Spoken Ode

I’ve discovered that the odes of ancient Greece have come full circle in the form of spoken word poetry. From Pindar’s epinician songs and Sappho’s lyrics to the unsung odes of Horace, Keats, Auden and Tate, we now have spoken word—or ‘spoken odes’, as I like to call it.

When I imagine a performance of the classic Greek ode, complete with a display of choral chant, dance and lyre accompaniment, I find it difficult to draw a parallel between that and the musical hip-hop theatrical storytelling of spoken word. And yet, when I look at the intended ideas behind these different genres, I can see how they converge.

Kevin Coval’s Ode to Footwork celebrates the creativity of Chicago youth, while Pindar’s victory odes celebrates the athletic prowess of young Olympians. Both draw on some intangible inspiration as basis for their poetic works. Both are intended for performance. Both make use of music, sound and dance to connect with audiences.

One of my favourite works is Sarah Kay’s If I Should Have a Daughter… The rich language, metaphors, striking imagery and swift transitions all echo the traditions of Greek odes. Moreover, Kay’s rhythmic incantations that break into song “There’ll be days like this my momma said” is what defines an ode. The word ode comes from the Greek word aeidein meaning “to sing or chant”.

I wonder if Pindar or Sappho could have predicted the extent of their influence. Perhaps they would have enjoyed the rap-like recitation and word play of Jessie Oliver’s Wake Up.

Whether we call it an ode, spoken word or even spoken ode, I am inclined to try my hand at voicing my own inspirations. I may not be able to mimic the mastery of Pindar’s triadic forms or Sappho’s lyrical genius, but I hope to incorporate those ‘intended ideas’.

Stay tuned.