Last week I posted on how dance training and experience helps one in professional pursuits (acknowledging that the performance of dance alone is a professional pursuit). This week I'm going to discuss how skills developed though the practice of slam poetry are also useful in pursuits outside of that craft. Many of these skills are similar, such … Continue reading Transferable Skills: How Slam Poetry Experience Helps in “Real Life”
Recently I've been working on developing and refining my creative practice for writing performance poems. To help determine some of the most helpful practices, lately I've been speaking with other performance poets about their creative processes. When I write performance poems, I compose them on the page as I would do with composing a print poem. I … Continue reading Performance Poetry: To Write or Not to Write?
I was speaking the other day with a fellow spoken word poet about our favorite "celebrity" slam poets, and we fell into a conversation about what makes a good spoken word piece. Our preferences differed and revealed an interesting divide which I think may derive from our different artistic trainings. This poet was trained in … Continue reading Spoken Word Styles: Narrative v. Abstract
Last week (Thurs., Jan. 22) I was delighted to win the Edinburgh University Literature Society January Slam, thus qualifying for the Scottish National Slam (which will be held Feb. 26 in Edinburgh). However, I faced a bit of a dilemma because I was also slotted to compete in the National Library of Scotland Burns Night Slam … Continue reading Slam Ethics: Once Qualified, Should you Continue Competing?
Last week, a discussion was initiated on the Facebook event page for the Scottish National Slam regarding the fairness of the Glasgow Student Slam, which I am co-organising with students at universities across Scotland. The debate involved many prominent members of the Scottish spoken word scene, and became quite animated as many people weighed in. As it … Continue reading Accessibility in Slam: the Debatable Fairness of Exclusive-Entry Qualifiers
The U.S National Poetry Slam rules require poets to perform pieces they have written: one cannot perform another person’s work at the competition. Slam as a genre is linked to the performance of one's own identity since the poet is physically there onstage with an accent, a skin colour, an apparent sex, etc. These cues affect how … Continue reading Breaking the Authenticity of the Performing Body