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Brief Introduction to Making & Performing Slam Poetry

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Brief Introduction to Making & Performing Slam Poetry

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Introduction to Spoken Word and Slam Poetry

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This is an article that outlines the history leading to the slam poetry that we know it to be today.

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Slam Poetry: A Brief History from Chicago to Seattle

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Slam poetry is a form of competitive performance poetry in which participants offer works no longer than three minutes and are judged by randomly picked audience members. The winners then progress to

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Don't be fooled, though... Marc Smith has been pushed away from the slam poetry scene.

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Don't be fooled, though... Marc Smith has been pushed away from the slam poetry scene.

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Read about what happened in 2017 when Smith was protested off national stage at CUPSI.

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How to write slam poetry: a beginner's guide

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How to write slam poetry: a beginner's guide

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How To Write Slam Poetry: Everything You Should Know (+5 tips)

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Want to know how to write slam poetry? We’ll show you exactly how to slam your performance, including 5 key tips.

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Not a Lot of Reasons to Sing, but Enough

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Guante opening for Saul Williams at Icehouse in Minneapolis; photo credit: Elliot Malcolm

(Note: this is a slightly edited version of the intro to my book, available now!)
A very common piece of advice in spoken word workshops or critique circles is "just do the poem." So many of us, especially when we're just starting out, instinctually want to frame, contextualize, or introduce the poem. This manifests as any number of statements like "this is just something I wrote when..." or "this isn't really done; I'm not sure if it has a title yet, but..." or even "this is terrible but I'm going to share it anyway," etc.

That advice-to dive in, with no disclaimers or introductions-is partly about acknowledging the dramatic effect of a poem that starts from silence, from breath. It is also partly about calming the performer down, allowing their work to simply exist, as it is, with no apologies. Especially in poetry slam spaces-you only have three minutes, so there isn't really time for "artist statements."

That being said, I love contextualizing poems. The more that I've moved away from slams and toward performing hour-long sets, the more I've grown to appreciate the power that can come from framing notes, artist statements, and organic dialogue with the audience. We all listen and learn in different ways, and these fourth wall-breaking moments can sometimes be as meaningful as the poems themselves.

In that spirit, I wrote this as an introduction to my book so that it could both contextualize my poems and offer an introduction to the form-and culture-of spoken word for anyone who may not already be part of that community.

Of course, this list is not about capturing all of spoken word and slam poetry culture in one piece of writing; part of the beauty of our community is that we don't all agree on everything, and the work that we do is fluid, dynamic, and impacted by context, identities, and intertwining thought-currents. I do not expect every spoken word artist or listener out there to agree with everything I write here. And that's cool. What follows is more so an illumination of a few pet peeves and misconceptions that I run across all the time. Though I'm no voice-of-God authority on this subject, I am a practitioner; my hope is that this piece can add additional clarity, depth, and nuance to the ongoing conversation.

1. Words Mean Things: A Point About Terminology

This is a can of worms, so I'm not going to to attempt to provide the ultimate, catch-all definition of spoken word here. I will, however, share the framework that I use when it comes to terms:

"Spoken Word" is an umbrella term. It refers to poetry that is read aloud; it may contain elements of theater, stand-up comedy, storytelling, rhetoric, jazz, hip hop, or other forms. We could go deeper with this, in terms of the difference between "recitation" and "performance," or the difference between creating work that is meant to be performed vs. work that is about the page first and then happens to be performed (and how each approach impacts the writing itself), but I think this is a good starting point. You could also potentially use the term "performance poetry."

"Slam Poetry" is often used interchangeably with "spoken word," but I would argue that it means something more specific: slam poetry is spoken word performed at a poetry slam (more on that later). While there may be certain tropes or approaches that are more common in slam poetry than in other kinds of spoken word, the real difference is not about form-it's about context.

"Beat Poetry" refers to the poetry of the Beat Generation, whose work is now 50+ years old. Please do not call a 20-year-old spoken word artist a "beat poet" unless that's some kind of explicit shtick they're running with. The stereotypical imagery of berets and bongo drums is simply not what spoken word is today.

"Spoken Slam Hip Hop Beat Jams" is not a real thing. Additionally, I was once called a "slap poet," though that was probably a typo. Probably.

2. Spoken Word is Poetry, Whether You Like It or Not

Of course, we don't all have to be on the same page regarding our enjoyment of or appreciation for spoken word. But to say that "it isn't poetry" (as many do, with gusto) is closed-minded and, frankly, ahistorical. After all, the history in which poetry was primarily about the page is shorter than the history in which poetry was primarily oral (see next point).

Furthermore, I can't help but notice the racist and classist undertones in the bizarrely narrow definition of poetry that so many hold on to so desperately; I am interested in asking why that narrow definition (the one that says that poetry must rhyme, or be metered, or be published, or follow established rules) persists in the minds of so many. Where does that definition come from? Who benefits from it?

Now, this does not mean that I believe that all spoken word is beautiful and perfect and amazing. For every spoken word piece that I love, I can think of another (or five) that I don't. The argument here isn't that we shouldn't have standards; it's that we should think critically about the history of those standards, and who has had access to the spaces in which they were created.

Finally, it is also helpful to note that the "page/stage" divide is an artificial one. Lots of great spoken word artists are published poets, award-winners, and professors. Lots of page poets are very good at performing their work. As different as spoken word and written poetry can be in many regards, there's still an enormous overlap.

3. Spoken Word is Old, and New, but Mostly Old

Even though spoken word is very often characterized as a new, underground artistic phenomenon, or as a novel, radical reconceptualization of the relationship between poetry and its audience, it's important to note that spoken word has been around for as long as language has. It is one of the oldest artistic practices that we have. The griot, the storyteller, the person responsible for orally passing down information from generation to generation: every culture on earth has some kind of analogue to this.

We can trace the current spoken word boom back through Hip Hop, the Black Arts Movement, the Beat Generation, the Harlem Renaissance, deeper and deeper into history, and we'll get to the griot.

And sure-when most people today talk about "spoken word," they're referring to the 30 year-old manifestation of the practice driven by poetry slams, Def Poetry Jam, and viral videos. But it is important to know that this art has deeper roots, and that those of us who do this are taking part-knowingly or not-in a much older cultural practice.

4. Spoken Word is Big and Diverse

I understand that for a lot of people, slam poetry is a punchline. The stereotype of the grim, ultra-earnest college kid shouting clichés about how "the man" is corrupt, in a forced rhythm, while a dozen people in a coffee shop snap their fingers, is deeply embedded in pop culture.

But I've been performing in poetry slams, traveling around the country for spoken word shows, and watching poetry online for a decade now, and one thing that always strikes me is how authentically diverse the community is. After all, a fundamental pillar of the culture is the idea that everyone has a story, and every story matters. People approach spoken word from all walks of life, from all identities, and from a myriad of approaches to the form. I would say that the culture is largely driven by young people, and young people of color especially, but it is by no means dominated by a singular voice.

The attitude that "spoken word all sounds the same" is similar to the attitude that "all jazz is just random notes and gesticulating," or "all Hip Hop is just shouting about guns," or "all photography is just high-contrast black-and-white portraits of elderly people." While there are common tropes and shared delivery tactics (which is true in any form), those elements exist within a framework that allows for endless variations and stylistic impulses. This leads into the next point:

5. Spoken Word is Democratic, and Yes, That Means that Some of It is Bad

Another fundamental pillar of spoken word culture is the idea that poetry is for everyone. Anyone can be a poet. Anyone can serve as a judge at a slam. Anyone can sit in the audience and decide what they like or don't like. It isn't about what MFA program you got into, or how many poems you've gotten published, or who co-signs you; it's about how we build community with one another through the telling of our stories and the sharing of our words.

What this means in practice is that no matter who you are, or how much experience or training you have, you can sign up at an open mic or poetry slam and share something. So of course, if you're an audience member at some random open mic, you are not guaranteed two hours of brilliant writing. A lot of spoken word is pretty bad. But the larger point here is that most art is pretty bad-we just might not ever experience the "bad" indie rock, visual art, dance, etc. The spoken word community, however, is intentionally set up in such a way where the great and not-so-great exist in the same spaces. And though I've sat through many a not-so-great slam, I would still argue that this is a very positive thing.

The spoken word community includes icons like Andrea Gibson and Saul Williams, right alongside some 15-year-old kid performing at their very first open mic. It includes Marc Bamuthi Joseph's boundary-pushing spoken word theater work, right alongside a part-time bartender who competes in poetry slams for a little extra money. It includes the best writers I know-Patricia Smith, Bao Phi, Suheir Hammad, etc.- and countless people who are just starting out, or still growing, or trying to figure out what they have to say. It's about process and product. It's about the function of art beyond the art itself. This is immeasurably valuable, and part of why spoken word represents something deeper than just another hobby or literary/artistic movement.

6. Spoken Word is Bigger than Poetry Slams

A poetry slam is a poetry reading staged as an Olympic-style competition. Five judges are picked randomly from the crowd, poets perform, and the judges give those poets scores based on content, form, delivery, originality, or whatever they want. It's silly, and most of the people who participate know that it's not really about the points; it's about getting the audience engaged. Still, slams are popular all over the US (and beyond), and have become the focal point for spoken word's resurgence.

Although the competitive element turns a lot of people off, I like poetry slams. I like the symbolism of them: write for the people. Write something that connects. Have fun. I like that the judges are random weirdos and not creative writing professors or literary critics. Everything in points #4 and #5 comes alive at the poetry slam. Slams aren't perfect, and there are important conversations to be had about the intersections of competition, art, identity, and trauma, but I still believe that they are valuable.

That being said, it is important to note here that spoken word happens in other spaces too, and that a lot of the value of slam is that it is one outlet among many. For those of us who grew up in the slam world, it can be too easy to forget that slam is just one way to participate, and that participating solely through slam can be unhealthy (and/or just boring). You can find spoken word at open mics, themed readings, political rallies, classrooms, social justice education programs, churches, punk shows, prisons, and many other spaces too.

7. Spoken Word and Hip Hop Are Not the Same

I've heard people talk about how spoken word is just another element of Hip Hop. I've also heard people talk about how Hip Hop grew out of the work of early spoken word pioneers like the Last Poets and Gil Scott-Heron. I would say that there is truth in both statements, but also that both statements make it easy to oversimplify the relationship. I think that Hip Hop and spoken word-as both art forms and cultures-have been in dialogue with one another for the past few decades, but also that neither one is wholly indebted to the other. They overlap-in terms of audience, artists, roots, styles, and approaches-but they are also distinct cultures and communities.

This comes up in conversations about form. Students ask me all the time: "what's the difference between rapping and spoken word?" There's a deeper conversation we can have there, but in short, I think of rapping as a specific kind of poetry; and like any poetic form (haiku, sonnet, etc.), it has rules. Rapping rhymes. It is performed at a set tempo and rhythm. It is performed over music. Spoken word, on the other hand, can rhyme, but doesn't have to. It can be performed to a set tempo and rhythm, but doesn't have to be. It can be performed over music, but it doesn't have to be. There are fewer formal guidelines with spoken word and slam poetry. But in terms of substance-you can rap about anything, and you can write a poem about anything.

Of course, both spoken word and Hip Hop are so often about speaking truth to power, and lifting up the voices and narratives that are so often silenced in our society. Both are about the implicitly political act of a human being standing on a stage and saying something to a hundred other human beings (especially when you, and/or that audience, hold identities that are misrepresented in the broader culture). Like I said, there is overlap. But where the casual observer might just see "urban" youth saying stuff into a mic (and yes, "urban" is in scare-quotes for a reason) and assume that the two forms are exactly the same, I would encourage us all to have a more nuanced view of their similarities, differences, and histories, in order to pay the proper respect to both.

8. Spoken Word Does Not Have to Be Political, But There Might Be a Reason for Why So Much of It Is

Again, there are no rules with spoken word, beyond the fact that poetry slams have three-minute time limits. This applies to form, but also to substance. A poet can write and perform about any topic they want. Of course, the stereotype is that all spoken word is ranting about the revolution; and to be sure, poetry slams generally do feature a lot more poems about identity, power, oppression, struggle, and politics than poems about trees or "pure" lyrical experiments.

Part of the reason for this, I would argue, is that as much as spoken word is poetry, it is also something more. It's a public forum for people to get together and have the conversations that we so often don't get to have in our everyday lives. It's a platform to say something that means something to you in front of a hundred strangers. And when so many spoken word practitioners are young people, and/or people holding oppressed identities, and/or people with voices that have just generally not been valued (or even noticed) in society, it shouldn't surprise anyone that so much spoken word is political. It should be. It needs to be.

9. Spoken Word is Not a Fad; It's Growing

Every few months, someone publishes another "Is Poetry Dead?" essay. I understand why-it's click-bait, and there are certainly valid arguments to be made on both sides of the debate regarding aesthetic populism, outreach to new audiences, the accessibility of MFA programs and other weighty topics. The problem, however, is how the question is framed: poetry is dead because fewer people buy poetry books or read poetry journals, or poetry is dead because it's stylistically stagnant, or poetry is dead because it doesn't have a presence in the upper echelons of American media or culture.

Left out of these equations, due to either simple ignorance or a willful distaste for the form (and its practitioners), is spoken word. Even the inevitable response essays and counterpoints that talk about how poetry is still vibrant and important almost always ignore spoken word. And spoken word is very much where poetry is thriving right now.

At the time of this writing, Button Poetry (the biggest distributor of spoken word videos online) has a YouTube channel with more than a half million subscribers and well over a hundred million views. And they're just one channel. Even using myself as an example: my work has nearly two million YouTube views, and I make my living as a touring poet traveling around the country. When I do that traveling, I notice spoken word clubs sprouting up at just about every college and high school that I visit, as well as poetry slams in cities across the country generating big, energetic crowds.

Which is all to say: this movement is popular and still growing. Especially when thinking about Button and its impact on thousands of people around the world: spoken word is making people (especially young people) excited about poetry. Its viral boom is sparking a new generation of writers, poets, performers, and storytellers-all of whom may start with poetry slams, but then branch into theater, publishing, music, or other arenas. We're still in the middle of that ripple effect.

10. You Can Do This Too, If You Want; Spoken Word is About Community

One of the running themes here is that spoken word is about us, more than it's about me, or you, or whatever poet has the most YouTube views. It is a participatory culture. While I make a living as a spoken word poet (along with a growing handful of others), it is important to understand that you don't have to go "all in" to do this. Most spoken word poets have day jobs. Most never go viral. Most don't win every poetry slam that they enter. And this should be celebrated. I'm not sure that we need more professional poets; I think we need more cab drivers, teachers, nurses, organizers, and service workers who write poetry.

I can imagine someone reading this and saying "easier said than done." And sure, performing in front of people isn't always easy. To support anyone who might be interested, I've tried to collect a few resources here, including a video series of tips, tools, and tactics for aspiring spoken word poets, a list of all of the open mics and poetry slams in my community, a list of 100+ favorite poems by other artists, and more. It might be a matter of finding the space first-a local open mic, an online community, even just an informal writing circle of three or four friends. From there, it's about diving in, having fun, and figuring out what you want to contribute. Let's build.
Finally, here's my Spoken Word and Slam Poetry Resource Hub, for anyone looking for more.

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Ten Things Everyone Should Know About Spoken Word and Slam Poetry

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(Note: this is a slightly edited version of the intro to my book, available now!) A very common piece of advice in spoken word workshops or critique circles is "just do the poem." So many of us, especially when we're just starting out, instinctually want to frame, contextualize, or introduce the poem.

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1. Write a letter. When I was in grade school, the teacher once asked us to write a letter to anyone who is no longer with us. Slam poetry allows me to take that topic even a step further. Try writing a letter to someone who has either passed or is no longer in your life.

2. I'm sorry. Think about words and sentiments that are tough for you to say. For me its things like "I'm sorry" and "I love you". Write a slam poem about those words and why it’s so hard to get them out - this usually proliferates some deeper issues and can really take you on a journey.

3. Religion. This is a difficult one - approach with caution. It doesn't matter if the poem is for or against religion, or if it’s about a ramification of a religion - actually, religion can probably lead to a series of poems.

4. Social Issues. This topic can cover a wide range of sub-topics such as racism, hunger, economy, government, homosexuality, addiction, birth control/abortion, euthanasia, suicide, poverty. OK, so this slam poetry topic is actually dozens of slam poetry topics - which means you have so much opportunity to expand on this! Here's a piece of advice - try to avoid blanket statements with no personal experience or factual backing. Broad statements like "our government is killing our youth" really don't mean anything. But they will catch attention - so if you use it, back it up!

5. An incident that shaped you or changed you. Were you ever bullied? Ever have a conversation where someone spoke just one line that impacted everything you've ever done since? Ever seen a movie that influenced and really impacted the way you live? These are great moments to expand upon in a slam poem.

6. Love. The most utilized topic in the history of poetry, yet still to this day a love poem is an art that is marveled upon. What's great about love poems, when done correctly and in spoken word form, is they take the shape and persona of the artist. So its not always gushy - it could be funny, it could be erotic, heck, sometimes its downright raunchy, it also doesn't have to be about someone; you can write about how you love something.

7. The Biography. Pick a person that has been a part of your life. It can be someone as close as family, as distant as a sports superstar, or as instantaneous as a passing stranger. Use the person that's in your head right now. Start your poem with the reasons you thought of that person. Be more abstract. Talk about the influence, talk about why it bubbles within you.

8. Frustration or Anger. I know it’s just me, but these tend to be my favorites. It gives an opportunity to just go off on something! It could be about sitting in traffic, losing an argument, not being able to prove your innocence, a divorce in the family, someone or something you loathe - the list can go on forever. Whatever you choose to vent on, be sure to hit the analogies and verbs hard in this one - oh, and alliteration goes a long way as well! You'll probably feel a lot better after you write this poem, and each time you perform it a relive the emotion will actually help make you a stronger person.

9. The Story. Pick an event in your life, and make it a dramatic one if possible. Get in a fight? Witness a fight or crime? Cut class? Almost die? Car crash? Keep on thinking and see what images come to mind - you can even make one up if it’s a topic of interest. What usually happens in that case is your own truth gets tied into it.

Source: https://blogs.ubc.ca/sbansi/files/2016/04/Slam-Poem-Topics-L10.pdf

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Slam is, "a competitive poetry performance in which selected audience members score performers, and winners are determined by total points. Slam is a composite genre that combines elements of poetry, theater, performance, and storytelling."

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Poems, readings, poetry news and the entire 110-year archive of POETRY magazine.

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No Strict Rhyme Scheme:  While other poetry may adhere to a strict rhyme structure, the same is not true for Slam Poetry. It is not the case that Slam Poetry is required to rhyme in any way. This free-verse style is based on poetry from the Beat Generation, particularly Allen Ginsberg.  It emphasises the innate musicality of words rather than adhering to any strict rhyme scheme. Rhyming might be used at times to emphasise certain sections of the poem over others but is not a necessity as it is in other forms of poetry.

Freedom from Structure:  Other poetic structures like the sonnet, limerick, or haiku have extremely strict rules on how to structure a poem of that kind. Sonnets must be fourteen lines. Limericks must have a very specific rhyme scheme and rhythm.  Haiku have a certain strict amount of syllables across three lines. None of this is true for Slam Poetry. Stanzas can be of any length, have any amount of syllables and contain any kind of rhyme scheme or none at all.  However, it is important to acknowledge that Slam Poetry has the physical structure of performance. This means that it might have to fit into a particular time frame or use words that strengthen the spoken voice over the printed page. The only structure your poem needs is the structure of the stage.

Political Messaging:  Because of Slam Poetry’s roots in the Negritude Movement and the Harlem Renaissance, most Slam Poetry makes some kind of political statement. This can include themes of Racism, Feminism and LGBT+ issues.   Slam Poetry is about making a statement. It is your chance to express your opinion on the issues facing society.

Emotion:  One of the most recognisable elements of Slam Poetry is its highly emotional content. The oral performance aspect of Slam Poetry allows a space for the poet to be highly vulnerable and express their deepest emotions. Emotion can also come from the content, especially if you choose a political issue you are particularly passionate about.

Originality:  Most Slam Poetry events take place in crowded bars or coffee shops. Some even take place outside in parks.  While this does mean poetry is more accessible to the general public, it also means that you will be competing with people ordering drinks, coffee machines brewing and even the elements of nature themselves. For your poem to be heard, to be noticed, over the humdrum of everyday life, you have to make it stand out.  You can do this by painting a vivid picture with your words, employing a unique sounding rhyme scheme or structure. Do the best you can to stand out without descending into the melodrama that Slam poetry is so often accused of.

Performance:  Slam Poetry is, first and foremost, an act of performance. Slam Poets pay attention to the way the words sound, feel and how they echo in a crowded room. Words are chosen for their weight and emotional impact.  Metaphors, similes and all other poetic devices are constructed to both disturb and comfort the audience. Slam poets know that the audience’s encounter with the poem is as fleeting as the spoken word.

Source: https://pickmeuppoetry.org/what-is-slam-poetry-a-beginners-guide/

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1. Pick a Topic, Choose a Feeling.

It can be useful to focus your poem on only one theme which invokes a single emotion. Pick something that you are passionate about, and then think about how it makes you feel. The emotion will help you frame the issue you are passionate about in a particular way.  For example, if you are interested in Environmental Issues, you might infuse your poem with the anger you feel when people do not take Climate Change seriously, and your poem can be a call to action.  Or maybe nature makes you happy, and your poem can talk about the beauty of the natural world, which will inspire people to think about their own relationship with nature.

2. Consider which poetic devices to use.

While Slam Poetry does not require the use of conventional poetic devices, they are still a useful tool to have. Rhyme and meter can help you measure out how your poem will sound when it is recited. Metaphors and similes can help you paint a vivid picture for your audience.  How you use these poetic devices are up to you. There are many more to choose from, cut up and combine however you wish. The only limit is your imagination and the three-minute long time limit that is usually set for performances of Slam Poetry.

3. Remember your poetry is meant to be performed.

Slam poetry completely removes poetry from the prison of the page. This means that it does not matter how the poem looks like on the page. What matters is what it sounds like on stage. This means that while you write it, you should consider how you are going to perform it.  Think about the inflexions you want your voice to take or the rhythm you want to set. Consider how you want to use your body as you perform. Do you want to move your hands a lot? Do you want to pace or standstill? Do you want to tap out a rhythm on your chest or legs?  While it is not always required, it is often encouraged for you to learn your poem from memory. After all, Slam Poetry was meant to free poetry from the page. Holding up a book or even your phone can obstruct your face and dull your voice.  It takes something out of the performance. This can be difficult. If you are a beginner or just unsure, consider writing shorter poems that pack a big punch instead of longer poems you might struggle to memorise.

4. Be Original, Be Relatable.

This might seem like contradictory advice. What it means is that if you are sincere, if you speak honestly about your own experiences, chances are that there will be people in the audience that will empathise with you. They might even have experienced the same thing as you have.  This is a good way to write poetry and an excellent way to make friends. Slam Poetry is all about community. No poet is an island, and you are never as alone in your experiences as you might think. Speak to your audience honestly, and they will listen.

5. Practice, Perform, and Persist

Here’s a hard truth: there is also the chance that your poem might bomb. This can happen to anyone, even people who have been performing Slam Poetry for years. There is always room for improvement and that is a very good thing. Life would be boring if it was stagnant.  This means that the true mark of being a good poet is continuing to improve no matter what. You will never truly be done learning how to do Slam Poetry. So, practice your poem at home, perform it as many times as you want, and above all never ever give up.

Source: https://pickmeuppoetry.org/what-is-slam-poetry-a-beginners-guide/

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Sarah Kay is a writer, performer, and educator from New York City. Kay has published four books of poetry: B, No Matter the Wreckage, The Type, and All Our Wild Wonder. She is the founder and co-director of Project VOICE, an organization that uses poetry to entertain, educate, and empower students and educators in classrooms and communities worldwide. Kay is a producer of the web series There’s a Poem for That, which seeks to create new pathways to poetry by bringing together poetry and animation; one video from the series won Best Animation Short at the 2019 Raindance Film Festival, and another received a 2019 Annecy Cristal for a Commissioned Film.

Source: https://www.poetryfoundation.org/poets/sarah-kay

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Rudy Francisco is a famous spoken word writer and performer born in San Diego, California. He has won multiple poetry slams and written 6 books. Some of his famous performances include "Rifle" on The Tonight Show and "Your God."

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Harry Baker is a slam poet from the United Kingdom. He is the 2012 World Poetry Slam Champion, being coined the youngest ever to win the competition.

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Alex Dang is an Asian-American spoken word poet, originally born in the state of Oregon. He began performing poetry at 17 and has not backed away. He competed on the Portland Poetry Slam nationals team for multiple years in a row, and he was the Eugene Poetry Slam Champion three times. Some of his notable work include poems like "Depression Diss Track" and "Broken Tongues."

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Phil Kaye is an Asian American poet who is know for his spoken/slam poetry, like "When Love Arrives" with Sarah Kay and "Repetition." He is also a codirector of Project VOICE, an organization that brings poetry into classrooms.

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Spoken-Word Poet Rudy Francisco Performs His Poem "Rifle"

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"What Kind of Asian You Are" by Alex Dang

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"What Kind of Asian You Are" by Alex Dang

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"When Love Arrives" by Sarah Kay & Phil Kaye

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"When Love Arrives" by Sarah Kay & Phil Kaye

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Sarah Kay & Phil Kaye - When Love Arrives

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Brave New Voices Performance in the Finals ("Somewhere in America" by Los Angeles Team)

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Brave New Voices Performance in the Finals ("Somewhere in America" by Los Angeles Team)

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2014 - Brave New Voices (Finals) - "Somewhere in America" by Los Angeles Team

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"Why I Hate Religion, But Love Jesus" by Jeff Bethke

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"Why I Hate Religion, But Love Jesus" by Jeff Bethke

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Why I Hate Religion, But Love Jesus || Spoken Word

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Neil Hilborn is a loved slam poet from Texas. As one of his most renowned poem performances is "OCD," many of his other poems and performances often detail the struggles with mental health.