[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-seo-410577-105":3,"detail-sidebar-cat-0-en-105":81,"doc-detail-410577-en":130},{"code":4,"msg":5,"data":6},0,"ok",{"site_id":7,"language":8,"slug":9,"title":10,"keywords":11,"description":12,"schema_data":13,"social_meta":74,"head_meta":76,"extra_data":78,"updated_unix":80},105,"en","bullet-points-poetry","BULLET POINTS - poetry","","Poetry and lyrical bullet-point style pieces by Roger Bonair-Agard explore Caribbean musical heritage, migration, language loss, and cultural survival through calypso, steel pan, and chantuel hymns. The collection links personal memories to collective histories of enslavement, revolt, and emancipation, tracing how rhythms and tongues persist in movement, prayer, and festival scenes. 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It connects personal experience to the history of emancipation and movement through music and dance.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"What is the focus of “THE DEVI IN MUSIC” ?",{"text":68,"@type":64},"It centers on pan music (“Pan in A Minor”) and describes how musical innovation and performance gather people together. The piece also contrasts distant places and the ache of removal from home.",{"name":70,"@type":61,"acceptedAnswer":71},"How does the collection portray language and music together?",{"text":72,"@type":64},"Music functions as the vehicle that carries “lost languages,” preserving identity through rhythm, chant, prayer, and performance. Movement and speech are portrayed as surviving forms even when tongues are cut out.","https://schema.org",{"og:url":32,"og:type":75,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":77,"canonical":32},"index,follow",{"doc_id":79,"site_id":7},410577,1790742475,{"code":4,"msg":82,"data":83},"success",[84,88,91,95,100,105,110,115,119,122,126],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":85,"show_sort_weight":86,"slug":87},"Story & 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the devil in music  \n9  \n◎ we come far  \n飞  \n◎ Melda's song  \n◎ wanting home  \n◎ the sadness of migration  \n◎ mandate  \n◎ 1986  \n◎ 1981  \n◎ bullet points  \n◎ photo graph  \n◎ naming and other Christian things  \nhttps://archive.org/details/bulletpointsOOroge  \nCHANTUELHYMNS  \nI lost my virginity to calypsoto the songs of slavesthe ghosts of soulsthat disappear with languages lost  \nmy grandfather's French/African patoisnever sang to me  \nhis 'talk some-keep some'philosophymeant swallow all your pridenone of his chantuel hymnsor ‘oui papa'  \nexcept through ces chansons -L’Ouverture's dreamrhyming their way hard  \nthrough steel pan and the repartee of African balladgriot story made freedom song  \nmy waist learned to move  \nwith the whip with the song with the prayerwith the silent acquiescenceof my grandfather's tonguephasing out his own creole  \nfor the Victorian flourish of his father's handthrough the ghost of a language lostlearned the stroke of a sweet fucka soul taking up residence in a musicsurviving life as a squatter in a redeemed people's songs  \nI lost my virginity  \nto the echo and crackle of the cane brouleethe pungent smell of burning canefirst declaration of emancipationbachannalian festival  \nturned revolt turned Africanturned lost tongueturned the still raging fire  \nhollowing out the soul of the oil drumto revive Africa as a stubborn tenantin a European mask  \nWe learned how to fuck like thisthis ‘sweet wine'  \nlike surreptitious like uprising  \nlike make more Africans while massa sleep  \nlike make more drums to replace the ones bannedmake more tongues to sing the ones cut out  \nand made to flop uselesson the cocoa floor-the tongue  \nhe replaced with the black foot danceof the coffee bean  \nand the bois of the gayelleand the future for his childrenand the land that he left  \nThis is how we learn to move  \nslow figure eight from waist downput the heartbeat into the grindand J'ouvert and Dimanche Graswe learn to move like sandshift aimless like the chatterof forbidden tongues  \nShango-Baptiste et Creole FrancaisLa Reine Riviere and the lifetimesof movement in Bourg Mulatresseand Laventille  \nand all that is Africa in Trinidadfrom the slave barracks in Belmontto the burial grounds in Point Fortin  \nLand on our shores  \nfascinated by our insouciant rhythmsor the movement of waistlinesthrough impossible emotionsand remember these are tonguesthese are lost languages  \nthese are the dozens this is tapdancethrough the ballad of steelpan and calypso  \nWe learned to move under the shadowsof our grandfathers'tongues  \nin the shade of the immortellein the middle of the nightin the stomp of Shango ritualin the silence of Ash Wednesdayin the chaos of Savannah dustin love and lust  \nand the eternal stroking of African hipswe learned to movewe learned to movewe learned to moveand still we have the language to prove it  \nTHE DEVI IN MUSIC  \n-for Wammo and the North Stand  \nThey say they want to have a musical change in panWell I didn't tell them YesWell I didn't tell them NoLord Kitchener(from 'Pan in A Minor')  \nI’m telling the Texan  \nof the phenomenon of pan in A Minor100-piece orchestras of oil drumsharmonizing the songs of slaves  \nwith the twelve notes of the Western scalein unheard-of tonics and chords  \nsee him grin broad  \nacknowledge the goose bumpsas I explain the baptismal swellof savannah dust blooming  \nlike babies'breath amongst the bouquetof 100 pan men 4 flag womenand a moko jumbie  \nsoak in the ego of my own descriptionlike that is the source of his joypretend I am not a manlost in the land of another  \npretend I am not telling the Texan of thisas much to keep the memories freshas to share this pound of flesh  \nthat hurts more and more every dayI move further away from home  \nas if my removal from the landof cascadoo and las'lap mas'is not itself a tearing of fleshthat neither of us is healed from","cbCaibKUw9lbbPo5","https://ap.wps.com/l/cbCaibKUw9lbbPo5","pdf",1621317,"English","# BULLET POINTS\n## Tabl of OFCONTENT'S\n## CHANTUEL HYMNS\n## THE DEVI IN MUSIC","[{\"question\":\"What themes are explored in “CHANTUEL HYMNS” ?\",\"answer\":\"The poem reflects on heritage, language loss, and cultural survival through songs and family memory. It connects personal experience to the history of emancipation and movement through music and dance.\"},{\"question\":\"What is the focus of “THE DEVI IN MUSIC” ?\",\"answer\":\"It centers on pan music (“Pan in A Minor”) and describes how musical innovation and performance gather people together. The piece also contrasts distant places and the ache of removal from home.\"},{\"question\":\"How does the collection portray language and music together?\",\"answer\":\"Music functions as the vehicle that carries “lost languages,” preserving identity through rhythm, chant, prayer, and performance. Movement and speech are portrayed as surviving forms even when tongues are cut out.\"}]","BULLET POINTS - poetry | PDF",1790585760,62]