Lisa Kelly: Building on foundations for deaf poets entering Forward Prizes for Poetry (BSL)

Deaf poets performing in British Sign Language (BSL) or Visual Vernacular (VV) thinking of entering the Forward Prizes for Poetry need to be aware of rule changes, including that poems must be filmed in front of a live audience. 

Last year I was on the panel of five judges for the prizes which is the most influential award for new poetry in the UK and Ireland, and advocated for Deaf poets creating in BSL or VV to have their poems eligible for the Best Single Poem – Performed category to broaden the scope of submissions.

It involved a lot of discussion about the best way to promote this new development and how to make connections with the Deaf community. Ultimately, it was a great success, and we had submissions from many Deaf poets and two of them – Raymond Antrobus and Zoë McWhinney – went on to be included in the prestigious shortlist and perform their poems live at the awards ceremony at the Southbank Centre last November in front of a packed audience. 

Antrobus who performed his shortlisted poem ‘Dynamic Disks, 1933’ believes the inclusion is a positive step: “I think it is good for BSL and VV poems to be on the shortlist because it expands what British language poetry is,” he says.

It underscores that sign language poetry should have its place in the canon and has lots to offer the discourse about performance poetry.

“BSL and VV poetry can be easily dismissed as a kind of theatrical dance by hearing audiences, but more exposure and critical thinking on what a good performed poem is, enriches the conversation,” he says.

Zoë McWhinney, who electrified the audience with her VV performance of ‘The portrait and the skylight’, agrees that this level of visibility for performed signed poetry pushes recognition for Deaf culture.

“I signed my poem in front of over 900 people. It was like we already won, even if maybe the world wasn’t ready to fully embrace BSL as part of the British cultural landscape, we are here and visibility and presence of sign language and Deaf self-expression in our literature is more important than ever,” she says.

“It was such an honour to receive my copy of the anthology, with my very own poem printed alongside a few fellow BSL people, such as Ray and hearing poet Bebe Ashley who wrote about sign language,” she adds.

McWhinney hopes the momentum will continue in 2026 and that Deaf poets will “keep on claiming our seats and one day, making BSL mainstream” but it is important that Deaf poets are aware of rule changes for this category if they want to submit.

With the 15th March deadline approaching, it is vital to know about the live performance requirement:

“Unlike previous years, this year we are asking that the poem be recorded in front of a live audience. It doesn’t have to be a formally organized night. Even a more informal performance in front of a small audience is sufficient. But it’s critical the judges can see how the performer engages with their audience.”

The rule change spotlights the need for more spaces for Deaf BSL and VV poets to share their work in front of live audiences. Many of the entries from Deaf poets last year were filmed straight to camera without a live audience. They would not be eligible under the rule change.

“Absolutely yes, we need the spaces to create, improvise and shine. BSL poetry Slam championships, poetry nights, VV medley and so on. People need somewhere to feel invigorated, entertained and to start standing up and showing our Deaf communities their dreams, perspective and visions in signs,” says McWhinney whose performance of her poem was filmed on a smartphone at a Night in Sign, part of the Deptford Literature Festival.

Other rule changes for entries to category D include having a track record of working in the form that must fit at least two of the following criteria: featuring in or regular performance in a spoken word/open mike night; two years of developing your practice outside a formal educational context; working with a mentor/workshop leader to develop your practice; and/or significant prizes, fellowships or residencies to allow you to develop your creative work.

The Forward Arts Foundation highlights: “Please note that because this is a new category, we are exploring and testing our approach to learn and grow from year to year. It’s then important to read updated guidance carefully.”

While I am not a judge this year, I was delighted that my fellow judges were very open to learning more about Deaf culture and Deaf poetry. Having a transcript in English as an aid allowed them to appreciate and understand the nuances of performances, and audiences were thrilled to celebrate Antrobus’ and McWhinney’s performed poems at the Southbank Centre. 

I am hoping that Deaf poets will find a venue, an event or organise an informal gathering where they can perform their BSL or VV poem in front of a live audience and enter the prize and gain recognition this year – a hope shared by McWhinney: 

“Audiences can realise the immense value signing brings to everyone – deaf, deafened and hearing,” she says.

The full entry guidance in BSL for Category D can be found here: Entry guidance – Forward Arts Foundation

Raymond Antrobus, ‘Dynamic Disks, 1933’ Dynamic Disks, 1933 – Forward Arts Foundation

Zoë McWhinney, ‘The portrait and the skylight’ The portrait and the skylight – Forward Arts Foundation

Lisa Kelly’s The House of the Interpreter (Carcanet) was a PBS Summer 2023 Recommendation. Shortlisted for the 2024 Forward Prize for Best Single Poem – Written, she was a 2025 judge. She is an AHRC-funded PhD researcher at the University of Birmingham, exploring the climate crisis through British Sign Language. Lisa Kelly