“Dancing in buses” by Javier Zamora Analysis

==Initial context of the novel==

https://www.slowdownshow.org/episode/slowdown/2019/02/54-dancing-in-buses

The poem "Dancing in Buses" transports the reader into a world of sorrow and anguish that encompasses the author's traumatic past. Through his work, he seeks to sensitize and raise awareness of the complex struggles endured by immigrants, more specifically those crossing the border.
One of the most intriguing features of this poem is the tone in which it is delivered; Zamora uses an active and youthful voice to guide the reader through what appears to be a harmless dance, with the goal of juxtaposing this cheerful tone with the melancholy message that describes his experience.
The audience is drawn in by the light and imperative tone, as well as the contrast between the joyful and tragic imagery, which allows them to become a part of the story and its vision of the world, one in which many people are forced to hide, flee from an authority, and risk their lives every day in order to see a better future.

==Critic analysis of the content==

Zamora uses the poem's structure to convey the seriousness of the events described, as well as the gloomy message that lies beneath the lighthearted tone with which he recounts them.
It is broken into two stanzas, the first of which covers a series of steps -which are told in the form of a song- to avoid being captured by the enemy, from which the reader can deduce, given the circumstances, that they are the border authorities or another such organization. The quote: ==“Raise your hands in the air. Twist them as if picking limes. Look to the right as if crossing streets. Look to the left, slowly as if balancing orange baskets. Bend as if picking cotton.” (Zamora, 2-9)== establishes the conflict of the narrative.
Zamora uses these words to draw up an image in the reader's mind, while the use of colorful imagery and allusions establish a lighthearted tone, and the poem becomes playful as a result of the metaphors and comparisons.
The heaviness and melancholy come when it is analyzed that "raising your hands in the air" really means surrendering to the authorities, probably with a gun pointed at your chest, or when "bend as if picking cotton" really means protecting yourself from a bullet that might hit you because you are in the middle of an armed conflict.
This juxtaposition sends a far more sorrowful message, removing any ambiguity and clarifying that this isn't a kid's game and that these guys are on the run for their lives. Without being explicit, the author manages to evoke the violence and trauma of this lived experience, leaving the reader with the image of an innocent child who, instead of dancing between buses, is defending himself against the violence that plagues his country and the inhumanity with which immigrants are treated at the border when attempting to flee the problem.

==Literary devices==

The second stanza takes on a considerably harsher and more direct tone, recounting the procedures and actions taken after being apprehended by the above-mentioned enemy.
This is demonstrated by the rapid switch seen in the first stanza's closing words; the pleasant, playful tone is swiftly wiped by the phrase @@“Reach and scoop. Now, duck. They’re shooting. Duck under the seat, and don’t breathe.” (16-19).@@ With this, Zamora immediately alerts the reader to the events that are unfolding, offering a much more solemn and sorrowful tone, as the author takes care to convey to the reader that these are actual experiences that people on the border face on a daily basis.
Zamora shatters readers' expectations by introducing an antithetical event: the shooting and the bus robbery, shifting from one extreme to the other in the same line. He contrasts the playful tone that had previously been set with a new, more serious one. Zamora shocks the reader and makes them relate to his trauma, while still utilizing a direct voice and clear diction, after drawing them in with informative language and accessible experiences.
This transition arouses the reader, and the abrupt change heightens the intensity of the scenario at hand, which is crucial to comprehending the poem's meaning, providing insight into the narrator's complex emotions and the surge of panic that grabs him.
Finally, the author introduces the line @@"Hands behind your head. Drop down… Don’t scream. "(Zamora, 20-26),@@ which, in addition to bringing the poem to a close, cuts through all of the poem's previous moods. Despite the fact that the format remains the same (instructions in the form of a song or dance), the reader will find it hard to swallow the facts presented because the author's imagery is considerably heavier and more difficult to absorb.
Through the use of imagery, diction, and tone, Zamora creates a devastating and traumatic picture; when this story is recounted, it is impossible not to think of a boy being apprehended by police, forced to stockpile weapons, and forced to hide his body in order to survive It's a difficult image to swallow, but it's the tragic truth for many families who are willing to make this sacrifice in order to move ahead and escape their country' grips on violence and corruption.

==Conclusion==

Through the poem "Dancing in Buses," Zamora depicts the complex experiences and traumas caused by the migrant conflict in a childish and almost idealistic manner, where the action in the poem appears to be a dance, a game, or something fun.
The author attracts and engages the reader in apparently light reading that, by definition, appears to be relatable to everyone, because our childhood memories always return to childhood games. The poem's ambiguity gives the impression of some fun times in Zamora's growing up, but this is quickly obscured as it reveals that he did not have an ordinary and peaceful childhood, as most of us do.
Knowing that the narrator used that childhood process demonstrates to the reader how extreme the circumstances are, and how the dance is the last option to distract from fear or an escape from the sad reality. Furthermore, knowing that he is not the only one performing this "dance," the reader is able to comprehend the vulnerability of the large group of people involved as well as the magnitude of the social events that surround us.
Zamora employs a variety of literary techniques to alert the reader, including imagery, a childlike tone, and didacticism, among others; and through these, the author allows the reader to gain a better understanding of the daring challenges faced by the poem's protagonists, and more importantly, their emotions.
"Dancing on the Buses" is based on the juxtaposition of two completely opposing scenarios: dancing on the bus, which reinforces the innocent and fun ideas, and assault on the bus, which reminds the audience of the dangers of being an immigrant. This is done to create tension and provide a narrative that evokes empathy and raises awareness of the country's critical political conflict.
With this poem, it is impossible for me not to think about how grateful I am for the opportunities that have been provided to me to arrive in this country; I was fortunate to enter by plane and in the most uneventful way possible, so I cannot imagine being in the shoes of all those individuals who must fight to leave their country and risk their lives in order to make this sacrifice.
This increases my respect for this group of people because exposing your family to this type of situation and starting from scratch in a completely different culture is not easy. This author evokes a lot of nostalgia in me because it reminds me of my childhood memories and reminds me of my country every time I read his works.