Thursday, March 9 @ 7:00pm
727 Nicholson St Carlton North
$10 ($15 includes CD)
Has an Open Mic?
Book tickets at https://allevents.in/melbourne/…
Rochelle D’silva is a performance poet who loves collaborating with musicians. This EP is a culmination of her two loves, poetry and music! With the help of amazing poet/artist/friend, Meena Shamaly, she’s put together a 6-poem EP that features the sounds of a grand piano and spoken word poetry.
‘Best Apology Face’ is testament to the fact that art can turn even the most painful or most trying experiences into something beautiful.
There will also be a collection of amazing poets/beautiful humans reading a few of her poems at the launch. Show some love for: Cameron Semmens, Abe Nouk, Chalise van Wyngaardt, Natalie Jeffreys, Meena Shamaly and Ayesha Mehta.
Rochelle is a page/performance poet who writes about her travels, cultural influences and personal experiences. She’s been performing since 2011 and runs a monthly open mic in Bombay called ‘Words Tell Stories’. She also started the first slam in the city called ‘Mumbai Poetry Slam’. Rochelle has been published in numerous anthologies and has performed on various stages across Australia, Malaysia, Nepal and India. She has a love affair with trees and hopes to live in a tree-house someday. She is more poet than human and has perfect bottle-opening hands. Catch her at a poetry gig before she disappears into the mountains.
Join international guest, Moody Black, for a special festival workshop. Making Words Move is a fun and exciting poetry workshop experience! Moody Black offers a unique way of using imagery and metaphor to bring your poems to life.
ALL AGES / ALCOHOL-FREE
(Part of the Melbourne Spoken Word & Poetry Festival 2018 #MSWPF18. For full program of this exciting 2 week festival, go to https://mswpf.com.au)
David Stavanger performs “How to Be An Alpha Male” at The Wheeler Centre presented by The Melbourne Visiting Poets Program, with Melbourne Spoken Word, Australian Poetry, The nonfictionlab and Rabbit Poetry Journal.
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David Stavanger is a poet, writer, performer, cultural producer and former psychologist. In 2013 he won the Arts Queensland Thomas Shapcott Poetry Prize, resulting in the release of The Special (UQP), his first full-length collection of poetry which was awarded the 2015 Wesley Michel Wright Poetry Prize. His prose-poem ‘The Electric Journal’ was a finalist of the 2016 Newcastle Poetry Prize. David is also sometimes known as pioneering Green Room-nominated ‘spoken weird’ artist Ghostboy, winning the 2005 Nimbin Performance Poetry World Cup and establishing poetry slam and spoken word in QLD via his active work with the Australian Poetry Slam and Woodford Folk Festival. David was the Co-Director of the Queensland Poetry Festival from 2015-2017, a period known for its inclusive programming and stronger focus on CALD and first nation voices.
Eleanor Jackson and her infant daughter graciously hosted me for this interview. Over tea and cake, we had a wide-ranging conversation about spoken word and its revolutionary potential.
One of the things I love about poetry is that it is deeply transgressive, precisely because of its anti-capitalist tilt. We live in a system that assigns a utility to every person and their time. To do something that is a ‘waste of time’ and makes no money — it is a revolutionary act.
I was listening to your performance of “Shave and a Haircut” at Slamalamadingdong. I was struck by the musicality, how it evoked the sounds and rhythms of jazz. I wanted to ask about musical influences. Is that a conscious thing for you?
Yes, spoken word and poetry is about musical language. There is so much resonance between the way that musicians and poets use language: for its rhythm, tonality and song. My earliest musical loves were discovered scrounging through my dad’s vinyl collection of 70s classics, including all of Joni Mitchell’s work. She is an incredible lyricist, a beautiful painter and writer, a phenomenally talented musician. Her sense of story and lyric form is just exquisite. I loved the standard folk troubadours like Bob Dylan or Elton John. The 70’s rock-folk classics almost seem daggy in their sincerity, but I think they are still really beautiful. They continue to influence me at some level, although I don’t use end rhymes the way that musicians seek to use them in their songs.
The other striking feature of your work is pacing, your modulation of both pace and emotion.
If there’s one thing I miss in Australian spoken word, it is space and silence. Pace is about finding the beauty that happens in the pause. The pause allows for contemplation and absorption, allows for the time and space to sit with a thought, to then decide if the words truly resonate. Poet and spoken word artist Anthony O’Sullivan said he thought m