The concepts of otherness, the politics of representation and voice are intersectional as one aspect can affect the outcome of another. Those that are othered in society tend to not have their voice heard, or at least not as much in comparison to those who are classified as being part of the norm. Their views, opinions and beliefs can become subjugated as a result of this, leaving them un-represented and in some cases misunderstood. For these people and groups, expressing themselves through poetry can be a way to break through this as it is a platform, other than formal positions of power for example, to be heard on. This is demonstrated through marginalised groups such as First Nations People, people of colour and the LGBTQIA+ community, which will be discussed in this essay. While otherness can lead to under or mis-representation of marginalised groups in society, poetry is a space which allows the voices of these people to be expressed, including critiquing of hegemonic and oppressive societal structures.
To consider otherness one must think about those who are othered. For certain people their voice, culture and political identity is subjugated due to hegemonic knowledges dominating societal discourse. This is what can give rise to the conception of marginalised groups which subsequently raises the question of whose voice gets to be heard and prioritised. Often, marginalised groups have less representation in the literary world or if they are represented it is done in a poor and unrelatable way. This can even lead to the problem of erasing or misconstruing people’s stories and history (Leane 42). This is where poetry can step in and provide an opportunity to claim back one’s voice and narrative. Difficult, important and powerful messages can be conveyed and highlighted through poems. For people who feel that their voice, opinion and concerns are diminished in certain spaces, whether that be due to the patriarchy or racism, poetry can create an alternate space for them to be heard. In addition, it is an avenue for critiquing certain aspects of society and the hegemonic discourse which oppresses people. Overall, the three key themes of otherness, politics of representation and voice are intersectional in relation to poetry.
Poetry written by First Nations People is very important as it allows them to have their voice heard and express their emotions regarding oppressive treatment. Literature that does not include First Nations People’s writing not only excludes them from societal discourse but eventually writes over the top of and erases their stories. Poetry and other literary works have a profound effect, influence our thoughts and “enter into and shape our national discourse” (Leane 42). Subsequently, we learn about settler colonialism and “the Aboriginal other” (Leane 42) through the lens of white settler discourse. Considering this, it is key to have First Nations People writing about their lived experiences and at the same time critiquing “the historical memory that white Australia had imprinted for years in literary works and in the people’s consciousness” (Čerče 59). Writing opens up a new medium in which First Nations People can establish and reclaim their identity and re-tell the stories that have been told about them by settlers for many years (Čerče 60). With poetry being of particular popularity among First Nations People, there are many writers whom are using this creative expression to discuss themes critically, powerfully and emotionally (Čerče 61). One of these writers is Jeanine Leane, whose poems interject and dismantle dominant European discourse and highlight the resilience and rich culture of First Nations People (Čerče 62). Her collection of poems ‘Dark Secrets: After Dreaming A.D 1987-1961’ closely comments on the social inequities faced by First Nations People due to colonialism. It produces a strong emotional effect on the reader with its intertwinement of grief, disappointment, anger and hurting (Čerče 61).
Another First Nations author who vividly brings to life growing up as a queer Indigenous woman in Australia is Alison Whittaker in her poetry debut ‘Lemons in the Chicken Wire’. In ‘Tidda // Jidgja’ she describes family bonds and hardships throughout life:
My Tidda
in the bargain rack
stretching your budget
to feed a whole mob
the hungry kids are grateful.
My tidda
in the classroom
learning about Cook
but not Pemulwuy
your nan remembers, and so will you.
(Whittaker)
Exposure to First Nation People’s texts in the education system and general life is limited with Leane remarking that “too few students [I] encounter at the tertiary level have read an Indigenous text” (Leane 44). There needs to be a shift away from stereotypical representations of First Nations People and a move towards a deep, interconnected, complex understanding which, Leane’s and Whittaker’s poetry provides.
Spoken poetry is also a powerful tool which can give rise to minorities’ voices and create discussion about systemic injustices. Slam poetry is popular in America and it can draw a lot of attention, especially when involving marginalised groups. Ultimately, slams can become a political space which can showcase expression of one’s identity (Somers-Willett 53). In particular, “marginalised gender, class, sexual, and racial identities are celebrated at poetry slams” (Somers-Willett 54). These identities “gain applause” (Somers-Willet 57) and become successful thereby granting power to those whose voices may be diminished in other, more mainstream political spaces. In other words, otherness in this circumstance is something that lends marginalised groups the chance to have their voice amplified. This is especially true for black identity as “much of the popular attention surrounding slam has gone to African American performers” (Somers-Willett 57-58). However, one has to consider the dynamics of a predominately white, middle class audience rewarding and watching these people’s poetry performances. Questions of ethics and fetishization arise when white audiences view another race as distinctly different from themselves and “cool, desirable and more real or genuine” (Somers-Willett 59). At best, it can provide a chance for white, middle class audiences to support black poets and their critiques of white privilege. At worst, it can be used as an opportunity for them to alleviate their “” white liberal guilt”” (Somers-Willett 63). Either way, it is still providing a platform for people with ‘othered’ identities to speak out, criticise and be praised for it.
Spoken poetry is used all over the world, showcasing discussions surrounding racism in places such as New Zealand too. One of the key aspects of poetry that differs from other written or verbal expression is that it breaks down the barriers of language and tone policing (Gillies 88). This policing can force some people to tell their stories and opinions in a certain way that may not suit them and shuts down their voice. Language policing is “often sexist, classist, ableist, and racist” (Gillies 88). Spoken poetry therefore allows these walls to come down and most importantly allows for critique of systems that people feel oppressed and silenced by. In Gillies (90) poem ‘New Zealand’, she out rightly asks and confronts the audience with these questions:
New Zealand, when will you realise you are racist?
Will it be once Māori have the highest suicide rate and lowest employment rate? Those things are already true so why won’t you see?
How convenient it is to not look at things ...
The poem also contains informal and more casual language such as “cuz I know your justice system is fucked, New Zealand” (Gillies 91). Overall, poetry makes room for and welcomes real, raw emotions and helps marginalised groups speak without being confined by hegemony.
It is clear that social justice issues and discrimination can be addressed through poetry. Some poets have intersectional identities such as Qwo-Li Driskill who is a Cherokee, Two-Spirit/Queer, mixed-race writer. Hir collection of poems ‘Walking with Ghosts’ is compelling and tackles confronting, yet important, themes surrounding attacks on or otherness of queer communities. The poem ‘Book of Memory’ (Driskill 78-79) states that it is “for all victims of hate crimes, and for those of us who survive”. The evocative, poignant writing in Driskill’s poetry is a testament to hir ability to use hir voice as somewhat of a call to arms and raise awareness about the struggles minority groups have suffered, and are still suffering. Again, poetry can enable people from a calibre of backgrounds and identities to speak out about “their personal experiences and their understanding of people and social systems” (Gillies 89). Driskill’s poetry, along with the authors previously mentioned, are exemplary examples of using poetry to create meaningful discourse concerning otherness, representation and the power of voice.
In conclusion, poetry plays an influential role in providing access and freedom for writers to express their identity, voice and challenge dominant discourse. Poetry written by First Nations People lays bare the problems with colonialism in Australia and allows a reclaiming of identity and connection to culture. Similarly, slam poetry or spoken poetry can make room for the voices of people of colour and those who are part of the queer community. Expressing oneself through poetry can act as defiance against oppression and increase representation of one’s identity, making it a positive tool in discussions of otherness, politics of representation and voice.
Čerče, Danica. “Dismantling of the Dominant European Discourse in the Poetry of Jeanine Leane.” GEMA Online® Journal of Language Studies, vol. 20, no. 3, 2020, pp. 58–69.
Driskill, Qwo-Li. Walking with Ghosts: Poems. Salt Publishing, 2005.
Gillies, Kyra. “Intersectional poetry: Spoken poetry as a platform for feminist thought free from tone policing.” Women’s Studies Journal, vol. 31, 2017, pp. 88-94.
Leane, Jeanine. "OTHER PEOPLES' STORIES." Overland, no.225, 2016, pp. 41-45.
Somers-Willett, S.B.A. “Slam poetry and the cultural politics of performing identity.” The Journal of the Midwest Modern Language Association, vol. 38, 2005, pp. 51-73.
Whittaker, Alison. Lemons in the Chicken Wire. Magabala Books, 2019.