Poema para Miércoles de Ceniza / Ash Wednesday Poem

Poema para Miércoles de Ceniza  / Ash Wednesday Poem

Once, in winter,                                                   Una vez, durante el invierno,

I stood,                                                                 Yo estaba de pie,

White flakes brushing my face.                       Copos blancos rozando la cara.

With white fingers,                                          Con dedos pálidos,

I waited with the others.                                 Esperé con los otros.

We shivered on the steps,                           Temblamos en los escalones,

Stuck out our tongues                             Sacamos la lengua

To catch snowflakes                            Para agarrar los copos de nieve

So cold they would burn.               Tan frío que nos quemaban.

Soon the big doors opened             Pronto abrieron las puertas grandes

On smoke and candles                       Al humo y a los cirios

And a cold thumb brushed                     Y un pulgar frío me rozó

My forehead with a cross of ashes.                La frente con una cruz de cenizas.

“Dust to Dust” he muttered                       “El Polvo al Polvo,” masculló

While snowflakes                                  Mientras los copos de nieve

Melted in my hair                            Se derritieron en mi cabello.

 

 

*

( Autor anónimo /Anonymous )

Traducción en español:  Alexander Best


Mardi Gras: “I’m walkin’ to New Orleans…”

 

 “Walkin’ to New Orleans”

by Bobby Charles Guidry, written for

“Fats” Domino, Jr., early-rock’n’roll pianist and singer

(born 1928, New Orleans, Louisiana, USA)

_

 

It’s time I’m walkin’ to New Orleans

I’m walkin’ to New Orleans

I’m going to need two pair of shoes

When I get through walkin’ to you

When I get back to New Orleans

*

I’ve got my suitcase in my hand

Now, ain’t that a shame

I’m leavin’ here today

Yes, I’m goin’ back home to stay

Yes, I’m walkin’ to New Orleans

*

You used to be my honey

Till you spent all my money

No use for you to cry

I’ll see you bye and bye

Cause I’m walkin’ to New Orleans

*

I’ve got no time for talkin’

I’ve got to keep on walkin’

New Orleans is my home

That’s the reason why I’m goin’

Yes, I’m walkin’ to New Orleans

I’m walkin’ to New Orleans

I’m walkin’ to New Orleans

I’m walkin’ to New Orleans…


Andre Bagoo: Carnival Monday in Trinidad

Andre Bagoo

“Carnival”

 

 

You are not my mother so you hold

my hand tighter than you should.

The wind blows my Indian feather,

And throws red dust into my face.

This is supposed to be fun, but when

We reach the Savannah stage I am terrified.

Your son, my half brother, is cold

He does not chip to the dollar wine.

This Kiddies’ Carnival experiment

Has gone awry. I’ve lost my axe.

You say you have to leave me here

It is five o’clock and Panorama is tonight.

You are going and my father is going

But my mother is staying home and

I am staying home to wash all this

Glitter and Vaseline off my small body.

But somewhere near that Savannah stage

The crowds crush my black cardboard axe.

 

_____

 

Andre Bagoo is a journalist and poet

from Trinidad, West.Indies.

He was born in 1983.

The poem above gives us Trinidad Carnival

through a child’s eyes, and will be found in

Bagoo’s collection of poems, “Trick Vessels”,

to be published by Shearsman in March 2012.

 

_____

Glossary:

Savannah:   Queen’s Park Savannah, huge park in Port-of-Spain;

central festivities site for Carnival – Parade of Bands,

Crowning of Calypso Monarchs, etc.

chip – to step or shuffle in time to the music

dollar wine – a reference to the 1991 calypso hit by Colin Lucas,

“Dollar Wine”

Panorama:  Carnival competition for Best

Pan Orchestra (i.e. Steel Band)

_____


Ataulfo Alves: “In a masquerade of Joy I hid my Sadness…”

Ataulfo Alves  (Sambista brasileiro, 1906-1969)

“Ilusão de carnaval”

.

Mascarado de alegria

Escondi minha tristeza

Terminada a folia

Sou mais triste com certeza

Ilusão de carnaval

Enganei somente a mim

Sem pensar que afinal

Carnaval também tem fim.

*

Ataulfo Alves 

(Brazilian Samba composer, 1906-1969)

“Carnival Illusion”

.

In a masquerade of Joy

I hid my Sadness.

Revelry done,

More sad than ever

Am I…

.

You Illusion – oh Carnival !

I merely tricked myself

Without thinking that,

After all,

Carnival too comes to an end.

 

.

Translation from Portuguese:

Alexander Best


Nigel Darbasie: “Empires of Imagination”

_____

 

“Monday Jump-Up”

 

 

Is ol’ mas’ one carnival,

the best we could have fashioned

from our fathers’ discarded clothes.

In fat-pants and suspenders,

felt hats at our eyebrows,

we went to the railway station,

jammin’ steelband a cappella

as we headed for the city.

*

Almost everyone was on the hadj

to Queen’s Park Savannah in Port-of-Spain.

Royalty from unknown civilizations,

in silk and lamé, hobnobbed

with families of spectators

whose baskets filled our carriage

with aromas of peas and rice, and curry.

*

Outside the city terminus

a pack of half-naked devils descended.

Skins oily blue, and ochre.

Horned foreheads.  Upturned tails

bobbing in wicked waist motion.

“Pay de devil!  Pay de devil!”  they chanted,

hustling purgatory dues from the crowd.

*

An ol’ mas’ band came along:

women in men’s clothes,

men in diapers, sucking carnival formula

from nippled Vat 19 and Old Oak rum bottles.

We revelled with them awhile

before jumpin’ behind giant butterflies

all the way to the Savannah.

*

There, at the confluence of worlds,

fantastic creatures swarmed overhead.

And down the streets,

from the empires of imagination,

flowed waves of mortal souls

dancing in the sunlight.

 

_____

 

Nigel Darbasie lives in Edmonton, Alberta, Canada.

He emigrated from Trinidad, West Indies, in 1969.

This poem, from his collection “A Map of the Island”,

brings us a nostalgic memory of Carnival in the 1960s

from the point-of-view of a lively, observant boy.

“Monday Jump-Up” is here used by permission of

The University of Alberta Press.

*

Editor’s note:

This year, 2012, today – February 20th – is the

“Monday” in the title of Darbasie’s poem:

a.k.a. J’Ouvert  (Opening Day) of Trinidad Carnival.

_____


Djavan: “Face of the Indian” / “Cara de Índio”

Letra da canção de

cantor e compositor afrobrasileiro

Djavan (nasce 1949)

“Cara de Índio”(1978)

 

 

Índio cara pálida,

cara de índio.

Índio cara pálida,

cara de índio.

Sua ação é válida, meu caro índio.

Sua ação é válida, válida ao índio.

Nessa terra tudo dá,

terra de índio.

Nessa terra tudo dá,

não para o índio.

Quando alguém puder plantar,

quem sabe índio.

Quando alguém puder plantar,

não é índio.

Índio quer se nomear,

nome de índio.

Índio quer se nomear,

duvido índio.

Isso pode demorar,

te cuida índio.

Isso pode demorar,

coisa de índio.

*

Índio sua pipoca,

tá pouca índio.

Índio quer pipoca,

te toca índio.

Se o índio se tocar,

touca de índio.

Se o índio toca,

não chove índio.

Se quer abrir a boca,

pra sorrir índio.

Se quer abrir a boca,

na toca índio.

*

A minha também tá pouca,

cota de índio.

Apesar da minha roupa,

também sou índio.

 

_____

 

Djavan

(Brazilian songwriter, born 1949)

“The Indian Face” (1978)

 

 

Indio pale-face

Indian face.

Pale-face Indio

Your action is just, my dear Indio.

Your action is valid, right for the Indian.

In that land everything grows

– the Indian’s land.

In that land everything grows

– but not for the Indian.

When someone can plant,

who knows? The Indio.

When someone inspires,

Isn’t it the Indio?

An Indian wants to call himself

an Indian name.

Indio wants to call himself himself

– I doubt it, Indio

– that might take time – take care,

That might take time,

The Indian thing.

*

Indio gets just

A little “popcorn”.

He wants “popcorn” too

– it’s your turn, Indio.

If the Indian touches his head

it doesn’t rain.

If he wants to open his mouth

– Smile, Indio.

If he wants to open his mouth,

Don’t touch him.

*

I also have little,

An Indian’s share.

Despite my clothes,

I’m an Indio, too.

 

_____


Jorge Ben Jor: Day of the Indian / Dia de Índio

_____

Jorge Ben Jor (nasce 1942)

“Curumin chama cunhãtã que eu vou contar

(Todo dia era Dia de Índio)”  (1981)

Hey  Hey  Hey!

Hey  Hey  Hey!

Jês, Kariris, Karajás, Tukanos, Caraíbas,

Makus, Nambikwaras, Tupis, Bororós,

Guaranis, Kaiowa, Ñandeva, YemiKruia

Yanomá, Waurá, Kamayurá, Iawalapiti,

Txikão, Txu-Karramãe, Xokren, Xikrin,

Krahô, Ramkokamenkrá, Suyá !

*

Curumim chama cunhatã que eu vou contar

Cunhatã chama curumim que eu vou contar

Curumim, cunhatã

Cunhatã, curumim

*

Antes que os homens aqui pisassem

Nas ricas e férteis terraes brazilis

Que eram povoadas e amadas por milhões de índios

Reais donos felizes

Da terra do pau-brasil

Pois todo dia, toda hora, era dia de índio

Pois todo dia, toda hora, era dia de índio

*

Mas agora eles só têm um dia

O dia dezenove de abril…

Amantes da pureza e da natureza

Eles são de verdade incapazes

De maltratarem as fêmeas

Ou de poluir o rio, o céu e o mar

Protegendo o equilíbrio ecológico

Da terra, fauna e flora.

Pois na sua história, o índio

É o exemplo mais puro

Mais perfeito, mais belo

Junto da harmonia da fraternidade.

É da alegria,

Da alegria de viver

Da alegria de amar.

Mas no entanto agora

O seu canto de guerra

É um choro de uma raça inocente…

Que já foi muito contente

Pois antigamente

Todo dia, toda hora, era dia de índio.

*

Jês, Kariris, Karajás, Tukanos, Caraíbas,

Makus, Nambikwaras, Tupis, Bororós,

Guaranis, Kaiowa, Ñandeva, YemiKruia

Yanomá, Waurá, Kamayurá, Iawalapiti, Suyá,

Txikão, Txu-Karramãe, Xokren, Xikrin, Krahô,

Ramkokamenkrá, Suyá !

*

Todo dia, toda hora, era dia de índio…..

Curumim, cunhatã / Hey! Hey! Hey!

Hey! Hey! Hey! / Cunhatã, curumim…..

_____

Jorge Ben Jor

“Every day, every hour, was the Day of the Indian”

Hey  Hey  Hey!

Hey  Hey  Hey!

Jês, Kariris, Karajás, Tukanos, Caraíbas,

Makus, Nambikwaras, Tupis, Bororós,

Guaranis, Kaiowa, Ñandeva, YemiKruia

Yanomá, Waurá, Kamayurá, Iawalapiti,

Suyá, Txikão, Txu-Karramãe, Xokren, Xikrin,

Krahô, Ramkokamenkrá, Suyá !

*

Call:   “Curumim cunhatã” – I’m going to tell it.

Cry:   “Cunhatã curumim” is how I’m going to tell it.

Curumim, cunhatã

Cunhatã, curumim

*

Before people trod here

Upon this rich and fertile land of Brazil

It was populated and loved by millions of Indians,

Happy moneyless owners

Of this land of “Brazil-wood”.

Back then, every day, every hour, was the Day of the Indian.

But now they have only one day,

The 19th of April…

*

Lovers of purity, of nature,

They knew truth, incapable of

Mistreating Woman

Or of polluting river, sky and sea,

Protecting the ecological equilibrium

Of earth, flora and fauna.

And so, in history,  the Indio

Is an exemplar most pure,

Perfect and beautiful.

Together in the harmony of humanity

He gives joy – joy of life,  joy of love.

Now, though, theirs is a war song – and it’s

The cry of an innocent race…

In olden times they were most happy because

Every day, every hour, was the Day of the Indian.

*

Jês, Kariris, Karajás, Tukanos, Caraíbas,

Makus, Nambikwaras, Tupis, Bororós,

Guaranis, Kaiowa, Ñandeva, YemiKruia

Yanomá, Waurá, Kamayurá, Iawalapiti,

Txikão, Txu-Karramãe, Xokren, Xikrin,

Krahô, Ramkokamenkrá, Suyá !

*

Every day, every hour, was the Day of the Indian.

Curumim, cunhatã / Hey! Hey! Hey!

Hey! Hey! Hey! / Cunhatã, curumim…..

_____

Glossary:

Jês, Kariris, Karajás, Tukanos, Caraíbas, etc.,

–  Ben gives us a list of names of the

Indian/Indigenous/Native Peoples of Brazil

The 19th of April – throughout Latin and South America,

this day – Dia Americano del Indio – draws attention to the

cultures, struggles and progress of Indigenous Peoples;

initiated in 1940 at Pátzcuaro, México, during the first

“Congreso Indigenista Interamericano”

/ InterAmerican Indigenous Congress


Jorge Ben Jor: “Em fevereiro tem carnaval…” / “In February there’s Carnaval…”

 

Jorge Ben Jor (born 1942)

“Tropical Country” (1969)

 

 

I live

In a tropical country

Blessed by God

And beautiful by nature

( and oh what beauty )

In February (February)

There’s Carnival (there’s Carnival)

I’ve got a VW “Bug” and a guitar

I’m from Flamengo*, and I’ve got a black girl

called Teresa!

( Samba, baby,

Samba, baby! )

*

I’m a young boy of average

intelligence (oh yeah)

But even so I’m happy

Because I don’t owe anything to anyone

(oh yeah)

Because I’m happy, yeah happy

with me!

*

I may not be a band-leader

(oh yeah)

But at home

all my friends

my buddies

respect me (oh yeah)

That’s what it means – being nice,

That’s the power of something extra

– and the joy-oy-oy-oy!

*

I live

In a tropical country

Blessed by God

And beautiful by nature

(and oh what beauty)

In February (in February)

There’s Carnival (There’s Carnival)

I’ve got a VW “Bug” and a guitar

I’m from Flamengo, and I’ve got a black girl

called Teresa!

( Samba, baby!

Samba, baby! )

*

Got a “Bug”,

a GUIT-ar,

Me, I’m Flamengan,

with a black gal called

Treeze… – from my Brazil!

 

 

 

* Flamengo – a neighbourhood in Rio de Janeiro, Brazil

 

_____

 

Jorge Ben Jor (nasce 1942)

“Pais Tropical” (1969)

 

 

Moro num país tropical,

abençoado por Deus

E bonito por natureza

(mas que beleza)

Em fevereiro (em fevereiro)

Tem carnaval (tem carnaval)

Tenho um fusca e um violão

Sou Flamengo

Tenho uma nêga

Chamada Tereza!

( “Sambaby!”

“Sambaby!” )

*

Sou um menino de mentalidade mediana

Pois é, mas assim mesmo sou feliz da vida

Pois eu não devo nada a ninguém

Pois é, pois eu sou feliz

Muito feliz comigo mesmo

*

Moro num país tropical,

abençoado por Deus

E bonito por natureza

(mas que beleza)

Em fevereiro (em fevereiro)

Tem carnaval (tem carnaval)

Tenho um fusca e um violão

Sou Flamengo

Tenho uma nêga

Chamada Tereza!

( “Sambaby!”

“Sambaby!” )

*

Eu posso não ser um “band-leader”

Pois é, mas assim mesmo lá em casa

Todos meus amigos,

meus camaradinhas me respeitam.

Pois é, essa é a razão da simpatia

Do poder, do algo mais e da alegria-a-a-a!

Tê um fu, um violão,

Sou Flamê

Tê uma nê

Chamá Terê… – do meu Brasil!

 

 

 

_____

 

Editor’s note:

Today is the opening day of Carnival 2012 in Rio de Janeiro,

and this song from the 1960s with its zest for life captures the

feeling of being young and alive,  Brazilian and Black!


This Passionate Earth: “To Patrice Lumumba” by Roberto Armijo

ZP_Portrait of Patrice Lumumba by Bernard Safran

Roberto Armijo

(El Salvador, 1937-1997)

“To Patrice Lumumba”

.

This passionate earth.

Earth in love with the bare feet of the antelope’s nomadic gallop.

Earth exploded into reeds ants fountains and geraniums.

Tortured earth climbing in the wild vine that formed your flesh,

Your tongue, your nightingale breast, your assassinated whistle.

You came from the dark sorrow that

bled in the deep African night, you came from a village,

And you wanted the world of tomorrow to also be for Black people.

You didn’t want them extinguished between manure and the dark insides of mines.

You told your brothers that beyond sea, sky, and trees

Humanity was already tilling its path, destiny, and hope.

You knew it was necessary to open their eyes,

Extend their hands and ignite them with joy,

But those who hated your voice,

Those who shook and hovered around your shadow,

Those who assassinated you

Distort your death…your silence:

They pulled out your murmuring heart

And drowned the dove asleep in your blood

But they couldn’t cut off your clear and wild voice,

And since then you haunt their dreams

And the fearful search for you in your apartment’s darkest places

So as not to hear the rumour spread by your songs and poems

That sing in every young breast, on every separate untamed lip

And is freed, trembling,

To arrive each morning at the markets where the partitioned earth surges with

Flowers, vegetables and fruits,

As your voice travels over cities remote regions, wilderness,

Reaching jungles where the wild leopard, the rhinoceros and

The birds are sheltered below the shadow of trees.

Today more than ever they hate you, cannot stand

Hearing your name:

They corner you and blind you under portfolios and padlocks,

In their feverish anger they spit at you and crush you.

But they can’t, they can’t extinguish your voice,

Because in every abused heart, in every affronted Black person,

You are awakening man-the-sleeping-creature, and

With your songs you sing of hope for Black people

And all the people of the world.

 

 

*     *     *     *     *

Written in the 1970s, Armijo’s poem was a deeply-felt

tribute to a revolutionary hero – Patrice Lumumba –

from an earlier time, 1960-1961, and from another continent,

Africa – The Republic of The Congo specifically.

Patrice Lumumba was briefly Prime Minister of his

newly-independent country, was deposed in a

military coup then executed.  The “Congo Crisis” lasted six

years and involved a Cold-War power struggle among

Belgium, The Soviet Union, The USA, and the

secessionist province of Katanga.

*

Roberto Armijo’s own country, El Salvador,

was at the onset of a similar conflict at

the time he wrote this poem – a civil war

exacerbated by powerful foreign (mainly

the USA) manipulation of the country’s

internal affairs.

 

 

*     *     *     *     *

 

Roberto Armijo

(Poeta d’El Salvador, 1937-1997)

“A Patricio Lumumba”

.

Esta tierra ardorosa.

La tierra enamorada del pie descalzo del nómada galope del antílope.

La tierra torturada trepadora en la enredadera salvaje

Modeló tu carne tu lengua tu pecho de ruiseñor tu silbo asesinado.

Tu venías del dolor oscuro que sangraba en la honda noche de Africa

Venías de la aldea

Y deseabas que la mañana del mundo también fuera del negro.

Tu no querías que el negro se apagara entre el estierco

Y la oscuridad de las minas.

A tus hermanos les hablabas que mas allá del mar del cielo y de los árboles

El hombre ya labraba su destino su misión su esperanza.

Tu sabías que era necesario abrir los ojos

Extender las manos y encenderlas de júbilo

Pero los que odiaban tu voz los que temblaban y rondaban tu sombre

Urdían tu muerte tu silencio

Te asesinaron

Te sacaron el corazón rumoroso

Y ahogaron la paloma dormida de tu sangre

Pero tu voz clara y silvestre no la pudieron segar

Y desde entonces temen

Te sueñan y medrosos buscan los sitios más oscuros de tu habitaciones

Para no oír el rumor dilatado de tus canciones

De tus poemas que en cada pecho joven

En cada labio indómito y segregado canta y se suelta temblando

Para llegar matinal a los mercados donde se alza la tierra repartida

En las flores las verduras y las frutas

Tu voz recorre las ciudades las regiones remotas y agrestes

Llega a las selvas donde se guarecen bajo la sombre de los árboles

El leopardo salvaje en rinoceronte y los pájaros.

Hoy más que nunca te odian ya no quisieran

ni oír tu nombre.

Te arrinconan y bajo portafolios y candados

Te ciegan y en su fiebre colérica te escupen te estrujan.

Pero no pueden pero no pueden apagar tu voz

Porque en cada pecho maltratado en cada negro afrentado

Estás tú despertando al hombre a la criatura dormida

Y con tus versos cantas la mañana del negro

Y del hombre del mundo.

 

 

.

Translation from Spanish into English:   David Volpendesta

Traducción del español al inglés:   David Volpendesta

_____


Poemas de Amor del idioma zapoteco

Victor Terán

(nace 1958, Juchitán, Oaxaca, México;

Idioma:  Zapoteco Istmeño / Language:

Isthmus Zapotec)

 

 

Lu ti nagana

 

 

Lu ti neza

chupa ná’

nagu’xhugá

zuguaa’.

Tobi ri’

nadxii naa,

xtobi ca

nadxiee laa.

Nisaguié,

nisaguié,

gudiibixendxe

ladxiduá’.

Gubidxaguié’,

gubidxaguié’,

binduuba’ gu’xhu’

ndaani’ bizaluá’.

 

_____

 

Duda

 

 

Sobre un camino

Que se bifurca,

Confundido

Me hallo.

Ésta

Me ama,

Aquella la amo.

Lluvia,

Lluvia,

Lava con mucho esmero

El alma mía.

Sol en flor,

Sol en flor,

Barre el humo

De mis ojos.

 

_____

 

Indecision

 

 

Upon a road

which forks,

confused

I stand.

One woman

loves me,

another

I love.

Rain,

rain,

meticulously cleanse

my soul.

The blossoming sun,

the blossoming sun,

sweep the smoke

from my eyes.

 

_____     _____     _____

 

 

Biluxe

 

 

Biluxe

Ne ngasi nga laani.

Lu neza zadxaagalulu’

Ca ni bidxagalú cou’

Biá’ dxi

Gúcalu’ bandá’ xtibe;

Ti bi’cu’, ti bihui,

Ti binni.

Gasti’ zadxaa

Ne laaca ca bigose

Guxhuuna’ íquelu’

Gusiquichi ique badunguiiu

Bichaabe lii.

Ne laaca decheyoo

Bizucánelu’ laabe

Gusicabe guendarusiaanda’ xtibe.

Gasti’ zadxaa.

Lii siou’ nga zusácalu’

Guidxilayú ma qui gapa

Xiñee guireexieque,

Ma qui gapa xiñee

quiidxi guendanabani.

Ne zoyaalu’ guendanabani xtilu’,

Ladxido’lo zapapa

Bia’ qui guchendaxhiaasi layú,

Ne nalu’ ne ñeelu’

Zusiaandu’ laaca’,

Qui zánnalu paraa zuhuaalu’,

Ne nisi lulu’, nisi nalu’

Zaniibihuati guiá’ ne guete’.

_____

 

Se acabó

 

 

 

Se acabó

y eso es todo.

Sobre tus pasos encontrarás

las cosas mismas que hallaste

durante los días

que fuiste su sombre;

Un perro , un cerdo,

una persona.

Nada cambiará

y los mismos zanates

que te ensuciaron la cabeza

blanquearán la del joven

que tomó tu lugar.

Y detrás de la casa

donde se recostaban

ella asentará su olvido.

Nada cambiará,

sin embargo supondrás

que no tiene sentido ya

el movimiento de la tierra,

ya no existen motivos

para afferarse a la vida.

Y morderás tu hombría,

tu corazón vibrará

con las alas a punto de golpear la tierra,

y tus brazos y tus piernas

los pondrás en el olvido,

perdido en tu sitio

te verás moviendo tontamente

los ojos y los brazos de norte a sur.

 

_____

 

It’s Over

 

 

It’s over…

and that is all.

Along your pathway you will find

the same things you discovered

during the days when you were her shadow:

A dog, a pig,

A person.

Nothing will change…

And the same “zanates”(little crows)

that soiled your head

will whiten that of the young man

who took your place.

And behind the house

where you and she

used to lie,

she will lay down her memory.

Nothing will change…

However, you will think

that the earth’s movement

no longer makes any sense,

that there are no more reasons

to cling to life.

And you will swallow your manly pride;

your heart will pulsate,

its wings nearly striking the ground,

and your arms and legs

will be caste into oblivion…

Lost within your space,

you will find yourself

foolishly moving your eyes and arms

from north to south.

 

 

_____

 

Traducciones del zapoteco al español:  el poeta

Translations from Zapotec into Spanish:  the poet

Traducciones del español al inglés /

Translations from Spanish into English:

©   Carlos Montemayor,  Donald Frischmann,  2004