The Poetry Show 2.4 is on Gender (a controversial concept) & is followed by Stairwell Books Presents: Composer Nick Williams.
Last week we slipped in the episode on Sleep (S2.5) AND on Friday June 22, we’re having SleepEasy at True Story Café! Declan Minskip and I will host a low-key, friendly open mic for stories, poems, tales and yes… even lullabies about sleep. Or insomnia. Or peaceful things. Think: Hot (soy) Chocolate, lots of candles, and maybe even wearing comfy clothes as we share restful thoughts in our northern city that doesn’t get all that dark this time of year. Especially right around the longest days of the year.
But first up on Monday… a discussion on Gender.
This episode features Kit Marshall as co-host, Becca Miles, and Rose & Alan.
I start off talking about gender roles, and normative behaviour and the difference – and there is one! – between gender and biological sex. The poem I’ll do is based on poems written by a well-meaning guy in the early 2000s. He ran an open mic in Borders, in Stamford CT and that’s where I met Alan. This guy was a decent man but OH MY he thought rigidly about ‘men’ and ‘women’ and is the sort of person who makes sweeping statements, with conviction, along the lines of “Women do this and Men do that” and “All women want this”, and so on. Ghastly. So, I’ll read a poem from 2002 that replies to such biological determinism. Then I’m turning this over to Kit who will talk about gender more coherently than an old-school physical anthropologist who looks at skeletons and tries to determine PROBABLE sex. But I’ll never be able to tell what someone’s gender was. Like disability and race, gender is a social construct.
After The Poetry Show: Composer Nick Williams.
From Nick’s online bio: “Nick Williams studied music at York and Huddersfield universities. In 1982 he co-founded Soundpool, an organisation of York-based composers and performers. In 1989 to 1991, Nick was composer and performer with Snapdragon Circus, a company which brought together theatre, dance, circus and music and toured extensively with them.
“His music draws on minimalism, modernism and the immediacy of post-punk to create what The Times called ‘a hyperactive…postminimalism’ that has affinities with the urban energy of New York’s Bang On A Can composers and the rhythmic conceptualism of the Hague School.”
Let’s find out how circus and composing go together, and how we can all bring a bit of hyperactive postminimalism into our lives.