Friday, December 4 @ 6:30pm
Library At The Dock
107 Victoria Harbour Promenade Docklands
Has an Open Mic?
Poets and audience are both encouraged to book tickets at http://trybooking.com/Booking/…
Registration details to enter the prize are below.
Melbourne Spoken Word is proud to announce the first ever Melbourne Spoken Word Prize.
With cash and other prizes on offer, the Melbourne Spoken Word Prize is awarded to a poet for an exceptional piece of performance poetry judged by a panel comprised of hosts of various spoken word and poetry events around Melbourne: Michael Reynolds (Passionate Tongues), Michelle Dabrowski (Slamalamadingdong), Amanda Anastasi (La Mama Poetica), Ebony MonCrief (Voices in the Attic) and Geoff Lemon (editor of Going Down Swinging).
The Melbourne Spoken Word Prize will take place at the picturesque Library At The Dock in their classy performance space.
Prizes include at least $200 in cash, feature poet spots at Passionate Tongues, The Dan Poets, Slamalamadingdong and Voices in the Attic, publication in Audacious in 2016, a year’s membership to Writers Victoria and a year’s subscription to Overland.
The Melbourne Spoken Word Prize is open to all poets (with the exception of the judges and the Melbourne Spoken Word committee) with a limit of twenty entrants. Registration for the Prize will open on Monday, November 23 at 12pm and close when twenty poets have signed up. The order and confirmation of entry will be drawn live on the Melbourne Spoken Word YouTube Channel on Friday, November 28 at 12pm and be published on the Melbourne Spoken Word Facebook event.
To register, email [email protected] (after registration has opened) with the subject line ‘Melbourne Spoken Word Prize entrant.’ Registrations will NOT be accepted via other forms such as Facebook message or before the registration time.
Poets who do not make the first twenty, will be added to a waiting list in the event that a poet has to pull out. Poets entering and on the waiting list must buy a ticket to be part of the audience as a condition of entry.
Poets must arrive at 7pm before the beginning of the night or they will forfeit their entry to someone on the waiting list. Poets have three minutes to perform their poem with a 10 second grace period. Poets will be judged on a combination of poetic content and performance at the judges’ discretion. No correspondence with the judges will be entered into during the period of the prize.
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