The Global Journey of Slam Poetry: An Art for Social Criticism and Social Change

by TIALAGNON ACHATA SEKONGO

Slam poetry, a modern, expressive and socially engaged performance art, was initiated by the American poet Marc Kelly Smith in the 1980s in Chicago. It began as a local art and quickly transcended borders, adapting to the cultural and social landscapes of each region. After arriving in Germany in 1993, it spread to Austria and Switzerland by 1999, and reached Côte d’Ivoire in the 1990s, where competitions began in 2013. Nowadays, it serves as a powerful global tool for artistic expression, social criticism and activism, uniting voices from different continents. My current research project “Social criticism and engagement through slam – slam poetry in Côte d’ Ivoire and in German-speaking countries – a comparison” investigates the engaged role of slam poetry in Côte d’ Ivoire, Germany, Austria and Switzerland, analyzing how selected slam poets address social, political, historical, economic and cultural issues while inspiring positive change. My study draws on theoretical approaches such as intermediality theory, stylistics, comparative analysis, performance studies and the socio-historical approach, applies qualitative methods including interviews with slam poets, analysis of slam texts, videos, pictures, audios and lives performance observations.

SLAM POETRY: FROM ITS ORIGINS IN USA TO ITS EXPANSION IN GERMANY, AUSTRIA, SWITZERLAND AND CÔTE D’IVOIRE

Slam poetry began in 1984 at the “Get Me High Lounge” in Chicago and moved to the “Green Mill Jazz Club” in 1996. (cf. Romana Hahn, 2012) By 1993, it reached Germany (Berlin), where competitive performances started in 1997. (cf. Petra Anders, 2012) It spread soon to Austria and Switzerland by 1999. (cf. Romana Hahn, 2012) German-speaking countries have preserved the American competitive spirit of slam poetry by organizing numerous slam competitions that focus on performance without musical accompaniment. These slam competitions bring together slam poets of various ages and nationalities, whether performing individually or as part of a team, to compete, express themselves and demonstrate their talent.

In Côte d’Ivoire, slam appeared in the 1990s, pioneered by Binda N’gazolo and his group “Vogo Soutra”. (cf. Atchêlô Christelle Kouamé, 2023) In 2010, Dabé Tusti Gilles Murris introduced the slam poem “Malaïka” in his album “Chercheur d’or”. A turning point for slam poetry in Côte d’Ivoire appeared in 2013 with “The Spoken Word Project”, a panAfrican competition organized by the “Goethe-Institut” in Abidjan. This event fostered a slam community, setting off its growth in Côte d’Ivoire, when in 2014, the 10 finalists created the collective “Au Nom du Slam”, a cultural association that unites Ivorian slam poets to promote slam poetry in Côte d’Ivoire and internationally.

SLAM IN CÔTE D’IVOIRE: A CROSSROADS OF VARIOUS ARTS

Many African countries, especially Côte d’Ivoire have simplified terminology by using the word “slam” to refer to slam poetry, and “slameur” or “slameuse” to refer to a slam poet. This choice reflects a broader understanding of slam poetry as a cross-cultural hybrid that includes different artistic expressions. In Côte d’Ivoire and some African countries, slam has evolved into a rich interdisciplinary medium that connects poetry with other art forms such as dance, music and theater. Ivorian slam poets’ performances often incorporate musical instruments like guitars, pianos, koras, flutes, drums and other African instruments, creating a more immersive, melodious, communal and warm experience. The rhythm and melody follow the voice of the poets, amplifying the emotional resonance of their performances. The dynamic nature of Ivorian slam has led to the organization of several slam events, festivals and concerts that celebrate this expressive art form. Such events foster community, collaboration and creative exchange among artists. The slam festivals and concerts not only serve as a platform for individual talent but also as a space for collaboration, where poets can rehearse together before the official slam shows.

The communal nature of Ivorian slam also fosters mutual support as artists jointly build their own stages, exchange ideas, and perform for common audiences, enriching the genre and reinforcing solidarity and unity among Ivorian slam poets. That has made Ivorian slam poets some of the most united and collaborative artists in the national cultural scene.

SLAM POETRY: A MEDIUM OF SOCIAL CRITICISM AND ENGAGEMENT

In recent years, slam poetry has evolved beyond artistic expression to become a powerful platform for social critique and engagement across the globe. This extends beyond Côte d’Ivoire to German-speaking countries such as Germany, Austria and Switzerland, where slam poetsactively criticize social, political, economic and cultural injustices. Slam poets use their performances to address issues such as corruption, bad governance, etc. As result, their words and performances resonate with audiences, particularly those who feel ignored by the political system, offering both empowerment and a sense of collective healing. Moreover, slam poetry reveals the struggles of marginalized groups, whether based on gender, socioeconomic status, or ethnicity. Many performers boldly confront themes of gender-based violence, discrimination and inequality, challenging audiences to rethink societal norms. Gender equality has become a major theme. Slam poets especially women and gender-diverse voices, use their voices to combat patriarchal norms and advocate for women’s empowerment. The fusion of art and activism in slam poetry is undeniable, as slam poets act as changemakers. With powerful words, they raise awareness, mobilize audiences, and champion social justice.
Slam poetry goes beyond personal expression, it becomes a stage for resistance and transformation. Performances turn into collective experiences, inviting audiences to reflect, engage, and take part in building a just and equitable society.

SLAM POETRY: GLOBAL EVOLUTION AND FUTURE

The evolution of slam poetry is ongoing, as it continues to evolve, its resonance has expanded beyond local contexts to address global challenges. Slam poets draw from their lived experiences while connecting their messages to worldwide issues affecting humanity, such as climate change, illegal migration, human rights, gender equality, political, economic and sanitary crises. Global platforms for slam poetry, including competitions, festivals, and online galleries facilitate the sharing of ideas and experiences among slam poets from different countries and continents. Slam artists continue to innovate and respond to the dynamics of society. The future of this art depends on its ability to adapt and remain relevant to the world’s pressing issues. Its continuous engagement with societal challenges will not only elevate the voices of slam poets but also contribute to dialogue, democracy, free expression, social reflection, and positive social change.

CONCLUSION

The global journey of slam poetry from its origins in Chicago to its presence in Germany, Austria, Switzerland and Côte d’Ivoire highlights its role as an art for social criticism and engagement. Through their art, generations of slam poets continue to inspire, raise awareness and impact positively society.

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