Philip Meersman stands as a towering figure at the intersection of traditional verse, avant garde performance, and global cultural leadership. His journey is a testament to poetry’s evolving power, pushing boundaries in both written and spoken forms, and drawing deeply from current affairs, sociopolitical, and environmental issues.
This feature article celebrates his profound influence and why he is a deserving “Slamily Friday Feature.” His work is described as “overwhelming and wonderful” and he is a multilingual poet and performer based in Brussels, Belgium. His role as a cofounder of the World Poetry Slam Organization and coordinator of the European and World Championships Poetry Slam immediately positions him as a central figure in the global slam community.
The consistent description of Meersman as one who “pushes boundaries” in poetry suggests more than a mere artistic preference; it points to a fundamental philosophical drive. This is not simply about novelty, but about challenging conventional perception and expanding the very definition of poetry itself. His artistic endeavors extend to drawing on current affairs, sociopolitical, and environmental issues often conveying a strong antiwar stance.
Furthermore, his ventures into performance art, combining visual elements with integrated video art and radical sound poetry, and his PhD research into transforming visual poetry into immersive virtual reality experiences, demonstrate a commitment to pushing the medium’s limits. This expansive approach indicates a deeply held belief that poetry must continuously evolve to remain relevant and impactful in a rapidly changing world. It is a philosophical stance that poetry is a dynamic, living art form capable of addressing contemporary challenges and engaging audiences through innovative means.
A Life Woven in Verse: Philip Meersman’s Journey
Philip Meersman was born on May 5, 1971, in Sint Niklaas, a Flemish town near Antwerp, and currently resides in Jette, Brussels.[8] His extensive academic journey began with a Bachelor of Arts and Archaeology (2007–2012) with distinction from Free University Brussels (VUB), where he explored visual poetry as a distinct research field. He continued at VUB, earning a Master of Arts and Archaeology (2012–2015) with great distinction as a working student, specializing in visual arts with a thesis on the definition, research methodology, and historical key figures in visual poetry. Earlier in his academic pursuits, he also completed a Candidate in Law (1989–1992) with merit from Ghent University.
Currently, he is pursuing a PhD in the Arts (2017–2025) at AP University College Antwerp (Royal Academy of Fine Arts Antwerp University of Antwerp). His doctoral research, “The Oral Performance of Visual Poetry,” focuses on developing strategies to translate visual poetry from book, canvas, and object to in situ performances, drawing on the theories of René Magritte and the works of Russian Cubo Futurists from the early 20th century. This exploration delves into the boundaries between poetry, noise, music, installation art, and XR immersive technologies. He also serves as a Visiting Professor of Art History (Academic Years 2023–2004 & 2024–2025), delivering engaging lectures on Art and Cultural History to 1st & 2nd Bachelor students (1500–1800 and 1900–1945). As an Academic Researcher (2023–2024), he has advanced research on “The Color of Language the Language of Color” (CoLLoC), contributing to groundbreaking findings in the intersection of poetry, speech to text technology, graphic design, and art.
Meersman commenced his creative career in the mid 1980s, not only as a poet and sculptor but significantly, as an actor. He performed in seventeen plays and soon became active as a dramatist, creating original plays and translating works like “The Carp” by Bulgarian playwright Rumen Shomov. He also cowrote two plays, “Flight 39.1” (1996) and “Naspel” (2003), with Lieven Vercauteren. This theatrical foundation profoundly influenced his later turn to performance art and his dynamic stage presence. His extensive professional experience also includes roles such as Project Manager at Iriscare, Brussels (2020–2021); Public Procurement Administrator at Enabel (BTC), Brussels (2009–2011); Financial Expert at the Flemish Dept of Foreign Affairs, Brussels (2006–2009); and significant time working in the restaurant business (1989–2006).
Meersman is recognized as an experimental poet with a strong interest in visual and sound poetry. His influences span a diverse range of avant garde traditions, including Soviet Russian poets like Velimir Chlebnikov, futurist Italian poets such as Filippo Tommaso Marinetti, and pioneers of concrete poetry like Ian Hamilton Finlay. He sees himself as an “experimental poet painter and conceptual artist”, an identity that underscores his multidisciplinary approach. His work is often described as having a style that permits the concept of an international language, underlying his strong antiwar stance. In recognition of his contributions to experimental art, he received the “D. Buliuk award for outstanding achievements in the field of avant garde art and the avant garde in research” in 2012.
Meersman’s academic background in Archeology and Art History, combined with his early career as an actor and dramatist, provides a unique interdisciplinary foundation that directly informs his experimental approach to poetry. This suggests that his boundary pushing is not random but rooted in a deep understanding of historical and artistic forms. He teaches avant garde, visual, and performance poetry worldwide, and his PhD research focuses on transforming visual poetry into an immersive XR experience.
He also transforms his poems into sculptural, location bound works of art, dating and tagging them like visual artists to indicate their creation location and the techniques and materials used. This fusion of disciplines means he approaches poetry not just as text, but as a multisensory, spatially aware, and historically informed art form. His multidisciplinary foundation is the bedrock of his experimental and boundary pushing artistic identity, allowing him to bridge historical forms with contemporary innovation.
Beyond the Page: Innovating Performance and Visual Poetry
Meersman’s poetry transcends traditional forms, ranging from narrative and traditional verse to directives for performance pieces, and concrete studies of sound, individual words, and even letters themselves. He masterfully combines visual elements with performance and integrated video art, alongside radical sound poetry. His work is consistently described as “endlessly inventive, creatively confrontational, eager to transgress”, an approach that challenges audiences to “discard all preconceptions and conventional expectations”.
His published works offer a tangible demonstration of this innovative spirit:
- “This is Belgian Chocolate: Manifestations of Poetry” (2014): This collection, published by Three Rooms Press, New York, is notable for its visual poems featuring typographic treatments reminiscent of the Russian constructivist typographer El Lissitzky. Critics praise its “frequent humorous touches” and its ability to translate “sound into verse and verse into sound, creating an incredible experiential form that is a pleasurable, immersive read”. It has been widely described as “overwhelming and wonderful”.
- “There Is Blue Somewhere” (2020): This book moves beyond a mere poetry collection, serving also as a “travel chronicle and exhibition catalogue”. Meersman treats his poems as “sculptural, location bound works of art,” dating and tagging them with creation location, techniques, and materials, much like a visual artist. The book opens with a surreal vista of an ocean “teeming with humanity and its various waste products,” which he terms ‘Mare Nostrum,’ a “mirror image of the mess we have created”. This reflects Meersman’s “caustic, socially conscious gaze” on human foibles, addressing issues from “hopeless life rafts” to “drone filled war zones”. Critical reviews highlight its “impassioned, witty, elegiac” nature and its powerful call for societal change.
The evolution of Meersman’s published works, from “This is Belgian Chocolate” focusing on visual and sound poetry to “There Is Blue Somewhere” as a “travel chronicle and exhibition catalogue,” reveals a systematic expansion of his artistic practice beyond traditional literary formats into a truly multimedia and conceptual art form. This progression demonstrates a deliberate move towards integrating poetry with broader artistic disciplines, such as visual art, sculpture, performance, and even curatorial practice. The poem, in his vision, is not merely text but an artifact, an experience, and a conceptual statement that exists across multiple dimensions. The “travel chronicle” aspect further imbues his work with a sense of lived experience and global engagement, mirroring his extensive international performances. His literary output thus reflects a continuous artistic evolution towards a holistic, multisensory, and conceptually driven poetic practice, transforming the very act of reading into an immersive experience.
Meersman’s background as an actor is profoundly evident in his performative skill and the “bandwidth of his audial expressivity”. He is a “talented improviser” who consistently captivates audiences. A unique aspect of his performance style is his engagement with audiences in cocreating instant poetry based on prompts. His performances have been described as “energetic and captivating”, turning poetry into a “spectacle, a game, fun”. The “Dr. Jekyll and Mr. Hyde” analogy perfectly captures his duality: methodical and organized off stage, yet uninhibited and boundary pushing once on stage. This theatricality, cultivated from his acting roots, allows him to channel raw, uninhibited energy while maintaining a methodical approach to his overall artistic direction. This sophisticated performance strategy creates deeply engaging, seemingly spontaneous, yet expertly crafted poetic experiences that resonate powerfully with audiences.
A notable example of his performance art is his cofounding of DAstrugistenDA, an international sound poetry collective. This group is renowned for “poetic actions” such as “Bar None,” a 48 hour nonstop reading of poetry in a cage while wearing orange overalls, explicitly protesting Guantanamo.
Meersman’s extensive international presence is further highlighted by his participation in numerous festivals worldwide. This broad and consistent engagement underscores his role not just as a performer, but as an ambassador for experimental and performance poetry, actively shaping and connecting global poetry communities through direct engagement.
| Festival Name | Location | Year(s) |
| Struga Poetry Evenings | Macedonia | 2005, 2008, 2023 |
| Curtea Poetry Nights | Romania | 2006 |
| Teranova festival | Metz, France | 2006, 2007 |
| Nissan International Poetry Festival | Mughar, Israel | 2007 |
| Poetry in the Park | Vienna, Austria | 2007 |
| Rosario Poetry Festival | Argentina | 2008 |
| Antares poetry festival | Romania | 2009 |
| International Literature festival of Tallinn HeadRead | Estonia | 2010 |
| “Hullunud Tartu” festival | Estonia | 2010, 2012, 2019 |
| Portuguese Slam Championships | Lisbon, Portugal | 2014 |
| Experimental and Slam Poetry Festival Craiova | Romania | 2015, 2016 |
| Kritya Poetry Festival | Trivandrum, India | 2017 |
| Mexico MX Slam | Mexico | 2018 |
| Poetry Africa | Durban, South Africa | 2018, 2022 |
| Cyprus International Poetry Festival | Cyprus | 2019 |
| Cameroun International Poetry Festival | Cameroun (online) | 2021 |
| Medellin International Poetry Festival | Colombia (online) | 2021 |
| Poetas D’Alma | Maputo, Mozambique | 2021 |
| Calebasse Club | Lomé, Togo | 2022 |
| Crete International Poetry Festival | Greece | 2022 |
| Nairobi poetry writing workshop | Kenya | 2022, 2023 |
| Nairobi poetry writing and performing masterclass | Kenya | 2023, 2024 |
| Festival international de slam/poésie en Acadie | Canada | 2023 |
| International Poetry Festival Serres | Greece | 2023 |
| Guadalajara International Book Fair | Mexico | 2023 |
The Architect of Global Slam: Philip Meersman and WPSO
Philip Meersman is the Co-Founder and Chair (2022–present) of the ivzw World Poetry Slam Organization aisbl (WPSO), an entity officially established in September 2022 during the first ever World Poetry Slam Championship (WPSC) in Brussels. This organization functions as a worldwide network of national slam competitions, with a core mission to unite global slam poets, promoting equity, expression, and excellence through inclusive, multilingual poetry championships worldwide.
Meersman coordinates the itinerant European and World Championships Poetry Slam. He has done “sterling work” in recent years, drawing together disparate nations to meet and develop the nascent slam scene, particularly within Europe, with the significant backing of Antwerp University. The European Championship, under his coordination, intentionally moves from city to city. This strategy is designed to embrace and celebrate the diverse styles, rules, themes, and ideas that vary by country and region, fostering a pan European movement for slam poetry.
Meersman’s multifaceted involvement in the poetry world is extensive, spanning artistic creation, curatorial work, academic research, and organizational leadership. His roles are synergistic: his artistic practice informs his curatorial choices, his academic research provides theoretical grounding for his experimental work, and his organizational leadership translates his vision into global infrastructure for poetry.
| Organization/Role | Specific Initiative/Focus | Description/Impact |
| World Poetry Slam Organization (WPSO) | Co-Founder and Chair (2022–present) (on sabbatical), Coordinator of European & World Championships | Established in 2022, a worldwide network promoting equity, expression, and excellence through inclusive, multilingual championships; coordinates itinerant European & World Championships |
| AP University College Antwerp (Royal Academy of Arts) | PhD Candidate, Visiting Professor Art History, Academic Researcher, Project Coordinator Urban Travel Machines | PhD research on “The Oral Performance of Visual Poetry” (2017–2025); Visiting Professor of Art History (2023–2025) ; Academic Researcher for “The Color of Language – the Language of Color” (2023–2024) ; Project Coordinator for Urban Travel Machines (2022–2024) [5, 10, 23] |
| Coordinator, Public Poet Brussels | Creating selection process, rules, and tasks for the First Public Poet Brussels for Molenbeek for Brussels 2030 (2023–2024) | Shapes local cultural initiatives and community engagement |
| Artistic Manager, Transpoesie | Curating European multilingual poetry under EUNIC Brussels (2023–present) | Showcases diverse poetic voices across Europe |
| Artistic Curator, Brussels Planetarium Poetry Fest | Curating and showcasing worldwide multilingual poetry with immersive dome projections (2014–present) | Integrates poetry with technology for unique audience experiences |
| Manager, Team Art in Public Spaces (City of Brussels) | Directed cultural initiatives, public art installations, music & circus festivals (2021–2022) | Enriched the city’s cultural fabric |
| Manager CC ‘t Vondel & Events Department (City of Halle) | Curated and managed diverse cultural programs and events, including public security elements (2019–2020) | Oversaw comprehensive cultural programming and event logistics |
| Coordinator Community Cultural Center (Vlaamse Gemeenschapscommissie, Brussels Capital Region – GC Pianofabriek, Sint-Gillis) | Led cultural initiatives, festivals, cultural programming, fostering community participation and artistic expression, working with Brussels’ superdiverse community (2014–2019) | Fostered community engagement through cultural programs |
| Project Manager, Iriscare, Brussels | Managed projects (2020–2021) | Contributed to project execution in a public sector context |
| Public Procurement Administrator, Enabel (BTC), Brussels | Administered public procurement processes (2009–2011) | Ensured compliance and efficiency in international development projects |
| Financial Expert, Flemish Dept of Foreign Affairs, Brussels | Provided financial expertise (2006–2009) | Contributed to financial strategy and operations in foreign affairs |
| DAstrugistenDA | Co-founder, International Sound Poetry Collective | Known for “poetic actions” like “Bar None,” a 48 hour nonstop performance protesting Guantanamo |
| Akademia Zaum | Member, President of BAAZ (Belgische Afdeling van de (Internationale) Zaum Academie) | Engaged in avant garde art and research |
| Cultural Consultant | Independent Role | Provides expertise in cultural affairs [24] |
| Teacher/Workshop Facilitator | Global | Teaches avant garde, visual, and performance poetry worldwide |
| Author/Critic | Writer | Publishes poetry collections and writes articles/essays about poetry, art, and art history [5, 10] |
| Restaurant Business | Various roles (1989–2006) | Gained early professional experience in a dynamic service environment |
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This table serves as a powerful summary of his comprehensive impact, illustrating how his diverse roles converge to create a singular, transformative force in contemporary poetry and spoken word.
A Vision for Tomorrow: Poetry in the Digital Age
Philip Meersman’s commitment to the future of poetry is deeply embedded in his academic pursuits and innovative projects. He is currently pursuing a PhD in the Arts (2017–2025) at AP University College Antwerp, also known as the Royal Academy of Arts in Antwerp or KASK Antwerp. His doctoral research is groundbreaking, focusing on “The Oral Performance of Visual Poetry,” which explores the transformation of visual poetry into an immersive XR experience based on the work of Russian Cubo Futurists and René Magritte.This academic rigor provides a robust theoretical foundation for his innovative artistic endeavors. Furthermore, as an Academic Researcher (2023–2024), he has contributed to “The Color of Language the Language of Color” (CoLLoC) research, delving into the intersection of poetry, speech to text technology, graphic design, and art.
A significant practical application of his research is the Creative Europe funded project “Urban Travel Machines” (UTM), which Meersman coordinates (2022–2024). This groundbreaking initiative combines a new generation of slam poets with planetarium dome projections to create live virtual performance portals. UTM aims to revitalize the literary sector in Europe through immersive technology, enhancing transnational mobility, new technology adoption, and audience engagement with poetry performance.
The project involves extensive collaborations between art schools in Antwerp, Helsinki, and Warsaw, and scientific planetariums in Tartu, Vienna, La Coruna, and Brussels, effectively redefining 3D projection technology as a compelling means of digital storytelling. Innovative elements within UTM include live drawing in dialogue with poetry within the dome environment and an “Applause App” designed for subtle digital audience interaction, where a tap on a screen generates a pulsating circle of color on the dome, replacing traditional applause.
Meersman’s PhD research and the Urban Travel Machines project are not isolated academic or artistic endeavors; instead, they represent a cohesive vision for the future of poetry itself. This vision aims to transform poetry into an immersive, technologically mediated, and multisensory experience that transcends traditional boundaries of space and form. The use of XR, VR, and planetarium projections is not merely a technological gimmick. It is a direct extension of his lifelong exploration of visual and sound poetry and his theatrical background.
He is actively researching and implementing ways to liberate poetry from the two-dimensional page, transforming it into a “total experience”, a gesamtkunstwerk, that engages multiple senses and blurs the lines between various art forms. This is a conscious effort to make poetry more accessible, dynamic, and relevant to contemporary audiences accustomed to immersive digital experiences. His work on “Urban Travel Machines” is a direct practical application of his academic research, demonstrating his commitment to bridging theory and practice in the evolution of poetry.
Beyond the realm of traditional arts, Meersman’s work extends into transdisciplinary research, investigating the intersection of arts, social sciences, and even healthcare, specifically within the domain of medical oncology. He focuses on investigating the role and significance of music in the everyday lives of advanced cancer patients. He has also presented on “The Brussels Planetarium Poetry Fest,” discussing “The link between language, worldwide genesis myths, science and XR technologies”. This engagement with transdisciplinary research, particularly in areas like medical oncology, reveals a profound belief in poetry’s capacity to address “wicked problems” or complex societal concerns beyond purely artistic contexts.
This positions poetry not as an isolated art form, but as a vital tool for human understanding, empathy, and even healing within a broader societal framework. His involvement in medical oncology research is a logical extension of his existing artistic philosophy, which views poetry as a powerful instrument for social commentary and human connection. This transdisciplinary approach elevates poetry’s role from entertainment or self-expression to a form of applied humanistic inquiry, capable of contributing to wellbeing and societal improvement.
Conclusion: The Enduring Resonance of a Poetic Force
Philip Meersman’s journey is a compelling narrative of innovation, leadership, and artistic expansion. From his roots in archaeology and theatre to his pioneering work in visual and performance poetry, and his instrumental role in shaping the global slam movement through the World Poetry Slam Organization, he has consistently redefined what poetry can be. His unwavering commitment to addressing sociopolitical issues through his art, coupled with his embrace of immersive technologies, positions him as a forward-thinking artist and a visionary leader.
The consistent theme of “pushing boundaries” across his artistic forms, organizational roles, and academic pursuits reveals a singular, overarching philosophy: that poetry is a dynamic, evolving medium that must continually adapt and expand to remain relevant and impactful. This is not just a characteristic but his defining mission. His transition from theatre to experimental poetry, his exploration of visual and sound poetry, his use of XR/VR in his PhD, and his leadership in projects like Urban Travel Machines all demonstrate a continuous effort to expand poetry’s reach and form. This is a conscious and deliberate strategy to ensure poetry’s continued vitality and accessibility in the digital age.
Philip Meersman is a true “unbound bard,” whose work exemplifies the convergence of art, technology, and social consciousness. His “overwhelming and wonderful” contributions ensure that poetry remains a vibrant, relevant, and powerful force in a rapidly changing world. His tireless efforts in coordinating global championships and initiating UNESCO partnerships underscore his dedication to a unified, inclusive “Slamily” worldwide, truly cementing his legacy as a boundary pusher, innovator, and unifying force.