~ live readings and documentaries ~

Event: Awakening to Timelessness

An evening of film, poetry and music in New Zealand, inspired by Titirangi and its rainforest surrounds on 18th June 2024.

The programme at this live event includes live poetry readings with musicians and a dancer as well as films. The organisers say:

Ron Riddell will read selections from his recent poetry books, with translations in Spanish by Saray Torres de Riddell. He will be accompanied on Raeul Pierard on cello and Stuart Lithgow on oboe.

Gus Simonovic will present a series of his works in an improvised dialogue with the musicians and a contemporary dancer. In his own words: “For a poet, any language is just one big playground. Poetry exists somewhere in the illusive space between words and music. Trying to fit visible and invisible, shapes and figures, radiances and feelings into words is essentially an impossible task and a thrilling challenge.”

Martin Sercombe will present cine collaborations with Ron Riddell and Gus Simonovic, alongside short films inspired by the poetry of e.e. cummings.

Poetry Film in Conversation: Janet Lees, Lee Campbell and Kathy Gee

This coming Thursday, 14th September at 19:30 BST/14:30 EDT, join Helen Dewbery on Zoom via Eventbrite for the latest installment of the series Poetry Film in Conversation from Poetry Film Live, with support from the Lyra Bristol Poetry Festival. This time she’ll be talking with three poets who make their own poetry films: Kathy Gee, Lee Campbell and Janet Lees, asking about their processes and raising the question “Why make a poetry film?”

Janet Lees is a lens-based artist and poet. Her films have been selected for many festivals and prizes, including the ZEBRA Poetry Film Festival, the International Videopoetry Festival and the Aesthetica Art Prize. In 2021 she won the Ó Bhéal International Poetry-Film Competition, and in 2022 her work featured in the landmark exhibition Poets with a Video Camera: Poetry Film 1980 to 2020. Janet’s poetry and art photography have been widely published and exhibited.

Kathy Gee studied history and archaeology, worked as a museum curator, established and directed a regional government agency, ran an independent museum consultancy and retrained as a leadership coach. She is now a poet. Checkout (2019) and Book of Bones (2016) were both published by V. Press. She has been shortlisted in the Ó Bhéal International Poetry-Film Competition.

Dr Lee Campbell’s poetry films have been selected for many international film festivals since 2019. His film SEE ME: A Walk Through London’s Gay Soho 1994 and 2020 (2021) won Best Experimental Film at Ealing Film Festival, London 2022 and shortlisted for Out-Spoken Prize for Poetry 2023 at the Southbank Centre, London in 2023. Insta and Twitter @leejjcampbell

Thoughts on Poetry & Image Symposium at MERL, Reading, UK

A month ago, in June 2022, I attended ‘Poetry & Image: a symposium’ held at the Museum of English Rural Life (MERL) in Reading, UK. The event is a collaboration between the University of Reading and Oxford Brookes Poetry Centre with talks, poetry readings and discussions. It was jointly hosted by the equally welcoming Professor Steven Matthews (Reading) and Dr Niall Munro (Oxford Brookes). I attended because: a) it’s local for me, b) it’s free and c) who doesn’t still want to take every opportunity to do something in person again?

This event is coming very much from the point of view of poets and writers, so I wasn’t initially going to write anything about the event for Moving Poems. However, looking back over my notes a month later, I realised that there was one very interesting thing that I wanted to share. A common thread that ran through the presentations and discussions throughout the day was the extent to which writers are mystified by, or in awe of, images and artists. In the case of ekphrastic writing a big worry was how can a poet possibly do justice to the image/sculpture/artwork of an artist?

My response, in conversation with Niall Munro, was how all those thoughts happen the other way around as well. As a filmmaker I am thinking about how can I create something in images and am worrying about what the poet might make of what I’ve done and how dare I mess around with their work. I pass this on here because I imagine that it might help many filmmakers to realise that the poets are just as intimidated by us as image-makers as we might be by them as wordsmiths. Once we get past our fears, and in collaboration, we can create some very exciting things.

And lastly – I forget exactly how this poem was introduced on the day, but I encourage you to read ‘Why I am Not a Painter by Frank O’Hara’ As creatives we are different, but also so much the same.

News Round-Up: Pandemic Edition

“Why Poetry?” Video Podcast Special on Poetry Film with Lucy English


This is such an excellent look at the role of collaboration in poetry film-making. A very well-edited and satisfying program, focusing on Lucy English’s Book of Hours project, it ought to work well as an introduction to the genre for poets and filmmakers alike.

Ó Bhéal Poetry-Film Competition Open for Submissions

Guidelines here.

Weimar Poetry Film Award: Festival Postponed, Deadline Extended

Guidelines here.

FVPS Deadline Extended and The Symposium Postponed until Fall 2020

“The Film and Video Poetry Society will postpone our 3rd annual symposium; we are hopeful, and are committed to rescheduling for fall 2020. Submissions remain open and our deadline extended to August 3, 2020.” More here.

Newlyn PZ Poetry Film Competition Winners Announced

The 2020 Newlyn PZ Film Festival was cancelled, but we still know the winners of the poetry film competition thanks to a post at the increasingly indispensable Liberated Words website.

Cadence Video Poetry Festival, Other Film Festivals Move Online

Rather than cancel entirely, the Cadence Video Poetry Festival made the choice of screening films online in five screenings on 15-19 April. A number of other film festivals are opting to screen films online for a few days as well. It’s a shame that so many film festivals bar submissions of films that are freely available online. Otherwise it might be possible for Cadence and others to post all competition films to the web on a permanent basis, and people with dodgier internet connections (including myself) would have an easier time watching them. If the pandemic makes meat-space festivals impossible for the next couple of years, as seems possible, some festivals might end up doing a 180 and requiring all submissions to be available on the web. That would certainly shake things up!

Visible Poetry Project Films All Online

The Visible Poetry Project is one web-first, festival-like thing that wasn’t hurt by the pandemic. A film went up each day in April, and you can watch them all on their website.

New Book on Videopoetry by Valerie LeBlanc and Daniel H. Dugas

Books on or about videopoetry are a rarity, and this one is available for free as a PDF, with a print version due out later this year. Here’s Sarah Tremlett’s mini review. It’s cool to be able to read about the making of a film and then click a live link to watch it. I’ll be interested to see whether the print edition includes QR codes allowing readers with mobile phones to watch the films as they read.

Online “Festival of Hope” Features Videopoetry

This is a cool festival. And it looks as if the films may remain live for a while.

Corona! Shut Down? Open Call and Ongoing Release of Videos

New Media 2020 Corona Festival banner

It’s not just for poetry videos, but this is well worth checking out — and submitting to. As they say, “Corona isn’t the plague, and not all infected people are gonna be dying. Probably, the crisis is a wake-up call – to rethink and change!?”

Ground-breaking documentary about videopoetry now at Vimeo On Demand

At long last, the documentary Versogramas or Verses&Frames by Galician director Belén Montero—a unique, multicultural look at contemporary videopoetry through the eyes of 14 filmmakers—is available to watch on the web:

We have great news to share with you: Verses&Frames is now available at Vimeo On Demand. Watch it here!

Now you can enjoy the documentary at home, at any time, for a really low price. Moreover, we have released all the different linguistic versions of Verses&Frames, so you can choose five screening possibilities: original version in Galician with Galician subtitles, Spanish version with Spanish subtitles, English version with English subtitles, reduced Spanish and reduced English versions.

This is how it works: For 3€ you can “rent” the screening of the version you choose. It will be available for 24 hours so you can watch the documentary as many times as you want. You can reproduce it on iOS, Android, Apple TV, Roku and Chromecast.

One of our main objectives when producing Verses&Frames has always been to contribute to the knowledge, research, enjoyment and diffusion of videopoetry. As well as the screenings conducted at festivals, museums and television, we believe that this is a good way to deliver the content of the documentary directly to the public, and to share with you all the emotions that videopoetry arises.

So, just a click away: Verses&Frames On Demand.

That rental price in US dollars is just $3.32. The Vimeo description doesn’t include links to the videopoets interviewed in the film, but you can find that on the project’s website (also available in three languages). I wrote a somewhat critical but generally positive review of Versogramas for Poetryfilm Magazine in 2018. I wrote, in part, that

The interviews are creatively shot and well edited, and the interviewees all come across as fascinating people with uniquely unconventional approaches to making poetry and art. There wasn’t one of them whom I didn’t want to immediately track down on the web and watch every one of their videos, and I was pleased by how many of them were new to me, either because their work had never been translated into English, or because they just hadn’t happened to have crossed my radar.

This is testimony to the sheer breadth of the international videopoetry community, I think. It’s impressive that the producers can focus on just one part of the world—Spain, especially the Galician region—add a handful of filmmakers and videopoets from outside that region, and still end up with a highly varied, complete-feeling snapshot of the state of videopoetry in the 21st century.

So go check it out! I know I for one will definitely be watching it again.

The Art of Poetry Film with Cheryl Gross: Brent Green and Sam Green

A few weeks ago I had the pleasure of seeing Brent Green and Sam Green: Live Cinema at BAM’s (Brooklyn Academy Of Music‘s) Next Wave Festival.

I love alternative multimedia theater, especially when it includes animation. What was so special about this show was the fact that it’s not just the entertainment, it’s the whole experience. From the moment you walk into the theater and wait to be seated, the show begins. Seating is on a first-come basis and a good portion of it consists of old furniture. I had the pleasure of sharing a couch with the person I came with. A cash bar was available and everyone was encouraged to take advantage before and during the performance.

The show was billed as “live cinema.” I had never heard of Sam or Brent Green before this. As it turns out they are cousins and well known in the art world. Their credits include Sundance, Whitney Biennial and MOMA.

Sam is a filmmaker specializing in documentaries. What makes his work special is the fact that he chooses topics that are not necessarily what one would expect. The World’s Largest Shopping Mall, The Oldest Person in The World and a pet cemetery in Ohio (I believe the pet cemetery is a work in progress) are three examples. Although the theme may seem a little dark, there was nothing depressing about it. They were done with love and humor.

Brent on the other hand is the poet, musician and self-taught animator. A master of slam poetry, he too is considered a documentarian by Sundance.

Much of Brent’s storytelling is observational and unusual. His narrative is without judgment and reservation (OK, some judgment, but no reservation). He’s just reporting the facts and like Sam uses humor, which adds to the quirkiness to the show. Both artists set their stories to Brent’s animation and music. He reminds me of an older Bob Dylan, raw and fresh. In my opinion he is the quintessential Outsider artist.

I would say that if were to consider any of this video poetry, Brent would win hands-down. His animations are rough, exquisite and captivating. Hearing him recite his poetry live as opposed to on YouTube makes a huge difference. His ability to slam the story actually gave me chills.

It’s good to know that there are those out there who embrace subterranean lifestyles and spin them into art. If you can catch the performance at some point I highly recommend it.

Check out Brent Green’s work on Vimeo. Here’s an example:

#BlackPoetsSpeakOut: poetry video as a tool for online activism

News coverage of the nationwide response to the grand jury’s decision in Ferguson, Missouri this week has focused on the protests in the streets, but reaction online has been just as intense. This is nowhere more visible than on Twitter, where hashtags such as #FergusonDecision and #BlackLivesMatter have been trending all week, shared by white and black users alike. One slightly less visible hashtag, #BlackPoetsSpeakOut, is continuing to gather steam, and really shows how people can mobilize on social media and online video hosting sites to share topical poetry and raise consciousness. According to the blog Cultural Front, it began with a group of Cave Canem poets on Facebook.

In solidarity with the movements to address racial injustices related to police brutality, including the killing of Michael Brown, poets have been reading poems online under the hashtag #BlackPoetsSpeakOut.

The project came about from a brainstorming session between Amanda Johnston, Mahogany “Mo” Browne, Jonterri Gadson, Jericho Brown, Sherina Rodriguez, & Maya Washington on a Cave Canem Facebook group. Together, they developed a posting strategy.

The readings open with the statement “I am a black poet who will not remain silent while this nation murders black people. I have a right to be angry.”

Click through for Cultural Front’s selection of links to some of the pieces.

It’s interesting to see Facebook (where some of the videos are also hosted), YouTube, and Twitter all being used in concert. Twitter has long had a high adoption rate among African Americans — so much so that “Black Twitter” has become a unique sociopolitical phenomenon.

Black Twitter is a cultural identity on the Twitter social network focused on issues of interest to the black community, particularly in the United States. Feminista Jones described it in Salon as “a collective of active, primarily African-American Twitter users who have created a virtual community … [and are] proving adept at bringing about a wide range of sociopolitical changes.” […]

According to a 2013 report by the Pew Research Center, 26 percent of African Americans who use the Internet use Twitter, compared to 14 percent of online white, non-Hispanic Americans. In addition, 11 percent of African American Twitter users say they use Twitter at least once a day, compared to 3 percent of white users.

It’s perhaps not surprising that Black Twitter would rally around a campaign to share poetry, given the value placed on the adroit use of language. Quoting again from the Wikipedia article:

Several writers see Black Twitter interaction as a form of signifyin’, wordplay involving tropes such as irony and hyperbole. André Brock states that the Black Tweeter is the signifier, while the hashtag is signifier, sign and signified, “marking … the concept to be signified, the cultural context within which the tweet should be understood, and the ‘call’ awaiting a response.” He writes: “Tweet-as-signifyin’, then, can be understood as a discursive, public performance of Black identity.”

Sarah Florini of UW-Madison also interprets Black Twitter within the context of signifyin’. She writes that race is normally “deeply tied to corporeal signifiers”; in the absence of the body, black users display their racial identities through wordplay and other language that shows knowledge of black culture. Black Twitter has become an important platform for this performance.

(Click through for more, including links and footnotes.)

For maximum viewing convenience, here’s a YouTube playlist. You can also search Facebook and Tumblr. (Decentralized movements are the best kind, but they can be challenging to keep up with!)

YouTube video of slam poet Julia Engelmann surpasses 7 million views

With 7,061,845 views to date, this video has set a new popularity benchmark for online poetry videos. It was first uploaded on July 1, 2013, and I’m not sure how rapidly it gained popularity — probably not quite rapidly enough to qualify as viral in the strict sense of virality according to that quote I shared in my post about “Speke, Parrot” last month: “A video … is ‘viral’ if it gets more than 5 million views in a 3-7 day period.” But I think we can agree that given the relative lack of popularity poets enjoy in Western European societies, 7 million views is extraordinary. “Speke Parrot” attracted the attention of the BBC after just 110,000 views in four days.

I’m indebted to Martina Pfeiler for bringing this video to my attention. I don’t know any German, so I asked her what the poem was about. She replied,

Julia Engelmann takes up Asaf Avidan’s Reckoning Song (One Day), which has 16,000,000 hits on YouTube. In numerous stanzas she talks about procrastinating on things rather than taking one’s life into one’s own hands. The final part of the poem turns into an appeal to do the things one really likes to do, so that by the end of one’s life one may have a chance to tell the stories that one really wants to tell about one’s life.

Third Form and Swoon’s View columns feature poetry documentary projects

As usual, the first of May saw new columns by Erica Goss and Marc Neys in their respective columns in Connotation Press and Awkword Paper Cut, and as usual, both were well worth checking out. What was more unusual is that each columnist chose to focus on a documentary-stye poetry video. In her “Third Form” column, Goss interviewed the makers of a fascinating Pakistani film (which I included on Moving Poems several months ago), Danatum Passu, by Shehrbano Saiyid and Zoheb Veljee. I was especially struck by the fact that it all started by chance, which is how so much good art gets made, I think. And the technological challenges of filming and recording in the remote Hunza valley makes for an entertaining and inspiring story. Here’s a snippet:

“No one has ever recorded the people of the Hunza – at least their music – before,” Zoheb said. The video tells the story of a poem written by Hunza poet Shahid Akhtar, transformed into a song, and sung by the children of Passu and nearby small towns. “Danatum Passu” loosely translates to “Passu’s Open Field.”

The poet, Shahid Akhtar, writes in Wakhi, a language derived from ancient Persian. He worked in obscurity until now, and has never before been published. Zoheb and Shehrbano discovered him via a tip from a local cab driver. “There are few land lines and limited cell connectivity where Shahid lives,” Zoheb said. “I had to wait for him for hours after I arrived, drinking tea with his relatives.” Akhtar’s song, “Danatum Passu,” is the theme of the video, and carries a message of the danger of losing one’s culture. “It has a strong impact when children sing it,” Zoheb said.

“Danatum Passu” is part of a longer documentary that Shehrbano is working on about spirituality and music in this part of the world. “Theirs is a singing community: music and religion are wound together. The children gain confidence through music and performing. They have exposure to music through early religious training,” she said. “The story is about the musicians of Gojal, the socio-economic challenges they face in their daily lives, and in bringing their talent to a wider global audience. The documentary focuses on children – two in particular – with a love for music, and shows Zoheb’s process of discovering and recording music, poetry and artists. He is the thread that binds together the musicians, the unity and diversity of music across Gojal.” The documentary uses music to demonstrate the area’s people and their “deep sense of pride for their land and heritage,” especially in the face of repeated natural disasters; for example, the 2010 landslide that hit the Gojal village of Atabad.

Do read the rest.

Meanwhile, in his “Swoon’s View” column, Neys describes another documentary about kids, these ones in Britain: We Are Poets, by Alex Ramseyer-Bache and Daniel Lucchesi.

In the age of Facebook and digital communication, a remarkable group of British teenagers have chosen to define themselves through one of the most ancient, and potent, forms of culture out there – the spoken poem. WE ARE POETS intimately follows the lives and words of the UK’s multi-ethnic noughties generation as the Leeds Young Authors poetry team prepare for a transformational journey of a lifetime, from the red bricked back streets of inner city North England, to a stage in front of the White House at Brave New Voices – the world’s most prestigious poetry slam competition. Anyone tempted to dismiss today’s youth as politically apathetic better pay heed – here is electrifying evidence to the contrary.

Lucchesi and Ramseyer-Bache did a good job creating a narrative line in the film (the Leeds Young Authors performance in the competition creating the needed tension) but they kept the structure loose enough to give the characters and scenes time to develop and breathe.

The whole film is heartfelt and every performance is raw and attractive. If you don’t have any interest in spoken poetry, you should really try to see this film because it might open you up to a whole new view on this form of poetry. You’ll get sucked into it each time someone stands in front of the mic and belts out another beautiful stanza.

Read the rest and view the trailer.

Transatlantic Poetry has a new home on the web

Transatlantic Poetry, the YouTube- and Google+ Hangouts-enabled online reading space for British and American poets founded last summer by Robert Peake, has a brand new website on its own URL, translatlanticpoetry.com. Please adjust your links and bookmarks. Peake writes,

Since our first broadcast in July, TRANSATLANTIC Poetry has featured 25 poets in nearly ten hours of poetry readings and conversations, garnering upwards of 2,200 views in 67 countries. We have done this with the help of five outstanding poetry broadcast partners, and are in conversation with several others. So, it only seems right that what began as a simple portal page on my personal website should now fledge to its own domain.

Part of the intent of the new site is to support partners with the tools they need to promote and host their own shows autonomously. From the beginning, my intention has been not only to take them fishing for world-class poetry programming, but also to teach them to fish in this big ocean of new technology. Giving the community its own dedicated website is therefore another step toward my assuming an increasing educational and supportive role in relation to these readings.

For now, the site is basically a copy of the old portal page. Over time, I expect it to expand, and hope to include new voices in the news section as partners step to the fore to promote their programming. We have excellent poets, excellent partners, and an excellent audience. Over time, we hope to have an excellent website as well.

It already looks pretty damn good to me.

Doing videopoetry live, karaoke-style

I have an essay up at Voice Alpha, a group blog about reading poetry alive for an audience, on the unique challenges and rewards of doing a live reading accompanied by “karaoke” versions of videopoems — videopoems from which the poem has been stripped. I began by discussing a terrific example of this kind of performance which I’d been lucky enough to see this summer at the Filmpoem Festival in Dunbar, Scotland — the inspiration for my own first venture into videopoem karaoke this past Wednesday. Here’s part of what I concluded:

There was simply no question that I’d have to practice my ass off for a couple of days in advance, reading the poems over and over while the videos played in a VLC playlist on my laptop. With regular poetry readings, practice might seem optional (at least to poets who don’t read this site), but with audiovisual accompaniment, you have to come in on cue or the whole thing flops. I had assumed the screen would be behind me and prepared accordingly, but with it situated to my right, I didn’t have to glance exclusively at my laptop for visual cues.

Complete memorization of the poems would not have been a bad thing, much as I resist internalizing my own words to that degree. I wouldn’t have had to fumble with a book and set list, and possibly could’ve engaged more with the audience. However, with the audience focused on the screen, what really mattered was my vocal delivery, not eye contact. And with the accompanying music being generally melodic and at points down-right funky, it took off the pressure to give an absolutely flawless reading. So in a way, this approach offers a bit of a crutch to those of us (95% of poets?) who are not highly skilled performers.

There’s nothing like a live reading to improve one’s delivery, though. I had been afraid that the necessity to sync up my reading with prerecorded music and images might make for kind of a mechanical delivery, but I don’t think that happened. In fact, for some of the poems in the set, I found myself reading in a more intense, impassioned style than I used when I’d recorded myself alone in a quiet bedroom for the online versions of the videopoems. And since I had to pay close attention to the music for many of my cues, I think this approach actually improved my over-all sense of timing and rhythm.

I’d love to hear impressions from other poets who have given audio-visually enhanced readings. I know of quite a few.

Live poetry readings on the web: the Transatlantic Poetry Community

The Transatlantic Poetry Community on Google+ is doing something which, as far as I know, has never been done before on such a large scale (and with such major poets): delivering regular, live readings of poetry over the web. It uses “Hangouts on Air,” which are basically souped-up Google Hangouts saved instantly to YouTube, where past readings are archived. Each show so far has paired a poet from the U.S. with a poet from the U.K., each reading for 20 minutes to half an hour, followed by a joint Q&A in response to questions submitted on the Google page or on Facebook. Here are Michelle Bitting and Andrew Phillip; Jane Hirshfield and George Szirtes; and Marvin Bell and Esther Morgan.

The next reading is on Sunday, October 13, and features a half-dozen British poets: Katy Evans-Bush, Isabel Galleymore, Chris McCabe, Andrew Philip again, Paul Stephenson, and Claire Trévien. It’s part one of a two-part series in cooperation with Silk Road Review, which will conclude on Saturday, October 19.

I commend the organizer, Robert Peake, for what must be a tremendous amount of work, drawing on his expertise as a tech consultant as well as an American expatriate poet living outside of London. A page on his website is actually the best, most uncluttered place to bookmark for news and videos of the readings. It includes a stats counter for total views on the videos: 887 views in 43 countries as of October 4. His latest post on that page is a manifesto which outlines an ambitious program for expansion and partnering.

One does of course need a fairly good broadband connection to watch the readings live; I haven’t been able to watch it here in rural Pennsylvania, though I did enjoy the first two shows this summer when I was in London. Peake is a very good live host, and I’ve also been impressed by how politely but firmly he’s dealt with the narcissists on the Google community page who only want to post their own (inevitably terrible) poems. The show has had a few technical difficulties: an abrupt cut-off a few minutes from the end of the first show, and a muffled reading from Marvin Bell which required a make-up (non-live) reading video. Obviously for Hangouts on Air to work, care needs to be taken that participants have good cameras and microphones. But beyond the technical limitations are the inherent problems of reading poetry to an unseen, unheard audience. When I met Andrew Philip at the Filmpoem Festival in early August, I asked him how he’d handled that. He said something like, “It was strange at first, but I got used to it after a while.” I find I don’t enjoy the readings as much as I enjoy videos of readings before live audiences because I miss that feedback from the audience. Perhaps as the audience for Transatlantic Poetry builds, live reactions via Google, Facebook and Twitter can be given more prominence — integrated into a combined stream, perhaps, right beside or beneath the embedded video on Peake’s website? Barring that, I guess I’d prefer shorter readings and more time devoted to conversation between the poets and with the host. Another thing that seems slightly odd to me is the lack of any mention of Canada so far.

But enough of my obnoxious criticisms! Join the community and spread the word. I’ll conclude with a quote from the end of Peake’s manifesto:

What Transatlantic Poetry on Air ultimately represents is something greater than the sum of its parts. It is a manifestation of the growing trend of communication technology breaking down geographic barriers for poets and poetry-lovers to connect. Furthermore, the approach is economical, environmentally friendly, and accessible for those with restricted mobility.

In addition to the technological paradigm shift, enabling us to engage poets and their audiences in new ways, there is great interest overall for poets and poetry-lovers to connect globally. Poets on one side of the Atlantic recognise that they have much to gain from exposure to their counterparts across the sea. Transatlantic Poetry on Air therefore lies at the intersection between what poets and poetry-lovers increasingly want, and what is increasingly possible.

Transatlantic Poetry on Air aims to produce enjoyable, high-quality experiences throughout the lifecycle of each event for everyone involved. It aims also to be guided by its stated purpose and principles to evolve and expand over time, making it a fulcrum for the upliftment of global poetry in the twenty-first century.