Only the development of new technologies will mark the progress of sound poetry, states the first out of six paragraphs from Enzo Minarelli’s manifesto on Polipoesia, proclaimed in 1987. The short list subsumes his experiences with poetry from the past decades. Four years earlier, the poet and curator coined the term when starting to release a series of 7″ singles with such poetry.

On the basis of 11 sound poems, Minarelli talks about his concept of polipoesia, the difference between poetry and music, folklore as an inspiration for poetry, the connection between society and poetry, and how it all begun.

Featured image: Enzo Minarelli – Il Poema Spettacolo, Il Teatro del Guerriero, May 1979, Bologna

Richard Martel – Capitaly (1986)

+ EM about the necessity for defining Polipoesia

Henri Chopin – Chercher (1975)

+ EM about Henri Chopin

Enzo Minarelli – Poema (1977-1985)

+ EM about the difference between poetry and music

Demetrio Stratos – Le Sirene (1978)

+ EM about scores in sound poetry

Augusto De Campos – Tensão (1956, recorded 1992)

+ EM about the connection between poetry and society

Paul de Vree – Veronika (1953, recorded 1962)

+ EM about the importance of technology for poetry

Enzo Minarelli – The Grandeur Of Genghis Khan (2012)

+ EM about the series 3ViTrePAIR

Harry Polkinhorn – Change (1990)

+ EM introducing Ridi Ridi

Marina La Palma – Ridi Ridi (1985)

+ EM about folklore and Classical music as inspiration for poetry

Filippo Tommaso Marinetti – Dune (1914, recorded 1935)

+ EM about predecessors of Polipoesia

Fortunato Depero – Subway (1932, recorded 2020)

+ EM about Depero and the difference between Text-Sound and Polipoesia

Robert Ashley – In Sara, Mencken, Christ and Beethoven There Were Men and Women (1973)

Leave a Reply

Your email address will not be published. Required fields are marked *