Dasan: Yeah.

ZM:Why do you think this is? Is it lack of appreciation for the arts? Or rather, a lack of exposure?

Dasan: Yeah, both. I think there's a correlation. And the south in general, particularly North Carolina is not known for its overall artistic culture, such as say D.C., or New York, or Atlanta--so they don't really know it's here. They don't expect it, and therefore don't seek it out...Initially, I gained personal support in my early college years from Greensboro's eclectic culture. Later, I was professionally exposed via Virginia--overall, they have a stronger support network for regional artists. Here in the Triangle, my association with other artists played a key role in molding both the local movement and my personal development. Performing at events such as The Cypher , and coming into contact with key players like Matt Sherman and Tracey Evora was instrumental in the shaping of my voice.

ZM:How do you feel about the larger mainstream influence, with regards to its impact on receptivity to the literary arts in particular?

Dasan: Well, movies like Slam and Love Jones definitely helped spread an interest. But again, for this area it's still a bit of a self-contained movement.

ZM:Are the artists accountable for any of this? Artists' circles in general are known for being received as cliquish and perhaps a bit standoffish.

Dasan: Slightly. But I'll tell you why. When there are large turn outs for events, people are often there for the social element. And then there are the mechanics of venue playing. Where a promoter can be rather insensitive to the needs of the artist, and is more concerned with promoting an event. The art form then becomes a backdrop for a purely social function.

ZM: I see. Where people are just jumping on the bandwagon because it's 'cool,' not necessarily for true interest in the art…I imagine it can be frustrating. I suppose that's where the whole mainstream backlash comes from--and how the 'underground' tends to rise to elitist ranks. Be it appropriate or not.

Dasan: Yeah. But I mean, I say to other artists, don't complain. Some tend to view the popularization of an art form as the bastardization of it. But I say to take advantage of it. It's the time to 'not be a starving artist' and actually receive payment for your work. As long as it's not viewed as being a long-term way of sustenance. It's like catching a wave: grab the mainstream audience, promote name recognition, and most importantly--bring others along as you rise. It's about a choice: defensiveness versus growth.

ZM: HBO's Def Poetry Jam has certainly contributed to the popularization of spoken word. And I agree with you, I don't think that it necessarily has to negate the purity of the art.

Dasan: Exactly. It can definitely be a plus to gain new exposure. But when you're dealing with a crowd that's unfamiliar, it can entail some inconveniences. For instance, when dealing with brand new audiences, sometimes you might have to train the crowd to be quiet. So yes, Def Poetry Jam certainly made it easier, as far exposure of the art form to a broader audience.

But the artist has to take personal responsibility as well for fostering the art. There's not a lot of 'top-down' dialogue. I know I've tried to do this myself. I used to perform at Yancey's Blues Café in the City Market, and I would often involve the audience by using various interactive chants. They were especially receptive to hooks from popular mainstream R&B and hip-hop acts. I'd use a riff from say Ashanti or Cash Money--the crowd would really get into it. Of course for many, that would be the highlight of the performance. But for some, you could tell it was the bait needed to reel them fully in.