Relevant bibliographies by topics / Spoken word poetry and slam

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Spoken word poetry and slam'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Spoken word poetry and slam"

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Henze, Adam D. "Read This Book Out Loud: A Critical Analysis of Young Adult Works by Artists from the Poetry Slam Community." International Journal of Literacy, Culture, and Language Education 4 (August 1, 2015): 37–53. http://dx.doi.org/10.14434/ijlcle.v4i0.26915.

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This article examines the efforts of notable authors from the poetry slam community who have published Young Adult works intended for the classroom. Numerous secondary educators have embraced spoken word poetry as an engaging art form for teenagers yet often express difficulty in finding age‐appropriate material to share in school settings. This literature review hopes to serve as an introductory reference for secondary educators and researchers, and differs from slam‐themed reviews in that it specifically highlights artists from the slam circuit who have transitioned into YA publishing. Since the featured authors hail from backgrounds in theatre and performance, the works discussed often incorporate characteristics of oral verse that seemingly transcend the print medium. Also examined is the inherent barrier between oppositional, profane narratives embraced by youth, and the expectations of educational institutions who use censorship to sterilize places of learning. Written by an educator and academic who has been a part of the slam community for over a decade, this article offers an insider’s perspective for secondary educators, researchers, and fans of spoken word poetry who wish to know more about integrating the works of prominent ‘slammers’ into their classroom curricula.
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Perry, Maureen. "Resources for your rhymes: Sites for slam/spoken word/performance poetry." College & Research Libraries News 72, no. 3 (2011): 143–46. http://dx.doi.org/10.5860/crln.72.3.8526.

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Johnson, Javon. "Manning Up: Race, Gender, and Sexuality in Los Angeles' Slam and Spoken Word Poetry Communities." Text and Performance Quarterly 30, no. 4 (2010): 396–419. http://dx.doi.org/10.1080/10462937.2010.511252.

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Yanofsky, David, Barry van Driel, and James Kass. "“Spoken Word” and “Poetry Slams”: the voice of youth today." European Journal of Intercultural studies 10, no. 3 (1999): 339–42. http://dx.doi.org/10.1080/0952391990100318.

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Kassir, Amal, and Nina Zietlow. "Poetry, Identity, and Family: An Interview with Amal Kassir Conducted by Nina Zietlow." Review of Middle East Studies 53, no. 2 (2019): 321–27. http://dx.doi.org/10.1017/rms.2019.60.

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Amal Kassir is a 23-year-old Syrian-American spoken word poet and artist. Kassir has performed in 10 countries and over 45 cities and has conducted workshops, given lectures, and recited her poetry in venues ranging from youth prisons to orphanages, refugee camps to universities, and churches to community spaces. She hopes to take part in the global effort to support literacy in war-struck areas and refugee camps and runs a project called More than Metaphors that focuses on helping to educate displaced Syrian children. Recipient of multiple awards, including the Grand Slam at the Brave New Voices International Youth Competition, Kassir has performed on the TED stage and been featured on the PBS NewsHour.
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Pinto, Pedro Alberto Ribeiro. "ASPECTOS EDITORIAIS DA POESIA SPOKEN WORD: OS DICIONÁRIOS PARATÓPICOS DE NI BRISANT." Pontos de Interrogação — Revista de Crítica Cultural 7, no. 1 (2017): 143. http://dx.doi.org/10.30620/p.i..v7i1.3935.

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Este artigo tece considerações sobre as manifestações da chamada poesia spoken word (definida, lato sensu, como "poesia falada") e dos poetry slams (batalhas de poesia) no Brasil contemporâneo, a partir da perspectiva das materialidades da cultura e dos estudos discursivos. Toma-se como objeto de análise certa produção poética do autor Ni Brisant, avançando a hipótese de que os processos envolvidos na declamação e no registro de poemas configuram-se como práticas discursivas de caráter editorial, que implicam uma gestão de textualidades e autorias em uma cultura da conexão (Jenkins, Green & Ford, 2014).
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Strzemżalska, Aneta. "Slam in the Name of Country: Nationalism in Contemporary Azerbaijani Meykhana." Slavic Review 79, no. 2 (2020): 323–44. http://dx.doi.org/10.1017/slr.2020.86.

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Meykhana is spoken word improvisation, verbal recitatives, and a kind of entertainment that in the last two decades has largely spread across Azerbaijan. Contemporary meykhana, although it retains its characteristic rhythm, increasingly resembles popular songs rather than classical Middle Eastern poetry, and is now often being sung, not read. Thus, in its form and function, it has become an element of mass popular culture. At the same time, meykhana is increasingly considered to be one of the national symbols on a par with other traditional musical genres such as mugham and ashig art. Meykhana's contemporary dual nature, which is understood differently by different constituencies within the Azerbaijani population, with their own politicized agenda, is inherently nationalist in nature. Using such aspects of nationalism as ethnicity, tradition, modernization, and folkloricization I analyze different levels of meykhana and the various actors involved in its implementation. This paper contributes a case study to the rich body of literature on nationalism in musical performances by analyzing the ways in which identities are constructed and mobilized.
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Hartsock, Katie. "Review: Put Your Hands Together: A Review of Javon Johnson’s Killing Poetry: Blackness and the Making of Slam and Spoken Word Communities." Departures in Critical Qualitative Research 9, no. 4 (2020): 114–17. http://dx.doi.org/10.1525/dcqr.2020.9.4.114.

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Chepp, Valerie. "Activating Politics with Poetry and Spoken Word." Contexts 15, no. 4 (2016): 42–47. http://dx.doi.org/10.1177/1536504216685109.

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Ekesa, Beatrice Jane. "Integration of Work and Leisure in the Performance of Spoken Word Poetry in Kenya." Journal of Critical Studies in Language and Literature 1, no. 3 (2020): 9–13. http://dx.doi.org/10.46809/jcsll.v1i3.23.

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Spoken word poetry, an emerging genre in Kenyan literature, is popular among the urban population. The performance of this creative work draws audience from different socio-economic backgrounds who view it as a source of entertainment. Majority of these poets begin off by staging performances in order to exercise their talents and entertain their audience without financial gain. However, once they get the desired popularity, their interests change and they begin to view the performance of spoken word poetry as an alternative source of income. It is against this background that this paper seeks to explore the relationship between work and leisure in the performance of spoken word poetry in Kenya. Scholars in the field of leisure studies are constantly seeking the relationship between work and leisure. This research seeks to examine the representation of labour and leisure in the creative industry of spoken word poetry in Kenya. The study explores the characteristics of work and leisure to determine the leisure/work relationship in the performance of spoken word poetry in Kenyan literature.
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Dissertations / Theses on the topic "Spoken word poetry and slam"

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Vienneau, Alexandra. "'À coups de tambour de mots' suivi d’une réflexion sur les différences entre le 'spoken word poetry' et le slam de poésie chez Marjolaine Beauchamp, Sarah Kay et Grand Corps Malade." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34129.

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La présente thèse en création littéraire comporte deux parties. La première est un recueil de poésie divisé entre les deux types de poésies orales que nous avons étudiés : le spoken word poetry et le slam de poésie. À travers cette expérience de création, notre objectif était de montrer les différences entre les deux styles ainsi que leur courbe évolutive. Pour y arriver, nous avons pris comme point de départ un poème dans le style plus traditionnel de la poésie. À partir de ce texte « sacrifié » (selon la méthode mise en place durant les soirées de Slam), nous avons donc organisé les poèmes en suivant notre adaptation aux exigences du slam de poésie et du spoken word poetry. À travers ce travail, nous avons aussi dressé un plan thématique pour compléter l’organisation du recueil. La seconde partie est composée de deux chapitres. Le premier est une étude théorique sur les différences entre les deux styles de poésie : il serait alors question de l’évolution progressive d’une poésie orale vers une autre en plus des orientations prises par chacune au fil des années. Comme genre littéraire, le spoken word, qui reste plus près des sources, est beaucoup plus libre que le Slam, qui s’implante dans le milieu actuel avec ses thèmes et doit suivre les règles rigides de la compétition. Le deuxième chapitre est un retour réflexif sur ma propre création à partir des notions vues au premier chapitre. Il explique en profondeur l’organisation de mon recueil de même que le plan thématique de ses deux parties.
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Strobel, Wesley/Kaileigh. "(TRANS)FORM: Spoken Word as Queer and Transgender Testimony." Otterbein University Distinction Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=otbndist1620462465460833.

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Brummer, Pind Daniella. "Poetry Slam. En studie av vilken betydelse Poetry Slam har som litteratur och som identitetsskapande verksamhet för ett antal tävlingsdeltagare." Thesis, Högskolan i Borås, Institutionen Biblioteks- och informationsvetenskap / Bibliotekshögskolan, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-18510.

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Today, the definition of literature has changed. Walter J. Ong talks about the secondary spoken language that has surfaced as a result of new technical innovations to our writing tools. This also transforms our attitude towards literature and we can see a return to literature based on verbal characteristics. According to Hans Hertel the verbal renaissance reflects a modern man need to come closer to each other and create togetherness. This master thesis adheres to these views and states that Poetry Slam is a manifestation of these theories. It also argues that Poetry Slam can not only be viewed upon as a literary movement. Besides providing literary teaching practices for large quantities of individuals, performing Poetry Slam also facilitates personal development. The master thesis is an interview based study, which aims to ascertain the importance of Poetry Slam as literature and its effect on the identity defining processes of those participating in Poetry Slam contests. The foundation for the essay’s line of questioning is based on the literary theories of Pierre Bourdieu. It also incorporates the theories of identity creation in a modern day society by Thomas Ziehe. The subjects interviewed have a thorough understanding on how to assess verbal art forms. It is also a common understanding that poetry is a wider art form than literature. Despite this, there is a positive interpretation and evaluation of the literature in question. Several of the subjects supplying the underpinning information firmly believes that participation in Poetry Slam sessions will further their carriers as poets. This consequently leads to a conflict between their goals and the aim and purpose of Poetry Slam.<br>Uppsatsnivå: D
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Lindeman, Harriet. "Spoken Resistance: Slam Poetry Performance as a Diasporic Response to Discursive Violence." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1032.

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This project foregrounds the work and perspectives of spoken word poets of Middle Eastern and North African (MENA) descent in connection to the NYC slam poetry scene. I trace the parallel racialization of MENA diaspora communities in the US and the development of slam poetry as a space for raising “othered” voices. Through ethnographic analysis, I consider slam poetry as a site of intersectional struggle, arguing that the engagement of MENA diaspora poets with this scene reveals the ways in which poetry both constitutes resistance to discursive violence through representation and works to mobilize audiences against tangible structures of violence.
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Malm, Erik. "Scenankomst : Finns det en plats för slam i skolsammanhang?" Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-55739.

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This degree project essay examines the literary culture phenomenon known as poetry slam, a competitive format for performance poetry, with the purpose of discussing whether poetry slam could contribute to upper secondary school Swedish teaching or not. The essay consists of two parts, one where poetry slam is presented and one where poetry slam is discussed from a didactic perspective. In the first part, a brief history of poetry slam and its origins in the U.S. is presented, followed by a discussion of the ideology within the slam movement. Furthermore, the set of rules that regulate poetry slams are presented and finally the first part of the essay is ended with a discussion of poetry slam as a poetic genre of its own. The second part starts by presenting and discussing the concept of aesthetic learning processes and how poetry slam might enable such processes. Poetry slam is then related to the Swedish subject syllabus for upper secondary school in order to analyse whether there is any rationale for poetry slam in Swedish teaching or not. Furthermore, poetry slam is related to literacy development, first by discussing creative writing and then by discussing oral performance. The results of the analysis shows that poetry slam is foremost motivated in Swedish teaching as a literary historical content, partly as an opportunity to work with oral performance, and also to cultivate students’ linguistic subjectivity. Poetry slam could possibly enable aesthetic learning processes, although it may be questioned whether poetry slam qualifies as an artistic community professional enough to provide artistic working methods. The very concept of a school poetry slam could also be seen as a contradiction, when considering the slam movement’s self image of counter culture, as schools themselves could be interpreted as dominant literary establishments. Possible pitfalls related to poetry slam in Swedish teaching are the competitive format’s effect on students socio-emotional safety and the scoring system that may be hazardous for students’ linguistic subjectivity. Also, poetry slam may not meet the curricular demands on rhetoric performances which are mandatory in the upper secondary school Swedish courses, and thus questions may be raised if oral poetic performances can be prioritised at the expense of oral rhetoric performances. Moreover, the free, creative space provided to students within creative writing processes puts high demands on the teacher balancing students’ creative freedom, in order to possibly articulate hidden knowledge, with making sure that students do not spend time procrastinating.
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Brown, Jonathan Alexander. "You Gotta Crack A Few Begs To Make An Honest." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2247.

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Bergman, Madeleine. "Estradpoesi som politisk handling : En retorisk analys av SM i Poetry slam 2019." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-402901.

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Traditionellt sett har poesin varit talad, inte skriven, något som framförts på scen framför en publik. Den politiska användningen av estradpoesi är inget nytt påfund. Brukspoesi och tillfällespoesi i flera olika former har använts för att övertyga eller övertala publiken om olika samhällspolitiska frågor. Det retoriska talet har fått mycket uppmärksamhet för sin starka relation till politik, men hur fungerar det när talet är poesi? Denna uppsats vill fördjupa förståelsen av poesi som framförs på scen och hur den fungerar som en politisk handling. Detta görs genom att undersöka en specifik poesigenre: Poetry slam. Poetry slam är en tävling i estradpoesi som under de senaste trettio åren växt fram världen över, och många utnyttjar sin tid framför micken till att ta upp politiska åsikter eller personliga berättelser med en politisk agenda. Uppsatsen undersöker hur åtta olika poeter som tävlade i SM i Poetry slam 2019 använder sig av Poetry slam som en politisk plattform. Den undersöker på vilket sätt dikterna tar upp aktuella samhällspolitiska frågor, hur dessa frågor gestaltas samt hur olika strategiska manövreringar väcker identifikation hos publiken. Då dikterna måste vara skrivna av poeterna själva, men inte måste vara baserade på egna erfarenheter, blir det tydligt att poeterna genom dikterna konstruerar en identitet. Uppsatsen undersöker därför även hur detta används som ett medel för att övertyga eller övertala.
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Goursaud, Bastien. "Du spoken word à la parole publique : inscrire la performance dans la poésie britannique contemporaine." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL132.

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Depuis les années 1980, la poésie britannique contemporaine se caractérise par l’émergence de voix minoritaires et la diversité des formes et des pratiques. Cette expansion de la carte poétique est souvent lue à l’aune de ce que Sean O’Brien a décrit comme une dérégulation, en référence aux changements politiques et sociaux qui ont affecté la société britannique depuis le thatchérisme. Cette thèse se propose d’examiner un facteur essentiel de ce phénomène, à savoir la centralité accrue d’une conception du poème comme parole publique. En s’appuyant sur un corpus de poètes présentant des voix minoritaires ou invisibilisées, à mi-chemin entre la poésie spoken word et d’autres pratiques de performance, elle souligne que le pluralisme poétique est le fruit d’une pluralisation du poème même. Le texte poétique se transforme sur d’autres médiums et d’autres formes artistiques (musiques populaires, cinéma, peinture), permettant un décentrement et une remise en question de toute forme de centralité. Le poème hors du livre devient un geste à la fois esthétique et politique. La figure publique du poète que construisent les œuvres est un jeu de masques qui tente de défaire les assignations, entre fiction et parole lyrique. Le poème comme parole publique problématise le rapport du corps au texte en performance, mais aussi la matérialité du poème sur la page. Ce faisant, il interroge donc nos modes de réception de la poésie contemporaine. De même, le rapport structurel de cette poésie à la présence d’une communauté durant la performance suppose d’envisager des figures du commun et de la parole collective malgré la multiplication, voire l’éclatement, du poème sur une pluralité de médiums<br>Since the 1980s, contemporary British poetry has been characterized by the emergence of minority voices and a diversity of forms and practices. That expansion of the poetic map is often read through what Sean O’Brien called a deregulation, in reference to the social and political changes which have influenced British society since Thatcherism. This thesis looks at a central aspect of that phenomenon: the development of a conception of the poem as public utterance. By focusing on a range of poets representing minority backgrounds or unheard voices and working across spoken word poetry and other types of performance poetry, it demonstrates that poetic diversity is the result of a pluralization of the poem itself. Poems are transformed by other mediums and by exchanges with other art forms (popular music, cinema, painting) which in turn questions hierarchies and dominant poetic forms. Poetry off the page becomes both an aesthetic and political experiment. The poet’s public figure constructed by the poems is an elusive mask which oscillates between fiction and lyrical poetry. The poem as public utterance interrogates the relationship of the body to the text in performance, as well as the materiality of the poem on the page. In so doing, it also questions the way contemporary poetry is received and discussed. Similarly, in spite of the multiplication or atomization of the poem on several mediums, the structural relationship of this type of poetry with the presence of a community in performance creates representations of the community and collective utterance
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Tenn-Yuk, Jenna. "Where My Girls At? A Critical Discourse Analysis of Gender, Race, Sexuality, Voice and Activism in Ottawa’s Capital Slam Poetry Scene." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31573.

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Ottawa’s Capital Slam poetry scene has transformed over the past decade, marking a shift in the identities, discourses and performance styles of local poets. This thesis investigates these changes and trends within the time periods of 2008-2010 and 2012- 2014. This thesis demonstrates the shift from male poets of colour in 2008-2010 to female voices in 2012-2014 at Capital Slam, through an examination of Ottawa’s history and a multimodal critical discourse analysis of online performances. In particular, the creation of local alternative poetry shows over the past five years has increased the representation of female poets and transformed the racial dynamics of the scene. During the period 2008-2010 and 2012-2014, poets used key historical elements of slam poetry such as storytelling and speaking through personal experiences to effectively demonstrate how marginalized individuals can speak counter-narratives to dominant culture. The use of storytelling allowed these poets to engage, connect and dialogue with the audience, as well as demonstrate their different identities, discourses and performance styles.
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Parlati, Luigia. "Faire le slam : une ethnographie des pratiques poétiques collectives entre Paris et Marseille." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH169.

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Cette recherche porte sur une pratique de création poétique, le slam, qui est née à la fin des années 1980 aux États-Unis et qui est aujourd’hui largement répandue dans plusieurs pays, notamment en France. Si le succès de public (en 2006) d’artistes comme Grand Corps Malade est la forme plus reconnaissable de cette pratique de par sa médiatisation, il existe une hétérogénéité de « formes slam » et de pratiques qui sont devenues l’objet de cette thèse. Un slam de poésie est un espace de parole ouvert à tous et il est organisé selon différents dispositifs, de la compétition au « micro ouvert » et dans plusieurs typologies de lieu (bar, salle de spectacle, bibliothèques, espaces publics). Toute personne ayant un texte à dire (qui peut être écrit au préalable ou pas) peut donc le faire devant un public, sans qu’on lui impose aucune contrainte de style ou de contenu. Cette simplicité apparente du fonctionnement du slam vient interroger en réalité plusieurs types de « frontières » qui font sens pour certains acteurs du monde de la création littéraire (poésie écrite/poésie à voix haute), de l’éducation linguistique (parler littéraire/parler ordinaire) et de la formation du goût artistique (excellence/banalité). Mais les slameurs et slameuses rencontré.e.s dans mes enquêtes entre Paris et Marseille (ainsi qu’à l’internationale), témoignent d’un autre monde commun, où l’expérimentation verbale, vocale et performative coexiste avec le désir de partager librement la parole ou de s’engager dans une démarche artistique. Croisant les discours des acteurs avec la doxa et la littérature sur le sujet, cette thèse a pour ambition de proposer des analyses situées de cette pratique poétique collective, afin de rendre compte de son extrême disponibilité à accueillir tout acte de parole dite à voix haute et en public. C’est une recherche qui se donne pour objectif d’au moins mettre à jour les nœuds, tensions et enjeux suscités par cette liberté du slam à être agencé et participé<br>This research focuses on poetry slam, a practice of poetic performance, born in the late 1980s in the United States and now widespread in several countries, including France. If the public success (in 2006) of artists such as Grand Corps Malade is the most recognizable form of this practice through its media coverage, there is a heterogeneity of "slam forms" that have become the subject of this thesis. Poetry slam is an open platform and it is organized according to different approaches, from competition to "open microphone" and in several kinds of places (bar, stages, libraries, public spaces). Anyone with a text to say (which can be written in advance or not) can therefore do it in front of an audience, without any injunction of style or content. This apparent simplicity of poetry slam actually questions several types of "boundaries" that make sense to some actors in the world of literary creation (written poetry/poetry readings), language education (literary/common language) and artistic creation (excellence/triviality). But the slammers I’ve met in my fieldwork between Paris and Marseille (as well as abroad), participate of another common world, where verbal, vocal and performative experimentation cohabit with the desire to freely share their words or being engaged in an artistic endeavor. Crossing the discourses of the actors with the doxa and literature on the subject, this thesis aims to propose some analysis based on this collective poetic practice, in order to account for its extreme readiness to accommodate any speech act aloud and in public. This research aims to at least elucidate the tensions and issues raised by poetry’s slam freedom to be empowered and be engaged
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Books on the topic "Spoken word poetry and slam"

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Preckwitz, Boris Nikolaus. Spoken Word und Poetry Slam: Kleine Schriften zur Interaktionsästhetik. Passagen, 2005.

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Smith, Marc Kelly. Take the mic: The art of performance poetry, slam, and the spoken word. Sourcebooks MediaFusion, 2009.

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Joe, Kraynak, ed. The complete idiot's guide to slam poetry. Alpha Books, 2004.

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Slam school: Learning through conflict in the hip-hop and spoken word classroom. Stanford University Press, 2011.

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Eleveld, Mark, ed. The Spoken Word Revolution Redux. Sourcebooks MediaFusion, 2007.

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Fisher, Maisha T. Writing in rhythm: Spoken word poetry in urban classrooms. Teachers College Press, 2007.

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The fifth element: Social justice pedagogy through spoken word poetry. State University of New York Press, 2016.

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1959-, Tinguely Vincent, ed. Impure: Reinventing the word : the theory, practice, and history of spoken word in Montreal. Conundrum Press, 2001.

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1972-, Herndon Scott, and Youth Speaks (Organization), eds. Brave new voices: The Youth Speaks guide to teaching spoken-word poetry. Heinemann, 2001.

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Quick, said the bird: Williams, Eliot, Moore, and the spoken word. University of Iowa Press, 2012.

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Book chapters on the topic "Spoken word poetry and slam"

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Burnett, Elizabeth-Jane. "Rapport as Return: Bob Holman, Spoken Word and Bowery Poetry." In A Social Biography of Contemporary Innovative Poetry Communities. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-62295-8_3.

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Engel, Katharina. "ˋPoverty Porn' in Spoken Word Poetry? Kate Tempest's Brand New Ancients." In Representations & Reflections. Vandenhoeck & Ruprecht, 2021. http://dx.doi.org/10.14220/9783737013208.43.

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Beach, Richard, Deborah Appleman, Bob Fecho, and Rob Simon. "How Can I Engage Students in Responding to Poetry and Spoken Word?" In Teaching Literature to Adolescents. Routledge, 2020. http://dx.doi.org/10.4324/9780429347337-12.

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Campion, Toby. "Poetry slam in the UK." In Spoken WORD in the UK. Routledge, 2021. http://dx.doi.org/10.4324/9780429330223-39.

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"4.18. Spoken-Word-Literatur und Poetry Slam." In Handbuch Literatur & Audiokultur. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110340631-031.

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"2. “This DPL, Come On!”: Black Manhood in the Los Angeles Slam and Spoken Word Scene." In Killing Poetry. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813580043-003.

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"6. Pedagogic Futures for Hip-Hop and Spoken Word." In Slam School. Stanford University Press, 2020. http://dx.doi.org/10.1515/9780804777537-007.

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"1. Toward a Critical Hip-Hop and Spoken Word Pedagogy." In Slam School. Stanford University Press, 2020. http://dx.doi.org/10.1515/9780804777537-002.

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9

English, Lucy. "The democracy of poetry." In Spoken WORD in the UK. Routledge, 2021. http://dx.doi.org/10.4324/9780429330223-9.

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10

Lawrence, Sundra. "The impact of Malika’s Poetry Kitchen on the UK poetry scene." In Spoken WORD in the UK. Routledge, 2021. http://dx.doi.org/10.4324/9780429330223-24.

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Conference papers on the topic "Spoken word poetry and slam"

1

Salleh, Aimi Shaheera. "Freeing Minds: Improving Critical Thinking In Literature Learning Using Spoken Word Poetry." In INCoH 2017 - The Second International Conference on Humanities. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.09.78.

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