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Apoetry slam is a competitive art event in which poets performspoken word poetry before a live audience and a panel of judges.
Poetry slams began inChicago in the 1980s,[1] with the first slam competition designed to move poetry recitals from academia to a popular audience. American poetMarc Smith, believing the poetry scene at the time was "too structured and stuffy", began experimenting by attendingopen-microphone poetry readings, and then turning them into slams by introducing the element of competition.[2]
The performances at a poetry slam are judged as much on performance as content, and poets may compete as individuals or in teams. The judging is often handled by a panel of judges, typically five, who are usually selected from the audience. Sometimes the poets are judged by audience response.[3]
American poetMarc Smith is credited with starting the poetry slam movement at the Get Me High Lounge inChicago in November 1984. In July 1986, the original slam moved to its permanent home, theGreen Mill Jazz Club.[5][6] In 1987, the Ann Arbor Poetry Slam was founded by Vince Keuter. In August 1988, the first poetry slam held in New York City was hosted by Bob Holman at theNuyorican Poets Cafe.[7]
In 1990, the first AmericanNational Poetry Slam took place atFort Mason,San Francisco.
Today, there are regular poetry slam competitions all around the globe.
While slam poetry has often been ignored in traditional higher learning institutions, it slowly is finding its way into courses and programs of study. For example, atBerklee College of Music, in Boston, slam poetry is now available as a minor course of study.[8]
Different formats of poetry slams exist throughout the world. Generally, however, in a poetry slam, members of the audience are chosen by amaster of ceremonies (MC) to act as judges for the event, though scoring can also be done by the audience. After each poet performs, a score is awarded to the performance. Scores generally range between zero and ten.
Before the competition begins, the host will often bring up a "sacrificial" poet, whom the judges will score in order to calibrate their judging.
A single round at a standard slam consists of performances by all eligible poets. Most slams last multiple rounds, and many involve the elimination of lower-scoring poets in successive rounds. An elimination format might run 8–4–2; eight poets in the first round, four in the second, and two in the last. At the end of the slam, the poet with the highest number of points earned is the winner.
Props, costumes, and music are typically forbidden in slams,[9] which differs greatly from its immediate predecessor,performance poetry.
Other rules for slams include enforcing a time limit, after which a poet's score may be docked based on how long the poem exceeded the limit for. The time limit is usually around three to four minutes.
In an "Open Slam", the most common slam type, competition is open to all who wish to compete, given the number of slots available. In an "Invitational Slam", only those invited to do so may compete.
[10]==Theme slams==
In 1998, spoken word poetEmanuel Xavier created the House of Xavier and the Glam Slam, an annual downtown arts event staged at theNuyorican Poets Cafe. The fusion ofball culture and poetry slam competitions featured four open categories such as Best Erotic Poem in Sexy Underwear or Lingerie, Best Verbal Vogue and Best Love Poem in Fire Engine Red (alternately Best Bitter Break Up Poem in Blue). Winners of each category received a trophy and went on to compete for the Grand Prize title of Glam Slam Champion. The annual competition was first held in New York City and then London until 2010.
Similar to the House of Xavier's Glam Slam, a "Theme Slam" was one in which all performances must conform to a specified theme, genre, or formal constraint. Themes may includeNerd,[11]Erotica,Queer,Improv, or other conceptual limitations. In theme slams, poets can sometimes be allowed to break "traditional" slam rules. For instance, they sometimes allow performance of work by another poet (e.g. the "Dead Poet Slam", in which all work must be by a deceased poet). They can also allow changes on the restrictions on costumes or props (e.g. the Swedish "Triathlon" slams that allow for a poet, musician, and dancer to all take the stage at the same time), changing the judging structure (e.g. having a specific guest judge), or changing the time limits (e.g. a "1-2-3" slam with three rounds of one minute, two minutes, and three minutes, respectively).
Theme slams are frequently used to advocate participation by particular and perhaps underrepresented demographics (which vary from slam to slam), like younger poets and women.
Poetry slams can feature a broad range of voices, styles, cultural traditions, and approaches to writing and performance. The originator of performance poetry, Hedwig Gorski, credits slam poetry for carrying on the poetics of ancient oral poetry designed to grab attention in barrooms and public squares.[12]
Some poets are closely associated with the vocal delivery style found inhip-hop music and draw heavily on the tradition ofdub poetry, a rhythmic and politicized genre belonging to black and particularly West Indian culture. Others employ an unrhyming narrative formula. Some use traditional theatrical devices including shifting voices and tones, while others may recite an entire poem in ironic monotone. Some poets use nothing but their words to deliver a poem, while others stretch the boundaries of the format, tap-dancing orbeatboxing or using highlychoreographed movements.
What is a dominant/successful style one year may not be passed to the next.Cristin O'Keefe Aptowicz, slam poet and author ofWords in Your Face: A Guided Tour Through Twenty Years of the New York City Poetry Slam, was quoted in an interview on the Best American Poetry blog as saying:
One of the more interesting end products (to me, at least) of this constant shifting is that poets in the slam always worry that something—a style, a project, a poet—will become so dominant that it will kill the scene, but it never does. Ranting hipsters, freestyle rappers, bohemian drifters, proto-comedians, mystical shamans and gothy punks have all had their time at the top of the slam food chain, but in the end, something different always comes along and challenges the poets to try something new.[13]
Bob Holman, a poetry activist and former MC of theNuyorican Poets Cafe, once called the movement "the democratization of verse".[14] In 2005, Holman was also quoted as saying: "The spoken word revolution is led a lot by women and by poets of color. It gives a depth to the nation's dialogue that you don't hear on the floor ofCongress. I want a floor of Congress to look more like a National Poetry Slam. That would make me happy."[15]
At the 1993 National Poetry Slam in San Francisco, a participating team from Canada (Kedrick James, Alex Ferguson and John Sobol) wrote, printed and circulated an instantbroadside titledLike Lambs to the Slammer, that criticized what they perceived as the complacency, conformity, and calculated tear-jerking endemic to the poetry slam scene. Over time, slam poetry has been criticized for lacking depth and for its features, e.g., "slam voice," which may limit the range of emotion it can express.[16][17]
In an interview in theParis Review, literary criticHarold Bloom wrote
I can't bear these accounts I read in theTimes and elsewhere of these poetry slams, in which various young men and women in various late-spots are declaiming rant and nonsense at each other. The whole thing is judged by an applause meter which is actually not there, but might as well be. This isn't even silly; it is the death of art.[18]
Poet and lead singer ofKing Missile,John S. Hall, has also long been a vocal opponent, taking issue with such factors as its inherently competitive nature[19] and what he considers its lack of stylistic diversity.[20] He recalls seeing his first slam, at theNuyorican Poets Café: "I hated it. And it made me really uncomfortable and ... it was very much like a sport, and I was interested in poetry in large part because it was like the antithesis of sports. ... [I]t seemed to me like a very macho, masculine form of poetry and not at all what I was interested in."[21]
The poet Tim Clare offers a "for and against" account of the phenomenon inSlam: A Poetic Dialogue.[22]
Ironically, slam poetry movement founder Marc Smith has been critical of the commercially successfulDef Poetry television and Broadway live stage shows produced byRussell Simmons, decrying it as "an exploitive entertainment [program that] diminished the value and aesthetic of performance poetry".[23]
Slam poetry has found popularity as a form of self-expression among many teenagers. Young Chicago Authors (YCA) provides workshops, mentoring, and competition opportunities to youth in the Chicago area. Every year YCA presentsThe Rooted & Radical Youth Poetry Festival (previously titled Louder Than a Bomb), the world's largest team-based youth slam. San Francisco based non-profit organization Youth Speaks Inc. has also been running theBrave New Voices poetry festival since 1998.[24] The youth poetry slam movement was the focus of a documentary film series produced by HBO and released in 2009.[25] It featured poets from Youth Speaks, Urban Word, Louder than a Bomb and other related youth poetry slam organizations.
In a 2005 interview, one of slam's best known poetsSaul Williams praised the youth poetry slam movement, explaining:
Hip-hop filled a tremendous void for me and my friends growing up ... The only thing that prevented all the young boys in the black community from turning into Michael Jackson, from all of us bleaching our skin, from all of us losing it, just losing it, was hip-hop. That was the only counter-existence in the mainstream media. That was essential, and in that same way I think poetry fills a very huge void today [among] youth. And I guess I count myself among the youth.[26]
In 2012, more than 12,000 young people took part in an England-wide youth slamShake the Dust, organized byApples and Snakes as part of theLondon 2012 Festival.[27]An Open Letter to Honey Singh, arapvideo featuring Rene Sharanya Verma performing atDelhi Poetry Slam,[28] went viral on YouTube receiving over 1.5 million hits.[29]
At the European level, the European Poetry Slam Championship takes place every year.[30]
| European Poetry Slam Championship | ||
|---|---|---|
| Year | Place | Winner |
| 2012 | Antwerp, Belgium | Dani Orviz (Spain) |
| 2014 | Malmö, Sweden | Zygimantas Mesijus Kudirka (Lithuania) |
| 2015 | Tartu, Estonia | Nuno Piteira (Portugal) |
| 2016 | Leuven, Belgium | Carmien Michels (Belgium) |
| 2021 | Brussel, Belgium | Marie Darah (Belgium) |
| 2022 | Rome, Italy | Pablowsky (Spain) |
| 2023 | Antwerp, Belgium | Joonas Veelmaa (Estonia) |
| 2024 | Košice, Slovakia | Theresa Sperling (Germany) |
| 2025 | Berlin, Germany | Valerio Moser (Switzerland) |
The Poetry Slam World Cup (Coupe du Monde de Slam, organised in France) also takes place every year.[31]
| Poetry Slam World Cup –Coupe du Monde de Slam | Poetry Slam World Cup –World Poetry Slam Organisation | |||||
|---|---|---|---|---|---|---|
| Year | Edition | Winner | Date | Edition | Winner | Date |
| 2007 | I | Anis Mojgani (US) | 29.06.2007 | // | // | // |
| 2008 | II | Danny Sherrard (US) | 30.05.2008 | // | // | // |
| 2009 | III | Joaquin Zihuatanejo (US) | 20.06.2009 | // | // | // |
| 2010 | IV | Ian Keteku (Canada) | 12.06.2010 | // | // | // |
| 2011 | V | David Goudreau (Québec) | 04.06.2011 | // | // | // |
| 2012 | VI | Harry Baker (England) | 09.06.2012 | // | // | // |
| 2013 | VII | Simon Roberts (Québec) | 08.06.2013 | // | // | // |
| 2014 | VII | Ikenna Onyegbula (Canada) | 07.06.2014 | // | // | // |
| 2015 | IX | Clotilde de Brito (France) | 06.06.2015 | // | // | // |
| 2016 | X | Amélie Prévost (Québec) | 28.05.2016 | // | // | // |
| 2017 | XI | Evelyn Rasmussen Osazuwa (Norway) | 27.05.2017 | // | // | // |
| 2018 | XII | Sam Small (Scotland) | 12.05.2018 | // | // | // |
| 2019 | XIII | Jérome Pinel (France) | 01.06.2019 | // | // | // |
| 2020 | XIV | Dani Orviz (Spain) | 23.05.2020 | // | // | // |
| 2021 | XV | Giuliano Logos (Italy) | 15.06.2021 | // | // | // |
| 2022 | XVI | Lorenzo Maragoni (Italy) | 30.05.2022 | I | Xabiso Vili (South Africa) | 29.09.2022 |
| 2023 | XVII | Filippo Capobianco (Italy) | 20.05.2023 | II | Lady Laprofeta (Colombia) | 15.10.2023 |
| 2024 | XVIII | Noferina (Ivory Coast) | 12.05.2024 | |||
In 2017 poetMalika Outtara estimated that there were only fifteen African women slam poets in total.[32]
One of the most notable figures in the slam scene inBurkina Faso is Malika Outtara. In 2019 she set up the Slamazone Foundation of which she is President, in order to fund raise for social issues in her country.[33]
Slam Poetry has been inEgypt since the twentieth century and was introduced byHussain Shafiq al-Misry. According to al-Misry, having a variety of jobs gave him the experience to understand the struggles of the Egyptian people in different classes of life. He had good knowledge of Arabic literature, grammar and some commonly used foreign words as well as slang; which he used to form Halamantishi poetry. Muhammad Ragab Bayyoumi in 1986 wrote an article entitled Hussein Shafiq al-Misry: Ustaz la Tilmeeth lah" (Hussein Shafiq al-Misry: A Teacher with No Student of His) in which he introduced al-Misry's poems and explained al-Misry's literary poetry techniques.[34] In Egypt Performance Poetry is new in popularity, the term "Ash-Shi'r al-Mu'adda" was recently introduced as the term for performance poetry.[34] Poets such as Bayram At-Tunisi, Ahmad Rami, andKamel Ash-Shennawy paved the way after al-Misry with lyrical slam poems that use a melodic rhythm to attract the audience.[citation needed]
In 1990, the first AmericanNational Poetry Slam took place atFort Mason,San Francisco. This slam included teams from Chicago and San Francisco, and an individual poet from New York.[35] Soon afterward, poetry slams increased in popularity, which allowed some poets to make full-time careers in performance and competition, touring the United States and eventually the world.[7]
In 1999, the American National Poetry Slam, held in major cities each year, was in Chicago. The event was covered nationally byThe New York Times and60 Minutes (CBS).60 Minutes taped a 20 segment on slam poetry with live poetry scenes at Chopin Theatre.[36]
As of 2011, four poets who have competed at the American National Poetry Slam have wonNational Endowment of the Arts (NEA) Fellowships for Literature:
As of 2017, one poet who has competed at American National Poetry Slam has won thePulitzer Prize for Poetry:Tyehimba Jess,[40] who competed as a part of Chicago's Green Mill team twice.[41]
Poetry Slam, Inc. used to hold several national and international competitions, including the Individual World Poetry Slam, the National Poetry Slam and The Women of the World Poetry Slam.
As of 2017[update], the Americana National Poetry Slam featured 72 certified teams, culminating in five days of competition.[42]
Poetry Slam, Inc. used to sanction three major annual poetry competitions (for poets 18+) on a national and international scale: theNational Poetry Slam (NPS), theindividual World Poetry Slam (iWPS), and theWomen of the World Poetry Slam (WoWPS). The last National Poetry Slam took place in Chicago 2018, after which PSi's voting body elected to cease its three major 2019 poetry slams.[43] The WoWPS has been held since 2020 through a new website.[44]
A number of American poets belong to both academia and slam:
Henry S. Taylor, winner of the 1985Pulitzer Prize for Poetry, competed in the 1997 National Poetry Slam as an individual and placed 75th out of 150.
From 10 to 11 December 2016Salzburg,Austria, held a world-record poetry slam competition (28 hours of classic slam poetry) and broke the so-far-record of Nuremberg, Germany (25 hours), by Michl Jakob. The winner of the competition (Friedrich Herrmann) scored one point better in the finals than the second ranked (Darryl Kiermeier). The event was organized by Lukas Wagner (Slamlabor) and took place in the SN-Saal of the Salzburger Nachrichten.[48][49]
InJapan, Katsunori Kusunoki, a professor of communications at Toyo University, found a way to incorporate slam poetry into his students' lives; allowing them to showcase their competitiveness and love of poetry by putting together "poetry boxing" matches. Kusunoki created annual "poetry boxing" tournaments in order to provide a medium for expression and social interaction .[50] The rules are "16 boxers face off in pairs in competitions of stand-up verse that last for three minutes. Winners compete in series of challenges such as timed presentation and a round of improvised jousting." A master of ceremonies adds to the event by providing nicknames for the competitors.[50] Kusunoki's goal was to try to get his students to open up by breaking language barriers and expressing themselves.[50]
