Writer, performer, and lecturer Kisha Foster

As lecturer and full time student at Cleveland State University with an English major, Kisha lends her voice and kinetic expression to TRiO/Student Support Services, an educational oppportunity program, helping students overcome class, social and cultural barriers. Kisha has participated as a member of the 2003 Cleveland Slam Team, and traveled to Minneapolis, Dallas, Chicago and New Jersey for performances. She also participates in outreaches that benefit area high schools and organizations for the youth, in which she speaks to students about poetry and life situations, and she's working on her debut book of poems, 359 Degrees. Cool Cleveland met up with her for an introductory lesson on spitting (verbal performance poetry), poetry as a personal responsibility to teach, and the influence it has on the greater Cleveland community.

Cool Cleveland: How does the process of writing poetry and performing work for and against each other?
Kisha Foster: Before a poet loses their virginity on the mic, all they know is writing their thoughts, emotions, etc. on paper and reciting them to close friends and family. Once the poet hits the stage and starts the craft of performing, another side is released, and the ego emerges. Then, if the poet isn't grounded in the craft, the ego conflicts with the creativity; the poet tends to only write performance pieces, as opposed to just writing for the love.

What is it like performing in Cleveland compared to other cities, audiences, and venues?
In Cleveland, the majority of the people have seen my performances and are familiar with it. For me, Cleveland venues and audiences are part of my foundation. This is practice, meaning if I can get the people to appreciate my words, then I've accomplished my personal goal. Other cities I have visited are more concerned with if I'm able to spit (perform) on the same level their poets are on, and do I fall short or surpass that level. Overall, I get a good reception whether they love me or hate me, and I know I have earned respect from the people and that's my main concern - respect.

Are you involved in other work that joins the literary with social concerns and issues?
I lecture at local high schools and colleges on poetry and I try to convey to the youth that yes, this is an outlet to send out personal emotions yet, it is also an important art. Poetry and poets bridge the gap within communities, connecting people to each other and their concerns, but mostly my work involves performing.

While writing and performing, are you learning and evolving, and is this an educational process that affects you on a personal level?
I learn new codes. I learn about myself as a writer. In the past I have learned how to indulge in all of the words and subjects intertwined with this art. I also have learned how to write for all people. I am not a woman poet, I am not a black poet, I am a poet and I constantly remind myself of that. Some people may get upset, however, to place a boundary on what I do is crazy. There are no boundaries or measurements. It effects me on a personal level because eventually your personal becomes a part of this career; one is forever learning. A poet must teach and learn because that is the goal; the two go hand in hand. Of course it evolves, you blossom and become better than what you were when you first came out, if there isn't change why stay in it? Anyone can compose a poem, anyone can spit on the mic, yet when you become an influence on someone or a group of people that's when you become aware of your skills and how you create. And that becomes a part of you.

Poetry utilizes expression of deeply intimate issues such as male and female interaction and relationships. What is the state of opposite sex relationships in contemporary culture?
The state of male and female relationships are divided by dishonesty and judgements placed upon and within each other. Society has placed competition in everything since GOD knows how long. The state of male/female relationships are forever changing with the times. Honestly, I do not feel it is a factor in my career.

As a woman writer and performer, what are the gender limitations you have come across in your art, and how does this follow through to your job, your school, and your thinking life?
There aren't any limitations, in my opinion, but I pray no one feels they can limit me or my performance because I am a woman. I am equally, if not more concerned, with the sociopolitical status of this nation and the people as the next male or female writer. There aren't any gender limitations in my eyes, and if there are, I have trained myself to overlook anyone or anything that is not supportive of my craft. On a daily basis, I remind myself that I can do my art better. It is not competition-based, however there are people who feel it is, and I choose not to gravitate toward them; I keep away from all types of deprecating influences and have have no time for evil or malnutritioned thoughts.

Does slamming fit into our culture that values instant gratification more than the activity of reading poetry, and how do you explain this?
Slamming fits in very well for those who want instant gratification. I didn't get into slamming for that, I fell into it. I didn't even realize it was a culture until I went to Chicago last year. Now, being a part of this elite crowd of slammers, I try to keep myself grounded...it can swell the ego and it should not. If people who slam remember at all timies how it felt to initially read and the love that surrounded that part of poetry, that passion, then slamming becomes a special treat. I met a few poets from the Def Poetry Jam Tour earlier in 2004, and they all said they hated slamming; I can definitely understand why. It takes away from what you really want to say as opposed to what those three minutes are telling you to say or what the judges are scoring you to say.

What keeps you engaged in Cleveland with the people and our city's urban, creative environment?
My mother and school. I would love to travel and perform outside of this country. I have to get my BA, because once I start something I have to finish it. I feel that my book has to come out here in this city before I can take it somewhere else: before I can travel and accomplish my goals outside of this city, I have to survive in this city. I must complete my tasks that I have set that have come my way. To leave and take on something else would be incomplete; that would not be fruitful. I have family and a few friends - people who I call my friends - everyone else are associates. Those relationships keep me here in Cleveland and they help me stay balanced. I'm a Jersey girl, and I would love to nest there, however Cleveland is home - this is where my name carries influence for the time being. After I finish my tasks here, other cities and countries will know my name.

Is writing empowering, and how does it affect your role in femininity?
Very empowering, it gives me something to live on. If I were not a writer...I cannot imagine my life without writing. I have been at it for so long, I would be incomplete. I have studied and will continue to study this art, and other writers. I love this craft. It enhances my role as a female, it balances out my womanhood and I love it.

What do you hope your performances teach audiences?
I pray my performances teach audiences that I am a person and I am continuosly making mistakes; I am constantly hurting and displaying my pain in front of them. Whether they appreciate it or not it doesn't bother me - as long as they understand that I am just like them. Sometimes people would like to treat me or other poets of this caliber as being otherwise and sometimes it works. As long as they know that some performances, afterwards, I mingle, go home and wallow in self-pity and other times I go home and celebrate. The point is, I am a person just as my audiences are, and together life can be simple; we can appreciate one anothers' flaws and mishaps. And be happy and joyful doing it. kisha_foster@hotmail.com

Interview and photo by Tisha Nemeth

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