Podcast appearances and mentions of kaie kellough

Recorded by Kaie Kellough for Poem-a-Day, a series produced by the Academy of American Poets. Published on June 10, 2024. www.poets.org

Kaie Kellough and Jason Sharp discuss their work together in FYEAR and their new, self-titled debut album, our Alberta commonalities and the Edmonton Oilers, the origin of their social and musical relationship, writing one piece that has been divided into chunks for this dynamic album and its concept and sound, what certain children think of the record, being a tension, how they work together, writing more music, other future plans, and much more.Support vish on Patreon! Thanks to Pizza Trokadero, the Bookshelf, Planet Bean Coffee, and Grandad's Donuts. Support Y.E.S.S. and Black Women United YEG. Follow vish online.Related episodes/links:Ep. #845: The Messthetics and James Brandon LewisEp. #817: Nicole Rampersaud & Off WorldEp. #811: Joseph ShabasonEp. #810: Markus FloatsEp. #781: ALL HANDS_MAKE LIGHTEp. #770: Adam Horovitz from Beastie BoysSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

In this crossover  episode (Episode 7, Season 2), Linda begins with the sound of her father's old espresso machine, to explain how she sees -- or hears -- sound working in Magnetic Equator (published by McClelland & Stewart) by international poet, novelist, and sound performer Kaie Kellough. You can hear a sample of his sound poetry here. This episode includes a small excerpt read by Kellough himself (with permission by Kellough). In the "take-away" section, Linda talks about a biography she recently read by Sherrill Grace, about Canadian author Timothy Findley (published by Wilfrid Laurier University Press). If you'd like to know more about sound poetry, and about Kaie Kellough as a sound poet, check out Adam Sol's blog post about Kellough on "How a Poem Moves."Get this episode and more by following Getting Lit with Linda - The Canadian Literature Podcast on all major podcast platforms.*Linda Morra is Professor of Canadian and Indigenous literatures, a former Craig Dobbin Chair of Canadian Studies (2016-2017) at UCD, and the Farley Distinguished Visiting Scholar (2021-2022) at Simon Fraser University. Her book, Moving Archives, won the Gabrielle Roy Prize in English (2020) and her podcast, Getting Lit With Linda, won in the category of Outstanding Education Series in the 2022 Canadian Podcast awards. Getting Lit With Linda is entering its 5th season.

This is a mix created to share via Justseeds artists' cooperative. This mix features mostly local Montreal artists, particularly musicians, who have been involved in the intersections of social movements and the arts. I have selected a series of live recordings from local concerts where these connections were explored. You will particularly hear recordings from local shows supported by CKUT 90.3FM campus / community radio that were part of the Artists Against Apartheid series, which launched around the time that the global Boycott, Divestment and Sanctions (BDS) movement to support Palestinian human rights was announced internationally. Also there are many artists in this mix who have been deeply involved in migrant justice movements, particularly around community organizations like the Immigrant Workers Centre and campaigns emerging from networks like Solidarity Across Borders. I share this mix as a longtime friend and collaborator with many artists within the Justseeds network, thank you for listening. – Stefan Christoff Track listing (artist name / track name) 01. Sarah Pagé - Noonday Bells 02. Narcy - Tourist feat. Ian Kamau 03. Amir Amiri & Becky Wenham - . Ardavan étude 04. Vox Sambou - live at Artists Against Apartheid 05. Jason Blackbird Selman & DJ Andy Williams - Africa 06. Kaie Kellough & DJ Andy Williams - Crick Crack 07. Weshida - 11/8 Balkan 08. Lhasa de Sela + Esmerine - A Fish On Land 09. Esmerine - Sprouts 10. Stella Adjokê - Plaisir Papillon (excerpt) 11. Tiken Jah Fakoly - Plus Rien Ne M'Etonne 12. Vox Sambou - Toya

What is sound design? This is the question Miranda Eastwood, current Sound Designer of The SpokenWeb Podcast, is looking to find out. Exploring soundscapes of all shapes and forms, Miranda draws from interviews with friends, colleagues, and academics, as well as Caroline Levine's Forms: Whole, Rhythm, Hierarchy, Network to tackle this particularly tangled question. From sonic literature to audio walks, podcasting to music, this episode is a deep dive into what it means to “sound out” any and all audio texts, and the affective power afforded to sound as a medium of art and communication. Show NotesJames Healey's music: https://thejupitermachine.bandcamp.com/album/soulless-daysKaitlyn Staveley's music: https://www.youtube.com/@theradiokaityshow1481 Works CitedBijker, W. E. and Law, J. 1992. ‘General Introduction', in W. E. Bijker and J. Law (eds.), Shaping Technology/Building Society. Cambridge, Mass.: MIT Press.Brinkmann, M. (2018) The 'audio walk' as a format of experiential walking, Phenomenological research in education. Available at: https://paed.ophen.org/2018/06/25/gehen-spazieren-flanieren-das-format-audiowalk-als-erfahrungsgang/Cardiff, J. and Miller, G.B. (no date) Walks, Janet Cardiff & George Bures Miller. Available at: https://cardiffmiller.com/walks/Grint, K. and Woolgar, S. 1997. The Machine At Work. Cambridge: Polity.Hutchby, Ian. “Technologies, Texts and Affordances.” Sociology, vol. 35, no. 2, 2001, pp. 441–56. JSTOR, http://www.jstor.org/stable/42856294. Accessed 13 Dec. 2022.Kellough, Kaie, et al. “‘Small Stones': A Work in Poetry, Sound, Music and Typography.” “Small Stones”: a Work in Poetry, Sound, Music and Typography - SpokenWeb Archive of the Present, https://archiveofthepresent.spokenweb.ca/small-stones-a-work-in-poetry-sound-music-and-typography/.Levine, Caroline. Forms: Whole, Rhythm, Hierarchy, Network. Princeton University Press, 2015.McLeod, Katherine, host. “The Voice That Is The Poem, ft. Kaie Kellough.” The SpokenWeb Podcast, ShortCuts, Season 3, Episode 5.Mills, Mara. Novak, David, and Matt Sakakeeny, editors. Keywords in Sound. Duke University Press, 2015. “deafness” p.45-54.Ricci, Stephanie. The Making of "Small Stones" (2021) SpokenWeb Archive of the Present. SpokenWeb.

SUMMARY This month, ShortCuts presents another episode of ShortCuts Live! This month's episode was recorded as a live conversation on Zoom with the current curator of the Atwater Poetry Project, Faith Paré. As a former SpokenWeb undergraduate RA, Faith's SpokenWeb contributions have included editorial and curatorial work on Desire Lines; an interview with Kaie Kellough on SPOKENWEBLOG; performing as a spoken word poet in Black Writers Out Loud; leading a virtual listening practice on Black noise; and a reading at SpokenWeb's “Sounding Undernames” at Blue Metropolis. This is all to say that she had a wealth of experience to draw upon when, as a curator, she was handed a folder of recordings.How to reactivate the archival past of a reading series while at the same time looking ahead? What is it like to curate the past and future of a reading series? Find out by listening to ShortCuts Live! A conversation with Katherine McLeod and Faith Paré about the Atwater Poetry Project archives. EPISODE NOTESA fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode. If you are a SpokenWeb RA with an archival clip to feature on ShortCuts, do write to us at spokenwebpodcast@gmail.com with your pitch.Host and Series Producer: Katherine McLeodSupervising Producer: Kate MoffattAudio Engineer / Sound Designer: Miranda EastwoodProduction Manager and Transcriber: Zoe Mix SHOW NOTESThe Atwater Poetry Project, https://www.atwaterlibrary.ca/events/atwater-poetry-project/“Performing the Atwater Poetry Project Archives, guest curated by Katherine McLeod and Klara du Plessis, featuring the sounds of poets from the APP archives,” 20 February 2023, https://spokenweb.ca/events/performing-the-atwater-poetry-project-archive/

A fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode. If you are a SpokenWeb RA with an archival clip to feature on ShortCuts, do write to us at spokenwebpodcast@gmail.com with your pitch. Host and Series Producer: Katherine McLeodSupervising Producer: Kate MoffattAudio Engineer / Sound Designer: Miranda EastwoodProduction Manager and Transcriber: Kelly CubbonARCHIVAL AUDIOCheck the transcript for the timestamps for where this audio appears in the episode and for a map for all of the sounds. Here is a list with links for finding out more about these archival recordings.Katherine McLeod, from ShortCuts 3.1 “Sounds”: https://spokenweb.ca/podcast/episodes/sounds/Katherine McLeod, from ShortCuts 3.9 “Re-Situating Sound”: https://spokenweb.ca/podcast/episodes/re-situating-sound/Archival audio, Dionne Brand, 1988 reading, from ShortCuts 3.3 “Communal Memories”: https://spokenweb.ca/podcast/episodes/communal-memories/Archival audio: Douglas Barbour, from Penny Chalmers (Penn Kemp) at the University of Alberta, February 18, 1977; Douglas Barbour introducing Penny Chalmers (Penn Kemp) at the University of Alberta, February 18, 1977; Douglas Barbour introducing Leona Gom at the University of Alberta, February 21, 1980; Douglas Barbour, from John Newlove at the University of Alberta, March 19, 1981 — all from ShortCuts 3.6 “Listening Communities: The Introductions of Doug Barbour” (guest produced by Michael O'Driscoll): https://spokenweb.ca/podcast/episodes/listening-communities-the-introductions-of-douglas-barbour/Archival audio, Daphne Marlatt, 1970, from ShortCuts 3.4 “Sonic Passages”: https://spokenweb.ca/podcast/episodes/sonic-passages/ Daphne Marlatt interview with Karis Shearer and Megan Butchart played on “SoundBox Signals presents Performing the Archive” an episode of SoundBox Signals that was aired on The SpokenWeb Podcast (co-produced by Karis Shearer, Megan Butchart, and Nour Sallam), clipped on ShortCuts 3.4: https://spokenweb.ca/podcast/episodes/sonic-passages/Interview with Kelly Cubbon, “Talking Transcription: Accessibility, Collaboration, Creativity,” (co-produced by Kelly Cubbon and Katherine McLeod), S3E9 The SpokenWeb Podcast, June 2022: https://spokenweb.ca/podcast/episodes/talking-transcription-accessibility-collaboration-and-creativity/Interview with Kaie Kellough, ShortCuts 3.5 “The Voice that is the Poem”: https://spokenweb.ca/podcast/episodes/the-voice-that-is-the-poem-ft-kaie-kellough/Archival audio, Oana Avasilichioaei, from ShortCuts 3.8: https://spokenweb.ca/podcast/episodes/the-event/Archival audio, bpNichol, November 1968, from ShortCuts 3.2: “What the Archive Remembers”: https://spokenweb.ca/podcast/episodes/what-the-archive-remembers/Archival audio, Phyllis Webb, from ShortCuts 3.7 “Moving, Still”: https://spokenweb.ca/podcast/episodes/moving-still/

Transcriptions of podcasts provide visual renderings of audio that increase accessibility. But what are the best practices for transcribing a podcast, specifically a podcast about literary audio? In this episode, Katherine McLeod of ShortCuts and Kelly Cubbon, transcriber of The SpokenWeb Podcast, explore the role of transcription in the making of podcasts and how responsible transcription unfolds through collaboration and conversation. In fact, their episode uncovers just how much transcription is collaboration and conversation.Part One starts with reflections from Katherine and Kelly about how they came to the work of transcription and key concepts that have influenced their thinking throughout the process of making this episode, such as accessibility and ableism. This section also features an interview with Dr. Maya Rae Oppenheimer, a studio arts professor at Concordia University and a regular user of podcast transcripts.Part Two consists of an interview with Judith Burr, the Season 3 SpokenWeb Podcast supervising producer and project manager, about generative challenges that have come up during collaboration on podcast transcription for the podcast and how decision making has evolved over time.And Part Three is an interview with Bára Hladík, a poet, writer, and multimedia artist, about  the convergence of disability, accessibility, technology, and poetics. Here, Bára discusses the healing possibilities of sound and the creative potential of transcripts.SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada. Episode Producers:Katherine McLeod @kathmcleod researches archives, performance, and poetry. She has co-edited the collection CanLit Across Media: Unarchiving the Literary Event (with Jason Camlot, McGill-Queen's University Press, 2019). She is writing a monograph (under contract with Wilfrid Laurier University Press) that is a feminist listening to recordings of women poets reading on CBC Radio. She was the 2020-2021 Researcher-in-Residence at the Concordia University Library and, at present, she is an affiliated researcher with SpokenWeb at Concordia, where she is the principal investigator of her SSHRC Insight Development Grant, “Literary Radio: New Approaches to Audio Research” (2021-2023).Kelly Cubbon is a recent graduate of Simon Fraser University's Master of Publishing program. She is a content marketing specialist and perpetual history nerd who is passionate about the transformational power of storytelling in environmental, disability, and social justice. Featured Guests:maya rae oppenheimer (phd) @mayarae is a daughter, sister, aunt, plant-mother of Icelandic and Canary Islander descent who receives financial remuneration as a writer/researcher /educator. She was born in Treaty 1 territory and spent over a decade living in London (UK). maya is now an uninvited guest on Kanien'kehá:ka territory where she preoccupies herself with writing as a social practice and the tangles of narratives that inform our worldviews. Structures of institutional knowledge formation and validation are often the focus of her projects, from museum narratives to histories of social psychology and laboratory experiments. Experimental writing, performance, radical pedagogy, open-access publishing, DIY tactics and rogue archival gestures make up her tool-kit. maya joined the Faculty of Fine Arts at Concordia University in September 2017 as Assistant Professor in Art History. She now works across the Department of Studio Arts and Interdisciplinary Studies in Fine Arts and is the founder of OK Stamp Press.Judith (Judee) Burr is a MA Candidate in the IGS Digital Arts & Humanities theme at the University of British Columbia-Okanagan. Her research uses audio media and storytelling tools to examine the complexities of human culture in fire-adapted landscapes, connecting to the rich world of the digital environmental humanities. She has worked as an environmental researcher and writer on projects including the Value of Rhode Island Forests report and the Forestry for RI Birds project. She also co-founded the live lit reading series Stranger Stories in Providence. She graduated with a BS in Earth Systems and a BA in Philosophy in 2012 from Stanford University, where she contributed to the podcasts Generation Anthropocene and Philosophy Talk.Bára Hladík is a Czech-Canadian writer and multimedia artist. Born in Ktunaxa Territory, she received her Bachelor of Arts in Literature from the University of British Columbia in 2016. Her work can be found in Contemporary Verse 2, Carte Blanche, EVENT Mag, Hamilton Arts and Letters, Bed Zine, Empty Mirror, Cosmonauts Avenue and elsewhere. Bára's first book New Infinity is published with Metatron Press. She is now a guest in Esquimalt, "B.C." SHOW NOTES & RESOURCES‘About Us', Queer ASLAIM Lab: an experimental research hub concerned with disability, access, and affordances, based at Concordia University.Alt Text Poetry Project by Shannon Finnegan and Bojana Coklyat. Plus, the Alt Text work at the Banff Centre for the Arts: Distinct Aggregations.Amanda Monthei's Life with Fire podcastBara Hladik – poet. artist. Facilitator.Place an order for Bára's first book New Infinity published June 2022.Listen to Bára's ambient electronic album Cosmosis here on Bandcamp.Join Bára for Dreamspells (@dream_spells), a collaborative project with Malek Robbana (@melekyamalek) with a monthly new moon dreamspells eventregistration: https://us06web.zoom.us/meeting/register/tJMpc-ygqTouHtaiP7HfwXvhxLi-GXljKu8oBodies in Translation: Activist Art, Technology, and Access to Life (BIT)Carmen Papalia, An Accessibility Manifesto for the ArtsDaniel Britton on typeface designDisability Art is the Last Avante Garde with Sean Lee, Secret Feminist Agenda S4E22SoundBox Signals podcast (UBCO)SpokenWeb Podcast Transcription Style GuideTalila A. Lewis, “Working Definition of Ableism January 2022 Update” ‘Terminology', Critical Disability Studies Collective, University of Minnesota“The Show Goes On: Words and Music in a Pandemic” produced by Jason Camlot for The SpokenWeb Podcast“The Voice That is the Poem, ft. Kaie Kellough” produced by Katherine McLeod for ShortCuts on The SpokenWeb Podcast, 03:10. Transcription ToolsDescript (audio and video editing through text, paid), https://www.descript.com/Express Scribe (speech to text, free), https://www.nch.com.au/scribe/index.htmlOtter AI (speech to text and real-time transcription, paid), https://otter.ai/TEMI (speech to text transcription, paid), https://www.temi.com/ Music Credits“Wavicles” from Cosmosis by Zlata (Bára Hladík)“Erudition” from Cosmosis by Zlata (Bára Hladík)“Atmosphere” from Cosmosis by Zlata (Bára Hladík)“Scarlett Overpass” by Kajubaa via Blue Dot SessionsCloud Cave by Kajubaa via Blue Dot SessionsPacific Time by Glass Obelisk via Blue Dot Sessions Sound Effects“campfire in the woods” by craftcrest, ​​https://freesound.org/people/craftcrest/sounds/213804/“Page turn over, Paper turn over page turning” by flag2, https://freesound.org/people/flag2/sounds/63318/“Wall clock ticking” by straget, https://freesound.org/people/straget/sounds/405423/“Mechanical Keyboard Typing” by GeorgeHopkins https://freesound.org/people/GeorgeHopkins/sounds/537244/

On ShortCuts this month, producer Katherine McLeod talks with poet, novelist, and sound performer Kaie Kellough about a memorable recording from The Words & Music Show.  What are we listening to? Kellough upacks what we are listening to — which turns out to be a highly technical, performative, and polyphonic sonic object, along with it being an early version of a passage from his Griffin Prize-winning book of poetry, Magnetic Equator. Listen to this ShortCuts for the story behind one archival recording, and what this story reveals about how we remember the feelings infused within live performance.  EPISODE NOTESA fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Producer: Katherine McLeodHost: Hannah McGregorSupervising Producer: Judith Burr ARCHIVAL AUDIOArchival audio in this episode is excerpted from a recording of The Words and Music Show on November 20, 2016 (Casa del Popolo, Montreal). The performers that night were Eve Nixen, Kaie Kellough, Tawhida Tanya Evanson's Zenship [Tawhaida Tanya Evanson (voice); Mark Haynes (bass); Ziya Tabassian (percussion); Caulder Nash (keyboards), with guest performance by Nina Segalowitz (Inuit throat singing)], Paul Dutton* and pianist Stefan Christoff. SHOW NOTESKellough, Kaie. Magnetic Equator. McClelland and Stewart, 2020. —“Rough Craft: Notes on the creation of the audio / visual / textual work Small Stones.” SPOKENWEBLOG, 22 May, 2021, https://spokenweb.ca/rough-craft-notes-on-the-creation-of-the-audio-visual-textual-work-small-stones/.“The Show Goes On.” Producer Jason Camlot. The SpokenWeb Podcast, 7 Feb 2022. https://spokenweb.ca/podcast/episodes/the-show-goes-on-words-and-music-in-a-pandemic/.

Kaie Kellough + Stefan Christoff mix for @radioalhara @kaiaiak + @spirodon Sunday, Dec. 26, 2021 Track listing: (Artist, Track Title) 01. Beken - Kote'w Te Ye. 02. Sister Nancy - Bam Bam. 03. Mop Mop feat. Fred Wesley & Anthony Joseph - Run Around (Renegades Of Jazz Remix) 04. Roots Manuva - Ital Visions 05. Nicole Mitchell - Often Hard to Believe 06. Tony Allen - Moving On 07. Gil Scott-Heron - Home Is Where the Hatred Is 08. Hypnotic Brass Ensemble - Marcus Garvey 09. Ursula Rucker - Stop Calling Me! 10. Don Cherry - Utopia and Visions 11. Star Band de Dakar - Thioro Baye Samba 13. Meshell Ndegeocello - Dead Nigga Blvd. (Pt. 1) 14. Muzion - La Vi Ti Neg 15. @spirodon - A street accordion player in Mexico City (soundscape). 16. @anarchistmountains - Shore (excerpt). Photo taken by Stefan Christoff in the garden of the Museo de Arte Moderno in Mexico City.

Once relegated to the literary fringes, dub poet Lillian Allen has inspired countless CAnadian writers. A new book shows why.

“Is it my greed? Is it my greed that propels me to behave like this? How do I learn to share? Is it my fear? Is it my fear that propels me to behave like this? How do I learn to not be afraid of the unknown?” Writing as Patriarchy Misogyny, anitafrika reflects on how this character sees his domain under threat in the face of constant resistance. In an address to the Global Village, Patriarchy Misogyny muses on how his norms have been constructed and upheld, and the contested terrain on which they rest—testifying to the inspirational progress of feminist, queer and trans, and anti-racist movements. “Artists-in-Presidents” is initiated by Constance Hockaday, curated by Christine Shaw, and commissioned by The Blackwood (University of Toronto Mississauga). Podcast production by Vocal Fry. Transmissions are released every Friday from August 6–December 17, 2021. To view the portrait gallery, access ASL videos and transcripts, and for additional information about the project, visit www.artistsinpresidents.com and www.blackwoodgallery.ca. 
 d'bi.young anitafrika is an African-Jamaican-Tkarontonian, London-based dub poet, theatre interventionist and decolonial scholar committed to embodying art that ritualizes acts of transformation from violence inflicted upon the people and the planet. The multi-award-winning Canadian Poet of Honour, author of twelve plays, seven albums, and four collections of poetry was recently recognized as a Global Leader in Theatre and Performance by Arts Council England. After receiving hxr Masters from the University of London, anitafrika was awarded a Dean's Scholarship by London South Bank University (LSBU) to conduct doctoral research in Black womxn's theatre. In addition to being the Director of Curriculum Design and Pedagogy at the new Soulpepper Theatre Academy in Canada, anitafrika works at the UN's Global Initiatives Fellowship as Theatre Interventionist and lectures at LSBU. Shx continues to share hxr liberatory framework—the Anitafrika Method—with practitioners worldwide through hxr ongoing online residencies. Shx most recently worked as Director of Kaie Kellough's Jah in the Ever-Expanding Song for Obsidian Theatre's 21 Black Futures project and is currently completing Dubbin Theatre, an anthology of hxr plays written between 2000-2020. You can find hxr latest theatrical work in She Mama Wata— as an audio version that she wrote, directed and performed—featured in Soulpepper Theatre's Around the World in 80 Plays. Photo: Anthony Rock

In this episode, Linda begins with the sound of her father's old espresso machine, to explain how she sees -- or hears -- sound working in Magnetic Equator (published by McClelland & Stewart) by international poet, novelist, and sound performer Kaie Kellough. You can hear a sample of his sound poetry here. This episode includes a small excerpt read by Kellough himself (with permission by Kellough).In the "take-away" section, Linda talks about a biography she recently read by Sherrill Grace, about Canadian author Timothy Findley (published by Wilfrid Laurier University Press).If you'd like to know more about sound poetry, and about Kaie Kellough as a sound poet, check out Adam Sol's blog post about Kellough on "How a Poem Moves." Hosted on Acast. See acast.com/privacy for more information.

A fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Producer: Katherine McLeodHost: Hannah McGregorSupervising Producer: Judith BurrAUDIO SOURCESAudio clipped from “The Words and Music Show” (29 March 2020), https://www.facebook.com/1541307492796466/videos/891396077972589.Audio clipped from “ShortCuts 1.3 Where does the reading begin?” (Kaie Kellough reading at “The Words and Music Show,” 16 Nov 2016),  https://spokenweb.ca/podcast/episodes/audio-of-the-month-where-does-the-reading-begin/.RESOURCESGibson, Kenneth. “Jessica Moss ponders the mysteries of the universe.” The Concordian. 22 January 2019,  http://theconcordian.com/2019/01/jessica-moss-ponders-the-mysteries-of-the-universe/.Moss, Jessica. Entanglement. https://jessicamoss.bandcamp.com/album/entanglement.Perry Cox, Alexei. Finding Places to Make Places. Vallum, 2019. ----- Revolution / Re: Evolution. Gap Riot, 2021.

The Latner Writers’ Trust Poetry Prize annually celebrates a Canadian poet’s entire body of work with a $25,000 prize. Listen to the 2020 prizewinner Armand Garnet Ruffo talk about his life, his development as a writer through five poetry collections, and the strong influence of his Ojibwe heritage on his work. Ruffo is interviewed by poet Kaie Kellough, one of the prize jurors. Their conversation was part of the 2020 Writers’ Trust Awards: Career Honours Edition.

This episode - The Season Two Premiere of The SpokenWeb Podcast - chronicles different phases in the evolution of Deep Curation as a poetry reading curation practice, from its earlier iterations with Klara merely choosing the poems read by the authors and the order of their presentation, to its more robust form, with excerpted and intertwined works creating a thematic, cohesive arc. Poets featured from Deep Curation archival audio, include Lee Ann Brown, Margaret Christakos, Kaie Kellough, Sawako Nakayasu, Deanna Radford, and Erin Robinsong.SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.Episode Producers:Klara du Plessis is a third year PhD student in English at Concordia University and one of the governing board student representatives of the SpokenWeb research team. She experiments with a new practice of literary event organization called a Deep Curation, navigating the texts presented and their strategic, thematic arc. Klara's debut collection of multilingual long poems, Ekke, won the 2019 Pat Lowther Memorial Award, was shortlisted for the Gerald Lampert Memorial Award, and garnered much critical acclaim. Her second book-length narrative poem, Hell Light Flesh, is freshly released, September 2020 from Palimpsest Press.Jason Camlot's recent works include Phonopoetics: The Making of Early Literary Recordings (Stanford 2019), the co-edited collection, CanLit Across Media: Unarchiving the Literary Event (with Katherine McLeod, McGill-Queen's UP, 2019), and the article, “The First Phonogramic Poem: Conceptions of Genre and Media Format, circa 1888” in the open access journal, BRANCH: Britain, Representation and Nineteenth-Century History (February 2020). He is the principal investigator and director of The SpokenWeb, a SSHRC-funded partnership that focuses on the history of literary sound recordings and the digital preservation and presentation of collections of literary audio.  He is Professor of English and Tier I Concordia University Research Chair in Literature and Sound Studies at Concordia U in Montreal.Voices Heard:Lee Ann Brown, Margaret Christakos, Isis Giraldo, Kaie Kellough, Kate Lilley, Sawako Nakayasu, Deanna Radford, Erin RobinsongPrint References:Bernstein, Charles. ed. Close Listening: Poetry and the Performed Word. New York: Oxford University Press, 1998.Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les Presses du Réel, 2009.Brown, Lee Ann. In the Laurels, Caught. Albany: Fence Books, 2013.Christakos, Margaret. charger. Vancouver: TalonBooks, 2020.du Plessis, Klara. “Santa Cova Muscles.” Unpublished.Kellough, Kaie. Magnetic Equator. Toronto: Penguin Random House, 2019.Longair, Sarah. “Cultures of Curating: the Limits of Authority.” Museum History Journal 8.1 (2015): 1-7.Middleton, Peter. “How to Read a Reading of a Written Poem.” Oral Tradition 20.1 (March 2005): 7-34. Web. 25 December 2016.Nakayasu, Sawako. Texture Notes. Seattle: Letter Machine Editions, 2010.Obrist, Hans Ulrich and Asad Raza. Ways of Curating. New York: Faber and Faber, 2014.Radford, Deanna. Poems. Unpublished.Robinsong, Erin. Rag Cosmology. Toronto: Book*Hug, 2017.Rogoff, Irit. “Curating/Curatorial.” Ed. Beatrice von Bismarck, Jörn Schafaff, and Thomas Weski. Cultures of the Curatorial. Berlin: Sternberg Press, 2012. 19-38.Vidokle, Anton. “Art without Artists?” Ed. Beatrice von Bismarck, Jörn Schafaff, and Thomas Weski. Cultures of the Curatorial. Berlin: Sternberg Press, 2012. 216-226.Wheeler, Lesley. Voicing American Poetry: Sound and Performance from the 1920s to the Present. Ithaca: Cornell University Press, 2008.Poetry Recordings:Deep Curation 4th Space. Feat. Margaret Christakos, Kaie Kellough, Deanna Radford. 7 November 2019. Personal archive.Deep Curation Boston University. Feat. Lee Ann Brown, Fanny Howe, Sawako Nakayasu. 30 January 2020. Personal archive.Deep Curation Mile End Poets' Festival. Feat. Aaron Boothby, Klara du Plessis, Canisia Lubrin, Erin Robinsong. 24 November 2018. Personal archive.Sir George Williams Reading Series. Feat. Jackson Mac Low. 26 March 1971. https://montreal.spokenweb.ca/sgw-poetry-readings/jackson-mac-low-at-sgwu-1971/#1Four Horsemen. Two Nights. 9 and 10 October 1987. http://writing.upenn.edu/pennsound/x/4-Horsemen.phpAmbient Sounds:Cmusounddesign. “02 Museum.” 03:02. 29 November 2009. Attribution License. https://freesound.org/people/cmusounddesign/sounds/84529/Ecfik. “Museum Ambiences.” 01:16. 2 August 2019. Creative Commons 0 License. https://freesound.org/people/ecfike/sounds/478349/Pastabra. “Lounge tea party: Ambience.” 03:21. 31 October 2016. Attribution License. https://freesound.org/people/Pastabra/sounds/366194/Wilhelmsqueek. “Cutting_Croissant_ST.” 00:20. 9 June 2016. Creative Commons 0 License. https://freesound.org/people/wilhelmsqueek/sounds/347384/Music:“Manny in Sound” by Blue Dot Sessions (www.sessions.blue). Attribution Noncommercial License.“Turning to You” by Blue Dot Sessions (www.sessions.blue). Attribution Noncommercial License.Tuned Down and Slowed “Turning to you” by Blue Dot Sessions (www.sessions.blue). Attribution Noncommercial License. Manipulations by Jason Camlot 

"I had a confrontation with someone in the line up for a grocery store... and that moment of slow honeyed ease was totally interrupted." Kaie Kellough is a novelist, poet, sound performer and the Canadian winner of the 2020 Griffin Poetry Prize.

Broadcasted on Friday, December 6, 4-6pm ET on CFRC 101.9fm’s ‘finding a voice’ –In the first hour, from a November 15th Queen’s University event called “Who Needs a Poem?”, you’ll hear readings and discussion led by Queen’s Fall Term Writer-in-Residence Canisia Lubrin, with guests Robin Richardson, Lesley Belleau, and Kaie Kellough.

In 1969 a group of students occupied the 9th floor computer center of Sir George Williams University (currently known as Concordia University) to object to racial bias in academic grading.  50 Years later we revisit this page in Montreal history through an event called Protest & Pedagogy.  Khalid M'Seffar of Funky Revolutions interviews Kaie Kellough, spoken word artist,  (& Soul Perspective Allum) one of the event organizers to discuss the events that shaped this incident. This piece explores racial tensions, student activism, Montreal Black history through the music of the era, through documentation of the event, personal connection and historic legacy .

listen to « dromotexte » broadcast on July 13th, 2017 live on CKUT radio @radiockut, featuring work by Hoda Adra @h-o-d-a & Kaie Kellough @kaiaiak. below is the track listing ! A Tribe Called Red — The Road H O D A — La liberté des sens — La liberté des sens H O D A — La liberté des sens — Échecs H O D A — La liberté des sens — Vol H O D A — La liberté des sens — Space Shepherd H O D A — La liberté des sens — Sanscible H O D A — La liberté des sens — Camel Shepherd H O D A — La liberté des sens — Tu es H O D A — La liberté des sens — Voice Shepherd H O D A — La liberté des sens — Radwaniyat H O D A — La liberté des sens — Parfois H O D A — La liberté des sens — Family Shepherd H O D A — La liberté des sens — Montre Kaie Kellough — accordéon launch: audio excerpt 2 Kaie Kellough — accordéon launch accompanying photo taken at the La liberté des sens album launch at Casa del Popolo.

mercredi, wednesday 12 juillet, 20h30 @ Casa del Popolo, 4873 St. Laurent community benefit for Palestinian political prisoners supporting Addameer Prisoner Support & Human Rights Association $10 (no one turned away) feat. * Shanice Nicole * Lamia Yared + Nathaniel Huard * Skin Tone — Jaames Nicholas Dumile Willoughby (saxophone & electronics) * Mixed with Dust (Kaie Kellough & Stefan Christoff) accompanying photo by Nour Ouayda. bios : Chanteuse d'origine libanaise, Lamia Yared puise son répertoire dans les chants traditionnels et folkloriques arabes. Elle s'accompagne au oud pour chanter ces mélodies syriennes et égyptiennes. Avec son groupe Zaman, elle présente des concerts depuis 2014. Cette performance sera présentée en collaboration avec le percussioniste Nathaniel Huard. / A singer of Lebanese origin, Lamia Yared's work is rooted in a repertoire of traditional and folkloric arabic songs. Lamia plays oud while also singing Syrian and Egyptian melodies. With l'Ensemble Zaman, Lamia has played concerts since 2014, this coming performance will be presented with the collaboration of percussionist Nathaniel Huard. Shanice Nicole is a Black feminist educator, facilitator, writer, and spoken word artist living and loving in Montreal. She discovered poetry in the summer of 2015 and now uses it as a form of expression, healing and resistance in her fight for social justice. Shanice Nicole's writing explores race, feminism, mental health and sexuality but most importantly represents the many layers of her Black womanhood. Connect with her on Instagram at @ThatsWhatShaSaid. Mixed with Dust is Kaie Kellough (http://kaie.ca/) on voice / elections & Stefan Christoff on echo guitar / keyboards. * Acessibility: Casa Del Popolo is located on ground level. There are ramps on both the venue and bar front entrances for wheelchair accessibility. Washrooms are gender neutral and one is wheelchair accessible. There are no automatic doors however. // * Accessibilité: Casa Del Popolo se situe au sol - il y a des rampes disponibles pour l'entrée de la salle et du bar pour les chaises roulantes. Les salles de bains sont "Genre-neutre" et une est accessible pour les chaises roulantes. Il n'y a cependant pas de portes automatiques. * Safe Space Policy: There will be zero tolerance for racist, sexist, transphobic and any oppressive behaviour. Casa Del Popolo has staff ready to assist you if ever you feel unsafe and/or you notice anything unusual/problematic. You can also reach out personally to the organizers or the artists, and we will try to help you as best as we can. // * Politique d'Espace sécuritaire: Il n'y aura aucune tolérance pour des comportements racistes, sexistes, transphobiques et n'importe quel autre comportement oprresant. Le personnel de Casa Del popolo est prêt à vous assister si jamais vous craignez pour votre sécurité, et/ou que vous apercevez quelque chose de problématique/troublant. Vous pouvez aussi contacter les organisateurs ou les artistes, et nous essayerons de vous aider autant que possible.

Visiting from Montreal, Kaie Kellough drops by to chat with RC about sound poetry, race, and growing up in Calgary.

The On Edge readings series presents: Kaie Kellough and Cornelia Hoogland. Kaie Kellough is a Montréal word-sound systemizer. He is the author of Lettricity (Cumulus, 2004), and Maple Leaf Rag (Arbeiter Ring, 2010), which was nominated for the Manuela Dias design award. Kaie is the voice of one sound recording, Vox:Versus (WOW, 2011), a suite of conversations between voice and instrument. Kaie's print and sound work is underwritten by rhythm and by a desire to dis-and re-assemble language and meaning. Kaie's work emerges where voice, language, music, and text intersect. He blends word-games with sound poetry, dub, and jazzoetry. He has performed and published internationally and is presently working on short fiction, on poems that say goodbye, and on new sound works. Cornelia Hoogland launched two books of poetry in 2011: Woods Wolf Girl (Wolsak & Wynn), and Crow (Black Moss Press). Her poems have appeared in the anthologies Regreen: New Canadian Ecological Poetry, Madhur Anand and Adam Dickinson (Your Scrivener Press, Sudbury, ON, 2009) and Open Wide a Wilderness: Canadian Nature Poems, Nancy Holmes (WLU Press, 2009). In 2008 Hoogland published poems in The River Project: 19 London Artists Turn to the Thames -- a book where artists re-imagined their relationship to the Thames River flowing through London. Forthcoming publications include Sound Ecology in the Woods: Red Riding Hood takes an Audio Walk, in the volume Essays in Performance & Ecology, (Eds. Wendy Arons and Theresa May, NY:NY, Palgrave). Woods Wolf You: A soundwalk, Cornelia's current project, incorporates the processes of poetry and storytelling with digital sound/audio technology, in order to provide participants with a heightened experience of the woods (and wolves) in Stanley Park in Vancouver. The On Edge series gratefully acknowledges the support of the Canada Council and Emily Carr.