In simple terms, Spoken Word is a performance-based literary art form delivered orally. It may be live or recorded and can include poetry, storytelling, monologue, and dialogue. Some connect it exclusively with poetry, others argue that it is broader and inclusive, encompassing elements of theatre, music, and other literary arts.
When spoken word is purely poetic, that is poetry written to be performed, it is often referred to as Spoken Word Poetry—to distinguish it from other forms of oral performances. This distinction is important. It, at least, tells us something about the Best Spoken Word Poetry Album category at the Grammys.
In 1959, when the category first showed up at the Grammys, it was known as the Best Spoken Word Album category. Its evolution into Best Spoken Word Poetry Album emphasises poetry-driven performances—so, while in February this year, the music group Tank and the Bangas won the category for their album, The Heart, the Mind, the Soul, the first award went to Stan Freberg for The Best of Stan Freberg Shows, a recording made from the comedian’s weekly radio show.
To win the category as presently constituted, an artist (or group) would almost certainly need more than a single performance. So that in the same manner as page poets publishing collections of their works based on cohesive thematic explorations, spoken word artists seeking Grammy nominations are expected to create a collection of work showcasing their range and vision.
However, a spoken word album demands more than writing—it involves researching, rehearsal, performance, recording, and production. It’s a process that demands mental, physical, and financial investments. Obviously, without passion, commitment, and some cash it’s unlikely that a Spoken Word Poet makes an album, which may affect how seriously they can be taken. For one, a Grammy nod will be out of reach.
Unfortunately, despite Nigeria’s rich oral traditions and a growing Spoken Word Poetry scene, I daresay that the culture of producing albums in the genre remains underdeveloped.
Several factors are responsible for this underdevelopment: the dominance of live and video performances, the lack of mainstream acceptance, the lack of institutional support, and the high cost of producing quality spoken word albums. There’s also an argument that the form is inherently a live art, that attempting to reinvent it through recorded formats risks disconnecting it from its oral tradition origins.
I understand this concern. But ambitious spoken word poets should consider utilising the most of the technological formats available today. Even with live performances, there is an opportunity to create video albums—curated recordings of performances—that can be uploaded to digital platforms. In this way, the spoken word artist preserves the essence of performance without losing accessibility and longevity.
That said, regardless of the reasons, the scarcity of Nigerian spoken word albums means elements of our country’s artistic bounty are inaccessible and improperly archived. This can change; this should change. Digital platforms offer an alternative.
I recall that the first Nigerian spoken word album I encountered was Donna Ogunnaike’s Water for Roses. This was in 2016. But during a recent search for the same work, I found that the album was unavailable on streaming platforms. It is, however, available for purchase on her website. This suggests that the shift from physical albums provides options for accessibility. On the production end, it’s now easier to self-publish than at any other time, and, with social media, marketing, too, is easier.
Of course, there will always be a debate of old versus new media, but it is necessary that spoken word poets make use of opportunities provided by new technologies.
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A few years ago, I discovered Deji Ige’s Vintage on Spotify. Rich in storytelling, the album is a mighty reminder of our cultural heritage and common experiences in Nigeria—as beyond exploring themes around Yoruba culture and identity, he also delves into Igbo lore. I later met him and in one conversation, he explained that Vintage was the product of research at both the creation and rehearsal level. That is what it took to make a body of work that resonates even now.
There are other spoken word poetry albums to be discovered by a simple online search. WanaWana, Titilope Sonuga, RezthaPoet, and Shegzrhymz have performed and produced works that you can find on streaming platforms. Before them, there was Kudo Eresia-Eke, a pioneering poet whose three-part album Timeless is one of the Nigeria’s earliest. His work is available for streaming on his website.
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Performances of single poems have their place, but it is important that a spoken word artist creates a collection that captures the scope of their artistry. This is true also for page poets, many of whom may start with publishing in anthologies, magazines, and journals, but eventually compile their works into books. Spoken word artists must do the same by documenting their art, core beliefs, perspectives, and ideas in albums that become available to listeners and viewers on new media platforms.
This may be the only way institutions, like the NLNG Prize for Literature, recognise spoken word poetry as a legitimate literary genre—although my argument is not about chasing awards or monetary gain, but about ensuring that spoken word poetry takes a visible spot in Nigeria’s literary and artistic landscape. When excellence is consistently pursued, recognition will follow.
These words are for spoken word poets who are yet to begin to embark on album-making and even those who have done so in the past. Make one album and make another and another. It is necessary and may that necessity drive you. A long-standing tradition pushes the page poet to create collections; it also pushes novelists and playwrights to publish books and plays. A similar impulse should compel the spoken word poet. The future of her art form depends on it. E
