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The first report on the status of Arabic poetry, published by the Academy of Arabic Poetry at Taif University in Saudi Arabia 2019, did not ignore the mention of the digital or electronic poetry experiences of some poets in a number of Arab countries.
The critics and researchers who participated in the drafting of the report focused on this new tributary of our poetic creativity that keeps pace with the digital revolution that is sweeping the world now, which has attracted – at the same time – the leaders of the seventh Cairo International Forum for Poetic Creativity, which was held in the period 13-16 January 2020 On electronic poetry, which means that the matter has become urgent and occupies the poetic and monetary arena, and is no longer just a luxury or useless experiences, as the report, which was recently published on 900 pages, addressed the impact of social media on the poetic movement, both positively and negatively.
Technical world
In the report, Saudi critic Abdullah Al-Muaqil notes that poets publish many of their texts on the Internet, and that the texts reach a readership that no other medium is available, and this type of publication required the poet to take into account of this large audience of readers whose cultural levels differ, from Where the choice of verses close to understanding and short in the form of sections, given the limited space for publication.
As for the Algerian critic Abdelkader Rabhi, he believes that the digital revolution has caused an earthquake in the most closed structures, and has had a strong impact on distant parties by piling up on the fringes with their intellectuals and recipients far from creative risk. This situation had to reformulate new creative and aesthetic visualization centers based on the ease of their integration into contemporary virtual reality. Rabhi notes that the virtual world has paved the way for the return of traditional creative systems to the facade of reception and the return of the dissemination of its aesthetic values from the perspective of a large audience that reflects the conservative environment of Maghreb societies.
The critic Ezzedine Mirghani intervenes on the presence of modern Sudanese poetry in the cyberspace between positive and negative, indicating the contributions and the enormous membership of these websites on the Internet, where the member is free to write any text he wishes, and warns that the danger of those writings can come from Compliments, from member to member, and thanks and thanks, praise and praise you, and praise can come from a non-specialist or a compliment without even reading the entire text.
As for the criticism Bushra Musa Salih, it refers to the widespread entry of poets into the technical world with the poetry of the nineties and later, due to the influence of social media, which contributed to the creation of new stylistic poetic forms that the ninetieth poet Mushtaq Abbas Maan called it “interactive poem”, and the term was disclosed and dedicated in his project His vision and actions based on caring for the presence of the recipient (technician) and his contribution to reading and reproducing the text. He clarifies that the “interactive poem” is one of the most poetic texts closely linked to the electronic medium and its space of technical communication, and what derives from it from the “coherent text” and “electronic presentations”, which allows for a variety of open outlets : rich audio, visual and artistic.
Lebanese critic Charbel Dagher believes that what is published on the Internet of Arabic poetry is expanding to include poetry on “Instagram”, “Twitter” and “YouTube” in addition to Facebook and others. And it stops at the critical experience of the Jordanian Academy d. Imtenan Al-Smadi in 2018, in which he addressed the public response to Mahmoud Darwish’s poem in the electronic application “Twitter” on a particular day in April 2018 and made it material for examination and study.
On the other hand, the Egyptian researcher d. Ahmed Mujahid said there is not a single website in Egypt that specializes in poetry publishing, while cultural magazine websites only publish a BDF version of the print publication, and they are not interactive sites with readers, which is why the poets have nothing but their own pages on Facebook, and confirms that poetry has found a real outlet on the blue page after its suffocation in the print publishing crisis.
The danger of digital writing can arise from the courtesy and compulsion of the poet to choose short and understandable lines in fragments
Saudi writer Khaled Ahmed Al-Youssef explains that the technological and communication revolution and the introduction of the Internet in all places and places have allowed Arabic poetry to benefit from this fast channel. Private and public sites have been established since the mid 1990s. The “Poetry Hand” site, founded and sponsored by the Bahraini poet Qassem Haddad, was one of the first sites. .
Then the interest in each poet’s personal websites started on its own, after he had to deal with the internet it became easier, and the costs and expenses for the follow-up and maintenance of the sites decreased, and each was able to establish a site that belongs to him personally, and electronic publishing was born from here, and his horizons, departments and sites expanded, so the production of data and poetry went hand in hand with. , on paper and electronically.
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