MAY 2023 ISSUE #10

Poetic Africa
Nurka SLAM
(Nuru Kakore)
 26 Interview with
Nurka Slam
(Nuru Kakore)
PAGE 09 FOUNT OF SCRUMPTIOUSNESS - CHARITY MODISE ( BOTSWANA )

PAGE 10 OPEN SECRET - OSO OPEYEMI ( NIGERIA )

PAGE 11 MARY - DALTON MWANGI ( KENYA )

PAGE 12 MEMORIES - EKPENISI NWAJESU ( NIGERIA )

PAGE 13 SPICE OF THE HOME - AURELIA NJANG AKEM ( CAMEROON )

PAGE 14 WHISK ME BACK - TSAKULANE LINEO ( LESOTHO )

PAGE 15 THREE STONE FIRESIDE - NSANG RUDOLF NCHANJI ( CAMEROON )

PAGE 16 MOTHER’S MUSEUM - JIMOH ABDULRAHAMAN ( NIGERIA )

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PAGE 17 HEART OF HOMES - OKYERE COMFORT ( GHANA )

PAGE 18 MY HAPPY PLACE - LAWALSON IFEOLUWA ( NIGERIA )

PAGE 19 SOLILOQUE - PAR MAYSSA BOULMAALI ( ALGÉRIE )

PAGE 22 SOLILOQU - MAYSSA BOULMAALI ( ALGÉRIE )

PAGE 24 HAZINA YA NINA SIFIA - KIMANI HALIMA ( KENYA )

POETRY LECTURE
by Ifunanya Georgia Ezeano
Nigeria
 BENNY WANJOHI
CHIEF EDITOR

03
Chief Editor’s Note
“ Hi Reader!
In this 10th edition of PoeticAfrica, readers are transported to the vibrant world of
African poetry, discovering new perspectives and expressions of life and the human
experience under the theme “Kitchen”.

Store, of produce from the farm

Is this little hut, our charm!
Spreading...aroma of love!

Three stones lie inside the pot

Spreading...aroma of love
As food boils inside the pot!

Spreading...aroma of love
A hot meal on every plate
…Delicacies we create!

PoeticAfrica is a groundbreaking literary gem, shining a spotlight on the rich and

PoeticAfrica

diverse poetry of Africa. As the first trilingual poetry magazine on the continent, Po-
eticAfrica brings to life the voices of poets from all corners of Africa, sharing their
work with the world in English, Kiswahili, and French. It is that time to pause, relax
and savour, page by page, your favourite poetry magazine!
 Editorial Team
04 PoeticAfrica

PRESIDENT AND FOUNDER

Anthony Onugba

CHIEF EDITOR
Benny Wanjohi (Kenya)

ASSISTANT CHIEF EDITOR

Funminiyi Akinrinade (Nigeria)

EDITORS
Nnane Ntube (Cameroon) - French Editor and Themes’ Developer
Mpessé Géraldin (Cameroon) - Associate French Editor
Christina “Kristie” Lwendo (Tanzania) - Swahili and Lectures’ Editor
Joy Rita (Kenya) - Associate Swahili Editor
Lebogang Samson (Botswana) - English Editor and Head of Creativity
Chipo Chama (Zambia) - English Editor and Head of Correspondence
Trisha P. Ejang (Uganda) - Associate English Editor

INTERVIEWS
Elizabeth Akunyili (Nigeria) - Lead Interviewer
Sandra Nadege (Rwanda) - Associate Interviewer

PoeticAfrica is published by
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English
Poems
 Editor’s Choice

FOUNT OF SCRUMPTIOUSNESS
Charity Modise (Botswana)

09
Cradle of aromas
Composer of songs
Soothing the intestines
Warming the heart
Rejuvenating! Resuscitating!

African woman
Who stirs treasures -

Inside my belly;
Pots dance
To the rhythm
Of crackling fire
Steaming, simmering,
Boiling, broiling...

African mama
Pleasures -

A medley of flavours;
Sweet, sour, spicy, chilli,
I call men home
Make kids, miss home
I’m the well of love
Gift from ancestors -
To grace your tummies
With my offspring...
PoeticAfrica
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OPEN SECRET
Oso Opeyemi (Nigeria)

Sit with me in the cooking place

of youth, while the mortar awaits
tender tubers – you know the path
to a happy heart before the pestle’s
first taste of night.

Long have I savoured the open secret

of the other room, where fresh recipes
become naked delicacy before your
Majesty. Teach me the patience
of simmering oil, how quiet lips seduce
chopped chili and condiments.

As you yield like a wet tongue

and glad nose in the presence of a meal
remember the labour of every utensil
and doting hand that mould the hill.

Sit with me at the happy place of zest

and youth, on this throaty highway to Jannah,
let’s tend to it together.
MARY
Dalton Mwangi (Kenya)

The flesh cracks and breaks free from its skeleton,

And falls back to the ground where it belongs,

011
Perhaps that is why I like mud houses; mud on mud,
Not the stones from below imposed above.

Everything in it is covered with nylon because,

The smoke that hovers paints everything a matte black,
My eyes are bloody red but gives my clothes
The signature of African countryside scent.

Thus I sit by the kitchen door listening,

To Mother and Grandma’s little talks,
Grandma calls Mother by name, and I realize,
That Mother, like me, is but the child of another.

Everyone else sits around Grandma too,

At least for that Christmas night when we visit her,
We all love the cliché of Grandma’s tales,
And are fascinated by the world before we existed.

She tells us of the lush streams and forests she grew up around,
Of her husband, the importance of education,
Of the necessity to remain noble and saved in Christ,
And she always infects us with her laughter.

She is the reason we endure the dense grey air,

She is the center that holds,
Radiating love and joy, seated on her stool by the fire.
PoeticAfrica

She is the kitchen, the essence of its being.

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MEMORIES
Ekpenisi Nwajesu (Nigeria)
When I think of home on this foreign sand,
Nostalgia hits me like a mallet in hand,
And I’m transported back in time
To my grandmother’s empire, sublime.

In her kitchen, she ruled with an iron spoon,

A haven of sizzling pans, clinking plates, and hissing pots that crooned
The chorus of flavors in tune,
Leaving our senses spellbound, ready to swoon.

Her pots and hums warbled ingredients to life with love,

And I perched on the counter in ecstasy, like a dove,
As her bubbling cauldron scintillated with recipes,
Sending aromas wafting in the air with ease.

The whiff of garlic and onions, brewed coffee, and tangy spices,
The sweetness of baked foods, curries, and soups entices,
Fresh troves and fried things, scents blending
With tastes to form delicious tapestries, never-ending.

All these memories wrapped inside the contours of her room,

Where she trained my fingers to dice onions and clean their fumes,
And I learned the art of cuisine from the master,
Echoes of laughter, stories shared, and songs that cheered me, faster.

She’d say, “Food will always bring the family together,”

And in her kitchen, we shared a bond that would last forever.
A home away from home, on foreign sand,
Nostalgia hits me, but I’m grateful for this haven, so grand.
SPICE OF THE HOME
Aurelia Njang Akem (Cameroon)

Aroma and skill, a part of my heritage,

Unforgettable memories of songs and laughter on this stage,

013
In its entirety, a space for storytelling and more,
Memories of grandma, bonfires, and tales galore.

The mortar, a symbol of strength, always favored,

Grandma calls for the grinding stone and smiles,
Great delicacies to be devoured,
Quarrels outside, but inside, unity beguiles.

Our sacred palace gleams with pride,

Occupied by Mama, who brings North to South diversity,
Even more sacred with a host like Papa by her side,
A home away from home, filled with emotions and generosity.

Far from home, memories of you enrich my life,

Childhood lessons and plays, a testament to your devotion,
My first stage, under a plantain stalk with Mama in the kitchen, strife
Relieved by the love and memories that you set in motion.

As I age, memories blur and fade,

But yours hold secrets of the heart in stories told,
Passing them on, dreams to the little one, so they never evade,
And your legacy lives on, forever bold.
PoeticAfrica
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WHISK ME BACK
Tsakulane Lineo (Lesotho)

There lie tales encrypted on four walls,

Where memories waft forth,
Like the smoke of steamed bread,
On a Sunday night.
Visible to touch but slipped through if we tried.

There lie tales encrypted on four walls,

Where memories waft forth,
On the table are bowls filled to the brim.
Chicken soup so warm,
An assault of flavors bringing tears to my eyes;
A victim of words I cannot form.

There lie tales encrypted on four walls,

Where memories waft forth,
Tinker-tinker tea is poured, and conversations flow well
To the taste of rooibos,
One timely sip, then all is well.

There lie tales encrypted on four walls,

Where memories waft forth,
Whisk me back to Ambrosia
Whisk me back to Picante.
My belly rumbles favorably,
It’s time for dinner.
THREE STONE FIRESIDE
Nsang Rudolf Nchanji (Cameroon)

Three cornerstones,
Breathing smoke and flames;

015
Boiling ancient pots of clay;
Rousing songs of ancient days,
And inspiring jazz sways of rare devices.
Children and husband eager
Of the evening delicacies

Mama is never whacked to steam.

Sweet soup of pumpkin leaves.
No oil nor salt to redeem –
Just a clay pot that brands magic.
She has lived in farms and kitchens,
Surrendering dreams and trade to feed;
Bringing forth from the powerhouse
Boundless ‘injera’ and pounded yams.

Hungry, angry, and smiling,

Hoping to quench war-torn bellies
Back from school, bare feet and body
Back from eight hours of work and duty
Having nothing to lose but eat and be merry.
Sweet stories and ancestral songs of strife,
Sleep comes alive and swarming.
Ah, this century’s youth don’t understand
That taste of food and smoke as one.
PoeticAfrica
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MOTHER’S MUSEUM
Jimoh Abdulrahaman (Nigeria)

Mother’s museum is where old calabashes sleep

beside earthenwares
and artifacts:
of the smell of locust beans,
of embers glowing sanguine,
of firewood growing up into little pyres,
of smoke dancing with intense frenzy,
of Mother’s nose breathing mucus and her eyes bleeding tears,
of her mucus never mixing with the contents of her black pot,
of her black pot resting on a three-searing-stone-stand,
of the stones scalding Mother’s palms,
of her palms now a gallery of burns & scars.

Mother’s museum is where I visit first after school: her face peering—
at my chubby cheeks swelling with juvenile joy;
at my mouth mouthing “gudu afternun” greetings & my paunch hollering hunger;
at my rump rapping against the muddy floor;
and at my eyes ogling the contents of her prized pot.

Mother’s museum is where her hands are always swift.

Swift hands:
of her burnt palms fisting up speedily,
of her three feeble knocks landing speedily,
of the knocks rapping against my head not so furiously.
and of the knocks yelling, “leave my kitchen / get off your uniforms / and don’t break my
artifacts!”
all before my mouth spells food.
HEART OF HOMES
Okyere Comfort (Ghana)

It is not the nicely carved furniture

Neither the gardens at the entrance

017
Nor the happy pets who welcome you
It isn’t the morning’s bright weather
That welcomes you from slumber.

Rather the haven of sweet aroma

The headquarters of appetizing edibles
The fuel station of every residence
Where Mama does her magic
Is indeed the heart of all homes.

PoeticAfrica
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MY HAPPY PLACE
Lawalson Ifeoluwa (Nigeria)

Sizzles and bubbles of Mama soup

Are my best times in the kitchen;
The splatter of water,
Spoons and forks clash makes a beautiful tune.

Yesterday,
Savor from the kitchen brightened my day,
I looked forward to Papa’s cooking as usual,
His special dish tasted like heaven.

Oh, kitchen!
My happy place,
Of music and flavors,
I delight in you.
A HEART AT HOME
Zungu Bongani (South Africa)

Asteraceae’s garden greens,

in the swing of her arms,

019
trusted waving stem.
And there in compost crowns;
Colorida in part; lactuca leaves.
Red seed and lush her spectrum.

In dawn’s floor, a wonder’s varying

eye with compound inflorescences.
Only one, modified calyx florets roam
and made the others.

But today, as old fate’s song;

As—whilst the granule clans dissolve
in the mug, her distinctive blend unfolds.
Intertwined at ease, slowly roasted
medium-dark and smooth.

Ground from grounds and freshly percolated.

My body, fully revived by the rich aroma.
My mind, herein awakened as I took a sip of passionate pleasure.
PoeticAfrica
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Poem
Francąis
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SOLILOQUE
Mayssa Boulmaali (Algérie)

Sur les vagues silencieuses, j’écoute sonner mes douleurs.

Sourd le silence,
Sourd le bruit.
Le vent ne dit rien qui vaille
Où est le chemin?
La foule roule à vide
Ajoutons la douleur de la déchirure
Et la peur de se perdre.
Un matin comme tant d’autres,
Des nuits lentes comme tant d’autres…
Ainsi vont les harragas
**********
Où est t-il le chemin?
Qui de l’inconnu fera ma terre natale
Mon refuge
Ma vie
Et ma mort.
Ainsi rêvent les harragas…

Harraga: est un terme du dialecte algérien, qui désigne l’émigrant tentant de quitter son
pays pour rejoindre clandestinement l’Europe à bord des pateras.
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Poem
Kiswahili
024 PoeticAfrica

HAZINA YA NINA SIFIA

Kimani Halima (Kenya)
Wino wangu nautua, ya uhondo kutongoa,
Ya moyoni kuyatua, na adili kuongoa,
Ya mekoni kufutua, yalo fiche kuzongoa,
Mlo wa nina sifia, metukuza ukubwani.

Nina hazina sifia, vya asili hifadhia,

Mafiga walitumia, sima bora andalia,
Mbaazi furahia, nazi tui miminia,
Mlo wa nina sifia, metukuza ukubwani.

Sijataja na muhogo, seredani wapikia,

Kweli wewe ni kigogo, nsi wote wafikia,
Tumboni hamna zogo, mwilini shabikia,
Mlo wa nina sifia, metukuza ukubwani.

Viazi vitamu raha, uji tamu ongezea,

Badani yawa fasaha, ‘zuri siha tazoea,
Hutokuwa wa mzaha, kazini tabobea,
Mlo wa nina sifia, metukuza ukubwani.

Kayani mna mchicha, na maziwa yalochacha,

Ni uhondo sitoficha, mezani ‘we hutoacha,
‘Somoni tawa galacha, tampiku wako pacha,
Mlo wa nina sifia, metukuza ukubwani.

Kadi tama tamatia, langu jamvi nalikunja,

Kaya mie napitia, ya upishi keshachanja,
Ya mekoni zingatia, sidhani kawa mjanja,
Mlo wa nina sifia, metukuza ukubwani.
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 026 PoeticAfrica

Interview with
Nurka Slam (Nuru Kakore)

By Elizabeth Akunyili
and Sandra Nadege

Welcome Nurka to our in- the slam is a crossroads of me during the day, a difficult
terview seat. I am glad to almost all artistic disciplines; situation I faced or a victory
host you today as you share When you are a slammer you that marked me. I just want-
with us your poetry journey, are both a writer; rapper; ed to write because my man-
lessons learnt through the dancer; musician and story- tra is that the one who does
years, collaborations made, teller. not write easily forgets.
achievements and failures if
My love for this art is due to Who are some of your biggest
any. Please start by telling us
its greatness; I used to say influences when it comes to
how you first got interested
that I do the slam to express poetry, and why?
in poetry, and what inspired
myself and specially to take
you to start writing? As I said before, I started
precedence. I can’t just pick
writing after I did rap and
I started to take an interest one source of inspiration on
therefore my first model in
in poetry after several pas- the writing side since I was
terms of writing is a group
sages in different artistic dis- writing everything that came
of rappers named La Ligue
ciplines, including writing; to my mind, such as an expe-
composed of Youssoupha,
rap then slam poetry; For me rience, a story that touched
Medine and Kerry James. I
 as books, movies, nature or
chose them because they convey, then write a draft and
current events as well as look-
write like slammers; they are present to a group of friends
ing for constructive feedback
Rapper slammers. Their writ- for peer review as I come up
to improve my work.
ing is about African realities. with the final poem.
I am also influenced by Grand What is your favorite poem
I like how systematic you are.
Corps Malade and Saul Wil- that you’ve written, and why?
I think most poets possess
liams because they are pre-
this quality. How do you know “Happiness and Money” is my

27
cursors of slam in France and
when a poem is finished, and favorite poem because it is a
in the United States respec-
what is your editing process rather philosophical text and
tively.
like? we live it every day. At the be-
Can you describe your writing ginning of each performance
I know a poem is over when I
process, from idea generation of this poem, I always ask
am satisfied with the end re-
to a finished product? the public, “What would you
sult because I believe that you
choose between money and
At the beginning of my career have to be your first fan. Then
happiness?” I tend to think that
I always started by having a when all my poet friends have
those who are mean choose
title of the text that I wanted validated the poem because
money (ha-ha), the intelligent
to write. I would then develop I believe we write for others
choose happiness and the ge-
different ideas which I would and if they should love our
niuses choose both.
give a systematic order from work. Finally, when the public
my mind. I would then write has appreciated the poem. After my performance they all
them on paper while modify- manage to understand why it
Can you talk about any par-
ing the sentence construction. is necessary to choose both.
ticular challenges or ob-
Afterwards I would present to One can never work without
stacles you’ve faced in your
a group of friends for peer re- the other. The question applies
poetry career, and how you
view and make any necessary to a man who after an accident
overcame them?
adjustments from the feed- has to choose amputation of
back. After a second peer re- Mostly I struggle with lack his left or right leg. To walk we
view, I would make the final of time, writer’s block, trying need both legs.
adjustments and have the fi- to find opportunities to pub-
That’s intelligent, I am already
lish or present my work and
PoeticAfrica

nal text.
inspired. How do you decide
receiving negative reviews.
Now, with experience, I man- which topics or themes to write
I overcome these obstacles
age to follow three steps; have about in your poems?
by looking for inspiration
a title, theme and the mes-
through various sources such I really can’t say that I have
sage that the poem should
028 PoeticAfrica

help of other poets, in particular

a very specific method for fine my poetic voice. How-
Axel Web Slam, Fefe Kalume, ACSA
choosing subjects from my ever; I am also aware that I
Sifa, Carine Poète and Linda Maroy
texts because they sponta- must remain faithful to my
(Elizabest Poetry).
neously come to mind by own artistic vision and to
listening to music, by read- my poetic voice and not let How do you stay motivated and in-
ing a book or perhaps ob- others’ comments divert my spired to keep writing?
serving a very specific fact creativity.
It’s simple. I read and listen to a
in society.
How do you promote your lot of poetry. I immerse myself in
Can you describe your writ- work, and what has been nature and I am looking for new
ing style, and how it has the most effective method experiences to stimulate my crea-
evolved over time? for you? tivity. I write every day, read and
never forget my early motivation.
I adopt different writing I promote my work using
styles for different poems social networks by partici- How do you incorporate personal
according to the message I pating in poetry events and experiences and emotions into
want to convey. Construc- regularly publishing poems your poetry?
tive comments and reviews in magazines and antholo-
I try using evocative images and
from other poets or readers gies. The most effective
metaphors to communicate my
has gradually helped me to method for me was to par-
feelings. I like to write about uni-
improve. ticipate in poetry events
versal human experiences that
and competitions. This al-
can affect people from different
lowed me to establish con-
cultures and from different re-
That sounds nice. Not so tacts with other poets and
gions of the world.
many receive critiques or to make my work known.
reviews so positively. How
Can you talk about any no-
do you incorporate feed-
table achievements or ac- Can you discuss any collaborative
back and critiques into your
complishments in your po- projects you’ve worked on with
writing process?
etry career so far? other poets or artists?
When I receive comments
I had the chance to publish I have worked on many collabora-
or reviews about my poems,
several collections of po- tive projects with other poets and
I take them into considera-
etry in my community. I am artists over the years. I participat-
tion and carefully evaluate
particularly proud to be the ed in collective anthologies, poet-
them. I take into account
founder of the Kigali Slam ry events and multimedia artistic
constructive comments to
Poetry of course with the projects that involved collabora-
improve my poems and re-
tions with musicians, dancers and
visual artists. a support group or peers to share poems and
reviews. Additionally, to persevere even when
What can readers expect from your upcom-
creativity is down.
ing works, and what are your future plans for
your poetry career? Let us delve a bit into the organization that
you founded. How did you first become in-
Readers can expect to be inspired, moved,
volved with Kigali Slam Poetry, and what mo-
and maybe even overwhelmed by my words. I
tivated you to start the collective?
have future plans to publish books, give pub-

29
lic readings, organize slam events and partici- Kigali is my second city after Goma. I spend
pate in poetry festivals. almost all my holidays there. The slam was
an idea that I developed unexpectedly during
What advice would you give to aspiring poets
one of the holidays. Fortunately, I was able
who are just starting out?
to meet the poets I mentioned above and to-
For the aspiring poets who are just beginning, gether we founded slam poetry since we all
I would advise them to start by loving poetry: loved art.
to love reading and writing because writing
Can you talk about the goals and mission of
comes from reading. It is also important to
Kigali Slam Poetry, and how it has evolved
give yourself the time and space to write; find

PoeticAfrica
030 PoeticAfrica

since its inception? lic speaking. The collective support for the wider artistic com-
hopes to continue as a com- munity in Rwanda.
Kigali Slam Poetry (KSP) is
munity of poets and artists
a collective of poets, musi- As you’re from the Democratic Re-
of the word, while main-
cians and dancers seeking to public of Congo but currently op-
taining a commitment to di-
promote and celebrate oral erating in Rwanda, do you think
versity and inclusion.
poetry and slam in Rwanda. art and poetry is perceived differ-
The collective encourages What are some of the big- ently in the two countries?
emerging artists and offers gest challenges facing po-
Though they are neighboring
a platform for them to ex- etry and the arts in Rwanda,
countries, art and poetry are prob-
press themselves. Our mis- and how do you think Kigali
ably perceived differently in the
sion is to create a commu- Slam Poetry can help ad-
Democratic Republic of Congo
nity of poets, musicians and dress these challenges?
and Rwanda. Although there are
dancers; to promote crea-
The greatest challenges po- similarities in forms of artistic ex-
tivity; self-expression and
etry and arts face in Rwanda pression, the cultural influences
cultural diversity. Since its
are lack of funding and re- and experiences of artists may be
creation, the collective has
sources for artists, lack of different from country to country.
evolved to include regular
support from cultural in- Perceptions of art and poetry can
slam events and workshops
stitutions, as well as lack also vary depending on cultural
for young poets.
of opportunities for artists traditions, historical contexts and
Can you discuss any future to perform and promote socio-economic contexts of both
plans or projects for Kigali their work. Kigali Slam Po- of these countries.
Slam Poetry, and how you etry can help address these
One last question, how do you
hope to continue to grow challenges by providing
think poetry can make a positive
and evolve the collective? opportunities for artists to
impact in the world?
connect with other artists,
Our future projects include
collaborate with cultural Poetry can have a positive im-
organizing larger and more
organizations and perform pact in the world by expanding
frequent slam competitions,
at slam poetry events or- our perception, our sensitivity and
expansion of workshops
ganized by the collective. In our emotional sense and by trans-
for young poets in schools
addition, the collective can forming ourselves so that we be-
and local communities and
also play an important role come smarter.
building partnerships with
by raising public awareness
external organizations to
of the value of poetry and
promote poetry and pub-
the arts, and encouraging
 PAGE POETRY
VERSUS
STAGE POETRY
Ifunanya Georgia Ezeano

31
Ifunanya Georgia Ezeano is a poet, writer, and editor. She has some of her
works published in journals and lit mags in many places. She hails from
Anambra state, Nigeria. She heads Poets in Nigeria, UNN. She loves to
read, write, travel, and explore. She authored Naked, Thorns, and Petals
(Amazon and other places) and has other unpublished works. She was
nominated early this year for the British Loft Prize for flash fiction.

PoeticAfrica
032 PoeticAfrica

Poetry is a force that can’t be forced The benefit of page poetry is that your
(Uche Nduka, 2023). Like other forms of reader can sit with the poem for a
art, poetry is a sophisticated yet simple while. Stage Poetry uses sound, refrain,
way of expression. It is in its beauty, an and rhyme schemes to create a thrill-
exciting way of conveying thoughts, ex- ing experience for the audience.
perience, knowledge, and, most impor- The two forms can be merged – spo-
tantly, telling one’s story and preserv- ken and page poetry. Dr. Maya Ange-
ing one’s culture and heritage. lou’s poem, “Phenomenal Woman,” is as
A poem can be regarded as “page po- captivating on paper as it is when per-
etry” if it achieves vitality when written formed on Stage.
on paper or displayed on the screen. Pretty women wonder where my secret
It allows the reader unlimited time to lies.
explicate the poem, which allows the
I’m not cute or built to suit a fashion
poem to be lasting, complex, and rich.
model’s size
“Stage poetry” depends on its oral de-
livery. The performance restricts the But when I start to tell them,
piece to a dormant form, putting it forth They think I’m telling lies.
instead as a short-lived experience. If I say,
the words are penned down, there is a
It’s in the reach of my arms,
sense that the page is only a collective
item and not really where the poem is The span of my hips,
placed. The stride of my step,
Spoken word poetry, however, can The curl of my lips.
bridge that gap between storytelling I’m a woman
and poetry. Spoken word is more ac-
Phenomenally.
cessible to the average audience and
can reach a larger audience than page Phenomenal woman,
poetry. In most cases, only a few peo- That’s me.
ple can actively choose to sit down and
read books of poetry.
I walk into a room
Page poetry focuses on language and
Just as cool as you please,
creates visual experiences that may
not necessarily be performed on stage. And to a man,
 The fellows stand or The grace of my style.
Fall down on their knees. I’m a woman
Then they swarm around me, Phenomenally.
A hive of honey bees. Phenomenal woman,
I say, That’s me.
It’s the fire in my eyes,

033
And the flash of my teeth, Now you understand
The swing in my waist, Just why my head’s not bowed.
And the joy in my feet. I don’t shout or jump about
I’m a woman Or have to talk real loud.
Phenomenally. When you see me passing,
It ought to make you proud.
Phenomenal woman, I say,
That’s me. It’s in the click of my heels,
The bend of my hair,
Men themselves have wondered the palm of my hand,
What they see in me. The need for my care.
They try so much ’Cause I’m a woman
But they can’t touch Phenomenally.
My inner mystery. Phenomenal woman,
When I try to show them, That’s me.
They say they still can’t see. Stage poetry will have almost the same ef-
I say, fect on a person new to poetry the same
PoeticAfrica

way page poetry will have on a student

It’s in the arch of my back,
new to poetry in class. They can co-exist, be
The sun of my smile, merged, or be used separately as distinct
The ride of my breasts, art forms.
034 PoeticAfrica