Search Results (14)

Lion Grove was established in 1342 during the Yuan Dynasty and is one of the four most famous classical gardens in China. It was recognized as a UNESCO World Heritage Site in 2000. Although Lion Grove is now regarded as a private garden representing the culture of Confucian scholars, it was originally a Chan Buddhist garden during its inception in the Yuan Dynasty. This study examines the natural landscapes of Lion Grove at its inception, focusing on four main aspects: the philosophy of nature, planning intent, creators, and the philosophical ideas they represent. Key findings include the following: Firstly, Lion Grove’s attitude towards nature is rooted in China’s indigenous culture, making it both a physical expression of Chan philosophy and a space reflecting the scholar–bureaucrats’ vision of an ideal landscape. Secondly, from the perspective of landscape planning, the Lion Grove of the Yuan Dynasty placed greater emphasis on natural elements compared to its modern counterpart, with rock landscapes serving as the core element throughout the garden. Thirdly, hermitic philosophy emerged as a significant cultural theme alongside Chan Buddhism during the Yuan Dynasty. Fourthly, the landscape elements of Lion Grove symbolize Chan Buddhist wisdom and the hermit’s idealism, with poetry playing a key role in conveying these cultural ideals, preserving the site’s early philosophical significance. Full article

Oral narratives play a crucial role in shaping the historical consciousness of Indigenous communities in Northeast India, where history writing is a relatively recent phenomenon. Among the Mizos, Nagas, Khasis, Kuki-Chins, and other Indigenous tribes of Northeast India, including the Bodos, the Garos, the Dimasas, or the Karbis of Assam, much of what is considered written history emerged during British colonial rule. Native historians later continued it in postcolonial India. However, written history, especially when based on fragmented colonial records, includes interpretive gaps. In such contexts, oral traditions provide complementary, and frequently, more authoritative frameworks rooted in cultural memory and collective transmission. Oral narratives, including ritual poetry, folk songs, myths, and folktales, serve as vital mediums for reconstructing the past. Scholars such as Jan Vansina view oral narratives as essential for understanding the histories of societies without written records, while Paul Thompson sees them as both a discovery and a recovery of cultural memory. Romila Thapar argues that narratives become indicative of perspectives and conditions in societies of the past, functioning as a palimpsest with multiple layers of meaning accruing over generations as they are recreated or reiterated over time. The folk narratives of the Mizos and Angami Nagas not only recount their origins and historical migrations, but also map significant geographical and cultural landmarks, such as Khezakheno and Lungterok in Nagaland, Rounglevaisuo in Manipur, and Chhinlung or Rih Dil on the Mizoram–Myanmar border. These narratives constitute a cultural understanding of the past, aligning with Greg Dening’s concept of “public knowledge of the past,” which is “culturally shared.” Additionally, as Linda Tuhiwai Smith posits, such stories, as embodiments of the past, and of socio-cultural practices of communities, create spaces of resistance and reappropriation of Indigenous identities even as they reiterate the marginalization of these communities. This paper deploys these ideas to examine how oral narratives can be used to decolonize grand narratives of history, enabling Indigenous peoples, such as the Mizos and the Angamis in North East India, to reaffirm their positionalities within the postcolonial nation. Full article

“Know that in place of a heart I carry a tongue,” writes the unnamed poetic speaker of Mexican poet Balam Rodrigo’s Central American Book of the Dead. This documentary poetic text alternates between the voices of Central American immigrants journeying north and a subtle yet bold revision of Fray Bartolomé de las Casas’s A Brief Account of the Destruction of the Indies, with some words from the Friar’s 1552 text replaced by other words that reflect the realities of twenty-first century immigrants traveling north. Interspersed with de la Casas’s texts are persona poems in which we are invited to listen to the ghosts of immigrants who have suffered tragic deaths. This essay explores the ways that, crossing borders between time and space while drawing strength from his Christian faith, Rodrigo resists the erasure of Indigenous peoples, honors their journeys, and invites readers into solidarity. Full article

Metamorphosis is central to Indigenous Amazonian cosmologies, which often posit a period in the past when transformations from one being into another proliferated. This time gave way to the relative stability of the present that always runs the risk of going back to an ongoing process of transmutation. In this article, I highlight the significance of plants in Amerindian ontologies of becoming as catalysts of metamorphic movements through their entheogenic effects, through their curative properties and as the ancestors and teachers of humans. Beyond being the facilitators of other entities’ transformations and the virtual grandparents of all beings, plants are also masters of metamorphosis, displaying much more plasticity in adapting to their surroundings than animals. I argue that contemporary Amazonian women’s poetry translates the multiple transformations of vegetal life into literary form. In many Amazonian Indigenous communities, women have traditionally been the ones responsible for plant cultivation, while, in Western societies, women are often associated to certain parts of plants, such as flowers, and to nature as a whole. In the article, I analyze the poetry of Colombian author Anastasia Candre Yamacuri (1962–2014) and Peruvian writer Ana Varela Tafur (1963-), who emphasize the metamorphic potential of plants and the ontology of becoming at play in Amazonia. I contend that women’s writing on plants reflects evolving views on both plants’ and women’s roles in Amazonian societies, marked by rapid social transformation and environmental destruction. Full article

Poetry is an ideal tool to convey participant voices in social research as it compresses the meaning and essence of participant narratives through using evocative sensory words that illuminate nuances of lived experience. Expressive poetics is an emerging arts-based research method that facilitates a multi-sensory and relational analytical process. In this article, the authors describe and illustrate an adapted expressive poetics research method through highlighting the experiences of Two Spirit, lesbian, gay, transgender, or queer (2SLGBTQ) Indigenous youth that participated in a culture-centered HIV prevention curriculum. It is our hope that through creating dialogic poems, we deepen and nuance the salient experiences of participant youth, acknowledge our relationship through adding our creative response to their calls for care, and create a model for others to engage in a similar process. In a time when 2SLGBTQ bodies are increasingly targeted and policed, it is more important than ever to center and amplify these voices. Full article

The loss and damage transpiring because of anthropogenic climate change is a confronting reality, especially for frontline communities of the Pacific Islands. Understandings and assessments of loss and damage often fall short on coverage of intangible and noneconomic dimensions, such as losses to culture, place, Indigenous knowledge, and biodiversity, among others. In responding to this knowledge deficit, this paper turns its attention to the burgeoning Pacifika arts community because creative and cultural expressions have been critical avenues for sharing experiences, navigating loss, and exploring grief throughout history, including in the context of climate-driven loss. We analyse a series of Pacifika spoken, written, and visual items (n = 44), including visual art, poetry, song, film, documentary, and theatre, to identify the key categories and themes of noneconomic loss and damage (NELD) that emerge, better understand their nature, indicate their levels of prominence, reflect on them in relation to existing NELD frameworks and categories, and identify strategies for processing and coping. Our findings add to existing understandings of losses to territory, cultural heritage, human mobility, and health while also putting forward identity and agency as additional prominent NELD types. We emphasise that loss occurs within an interconnected and complex system that is centred on the critical relationships between people and their land, and greater attention must be paid to this interconnectivity as the foundation of identity and wellbeing. These perspectives enable stakeholders to better integrate experiences of NELD into future planning efforts so that they are not skewed (i.e., considering only economic loss and damage) or discounting people’s experiences. This will be critical for holistically building greater resilience and for communication in international fora and climate negotiations. Full article

Musing with Petric Bodies, Hanging on to Dear Life is an essay that critically reflects on the live performance work “Becoming Boulder”, which occurred on 31 January 2015 as part of the Science Communication Art New Zealand Intercreate Symposium at New Plymouth, New Zealand. I performed a contact improvisation with a large andesite boulder, in a king tide, on a stormy day, at a culturally significant place for an extended period of time. Written using the present tense and as a dialogical text, the essay employs ekphrasis and practices geo-poetry to colour the scene and critically contextualise the potentials and limits of empathetic engagement with another form of organic assemblage. Complexities that come with being a foreigner or immigrant, well-versed in contemporary New Materialist discourse, and dwelling in a land rich with indigenous knowledge are voiced amongst gestures to get close to, identify with, and perform as an ancient, far from dead weight, body. While musing and critically contextualising on the potentials and limits of empathetic engagements, the essay seeks to exemplify the value of material situated learning that occurs in the space of making or doing of durational, experimental, site-responsive performance works. Full article

The links between spirituality and eudaimonic well-being are examined, beginning with a look at theoretical issues as to whether spirituality is best construed as part of well-being, or as a possible influence on well-being. A brief review of scientific findings from the MIDUS study linking religion and spirituality to well-being and other outcomes is then provided to show recent empirical work on these topics. Suggestions for future work are also provided. The third section is forward-thinking and addresses the power of nature to nurture spirituality and well-being, beginning with a look at how current research has linked nature to human flourishing. Issues of spirituality are rarely mentioned in this literature, despite evidence that nature has long been a source of inspiration in poetry, literature, art, and music. These works reveal that the natural world speaks to the human soul. To explore such ideas, parts of Jungian psychology are revisited: the soul’s longing for poetry, myth, and metaphor; the importance of animism, which sees nature as a field inhabited by spirit; and the devaluing of ancient cultures. The final section considers the wisdom of the indigenous peoples who saw spirit in everything. Their inputs, exemplified with “Two-Eyed Seeing”, offer new visions for thinking about the interplay of spirituality, well-being, and the natural world. Full article

Takatāpui (Māori LGBTIQ+) challenge static notions of relationality and belonging or whanaungatanga for Māori. Explorations of Māori and LGBTIQ+ identity can often polarise experiences of family as either nurturing spaces or sites comprised of actors of spiritual and physical violence. However, such framing ignores the ways in which cultural practices for establishing relationality for takatāpui extend beyond dichotomies of disconnection or connection within families and into spaces of new potential. In this paper we outline a bricoleur research praxis rooted in Māori ways of being which underpins the research. We engage in photo-poetry as an analytic tool, constructing poetry from our interviews with Waimirirangi, a twenty-year-old whakawahine (Māori term for trans woman or trans femme) and bring them into conversation with the images she provided as part of the broader research project. As the interface between her ancestors and future generations, Waimirirangi demonstrates the potentiality of whanaungatanga as a restorative practice for enhancing takatāpui wellbeing. Full article

Artist and historian of the Atakapa-Ishak Nation, Jeffery Darensbourg’s 2020 film with Fernando López features poetry in Ishakkoy, an indigenous language from what is now southwest Louisiana and southeast Texas, composed during an artist residency at A Studio in the Woods. The companion essay shares some of the process of composing creative works in this language, and especially of writing centos, also known as patchwork or collage poems, during COVID-19 sequestration. Full article

This essay will explore the complex relationship between Pacific Islander Literature and the “Blue Humanities,” navigation traditions and canoe aesthetics, and Chamoru migration and diaspora. First, I will chart the history, theory, and praxis of Pacific voyaging traditions; the colonial history of restricting indigenous mobilities; and the decolonial acts of seafaring revitalization in the Pacific (with a specific focus on Guam). Then, I will examine the representation of seafaring and the ocean-going vessel (the canoe) as powerful symbols of Pacific migration and diasporic cultural identity in the context of what Elizabeth DeLoughrey termed, “narrative maritime legacies” (2007). Lastly, I will conduct a close-reading of the avant-garde poetry collection, A Bell Made of Stones (2013), by Chamoru writer Lehua Taitano. As I will show, Taitano writes about the ocean and navigation in order to address the history and traumas of Chamoru migration and diaspora. In terms of poetic form, I will argue that Taitano’s experimentation with typography and visual poetry embodies Chamoru outrigger design aesthetics and navigational techniques. In the end, I will show how a “Blue Humanities” approach to reading Pacific Islander literature highlights how the “New Oceania” is a profound space of Pacific migration and diasporic identity. Full article

Scholarship on Niger Delta ecopoetry has concentrated on the economic, socio-political and cultural implications of eco-degradation in the oil-rich Niger Delta region of the South-South in Nigeria, but falls short of addressing the trope of eco-alienation, the sense of separation between people and nature, which seems to be a significant idea in Niger Delta ecopoetics. For sure, literary studies in particular and the Humanities at large have shown considerable interest in the concept of the Anthropocene and the resultant eco-alienation which has dominated contemporary global ecopoetics since the 18th century. In the age of the Anthropocene, human beings deploy their exceptional capabilities to alter nature and its essence, including the ecosystem, which invariably leads to eco-alienation, a sense of breach in the relationship between people and nature. For the Humanities, if this Anthropocentric positioning of humans has brought socio-economic advancement to humans, it has equally eroded human values. This paper thus attempts to show that the anthropocentric positioning of humans at the center of the universe, with its resultant hyper-capitalist greed, is the premise in the discussion of eco-alienation in Tanure Ojaide’s Delta Blues and Home Songs (1998) and Nnimmo Bassey’s We Thought It Was Oil but It Was Blood (2002). Arguing that both poetry collections articulate the feeling of disconnect between the inhabitants of the Niger Delta region and the oil wealth in their community, the paper strives to demonstrate that the Niger Delta indigenes, as a result, have been compelled to perceive the oil environment no longer as a source of improved life but as a metaphor for death. Relying on ecocritical discursive strategies, and seeking to further foreground the implication of the Anthropocene in the conception of eco-alienation, the paper demonstrates how poetry, as a humanistic discipline, lives up to its promise as a powerful medium for interrogating the trope of eco-estrangement both in contemporary Niger Delta ecopoetry and in global eco-discourse. Full article

This article examines how Native places are made, named, and reconstructed after colonization through storytelling. Storying the land is a process whereby the land is invested with the moral and spiritual perspectives specific to Native American communities. As seen in the oral traditions and written literature of Native American storytellers and authors, the voices of indigenous people retrace and remap cartographies for the land after colonization through storytelling. This article shows that the Americas were storied by Native American communities long before colonial contact beginning in the fifteenth century and demonstrates how the land continues to be storied in the present as a method of decolonization and cultural survivance. The article examines manifestations of the oral tradition in multiple forms, including poetry, interviews, fiction, photography, and film, to demonstrate that the land itself, through storytelling, becomes a repository of the oral tradition. The article investigates oral narratives from precontact and postcolonial time periods and across numerous nations and geographical regions in the Americas, including stories from the Mayan Popol Vuh; Algonkian; Western Apache; Hopi; Haudenosaunee/Iroquois; and Laguna Pueblo stories; and the contemporary poetry and fiction of Joy Harjo (Mvskoke/Creek Nation) and Leslie Marmon Silko (Laguna Pueblo). Full article

Leaf instruments have occupied a post-European contact role in constituting Australian societal networks, and their epistemologies reflect native/exotic binaries in the species selected by Indigenous and non-Indigenous musicians respectively. Accordingly, this essay examines some musical applications of native plant populations in the construction of arboreally-based cultural heritages and social traditions in the southeastern Aboriginal societies. In a broad characterisation of the practices of Indigenous leaf players (“leafists”), it extends the actor-network framework of “reaching out to a plant” established by John C. Ryan in 2012. When leafists play tunes on plants—either at their own source, or on leaves intentionally plucked for performance—music furnishes an intimate and vital part of their reflection to and from the nonhuman world. The author conceptualises eucalypt leaf instruments (“gumleaves”) as actants and iconic sensors of place, providing further evidence for their role as conduits between land and people in some cultural blendings and positionings with art, drama, and poetry. This interrogation of confluences between musicians and Australian land and plants works towards more nuanced understandings of the complex interlinked systems of music, ecology, nature, and societies. Full article