Poet, co-founder of poetry night BoxedIn and host of Jawdance, Yomi Sode

Eclectic, competitive and radical, Slam Poetry is a fringe form of spoken word poetry and protest, blurring the lines between hip hop and the performance arts. It is an increasingly popular art form for those wishing to express political protest and radical emotion, due to its dramatic intensity in action as well as in language. It is also unique for its organic propensity to resist commercialisation and remain authentic on stage.

Poetry slams provide a platform for every kind of person to express their feelings on issues as far-reaching and globally significant as the refugee crisis, Black Lives Matter, identity politics and oppression of sexuality. As the world moves towards ever-increasing commerciality of art and self-expression – an example being the twisted use of feminism as a fashion statement – it seems that Slam Poets may be the only people with the ability to resist these falsehoods and cut straight through to the truth of our times.

Rhiannon Williams speaks to Yomi Sode, the talented Nigerian-born London-based poet, co-founder of landmark poetry night BoxedIn and host of Jawdance, on what makes Slam Poetry special.

LUX: Did you always want to be a poet?
Yomi Sode: No, poetry kind of crept in. I used to MC before, I used to DJ, I still have my vinyls – I am a proud collector of what I could class as ‘vintage grime’. I kind of ventured in all aspects and areas of music first.

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LUX: How did you discover Slam Poetry?
Yomi Sode: I first discovered Slam Poetry through a legend of a poet called Joelle Taylor. I saw this event that was happening, I think it was a SLAMbassadors event, and I thought this was cool to get involved in, and that’s how I met Joelle. I’m now faced with what is Slam poetry and I saw how these groups came up, how these individuals came up to do solos and it just blew my mind. But even after the event it wasn’t enough to pull me in to be interested in spoken word poetry. I loved it, but it wasn’t what I was used to with MC-ing, it was a very different form of expression.

But then I was in New York and I wanted to share some poems. The Nuyo [Nuyorican Poets’ Café] is a staple spot in terms of spoken word and the evening I got there I signed up but I didn’t realise it was a Slam – I accidentally signed up for my first Slam. Not only a Slam, but a Slam in America. And I actually got through to the final but the next stage of it was on the Friday and I wasn’t in New York for it!

LUX: How would you describe Slam Poetry to someone who hasn’t encountered it before?
Yomi Sode: It’s so difficult because Slam Poetry in different parts of the world is expressed in many different forms. So, should you look at the way the States take it on it has a very intense feeling to it; it’s very passionate, it’s driven with purpose. Folks don’t just go onto that stage and read a poem, they bare absolutely everything. It’s very personal, it can get very political, they take it very seriously there. In England what I’ve noticed is that it can be lighter, it can be a bit comedic, and of course there are many elements of seriousness, but the core of how it is in the states is very different.

You can make something very special out of 3 minutes’ worth of work and that’s an experience – as a a poet and an audience member – that you remember for a very long time.

Yomi Sode in performance

LUX: What’s the difference between a poetry Slam and a spoken word night?
Yomi Sode: I just came off the back of judging UniSlam in Leicester and there was this one piece that actually made me uncomfortable. And that’s what the power is of a Slam compared to your typical poetry night. At Jawdance for example, each person comes up to an open mic and you’ll see them again next month probably. With a poetry slam, even though the ethos isn’t about the winning and more about the experience, the process, you are still there to win and through that drive comes this energy. You get triple the amount of passion for the message coming through.

Read more Poetry Muse: The augmented poetry of Eran Hadas

LUX: You said you were judging UniSlam. What kinds of things are you looking for in these Slam poets’ performances?
Yomi Sode: It was very hard when I was judging. I was looking for any quirky lines, I was also marking up anything that sounded a bit cliché. One poet I remember went on there and he started with ‘my love’ and I was like oh god, because straightaway when you start with a line like that, I already know where you’re going.

LUX: What do you think is the unique appeal of a poetry that is performed and not just read? How does it feel to stand up on stage, vulnerable and utterly visible, sharing your art with an audience?
Yomi Sode: Performance is very important. To stand on stage and just read a poem and trust that you will feel what I’m feeling. I could have the most powerful poem on stage but if I read it in a monotone voice, it won’t sink into you as much as I want. Or I could absolutely read it in that monotone voice because that’s the kind of energy I want to give. You just need to know how your poem will present on stage.

LUX: Slam poetry is often both political and personal. What are some of the common themes that recur in the Slam Poetry scene?
Yomi Sode: What I find often in Poetry Slam is that the same themes will crop up along the lines of heartbreak, sexuality, rape, racial injustices, all those things there, are all packaged into a similar poem – but the way the poem approaches it is what is interesting to me. You have to believe in what you’re saying.

LUX: You’re involved in lots of poetry events going on in London – what do you think is the significance of nights like these for poets and poetry-lovers, as well as the community as a whole?
Yomi Sode: BoxedIn and Jawdance are not the only poetry nights that happen in London; there are a lot of mini poetry nights across London that people are not necessarily aware of. Those nights happen either weekly, monthly or bi-monthly or whatever it is, and they’re not in the limelight. I guess one of my aims with BoxedIn is that I’m going to encourage poets from these nights – other poets on the poetry scene – because my concern is that we’re always dipping in the same pool, picking out the same poets. And there are poets in and out of London doing some amazing things.

LUX: How would you describe the poetry circuits in large multicultural cities such as London? What needs changing, in your opinion?
Yomi Sode: It’s saturated in London. I feel like I’ve exhausted in London. And even then, there are still so many poets in London that we don’t know about. UniSlam is the national poetry event: there were folks from Glasgow, folks from Manchester, Leeds, Bristol, and I’m like this is what I’m talking about. It was just amazing to break out of London and find out what else is going on.

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LUX: How do you avoid creative burnout?
Yomi Sode: I allocate my time well. I say no to things often. I spend less time on social media now and I’m so used to coming off social media so regularly that I honestly have no reason to be on there anymore. I wanted to tackle the need to be on there every day – it was a pleasure to go offline for a while, then come back on to announce a new project. All that learning has been interesting for me – making space and time for my work.

LUX: These days there is a certain commercialism to creativity. In what ways would you say Slam poetry is able to resist commercialism, giving people who may not otherwise have a ‘true’ creative space a voice for self-empowerment?
Yomi Sode: Poets maintain a bridge between commerciality and their own individuality – whether we’re talking about Kate Tempest or Inua Ellams and his Barber Shop Chronicles which, last I checked was in Australia. It’s amazing stuff. A lot of my peers and the folks that I’ve grown up with on the scene are being used in adverts, and the purists, the poetry purists, see these adverts and go: that’s not poetry. And while it’s a massive clash of ideals, I can’t speak for another person’s choice. I can’t tell someone that they should be a purist when they might have a family to feed. People make their decisions for what they want to do. Poetry going commercial? It will happen. It’s up to the writer as to how they want to balance that. It’s their own journey going forwards.

Poet, musician and playwright Kate Tempest

LUX: Is there a poem that you feel you need to write, but have yet to?
Yomi Sode: There are poems that I’m waiting to write. I’m trying to eradicate the thoughts of writers’ block. I’m working towards a collection of poems.

LUX: What does poetry mean to you?
Yomi Sode: It’s an experience that’s life changing. Because you could be in the position where your life is in a certain way and that one person comes on stage and does something that speaks to how you’re feeling. That’s what poetry does, it gives that kind of permission to almost speak someone’s thoughts, and I think that that’s a beautiful thing.

Eran Hadas, Tel Aviv-based new media artist, poet and experimental software designer

Tel-Aviv based poet Eran Hadas uses his skills as an experimental software developer to build ‘augmented poetry’ generators, where algorithms assemble poems. His methods anticipate the dawn of artificial intelligence which will revolutionise concepts of personhood in the future, and demonstrate how poetry will nevertheless retain a vital role in helping us understand and explore these new terrains. In this month’s Poetry Muse, Rhiannon Williams speaks to Hadas about the the Tel-Aviv poetry scene and creative technology.

‘I think [poetry] should both reflect and affect reality,’ explains Eran Hadas in our interview, something that could be taken as insightful not only about poetry but also on the role of technology. Striking a fascinating figure on the Israeli literary scene, Eran is literally reconfiguring poetic function, fusing his technological and literary skills to create radical and intriguing works. For the Mind Your Poem project, for example, Eran used a special headset to record brain waves and create poems from the readings of people’s emotions: a kind of poetry that is as utterly post-modern as could be.

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His innovative projects and poems have featured in the Venice Biennale, the Tel-Aviv Museum of Art and the Warsaw POPełnione exhibition among others. He was the Binyamin Gallery poet in residence in 2016, the 2017 Schusterman Visiting Artist at Caltech and is an exciting part of the biannual Tel Aviv Poetry Festival.

Rhiannon Williams: Could you explain a bit more what you mean by your term ‘augmented poetry’?
Eran Hadas: The inventor of Hypertext, Ted Nelson, said that he felt the four borders of the page were walls of a prison of which he tried to break free, and I feel the same way about poetry. I think it should both reflect and affect reality, and in our time the way to go about it is to step in and out of the printed format, and in and out of the virtual (and mixed) world. For me, poetry involves both print, web and interactive works, involving chatbots, automatic poetry generators, text mixed with other media, but always circling around text and textuality, and striving to explore new possibilities of text.

RW: How did you first become interested in the possibilities for collaboration between
computing and poetry?
EH: I studied computer science, yet poetry has always been my passion. When I got into the literary circles of Tel-Aviv I realised there was some kind of a recurring pattern in the writing of a certain celebrated poet. I decided to devise a simple set of rules that would generate a poem similar to his, but when I got to the technical implementation, it felt so emotional and deep, that I felt I had to do such things for myself, rather than to match or compete against someone else.

The Pop/Kolor exhibition in Warsaw, 2016

RW: What would you say has been one of your favourite projects to work on?
EH: My sixth book Code was programmed to reveal all the Haiku poems in the Pentateuch; The Hebrew Torah. These are the five books of Moses which are the foundation of the Jewish holy law and behavioural code of conduct. The book is comprised of 5341 short poems and all are quotes from the Torah that adhere to the Japanese scheme of 17 syllables in three lines of 5, 7 and 5 respectively. This mechanical rewriting tries to turn the religious text from one that separates people, to one that brings them together. It is written in Biblical Hebrew, and the first poem is: Abyss and spirit / God she is floating upon / The face of waters.

RW: How would you describe the poetry scene in Tel-Aviv?
EH: Tel-Aviv is a very cool city, deeply hated by most of the rest of Israel. Many poets are politically and socially involved. I am a member of a group of poets titled “Cultural Guerrilla”, that organises activities against violence and wars, and supports social causes. On the other hand, because of the small number of Hebrew readers, and the very concentric structure of Israel, Tel-Avivian writers are not always aware of current trends around the world, or even in our Arab neighbouring countries.

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RW: Which writers/artists/playwrights/musicians are you excited about right now?
EH: There is a big hype lately around Artificial Intelligence, and I really admire artists who deal with the core of it without believing the hype, such as poet Allison Parrish who deals with Word Embedding. In the same way that people treat colours as a combination of Red, Green and Blue, she treats the English vocabulary, and her experiments are mind blowing. Artist and researcher Rebecca Fiebrink built Wekinator, a simple to use framework that enables artists to create AI works without coding, but rather by feeding examples of the desired behaviour, and letting the computer generalise from them. Greek conceptual Artist Ilan Manouach has made up a tactile language he uses to create comics for the blind, using various 3d printing methods.

RW: Do you think computers may be the future of poetry? Or will there still be a vital place for page and performance?
EH: I don’t know anything about the future. However, as Machine Learning is growing, there is a chance computers will be able to make better predictions than me… I think humans have to respond to technology, so there is going to be a range of reactions on page and in performance. With the advent of the Internet of Things, technology is going to be more immersive and intrusive in the physical sense, and not just on screens. I really hope poetry remains forever as a state of mind.

Eran Hadas presenting his augmented poetry in Tel Aviv

Rhiannon Williams: Favourite place on the internet?
Eran Hadas: The avant-garde archive, ubuweb, is for me the largest and dearest treasure on the Internet. Amazingly, it is a one-man-show, run by conceptual poet Kenneth Goldsmith.

RW: What do you do when you need to disconnect?
EH: To be honest, I download, backup, mark for using offline, and count the minutes until I connect again.

RW: Favourite city?
EH: Istanbul. It’s so real, it sometimes looks virtual.

eranhadas.com

Il Cinema Ritrovato. Image by Lorenzo Burlando

LUX’s Contributing Poet, Rhiannon Williams finds herself treading the path of heroic visionary poets through Italy, and discovers the illusive poetry collective crafting the ‘New Italian Epic’

Bologna by digital artist Dorpell

Italy has a bacchanal reputation for being the traditional haunt of heroic visionaries. Seen by Byron as ‘the garden of the world’ the number of illustrious writers who have graced the land is truly astonishing, and render it a top destination for any poetic pilgrimage today. The soft touch of history, the clean open spaces and balm of an impractical beauty have a lot to offer. But what I also realised, travelling through Como, Milan, Parma, Bologna and Florence this summer, is that the effect of the ancient poets upon the young poets working here today is far more profound than many realise. How do the contemporary generation feel able to compete? One might assume that the long tradition of luminaries in whose shadow any young Italian poet these days will find themselves might intimidate. The opposite in fact appears to be true; instead of hindering, the rich history only enhances the inspirations and aspirations of the next generation.

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Wu Ming (无名) is the name of a rousing poetry collective and occasional punk-rock band based in Bologna, Italy who are demonstrating how cutting edge Italian poetry is still at the forefront today, despite being some fifty years after the neoavanguardia movement of the 1960s which was the era of the avant-garde Italian literary elite. The pseudonym for the five poets, ‘Wu Ming’, can mean different things in Chinese; either anonymous or five people, depending on the tone of the first syllable. This perfectly encompasses the vision of these poets, because in its emphasis upon anonymity ‘Wu Ming’ is a purposeful rejection of the cult of celebrity that can surround literary stars, a philosophy very much in line with the collective’s growing reputation of being challengers of long-existing paradigms and traditions. The group justify their mysterious façade (each of the poets are known only by the names ‘Wu Ming 1, 2, 3, 4 and 5’ and refuse to have photographs taken) with the unusual stance that ‘Once the writer becomes a face… it’s a cannibalistic jumble: a photo paralyses me, it freezes my life into an instant, it negates my ability to transform into something else’.

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But despite their best efforts, the presence of Wu Ming on the Italian poetry scene is becoming more and more prominent and influential. Through their work, which includes collaborative fiction and poetry collections as well as band gigs and podcasts, they coined the term the ‘New Italian Epic’ which is now taking a hold of the Italian literary world. This original new style has been described as a ‘particular kind of metahistorical fiction’ with updated, experimental form that still derives certain features from the ancient Italian context, inspired by epics such as Dante’s The Divine Comedy written in 1472, and thus in sync with Italy’s rich cultural history. In this way Wu Ming has solved the problem that the young creatives in Italy face in the daunting shadow of so many Greats; through evocations of the parent figures’ liberalism expressed in contemporary sentiments while still retaining a classical resonance. It is an applause-worthy feat.

Il Cinema Ritrovato. Image by Lorenzo Burlando

The group were most recently to be found involved in their home city Bologna’s wonderful Il Cinema Ritrovato celebrations, reading in Piazza Maggiore one evening as the sun set splendidly over the famous San Petronio Basilica. The local student movement was out in full force to support, upholding Bologna’s reputation as the ‘unofficial capital of the Italian counterculture’, which is affirmed when you visit the city in the striking graffiti tags such as ‘L’onda non si arresta’ (the wave doesn’t stop) lining the Via Stalingradoas well as elsewhere in the ancient streets. Coming from a place with such iconoclastic energy and armed with a brave approach to literature, at and politics in the 21st century it seems unsurprising that these enigmatic Bolognese writers are drawing plenty of (seemingly unwanted) attention from across the world stage.