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<\/a><\/p>\nRegina, the secretary, is not often able to make it to meetings, but everyone knows her position through the weekly email of reminders she sends out. \u00a0She is a huge help to Jasmine, and everyone knows how heavily the group relies on her.<\/p>\n
As the meeting wears on, one can see the influence that the other performers have. \u00a0They freely give input as to what should happen during the meeting, and are not afraid to respectfully contradict what their president says. \u00a0When a performer speaks, especially during an evaluation of any practice performance, everyone listens.<\/p>\n
Below them, many of the members are “closet\u00a0slammers<\/strong>“–those that know how to give a performance but have never had the guts to go to a real\u00a0slam<\/strong> and compete. \u00a0These are the next rung down on the metaphorical ladder of power, and would be where most of the club falls. \u00a0A mutual love of words and expression, and an understanding of the rules bind all of them together.<\/p>\nWalk the Walk<\/strong><\/p>\n<\/strong>There are very few rules in S.L.A.M. club. \u00a0In fact, to the casual observer, there may appear to be none at all. \u00a0But to anyone that spends time on the inside, they become very clear. \u00a0While the consequences for breaking the rules may not be extremely hefty, they are there, and they are dutifully followed.<\/p>\nThe first unspoken rule is one of encouragement. \u00a0Every writer, no matter the genre, has been burned, dissed, hurt, or otherwise torn down by critics at some point. \u00a0Because of the scars and insecurities caused by these beatings, every writer makes a promise to herself that she will never cause the same pain to a fellow writer. \u00a0Critique is a very large part of any group of writers, and S.L.A.M. is no different. \u00a0But as is common among all writing groups, this criticism is delivered in a positive way. \u00a0When a member stands and gives a practice performance, the other slammers will offer feedback for improvement. \u00a0But, rather than focus on the bad, they snap their fingers, praise the good, and make mention of things that need improvement. \u00a0Much of the time, they place the focus on themselves, to make their comment feel less hurtful. \u00a0For example, one might say, “I got a little distracted when you hesitated like that,” rather than “don’t hesitate too much, it’s distracting.”<\/p>\n
The second rule of S.L.A.M. club is a very simple, though slightly strange one that is accepted in every slam lounge. \u00a0In slam, you don’t applaud. \u00a0You snap. \u00a0The gesture originated in ancient Rome, where there was a set format for expressing appreciation at a performance (Harrington). \u00a0In those times, the audience members would snap, then clap, and finally wave their handkerchiefs or the ends of their togas as their excitement or pleasure increased. \u00a0In modern times, snapping is used as a respectful form of applause in poetic performances because of their nature. \u00a0A poet can only speak so loud, and often chooses to use a softer tone in the more tender parts of a poem. \u00a0The audience is encouraged to respond whenever and however they feel proper, so the softer snapping is less distracting to both the performer and the audience than clapping. \u00a0Occasionally a newcomer or outsider breaks the rule. \u00a0There is no great punishment for doing so, besides perhaps a stern glance from Jasmine if the perpetrator should know better.<\/p>\n
The third rule of S.L.A.M. regards the poetry itself. \u00a0In slam poetry, there\u00a0are<\/em> no rules. \u00a0There is no set\u00a0scheme<\/strong> or\u00a0meter<\/strong>. \u00a0These are stylistic choices left entirely to the the writer to make.\u00a0 The rule here is that because there are no rules in writing the poems, judgments and critiques are not to be based upon the style of the poems themselves.\u00a0 Someone who breaks this rule–besides a newcomer that simply does not understand that slam poems do not have a specific format–will most likely be rebuked by another member of the club, or have to nurse his or her pride when no one agrees with their critique.<\/p>\nIn S.L.A.M. club, you are expected to give your best.\u00a0 Whether you take part in a performance exercise, practice performing an original work, or help critique another performer’s work, you have to take your best shot at it.\u00a0 You may not do a great job, but as long as you do it to the best of your ability, everyone is happy.\u00a0 This constitutes the fourth rule of S.L.A.M. club.<\/p>\n
Finally, in S.L.A.M., nothing is too far out there.\u00a0 Performers are taught to think outside the box, and cross the lines of their comfort zones.\u00a0 For some, this may mean cutting out the action, staying in one place and using only their voice to convey a message.\u00a0 For others, it may mean jumping around, going crazy on the stage, and acting like a drama major.\u00a0 This helps the performers of S.L.A.M. to find their style and their voice.<\/p>\n
Talk the Talk<\/strong><\/p>\nEvery slam poet has a unique style.\u00a0 At S.L.A.M. club, new performers are encouraged to find their voice<\/strong> by exploring the different tricks of the trade.\u00a0 Vocal inflection, tone, meter, body language, singing, and acting are all important to any slam performer.<\/p>\nThere is an old adage that states, “Actions speak louder than words.”\u00a0 This may be true, but they also influence<\/em> words.\u00a0 Spoken word lifts the ink from the page, but without the help of actions, it can do nothing but hang in the air like a useless pollutant.\u00a0 The performers can’t just breathe the words.\u00a0 They have to breathe life into them.\u00a0 It takes some or all of these tricks to do so, and where these tools are placed\u00a0 in the hands of a master performer, you will find power.\u00a0 Magic rests in the hands of poets, but they must use their whole body to express it to the world.<\/p>\nSome poets choose to read their pieces while standing still, with a monotonous voice throughout, to elicit a sense of irony.\u00a0 But most of them carefully choreograph their poems, memorizing them\u00a0 and practicing different ways of expressing them.\u00a0 A good performer can sway the audience to feel anything.<\/p>\n
Every good poet has a different and unique meter when they speak, which comes naturally to them.\u00a0 This is what slammers<\/strong> focus on drawing out, emphasizing, and turning into their style.\u00a0 They have their own facial expressions, body motions, and vocal inflections that can be used to infuse the performance with personality and emotion, which becomes a part of their style and voice.<\/p>\nBy Any Other Name…<\/strong><\/p>\nEvery voice comes with a name.\u00a0 For a slam poet, these names serve as identities.\u00a0 Just as an actor hides behind a character, a poet’s stage name<\/strong> give them a presence, allows them to be something different than themselves.<\/p>\nSlam performers often take on stage names when they perform at slams or in public.\u00a0 They put a lot of time and care into choosing these names, and most names have a good deal of meaning or purpose behind them.\u00a0 For example, Russel calls himself Reality.\u00a0 He–like me–is a Christian, and uses his poetry to talk about the truth of God, the hypocrisies of life, and other important topics.\u00a0 He chose the stage name Reality because that’s what he stands for and what he wants to bring to his listeners.<\/p>\n
During a S.L.A.M. club meeting, each member appears to have two separate identities.\u00a0 For Sasha, this is especially evident.\u00a0 During discussions, critique sessions, and so on, she is a very happy, upbeat, fun-loving person.\u00a0 But when she stands up to perform, she becomes PassionSoSickFlow, the passionate performer with deep, important things to say.\u00a0 Because each member has these two broadly varying characters, the group as a whole refers to them accordingly.\u00a0 When the club is just talking, everyone goes by their real names.\u00a0 But when someone is sharing her poetry or talking about a performance, she goes by her stage name.<\/p>\n
When a performer takes his stand upon the stage, he becomes his stage name.\u00a0 The side of him that is without fear, that can speak out boldly and perform with courage, is all you see.\u00a0 The most shy and quiet of poets can put on their stage name and become an enigmatic, dynamic performer that brings an audience to their feet, or even to their knees, if she wishes.\u00a0 But event the best of performers had to start by practicing somewhere.<\/p>\n
Come Together<\/strong><\/p>\nS.L.A.M. club has a few obvious rituals, such as their weekly meeting and semester slam.\u00a0 Every Monday night, S.L.A.M. club meets in a small room on the top floor of the Student Union for a few hours.\u00a0 It’s a time for writing, practicing your performing skills, hanging with your fellow slammers, and learning about the techniques of slam.<\/p>\n
Once a semester, the entire club gathers for a real poetry slam.\u00a0 Some compete, others go just to watch.\u00a0 It is modeled after the traditional slam formant, and gives the members a chance to participate in a real slam in a somewhat less threatening environment among their peers.\u00a0 The location changes, but usually takes place on campus, often in one of the rooms in the Student Union.<\/p>\n
However, these two well-known rituals are not the only ones.\u00a0 There are many unspoken rituals, which I have listed below:<\/p>\n
\n- Weekly Vocabulary: Every Monday night, Jasmine brings a list of new and interesting words for the slammers to write down and look up at home.\u00a0 It is a fun way of expanding the poetic vocabulary and adds variety to the words each poet will use in the future.<\/li>\n
- Critique Sessions: These take place during the weekly meeting, whenever a slammer chooses to give a practice performance, or after each member completes an exercise.\u00a0 In essence, a critiques session is held after each performance to pick apart what the performer did and didn’t do well and offer helpful encouraging feedback to them.\u00a0 The point is to help them improve their skills and focus their voice.<\/li>\n
- The Emotion Exercise: One of the many exercises common in S.L.A.M. club.\u00a0 This one sticks out because during the first meeting I attended, Jasmine decided it would become a permanent staple of the weekly meeting.\u00a0 For this exercise, every member must get up and perform the same poem.\u00a0 Everyone’s name is placed in a hat, and as each one is drawn the previous performer calls out an emotion.\u00a0 Whoever’s name is on the piece of paper must perform the poem with the chosen emotion, using any means necessary.\u00a0 Each performance is followed by a critique session.\u00a0 The purpose of this exercise is to both help performers get out of their comfort zone and teach the group different ways of expressing emotions.<\/li>\n<\/ul>\n
The rituals of S.L.A.M. club are as important as slam poetry itself.\u00a0 Slam is a powerful mixture of words and action, and an incredible form of self-expression.\u00a0 The rituals of S.L.A.M. club bring slam poets together, and help them improve their craft.\u00a0 This in turn brings greater inspiration and lends greater power to the poets that partake of it.<\/p>\n
And in the End<\/strong><\/p>\nSlam poetry is a remarkable, powerful thing.\u00a0 But it cannot be so on its own.\u00a0 The people make the slam, not the words.\u00a0 Without the people, it’s just another classroom in the Student Union.\u00a0 It’s not until the vast variety and make up of S.L.A.M.’s members enter that it comes alive, and it becomes a place of magic.\u00a0 As they breathe their words the room fills with laughter, heartache, and every emotion known to the human soul.\u00a0 It’s a place where the quiet poets come out of their shells and the loud ones learn to be still.\u00a0 It’s a place unlike any other, where even the most unlikely voices can be heard loud and clear.\u00a0 It’s a place where everything is Spoken Like a Metaphor.<\/p>\n
Glossary<\/p>\n
Droppin’ It<\/strong>–This is a phrase that is used to describe someone whose performance is mind-bogglingly well done.\u00a0 If a poet elicits the poem’s intended emotion very strongly, he or she is “droppin’ it.” On occasion, this term can also be used to describe someone that helps a poet with his meter through vocal percussion, as well as someone free styling a poem.<\/p>\nFinding Your Voice<\/strong>–The leaders of S.L.A.M. often use this phrase when helping new poets on stage.\u00a0 It refers to the vocal style, stage presence, and poetic style of a performer.<\/p>\nFree Style<\/strong>–There are two meanings to this term, denoted by the context in which it is used.\u00a0 It can be used to describe a poem that does not employ a scheme, or to describe a poet that is making up a poem as he or she speaks it.<\/p>\nMeter<\/strong>–This is a term that refers to the constant rhythm or beat of a poem.\u00a0 If you were to count the number of syllables in each line of poetry, you would find the meter.<\/p>\nSacrificial Poet<\/strong>–The sacrificial poet is a slam poet that is offered up by the host of a slam.\u00a0 His performance is not counted in the competition, but used to gauge the judges.\u00a0 The sacrificial poet is typically someone young and mediocre, used to establish a baseline for the competitors.<\/p>\nScheme<\/strong>–Scheme is an abbreviation, used to refer to the rhythm scheme of a poem.\u00a0 Some poets employ a constant, continuous, steady scheme, while others employ no scheme at all.\u00a0 This is a stylistic choice made by each individual poet.<\/p>\nSlam<\/strong>–A slam is a poetic performance competition.\u00a0 Traditionally, slam poets will gather together in throngs.\u00a0 Five random audience members are selected as judges and score each performance on a scale of one to ten.\u00a0 For each performance, the highest and lowest scores are dropped.<\/p>\nSlammers<\/strong>–Refers to a group of slam poets.<\/p>\nSpoken Word<\/strong>–Spoken word is a more correct term for slam poetry.\u00a0 It is words that were written to be spoken, often employing a meter or a scheme.<\/p>\nStage Name<\/strong>–This is the slam poet’s version of a pen name.\u00a0 It is his or her character, someone he or she transforms into on stage.\u00a0 Many stage names are chosen to reflect the attitude or the purpose a poet has on stage.<\/p>\nWorks Cited<\/p>\n
Harrington, Tom. “FAQ: History of Visual Applause for the Deaf.” Gallaudet University<\/em>. Gallaudet University Library, n.d. Web. 25 Oct. 2012. <http:\/\/www.gallaudet.edu\/library\/research_help\/research_help\/frequently_asked_questions\/cultural_social_medical\/history_of_visual_applause_for_the_deaf.html<\/a>><\/p>\n\n","protected":false},"excerpt":{"rendered":"
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