Sunday, September 4 @ 7:30pm
The Workers Club
51 Brunswick St Fitzroy
$20/17 + BF
Has an Open Mic?
Ruckus Slam and Melbourne Spoken Word are proud to bring you UK poet, Anthony Anxagorou Live in Melbourne, here for the Melbourne Writers Festival. He will perform for one night only at The Worker&
A night for the poetic sweepings of the inner north to degenerate into sleaze, vitriole and confusion. And rise into revelation, liberating confession and poetic whisps of the sublime. A feast of clashing waters. All in a cozy artsy pup. No features, no list, no limits. Just put your hand up and come on up. Is your piece not really ready? It is for this gig.
Melbourne Spoken Word hosts a special workshop with spoken word artist, Anthony Anaxagorou from the UK, before his live show with local guests on the Sunday evening.
$30 for a 3-hour workshop. Open to all levels. Please book your spot as spaces are limited.
This 3-hour poetry workshop that looks at poetry, spoken word performance and the role of literature and language in the cultural development of societies. It will provide the rare and unique opportunity for poets of all levels to learn from an accomplished poet and his experiences of a different culture and country. This workshop offers a unique cross cultural opportunity for the local community to gain insight into the global networks that Anthony represents and also to gain instruction from a recognised professional in areas of poetry, creative writing and language as a social art form. In the workshop Anthony will share with with participants his wealth of knowledge and experience from his career as poet and educator in London and guide them through practical exercises to help them develop their own art. Participants will be given the opportunity to assess the role of poetry and language in their own lives so that they may start to look differently at literature and its place in society. Anthony builds on the concepts of poetry and literature to include performance and presentation which again will challenge participants to assess the cultural and social context of language and literature. While working with participants to develop their own original pieces, Anthony will also help participants to create new material focusing on themes and techniques taught in the workshop.
Following seven heats around Victoria, 14 poets will compete in the Victorian State Final of the Australian Poetry Slam, with the winner and runner-up progressing to the National Final in Sydney in October. To find out about the heats to qualify for the State Final, see our events page of the Australian Poetry Slam website. Otherwise, come along and be part of the audience to see the best Victoria has to offer in an intense night of slam poetry.
Hosted by the founder of Slamalamadingdong, Michelle Dabrowski.
“The search is on for Australia’s next slam champion!”
Speak, scream, howl, whisper even sing your poems, Stories, Lyrics, And Monologues in the Australian Poetry Slam 2016 – a live literary performance competition where the audience is the judge!
Slam heats will be held held in city and regional venues across Australia from June until October 2016.
Two finalists from each slam heat will compete in their state final then head to Sydney Opera House!
HOW DOES IT WORK?
All Performing Writers are given a microphone, a live audience and just two minutes to impress the judges with their original spoken word, poetry, hip hop, monologues and stories.
Five judges are picked randomly by the MC. After each performance, judges hold up score cards using a 1- 10 scale, with 10 being the highest. Of the five scores for each poet, only the middle three scores are counted. The judges’ decisions are final!
WHAT ARE THE PRIZES?
The National Prize is an all expenses paid tour to China’s Bookworm International Literary Festival and the Ubud Writers and Readers Festival in Bali. It’s a trip worth about $11,000.
State Winners around the country will receive a variety of prizes. They will also be invited to compete in the National Finals in Sydney.
DISCLAIMER: This is not a review from a person qualified, or even asked to give one. Just my unreliable impressions of a night of great poetry.
I want to tell you about the August 16 LA MAMA POETICA NIGHT because I was uplifted – I got three poetic inspirations as I whistled my bike back home.
First off, it was a great pleasure to sit back in the arms of four accomplished poets. You knew that they would not let you fall and you could really get wrapped up in their works. I felt glad to live in the city and amongst the people that nurture them.
Alana Kelsall read her poems sitting down. At first she pretended she was going to recline full length. I got a mental picture of Titian’s ‘Venus of Urbino’ (the pose, not the being naked). Being read to from a bed or a couch would have suited her poems: they flowed easily and simply, relaxed and in a manner that might lull a child to sleep. But her imagery is evocative, dreamy and perceptive. I particularly remember and liked her poems about a woman who wasn’t a Bond girl – which played vividly in my mind like a Bond movie. In fact the Bond imagery irked me a bit whilst I was hearing it, but now I think it was very clever and wonder how she managed it. And one about Wallis Simpson. She is a person I’ve only known about through one sentence remarks in the press “the American divorcee who captured the heart of a king…” but who, after Alana’s poem, I was glad to know a lot better.
Sam Ferrante’s spot was a complete contrast. She was energetic, animated and emotional, and she used the whole stage: dropping paper sheets of her poems around the place, climbing an imaginary ladder to a bunk bed and taking off and putting on her boots. Her stand outs for me were her first poem written from the perspective of her six year old self – her portrayal is vivid and convincing and made me think her kid self is within easy reach of he
Roshelle Fong performing ‘Lucy Liu’ at Melbourne Spoken Word’s White Night showcase in February, 2016.
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It is a wintry Melbourne night with light rain and we are gathered on the front lawn of a Coburg house late one evening. We are here for ‘immersive theatre, house party and good times’. We are grouped as we arrive as ‘family’ or ‘friends’. There is mulled wine, dhal and rice for the hungry, and an air of relaxed anticipation. A man in a Priest’s collar comes to welcome us to the ‘wake’ of a dear departed young friend. It is director Scott Wings.
We are led towards the back of the property, the path lined by the cast all dressed in black and bearing candles. They utter warm, mock-sombre words of welcome, ply us with tissues and usher us into the back yard where we gather around a brazier. We are welcomed by a man in loincloth and ochre, Indigenous performer Neil Morris, whose clap-sticks and language remind us lovingly where we are and on whose land we stand.
We ‘friends’ proceed to a series of acts in various chambers beginning with the mourning-room of the ‘Widow’ Mollie Yang, strewn thick with tissues and grief. We are bade ‘get out’, but we understand that these are the words of the inconsolable, so we stay with the Widow as her sorrows find expression.
There follow for us six spoken word performances by different artists in different, curated spaces, as our fellow audience members who are ‘Family’ concurrently experience a similar number of different shows.
Some are moving, some jarring, some endearing, or all three at once. All are carefully crafted and powerful in their own way, each created by an individual writer and incorporated into the show to form a more-or-less cohesive whole.
We ‘Friends’ are invited to pile into a bedroom and hear poet Arielle Cottingham’s shocking piece ’16 years’, which she reveals the appalling year-by-year public objectification experienced by a girl at the hands of anonymous men as she grows up. “I’m too young for this!”, the refrain. The s
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