Retiré – – –
pace, pace, pace and de-mi-rond.
Keep your head down.
Now up and
shock is short – set aside. Pass the butter.
There goes another hack
whose shoulder cam was no bazooka
but can you tell in fog?
Have HD-seen all that
have seen too much
for da da da
apocalypse is now
reality copies celluloid
but car doors ignorant
don’t block projectiles
Fouetté! – – –
Pas de boucher
no barbecue for me
don’t show me fire
can’t see no smoke
since Sirte blossomed
invading the sky
when earth is Jahannam
don’t bother to duck
grill ain’t grill
but flesh is flesh, served
to no god
no one to see
cross the sea
(sauté! sauté! sauté!)
nobody intends to build a wall
by accident they built a fortress
we love outlanders in the outland
Wir schaffen dasNot in my backyard
(and where’s the barbecue?)
this boat is (was too) full
this we ain’t நாம் it’s நாங்கள் duck!
What I don’t get
is why they all have smartphones
Rama still has the photos in hers
she virtually still has a nose
no pictures of ibnah – –
whose mirror neurons are a fact
affect the choreographies
when trauma saws itself in portraits
who ducks who leaps who pirouettes
at strings, tournez
 Songline of an NPD-CD distributed in schoolgrounds in 2004
 Tamil language has two personal pronouns for the second person plural. While nām means “we, including the person being spoken to”, nāngal means “we, excluding the person being spoken to”
 name changed
 ẗf’at, Tigrinya: loss
 bidayatan jadida. Arabic: New beginning
This poem is about a “rupture” which cannot be dated back to one particular event. Rather, it centers on the current moment, in which a series of events caused what came to be known as the “refugee crisis” in Germany and other European countries. I wanted to include both the reasons for flight and the experiences or reactions after it.
I am trying to combine the terrifying war images with allusions to dance (disciplined ballet orders, the nonsensical duck dance and a clear rhythm), to show how the events seem to occur in a choreography-like way (but who is the choreographer?).
It was important for me to focus on the media’s treatment of these topics: I included references to journalists, cameras, newspapers, cinema, quotes by politicians and other people in public positions.
I also want to address the question of the “nonsense” of war, the impossibility of art to make sense of it. Therefore, I tried to refer to dadaism and express why dada is not the common reaction anymore.
I think that in our globalized and increasingly interconnected world it is impossible to define one single cause for historic caesuras, but there is usually a web of several causes, influences that trigger certain developments or changes. Similarly, it is also impossible to identify who is the victim and who is culpable for complex situations.