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 the 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 Artists
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 poets actively 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.
References:
Anders, Petra (2012). Poetry Slam im Deutschunterricht: Aus einer für Jugendliche bedeutsamen kulturellen Praxis Inszenierungsmuster gewinnen, um das Schreiben, Sprechen und Zuhören zu fördern, Schneider Verlag Hohengehren GmbH, Baltmannsweiler.
Hahn, Romana (2012). Poetry Slam als Sub-Genre der Popliteratur: Der Versuch eines Vergleiches von Slam Poetry mit der deutschsprachigen Popliteratur. Diplomarbeit, Universität Wien, Magistra der Philosophie.
Kouamé, Atchêlô Christelle (2023). Poésie et performance : Approches poétique et stylistique du slam en Côte d’Ivoire. Percées https://percees.uqam.ca/fr/article/poesie-et-performance-approches-poetique-et-stylistique-du-slam-en-cote-divoire.
Author Bio:
Born in December 2000 in Côte d’Ivoire, Tialagnon Achata SEKONGO earned her master’s degree in German Studies from Alassane Ouattara University in 2023. As a 4-year DAAD-GSSP-FSGS scholarship recipient, she will pursue her PhD in German Studies at Freie Universität Berlin from October 2025. Her research focuses on social criticism and engagement through slam poetry in Côte d’Ivoire and German-speaking countries. As a polyglot speaking French, German, English, Sénoufo, Dioula, and an alumna of programs including PEWA, PoliticLab, YALI RLC, International Writing Workshop Berlin and Fellowship for Germanists from the Global South, she is an advocate for women’s empowerment, international cooperation and education.
Thank you for sharing your insights! As a European, I was particularly interested in your observations on the slam scene in Côte d’Ivoire. It made me wonder whether there is any direct influence or exchange with the German-language slam cultures you investigate, and what the specifics of Ivorian Slam poetry are, both formally (rhythm, imagery, use of rhymes, performance style, etc) and as regards the social criticism. Do let us know about your future publications!
Dear Professor Julia Lajta-Novak,
I would like to sincerely thank you for organizing this wonderful conference, which was both intellectually stimulating and personally enriching. I am also grateful for the valuable guidance you provided for my short blog article and for your thoughtful comment.
So far, direct exchanges between the German-speaking slam poetry scenes and Ivorian slam poetry scenes remain limited, although some indirect influences can be noticed. One of the most significant examples is the Spoken Word Project, organized by the Goethe-Institut in Abidjan in 2013. Although focused on African slam poets, this project was inspired by formats similar to the German model, emphasizing both stage performance and critical engagement.The Goethe-Institut also continues to actively support slam-related events in Côte d’Ivoire, especially through its monthly platform Freie Feder – Plume Libre, a literary space open to all genres and all languages including:
* a slam-poetry in Nouchi
* a tale in Baoulé
* a poem in German (often written by students from the Department of German Studies),
* a short story in French, etc.
Outside this initiative, exchanges mainly happen through international festivals. Some Ivorian slam poets have already participated in events in German-speaking countries. Also, in October 2024, the German slam poet Mehdi Krüger took part in the international festival Babi Slam in Abidjan, marking a concrete example of cross-scene exchange. Regarding the specific features of Ivorian slam, they are clearly distinctive, both in form and content.On the formal level, Ivorian slam is part of a living African oral tradition, mixing poetry, music, storytelling, dance, and theater. Performances often include musical instruments (kora, drums, guitar, flute, piano…), and slam poets play with the sounds of many languages ,such as French, local languages (Dioula, Sénoufo, Baoulé), and also Nouchi, the urban slang of Côte d’ Ivoire. The poetic imagination is rooted in local culture like proverbs, stories, metaphors, symbolism, and uses an embodied, often sung-spoken language. The body of the slam poet is also fully involved, with strong physical expressiveness.
On the level of social criticism, the texts are often direct, and highly engaged. They deal with important and urgent themes such as corruption, bad governance, gender-based violence, social injustice, unemployment, health and political-military crises, abuse of power, illegal migration, and intergenerational tensions. Education, the role of women in society, and women’s empowerment are also key topics. Slam becomes both a tool for denunciation, a space for awareness, and a place for collective healing, carrying a strong aspiration for national unity and social justice.
These similarities and differences between Ivorian and German-speaking slam cultures are one of the main focuses of my PhD project. I plan to explore deeply the forms of cultural transfer, local practices of appropriation of the genre, as well as the social, political, historical and cultural issues involved.
I would be happy to keep you informed of my future publications.
Dear Professor Julia Lajta-Novak,
I would like to sincerely thank you for organizing this wonderful conference, which was both intellectually stimulating and personally enriching. I am also grateful for the valuable guidance you provided for my short blog article and for your thoughtful comment.
So far, direct exchanges between the German-speaking slam poetry scene and Ivorian slam poetry scene remain limited, although some indirect influences can be noticed. One of the most significant examples is the Spoken Word Project, organized by the Goethe-Institut in Abidjan in 2013. Although focused on African slam poets, this project was inspired by formats similar to the German model, emphasizing both stage performance and critical engagement.The Goethe-Institut also continues to actively support slam-related events in Côte d’Ivoire, especially through its monthly platform Freie Feder – Plume Libre, a literary space open to all genres and all languages including:
* a slam-poetry in Nouchi
* a tale in Baoulé
* a poem in German (often written and performed by students from the Department of German Studies),
* a short story in French, etc.
Outside this initiative, exchanges mainly happen through international festivals. Some Ivorian slam poets have already participated in events in German-speaking countries. Also, in October 2024, the German slam poet Mehdi Krüger took part in the international festival Babi Slam in Abidjan, marking a concrete example of cross-scene exchange. Regarding the specific features of Ivorian slam, they are clearly distinctive, both in form and content.On the formal level, Ivorian slam is part of a living African oral tradition, mixing poetry, music, storytelling, dance, and theater. Performances often include musical instruments (kora, drums, guitar, flute, piano…), and slam poets play with the sounds of many languages ,such as French, local languages (Dioula, Sénoufo, Baoulé), and also Nouchi, the urban slang of Côte d’ Ivoire. The poetic imagination is rooted in local culture like proverbs, stories, metaphors, symbolism, and uses an embodied, often sung-spoken language. The body of the slam poet is also fully involved, with strong physical expressiveness.
On the level of social criticism, the texts are often direct, and highly engaged. They deal with important and urgent themes such as corruption, bad governance, gender-based violence, social injustice, unemployment, health and political-military crises, abuse of power, illegal migration, and intergenerational tensions. Education, the role of women in society, and women’s empowerment are also key topics. Slam becomes both a tool for denunciation, a space for awareness, and a place for collective healing, carrying a strong aspiration for national unity and social justice.
These similarities and differences between Ivorian and German-speaking slam cultures are one of the main focuses of my PhD project. I plan to explore deeply the forms of cultural transfer, local practices of appropriation of the genre, as well as the social, political, historical and cultural issues involved.
I would be happy to keep you informed of my future publications.
Un travail déjà à féliciter, car il est bien fourni. Toutefois il aurait été bien intéressant de mentionner quelques slameurs allemands, suisses, autrichiens, et ivoiriens lors de la description du slam de chaque pays . C’est mon humble avis et merci bien pour ce beau texte.
Cher Kolio Bamba,
merci beaucoup pour ta lecture attentive et ton feedback constructif, cela me fait très plaisir. Tu soulèves un point très pertinent : mentionner explicitement quelques slameurs clés dans l’article permettrait effectivement d’ancrer davantage l’analyse et la description du slam de chaque pays. Pour l’instant, certains noms de slameurs comme Amee, Kapégik, Placide Konan et Nin’wlu en Côte d’Ivoire, ainsi que Mali Carillo en Allemagne, sont deja intégrés dans les légendes des images descriptives accompagnant le blog d’ article, considérées comme une partie intégrante du contenu dudit article.
Toutefois, je prends bonne note de ta suggestion, dans une version plus développée de cet article ainsi que de mon projet de recherche doctorale, je prévois inclure davantage de figures (slameurs) marquantes des scènes de slam en Allemagne, en Autriche et en Suisse, afin de mieux refléter la diversité et la richesse de ces cultures.