Fümmsböwö (or What is the Word)

What exactly is this strange genre called sound poetry? Is it underappreciated and misunderstood? Is it just glorious gobbledygook? “Fümms bö wö tää zää Uu, pögiff, kwii Ee ...” So opens Ursonate by Kurt Schwitters, the 40 minute work of meaningless noise in four movements - considered by many to be the greatest sound poem of all time. A century after it was written, it endures, almost like a classic jazz standard or folk tale that experimental vocal performers feel compelled to learn and interpret as a rite of passage. Jennifer Walshe is one of those daring performers, having recited Ursonate around the world and even “translated” it into Irish. One hundred years on, she wonders what secrets are held within every one of Schwitters’ “zee”, “tee” “wee” and “bee” sounds. Jennifer’s guests include: Vocalist Elaine Mitchener, who sees the political power of made-up words Linguist Marina Yaguello, who speculates on the original, primeval language of mankind Stand-up comedian Stewart Lee, who reflects on how alternative comedy might owe a debt to Schwitters and the Dada art movement Composer Tomomi Adachi, who harnesses Artificial Intelligence to imagine new languages And poet Jaap Blonk, who remembers Ursonate nearly getting him attacked. Produced by Jack Howson Mixed by Olga Reed Photography by Mike Cameron/Wysing Polyphonic A Reduced Listening production for BBC Radio 4