George J. Dance wrote:
> On 2022-05-05 11:03 a.m., Coco DeSockmonkey wrote:
>> On Thursday, May 5, 2022 at 10:48:57 AM UTC-4, Will Dockery wrote:
>>> Were you asleep in the 1990s-2000s, Pendragon?
>>>
>>> Love it or hate it, the hip-hop and rap influence on the current poetry scene is real.
>>>
>>> Look it up.
>>
>> We were discussing the change from traditional to modern poetry, Donkey, and the subsequent redefinition of poetry (abandonment of rhymed-metered verse).
> No, we'd moved on from that and were talking about the rediscovery of
> rhyme (beginning in the 1980s).
> <q>
> >>
> >> I learned to begin to embrace rhyme, meter and form, et cetera, in these
> >> later years.
> > I won't claim any credit, since you were using rhymes before I got on
> > the group. But I do think that being on aapc was probably a big
> > influence on your doing that.
> I think perhaps the [advent] of HIP HOP spoken word poetry helped bring
> on the changes as well.....
> </q>
> Will, of course, was talking about himself and his own discovery of
> rhyme. Zod was pointing out that the former didn't happen in a vacuum;
> Will's pesonal evolution was happening in, and reflective of, a general
> popular trend in poetry post-1980.
>>
>> 1) Hip-hop and rap did not appear until long after the change had taken place.
>> 2) Hip-hop and rap rely heavily on rhyme and meter, and would represent a popular movement to restore traditional poetry.
> Exactly what Zod was saying. The hip-hop movement didn't occur in a
> vacuum, though; there were other factors behind the rediscovery of
> rhyme. The most important, academically, was the rise of New Formalism,
> which was a movement of poetics as much as poetry.
> But the biggest influence, I'd say, was as always the internet. Suddenly
> (over 25 or so years, or just the blink of an eye in terms of the
> tradition), public domain poetry went from a few dusty books in
> second-hand shelves, that hardly anyone even noticed much less bought,
> to being seen and read by millions.
>> You and your Stink are obviously unaware of both the history of modern poetry and of the history of poetry in general.
>>
> No, that looks like a case of misunderstanding.
https://en.wikipedia.org/wiki/Poetry_slam
Poetry slam
From Wikipedia, the free encyclopedia
A poetry slam is a competitive arts event in which poets perform spoken word poetry before a live audience and a panel of judges. Culturally, poetry slams are a break from the past image of poetry as an elitist or rigid artform. While formats can vary, slams are often loud and lively, with audience participation, cheering and dramatic delivery. Hip-hop music and urban culture are strong influences, and backgrounds of participants tend to be diverse.[citation needed]
Poetry slams began in Chicago in 1984, with the first slam competition designed to move poetry recitals from academia to a popular audience. American poet Marc Smith, believing the poetry scene at the time was "too structured and stuffy", began experimenting by attending open microphone poetry readings, and then turning them into slams by introducing the element of competition.[1]
The performances at a poetry slam are judged as much on enthusiasm and style 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
Poem
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.[19]
Some poets are closely associated with the vocal delivery style found in hip-hop music and draw heavily on the tradition of dub 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 or beatboxing or using highly choreographed movements.
What is a dominant / successful style one year may not be passed to the next. Cristin O'Keefe Aptowicz, slam poet and author of Words 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.[20]
Bob Holman
One of the goals of a poetry slam is to challenge the authority of anyone who claims absolute authority over literary value. No poet is beyond critique, as everyone is dependent upon the goodwill of the audience. Since only the poets with the best cumulative scores advance to the final round of the night, the structure assures that the audience gets to choose from whom they will hear more poetry. Audience members furthermore become part of each poem's presence, thus breaking down the barriers between poet/performer, critic, and audience.
Bob Holman, a poetry activist and former slammaster of the Nuyorican Poets Cafe, once called the movement "the democratization of verse".[21] 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 of Congress. I want a floor of Congress to look more like a National Poetry Slam. That would make me happy
History
American poet Marc Smith is credited with starting the poetry slam at the Get Me High Lounge in Chicago in November 1984. In July 1986, the original slam moved to its permanent home, the Green Mill Jazz Club.[3][4] In 1987 the Ann Arbor Poetry Slam was founded by Vince Keuter and eventually made its home at the Heidelberg (moving later 2010, 2013, and 2015 to its new home at Espresso Royale). In August 1988, the first poetry slam held in New York City was hosted by Bob Holman at the Nuyorican Poets Cafe.[5] In 1990, the first National Poetry Slam took place at Fort Mason, San Francisco. This slam included teams from Chicago and San Francisco, and an individual poet from New York.[6] Soon afterward, poetry slam increased popularity allowed some poets to make full-time careers in performance and competition, touring the United States and eventually the world.[5]
In 1999, National Poetry Slam, held in major cities each year, was in Chicago. The event was covered nationally by The New York Times and 60 Minutes (CBS). 60 Minutes taped a 20 segment on slam poetry with live poetry scenes at Chopin Theatre. [7]
In 2001, the grounding of aircraft following the September 11 attacks left a number of performers stranded in cities they had been performing in.[5] After the attacks, a new wave of poetry slam started within San Francisco.[citation needed]
As of 2017, the National Poetry Slam featured 72 certified teams, culminating in five days of competition.[8]
Today, there are poetry slam competitions in a number of countries around the globe.
Poetry Slam, Inc. sanctions three major annual poetry competitions (for poets 18+) on a national and international scale: the National Poetry Slam (NPS), the individual World Poetry Slam (iWPS), and the Women of the World Poetry Slam (WoWPS).
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