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A quick look at the debate between the page and the stage
FOR me, it’s the page first. I must be able to sit quietly, read a piece of work and still appreciate it, but there is definitely something to be said for spoken word/performance poetry.
The difference between a spoken-word delivery and a “regular” poetry reading is basically the way the poem is recited: usually full of dramatix and theatrix for the spoken word; this aspect definitely attracts an audience, especially a young audience. Most spoken word performers don’t read from a book—they have memorized their pieces. Not holding a book leaves the performer free to move around and gesticulate. The concern many have is that all of this replaces the most important thing: the words.
Many say the term “spoken word” was coined in Chicago in the early ’90s; at least that is where the slams (competitive poetry readings in which the audience chooses who wins) supposedly started. Spoken word is also linked to the popular neo-soul movement in R&B music, with artists such as Erykah Badu and DeAngelo.
At least two things need to be mentioned here: the Black Power movement in the US of the ’60s had folks such as The Last Poets and Gil Scott-Heron, for example, basically doing spoken word without the title, and rap music.
Rap music and spoken word are closely connected. The difference in most cases is the content. Many spoken-word pieces deal with Afrocentricity, politix, spirituality and, of course, Luv, while much—not all—of the rap/dub music seen on TV and heard on radio is about gangsta lifestyles. To me, spoken word is a brotha—a year or two older—to rap music. Also, unlike rap, usually spoken word has no backing music, just the human voice…and much can be said about that.
—gary jerome jones
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