Article in an online journal

Much of Nigerian oral poetry, especially the musical genre, has been increasingly reduced to digital formats through the instrumentality of new media technologies. This transformation has, however, not been sufficiently acknowledged in oral literary researches and discourses. This alternative existence acquired by the oral forms manifests itself in digital technological modes like CDs, VCDs, DVDs, digital radio and television and the internet which assure them of longevity. This paper, therefore, engages Nigerian oral poetry and its inscription in digital processes using new media technologies. In particular, it negotiates the trajectory of transforming primary orality to secondary and tertiary orality through which oral performances like songs have acquired new modes of existence and meanings by way of recordings and digitalization using the new media. Many of these poetic forms have travelled through historical time to the postmodern moment as migrant metaphors and have become stored in digital forms thus making them new wine though preserved in the old wineskins of the poets and new media processes. Using an emergent generation of Nigerian popular poets and musical artistes, the paper problematizes the episteme of authorship. It interrogates the very idea of authorship in the contested and interstitial space of communal and individual authorship in the digital age where the term has undergone radical destabilisation. Who owns the oral forms, for instance? Is it the so-called anonymous composer in traditional society, the collector or recorder who mediates the creative process and becomes a surrogate agent, or the contemporary artist who is heir to this timeless tradition of oral intellection through performances that are digitalized and stored in retrieval systems, or is it a virtual community of authors, or a hybrid of all of these? The paper concludes that digital technologies are a means of preserving these oral forms and endowing them with vitality and enduring relevance to meet the immediacy and urgency of postmodern societal needs in Nigeria.

2020 marks the 25th anniversary of the “digital divide.” Although a quarter century has passed, legacy digital inequalities continue, and emergent digital inequalities are proliferating. Many of the initial schisms identified in 1995 are still relevant today. Twenty-five years later, foundational access inequalities continue to separate the digital haves and the digital have-nots within and across countries. In addition, even ubiquitous-access populations are riven with skill inequalities and differentiated usage. Indeed, legacy digital inequalities persist vis-à-vis economic class, gender, sexuality, race and ethnicity, aging, disability, healthcare, education, rural residency, networks, and global geographies. At the same time, emergent forms of inequality now appear alongside legacy inequalities such that notions of digital inequalities must be continually expanded to become more nuanced. We capture the increasingly complex and interrelated nature of digital inequalities by introducing the concept of the “digital inequality stack.” The concept of the digital inequality stack encompasses access to connectivity networks, devices, and software, as well as collective access to network infrastructure. Other layers of the digital inequality stack include differentiated use and consumption, literacies and skills, production and programming, etc. When inequality exists at foundational layers of the digital inequality stack, this often translates into inequalities at higher levels. As we show across these many thematic foci, layers in the digital inequality stack may move in tandem with one another such that all layers of the digital inequality stack reinforce disadvantage.

Poetic literacy is thriving in online spaces. Teachers and researchers have much to learn from how adolescents are engaging with poetry in the digital

Social media platforms such as Facebook and Twitter serve millions of people who populate digital space with autobiographical avatars and simulacra. Digital selves are curated, edited, and maintained in a perpetual process of digitizing life experience in order to produce an imagined life. The emergence of social media poetics—and, specifically, what I term digital realism—demonstrates the use of the confessional mode in social media. Digital realism gives name to a process of literary production that obscures the lines between life and writing. In this essay, I explore how digital realism operates in the work of multimedia artist Steve Roggenbuck (b. 1987), which draws out and capitalizes on the contradictions of self-fashioning through affective modes of sincerity and failure, in order to explore the limits of popular accessibility that social media platforms and poetics purport to offer.

How has the Internet transformed Chinese poetry today? How has the democratization of publishing poetry online challenged the traditional gatekeepers, and how has this affected the quality of modern poetry? Heather Inwood explores these questions and reveals how such tectonic shifts have reinforced the status of poetry as a social form of culture, one that possesses great symbolic importance for China no matter who is doing the writing or critiquing.