There’s nothing I enjoy more than helping people fall in love with poetry. For those located near me in the Tweed region, NSW, here’s your chance to join the most comprehensive poetry course I’ve created yet.
SLAMCRAFT is a unique course in writing and performing powerful poetry. Over 4 weeks, you will create new, authentic poems and gain skills to perform them with confidence. Learn creative strategies to unlock ideas, build your writing skills, and explore your voice in a safe and inclusive setting. SlamCraft is not just for slam poets; it is for anyone who wants to connect with themselves and others through their words. Developed over 15 years of practice and research, this is the most comprehensive SlamCraft course offered to date.
SlamCraft runs for 4 consecutive Sundays from 2-4pm at the Frances Mills Education Centre in the Tweed Regional Gallery.
Course outline: Oct 27 – Week 1. Love your materials. Nov 3 – Week 2. Writing for the ear. Nov 10 – Week 3. This is my voice. Nov 17 – Week 4. Taking up space.
Cost: $155 / $135 Beginners are most welcome. For an enrolment form or more info, contact Sarah: Ph: 0428 256 531 E: firstname.lastname@example.org
What people say about SlamCraft:
“This is the first creative writing workshop I have ever attended. I came thinking I’m not a poet; I’m leaving with a poem I’ve written and am proud to perform. Thank you.” – Dee Milenkovic, SlamCraft participant 2018
“I’ve never been so moved by my own poetry. This experience is with much thanks to Sarah for creating and facilitating a workshop which helps people to connect with themselves and others through their spoken words.” – Gabrielle Journey Jones, spoken word artist and author of ‘Spoken Medicine’
“Sarah Temporal’s SlamCraft is a much-needed excavation of the components behind successful spoken word poetry. Sarah uses an in-depth study of successful spoken word artists and the form’s hip hop origins to educate those wishing to hone their writing for the stage.” – Elliot York Cameron, Word Travels Program & Education Officer 2018
Hi friends! I’m very excited to announce that I’m offering SlamCraft as an online course for the first time.
SlamCraft online course with Sarah Temporal
Oct 26 – Dec 6 2019
SLAMCRAFT is a unique course in writing and performing powerful poetry. Over 6 weeks, you will create new, authentic poems and gain skills to perform them with confidence. Learn creative strategies to unlock ideas, build your writing skills, receive detailed feedback, and explore your voice in a safe and inclusive setting.
is not just for slam poets; it is for anyone who wants to connect with
themselves and others through their words. Developed over 15 years of
creative practice and research, SlamCraft excavates what it is that
makes live poetry powerful by breaking down the techniques used by the
world’s best spoken-word poets.
At least 3 spoken-word poems
Detailed feedback from Sarah and other course members
Understand spoken-word form and techniques, such as flow, memorisation,
Find your unique, powerful voice
Creative strategies to unlock ideas
runs for 6 weeks using a private Facebook group, so you can complete
the activities at any time in the week. Each week, you’ll receive
videos, examples, and instructions for a writing or reflection task.
Upload your new poems-in-progress as video so we can experience them as
spoken-word performances. The next week you will give and receive
constructive feedback on the poems while exploring another aspect of
craft or creative practise.
is the first creative writing workshop I have ever attended. I came
thinking I’m not a poet; I’m leaving with a poem I’ve written and am
proud to perform. Thank you.” – Dee Milenkovic, SlamCraft participant
“I’ve never been so moved by my own poetry. This experience
is with much thanks to Sarah for creating and facilitating a workshop
which helps people to connect with themselves and others through their
spoken words.” – Gabrielle Journey Jones, spoken word artist and author
of ‘Spoken Medicine’
“Sarah Temporal’s SlamCraft is a much-needed
excavation of the components behind successful spoken word poetry. Sarah
uses an in-depth study of successful spoken word artists and the form’s
hip hop origins to educate those wishing to hone their writing for the
stage.” – Elliot York Cameron, Word Travels Program & Education
When people ask me, “How should I memorize my poems?” there are a few tips I have to offer.
Write a memorable poem. Not all poetry is ideal for live reading. The good news is, if it works for performance, it will probably work for your memory too. Before you finalize your lines, experiment with your voice and gestures. If the words flow better in a different order, then let them flow.
Get up. The body is a learning tool. In order to get the poem stuck in your brain, you are going to learn it with your whole body. So pick a private space and get up, move around, sway or stomp or wildly gesture your way through the words until they come to life.
Use rhyme and rhythm. The musicality of poetry in its more traditional forms makes it easier to memorize. Who remembers rote learning “The Rime of the Ancient Mariner” or something like it? You couldn’t do that with modern free verse. Rhyme will cue your brain to remember the next line; and rhythm will help you settle into the flow. Remember, rhymes don’t have to follow a strict scheme.
Be authentic with your voice. You may feel that slam poetry or spoken-word has a certain style to live up to; that you need to be bold, loud, or have lots of street cred to pull it off. That’s bollocks. Your voice will sound and feel real when it is your own; in fact, it’ll be harder to memorize your work if you don’t listen to it.
Re-write, re-write and re-write. If you’re feeling inspired and the poetry ‘just comes’ to you, then you’re lucky. But most work that feels worthwhile to me takes a lot of writing. The process of writing makes certain choices clear: it has to be this word not that word; it is this thought that follows upon that one. And that also makes the poem live in my memory; because the choices make sense.
Rehearse. I’ve been lucky as spoken-word poet because I got my training as a musician. This taught me not only about rhythm and lyricism, but also the discipline required to get work ready for performance. A good rule of thumb is three-in-a-row. First break the piece down into short chunks, and rehearse each chunk until you can do it flawlessly three times over. Then do the same for a whole piece. Leave enough time to rehearse every day for a week before a performance, and you’ll be set.
I like the old phrase for memorization, “learning by heart”. There is a process of letting the work settle into the heart. It can be hard work, but at the end of the day it should still feel like your poem; a direct connection to the heart. Learning your own poems shouldn’t feel like a chore or a brain-teaser. If it does, use this as a chance to check in and ask, “Do I want to say this differently?”
There’s more fascinating discussion to be explored on memorization, poetic techniques, and the way our brains process and retain information. I happen to subscribe to a not-very-popular view of education, that rote-learning of poetry or patterns can have benefits for the student. There’s even evidence to suggest that it might help us become more creative: check out a brief read on the art of memorization by orators in medieval culture. As Alan Jacobs summarises, “Today people will tell you that memorization is the enemy of creativity; these medieval thinkers understood that precisely the opposite is true: the more you have memorized the greater will be your powers of invention.”
When you’re learning a new craft, it’s usual for the teacher to lead you through an exploration of your materials. Getting to know your materials, becoming familiar with them, learning to wield them.
If you’re learning to draw, you will experiment with charcoal, pastels, pencils, pen and ink. You will shade and rub and outline. You’ll find what feels right. If you’re learning to play an instrument, you will first learn the notes, where to place your fingers, perhaps play scales and arpeggios and chords. These are your materials.
But in learning to make poetry, we don’t have the habit of considering materials first. Perhaps it’s because our materials (words and language) are so commonplace, and used so frequently, we assume we already know what to do with them. But how many of us then end up sitting in front of a blank page? Getting to know your materials means you love spending time with them, playing with them, using them.
Annie Dillard reminds us that we should feel something for the materials:
A well-known writer got collared by a university student who asked, “Do you think I could be a writer?”
“Well,” the writer said, “I don’t know. . . . Do you like sentences?”
So we’re setting out to fall in love with words. In this series, I’m sharing what I know about slam poetry (or performance poetry or spoken word or whatever you want to call it).
Let’s consider: What are our materials?
What kind of words?
Words that are spoken, words that are heard.
Are they different to words read on a page?
Yes, I believe so. Spoken words are:
Temporal – they are happening in time. As listeners, we surrender to the flow.
Ephemeral – they can’t be held or captured for later. Unless you’re recording as you go, everything you say instantly ‘disappears.’
Evanescent – they only exist as they are going out of existence.
Immersive – they fill our sense of hearing like water; you can’t stand back or choose what to see as you can when looking at a picture.
Tonal – it’s impossible to say anything without tone. Even a flat, unemotional tone conveys something.
Communal – spoken words are often the way we communicate most comfortably in social groups. They have a much longer history than the written word. Oral forms allowed knowledge to be passed down through generations in pre-literate society.
So what does all this mean? As a material, spoken words have certain qualities we should take notice of, because we can use them. We can use the flow, the way listeners want to get caught up in it. The infinite tones available to you. The fact that you are bound with the audience in a moment in time, but not after. The materials allow you to make this poetry more personal in all sorts of ways, because it will be your voice, no one else’s, that enacts it. The moments you share in a live performance become unique, unrepeatable acts.
The materials also impose certain limitations, in the same way that using ink limits your ability to erase. You probably aren’t going to subject your audience to something the length of a novel – your materials aren’t effective on that kind of timescale. (Actually, I kind of hope there’s some radical experimenter out there thinking, ‘spoken-word novel…now there’s an idea!’). Play with the limits as well as the possibilities. A confession: it has taken me 10 years to realise that extended metaphors usually don’t work in spoken–word: it’s better to say what you mean! I’m still getting to know my materials, I guess.
Now, time to play with your materials.
Here are a few exercises to get you started:
Make a list of words you love the sound of. Say them. Say them slowly, quickly, loudly, softly, delicately, aggressively, lovingly.
Make a list of words of words you hate. What puts you off about them? Where did they come from? What sort of person uses them?
Find a poem you love and read it aloud to someone you trust. Have them tell you what happened in your voice, breath, face, and body, as you read.
I’m excited to start a blog project that’s been swimming around in my mind for a long time now: SLAMCRAFT.
Over a couple of months, I’ll be sharing with you a whole series on how to create a Slam Poem. But not just for slam poets – this is for anyone who writes and wants to know how to read in front of an audience. It’s for performance poets, spoken-word artists, songwriters who want to go a-capella, students, whatever. This is about making your art out of words for a live audience. It’s pretty damn exciting.
In my own little art world on the Northern Rivers, a lot of surprising opportunities have got my attention. One of the most exciting is a slam poetry workshop; the chance to share fifteen years of spoken-word experience with anyone who wants to give it a try. Maybe you’ll catch a workshop with me soon and we can play with these ideas together.
We’ll start by exploring materials, move to exercises, writing techniques, performance tricks, and go right through to polishing your piece ready for performance.
Welcome to the new year! Here in the Northern Rivers, we’re getting pummeled by fat, drenching, subtropical rain, and then by riotous, skin-searing sun – in fairly equal proportions. Plant life is springing forth like nobody’s business; lettuces pop up in the lawn from stray seed and then burst into seed themselves just a short time later. It all feels like a recipe for renewal to me.
So, since new beginnings are a good time to make new stuff, I thought I’d share with you my pick of the best writing exercises to start the year. Whether using them myself or with students, the only measure of a good exercise for me is that it makes new things happen: new images, new voices, even new memories you didn’t know you had. Everything we need in order to write is right here. Use it!
You don’t need any writing experience to have fun with these. They are designed to bypass what you think you know, and dig into the fertile soil of imagination and association. I’ll be honest with you, when I go to the page to try and write some new stuff, often I never get past doing exercises. Why? I’m kind of fickle when it comes to ideas, I don’t like to commit to them. But when exercising, there’s no role, in fact no room, for commitment. You just open up to what’s endlessly possible.
“In the beginner’s mind there are many possibilities, but in the expert’s there are few.”
– Suzuki Roshi, Zen Mind, Beginner’s mind
So get your pen ready…
Memory is always a rich source of inspiration, but sometimes we need a nudge to make the most of it. In one of the simplest and most effective exercises I know, we take the words ‘I remember’ as our starting point. Go to the exercise.
“It is a truth universally acknowledged, that a single man in possession of a large fortune, must be in want of a wife”… and a blocked writer must be in want of a prompt! Try using the best first lines in literature to create something new. Go to the exercise.
In this exercise, new material is generated by re-purposing a piece of found text into an unusual writing prompt. Like all the best exercises, Re-sentencing is both challenging and liberating, and you might be surprised by what comes out. Go to the exercise.
If you have tried any of these exercises and created something new, congratulations! If nothing emerges, keep trying. Whatever happens, don’t throw away your first attempts, even if you see nothing of value in them yet. Just put them aside for later. As with gardening, in creative life we sometimes need to rest our garden beds in order to let the nutrients back in. If we turn over the soil too often we might disturb the seeds that begin to sprout, unnoticed. So do your exercises, close your notebook, and look forward to the next step – figuring out what to do with the raw material. But that’s another post for another day.
Happy New Writing to you in 2018. And if you liked this post, don’t forget to share!