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The Naqab Bedouin have faced—historically and today—various Israeli settler-colonial practices and discourses aimed at erasing their status as natives of the land. Israeli representations of the Naqab Bedouin often stereotype them as roaming nomads without any links (and consequently rights) to the land or to other Palestinian communities. Naqab Bedouin women's oral and embodied traditions constitute an important challenge to such settler-colonial representations. Women's songs, oral poetry and performances contain important historical counter-narratives, and they also function as embodied systems of learning, teaching, storing, and, to a certain extent, transmitting this community's indigenous memories, knowledges and ways of being.

This wide-ranging study of language and cultural change in fourteenth-century England argues that the influence of oral tradition is much more important to the advance of literacy than previously supposed. In contrast to the view of orality and literacy as opposing forces, the book maintains that the power of language consists in displacement, the capacity of one channel of language to take the place of the other, to make the source disappear into the copy. Appreciating the interplay between oral and written language makes possible for the first time a way of understanding the high literate a

AbstractTraditional oral poetry in Takbaylit, Tachelhit, Central Moroccan Tamazight, and Tarafit dialects has been the subject of numerous studies ranging from ethnographic to linguistic. Rather than duplicate what is already widely available, the following brings together comments on a number of representative poems from across the Maghreb to give the reader an idea of the variety of types, styles, and themes of Tamazight poetic tradition. The selections, which are translated into English here for the first time, range from the moving devotional poem in Tachelhit "Like the Beads of a Rosary" to the beautiful love poem in Takbaylit "To Whom Should I Complain." Among the poets whose works are included are Mririda n'Ait Attik (Tachelhit), Al Hadj Ammar ou al Hadj (Takbaylit), and Taougrat Oult Aissa (Central Moroccan Tamazigt).

What can texts - both written and oral - tell us about the societies that produce them? How are texts constituted in different cultures, and how do they shape societies and individuals? How can we understand the people who compose them? Drawing on examples from Africa and other countries, this original study sets out to answer these questions, by exploring textuality from a variety of angles. Topics covered include the importance of genre, the ways in which oral genres transcend the here-and-now, and the complex relationship between texts and the material world. Barber considers the ways in which personhood is evoked, both in oral poetry and in written diaries and letters, discusses the audience's role in creating the meaning of texts, and shows textual creativity to be a universal human capacity expressed in myriad forms. Engaging and thought-provoking, this book will be welcomed by anyone interested in anthropology, literature and cultural studies

COMING FROM DEEPLY ROOTED ORAL AND LITERARY TRADITIONS IN AMERICA, ASIAN AMERICAN AND PACIFIC RIM COMMUNITIES, THE FIRST COLLECTION OF POET CATHY SONG ATTRACTED IMMEDIATE ATTENTION. HER WORK REFLECTS THE EXPERIENCE OF WOMEN IN TRADITIONAL AND CONTEMPORARY CULTURES; IT EXAMINES AN EAST-WEST HERITAGE. HER POETRY CONFIGURES THE STATE OF AMERICAN LITERATURE TODAY, A STATE INVIGORATED BY CULTURAL INFUSION. SONG IS A HIGHLY VISUAL POET; HER USE OF METAPHOR AND MUSIC REVEALS HER AS A CONSUMMATE CRAFTSWOMAN.

This article explores the ongoing Shépa preservation and revitalization in Chone County of Kanlho Tibetan Autonomous Prefecture, China. Shépa is an expansive collection of Tibetan cultural wisdom composed as oral poetry and performed in antiphonal style in Chone. It captures the most salient aspects of Chone Tibetan cultural identity and linguistic practices. Yet, along with the erosion of the Chone Tibetan language, the inter-generational transmission of Shépa has been seriously interrupted. Given this picture, since 2016, various efforts have been made by the stakeholders (local community members, Shépa narrators, language and cultural activists, and Chone County Government) to preserve and revitalize Shépa. These efforts include but are not limited to the transcription and teaching of Shépa through Chinese, the establishment of Chone Shépa Cultural Association in 2017, the government-funded Shépa performance both within and outside Chone County and so forth.
Through using qualitative research methods, including participant observation and semi-structured interviews with all stakeholders, this article first documents the processes of how Chone Tibetans reclaim and revitalize their oral tradition, Shépa. It also examines the tensions derived from the processes and explores how local communities negotiate and manage these challenges. The research results will contribute to the conversation on the importance and complexities of oral tradition preservation in Indigenous communities in Tibet and beyond.

Russell Simmons Presents Def Poetryis a cable phenomenon bringing the art of performance poetry into the homes of millions of television viewers. Performance poetry is present for a new generation to appreciate. This research focuses on how the African oral element of nommo is present in Russell Simmons Presents Def Poetry. This research seeks to uncover how the concept of nommo is manifested in Def Poetryand how the use of nommo becomes an effective element in this genre. Using an Afrocentric rhetorical analysis, the characteristics of nommo studied were rhythm, soundin' out, repetition, stylin', lyrical quality, improvisation, historical perspective, indirection, call and response, and mythication.

This article reproduces examples of Afghan Landays and offers a commentary on their meanings. Landays are pithy, powerful two-line poems that speak of love, honour, war and separation. They are part of a long oral tradition in Pashtun culture, and are often composed by women. The largest
group of Landays are written by women left behind in Afghanistan, and they include references to all stages of the migration experience, from departure, through the period of absence, to return. Landays have continued to circulate among Afghan Pashtuns for decades, and the emotions voiced
have remained largely the same - the fear of abandonment, and the loneliness and vulnerability of women who are left behind. The only distinction between the earlier and later Landays seems to be the absence of joy in the later ones. All the teasing and urging of migrants disappears in the
period that began with the Soviet invasion.

Intersection between oral tradition, manuscript, and print cultures in Charlotte Brooke's Reliques of Irish poetry (1789) / Lesa Ní Mhunghaile -- Garbling and jumbling : printing from dictation in eighteenth-century Limerick / Andrew Carpenter -- Lost in translation : reading Keating's Foras feasa ar Éireann, 1635-1847 / Marc Caball -- "And this deponent further sayeth" : orality, print and the 1641 depositions / Marie-Louise Coolahan -- Gaelic texts and English script / Nicholas Williams -- "James Cleland his book" : the library of a small farming family in early nineteenth-century Co. Down / John Moulden -- Reading and orality in early nineteenth-century Ulster poetry : James Orr and his contemporaries / Linde Lunney