POETIC-MUSICAL TRANSCREATION: A MANIFESTO OF WRITING AT THE INTERSECTION OF POEMS, SONGS, AND EXPERIENCES

Abstract

This article-manifesto formulates poetic-musical transcreation as the principle of an authorial practice in which poems emerge from the encounter between lived experience, memory, song, and language. Drawing on Haroldo de Campos’s concept of transcreation, it proposes a shift from recreation between languages to passage between artistic and existential systems. Music does not work as illustration, ornamental epigraph, or an afterward soundtrack; it participates in the poem’s genesis, structure, rhythm, and affective field. The study adopts a qualitative, interpretive approach to retrospective reading, combining aesthetic reflection, literary criticism, and manifesto writing without prescribing a method of poetic creation. It examines six poems by Rodrigo Buzati Ferraz: “Quarto 310,” “O Bistrô,” “Emocionário de nós,” “Anima,” “Ponte Pênsil,” and “Tênis Poesia.” It argues that poetic transcreation neither reproduces a song nor faithfully reports an event; rather, it carries their aesthetic force into a new verbal configuration. Music survives in the poem as transformed atmosphere, rhythm, image, montage, silence, or counterpoint. The article concludes by presenting the principles of a poetics that understands song as active memory and the poem as a form that gives lived experience an aesthetic existence. Five poems are discussed in terms of musical relations with varying degrees of textual explicitness; “Anima” serves as a contrasting case that helps delimit the category.