This article analyzes how the notions of what counts as ‘performance poetry’ and who counts as a ‘performance poet’ differ according to context, and its focus lies on how these terms are postulated and disseminated within the South African literary scene. It offers an analysis of circumstantial factors within the South African literary community, which is explored as a site of epistemic violence. This epistemic violence unfolds through the racial micro-invalidations which are produced each time academia and media use the terms ‘performance poet’ and ‘performance poetry’ in relation to black poets and their work, without being aware of the negative implications of this. This pernicious ignorance is exposed and addressed, and so too is the conceptual system underscoring an approach that sees poetry as synonymous with the written word and which privileges the written over the oral, thereby relegating ‘performance poetry’ to an indefinite space, existing somewhere outside the national written traditions.

中文翻译：

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“你说“表演诗人”，我听到“跳舞黑鬼，跳舞”：南非表演诗概念的问题化

本文分析了“表演诗”和“表演诗人”的概念如何因上下文而异，其重点在于这些术语在南非文学界是如何假设和传播的。它对南非文学界的环境因素进行了分析，该社区被视为认知暴力的场所。这种认知暴力通过每次学术界和媒体使用“表演诗人”和“表演诗歌”与黑人诗人及其作品相关的术语而产生的种族微观无效而展开，而没有意识到这的负面影响。这种有害的无知被揭露和解决，