This week I was asked by someone writing for a Uni newspaper to write a bit about performance and slam poetry and about how I “saw the the future for performance poetry in Britain”. I realised that my view of it’s future had shifted quite a lot since the change of government and shake up of Arts Council funding. How realistic are any of these scenarios?
1. It continues as a grass roots activity with small, enthusiastic audiences and occasional break out performers impact on other fields: eg Hip hop or stand up comedy.
-In most cities there are at least one or two regular events where performance poetry is part or all of the line up. Still, even the most marginal sports (ice hockey say with average attendances of 5000 attract many, many times larger audiences.)
2. It gets more funding and support as a non commercial art form, is used more widely as an educational tool, and borrows platforms and values from subsidised theatre and theatre venues – whilst also developing its own reflective practice and criticism.
-It feels like this is the way things were heading pre Funding crises. Things like the “Lit Up” initiative were spearheading a spread into larger venues. Artists like Inua Ellams, Polar Bear, Molly Naylor and Zena Edwards were working in ways and forums also used in experimental theatre. Aisle 16 & others continued getting Escalator East funding to take shows to the Edinburgh Fringe and many poets worked on Creative Partnerships projects in schools. Apples and Snakes continues to advocate for the medium- & the Arts Council sees it’s funding of an Olympic S
Am project as a strategy to widen it’s educational use. Much less money around than there was though- & the Poetry Society seems to be having a bit of a meltdown over a division between how much they should focus on widening poetry participation through education. A reflective practice among artists and critics would be nice though. Universities might have been pulled in in an era of more humantities research, but that seems likely to be delayed some years now.
3. It breaks out into the mainstream like stand up comedy and becomes a commercial art form supported by British versions of the visionary Russell Simmons of Def Jam in the U.S.
-Yeah right. As many performance poets as non performance poets seem perfectly happy to play for small audiences and not “sell out”.
4. It diversifies and re integrates into other art forms in the way it used to in the early 80s and you get performance poets valued in music, comedy, traditional literary events, academia and even the corporate world.
-Personally I think the diverse portfolio of work that the Saturday Live (Radio 4) poets do is a good example of this. It may not quite fulfil my dream of a mainstream platform promoting greater inclusivity, but a reminder that poets can write accessibly and to order on a wide variety of issues (as also done by Ian McMillan on Radio 5 in the 90s), it means that you can see performance poets in sports arenas, health conferences, er…supermarkets, Literary festivals (as the novelty act though). Live in forlorn hope that Carol Ann Duffy might include performance poets in things sometimes….sigh.
Not included in these scenarios though is the melting pot/melting poet most commonly, not exclusively working in London. Crossing page/performance boundaries. As likely to be found in post in a literary residency as in a one person show in Edinburgh (Helen Mort for example) and less likely to reject out of hand the occasional label of “performance poet”. Their future is more closely tied to the general poetry funding/audience situation in the country (hence, a but precarious but probably safely subsidised to a degree for the foreseeable future).
Or none of the above?