After several years of underfunding and dwindling support, poetry readings and storytelling performances are blossoming. Tom Chivers takes the pulse of the live literature scene and finds it alive and well.
Theres something strange going on in bars, pubs, theatres and music venues across the country. A new movement thats been gathering pace and support over the last few years now threatens to explode into the mainstream. Some call it spoken word or performance poetry, others live literature. For many its simply live poetry, an ancient and powerful artform transformed and recharged for the 21st Century.
Defining this movement is notoriously difficult, but not necessarily a problem. It simply demonstrates the extraordinary diversity of approaches it embraces. Away from the venerated halls of mainstream poetry publishing, a more popular tradition could trace its roots back to the Beat poets of the 60s or the stand-up poets of the 80s. Many poets also draw from hip-hop culture and the tradition of the Griot the West African equivalent of the Troubadour or wandering bard. Sometimes these underground nights present solo performances of poetry or short fiction in an intimate setting others fuse spoken word with music, comedy and live arts. This is the approach I follow with my penned in the margins events at The Spitz and The Whitechapel art gallery in London, programming not only writers but also literate musicians. At a recent show, one of the poets was even introduced by an exotic dancer! And Im not alone. Other promoters drilling this particular vein include One Taste, Heart Beats and Poetry Vandals.
Investment
Last years Lit Up conference at the Brewery in Kendal, organised by the Arts Council Englands (ACE) live literature consortium, brought together major players from the scene for three days of debate, showcases and networking. Promoters and producers were given a platform from which to present their work to interested performing arts venues, many of whom had never programmed live literature before. Lit Up is a sign of how seriously the arts industry now takes this burgeoning scene. In the past few years ACE has invested significant funds in developing live literature (historically, an underfunded artform).
Another indication of the excitement around the live literature phenomenon is Shot From The Lip, a campaign managed by Audiences London on behalf of ACE and designed to attract new audiences to the scene. Its too early to judge whether the campaign has been successful, but it has certainly thrown light on the sheer volume and diversity of events boasted by the capitals poetry scene. Shot from the Lip achieved considerable press coverage for its events, which pleased the promoters who worked so hard to get bums on seats.
Unanswered questions
Underneath these exciting developments lie deeper problems and unanswered questions. Live literature is very much a scene in development in which small-scale and grass-roots activity dominates. There are relatively few professional promoters/producers, which makes it hard to guarantee either the quality or longevity of the work produced. Of course, there will always be exceptions, and there are numerous non-professionals currently producing excellent work. But a shortage of skilled, knowledgeable and dedicated promoters/producers working on a professional basis remains a major hurdle for the scene as a whole.
I have previously worked with arts consultancy The Hub on Phrased & Confused, a nationwide touring project designed to develop new live literature promoters/producers. At each venue on the tour, local activists were invited to a networking session and subsequently to pitch ideas for their own live literature projects. The selected individuals were then enrolled on a tailor-made course for producers, and are currently being supported to apply for funding to their regional ACE office. This is an untested method within the live literature sector and the benefits may not be immediate. But its a step in the right direction.
Phrased & Confused has a national remit. It is important that high-profile work is not confined to London and other metropolitan areas. In England, there are numerous regional and local scenes, particularly in the East, North East and South West, that are lively and long-established. Increased touring (and not just from London-based producers) will benefit the sector and draw disparate scenes together. Currently, touring represents a significant risk for arts venues who may lack the experience of attracting regular audiences for spoken word. But this hasnt stopped the likes of Apples & Snakes or Renaissance One, who lead the field in touring. Nor has it stopped venues such as Norwich Arts Centre and Contact Theatre, Manchester from curating progressive live literature programmes.
Polarisation
In a panel discussion at Lit Up, audience members raised the question of whether new directions in poetry would leave no room for the more traditional. Indeed, the polarisation of poetics is a serious threat to the artforms future development. Im not alone in resisting the crude dichotomy of page and stage. Poetry can be both performance and literary, often simultaneously. It is possible to experiment with new technology, ideas and forms whilst maintaining literary integrity. Poet and critic, Todd Swift, agrees in his excellent blog: I know the need to share poems with new generations of readers, to keep its spirit alive. But I also know that the spirit is non-negotiable. Poetry isnt for dumbing down. Swift also highlights the important role of funding in ensuring a diverse but balanced approach: ACE should continue to fund the& traditional paper little magazines, even as they support new forms of delivering poetry.
A positive move in this area was Free Verse, a report examining the lack of Black and Asian poets published by major poetry presses despite the active role these poets play in the live arena. There is a growing sense that the live literature scene will not reach its potential without the support of established publishers and promoters of literature. Equally, booksellers will find new and youthful markets for their products within the live scene. Forward-thinking publishers such as Salt and Flipped Eye deserve praise for their efforts to bridge the gap. And Im proud to have promoted writers working across, underneath and in between our simplistic categories; from prize-winning writers David Harsent, Anthony Joseph and Iain Sinclair to multimedia spoken word artists such as Suzanne Andrade and Scroobius Pip.
Onwards and upwards
Older and wise heads than my own have suggested we avoid exaggerating this recent resurgence of interest in live literature. After all, doesnt the media dub poetry the new rock n roll every five years, only to then lose interest? Nevertheless, I believe we are at a tipping point. Audiences for live literature are soaring. New technology and media offer opportunities for both artists and marketers. And investment from ACE and others is starting to pay dividends. Its now time to put away doubts and preconceptions, to embrace new developments and look forward to creating a dynamic and sustainable live literature scene.
Tom Chivers runs penned in the margins, producing live literature events, tours and publications, and managing a roster of spoken word artists. His debut collection of poetry London Pride, Mothers Ruin is forthcoming in 2007.
w: http://www.pennedinthemargins.co.uk