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Friday, June 3 @ 7:00pm


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Melbourne Spoken Word is proud to host “Good Ghost” Bill Moran again in Melbourne this June. Following two successful shows in the past two years, Bill has become a great friend and sup


Listen to the latest issue of Audacious

Listen to the latest issue of Audacious, the audio-journal of Melbourne Spoken Word, a quarterly album of spoken word of the most bold and fresh voices in Melbourne.

Listen to Audacious .. ›
News — April 27

Announcing Audacious 3 and submissions for Audacious 4

By Benjamin Solah

Following the release of Issue One of Audacious in April 2015 and Issue Two in January 2016, we’re happy to announce plans for Issue Three and Four in 2016 including our first single artist issue and the opening of submissions for Issue Four.

Issue Three of Audacious features ‘The Collected Smirks of Santo Cazzati.’ The colourful face and musical voice of Santo Cazzati has been a regular fixture of the spoken word and poetry scene since 2006. The son of Italian immigrants, he entered spoken word from a past life as a concert pianist and avant-garde jazz musician.

He has featured at most of the regular gigs around Melbourne and interstate including The Dan, Passionate Tongues, Babble, The Spinning Room, La Mama Poetica, Eltham Courthouse, Bar Stanza, West Word and the Melbourne Poets Union as well as The Melbourne Writers Festival and The Queensland Poetry Festival. At The Overload Poetry Festival, he won the Shelton Lea Award for Best Solo Performance. He was the ‘Poetry Jockey’ of House of Bricks Spoken Word and is now one of the MCs at new gig, The Owl and The Cat Readings, as well as a founder and one of the hosts of 3CR Spoken Word.

Issue Three marks our first ever single artist Issue and we hope that this new project will open up more opportunities for spoken word artists to be published. We plan to release the Issue in the coming months.

We’d also like to announce the opening of submissions for Issue Four of Audacious, hopefully due out before the end of the year. Issue Four is the first issue that will edited and selected by the Melbourne Spoken Word Committee, including Benjamin Solah, Amanda Anastasi, Anthony O’Sullivan, Kendra Keller, Sam Ferrante and Arielle Cottingham. Work will be selected from the pool of open submissions, with some pieces commissioned, as well as featuring the 2015 Melbourne Spoken Word Prize winner, Steve Smart and 2015 Slamalamadingdong Season Finals winner, Jo

Comment — April 25

On the evolution of Melbourne Spoken Word as an arts organisation

By Benjamin Solah

One of Santo Cazzati’s favourite phrases when he used to MC House of Bricks was to proclaim loudly that “it’s grassroots” when describing the nature of this amazing ecosystem that we’ve found ourselves in called spoken word.

The amazing thing about the spoken word scene is that for decades there’s been this network of readings, open mics, slams, launches each run by poets themselves, off essentially our own steam, often because of their own love of poetry, each one with a subtle or sometimes radical difference in mood, audience, some vague thing called ‘vibe.’ Some gigs fade away and new ones spring up started by fresh faces on the scene.

It’s with this in mind, and supporting the rainforest of spoken word gigs, that should inform us when we’re thinking about Melbourne Spoken Word officially becoming an arts organisation that supports and unites the spoken word scene. I imagine MSW is like a big bat signal. We can each kind of shine our own lights around trying to attract people to our various gigs, but if we put the power of our lights all together, we have enough light to somehow light the sky up and attract people to the whole thing. Once you go to one gig, you end up finding about others. Chances are the person sitting beside you will mention they’re going to such and such reading in two nights time.

Our goal this year is to become an incorporated not-for-profit arts organisation. Some of the motivations for this are boring but necessary; separating the organisation from myself legally so that MSW has its own tax file number, ABN, bank account and legal status. But it’s also about creating a funding base that can make it more powerful, powerful enough to light a big bat signal for instance and do things for promoting gigs, and poets and raising the profile of spoken word that a grassroots scene so far hasn’t been able to do.

It’s also about becoming