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
For the first time in NSW, ‘performance poetry’ is now part of the English syllabus. Two poets have been listed for study in the Higher School Certificate: Kate Tempest from the UK, and Australian Luka Lesson. When I’m not writing and performing, I teach secondary English on the north coast of NSW, and I’ve been watching the developments of spoken-word in education closely in recent times.
Here’s my PMI analysis of the current turning point for spoken-word poetry in schools, at least in NSW Australia:
Spoken-word poetry is a form which shows high levels of engagement among young people. With its connection to hip-hop, inclusive demographic and often direct language choices, it appeals to the ‘reality’ and relevance students may feel is missing in other curriculum.
Spoken-word uses an entire suite of alternative writing methods and poetic devices, providing opportunities for students’ creative development in new and substantial ways.
Having spoken-word poetry on the new HSC syllabus instantly signals its value, not just as engaging texts but as respected literature. This may eventually facilitate greater awareness of this new form among teachers, parents, and the broader community.
With the digital communication revolution, poetry has become far more accessible and available, and spoken-word poets have been at the forefront of the change. Youtube has become an abundant public library of live poetry, giving teachers instant access to a huge range of texts and playlists to suit their students.
While there are many more possibilities that teachers may not yet be aware of, the poets featured on the new syllabus are very well-chosen. I myself would have picked those two names, after 15 years immersed in spoken-word. Kate Tempest’s hypnotic vision re-animates the art of oral storytelling, with an uncompromisingly youthful twenty-first-century perspective. Luka Lesson has established a successful career on the back of many years teaching and mentoring young people to write, and as such his genuine understanding of the school-age audience is unparalleled.
Although you could argue that oral poetry has been around for a long time, spoken-word poetry is still fairly new. Teachers may not have had the chance to study it themselves at tertiary level and certainly not in their own schooling. In order to teach it effectively, they will need access to strong resources, ideally covering the history of spoken-word, its cultural impact, various forms, and literary devices.
Because spoken-word has always embraced those aspects of performance that don’t easily translate to the page, scholars and teachers have previously found it difficult to study. There is a very limited scholarly discourse around this form, compounded by entrenched views of what ‘proper poetry’ should be. I started investigating the technical devices used in spoken-word poetry for my Honours thesis in 2005; I was amazed that academics hadn’t covered it yet. More than ten years down the track, there’s still a fairly large gap in the literature.
There’s always potential for a great move in curriculum to backfire; in this case, my inner pessimist worries that a new generation of young people might grow up hating spoken-word poetry because they ‘had to do it in school’. Thankfully, teachers tend to be tenacious, passionate and ever-curious bunch, so that probably won’t come to pass.
While many poets have grown weary of the ‘page vs. stage’ debate, in the classroom this could spark some real insight for students. Spoken-word is not in competition with ‘page’ poetry, but some may find one or the other more appealing for interesting reasons.
Spoken-word gives us lots of opportunities to teach language as play. Just look at the concept of rhyme – younger children do it spontaneously, and hip-hop artists use it as elaborate improvisation through freestyling. Rhyme can open up new ways into writing for those students who dread putting pen to paper.
Performed poetry requires more than just performers. Staging a poetry event also allows students to learn to be active audience members, judges, timekeepers, organisers, and team members. Better yet, let them take ownership and direct the event they want.
Poets who work with schools have often commented that in order to really inspire students’ writing, teachers also need to be willing to take part and make themselves vulnerable as beginner writers. Candy Royalle and Luka Lesson in their roles with Red Room Poetry both felt that students gained more respect for teachers who took this risk.
The new syllabus includes performance poetry in a new module called ‘Craft of Writing’. Students study exemplary short pieces of writing and then develop their own craft by imitating, experimenting, editing and polishing. How will examiners assess skills a student has learnt through spoken word, such as flow, dynamics and vocal delivery, in a written exam?
It’s certainly an interesting time for education as well as for spoken-word. You can hear more by signing up for updates from this blog, or following me on Facebook.
For teachers, you can also hear me present on this topic at the ETA Annual Conference. Are you planning to use performance poetry with your classes? Please share your thoughts below or contact me – I’d love to hear what you’re up to.
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.”
You have to celebrate the victories, right? Well, I spent a couple of months earlier this year sending out various applications to poetry events and publications. Of course this meant getting very cosy and familiar with the “thanks for your interest, but…” emails which then flooded back. I’ve always been told this is just part of the writer’s life, so, no biggie.
Today I opened another response expecting it to be the same old story, and found these unexpected and exciting words… “We would be very happy to include your event in our program this year…” Woohoo!
So I’m thrilled to announce that I will be presenting at Storyfest in Sydney this year.
On their website, Storyfest is described as:
“… a 3 day spoken word festival packed full of live literary mayhem
in the form of spoken-word, poetry, stories, lyrics and monologues.”
This is a massively exciting opportunity for me. Storyfest represents the ever-growing and strengthening community of spoken-word artists and audiences in Australia, and embodies the same goals I am passionate about. It provides a platform for people to come together in order to perform, share and learn about spoken word. It includes workshops, panel discussions, performances, and culminates in the unforgettable Australian Poetry Slam.
When I began performing in Sydney some 16 years ago, the spoken-word community was a small and largely ‘underground’ scene, very much sitting on the sidelines of other arts and cultural events. Now that I live, teach and perform in regional NSW, it’s an honour to be able to return to this same city, and contribute to the thriving spoken-word industry that we dreamed of then.
Keep an eye out for details if you’re in Sydney, October 12th-14th, for some kickass spoken-word magic coming your way. Follow Storyfest on Facebook for details, and while you’re at it, why not follow me for more on slam poetry, performance, and workshops.
In the Slamcraft series, I’m passing on some of what I’ve learned about Slam poetry (or any poetry which is performed live). Today I’m inviting you to consider the form that we’ve chosen to work in, and try to figure out where it is positioned in relation to other literary forms and movements. In straightforward terms: stick your head out of the box; have a look at what’s around you; take in the view.
Since the 1950s, innovative poetic practices have flourished. In his introduction to The Norton Anthology of Postmodern American Poetry, Paul Hoover discusses the various avant-garde movements which have aimed to renew poetry through strategies which are initially shocking, but eventually replace mainstream approaches and become ‘normal’. Apprehending this pattern in the influence of the Beat poets, the New York School, Black Mountain poets and aleatory poetics, Hoover reasons that the recent “performance poetry and language poetry will influence mainstream practice in the coming decades”. 
At the beginning of the twenty-first century, another innovative practice has emerged in the form of spoken-word poetry. Spoken-word is a double agent, which simultaneously presents itself as an avant-garde movement and a nostalgic reclamation of ancient oral traditions. On the one hand, it presents a challenge to the academy: it exists outside the limitations of traditional print media, sidesteps editorial selection and evaluation processes, shoots straight for popularity and sometimes exceeds the reach of its print counterparts through new publishing avenues (Abe Nouk’s performance on The Australian Poetry Slam channel has over 33K views – what publisher wouldn’t be pleased with so many ‘reads’?). On the other hand, the materials of spoken-word poetry are as old as the hills, such that anyone and everyone can ostensibly engage with it. Some poets make explicit this project of reviving orality as a form of self-expression that they think modern society sorely needs, taking on the role of bardic storyteller, epic poet (as in Kate Tempest), or Carribean-influenced ‘toaster‘.
With its demotic culture appealing to mass audiences, spoken-word poetry has either been ignored or heavily criticised by academics. Consequently, we have a developing or partial academic vocabulary at best, with which to discuss it. One of my aims as an honours student in 2006, and as an emerging poet now, is to develop a more complete poetics of spoken-word. I am interested in the conditions, techniques and poetic devices of spoken-word poetry, which I often find to be intriguingly different from the page-oriented approaches which have dominated scholarship. We cannot come to an understanding of the significance of spoken-word poetry, in relation to contemporary movements, without the critical tools to apprehend it.
To return to Hoover, I do not believe that spoken-word, if it is a new and innovative form of poetry, poses any threat of eventually replacing ‘mainstream’ approaches. However, I do think it has the potential to enter and enhance the existing schools of poetics, which are already so varied in Australia. Spoken-word deserves a legitimate place alongside other contemporary movements, if not merely for its popularity, then for its fascinating combination of the ancient with the avant-garde.
Sign up to read more on the poetics of spoken-word and slam poetry techniques.
See more in the SlamCraft series on writing poetry for performance.
 Paul Hoover, introduction to Postmodern American Poetry: A Norton Anthology, New York: W.W. Norton & Company, 1994, pxxv.
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.