Sing It Easy

IN A BUSTLING Mumbai café, a poet steps up to the microphone. The chatter of the audience fades as she begins to speak. The room is captivated by Ankita Shah’s recital, where she delivers her lines with a mix of vulnerability and strength. “The pursuit of wonder / Is a quiet rage / Against the numbness / of indifference. / Against the delusion / of superiority,” she intones, her voice steady yet charged with emotion. Each word, punctuated by her expressive hand movements and poignant pauses, draws the audience deeper into her narrative. This scene, of an audience in the thrall of a solo per­former before a mic, is not an isolated one, but part of a growing cultural phenomenon: the rise of spoken-word poetry.

Over the past decade, spoken-word poetry has transformed from a niche art form into a mainstream cultural movement in India. What began as intimate gatherings in cozy cafés and communi­ty centres has exploded into packed auditoriums and festivals, attracting diverse audiences. This resurgence of poetry, delivered with emotion and conviction, speaks to a universal human need for connection and expression.

At the heart of this movement are the poets themselves— passionate individuals who bare their souls on stage, sharing stories that resonate with their audiences. These poets come from various backgrounds, each bringing their perspectives and voices to the fore. Their performances are more than just recitations; they are powerful acts of storytelling that challenge societal norms, confront personal demons, and celebrate human experience.

The growth of spoken-word poetry in India is also a testa­ment to the power of community and collaboration. Platforms like Kommune, The Habitat, and Tape A Tale have played a crucial role in nurturing this art form, providing spaces for poets to perform and connect with audiences. These organisations have not only fostered local talent but also helped bring Indian spoken-word poetry to a global stage.

Social media has been a game-changer in this evolution. YouTubeand Instagram have democratised poetry, allowing artists to reach vast audiences without the need for gatekeep­ers. Viral videos of performances have propelled many poets to fame, proving that poignant, well-crafted words can bring in the crowds.

However, this rise has not been without its challenges. Poets and organisers alike grapple with issues such as finding suitable venues, securing financial support, and maintaining the authenticity of the art form in the face of commercial pressures. Yet, the resilience and creativity of the community continue to drive the movement forward.

The roots of spoken-word poetry in India are deeply inter­twined with the personal journeys of its practitioners. For many, like Ishpreet Balbir, the journey began with a personal need to express and share. “I started a page named ‘Likhaee’ just to get my thoughts out there,” Balbir recounts. This journey has seen him evolve from a hesitant writer to a confident performer. Balbir’s story is emblematic of many others who have found their voice through this medium.

Similarly, Aanchal Anita Dhara’s journey is one of self-discovery and defiance. Her decision to shave her head, challenging societal norms of femininity, became the catalyst for her poetry. “The reactions of people had such an impact on me that I started writing about my experiences,” she explains. Her viral pieces on Instagram have marked her as a significant voice in the scene, inspiring many, particularly women, to take control of their narratives.

Ankita Shah’s involvement in spoken-word poetry began right out of college in 2013, inspired by international names like Sarah Kay and local artists such as Alfred Lee and Anu Elizabeth Roche. “I started out by attending open mics in the city, which encouraged me as a young writer to explore my voice,” Shah says. Along with a close friend, she started hosting monthly readings, which eventually grew into The Poetry Club, a vibrant community of poets. Her piece, ‘Borders’, on literal and psycho­logical borders, performed at various venues and published by Unerase Poetry, was a turning point in her career. To the strum of a solo guitarist on stage she says, “There are borders made of tall cement walls / Relentless mountains and wayfaring rivers that have tasted blood…”

Radhika Jain from Kommune also found her path through community and performance. “I got involved in organising spoken poetry world events back in 2012,” she recalls. This involvement led her to meet many like-minded individuals and build a community around the art form.

Harsh Shah, curator at The Habitat, was driven by a fasci­nation with events and how they gather people for a common purpose. “I started working at The Habitat in 2017, and my fasci­nation only grew stronger,” he says. Together with other curators, he focused on developing events to make the experiences more accessible to a wider audience. Kopal Khanna’s journey began with the foundation of Tape A Tale, an audio platform for person­al stories. “We started as an audio platform in 2017. A space where people could record their personal stories in audio format,” she explains. From a small community event to an international tour, Tape A Tale has grown significantly, reflecting the broader growth of the spoken word scene in India.

THE SPOKEN-WORD poetry scene in India has evolved dramatically over the past decade. Jain highlights this trans­formation: “Recording has started for everything. The frequency has increased, and various other platforms have come up.” Khanna reflects on this evolution with pride. Starting as an audio platform, Tape A Tale has grown to host international tours and large-scale events. This growth is not just in numbers but in the diversity of content, with poets exploring themes from love and patriotism to women’s empowerment and trauma.

For example, in ‘Borders’, Ankita touches upon the topic of war, with simplicity and power, “Borders sharp as sword that have cut limbs, breasts and children. / Borders that we create everywhere we go, like self-proclaimed universes in comfort zones.”

The evolution is also marked by a significant increase in the diversity of languages and styles. Shah mentions how they experimented with formats, hosting events like English open mics and Ghazal open mics. Ankita observes that the audience, once predominantly English-speaking youth, has expanded to include many who are hungry for poetry in Hindustani and Urdu, particularly in Tier 2 cities.

Several factors have driven the popularity of spoken-word poetry in India. The accessibility of the art form is a significant factor. Unlike traditional poetry, which has often been associated with the elite, spoken-word poetry is seen as more relatable. “You don’t need big platforms anymore or even an important patron who promotes your work as social media has democratised the space,” Dhara asserts.

The emotional and cultural resonance of spoken-word poetry also plays a crucial role. Balbir believes that the ability of spoken word to resonate with everyday experiences has made it popular. “The stories you get from the mundane things in your life can be just as significant and powerful,” he says. In one of his poems he says, “Ghar ki khidkiyon se aata wo peela sa raushni ka tukda, aur subah ki chai ki woh khushboo,” which describes something as simple as a sunrise and the joy of sipping a cup of tea while admiring it. This relatability extends to the diverse audience that now attend spoken word events.

The spoken-word poetry community in India is not just about individual expression; it is about creating a shared space for dialogue and connection. Shah emphasises the cultural sig­nificance of these events: “Over the years, we’ve gained a deep understanding of cultural contexts across various subjects and spaces, enriching our sense of belonging.”

Khanna shares a poignant story of a performer who used a Tape A Tale event to come out to their family as gay. This mo­ment, like many others, underscores the power of spoken-word poetry to foster understanding and acceptance. “It’s a doorway to conversations that need to be had,” Khanna asserts. The com­munity’s inclusivity and support are vital in nurturing new talent and ensuring that diverse voices are heard.

Dhara also highlights the community aspect, “Spoken-word poetry has made it more accessible to everyone so in a way it’s already begun its journey to a much larger audience,” she says. In ‘Ek Baat Batao’ she highlights social discrimination in the most subtle yet powerful way possible: “Parso jab woh sabzi bechne aaya, tumne uska naam sunke usse maar bhagaya. / Tumhe uske hari sabziyon se zyaada hara tumhein uski shakal mein dikha.” Ankita also underscores the importance of community support and collaboration. “With The Poetry Club, we were the first ones to negotiate a pay for the poets in 2013,” she says. This collective negotiation power has been crucial in ensuring that poets are compensated fairly, changing the perception that they should perform for exposure alone.

THE SPOKEN-WORD poetry scene in India also faces challenges. Venue availability is a significant issue, particu­larly in cities like Mumbai where quiet, dedicated spaces for poetry readings are scarce. “We need silence, but everywhere it’s just like a café,” Jain laments. Financial sustainability is another challenge, with many collectives lacking the resources to create immersive experiences or support full-time poets.

Harsh echoes these concerns, noting that while the number of artists has risen, the infrastructure to support them has not kept pace. This issue is compounded by the need for financial support to turn events into immersive experiences that attract and retain audiences.

However, these challenges are met with resilience and innovation. Organisers like Shah focus on creating engaging experiences and leveraging technology to reach wider audienc­es. During the pandemic, many events moved online, allowing poets to continue sharing their work.

Despite the challenges, the future of spoken-word poetry in India looks bright. Balbir envisions a time when spoken word will be recognised as a legitimate profession. “I hope more people don’t do this as a hobby or passion but as something they can do as a profession for the rest of their lives,” he says. Dhara echoes this optimism, emphasising the role of content in driving the art form’s growth. “Content is king,” she asserts, planning to add more layers to her performances to create immersive experiences.

Harsh Shah and Khanna both see technology playing a crucial role in the future, from enhancing live performances with advanced visuals to reaching new audiences through digital platforms. As the scene continues to evolve, the focus will remain on creating spaces for diverse voices and fostering a supportive community.

Ankita anticipates that as more poets start doing solo shows, there will be a blending of genres, merging poetry with storytell­ing, music, and comedy. She personally enjoys visualising poetry through small films published on her Instagram, exploring new themes and techniques to keep her work fresh and relevant.

As the scene matures, spoken-word poetry in India is on the verge of becoming a recognised profession, with increasing opportunities for poets to sustain themselves through their art. With their simple words and powerful delivery, these poets are building their legacy and ensuring their longevity. As Balbir says in ‘How I Want to be Remembered,’ “I want to be remembered like a father’s pat on the back or that tight slap on the cheek / A small gesture that is high on emotions.”

Aanchal Anita DharaAnkita Shahart and cultureIshpreet BalbirKopal KhannamainstreamSpoken-word poetry