This anthology embraces what Rothenberg calls Ethnopoetics.  The poems have been collected from around the world and include but are not limited to poetry associated with rituals, sacred poetry, folk poetry and visual poetry.  Rothenberg includes appendixes and commentaries that places the works in their historical context and explains the significance of their forms and delivery.  Rothenberg argues:

That there are no primitive languages is an axiom of contemporary linguistics where it turns its attention to the remote languages of the world. There are no half-formed languages, no underdeveloped or inferior languages. Everywhere a development has taken place into structures of great complexity. People who have failed to achieve the wheel will not have failed to invent & develop a highly wrought grammar. (XViiii)

In order to recognize the complexities that exist in the remote languages of the world, we must stop using technological advancements to measure intelligence (XViiii).  We must also understand that in many cultures the “words or vocals are part of a larger total ‘work’ that may go on for hours, even days, at a stretch” and include “what we would separate as music & dance & myth  & painting” (XX).  Difficulties in collecting and translating these works are often caused by the differing mediums and materials that are connected to one work that may be lost and/or altered through translation and transcription.

One of my favorite works in the anthology is “A Song Of Changes”.

A Songs Of Changes
The light becomes dark.
The night, & again the night,
The day with hunger tomorrow.
The Maker is angry with us.
The Old Ones have passed away,
Their bones are far off, below.
Their spirits are wandering–
Where are their spirits wandering?
Perhaps the passing wind knows.
Their bones are far off, below.
Are they below, the spirits? Are they here?
Do you see the offerings set out?
Tomorrow is empty & naked
For the Maker is no more there,
Is no more the host seated at the hearth. {Gabon Pygmy} (172)

The translator of this poem, C. M. Brown, utilizes many typographical cues to replicate the oral performance elements of the poem.  There are several enjambments, end-stops and pauses.  In addition, the translator also uses capital letters to show emphasis and dashes to create a long pause.

Here is a link to an Ethnopoetics web resource curated by Jerome Rothenberg:  UBUWEB Ethnopoetics