“I want a man who pulls kindness out of his back pocket.” This was the beautiful and intriguing opening line of spoken-word artist, Nafeesa Hamid, during her performance on Friday night.
Nafeesa spent last week working alongside three other brilliant artists, Amerah Saleh, Carl Sealeaf and Sipho Eric Dube, making up the quartet of poets that brought Lit Fuse, a spoken-word collaboration, to the Birmingham mac on the 7th March 2014. This event, developed jointly by mac Birmingham and Apples and Snakes poetry collective, is a series of events showcasing brand new work devised by UK poets in collaboration with top directors and producers, encouraging poets to write and perform outside of their comfort zone. This set of poets were working with the help of Birmingham-based writer and director, Caroline Horton.
The four poems were part of the current season of work at the mac, ‘Exit Strategy’, a theme exploring death and its effects.
The event combined poetry and theatre, using lights, sound effects and short films to create atmosphere and background for the spoken word pieces. The performance began with all four poets speaking at once, moving from various areas of the intimate space of the Hexagon Theatre, before gathering together on stage. The effect of the clashing of lines and styles, and interrupting of each other made for a disconcerting and slightly wild beginning, and I struggled to make out what each individual was saying, let alone find any kind of meaning in the cacophony of noise and sound effects. Indeed, as each poet left the stage and then returned one by one, performing an individual 10-20 minute monologue, the level of intensity remained high, due to the heavy and sometimes controversial content, and the fact that the overall performance was only just over an hour in length.
Although four very different poets, all creating various interpretations of the topic of death, the pieces were beautifully crafted to fit perfectly together, moving seamlessly from one to another. The themes ranged from a heartbreaking monologue by Carl Sealeaf on the breakup of previous relationships and the death of a loved one, to a touching and intimate insight into a story of childhood, heritage and loss from Sipho, and an uncomfortable but beautifully important piece on rape in marriage from Amerah Saleh.
The influence of theatre was reflected differently in each piece, some of the poets choosing to use props. At the beginning of Amerah’s piece (written largely using stories collected from girls with real experience of rape in marriage), all the props, including a desk lamp (left over from Carl’s piece moments before), a mop bucket and a mug were turned on their side, and set right way up as the poem progressed. Using everyday objects reinforced the setting of a domestic home, and the act of setting them right reflected the healing process that took place throughout the poem.
The performance ended in the same way it had begun- all four poets speaking at once, and moving together to gather on the stage under dim lighting. This time however, the words and phrases they were saying had a poignant clarity – now I recognised them as lines from each of their poems. The idea that all these pieces shared the same subject matter, yet had wildly different interpretations of it was reinforced by the clashing and uncomfortable jarring of these lines, yet combined, at the end, a subtle and carefully crafted shared understanding and acceptance.
by Alice Cudmore