The making of “Dark”: an interview with James E. Kenward
British poet and filmmaker James E. Kenward has a unique approach to musical composition in his poetry films. I wanted to learn a little bit more about that…
Dave Bonta: So many otherwise brilliant poetry films are ruined for me by a faux-classical piano soundtrack—aimless major-key tinkling that many people seem to find atmospheric. I grew up listening to actual classical music, though, and this garbage drives me up the wall. So it was very gratifying to watch DARK, your collaboration with Jane Glennie, and hear classical piano perfectly matched to the mood and rhythm of the piece, leaning on some tasty dissonances—utterly haunting. The parts meshed so well, and what with focusing on the words, I didn’t even recognize that it was an adaptation of a favorite work until the last few seconds.
So what’s your secret? How are you able to achieve this balance where so many other poetry films fall short?
James E. Kenward: Rehearsal!!! For our film scores, we carefully select pieces of music that are in keeping with my poems, sometimes adapting them slightly. I then spend weeks working out how the words fit best into the music – each syllable gradually tending toward a perceived optimum. The pianist and I rehearse intensively to pin down style, dynamic shifts, and key moments, until we are at a point where we can go into the studio, look each other in the eyes, and let go! It has to sound like the vocal part was intended for the music by the composer – a libretto of sorts. It’s a long process, done with a lot of love, and I’m so glad you enjoy the results. In the specific case of ‘Dark’, my nephew Otis Kenward made the new piano arrangement of the Stravinsky at my request, because I thought the juxtaposition of Spring’s arrival with the depths of Dark would be gorgeous. There’s always a chink of light!
What Jane did with it was incredible. She made the duet a trio; when I watch it I feel like she’s jamming with us! A really great balance of artforms – she put a lot of time into considering how to portray Dark in the medium of light, which can’t have been easy! A delicate selection process, in terms of materials. Jane’s amazing. We are so glad that the film was well received in so many places.
Were music and video always a part of your live performances? How did you first get into this collaborative mode of sharing your poetry?
It starts with music and lyricism. I’ve been performing vocals with music for 25 years, having MC’d jungle drum and bass music during my teenage years and twenties, before deciding to concentrate on other forms of poetry. I also wrote and performed in the theatre, with music, and even did lyric-based comedy sketches on the BBC radio.
All the different skillsets, experiences, and people you meet along the way become part of the puzzle. When were thinking of venues to shoot my new poetry film ‘KEY – OR WHO NEEDS THE KEY’, we thought of the Hackney Empire – where I had built bonds earlier, during a musical theatre show. That film, starring T.S Eliot and Polari Prize-winner Joelle Taylor, was my production company, Layerjam’s, third film, the second being DARK, made with Jane, who saw our first film ‘BORNE’, at O-Bhéal in Cork, and approached me after the screening. Jane had the same questions as you do regarding the relationship of music and vocals. When we talked, we knew we had to make something together.
Do you have plans for more?
Our album of poetry and piano features the soundtracks for ‘KEY – OR WHO NEEDS THE KEY’, ‘DARK’ and ‘BORNE’. It goes out this November. There are several new tracks, with music from Tchaikovsky to Alexandre Skrjabin, which we would love to make into films! There will be more concerts. The album actually compliments my illustrated debut-collection Key and Other Poems, which is in the shops now.
Every track on the album is in the book. So, once the album goes out in November, you will be able to read poems that have been hand type-written, scanned, and lithographically printed next to watercolour illustrations; whilst also going to Spotify to listen to the duets, or to view the poetry-films on platforms like Moving Poems!
So thank you. It’s really wonderful to have the opportunity to share. This is a labour of love that we are passionate about. The support of those who work with poetry films, like Moving Poems, feels amazing.
‘Key and Other Poems’ is stocked in Daunt, Waterstones and independent stores. More information about connected artwork from James E. Kenward and collaborators can be found on his website.
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Dave Bonta is a poet, editor, and web publisher from the Appalachian mountains of central Pennsylvania.
