i, the indigenous music of Hawai‘i, this panel engages with the intersection between orature and literature, as represented by the poetry of song and chant, and performance. Moderator: ku‘ualoha ho‘omanawanui Panelists: Kale Hannahs, Pualani Kanaka‘ole Kanahele, Kimo Keaulana, Jonathan Osorio
Global Native Literary Studies--Panelist Albert Wendt Speaks on This Topic
(2013-06-24) Wendt, Albert
Literatures of the World--Panelist Francesca Orsini Presents Her Paper
(2013-06-24) Orsini, Francesca
The invention of folk literature/loksahitya by Francesca Orsini (SOAS, London) One of the tasks that world literature requires is to pluralise our assumptions about what literature is, and to widen its remit. Oral-performative genres feature significantly in our understandings of Indian literary history (whether devotional song-poems, Barahmasas/ “12-months songs” by all kinds of poets, including Urdu poets, tales, etc.). They stand at the beginnings of the process of “vernacularization” of Indian regional literary cultures between the second half of first and second millenniums CE, but also acted in dynamics of literary circulation, both across languages and scripts and also across oral and literate realms. The study of the production and circulation of these oral-performative genres has generated its own philological method (J.S. Hawley, K.S. Bryant, C.L. Novetzke et al.). Yet while some of the earliest colonial scholars of Indian vernacular languages and literatures (like George Grierson) recorded and studied a great number of these forms, they classified them as “folklore” rather than literature. Similarly Indian literary activists collected folk songs and sayings with verve, but viewed them as loksahitya, the expression of a timeless (and casteless) “folk”. The situation now is that oral-performative forms are studied largely by ethnographers (Ann Gold, Susan Wadley, Kirin Narayan) rather than as part of literature (exceptions like Stuart Blackburn and Rich Freeman and Narayana Rao notwithstanding). This paper will trace this development and ask how, with the pluralising of literature that comes with world literature, the process can be reversed, and what now counts as loksahitya can be viewed as part of sahitya or literature.

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