Posts Tagged ‘Spier digtersfees 2016’

Spier Dansende Digtersfees. Maram Al-Massri

Tuesday, April 26th, 2016


Maram al-Massri, wat ook aan die komende Spier Digtersfees op 7 Mei gaan deelneem, is in Latakia (Sirië) gebore. Na haar studies aan die Universiteit van Damaskus het sy haar in 1982 in Parys gevestig. Volgens Bloodaxe Books se inskrywing op hul webblad is Maram al-Massri ‘n Arabiese minnedigter vir die moderne era. “She writes short, seductive lyrics of astonishing clarity and piercing candour, stringing them together like pearls in a story chain.” Dit is in verwysing na haar mees onlangse publikasie in Engels: Red Cherry on a White Tile Floor.

Michael Binyon van The Times word soos volg deur Bloodaxe aangehaal: “Arabic poetry … has developed an artificial code of rarified, unattainable longing that resembles the courtly love poetry of the European Middle Ages. To such a tradition, Maram al-Massri comes as a shock. She writes about all the taboo subjects – physical passion, faithlessness, adultery, loneliness, despair – with candour and intensity that would mark her out even to Westerners… Al-Massri recalls moments of violence and intensity in a clever mixture of dreaminess and half-light pierced by hard, precise detail. The lines sometimes suggest the old tradition… But elsewhere the modern world and contemporary imagery cut in … it is the combination of her modern, feminine individuality and the older Arab tradition that is so striking and wrenching”

By wyse van illustrasie volg een van haar gedigte.


Women Like Me

Women like me
do not know how to speak.
A word remains in their throats
like a thorn
they choose to swallow.
Women like me
know nothing except weeping,
impossible weeping
like a severed artery.
Women like me
receive blows
and do not dare return them.
They shake with anger,
they subdue it.
Like lions in cages,
women like me
dream . . .
of freedom . . .

© Maram Al-Massri (Uit: Red Cherry on a White Tile Floor, 2004: Bloodaxe)


Spier Dansende Digtersfees. Efe Paul Azino

Friday, April 22nd, 2016


Nog ‘n digter wat aan die Spier Dansende Digtersfees gaan deelneem op 7 Mei 2016, is die Nigeriese digter Efe Paul Azino. Efe, wat in Lagos gebore is, is primêr bekend as odiumdigter en as sulks is hy ‘n gereelde – en gewaardeerde – deelnemer aan internasionale poësiefeeste.

Op Badilisha Poetry se webtuiste word Efe se digkuns soos volg beskryf: “Reflecting the sufferings evident in numerous African societies and the hope that keeps them going, Efe Paul’s poems resonate with the high and the low, cutting across social and religious boundaries. His poems are centered on socio-economic and political themes and are enhanced by a strong voice, keeping his audiences entranced for the full length of his performances … The voice of a generation, a seeker and speaker of truth, an entertaining poet and performer, Efe Paul leads a generation of poets in successfully lifting poetry off the printed page, out of the shadows of academia and making it accessible to the people.”

By wyse van bekendstelling volg een van Efe Paul Azino se gedigte.



In the beginning it was
in the beginning of the world
and in the beginning of my world
have always been there
i fell in love with them as a little boy
that little skinny kid
the other boys thought strange cos he easily got bored
when they played with toys
i found joy rather in
i pondered, tasted, wrestled, cherished
truly words have been faithful to me
when i found her and desperately needed to express my love
came to the rescue
i read them them when i fear
i speak them in despair
i take them with me everywhere
and so when i urged to speak a poem, i couldn’t help but share
the power, the depth, the length of ’em
armies have mustered on the strength of ’em
wielded by dictators have made bombs drop
guns pop
and forced the ground to swallow innocent blood
spoken by saints and diplomats have caused warring parties to sheath their swords
my long lost love
my new found ‘i can never do without you’
Words keep my bills paid so to words i’ll always be true
the power, the depth, the length of ’em
how often we despise the strength of ’em
by faith we understand that the worlds
were framed by
so if words create, and indeed they do
then take them with you and create a better union between your spouse and you
use them rightly on your kids
and watch them sprout like well watered seeds
Let them
convey respect to everyone you meet
Let them
serve as a conduit
to pass encouragement to the poor and the needy
Let them
inspire insurrection against political highway men the corrupt and the greedy
are colorless, without gender or race
so take them with you
and make the world a better place
the power, the depth, the length of ’em
this poem is an ode to the strength of ’em

© Efe Paul Azino

Spier Dansende Digtersfees. H.C. ten Berge (1938)

Tuesday, April 19th, 2016


Johannes Cornelis (Hans) ten Berge is in Alkmaar, Nederland, gebore. Hy het egter vir lang tye in Oos-Europa gewoon en daarna in Noord- en Sentraal Amerika. In 1964 debuteer hy as digter met die bundel Poolsneeuw.  In 1996 is sy oeuvre bekroon met die Huygensprys en in 2006 is hy die ontvanger van Nederland se vernaamste literêre toekenning, naamlik die P.C. Hooftprys.

Volgens die inskrywing op Spier Dansende Digtersfees se webtuiste, word Ten Berge se digkuns soos volg beskryf: “The poet’s early work was marked by a bare, concise diction, a language pared down to essentials, evoking powerful sentiments while avoiding sentimentality. His later work is more fluent and melodious, more overtly personal, intent on combining innovative and traditional elements, lyrical and intellectual impulses. His poems are usually grouped into cycles in which different voices and viewpoints combine to form multi-layered narrative sequences. It ranges widely in scope and theme, and incorporate a variety of historical and literary references.”

Materia Prima bevat Ten Berge se versamelde gedigte tot 1993 en Cantus Firmus, sy gedigte van 1993 tot 2013. Laasgenoemde het in 2014 verskyn.

By wyse van illustrasie volg een van Ten Berge se gedigte.


Hoe is het om nu te leven

Hoe het is om nu te leven
te midden van

te midden van

geschonden geesten en verwarde vrienden
die ontheemd in eigen huis,
beroofd van al wat
breekbaar en waarachtig is,
de zweepslag van een nieuwe knechtschap incasseren.

Hoe het is om nu te leven –
door verleugening en kromspraak
uit de taal verjaagd te worden

knecht te zijn van hen
die ons zouden bedienen —

Tot monddode wezens vermalen,
door naamloze machten beheerst,
wordt ons de adem afgesneden,
wordt het mes ons op de keel gezet.

(c) HC ten Berge (Uit: Cantus Firmus, 2014.)



Spier Dansende Digtersfees. Michel Deguy (1930)

Friday, April 15th, 2016


“What is that strange contradictory object, constituted in language, yet separate from linguistic assemblies, enunciation, discursiveness, diction, inscription . . .?”


Nog ‘n digter wat danksy die finansiële steun van die French Institute of South Africa (IFAS) aan vanjaar se Spier Dansende Digtersfees gaan deelneem, is Michel Deguy wat in Parys, Frankryk gebore is. Deguy, wat as een van die mees vernuwende digters ter wêreld beskou word, se werk is vantevore met die Prix Mallarme en die Grand Prix National de la Poesie bekroon. Tans is hy hoogleraar in Franse Letterkunde aan die Universite de Paris VII (Saint-Denis); direkteur van Po&Sie (Editions Belin) en redakteur van Les Temps Modernes. Ook is hy ‘n voormalige president van die College International de Philosophie. Eweneens is Deguy bekend as vertaler van onder andere Heidegger, Gongora, Sappho, Dante, en verskeie Amerikaanse digters.

Op Poetry International Web word Deguy se digkuns soos volg deur Jean-Marie Gleize getipeer: “Michel Deguy is a poet for whom poems truly exist. However, two things are immediately obvious: only rarely do his poetry collections contain only poems. Most often, poems enter into a confrontation or a dialogue; although they remain ‘poems’ and identifiable as such within their particular formal limits, they are, so to speak, integrated into a vast system. This fact is equally true of each of his individual books and of his work as a whole, in which all forms of writing and aspects of rhythm coexist and call upon each other.”

Met bogenoemde as uitgangspunt is dit te wagte dat Michel Deguy ‘n heel besonderse beskouing het van wat die gedig in essensie is. Sy siening word soos volg deur Gleize uiteengesit: “The poem is made of sequences in which images, figures of speech and rhythm are undivided. One needs to enter this ‘undivision’ and what it does, the proposition it issues, in both senses of the word, logical and erotic: Let us call a sentence a proposition. A poem makes propositions. A place of exchanges, transactions, extension/expansion of things, of commonality and one-ality. So to speak: a net-work of possibilities stretched over the world”.

By wyse van illustrasie volg een van Deguy se gedigte. Vir ‘n meer omvattende beskouing van hierdie unieke digkuns kan jy die bespreking op Cerise Press se webblad gaan lees.


A poem tells us so

This is a poem that says it,
a poem that recaptures
the concept of poetic navigation
the skills of the singer
the fragility of poetic craft

Now the boat, still drunken,
must not leak anywhere
must stay separate from
the element it confronts, crosses, creates:
staying well-built to confront according to its structure
the voyage into strangeness
And as for Rimbaud whose desire to split the structure
does not destroy the frame of the poem,
it is still joined in well-formed waves
in lines of twelve-syllable quatrains…

(c) Michel Deguy

Vertaling deur: Wilson Baldridge

Spier Dansende Digtersfees. Yvette Christiansë (1954)

Tuesday, April 12th, 2016

Yvette Christianse

Yvette Christiansë

“I do not want to be like a small animal bitten by a snake, going stiff with that poison. I want to bite back.”


Nog ‘n digter wat aan die Spier Dansende Digtersfees op 7 Mei 2016 gaan deelneem, is Yvette Christiansë, ‘n Suid-Afrikaansgebore digter en skrywer wat tans aan die Barnard College in New York verbonde is. Sy is op Hondseboek (Johannesburg) gebore, maar op agtienjarige ouderdom verlaat sy Suid-Afrika saam met haar moeder en suster. Na ‘n kort verblyf in Mbabane het hulle in 1973 na Australië verhuis. In 1988 behaal sy haar PhD in Engels aan die Universiteit van Sidney.

Volgens Liesl Jobson se inskrywing op Poetry International Web ontgin Christiansë se werk  “the rich themes of the country’s history – slavery and apartheid, exile and displacement.” Van haar vroeë werk het in die versamelbundel Faultlines: Three Poets (Round Table Press), in 1991 verskyn. “It was here that the fractured territory that her later poetry would fully inhabit was first glimpsed. Appearing in embryonic form are her trademarks: the counterpoint of betrayal, brutality and resilience as the splintered psyche endeavours to make sense of the void.” Aldus Jobson.

Haar debuutbundel, Castaway (Duke, 1999), is ‘n epiese narratief wat uitsluitlik fokus op die eiland St. Helena, wat in die 18de en 19de eeue ‘n belangrike rol in slawehandel gespeel het. Dié debuut was genomineer vir die PEN International-prys in 2001. Eweneens was haar debuutroman, Unconfessed (Other Press, 2007), ‘n finalis vir die Hemingway/PEN-prys vir fiksie van daardie jaar. Haar mees onlangse digbundel is Imprendehora (Kwela Books/Snail Press, 2009).

Volgens Christiansë verwys die titel van dié digbundel na die wanvoorstelling van die Spaanse emprendedora. “The misspelling occurs originally in Admiralty Fleet records after the ship was captured running slaves illegally and delivered to St Helena where the ship’s human cargo was ‘liberated’. Who could resist this undoing of the entire Enterprise that Columbus began?”

Vir jou leesplesier volg een van haar gedigte hieronder.



. . . a native . . . a glorious example of the converting grace of
God. To hear the word of Life this native would travel over
every part of the island . . . fearing she might lose a single
gospel sermon. She was a woman of no ordinary mind.

Rev. Edwin F. Hatfield, St. Helena and the Cape of Good Hope: Incidents in the Missionary Life of the Rev. James McGregor Bertram of St. Helena, 1852

Shoes on my feet, I am climbing,
once again the girl born on an island,
climbing like a prayer
singing, Lordlord-lordlordlord

I am a simple woman given to simple speech
and there is no one plainer tho I burn
bright – a newborn star – when I am
singing, Lordlord-lordlordlord
as the sun hits the backs of my eyes
where letters burn black.

In the wind – the names of cities:
Paris, London, haunting our young.
Burn the ships! Put up the jetties! Fold them
like linens for which there is no more use
and the ocean will wash, wash,
wash away those punishing dreams
and where there is noise there will be silence.

Sun in my eyes, shoes on my feet,
girls born on this island
climb mountains of prayer
singing, Lordlord-lordlordlord
for they know they are at anchor.

© 2009, Yvette Christiansë
Uit: Imprendehora (Kwela Books & Snailpress)

Spier Dansende Digtersfees. James Matthews (1929)

Friday, April 8th, 2016

James Matthews

James Matthews

“For me, when you work you must take advantage of what you could use for the benefit of all of us … I understood that my words could be used as a weapon.”


Nog een van die plaaslike digters wat tydens die Spier Dansende Digtersfees op 7 Mei 2016 gaan optree, is James Matthews. Hy is op 25 Mei 1929 in Distrik 6, Kaapstad, gebore. Van ‘n jong ouderdom was die woordkuns vir hom ‘n besonderse passie en sy eerste gedigte is reeds op die tere ouderdom van 17 gepubliseer. In hoofsaak was hy as joernalise verbonde aan verskeie publikasies, waaronder die Golden City Post, The Cape Times, Drum, en later die onafhanlike gemeenskapskoerant, , Muslim News.

In hoofsaak was dit die armoede en die impak van ekonomiese uitbuiting en rassisme op die psige, wat tot hom as digter gespreek het. In 1972 debuteer hy saam met Gladys Thomas in die bundel Cry Rage; ‘n bundel wat kort na sy verskyning verban is. Hy het vervolgens ook tronkstraf uuitgedien in die Victor Verster-gevangenis te Paarl. Na sy vrylating het hy die onafhanklike kunsgallery, Gallery Afrique,)  tot stand gebring, en ook die uitgewery, BLAC Publishing House wat van 1974 tot 1991 bestaan het. In 1987 is hy aangewys as beskermheer van die Congress of South African Writers.

In sy lewe het hy vele toekennings ontvang, nasionaal, sowel as internasionaal. Hieronder tel die Woza Afrika Award (1978), Kwaza Honours List – Black Arts Celebration, Chicago, U.S.A.(1979) en die Freeman of Lehrte and Nienburg, Germany (1982). In 2010 is hy met ‘n spesiale toekenning deur die Stad Kaapstad vereer.

Op 1 April 2016 het die Rhodes Universiteit op Grahamstad Matthews vereer met ‘n ere-doktersgraad. Sy kommetaar op dié toekenning was soos volg: ““Even though I am very humbled to be given this award, I also see the funny part … I was born in the ghetto but ended up at university with an honorary degree, nogal.”

Volgens die webtuiste South African History Online (SAHO), die volgende: “Matthews is an exceptionally gifted intellectual whose commitment to political and social justice and demanding litérature engagée is only surpassed by his humility and fierce independence. His art gallery and publishing house – though financially unsuccessful – were significant symbolic blows against the enforced cultural desert of apartheid. It provided the indispensable, albeit short-lived space for true artistic and literary expression, which served as the launch-pad for the continuing development of South African writing.”

Sy digbundels is die volgende:

  • Cry Rage (1972), Spro-Cas Publications
  • Black Voices Shout (1974)
  • Pass me a Meatball, Jones (1977)
  • No Time for Dreams (1981) BLAC Publications
  • Poisoned Wells and Other Delights (1990) BLAC Publications
  • Flames and Flowers (2000) Realities
  • Poems from a Prison Cell (2002), Realities
  • Age is a Beautiful Phase (2008), Realities
  • Gently Stirs My Soul (2015) Rhodes University

By wyse van bekendstelling volg een van sy gedigte.


the midnight hour
has a special quality
a stillness of graveyards
after hours
am I the only one
alive to hear the dead
astir in their grave?
perhaps, I am dying
and now aware
only when the midnight hour
had passed
will my spirit depart
to take solitary walks
along the stars
and rest in the moon’s crescent
sipping moondew
from translucent goblet
seeking traces of others
who had wandered this way
ears strain to capture
echoes of conversations
of the past
refreshed, i continue passage
along heaven’s breadth
dawn finds me
blanket-wrapped entombed
on the cement floor
of my cell

(c) James Matthews

Spier Dansende Digtersfees. Keorapetse Kgositsile (1938)

Wednesday, April 6th, 2016

Keorapetse Willie Kgositsile

Keorapetse Kgositsile

“In a situation of oppression, there are no choices beyond didactic writing: either you are a tool of oppression or an instrument of liberation.”


Een van die digters wat aan die Spier Dansende Digtersfees op 7 Mei 2016 gaan deelneem, is Suid-Afrika se poet laureate, Keorapetse William Kgositsile wat in 1938 in Johannesburg gebore is. Sy skoolopleiding het hy aan die Matibane High School voltooi. Na sy skoolopleiding was hy werksaam as  verslaggewer by New Age, ‘n publikasie wat ook van sy eerste gedigte gepubliseer het. In 1961, in opdrag van die ANC, ‘n organisasie waarvan hy tóé reeds lid was, verlaat Kgositsile die land. Eers het hy na Dar es Salaam, Tanzanië, gegaan waar hy eers aan die Spearhead magazine verbonde was. In die daaropvolgende jaar is Kgositsile na die VSA waar hy aan verskeie universiteite studeer het. Hy het etlike grade behaal.

In hierdie tye het hy sy eerste digbundel, Spirits Unchained, gepuliseer; ‘n werk wat met die Harlem Cultural Council Poetry Award bekroon is en ook met die National Endowment for the Arts Poetry Award. In 1971, het die bundel, My Name is Afrika, wat sy reputasie as een van Afrika se vernaamste digters sal vestig, verskyn. In 1974 was hy ‘n stigterslid van die African Literature Association. Nadat hy aan verskeie universiteite in Afrika doseer het, keer hy in 1990 terug na Suid-Afrika; dieselfde jaar waartydens sy digbundel When clouds clear verskyn het.

In 2008 is Kgositsile aangewys as  South African Poet Laureate.

Van sy werk is die volgende: This Way I Salute You (2004), If I Could Sing (2002), To the Bitter End (1995), Approaches to Poetry Writing (1994), The Present is a Dangerous Place to Live (1975), When the Clouds Clear (1990), Freeword – with Katiyo, Davis, & Rydstom – (1983), Heartprints (1980), Places and Bloodstains (1976), A Capsule Course in Black Poetry Writing – with Brooks, Madhubuti & Randall – (1975), The Word is Here, ed. (1973), My Name is Africa (1971), For Melba (1971), Spirits Unchained (1969). He is also the author of numerous articles, speeches, and other materials. His poems and essays have appeared in numerous journals including Guerrilla, Journal of Black Poetry, Negro Digest, The New African, Pan African Journal and Urban Review as well as in the anthologies Black Arts, Black Fire, For Malcolm andPoems Now.

By wyse van bekendstelling volg een van sy gedigte hieronder.


Random Notes to My Son

Beware, my son, words
that carry the loudnesses
of blind desire also carry
the slime of illusion
dripping like pus from the slave’s battered back
e.g. they speak of black power whose eyes
will not threaten the quick whitening of their own intent
what days will you inherit?
what shadows inhabit your silences?

I have aspired to expression, all these years,
elegant past the most eloquent word. But here now
our tongue dries into maggots as we continue our slimy
death and grin. Except today it is fashionable to scream
of pride and beauty as though it were not known that
‘slaves and dead people have no beauty’

in me and around me
confusion. This pain was
not from the past. This pain was
not because we had failed
to understand:
this land is mine
confusion and borrowed fears
it was. We stood like shrubs
shrivelled on this piece of earth
the ground parched and cracked
through the cracks my cry:

And what shapes
in assent and ascent
must people the eye of newborn
determined desire know
no frightened tear ever rolls on
to the elegance of fire. I have
fallen with all the names I am
but the newborn eye, old as
childbirth, must touch the day
that, speaking my language, will
say, today we move, we move ?

© 2002, Keorapetse Kgositsile
Uit: If I Could Sing (Kwela Uitgewers)

Spier Digtersfees: persverklaring

Saturday, April 2nd, 2016

Dansende DigtersfeesPersverklaring: dancing in other words Spier Poetry Festival

1 April 2016

banier. Spier digtersfees

Al singende en dansende na die Spier Digtersfees 2016

Op Saterdag 7 Mei kom digters, minnesangsers, filosowe en musikante weereens bymekaar om met woorde en taal te riel by die Spier Digtersfees, ook bekend as die dansende digtersfees.  Die geleentheid is ‘n verdere vergestalting van ‘n vennootskap tussen Spier en die Pirogue Kollektief, en word deur Breyten Breytenbach, Dominique Botha en Neo Muyanga byeengeroep.

Die 2016 aanbieding sluit in James Matthews (Suid-Afrika), Keorapetse ‘Bra Willie’ Kgositsile (Suid-Afrika), Michel Deguy (Frankryk), Maram al-Massri (Sirië / Frankryk), Efe Paul Azino (Nigerië), Yvette Christiansë (Suid-Afrika / Australië) Hans ten Berge (Holland) en Breyten Breytenbach (Suid-Afrika). Die groep kom ’n week voor die aanvang van die eendag-fees bymekaar om saam deur die buite en binne landskappe van die Wes-Kaap te reis. Deguy en Al-Massri se deelname word deur die Franse Instituut Suid-Afrika ondersteun.

“Die fees sal weereens ‘n bevoorregte ruimte bied vir die vervlegting van stemme waar ons sal droom asof ons vir ewig gaan lewe”, sê Breytenbach. “ Dit is met bietjie kennis en begrip vir die meerlagige diversiteit van mense wat hierdie deel van die wêreld artikuleer, die botsings en die streling van hierdie berge en wind, van die verworteling van ons drome – dit is wat ons deel en wat ons het om aan ons gaste van oorsee aan te bied. “Hoe anders sou ons kon weet dat ons een is in ons ontmoeting met die mensoue – veelvoudigheid van poësie?” sê Breytenbach.

“In die begin wou ons net digters oor die ouderdom van 75 jaar nooi wat dans, drink en glo dat poësie die onbenulligste ding in die wêreld is waarsonder hulle nie kan klaarkom nie. Ons het betreffende ouderdom ‘n paar toegewings gemaak…” sê Botha.

Die fees se musiekregisseur Neo Muyanga se temas en leitmotiewe word tydens die week se byeenkoms gekomponeer en dien as musikale onderbou van die voorlesings tydens die fees. Hy sê, “Ons, die koor, sal die geroep van die digters in beurtsang beantwoord met lofprysing, sugte en ’n omhelsing van solidariteit.” Hy voeg by, “Begeesterd deur die fees se leigedig, Po Tsju I’s Madly Singing in the Mountains, sal ons onsself in ‘n koor van musikale stemme fatsoeneer.”

“Ons glo onvoorwaardelik in die potensiaal van die kunste om mense en samelewings te omvorm. Soos in vorige jare is hierdie besonderse samevloei van internasionale digters en poësie ‘n samekoms wat belangrike gespreke ontketen en lieflike oomblikke na Spier bring,” sê Spier se hoofuitvoerende beampte Andrew Milne.

Die fees vind plaas op Spier op Saterdag 7 Mei vanaf 10vm. Alle gesprekke voor die aand se voorlesings word gratis aangebied. Die Poësie Voorlesing, wat alle deelnemende digters insluit, begin om 7nm. Kaartjies kos R 220 en sluit ‘n driegang maal en ‘n glas wyn in.

Die program is soos volg:

10:00 Gesprek 1: Is standbeeldbestormers die gewapende vleuel van politiese korrektheid?

Breyten Breytenbach, Michel Deguy, Yvette Christiansë en Keorapetse Kgositsile wonder of die vernietiging van simbole uit die verlede die wonde van die hede bind, of neerkom op die bestorming van windmeule?

12:00 Gesprek II: Selfs die engel van geskiedenis kan nie verdra om te kyk.

Efe Paul Azino, Maram al-Massri, Hans ten Berge en Breyten Breytenbach in ‘n bespreking oor ontheemding, vlugtelinge, ballingskap en die potensiaal van die skrywer om gemeenskaplik die ruimte vir humanistiese begrip te vergroot.

14:30 Gesprek III: Taunting that powdered death called Respectability.

Neo Muyanga, Keorapetse Kgositsile, James Matthews en Efe Paul Azino bespreek die geskiedenis van protes in poësie en sang, en die voordurende stryd vir rewolusie, teen politiek.

16:30 Gesprek IV: Omtrent wyn. Omtrent tyd! Spier Wyne bied ’n paring tussen wyn-en-woord aan.

19:00 Voorlesings deur al die deelnemende digters, met musikale regie deur Neo Muyanga.

Bespreek by

Oor die deelnemende digters:

Yvette Christiansë. Suid-Afrikaans gebore digter, romansier en akademikus het op die ouderdom van 18 saam met haar ouers na Australië emigreer. Sy gee klas by Barnard Kollege, New York.

James David Matthews. Die wederstrewige digter is meer as 8 dekades gelede in die Bo-Kaap gebore en word as ‘n man van talent, deernis en merkwaardige integriteit beskryf.

Professor Keorapetse ‘Bra Willie’ Kgositsile, Suid-Afrika se Nasionale ‘poet laureate’ word sedert die l960s beskou as een van die land se mees kenmerkende poëtiese stemme.

Die Franse denker-digter en filosoof Michel Deguy is in 1930 in Parys gebore en sy werk word veral vir die diepte van sy filosofiese besinning bewonder.

Hans C ten Berge word allerweë beskou as een van Nederland se voorste digters, en skryf ook prosa, opstelle en werk in vertaling.

Efe Paul Azino word as een van Nigerië se voorste praatdigters gereken, en was reeds kurator van die land se belangrikste poësiefeeste.

Maram al-Massri, 2015 ontvanger van die Dante Alighieri prys, is oorspronklik van Lattakia in Sirië, maar het haarself 1982 in Parys gevestig. Sy skryf oor politieke en intieme temas, in Arabies en Frans.

Georges Lory, voormalige hoof van die Alliance Française in Suider-Afrika, is beide ’n digter asook ’n vertaler na Frans van Suid-Afrikaanse skrywers insluitend Gordimer, Breytenbach, Krog en Njabulo Ndebele.

(Pirogue Collective / dancing in other words Spier Poetry Festival