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Movie Title Year Distributor Notes Rev Formats Pecados e Tentacoes 2008 Brasileirinhas Pecado Sem Perdao 2009 Brasileirinhas Pecado Final 2009 Brasileirinhas Oral poetry is poetry that is composed and transmitted without the aid of writing. The complex relationships between written and spoken literature in some societies can make this definition hard to maintain. Contents 1 Background 2 Regional and national traditions 3 See also 4 References 5 External links Background Oral poetry is sometimes considered to include any poetry which is performed live. In many cultures, oral poetry overlaps with, or is identical with, song. Meanwhile, although the term oral etymologically means 'to do with the mouth', in some cultures oral poetry is also performed by other means, such as talking drums in some African cultures. Oral poetry exists most clearly within oral cultures, but it can survive, and indeed flourish, in highly literate cultures.
Oral poetry differs from oral literature in general because oral literature encompasses linguistic registers which are not considered poetry. In most oral literature, poetry is defined by the fact that it conforms to metrical rules; examples of non-poetic oral literature in Western culture include some jokes, speeches and storytelling. An influential movement in the study of oral poetry, both because it helped to bring oral poetry within the realms of academic literary study and because it illuminated the ways in which poetic form and orality interrelate, has been the oral-formulaic theory developed by Milman Parry and Albert Lord. This theory showed how stock phrases could enable poets to improvise verse. One consequence of Parry and Lord's work is that orally improvised poetry (as opposed to poetry which is composed without the use of writing but then memorised and performed later) is sometimes seen as the example par excellence of oral poetry. Examples of orally improvised poetry are the epics of the Serbo-Croatian guslars studied by Parry and Lord, Basque bertsolaritza, and freestyle rap. Much oral poetry, however, is memorised verbatim – though the precise wording, particularly of words which are not essential to sense or metre, do tend to change from one performance to another, and one performer to another.[1] Although the original composition of a memorised oral poem may have been undertaken without the use of writing, memorial traditions sometimes originate in a written text. Likewise, memorised oral poems can come to be written down, leading to a situation in which written versions in turn influence memorised versions. Prominent examples of memorised oral poetry are some nursery rhymes, ballads and medieval Scandinavian skaldic verse.

Regional and national traditions Poetical improvisation is a living tradition in many parts of the world. Regional traditions may include but surely are not limited to: The payada in Argentina Basque bertsolaritza Maltese ghana[2] The canto a braccio of Lazio, Italy[3] The improvvisazione in ottava rima of Tuscany, Italy[4] The stornelli and other local traditions in other parts of Italy Rap, a component of the hip hop genre of American music Folk poetry (sometimes referred to as poetry in action) is poetry that is part of a society's folklore, usually part of their oral tradition. When sung, folk poetry becomes a folk song. Contents 1 Description 2 Forms and works 2.1 Regional or societal forms 2.2 Collections 2.3 Derivative works 3 See also 4 References 4.1 Sources 4.2 Further reading 5 External links Description Folk poetry in general has several characteristics. It may be informal and unofficial, generally lacks an owner and may "belong" to the society, and its telling may be an implicitly social activity.[1] The term can refer to poems of an oral tradition that may date back many years;[2] that is, it is information that has been transmitted over time (between generations) only in spoken (and non-written) form.[3] Thus as an oral tradition folk poetry requires a performer to promulgate it over generations.[4] The definition can also be extended to include not just oral epics, but latrinalia, many forms of childlore (skipping-rope rhymes, the words of counting-out games etc), and limericks;[5] as well as including anonymous or improvised poems.[6] Narrative folk poetry is often characterized by repetition, a focus on a single event (within an overall epic narrative if present), and an impersonal narration, as well as use of exaggeration and contrast.[7] It is thought that epics such as The Iliad, and The Odyssey derive from, or are modeled on earlier folk-poetry forms.[8] Forms and works This list is incomplete; you can help by expanding it. Regional or societal forms Landay, Afghan single couplet poems Zajal, Arab folk poetry form Bylina, east slavic oral epic narratives Pantun, Malay poetic form Collections Classic of Poetry, ancient Chinese collection of folk poetry Reliques of Ancient English Poetry collected by Bishop Thomas Percy Minstrelsy of the Scottish Border, collected by Walter Scott. Danmarks gamle Folkeviser, collection of Danish ballads. Derivative works Many poets have worked in the style of, or imitated, folk poetry. These include Johann Gottfried Herder, Walter Scott, and Johan Ludvig Runeberg, and others Ethnopoetics is a method of recording text versions of oral poetry or narrative performances (i.e. verbal lore) that uses poetic lines, verses, and stanzas (instead of prose paragraphs) to capture the formal, poetic performance elements which would otherwise be lost in the written texts. The goal of any ethnopoetic text is to show how the techniques of unique oral performers enhance the aesthetic value of their performances within their specific cultural contexts. Major contributors to ethnopoetic theory include Jerome Rothenberg, Dennis Tedlock, and Dell Hymes. Ethnopoetics is considered a subfield of ethnology, anthropology, folkloristics, stylistics, linguistics, and literature and translation studies. Contents 1 A need for ethnopoetics: Rothenberg 2 Ethnopoetic theory: Tedlock and Hymes 2.1 Dennis Tedlock 2.2 Dell Hymes 3 Ethnopoetics: aesthetic movement or academic discipline? 4 References 5 Bibliography 5.1 Additional resources 6 External links A need for ethnopoetics: Rothenberg Jerome Rothenberg coined the term ethnopoetics in the 1960s. According to Catherine S. Quick, Rothenberg had recognized that “most translations of Native American oral traditions . . . failed to capture the power and beauty of the oral performances on the written page,” especially when “Western poetic styles” were imposed upon these written texts (1999, 96).[1] Rothenberg’s influence has increased public awareness of the rich narrative and poetic traditions of cultures all over the world. Ethnopoetic theory: Tedlock and Hymes The development of ethnopoetics as a separate subfield of study was largely pioneered from the middle of the 20th century by anthropologists and linguists such as Dennis Tedlock and Dell Hymes. Both Tedlock and Hymes used ethnopoetic analysis to do justice to the artistic richness of Native American verbal art, and while they have disagreed on some analytic details, they agree on the fundamental issues and purposes of ethnopoetics. Dennis Tedlock On the one hand, Dennis Tedlock argues not only that pauses in oral performances indicate where poetic line breaks should occur in the written texts, which he compares to musical scores,[1] but also that words on the page should be formatted to reflect the more subtle qualities of speech used in oral performances. Tedlock explain his perspective in this way, An ethnopoetic score [or text] not only takes account of the words but silences, changes in loudness and tone of voice, the production of sound effects, and the use of gestures and props. . . . Ethnopoetics remains open to the creative side of performance, valuing features that may be rare or even unique to a particular artist or occasion.[2] In other words, Tedlock argues that by visually representing oral performance features in the written texts, ethnopoetic methods more accurately convey the aesthetic qualities of the performance than uniformly formatted text in prose paragraphs ever could. Tedlock himself defines ethnopoetics as “a decentered poetics, an attempt to hear and read the poetries of distant others, outside the Western [poetic] tradition as we know it now."[2] Dell Hymes On the other hand, Dell Hymes believes that even previously dictated texts retain significant structural patterns of poetic repetition that “are the ‘reason why’” storytellers use pauses in their oral performances (1999, 97–98).[1] Hymes’s ethnopoetic theories focus on repetitions in the grammar and syntax of transcribed and translated texts that he suggest can still be analyzed and retranslated. For example, accordingly to folklorist Barre Toelken, the poetic beauty and power of Native American texts like “The Sun's Myth” have been restored “because a dedicated anthropological folklorist and linguist, Dell Hymes, dedicated a good part of his life to resuscitating a dry, written text collected . . . by a long-dead anthropologist [i.e., Franz Boas] and stored away in a dusty volume” (2003, 122).[3] When Hymes retranslated “The Sun’s Myth,” he recovered the poetic and stylistic devices that were used in the original recorded performance, but which had been lost in the myth’s earlier translation by Franz Boas. Hymes’ ethnopoetics revolves around a conception of narratives as primarily organized in terms of formal and aesthetic—‘poetic’—patterns, not in terms of content or thematic patterns. Narrative is therefore to be seen as a form of action, of performance, and the meanings it generates are effects of performance. Narratives, seen from this perspective, are organized in lines and in groups of lines (verses, stanzas), and the organization of lines in narratives is a kind of implicit patterning that creates narrative effect. . . . Content, in other words, is an effect of the formal organization of a narrative: What there is to be told emerges out of how it is being told. (Blommaert 2007, 216)[4] Also, understanding the native language of oral performers is essential for accurate, ethnopoetic translation of their words into written texts. For example, folklorist Barre Toelken explains that Hymes’s “knowledge of the extant Chinookan languages” helped him to “notice stylistic devices that highlighted certain actions and themes and even performance styles that brought scenes into sharp focus” (2003, 122).[3] In other words, without his knowledge of the native language of oral performers, Hymes could not have placed his ethnopoetic translation of “The Sun’s Myth” within its specific Native American cultural context. Ethnopoetics: aesthetic movement or academic discipline? Various other writers and poets can be said to have contributed to the field of ethnopoetics as an aesthetic movement. For example, Tristan Tzara created calligrams and William Bright worked with the Karuk tribe to preserve their native language. However, within the fields of linguistics, folkloristics, and anthropology, ethnopoetics refers to a particular method of analyzing the linguistic features and syntactical structures of oral literature (such as poetry, myths, narratives, folk tales, ceremonial speeches, etc.) in ways that pay attention to poetic patterns within speech. Overall, then, ethnopoetic methods and theories strive to capture on the written page the unique aesthetic elements of individual cultures’ oral poetry and narrative performance traditions, or what folklorists would call their verbal lore. Classicist Steve Reece has attempted

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