The most famous contemporary linguist (also a champion of free speech & writer/ activist/teacher), Noam Chomsky, is ironically, also known for being a terrible public speaker. He has a dry-drone, gravelly voice, & shows very little humor or charisma. But no worries; he still packs the lecture halls & receives up to 200 fan letters a day!
PART III: Building an Audience
Continuing interview with NW (US) performance artist Zoa Smith, inventor of the word/sound genre called Talkapella.
July, 2007
REPORTER: So when exactly did you say you decided to become a performance poet?
POET: I didn't.
REPORTER: Didn't decide or didn't become one?
POET: Yeah, both. I never wanted to be a poet. I called myself an "electronic urban storyteller" in the beginning. The media & lit-critics called me a performance poet once that term got trendy. So I came up with "talkapella" to delineate myself from the poets... and to break from the traditional-style storytellers.
REPORTER: I guess not having a clear category for you must have been confusing for people.
POET: It made it hard to get into a venue. Music clubs wanted musicians only, coffeehouses didn't want any thing too electric, theatres wanted a lot of money up front for rental.
REPORTER: What did you do?
POET: I begged, I charmed, made big promises of packing the house. My first show was at a little cafe after hours. Then, a bar that showcased underground grunge acts. There was a lesbian club and I got a co-op art gallery that ushered in a whole new crowd with connections to other venues & doing gigs for non-profits & business/art organizations. I rented small theatres eventually.
REPORTER: Did you have a sense of the audience you wanted to attract? They were generally the freaks, the marginalized, as we say?
POET: I don't think I really knew at first who the audience was or how it would turn out so eclectic.
REPORTER: I love that word.
POET: (giggle) I assumed that people who were the regulars at the venues I played would be the ones attending. Turned out, a crazy mix of people came. Some, from way out of their usual neighborhoods. Some drove in from other towns when their friends told them Portland was having a performance art event! I was astounded when I realized I had stumbled into a void that was just waiting to be filled.
REPORTER: What was the void? A sort of cultural blandness?
POET: The Northwest was ready for some content, some texture. People read here, you know. It's what we do when it rains so much. People think about things, deeply. But, not so many people were reading aloud. When they heard it done, and in a novel way, they really appreciated it. They craved it.
REPORTER: So your audience is brainy? Lit-heads?
POET: Ha, well... mostly well-educated. But many are working-class, self-educated, thoughtful, thought-full people. Generally, liberal-minded, green. A lot of artists. Seems like a ton of experimental dancers came in the beginning. Anyone curious about artistic experimentation.
REPORTER: Seems like you'd suffer a little stagefright getting in front of that crowd.
POET: You want to have done your homework before opening your mouth. But that's a good rule for any crowd.
REPORTER: Integrity is good thing.
POET: Yeah. Audiences know if you're stretching. They don't want a lecture either. They can go to church for that. No, shows are for entertainment or validation. For getting around other people you can share a feeling of community with.
REPORT: So those are the things you want to offer an audience?
POET: Yeah, and inspiration. I want them to realize how fun it is to think past the norm. Push the limits of their own imaginations. Find power in it. I want everyone to turn it upside down, tweak it, look from a different angle. That, I think, is the best way to blast through the most difficult problems.
REPORTER: Ever do libraries?
POET: (loud laugh) Once. The director of the Benton County Library invited me to do a show specifically for kids. What a kick that was.
REPORTER: They must have loved the gadgets & toys.
POET: Oh sure, the little banshees. They were enamored. I put together something really sweet & fluffy for them that was all about animals. Called it "Fur-n-Words-n-Scales-n-Tales".
REPORTER: Cute.
POET: Uh-huh, very "talkapella". I took a boom-box, instruments for the kids to play along, noise makers & a fantastic mask I made out of real owl feathers.
REPORTER: I'd like to see that.
POET: Sure, but don't show it to anyone under five years old.
REPORTER: Huh? Kid's didn't like it?
POET: Most did, but... one little girl started crying hysterically.
REPORTER: Whoops.
POET: Scared the Kool-Aid right out of her.
REPORTER: Whoops.
POET: That made other kids scream & others laughed at her. Kids were yelling & running up & down the carpeted bleachers... oh Gawd... I had a little kiddy riot on my hands pretty quick.
REPORTER: What did you do?
POET: Rule of thumb in any show is- use it.
REPORTER: Use it? How do you use that kind of chaos?
POET: I popped in a disco tape, on extra bass-booster, handed out noise makers & got everybody slam-dancing. I let the little girl wear the mask & she was fine then.
REPORTER: So you were a hit.
POET: Sure. But not with the head librarian I wasn't. Never got invited back after all the noise. That was my last kid's gig.
REPORTER: Too bad.
POET: Funny thing is- the parents who came to my adult shows, later, always brought their kids. Even tho' the kids can't really understand the layers of content, and literary references, they still really enjoy the sound FX. They get all thrilled about the drum machine & silly props.
REPORTER: So if you were going to give someone advice on how to build their audience, what would you tell them?
POET: How about 5 easy steps, huh? First, put together your very, very, best work. Don't waver or water down the message.
REPORTER: Or your style?
POET: Or your style. Everyone has something very unique to offer. A real strong signature style might even be more important than the quality of your work, in the beginning. 'Cause that is what people will remember about you. That's okay. The work just naturally gets better with time. Uh, is that two?
REPORTER: Three's next.
POET: Okay, three. Bust a gut doing publicity in the beginning. And don't let up! This is the most important thing a word-er can do if they want people to show up. First, you gotta get 'em in the door. That's the whole point isn't it? People have to be given clear information about what you are all about. So don't get all cute & edge-y making up artsy-yet-ambiguous descriptions of yourself. And, uh…
REPORTER: Four.
POET: Four- is about having a strong base of volunteers. You need help getting stuff done. Putting up flyers, setting up, tote-ing equipment, clean-up. Give free admission for work, and thank your crew at every show. They will bring friends & those people will bring their friends. Get it? It's exponential! Just don't forget to be thankful, respectful, & honest to friends about what you really need from them.
REPORTER: You said there were five.
POET: This one's most important- tune in! Connect with the audience. These people came out of their private, comfy little homes, during God-knows what kind of weather, to have a real live connection with a real live performer.
REPORTER: How do you connect?
POET: You have to bare your soul, corny as that sounds. Its true. If you don't sweat, you're not working hard enough. You should feel scared. It should feel that intimate. Stop with all the drone-y ranting. Remember, all audiences will enjoy good quirky humor to balance out the serious stuff. And you can really knock 'em dead by sharing an outrageous or deeply personal story. They'll come back.
REPORTER: Back from the dead? Or back to a show?
POET: Very funny. Actually, if anyone actually dies of boredom during your show, I recommend some serious editing or adding a few more jokes.
REPORTER: Or switching to a different art form.
POET: No, you could just get a reporter to do a story on it. 'Cause even morbid coverage might be good PR in some circles.
[lots of laughter]
REPORTER: Ever play to zombies? (giggle)
POET: I don't care, long as they pay at the door & applaud without dropping their fingers on the floor.
REPORTER: OOOhhh....! Gaawd!
How Do You Design an Effective Publicity Campaign As a Performance Poet?
next post in November '07 will be PART IV: PUBLICITY.
