| 101
Claudia Ben hien
Odes o Miami
Sociopoe ic P ac ices in he U ban and Digi al Space
Abs ac
This pape in es iga es ›Zip Odes‹, a o ma de-
eloped o he O, Miami poe y es i al, as an
example o sociopoe ic p ac ices be ween he
u ban and digi al space. Zip Odes a e sho po-
ems w i en by esiden s ha ans o m hei zip
code »in o an occasion o place-based, ly ical
celeb a ion« ( es i al websi e). The Zip Ode’s
composi ion p inciple is based on he numbe in
he au ho ’s zip code, and i is unlike adi ional
e se as wo ds a he han syllables a e coun-
ed. Each yea , dozens o poems a e displayed in
he s ee s and pe o med in on o audiences.
Fu he pe o mances ake place on he es i-
al’s Ins ag am page, whe e w i en odes a e
anima ed in se ial o m o p esen ed as ideo
clips eci ed by he poe s.
A e in oducing he con ex o he O, Miami
poe y es i al, he pape will ake a sociocul-
u al pe spec i e o discuss he Zip Ode as a
popula adap a ion o a classical ly ical gen e. In
he li e a y adi ion, odes a e song-like poems
exp essing s ong eelings, pa icula ly admi-
a ion, and add essed o sublime na u e o an
abs ac en i y. He e, hey a e di ec ed a a place,
a
neighbo hood, o a ci y. By pe o ming a ex ual
examina ion o exempla y Zip Odes, his pape
will analyze he o m and hemes o he gen e
be o e discussing i s a ious p esen a ion o ma s.
The pape se s he es i al concep and, in pa i-
cula , his inno a i e poe y o ma in ela ion o
he no ion o ›ly ic add ess‹ and conside s i as a
p ac ice o place-making.
1. In oduc ion: The Con ex o he O, Miami Poe y Fes i al
The ›Zip Ode‹ is a poe y o ma de eloped o Flo ida’s O, Miami poe y es i al. Since 2011,
his mul i-si e es i al has been held in public places e e y yea om Ap il 1 o 30 – US
na-
ional poe y mon h – and co e s he b ead h o Miami-Dade Coun y. In a book coau ho ed
wi h sociologis No be Ges ing, I examine O, Miami in de ail as a poe y e en held in
Kiel-UP •
h ps://doi.o g/10.38072/2751-9821/p15
102 | POEMA 2.2024
he u ban space (Ben hien and Ges ing 2023
1
). In con as , he e I will ocus on one spe-
ci ic o ma and i s conc e e poe ic, social, and media p ac ices. Like isual a displayed
in he public space, poe y can also be an ac i e ool o »place-making« (c . Ben hien and
Ges ing 2023, 28–32) – a e m used in u ban esea ch o desc ibe how a ious o mal and
in o mal ac o s such as u ban planne s, in es o s, bu also g ass oo s ini ia i es and esi-
den s p oduce space (c . Lossau 2015). I is especially use ul o deno ing social p ac ices
o app op ia ion and ma king, and uses ha a e connec ed o he social mic o space o
speci ic e e yday places. Wi h ega d o he poe y es i al O, Miami, sociopoe ic p ac ices
include di e en o ms o p esen ing and commen ing on poems as well as he aspec o
communi y building h ough poe y ha add esses one’s own egion o neighbo hood.
In his heo y on he »p oduc ion o space«, Hen i Le eb e dis inguishes be ween h ee
dimensions: »spa ial p ac ice«, » ep esen a ions o space«, and » ep esen a ional spaces«
(Le eb e 1991, 33). Wi h »spa ial p ac ice«, Le eb e e e s bo h o he ma e ial side o
space – ha is, i s s uc u al and physical o m – and o i s e e yday use and pe cep ion by
inhabi an s (c . Le eb e 1991, 38). Public poe y can be unde s ood as pa o a p oduc ion
p ocess in he Le eb ian sense: when i is p esen ed, i changes u ban spa ial p ac ice o
a ying deg ees, and li ed space p esen s i sel in new ways, making o he uses o a ibu-
ions o meaning possible (c . Ben hien and Ges ing 2023, 17–19).
The ci y o Miami has 442,000 esiden s, he coun y 2.7 million, and he me opoli an
a ea, loca ed on he sou h o he US eas coas , 6.1 million. Miami is a »mino i y-majo i y
ci y« – acco ding o census da a, 72 pe cen o i s inhabi an s a e Hispanic, 16 pe cen
Black, and jus 12 pe cen Whi e.
2
People o Cuban o igin make up he la ges g oup, wi h
a popula ion sha e o 34 pe cen (c . Po es and A mony 2018, 30). Miami-Dade has »one
o he mos di e se and populous Spanish-speaking popula ions in he Uni ed S a es« (Shu-
mow and Pin o 2014, 59). The majo i y (app ox. 55%) o Miami-Dade’s cu en esiden s
a e o eign-bo n, wi h he o e whelming majo i y (mo e han 90%) o La in Ame ican
o igin; mos o Miami-Dade’s popula ion iden i ies as Hispanic o La ino (c . Lynch 2023,
113). While Spanish is spoken in he majo i y o households ac oss all socioeconomic
s a a, English is also widely spoken, in pa icula by »Miami-bo n second- and hi d-gen-
e a ion bilinguals« (Lynch 2023, 113). Among he cha ac e is ics ha cons i u e Miami’s
» adical uniqueness« (Po es and A mony 2018, 1) is i s close connec ion o La in Ame ica.
The Miami me opoli an a ea is, on he one hand, an economic hub o inancial lows
be ween he US and La in Ame ica and, on he o he hand, a des ina ion o e ugees and
immig an s om La in Ame ican coun ies such as Cuba, Nica agua, Venezuela, and Hai i.
Due o i s economic unc ion, Miami has become a global ci y (see A anda, Hughes and
1
The gene al ema ks on he es i al and on he Miami me opoli an a ea in his a icle a e aken om Ch. 3.5 o his
Ge man-language s udy, as a e a ew o he Zip Odes discussed below.
2 C . h ps://www.census.go /quick ac s/ ac / able/miamici y lo ida,miamidadecoun y lo ida/POP060210
(16 Decembe 2023).
Ben hien: Odes o Miami | 103
Sabogal 2014), bu i is also cha ac e ized by p onounced social inequali y and abo e-a -
e age po e y: mo e han 20 pe cen o he popula ion li e below he o icial po e y line.
3
Social inequali y, e hnic di e si y, and po e y a e also e lec ed in he sociospa ial s uc-
u e o he ci y (and he a ea as such): esiden ial seg ega ion is cha ac e ized, i s ly, by
he small-scale coexis ence o weal h and po e y and, secondly, by encla es o mino i ies,
o which Li le Hai i and he A ican-Ame ican neighbo hood o O e own a e signi ican
examples (c . Ben hien and Ges ing 2023, 124–125).
The ambi ious goal o he annual poe y es i al is o e e y pe son in Miami-Dade o
encoun e a poem in he public space in he mon h o Ap il. Th ough si e-speci ic e en s
and poe y ac ions, O, Miami aims o make he oices o he people li ing in he me opol-
i an a ea hea d h ough poe y, o »engage esiden s in a li e a y communi y«, and o en-
able collec i e expe iences and cul u al exchange.4 The es i al s a consis s o en people
belonging o di e en e hnic g oups, mos o whom ha e an a s o poe y backg ound.5
Despi e he ac ha he majo i y o esiden s speak Spanish, all o icial communica ion
– du ing public e en s, on he websi e, and on social media – akes place in English.
This may ha e o do wi h he »gene al social p e e ence o English« in he a ea and i s
»c oss-s uc u al in luence […] a all linguis ic le els« (Lynch 2023, 113–114).6 The poe y
p esen ed du ing he es i al is mul ilingual, al hough English domina es, wi h Spanish
clea ly in second place.
O, Miami is a non-p o i o ganiza ion inanced by di e en public unds and ounda-
ions, e.g., h ough he cul u al p omo ion o he di e en ci ies and dis ic s in ol ed,
in pa icula he Ci y o Miami and Miami-Dade Coun y cul u al au ho i ies. I has e-
cei ed and con inuous o ecei e i s g ea es and mos sus ained suppo om he Knigh
Founda ion, a non-p o i o ganiza ion ha eme ged om a o me Ame ican newspape
empi e ha had been headqua e ed in Miami. The ounda ion is commi ed o quali y
jou nalism, ci ic esponsibili y, and a s p ojec s, and is pa icula ly ac i e in ci ies whe e
he ounde s o me ly published newspape s. I p omo es local social and cul u al engage-
men on si e ha s i es o he equali y and inclusion o all esiden s. I s cen al ision
eads as ollows:
We belie e an engaged communi y is one whe e people a e a ached o he
place whe e hey li e and a e in es ed in he communi y’s u u e. Engagemen
3 C . h ps://www.census.go /quick ac s/ ac / able/miamici y lo ida,miamidadecoun y lo ida/POP060210
(16 Decembe 2023).
4
h ps://omiami.o g/p ojec s-and-e en s/all
. All links o he O, Miami webpage we e checked in June 2023.
5
h ps://omiami.o g/abou -us/abou -us-page
(16 Decembe 2023).
6 A he same ime, in mos wo kplaces » he demand o Spanish is unequi ocal and uncon es ed; in some, Spanish is
a de ac o equi emen . Abou hal o Miami-Dade Coun y’s employed popula ion cu en ly has a se ice-, sales-,
o o ice- ela ed occupa ion [….], in which bilingual wo king abili ies a e essen ial« (Lynch 2023, 114).
104 | POEMA 2.2024
includes many hings, such as choosing o s ay in a place, pa icipa ing in
communi y and ci ic a ai s, o ing, olun ee ing o simply aking pa in he
social li e o he communi y.
7
O, Miami pu s hese goals in o ac ion and adds one pa icula impulse: »Mixing si e-speci -
ic e en s, communi y ga he ings, and poe y-in-public-places p ojec s, he es i al s i es
o be a celeb a ion o Miami and i s people«.
8
As emphasized he e, he es i al aims o en-
cou age all inhabi an s o pa icipa e and in e ac wi h poe y and each o he in he public
space: »O, Miami builds communi y a ound he powe o poe y. Th ough collabo a ions,
p ojec s, e en s, and publica ions, we c ea e a pla o m o ampli ying Miamians, in es ing
in a new sha ed na a i e o ou ci y and a mo e equi able pic u e o i s u u e«.
9
The poe y es i al encompasses a a ie y o o ma s, 25 o 35 o which a e ealized each
yea . I has s ong connec ions o he me opoli an egion i sel because mos o he poe y
p esen ed is w i en by au ho s li ing in Miami-Dade and, mo eo e , akes he coun y, i s
ci ies, o neighbo hoods as i s subjec . Many o he o ma s a e low- h eshold, and hey a e
essen ially p oposed and ca ied ou by he popula ion i sel . The es i al is based on an
open call p inciple and a highly egali a ian unde s anding o poe y: anyone can apply wi h
a p oposal, whe he o no hey ha e expe ience in cu a ing cul u al e en s o w i ing po-
ems. Howe e , he ocus on poe y by esiden s has only eme ged in he cou se o he es i-
al’s his o y. In an in e iew, es i al ounde and Di ec o P. Sco Cunningham ema ked:
I shows an impo an shi in ou hinking, because when we s a ed doing
he es i al, we would o en use mo e canonical poems, amous poems by
poe s ha people migh ha e hea d o – Wal Whi man, o whoe e . And as
we did he es i al mo e, we ealized ha i would be mo e meaning ul o
he poems o come om people in Miami hemsel es.
10
Cunningham also acknowledges a second majo shi in he es i al’s concep : »[A] he
beginning, I hough we’d be deli e ing poe y o Miami, and now I know ha we a e sim-
ply c ea ing oppo uni ies o encoun e poe y, because he poe y’s al eady in Miami. I
doesn’ need o be deli e ed«.
11
Acco ding o he pos ula e ha Miami-Dade Coun y al eady
con ains i s inhe en poe y, he es i al aims o e eal hose »gems«, and o show and sha e
hem wi h o he s. This didac ic impulse is pa icula ly impo an as many schools and
7
h ps://knigh ounda ion.o g/p og ams/communi ies/
(16 Decembe 2023).
8
h ps://omiami.o g/poe y- es i al/
(16 Decembe 2023).
9
h ps://omiami.o g/abou -us/abou -us-page
(16 Decembe 2023).
10 Zoom in e iew wi h P. Sco Cunningham by Claudia Ben hien and No be Ges ing, conduc ed 29 Sep . 2022.
11
h ps://li hub.com/p-sco -cunningham-on-miamis-poe y-scene/
(16 Decembe 2023).
Ben hien: Odes o Miami | 105
o he educa ional ins i u ions pa icipa e in he p og am. The e a e also eadings wi h and
e en s abou well-known poe s, bu simply designed mic o poems by elemen a y school
s uden s and ama eu s, o ins ance, a e equally impo an .
2. Zip Odes as a Popula Adap a ion o a T adi ional Ly ical Gen e
Zip Odes a e O, Miami’s mos success ul o ma . De eloped in collabo a ion wi h he local
adio s a ion WLRN, hey play a p ominen ole du ing he es i al because hey a e a e-
cu ing elemen o he p og am ha is ea u ed on he websi e, social media, and he adio,
and because hey a e so well known ha hey ha e been imi a ed in o he Ame ican ci ies.
Acco ding o he concep , Zip Odes a e i e-line poems w i en by esiden s, »designed o
ans o m you zip code in o an occasion o place-based, ly ical celeb a ion«.
12
Recen ly,
poe s ha e also been allowed o submi poems abou Miami-Dade’s neighbo ing coun ies
o B owa d, Palm Beach, and Mon oe.
13
Since 2015, dozens o Zip Odes ha e been selec -
ed each yea by a ju y consis ing o membe s o O, Miami s a and cul u al edi o s om
WLRN adio. The odes a e pos ed in u ban space, on public anspo , and in shopping
malls; hey a e eci ed on he adio and pe o med by au ho s du ing a public e en held in
on o an en husias ic audience.
14
Th ough i s i le – a wo dplay on »code« and »ode« – he poe y o ma e e s o one
o he mos p es igious poe y gen es. In he ly ic adi ion, odes a e song-like poems ha
exp ess s ong eelings, especially admi a ion. Classical odes consis o a se ies o s anzas o
he same s uc u e wi h a iable o m, in which a pa adigma ic desc ip ion is ealized, de-
eloping a opic acco ding o hema ic aspec s in a logical and sys ema ic a angemen (c .
Penzens adle 2016, 398–399). The se ious one o he ode »calls o he use o a heigh ened
dic ion and en ichmen by poe ic de ice« (Fogle and F ey 2012, 971). In ea lie e as, poe s
we e o en commissioned o w i e such panegy ic poems, and he o al eci a ion o an ode
in on o a li e audience by a lau ea e o o he spokespe son was pa o i ual e en s such
as compe i ions o ce emonies (c . Fogle and F ey 2012, 971). One could say ha , in he
inal public eading o he O, Miami es i al – called he Zip Ode Finale – his o a o y a-
di ion is con inued o some ex en , hough in se ial o m. In he ly ical adi ion, odes a e
dedica ed o he ene a ion o God o di ine c ea ion, o he p aise o ule s, o o hemes
o mo al philosophy (e.g., p aise o coun y li e), while anac eon ic odes a e d inking o
lo e songs (c . Fogle and F ey 2012, 971–972). The poe ic p aise o ci ies o landscapes is
12
h ps://omiami.o g/pages/zip-odes
(16 Decembe 2023).
13 C .
h ps://www.wl n.o g/w i e-an-ode- o-you -zip-code
(16 Decembe 2023). Odes om hese coun ies a e
clea ly in he mino i y so a , as he 2023 s a is ics show; c .
h ps://www.wl n.o g/a s-cul u e/2023-05-08/o-
miami-wl n-zip-ode- inale
(16 Decembe 2023).
14 C . h ps://www.you ube.com/wa ch? =8Yhkie-YJb8 (16 Decembe 2023); h ps://www.you ube.com/wa ch? =_
MJu1nj8 SQ (16 Decembe 2023).

106 | POEMA 2.2024
ano he con en ional subjec o he ode (c . Schunck 1990, 14). Howe e , no e e y Zip
Ode is w i en in p aise o an a ea, a neighbo hood, s ee , building, o o he conc e e place
in he Miami me opoli an a ea – some poems deal wi h di e en opics o hema ize local
iden i y only indi ec ly, o ins ance, h ough a mu ual language o amily ies.
In con as o classical odes, Zip Odes a e nei he long no complex, no a e hey based
on a me ic scheme. Ra he , hey a e sho , simple, and based on a p o ane nume ical code.
The ins uc ions o composing hem ead as ollows:
W i e he numbe s o you zip code down he le -hand side o he page.
Each numbe de e mines he numbe o wo ds in ha line. No e: i you ha e
a ze o in you zip code, ha line is a wild ca d! You can lea e i blank, inse
an emoji o symbol, o use any numbe o wo ds be ween 1 and 9.
15
Unlike in adi ional me e , i is no he syllables ha a e coun ed in his a ian o ode bu
he wo ds. This equi emen is qui e con apun al o he ha mony o hy hm bu allows
o open, expe imen al, and mo e colloquial o ms. Fu he mo e, as i is easie o coun
wo ds han syllables, he ode a ian aims a accessibili y. Wi h hei combina o ics o
codes and e se, Zip Odes add ess esiden s hemsel es because only hey a e able o ec-
ognize ad hoc which pos al code s ands o which neighbo hood o ci y. Ve si ying one’s
own esiden ial a ea s eng hens iden i y, bu his is coun e in ui i ely achie ed by means
o an abs ac nume ical code. In an age whe e people ha dly w i e le e s o each o he
anymo e, zip codes ha e changed unc ions: hey a e now essen ial o he p omp deli -
e y o online o de s bu also o de e mine »how we a e ead by policy-make s, poli icians,
s a is icians, polls e s, insu e s, businesses, o ganize s, and ma ke e s« (Cla k 2013). Re-
lec ing he la ge scale in he US, mos ci ies and neighbo hoods ha e no g own na u ally
in Miami-Dade Coun y – on he con a y, hei bounda ies we e se by geome ical lines on
he d awing boa d. His o ical, geog aphical, na u al, and geological ea u es ha dly played
any ole in he o iginal dema ca ion o an a ea, which is why p aising speci ic ea u es
in he p esen has an impo an unc ion o social as well as indi idual iden i y. Thus,
using pos al codes in poe y is a o m o a is ic app op ia ion ha ecodes a neighbo hood
h ough i s esiden s
.
A cul u al s udies pe spec i e lends i sel o looking a sho , popula , simple ypes o
poe y like mos o he o ma s in he O, Miami es i al (c . Hall 1992). Cen al aims a e
o democ a ize he concep o cul u e and o elimina e he dis inc ion be ween »high« and
»popula « cul u e, and his pe spec i e decla es all a i ac s o cul u al exp essions o be i s
objec o s udy (c . Ben hien and Vel en 2013, 531, 532–538). Cul u al s udies esea ch in-
sis s on he igh o one’s own oice, especially ha o ma ginalized g oups, which di ec ly
co esponds o he poe y es i al’s aim o gi ing a oice o hose who a e no no mally
15
h ps://omiami.o g/pages/zip-odes
(16 Decembe 2023).
Ben hien: Odes o Miami | 107
hea d in a egion wi h p onounced social inequali y. Acco ding o he online pho o docu-
men a ion on
h ps://omiami.o g/
, he majo i y o (chosen) Zip Odes a e w i en by emale
au ho s, including many gi ls and eenage s, and by people o colo . The same holds ue
o o he es i al o ma s, in pa icula hose in ol ing school child en. I he cen al aim
o he es i al is o make he plu al, di e se, and o en ye unhea d oices o Miamians au-
dible hough poe y, his co esponds o he cen al impulses o cul u al s udies. In ecen
discou ses on popula cul u e, howe e , » he popula is no longe ei he he cul u e o he
›lowe classes‹ o he inclusion o he ›people‹«; a he , »being popula now means ge ing
no iced by many« (We be e al. 2022, 1), which e e s o quan i a i e pa ame e s such as
he numbe o books sold o ollowe s on Ins ag am. Since he concep o O, Miami is, on
he one hand, di ec ed a mino i ies – in e e y sense o he wo d – and, on he o he , aims
o gene a e a en ion by a ious means, including social media, bo h no ions o he popula
seem o apply he e.
In Poe y and Cul u al S udies, Heidi Bean and Mike Chasa de ine poe y as »no jus an
aes he ic ac , bu a si e o and o social and aes he ic ac i i ies« (Bean and Chasa 2017, 5)
and ou line he plu ali y o con empo a y poe ic o ms as
a ield ha is in he p ocess o econs i u ing i sel no a ound a monoli hic,
capi alized no ion o »Poe y«, o a ound uncom o able se s o bina ies like
[…] »mains eam« and »a an -ga de«, »li e a u e« and » heo y«, o »high«
and »low«, bu a ound a wide ange o plu alized poe ies ha end, i no
in end, o make hings happen. (Bean and Chasa 2017, 8)
In es iga ing »poe ies« in he plu al means no only widening he ange o poe ic ex s
bu also acknowledging he in luence o media, aking ecipien s and consume s se iously
a
s ins ances o meaning-making, and conside ing ques ions o social engagemen as el-
e an (c . Bean and Chasa 2017, 9; Ha ing on 2009, 277). In my iew, he O, Miami
poe y es i al and, in pa icula , he play ul Zip Ode o ma , is a good example o such
an unde aking. In i s expansion o bo h au ho ship and audiences, his public poe y
o ma co esponds o o he popula ends om ecen decades – such as poe y slams,
spoken wo d, poe y ilms, and, mo e ecen ly, social media poe y – ha ha e b oadened
and
ans o med adi ional no ions o he gen e and emphasized i s s a us and quali y as
Geb auchsly ik
(› unc ional poe y‹), a e m coined by Be ol B ech o desc ibe »choices o
e e yday subjec ma e and he poems’ s yle o language« (Rus ad 2023, 116). Fo a long
ime now, poe y in he US has no longe been »necessa ily o p ima ily a p i a e endea o
pu sued by ained eli e o audiences«, bu has been » egula ly expe ienced as pa o , o
made o be a highligh o cen e piece o , ins i u ionalized social si ua ions and occasions
like school class ooms, ci ic e en s, eligious mee ings, bed ime i uals, and gi l scou
oop mee ings« (Chasa 2011, 7, wi h e e ence o Rubin 2007). In es iga ing Zip Odes om
he pe spec i e o li e a y, cul u al, and media s udies calls o a »shi [o ] ocus away om
108 | POEMA 2.2024
he ex ual o m and con en o he poem o he social o m o ›poe y‹ as a p ac ice and as
a ca ego y o unde s anding« (Ha ing on 2009, 276). Joseph Ha ing on unde s ands he
no ion o he »social o m« as i s use and in- o exclusion in socie al o academic p ac ices,
and emphasizes he impo ance o his ca ego y o aking a cul u al s udies pe spec i e on
he gen e. I would a gue, howe e , ha he ›social o m‹ o he Zip Odes and hei ›poe ic
o m‹ (and con en ) a e in e wined; I will he e o e conside bo h he e.
As a con empo a y, simpli ied e sion o he adi ional ly ical gen e o he ode, Zip
Odes con ain i s o igina y poe ici y. Thei b e i y, as well as he con ingen o mal s uc-
u e imposed by he espec i e pos al codes, can be compa ed wi h h ee o he e y sho
e se o ms: he haiku, he lime ick, and he epig am. The haiku, which o iginally o med
he h ee in oduc o y lines o he i e-line anka s anza, he main o m o Japanese po-
e y, consis s o only h ee lines wi h exac ly i e, se en, and i e syllables; i also wo ks
e y well in he public space (c . Ben hien and Ges ing 2023, 198–203). In a haiku, some-
hing like a
›
lash o hough
‹
is exp essed and o en ans o med in o a isual me apho ,
gene a ing new, un amilia pe spec i es, wo d combina ions, and language play. The lim-
e ick is a simila , sho o m o poe y, in en ed in England in he eigh een h cen u y – a
o m o i e-line e se, usually humo ous and equen ly ude, p edominan ly w i en in
anapes ic ime e wi h a s ic hyme scheme, in which he i s , second, and i h lines
hyme, while he hi d and ou h lines sha e a di e en hyme. The hi d co esponding
mic o gen e is he epig am, popula in he Ea ly Mode n pe iod, a sho , wi y s a emen ,
usually w i en in e se, ha con eys a hough o an obse a ion. Epig ams ypically end
wi h a punchline o a sa i ical wis . Such bipola he o ical s uc u es a e o en ound in
e y sho poems and in some o he Zip Odes as well (c . Ben hien and Ges ing 2023,
135–136). B e i y, poin edness, and a linguis ic »excess s uc u ing« (Link 1977, 245) a e
u he ea u es o mic o poe y, whe e e e y single wo d o sound gains heigh ened sig-
ni icance. Unlike he gen es men ioned abo e, mos Zip Odes do no hyme, no a e hey
subjec o me e o ex ensi e wo d-play; hey a e he e o e mo e p ose-like. One speci ic
poe ic ea u e, howe e , is he use o code swi ching o mul ilingualism, as he ollowing
examples will show.
3. Exempla y Zip Odes, Add essing he Regional E ec s o
Clima e Change o Local Languages
Many Zip Odes add ess speci ic places, such as es au an s, pa ks, pa king lo s, o high-
ways – amilia a imes only o locals due o he use o colloquial names and abb e ia ions
– and hey o en p aise hei neighbo hood in an i onic way by men ioning nice bu also
annoying ea u es, e.g., excessi e a ic on he cen al in e s a e highway (I-95), cons uc-
ion noise, o unbea able summe hea and ex eme humidi y. Qui e o en, hey depic
biza e scenes wi h wild o domes ica ed animals (c ocodiles, opical bi ds, dogs) in he
Ben hien: Odes o Miami | 109
u ban space. A conside able numbe o poems deal wi h he opic o clima e change and i s
e ec s on hei own egion, o example, #ZipOde 33181 by Emily Ha wi z (Fig. 1), submi -
ed o he 2022 es i al.16 The poem is buil a ound he humo ous, wo old con e gence
o he i e-inch sea le el ise wi h he poem’s o m: wi h he i e-line poem as a whole
and wi h he cen al placemen o he
numbe , gi en as a digi ins ead o being w i en ou .
Fu he mo e, he ex e nal shape o he poem wi h i s supe imposed lines – p esen ed on
a blue backg ound on he Ins ag am p o ile @omiami es i al – also isualizes such a ise,
and, inally, he line b eak in e se ou poe ically p e igu es he mo emen o wha will
soon be ish sloshing in o he ya d. Bu he humo o he iny poem also has he po en ial
o lip o e in o ho o , conside ing ha sea le el ise is one o he mos p essing p oblems
o many ci ies wo ldwide (c . Finch 2022, 127).
Raising he issue o he inc eased equency o i es in he E e glades, he la ge swamp
a ea wes o Miami, e en no iceable in he Coconu G o es neighbo hood on he e y eas -
e n edge o he ci y, Cyn hia Collins’ #ZipOde 33133 om he same yea add esses ano he
se ious impac o clima e change:
3 E e glades on i e
3 Ash on ca s
1 Then
3 Mangos in bloom
3 Ca s u n yellow
17
16
h ps://www.ins ag am.com/p/CcIpT KLom /?hl=de
(16 Decembe 2023).
17
h ps://www.ins ag am.com/p/CcIpT KLom /?hl=de
(16 Decembe 2023).
Fig.1: O, Miami Ins ag am p o ile (@omiami es i al),
design by Topos G aphics, poem by Emily Ha wi z,
pos ed on Ap il 26, 2022. © O, Miami, Inc.
116 | POEMA 2.2024
Ode inale. The clip has ecei ed only one sobe commen om one o he es i al p og am’s
di ec o s: »Tha was one o my childhood zip codes oo«. A second example is #ZipOde33172
by Sandeep, who does no sha e his su name and is also ilmed s anding ou side a he open-
ai enue o Vizcaya Ga dens. A small audience has ga he ed a ound him while he is being
ilmed, only pa ly isible bu audible a e his concluding » hank you«.
3 Ci y o Swee wa e ,
3 Be ween Do al and
1 Wes ches e .
7 The e is eally no much o say
2 Abou i .
31
These young »poe -pe o me s« (No ak 2011, 62) a e ypical ep esen a i es o he mul i-
e hnic Miami me opoli an a ea. Bo h ha e a sligh accen in English, indica ing ha i may
no be hei i s o amily language. In he Zip Ode, Vale ia add esses he ac ha i was
agains his will ha he a he , upon his a i al – p esumably om a La in Ame ican coun-
y – liked hei new home, he ci y o Do al, and he Flo idian landscape. Sandeep’s poem
is mo e o an an i-ode: he can hink o no hing a all o say abou his place o esidence,
Swee wa e , o he han naming i s geog aphical loca ion be ween wo o he subu bs.
On op o hese ecen pe o ma i e enhancemen s o he odes’ social media p esence
as anima ed clips o sho ideos, he O, Miami eam has also in oduced a o ma ha has
been gaining heigh ened a en ion in he public space: o he es i al held in Ap il 2023, a
la ge billboa d was en ed a he co ne o No h Eas 8 h S ee and Biscayne Boule a d in
down own Miami, on which one selec ed poem was plas e ed o e an golden o ange back-
g ound, wi h whi e lowe s and black ex .
32
The campaign d ew conside able a en ion o
he Zip Odes as such – wi h nea ly 2,500 submissions, he numbe o poems en e ed mo e
han doubled compa ed o he p e ious yea .
33
The ju y chose his one:
3 My name came
3 om my abuela
1 and
2 she said
5 we can sha e i o e e .
31
h ps://www.ins ag am.com/p/Cnz_ 10D-7W/?hl=de
(16 Decembe 2023).
32
h ps://www.ins ag am.com/p/Cp3BN9 jySl/
(16 Decembe 2023). Using billboa ds o poe y is a s a egy ha
B i ish poe and concep ual a is Robe Mon gome y makes p ominen use o (c . Ben hien/Ges ing 2023, Ch. 3.8)
.
33 C .
h ps://www.wl n.o g/a s-cul u e/2023-05-08/o-miami-wl n-zip-ode- inale
(16 Decembe 2023).

Ben hien: Odes o Miami | 117
On he es i al Ins ag am page, we ead abou winne Luz Elena Rossy and he #Zip Ode
33125,
which uses one o he i e zip codes o Li le Ha ana: »He poem is an homage o
bo h he g andmo he s. He i s name comes om he g andmo he Luz, while he middle
name comes om he g andmo he Elena«.
34
In ac , he poem na a es he genealogical e-
la ionship o a young woman o only one o he g andmo he s, Luz, whom she na u ally ad-
d esses using he Spanish wo d abuela. The e y p i a e ealm – he o igin o an inhe i ed is
name – is communica ed he e in billboa d size o he en i e me opoli an egion. Luz Rossy
is a lib a y assis an a Wes ches e Regional Lib a y, he sel -desc ip ion on Ins ag am adds
»F eelance Poe y & Con en W i e « as well as »C ea o and Hos o Lib a y Poe y Socie y«.
35
He poem can be in e p e ed only indi ec ly as an ode o Miami-Dade, o unlike mos Zip
Odes, no speci ic place o qua e is add essed (excep o he zip code). Luz Rossy’s ea u ed
ode does no con o m o he o ma speci ica ions as i is no ›place-based‹ a i s glance. A
esiden o he Cuban encla e Li le Ha ana, she is quo ed as saying ha when she »sa down
o w i e a poem abou he place she calls home, she decided o w i e abou he abuela«.
36
The poe ’s Spanish i s name Luz (›ligh ‹) ela es he o he g andmo he , who was aised
in he own o Ce icos in he Dominican Republic and came o Miami in he 1980s wi h
34
h ps://www.ins ag am.com/p/Cqs8 0ULQ y/?hl=de
(16 Decembe 2023).
35
h ps://www.ins ag am.com/mo ingon_lucy/?hl=de
(16 Decembe 2023).
36
h ps://www.wl n.o g/educa ion/2023-04-07/a-s o y-wo h-w i ing-abou -poe -luz- ossy-on-miami- he-
s uggle-and-he -abuela
(16 Decembe 2023).
Fig.5: O, Miami Ins ag am p o ile (@omiami es i al),
pho o by Chan al Law ie, poe : Luz Elena Rossy,
pos ed on Jan 24, 2023. © O, Miami, Inc.
118 | POEMA 2.2024
se e al child en. Acco ding o he g andchild, she s uggled signi ican ly in a Miami a he
hos ile o La inos back hen: »I did no always eel like home«.
37
Rossy’s Zip Ode ecei es
i s social g ounding h ough such biog aphical con ex s, e.g., a mo ing pho o o he au ho
in an in ima e emb ace wi h he g andmo he in on o he billboa d pos ed on Ins ag am,
(
Fig. 5
) oge he wi h a commen om he es i al eam emphasizing how g ea i was o
hem o ecen ly mee Luz’s amily and sugges ing ollowe s » une in« o he a e noon adio
show ›All Things Conside ed‹, whe e » hei s o y is being ea u ed TODAY«.
38
Again, i is he
pe sonal exchange and physical encoun e be ween people ha is o eg ounded.
5. O, Miami, Zip Odes, and Ly ic Add ess
Mos Zip Odes, which in oke, p aise, o me ely desc ibe he ea u es o a ce ain
neigh-
bo hood o speci ic inciden s ha i s esiden s ha e expe ienced he e, concep ually seek o
implemen he basic impulse o he en i e es i al in nuce. Thus, he ›Abou us‹
sec ion o
he Ins ag am page @omiami es i al un il e y ecen ly con ained a poe ic ex
plana ion o
he es i al i le: »›O‹ is a di ec | add ess o he | belo ed. || ›Miami‹ is ou | belo ed«.
39
The
impo ance o his apos ophe o he poe y o ma ’s concep is indica ed by he ac ha
he comma a e he ›O‹ unc ions, pa ly in se ial o m, as he es i al logo. The caesu a
be ween he ›O‹ and ›Miami‹ s ands o he a ec i e sigh o admi ing add ess, ep esen ed
by his non- ini e punc ua ion ma k.
The apos ophe is a he o ical de ice o en used in adi ional poe y, o example in
hymns and odes: he immedia e, di ec add ess o solemn in oca ion o igu es, hings,
o abs ac s (c . Culle 2015, 212): »[T]he undamen al ges u e o apos ophe is o make
some hing which canno no mally be add essed in o an add essee, ea ing i as a subjec
capable o hea ing, and hus in p inciple capable o ac ing and esponding« (Culle 2015,
232). In addi ion, he poe ic apos ophe » o eg ounds he empo al dimension o › oicing,‹
ha is, o he ex ’s ac o enuncia ion, and gi es p io i y o he now-ness o i s ei e a ion
h ough he eade « (Ze elmann 2017, 192), which is ele an o a pe o ma i e unde -
s anding o speaking o e en eading a poem. Thus, Miami is pe soni ied h ough he es i-
al i le and concep ually add essed by e e y single a icula ing oice in he hic e nunc o
he es i al e en s. Wi h he apos ophe add essing he abs ac en i y o a ci y – o , e en
less angibly: o a coun y consis ing o hi y- ou municipali ies! – he espec i e add essee
is communica i ely b ough o li e.
37
h ps://www.wl n.o g/educa ion/2023-04-07/a-s o y-wo h-w i ing-abou -poe -luz- ossy-on-miami- he-
s uggle-and-he -abuela
(16 Decembe 2023).
38
h ps://www.ins ag am.com/p/C RNgGW 9ok/
(16 Decembe 2023).
39 Those lines could be ound un il May 2023 in he ›Abou ‹ sec ion o he O, Miami es i al Ins ag am p o ile.
Ben hien: Odes o Miami | 119
A poem can e oke an »in e pe sonal ela ion« (Culle 2015, 24) esembling a oman ic
ela ionship: »Lo e poems, add essed o a belo ed, named o unnamed, eal o imagined,
accessible o inaccessible, a e he p ima y example o poems os en a iously add essed o
ano he indi idual ha indi ec ly add ess an audience« (Culle 2015, 206). I one akes he
p og amma ic s a emen abou he ›O‹ as a »di ec add ess o he belo ed« and he asse ion
ha Miami is »ou belo ed« se iously, hen he add ess is ha o a collec i e lo e a ai .
O he esiden s who hea o ead O, Miami poems in he u ban o digi al space du ing he
es i al un a e hus also appealed o h ough his » iangula add ess« (Culle 2015, 186),
in pa icula i hei own pos al code is called upon in a speci ic Zip Ode.
The dual impe us o he es i al – awa ding a ci y p ize and ac i a ing he communi y –
was p esen ed on Ins ag am in 2022 in a ew wo ds, o ma ed like poems in he ›highligh s‹
sec ion and con igu ed in anima ed ype: »We belie e | ha Miami is a | poem we w i e |
o-
ge he « and »We belie e in a | Miami whe e all | esiden s a e | empowe ed o | sha e hei
| s o ies h ough | poe y«.
40
Fi s ly, he es i al wan s o encou age esiden s o pa icipa e,
and secondly, poe y is o be used as a p ac ice o exp essing one’s own pe sonal expe i-
ences and s o ies. Acco dingly, a ecip ocal app oach was chosen, which in 2022 ead as
ollows: »O, Miami collec s poems om s uden s and esiden s. Then we c ea e | public a
| p ojec s ha b oadcas hose | poems back o | he communi ies | hey came om«.
41
The
es i al eam se s i sel he ask o making his poe y audible and isible. Cunningham has
sugges ed in his con ex he me apho o an »ecosys em«: ga he ing poems om Miamians
h ough he yea and in Ap il b oadcas ing hem back o he ci y, o he same neighbo -
hoods hey came om (Cunningham in Ben hien and Ges ing 2023, 128). This p ocess o
collec ing and dissemina ing i s e y well wi h he p esen a ion o ma s be ween he digi al
and u ban space, be ween anima ed w i ing and spoken wo d pe o mance. Al hough many
indi idual Zip Odes do no con ain an explici poe ic add ess – o en hey a e me e desc ip-
ions a he han he o ical in oca ions – he o ma as such and i s communica i e impulse,
anspo ed h ough he i le and he di e se slogans, is a poe ic ansla ion o he main
es i al’s aim. W i ing and pe o ming a Zip Ode o a speci ic ci y o qua e immedia ely
ac i a es he › iangula add ess‹ in ha o he people iden i ying wi h his a ea – who li e
o ha e p e iously li ed he e, who ha e iends o amily wi h his pos al code, e c. – eel
connec ed and engaged, as he example o Luz Rossy’s poem shows.
40 In he mean ime, he ph ases ha e changed o, e.g., »We belie e Miami is he mos poe ic ci y in he wo ld«.
h ps://
www.ins ag am.com/s o ies/highligh s/17939694424858771/?hl=de
(16 Decembe 2023).
41
h ps://www.ins ag am.com/s o ies/highligh s/17939694424858771/?hl=de
(16 Decembe 2023). The ex
has since been modi ied sligh ly, i s message, howe e , emains iden ical.
120 | POEMA 2.2024
6. Conclusion: Place-Making as a Socio-Poe ical P ac ice
A he opening o he 2023 O, Miami poe y es i al in he His o ic Ly ical Thea e , Kamila
P i che , Execu i e Di ec o o he Black A chi es in O e own, Miami, emphasized ha ,
e en hough his neighbo hood was a cul u al ho spo in he ea ly wen ie h cen u y like
Ha lem in New Yo k Ci y, i was s ill »excluded om he communi y a la ge«, which led
he o emphasize ha »cul u al ac i i ies o ge a sense o space« and ha a »sense o place
[is] cul i a ed by a is ic exp ession«.
42
These ema ks can be applied o he o ma o he
Zip Ode: despi e he inno a ions ha ha e been made in social media, such as he isually
anima ed, hip-looking poems and he ideo clips wi h poe -pe o me s, he es ablished
b oadcas ing o poems on WLRN, and hei p esen a ion on banne s and sc eens in he
u ban space – he odes’ essen ial p esen a ion o ma emains he collec i e, public e en .
This is e iden , o example, in he ac ha he li e s eams o he Zip Odes inale, in o-
duced du ing he pandemic, we e abandoned in 2023 in a o o an in-pe son e en a he
Vizcaya mansion, wi h mo e han 300 people in a endance. And i is also e iden in he
public’s a he poo commen ing ac i i y, o example, on Ins ag am.
This discussion o exempla y Zip Odes, including he neighbo hoods hey e e o as well
as hei au ho s has e ealed ha p aise o one’s own neighbo hood is no always cen al
in he ex s. The panegy ic adi ion o he ode, hen, is no necessa ily aken as he basis
o he composi ion o hese sho , place-based poems, e en hough i is udimen a ily
implied in bo h he concep o he es i al – h ough he add ess in he i le O, Miami –
and ha o he Zip Odes (»place-based, ly ical celeb a ion«). The iangula ly ic add ess
sugges s an in e ac ion wi h a conc e e neighbo hood, s ee , building, o o he place in he
Miami me opoli an a ea ha includes o he esiden s om he same espec i e zip code as
well. O e he yea s ha he o ma has exis ed, i has g adually de eloped i s own gen e
adi ion and sociopoe ic p ac ice, ecognizable by he mu ual hemes and he o ic de ices
in he i e-line mic o poems: »Poe y is cons i u ed by a p ac ice, which is g ounded in
con en ion-go e ned expec a ions among poe s and eade s. To w i e a poem is o engage
he p ac ice and in i e (one hopes also ewa d) ce ain kinds o in e es s and esponses
among eade s [...]« (Lama que 2015, 33). The O, Miami eam in ends o ac i ely ouse
and p omo e a en ion and cu iosi y, as well as a ious o ms o in e ac ion be ween he
pa icipan s. As men ioned, cen al elemen s o he annual es i al include »communi y
ga he ings, and poe y-in-public-places p ojec s«, which a e clea ly social p ac ices ha
ake place wi h and h ough poe y. The Zip Ode as a li e a y o ma in he public sphe e
also cons i u es a ›spa ial p ac ice‹ in he Le eb ian sense because i in luences he pe cep-
ion and p ac ice o space in he e e yday li e o Miami-Dade’s inhabi an s: i is an elemen
o place-making.
42
h ps://www.you ube.com/wa ch? =2mHUNjESHJQ
(16 Decembe 2023).
Ben hien: Odes o Miami | 121
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Funding S a emen
This a icle is pa o a p ojec ha has ecei ed unding om he Eu opean Resea ch Council (ERC) unde he Eu-
opean Union’s Ho izon 2020 esea ch and inno a ion p og am (g an ag eemen No 884177). Views and opinions
exp essed he e a e hose o he au ho only and do no necessa ily e lec hose o he Eu opean Union (EU o he
Eu opean Resea ch Council (ERC). Nei he he EU no he ERC can be held esponsible o hem.
Au ho
P o . D . Claudia Ben hien
Uni e si ä Hambu g, Ins i u ü Ge manis ik,
[email p o ec ed]
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