評(píng)論
打印
Books & arts
文藝版塊
Les slammeurs
詩喃者
Rhyme for your life
讓生活充滿韻律
Young people put their anger and hopes into spoken poetry
年輕人把他們的憤怒和希望化作口語詩
In a small, dimly lit room one recent Saturday morning, a group of Congolese slammers are chanting about politics and art, poverty and sex. They tower over the seated audience, gesticulating wildly. The listeners laugh, jeer and occasionally join in by repeating refrains or clapping. This is exactly how slam is meant to be. Marc Smith, an American former builder who hosted the world’s first slam event in Chicago in 1984, would be impressed.
最近一個(gè)星期六的早晨，一群剛果詩喃者在一間昏暗狹小的房間里吟誦著政治與藝術(shù)、貧窮與性活動(dòng)。他們高高站在坐著的觀眾面前，瘋狂地打著手勢(shì)。聽眾們不時(shí)地大笑或嘲笑，偶爾也會(huì)通過重復(fù)詩句或鼓掌的方式加入進(jìn)來。這正是詩喃的本意。1984年在芝加哥舉行了世界首場(chǎng)詩喃賽事的美國前建筑商馬克·史密斯對(duì)此印象深刻。
Mr Smith promoted slam, a form of spoken-word poetry, as a way of liberating rhymes from the page and making them accessible. Like rappers, slammers do battle, but they are judged by the audience. As well as giving marks out of ten at the end of performances, attendees express their opinions by cheering or heckling. Slam reached Goma, a city of some 1m people in embattled eastern Congo, five years ago when a handful of young men began watching YouTube videos of slammers across the world. They were inspired by the raw, uncensored rhymes of artists such as Grand Corps Malade (Large Sick Body), a tall French slammer with spinal injuries who writes about racism and loneliness in suburban Paris.
史密斯先生提倡通過詩喃（一種口語詩的形式）將韻文從書頁中解放出來并使之普及。就像說唱歌手之間會(huì)進(jìn)行較量一樣，詩喃者也會(huì)斗詩，但他們的輸贏是由觀眾來評(píng)判的。除了在表演結(jié)束時(shí)按十分制打分外，參與的觀眾還會(huì)通過歡呼或起哄的方式表達(dá)自己的觀點(diǎn)。詩喃在五年前到達(dá)了戈馬——一座有大約100萬人口、位于剛果東部的危機(jī)四伏的城市——當(dāng)時(shí)有一些年輕人開始在YouTube上觀看世界各地的詩喃者的視頻。他們深受Grand Corps Malade（高大病體）等藝術(shù)家們未經(jīng)刪減、原汁原味的押韻所鼓舞，Grand Corps Malade是法國的一個(gè)高個(gè)子詩喃者，他常創(chuàng)作有關(guān)巴黎郊區(qū)的種族主義和孤獨(dú)的詩喃。
“There was a lot of appetite for slam here,” says Ben Kamuntu, one of Goma’s early slammers. “Young people wanted to break away from silence, we wanted to express ourselves.” With its sprawling tin-roofed houses and unpaved sidestreets, Goma is a far cry from Chicago’s skyscrapers, but the same slam fervour spread among its youth as it did when Mr Smith first promoted the idea in America. Soon, more than a hundred people were meeting to practise, clubbing together to rent a small house where they could slam. Before the pandemic hit, the best exponents put on shows in Goma’s bars and restaurants.
戈馬的詩喃者元老本·卡蒙圖說，“這里有很多人對(duì)詩喃有濃厚的興趣。”“年輕人想打破沉默，我們想表達(dá)自己。”戈馬有著鋪天蓋地的鐵皮屋頂房屋和未鋪砌的小巷，與遍地摩天大樓的芝加哥相去甚遠(yuǎn)，但戈馬年輕人對(duì)詩喃的狂熱卻與史密斯先生第一次在美國宣揚(yáng)這一想法時(shí)的情況毫無二致。很快，一百多個(gè)戈馬人聚集在一起練習(xí)，他們共同租賃了一間可以練習(xí)詩喃的小房子。在疫情來襲之前，最優(yōu)秀的詩喃者在戈馬的酒吧和餐館舉行了演出。
When one slammer, a slight 22-year-old called Rita Zaburi, was asked by a friend why she spent so much time alone in her room, she decided to respond in verse. On the morning of your correspondent’s visit, she stands up, shyly at first, and slams about what it means to be a poet. “It is not about being a sorcerer, healing wounds with the magic of your creativity,” she begins in French. “It is about denouncing the evils that swallow our society.”
當(dāng)一個(gè)名叫麗塔·扎布里的22歲的詩喃者被一個(gè)朋友問及她獨(dú)自在房間里呆很長時(shí)間的原因時(shí)，她決定用詩喃來回答。在《經(jīng)濟(jì)學(xué)人》記者來訪的那天早上，她的表現(xiàn)也可圈可點(diǎn)，她剛開始還很羞怯，后來就展示了有關(guān)“當(dāng)詩人意味著什么”的詩喃。她用法語開始說，“當(dāng)詩人與當(dāng)巫師不同，詩人用創(chuàng)造力的魔力治愈創(chuàng)傷，詩人痛斥吞噬社會(huì)的罪惡。”
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