Friday, August 26 @ 7:30pm
The Diggers Store
61 Main Rd Campbells Creek
Has an Open Mic?
Mother Tongue is a monthly intimate and gentle evening of Passionate, Powerful, Vulnerable and Honest womens spoken word. From rap to storytelling, poetry to monologues this night embodies every genre of “Spoken Word” and attempts to represent every aspect of “woman” from student to housewife, transgender to straight CIS, nice girl to erotic demoness and everything in between. It is a mixed gender audience with a cosy, living room atmosphere, that gives a space for 8 open mic slots and two feature artist to inspire and be inspired, to share in a safe place, to push boundaries and to have boundaries pushed…. and to top it all off there is vegan treats and chai too.
Walking in the footsteps of Edith Piaf, Rhiannon (of WeBe3), Laurie Anderson and Meredith Monk, Charlotte Roberts is a chanteuse; vulnerable and wild, she takes you on a musical journey from the ridiculous to the sublime. Deeply inspired by the music of Bjork, World Folk Music and Bobby Mcferrin, Charlotte has been described as what would happen if the Mad Hatter and Alice had a kid. In her varied arts practice she collaborates with dancers as an improvisational-looping vocalist and is currently touring her Cabaret show “Sounds From PlanetSOL”. In (many of) her performances; audience participation is a must. Charlotte guides you through a lyrical landscape as she introduces the musical medicine of Dr. Lalalulu and other characters, plays with body-voice-story improvisations, guiding you to your emotional depths to be shot out the other-side in a fit of laughter.
Fleassy Malay is an Internationally renowned, evocative and powerful spoken word artist from the UK. Now based in Melbourne, she runs two successful Spoken Word events in Fitzroy, Mother Tongue and Brother Tongue. Her quirky, theatrical and emotive performance style captivates audiences leaving them both laughing and crying, occasionally both at the same time. Fleassy incorporates both her Theatre background with her love of hip hop and poetry to create stories and poems that ooze rhythm, melody and personality. She has performed at events and festivals in the UK, Canada, Spain, Thailand, Japan, China, and Australia. She also teaches 6 week Spoken Word courses looking at the power of vulnerability and honesty both on and off the stage.
A night for the poetic sweepings of the inner north to degenerate into sleaze, vitriol, and confusion. And rise into revelation, liberating confession and poetic wisps 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.
Yoram Symons performing ‘The Whale’ at Melbourne Spoken Word presents Bill Moran at The Provincial Hotel, Fitzroy on September 1, 2017.
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Yoram Symons is an engaging and unique voice on the Melbourne poetry scene, known for his enchanting storytelling technique. Yoram is a writer, poet and VR/AR producer in Melbourne. His performance work is a mixture of hypnosis and intensity, exploring the intersection of history, culture, technology and the personal experience.
Slam. Is this once agent in changing the way we produce and consume performance poetry still relevant?
For those who are not familiar with slam: Slam is a competition format in which poets are given a set time limit to perform their pieces and are then scored by a total of 5 randomly selected audience members, the scores usually range from 1-10 to the nearest 0.1 with the top and bottom scores being dropped in order to avoid bias, giving each poet a final score out of 30. The poet with the highest score at the end of the night wins. There are many variations on this basic format (which was first introduced by Marc Smith) employed by poetry competitions across the globe.
Slam boasts origins in the idea that the people should have a say in the type of content they are presented with. That is, that those who are the predominant consumers of performance poetry or spoken word; the audience should be the deciding party in the kind of work that is allowed recognition and reward. This has given rise to a style of poetry unofficially termed “slam poetry.”
Slam poetry is a term used to define the type of poetry, both in cadence and content, that is likely to score well at slams. A poet who presents poetry predominantly of this style may be called a slam poet. And while slam, by definition, is a format for competition, the world of slam poets and slam poetry is a rapidly growing one with poets who have attained worldwide recognition for their execution of this style of poetry. However, over time and particularly on our extensive and hugely varied poetry scene, the idea that the poetry presented in slam is of an inferior quality is becoming an increasingly held one.
That is to say, there is a specific school of thought which views slam through a lens that portrays the art that is presented on slam stages as simplistic, repetitive and lacking in any depth beyond the concise point that the artist is trying to make in the allotted time limit.