Since 2014, the Brussels Planetarium has been host to a poetry festival that wrangles in the celestial forces to commune with language. The resulting event is a brilliant amalgam of performance, verse, and media, with the latest in immersion technology being applied to transport the audience into the land- and soundscape of the poet’s imagination. This year, our Editor-at-Large MARGENTO reports from the festival, giving us a close-up of the works that lent the city their magic, and the global consciousness a sense of poetry’s endless potentials in the technology age.
Whether in hangover or relapse, (post?)pandemic times seem to be bringing about a bruised euphoria of collectivity and in-person proximity. If not packed concert halls, then outdoor gigs; if not crowded pubs, then nicely scattered and still-animated patios. In the meantime, artists and writers seem even more eager to embrace collaboration or collective action in reinvigorated ways that are nevertheless pungently critical of (post)pandemic prospects of communal life and culture. This year’s edition of Brussels Planetarium Poetry Fest intriguingly captured all of these trends while putting poetry, the arts, science, and, most urgently, the (post)human condition in perspective.
And I mean literally so. The unique venue of the Planetarium and its 3-D affordances can offer a unique experience and a “cosmic” medium poetry has perhaps always striven for, but has rarely had the opportunity to enjoy so palpably. And it is no coincidence that the festival itself has been organized there for eight annual editions (including in the midst of the pandemic in 2020). Indeed, it is not only that the name of the curator himself, Philip Meersman—poet and coordinator of the World Poetry Organization—aurally resonates with “immersion”; the concept has in fact been a long-standing preoccupation with the Belgian slammer, materializing in events such as Brussels Planetarium Poetry Fest or the Inclusive World Poetry Slam Championship (and also a PhD project he is working on at KASK Antwerp on visual poetry as… immersive experience). In his prefatory note in the festival’s programme, Meersman places the theme of the festival—the possible “dialogue between science, religion, immaterial heritage. […] (de)colonization, and white masculinity”—naturally in a celestial context, as “stars guide our most intimate ceremonies” towards a question that he deems prophetic: “How will you remember me?”
On both nights of the festival, therefore, the audience found themselves from the very beginning plunged into an enveloping dark and then instantly hurled into a 3D, 360-degree dome projection that “physically” took them on an overwhelming multidirectional voyage across the universe and among celestial bodies and meteorites. What was even more impressive was that these projections were not simply Planetarium material played as (random) backdrop to poetry acts, but a shrewdly planned and accomplished fusion of the two that involved visuals—contributed by the poets themselves—embedded into, dialoguing with, or even deconstructing the all-engulfing astronomical vistas. As the website puts it, the Planetarium’s technicians have in fact “translated” the poets’ “texts and recordings” into the projection, drawing on existing material but also “specially acquired images, 3D-projection models, photos, and results of scientific research” (my emphasis). READ MORE…
