Poetry News – Scotland, February 2016

One month closer to lighter nights and 2016 is already less of a theory and starting to move along with gusto. With new movement comes the desire for fresh self-expression, so I thought it was time to turn the spotlight on live events and, for a change, open mic. A lot of poetry events include the chance to step up and test your work out on a receptive bunch.

So, for those looking to have regular tasters of spoken word, and maybe try your own skills, there’s plenty to get your teeth into over the coming weeks. On 8 February at 8pm, this month’s Blind Poetics night (held, of course, at The Blind Poet – where else?) features a set from Writers’ Bloc artist Gavin Inglis, and there are five minute slots going for the open mic. If that sounds like your bag, e-mail blindpoetics@gmail.com to book a slot.

For a slightly different flavour, check out Shore Poets, an informal collective who run a session every last Sunday of the month in varying locations, and often offer a wildcard spot. The next diary date is 28 February, featuring Vicki Feaver and Marjorie Gill, and will see them awarding this year’s Mark Ogle Memorial Award. For further details, see the website. Poet and actor Andrew Sclater will also be giving a workshop at the Scottish Poetry Library on Thursday 25 February, concentrating specifically on the art of reading aloud and spoken interpretation – excellent if you want some genuine coaching but don’t want to start by reading your own.

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Jenny Lindsay and Rachel McCrum, aka Rally & Broad host at the Bongo Club on 19 Feb

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It almost seems an insult to remind you of Rally & Broad, after the major part they played in our news last year, but newbies to their shows should take the opportunity to be inspired by their Ampersand sessions this month, which will consist of specially-commissioned sets by pairs of artists. Drop into the Bongo Club in Edinburgh at 7pm on 19 Feb to see Hailey Beavis, Faith Eliott, Rachel McCrum, Jonathan Lamy, Russell Jones and Atzi Muramatsu do what they do best, bookended by music groups Bella the Bear and Miracle Glass Company. If you’re more of a lunchtime bean, turn up for 2.30pm at Stereo in Glasgow on 21 February, where Malachy Tallack, Chrissy Barnacle, Jenny Lindsay, Heir Of The Cursed (formerly Genesee), and Loud Poets Katie Ailes and Catherine Wilson will be providing the outpourings. 

Finally, if you’re into poetry and performance, but not necessarily writing, it isn’t all about the modern and self-composed; Poetry by Heart Scotland (6 Feb, Scottish National Gallery) is definitely worth a watch. Featuring students from across the nation, it showcases the freshest performing talent around and gives viewers the benefit of overhearing professional critique from seasoned poets. For those of us who wonder where to start with learning how to perform, it doesn’t hurt to watch teenagers – the social group most maligned by an uncommunicative image – take the stage and make the space their own. Re-listening to established pieces also can’t help but show there are always new performance angles to find in anything.

Improve your performance skills – a brief guide

Now, to honing those skills. Performance takes artistic sensitivity to a whole new level, mainly because the audience’s right to close the book and move on is taken away, leaving them with the sole excuse of a loo break… and just like the umpteenth rendition of Jessie J's Price Tag on karaoke night, there are things you should avoid if you want to keep the crowd on your side. After extensive research, nights out and the occasional trauma, my five top tips for aspiring performers are as follows:

Practise projection

The microphone is a brilliant invention, but by no means fool proof. Don’t neglect the old diaphragm, chaps. Nobody enjoys a mumbler, and many amazing poems are ruined by poor delivery.

Slow down

Five minutes may seem short now, but it isn’t when you’re on stage. You will think you’re going slowly. You will be wrong. Go slower than you think is normal, and remember to breathe. Your audience has to have space, not only to hear, but to think the poem along with you.

Watch the clock

Keep an eye on the time limit. Don’t be that sod who likes the sound of their own voice more than they care about being fair. Instead of filling five minutes, aim for three or four. Everyone will thank you. Seriously.

One poem good, three poems better

Keep it fresh. Most people prefer short, digestible chunks and a variety of flavours. One very long poem, unless absolutely amazing, can make people twitchy.

Try to avoid the dead relative poem

...Or the dead pet/ dementia/ suicide/ crisis/ tragedy/ *insert depressing experience here.* Notice that I didn’t say ‘don’t’ – some darker subjects make for a wonderful poem, but if it’s all about you treating the stage like the therapist’s couch and spilling your guts, and nothing to do with offering something to the people listening, forget it. 

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shorepoets.org.uk
rallyandbroad.com
scottishpoetrylibrary.org.uk