ABSTRACT

Spoken Word in the UK is a comprehensive and in-depth introduction to spoken word performance in the UK – its origins and development, its performers and audiences, and the vast array of different styles and characteristics that make it unique.

Drawing together a wide range of authors including scholars, critics, and practitioners, each chapter gives a new perspective on performance poetics. The six sections of the book cover the essential elements of understanding the form and discuss how this key aspect of contemporary performance can be analysed stylistically, how its development fits into the context of performance in the UK, the ways in which its performers reach and engage with their audiences, and its place in the education system. Each chapter is a case study of one key aspect, example, or context of spoken word performance, combining to make the most wide-ranging account of this form of performance currently available.

This is a crucial and ground-breaking companion for those studying or teaching spoken word performance, as well as scholars and researchers across the fields of theatre and performance studies, literary studies, and cultural studies.

chapter |13 pages

Introduction: setting the stage

An introduction to spoken word in the UK

part Section 1|91 pages

Background to spoken word in the UK

chapter 1|10 pages

Biting back against the Fascist Octopus

The story of Apples and Snakes

chapter 2|14 pages

Suffering fools

The survival and adaptation of British absurd, comic, and satirical traditions in the era of poetry slams

chapter 4|12 pages

The New October Poets

chapter 7|18 pages

The democracy of poetry

The Bristol spoken word scene

part Section 2|84 pages

Audience and performer

chapter 8|13 pages

The spoken word experience

Affect transmission in contemporary performance poetry

chapter 9|11 pages

The limitations of the page/stage dichotomy

Examining the page/stage divide

chapter 11|12 pages

‘Speak your truth’

Authenticity in UK spoken word poetry

chapter 12|12 pages

Audience as co-author

Poet–audience relationship in performance poetry

part Section 3|85 pages

Cultural exchange

chapter 16|14 pages

She Grrrowls

Feminism in contemporary spoken word

chapter 17|14 pages

Playing for affect in counterpublics

An interdisciplinary investigation into the transformative potential of spoken word hybridity

chapter 18|11 pages

The metic experience of the Black British Writer

Challenging the margins

chapter 19|14 pages

Overthrowing societal norms through the spoken word

Benjamin Zephaniah’s dub poetry in City Psalms

part Section 4|58 pages

Styles and techniques

chapter 21|13 pages

Fish out of water or creative chameleon?

Spoken word as a form of social mobility

chapter 22|14 pages

Style and technique in spoken word

chapter 23|16 pages

British spoken word voice

chapter 24|13 pages

I thought I was just coming to watch

Audience participation in spoken word performance

part Section 5|61 pages

Pedagogy of spoken word

chapter 26|12 pages

Spoken word education

The role of a spoken word educator: pitfalls and possibilities

chapter 27|12 pages

Searching for consistency

Applying Reflective Equilibrium to performance poetry criticism

chapter 29|13 pages

Intersections between spoken word in the UK and US

A nexus in dialogue

part Section 6|59 pages

Publicity and distribution

chapter 30|12 pages

Speaking with machines and machines that speak

Spoken word and digital performance poetry

chapter 31|12 pages

The capital of culture and the culture of capital

The controversy of commerce in spoken word

chapter 32|14 pages

Poetry slam in the UK

chapter 33|12 pages

More show, less tell?

How do we talk about spoken word now that it is working on a theatre stage?

chapter 34|7 pages

Spoken word in print

Instant Coffee: A conversation with Clive Birnie from Burning Eye Books