| The amazing resurgence of Performance Bush Poetry over the last few years has worked wonders to restore a flagging art.
A good performance poem, however, is not necessarily a good written poem. Give a good performer a poem that is funny - a little rude, even - and he/she can stretch or cramp the stress and place the emphasis where needed to make it flow and be hilariously entertaining.
Place the same poem under bare scrutiny on a written page and the faults are obvious. I believe both performance and written poetry have an important part to play in this fascinating world of Bush Verse. Some poets make a good job of both.
The wonderful poetry of Paterson, Lawson and Ogilvie should not be allowed to become a thing of the past. A number of poets across Australia are making a valiant effort to keep this Bush Verse alive and up to a high standard. Take a look at Veronica Weal’s Blackened Billy winner in an issue of the ABPA magazine, for example. What a pleasure it is to read.
Writing and performing Bush Verse is my great love, but I regard it as two different arts. Neither of my most successful performance poems (Beach House Honeymoon and Luck Can Vary) have won a major award in written competitions.
A few years ago I came up with the idea of using the analogy of the human body to explain the structure of Bush Verse. Content is the Body, Rhyme is the Heart and Metre is the Soul. A person may have a perfect body but not be really complete without a heart and soul, so it is with Bush Verse.
A wonderful story does not make a good poem without good rhyme and metre. The tips I give are for the love of Bush Poetry and a desire to help my fellow poets. If anyone exploits my ideas through workshops etc. for profit (without my express permission) I will be extremely disappointed. next - Rhyme |
