Aeronwy Thomas, Dylan Thomas, Gianpiero Actis, Immagine & poesia, Lidia Chiarelli

Aeronwy Thomas:

Aeronwy Thomas, photo by  Martin Holroyd (Wikipedia)



            Music has been much used in Shakespeare’s works so why not Dylan Thomas’?

             I will try to make an incomplete but impassioned case why music and poetry including poetic prose as used in my father’s play for voices, Under Milk Wood, can well do without the addition of music.  My suffering in this regard should prove part of the case.

            Ever since I returned to England in 1970, I have been approached by modern composers to listen to Fern Hill or more obscure poems arranged to music.  My first experience was to be approached by an earnest American graduate who wished to use “If my head hurt a hair’s foot” in an original musical composition, using the words as a loose lyric for the music.  In those early days returning from a long stay in Italy, I must have been somewhat naïve.  I agreed to accompany him to the recording studio where his pre-recorded composition was overlain somehow onto a reading of the poem.  Last minute, I was informed that the reader would be me and requested a moment to look at the poem.  A more obscure poem about a child’s fear of causing his mother pain in birth could not have been chosen from my father’s poems.  For me the meaning was almost impenetrable at such short notice so that I must have read it clearly but without understanding.  This was no problem as the music was dominant and drowned the words effectively.  The young artistic entrepreneur then revealed his plan.  Because I had read the poem no royalties would be expected as a beneficiary.  The reason that poem and a couple more had been chosen for the recording was that it was little known to the general public and therefore doubly immune to the payment of royalties.  In any case, the young man told me, he’d spent his last dollars on the recording and was sleeping on friends’ sofas as a result.  I had a sinking feeling that this sort of situation was going to be inevitable now that I was living in London and not in faraway Sicily or even Rome.  Cheap flights to these destinations were still to happen in the future.

     My foreboding was increased when asked to read “Fern Hill” at a public function for the Welsh Development Corporation.  It would take place at the Hilton and feature clog dancing and harp playing which made me slightly uneasy.  However, the fee of £30.00 was an inducement and I turned up in a long cotton Laura Ashley dress and a copy of Dylan’s Selected Poems.  Immediately before I closed the evening with my reading, a band of merry clog dancers filled the floor and skilfully demonstrated how you can dance in uncomfortable wooden shoes.  I would have to change the mood skilfully  and dreaded being helped by the except the harpist.  I was lucky that time as the harpist topped and tailed by did not over-ride the poem with a tinkling waterfall of background musak.

    That occasion kick started my own poetry performance career and I was asked by any number of different organisations to give a reading of my father’s poems. Included were literary festivals and groups as well as entertainment spots at art galleries or even book launches of biographies about my father.  My constant dread was to be requested (after all the arrangements had been made) would I mind a quiet musical accompaniment as I read

the poems.  My fear was often justified as three piece flautists or recorders drowned the words.  By the end, I had to ask that the musical interludes were just that… a musical item between not during poems.  Nowadays, unless it is a reading abroad with translations so that Fern Hill can take 10 minutes to read with its translation, I insist the music is kept to three slots: beginning, interval and end.

     Under Milk Wood, a play to be heard – but mostly seen, integrates songs into the text with words by my father and music by his friend, Swansea composer Dan Jones. These seem to work very well and give a little break from the richness of the text in so much that the words are song-like in scansion and use simple, often childlike words.  The director Michael Bogdanov was the first to add Welsh folk songs for the glee party mentioned in the play to great effect.  Nearly all the productions I see nowadays include additional music such as the UMW Jazz suite by  Stan Tracey directed by Malcolm Taylor, a veteran of these productions, played as the audience settles itself and during the interval.  These productions I can only recommend but I have also suffered all singing and all dancing(the expression used by one of the performers of Under Milk Wood. On a slightly higher level one hopes, The Welsh National Opera has also approached the literary trustees to sing Under Milk Wood.  I await the outcome. 

     Returning to my experiences abroad, I have now new artistic decisions to make regarding my own poetry.  As a result of teaching creative writing to school children in Turin, one of the teachers, Lidia Chiarelli Actis (who later became my official translator) introduced me to her husband, a part-time painter, Gianpiero Actis. He was keen to illustrate some of my poems and in this way we have to date had dozens of exhibitions based on Word and Image.

The local civic council became involved and subsidised events in which painters all over Turin were invited to illustrate a surreal poem of mine, The Object.  The response was surprisingly positive with nearly a hundred painters of every imaginative style taking up the invitation. Lidia, herself a poet, has also experimented with a Canadian artist who works over the internet.  I wouldn’t be surprised if music will be part of future collaborations.


     In conclusion, I have to admit that the cross-fertilisation of the different arts: words, illustration and music can work if thought out and executed sensitively. This appears to contradict my initial assertion that music and poetry (and as it happens images) cannot enhance each other.  They can and do as experience has taught me.


Daniela Andonovska-Trajkovska, Immagine & poesia, Lidia Chiarelli

“THE ART OF LIVING” poem by Daniela Andonovska-Trajkovska, Republic of North Macedonia. Italian translation and Art by Lidia Chiarelli


With my eyes wide shut, I was listening to

the legato of your thoughts that slides slowly

on the white and the black piano keys of life

I was watching you

as you were dressing the words into new skin

and observed how you were turning the paramecium of meaning

into multi-cellular organism that breathes with its own lungs

I was dreaming the metaphors

from which the lightnings

were learning the art of whispering as they were souls

and I was waking up over and over again

In the circled colors of pointillism I kept you

because I wanted you to show me,

with fast and sharp movements,

the art of writing for the moments

that no one could ever have

and when I wanted to admit

that you remind me of something

that I had had long time ago

your words got stuck into the bird’s throat

Don’t let us be nude, I cried,

don’t let us be alone

with no art of living



Con occhi apertamente chiusi, ascoltavo

la disposizione dei tuoi pensieri scorrere lentamente

sui tasti bianchi e neri del pianoforte della vita

Ti stavo guardando

mentre vestivi le parole con una nuova pelle

e osservavo come stavi trasformando il paramecio del significato

in un organismo multicellulare che respira con i propri polmoni

Sognavo le metafore

da cui i fulmini

stavano imparando l’arte di sussurrare come se fossero anime

e mi svegliavo in continuazione

Ti ho tenuto nei colori cerchiati del puntinismo

perché volevo che tu mi mostrassi,

con movimenti veloci e taglienti,

l’arte di scrivere per i momenti

che nessuno avrebbe mai potuto avere

e quando ho voluto ammettere

che tu mi ricordi qualcosa

che avevo avuto tanto tempo fa

le tue parole sono rimaste incastrate come nella gola di un uccello

Non lasciateci nudi, ho gridato piangendo,

non lasciateci soli

senza l’arte di vivere


Daniela Andonovska-Trajkovska (born February 3, 1979, Bitola, North Macedonia) is poetess, scientist, editor, literary critic, doctor of pedagogy, university professor. She works at the Faculty of Education-Bitola, St. “Kliment Ohridski” University-Bitola, Republic of North Macedonia and teaches the courses:  Methodology of Teaching Language Arts, Creative Writing, Critical Literacy, Methodology of Teaching Early Reading and Writing, ect.  She is co-founder of the University Literary Club “Denicija PFBT UKLO” and also of the Center for Literature, Art, Culture, Rhetoric and Language at the Faculty of Education-Bitola. She is member of the Macedonian Writers’ Association, and The Bitola Literary Circle, and was president of the Macedonian Science Society Editorial Council (for two mandates). She is editor in chief of the literary journal “Rast” issued by the Bitola Literary Circle, and also – editor in chief of the International Journal “Contemporary Dialogues” (Macedonian Science Society), and “Literary Elements” Journal (Perun Artis), several poetry and prose books. Besides her scientific work published in many international scientific journals (over 100 articles), and one university book “Critical Literacy”, she writes poetry, prose and literary critics. She has published one prose book: “Coffee, Tea and the Red Sky” (2019), and 8 poetry books: “Word for the Word” (2014), “Poems for the Margins” (2015), “Black Dot” (2017), Footprints” (2017), “Three” (2019), “House of Contrasts” (2019), “Electronic Blood” (2019), and “Math Poetry” (2020). She has won special mention at the Nosside World Poetry Prize (UNESCO, 2011), the award for the best unpublished poem at the Macedonia Writers’ Association Festival (2018), “Krste Chachanski” prize for prose (2019), National “Karamanov” Poetry Prize for poetry 2019, Macedonian Literary Avant-garde (2020). Her poetry was published in a number of anthologies, literary magazines and journals both at home and abroad, and her works are translated into: English, Serbian, Croatian, Bosnian, Bulgarian, Albanian, Romanian, Polish, Chinese, Arabic, Turkish, Vietnamese, Uzbek, Bengali, and Italian language. She has translated many literary works from English, Serbian and Bulgarian language into Macedonian and vice versa. 

Ali Al-Hazmi, Immagine & poesia, Lidia Chiarelli

“A Corner in a Tavern” poem by Ali Al-Hazmi, Saudi Arabia. Italian Translation and Digital Art by Lidia Chiarelli, Italy

Un angolo in un bar

Lei non mi ha prestato attenzione,

Mentre si sedeva vicino al mio tavolo,

Nell’angolo del bar verso est.

Non prestava attenzione alla mia caotica solitudine, riflessa sui palmi delle mie mani con una sigaretta, che estendeva la sua fiamma al mio sangue.

Il fumo volava via come poesie bianche

Cancellando il riflesso di luce che si diffondeva

Per scoprire la nuvola di passioni maestose davanti ai miei occhi.

Con forza, lei ha iniziato a nascondere

L’argento del silenzio riversantesi sulle pulsazioni,

 Come una cornice per noi

Per completare il ritratto della passione nelle sue mani.

Ha poi sistemato una ciocca di capelli che le era caduta spontaneamente sull’occhio sinistro,

Mentre stava guardando assente un mazzo di rose

Su un tavolo che ci separava,

Nascondendo  metà della mia faccia.

Quanto desideravo incatenarmi

Ai suoi occhi,

Per notare quale doloroso desiderio si era impadronito della mia ultima metà.

 Per vedere come quel miserabile che restava  in fondo alla tazza affogava in profonde agonie.

A Corner in a Tavern

She paid no attention to me,

As she sat close to my table,

In the oriental corner of the tavern.

She paid no attention to my chaotic solitude, Reflected on my two palms holding a cigarette, That extended its flame to my blood.

Smoke flew away like white poems

Wiping off the spotlight that fell down,

To uncover the cloud of stately passions Before my eyes.

Forcibly, she started to hide

The silver of silence that spilled over pulses,

Framing us,

To complete the portrait of passion in her palms.

She, then, reassembled a lock of her hair that spontaneously fell Over her left eye,

When she was absently looking at a bouquet of roses

On a table separating us,

Hiding half my face.

 How much I wished I would become a complete string

In her eyes,

To notice what painful yearning had raged on my last half. To see a wretched person inhabiting the bottom of my cup,

Drowned in profound agonies.


Ali Al-Hazmi (Biography)

* Born in Damadd, Saudi Arabia, in 1970.

* Obtained a degree in Arabic language and Literature at Umm Al-Qura University – Faculty of Arabic Language,1992.

* As early as the year 1985, the poet started publishing poems in a variety of local and Arabic cultural Periodicals such as The Seventh Day (Paris), Creativity (Cairo),

Nazoa (Amman) and The New Text.

The poet participated in a number of recital sessions of poetry inside and

outside of Saudi Arabia:

 International Poetry Festival, Costa Rica 2013.

 International Poetry Festival, Voix Vives in Toledo, Spain 2014.  International Poetry Festival, Punta del Este, Uruguay 2015.  Madrid Voice life Poetry Festival, Spain 2016.

 International Poetry Festival, Havana, Cuba 2016.

 International Poetry Festival, Medellín, Colombia 2016.

 Istanbul Poetry Festival, Turkey, 2016.

 International Poetry Festival, Roma 2017.

 International Academy Orient – Occident, Romania 2017.

 International Poetry Festival, Madrid, Spain 2017.

 International Poetry Festival, Malaga, Spain 2018.

 International Poetry Festival February, Madrid. Spain 2018. 82


 A Gate for the Body, Dar Almadina- Jeddah- 1993.

 Loss, Sharqiyat- Sharqueyat Pub. House, Cairo 2000.

 Deer Drink Its Own Image, Arab Cultural Center, Beirut 2004.

 Comfortable on the Edge, Riad-Al Rayes – Beirut 2009.

 Now in the Past, Arab Cultural Center-Beirut, 2018.

 Selected Poems (Audio CD Anthology) – Hail Literary Club, 2010.

Books Translated to Different Foreign Languages:

Trees of Absence, Translated into French-Lil-Dision – France 2016.

Comfortable on the Edge, Translated into Spanish by University of Costa Rica

Editorial 2013, House of Poetry Foundation.

Comfortable on the Edge, Translated into French- Larmatin – Paris 2016.

A Fragmented Life, Translated into Turkish – Art Shop Pub. House, Istanbul -Turkey 2017.

A definite Road in the Mist, Translated into English and Romanian language – Academy Orient – Occident – Romania 2017.

Take Me to My Body, Seleted Poems Translated into Serbian Language, Alma Publishing House, Belgrade, Serbia 2018.

A Road into the Wall, Translated into Macedonian Language, AkademskiPečat Publishing House, Macedonia, 2019.

 Comfortable on the Edge, Translated to Spanish, University of Costa Rica in Collaboration with The House of Poetry in Costa Rica, 2013.

Comfortable on the Edge, Translated to French, La Martin Publishing House, 2016. *Al Hazmiparticipated in more than 20 Anthologies in differentparts of theworld:

Colombia, Spain, Dominican, Germany, China, Turkey, Romania, Cuba and Serbia.

*The poet has recently signed a contract with Google to have the previlege of publishing some oh his poems on Google Assistance Site.


* Medal of Poetry, Urugway, 2015.

* The World Grand Prize for Poetry, The International Academy Orient – Occident in Romania 2017.

* His Poem “A Road into the Wall” won Verbumlandia Prize in Italy, 2017.

* The Prize of the Best International Poet in 2018, The International Center for Translation and Poetry Research, China.

Immagine & poesia

“Manifesto” of IMMAGINE&POESIA (Vietnamese, Korean, Persian, Malay, Hindi, Filipino)


ALFA Teatro – Torino
 09 Tháng Mười Một 2007
Nghệ thuật – Trào lưu
Tuyên ngôn của

1. VĂN HÓA-qua thơ và ART-phải được thực phẩm cho tinh thần của các thế hệ mới
2. Thơ ca và nghệ thuật tượng trưng dẫn đến các khoảnh khắc CROSS thụ tinh
3. Mỗi hình thức biểu hiện có thể truyền cảm hứng cho người khác: Mục đích của chúng tôi là hội nhập của họ
4. Từ sự tích hợp của thi ca và tượng trưng ART, reciprocally khuyến khích, phong phú và một NEW COMPLETE FORM OF ART có thể có nguồn gốc
5. Phong trào được mở cho các nghệ sĩ và nhà văn đến từ các khu vực địa lý khác nhau và nền văn hóa
6. Các ACTION INTER-của các nghệ sĩ và nhà văn có thể cải thiện sự hiểu biết và tôn trọng của người khác
7. Chúng tôi đang trong lợi của một sự hợp tác đó có thể xảy ra thông qua truyền thống MEDIA hoặc thông qua Internet
8. CÔNG NGHỆ MỚI sẽ được ưa thích trong việc trao đổi các ý tưởng sáng tạo
9. Chúng tôi muốn chống lại sự thờ ơ, thường tình, nông cạn và để hỗ trợ hoạt động, trí tưởng tượng, độc đáo và nghiên cứu
10. Các phong trào HÌNH ẢNH & thơ là mở để phát triển hơn nữa và liên kết với các ngành khác và các hình thức nghệ thuật.
Điều lệ thành viên:
AERONWY THOMAS, nhà thơ và nhà văn
GIANPIERO ACTIS, họa sĩ – Silvana GATTI, họa sĩ
SANDRINA PIRAS, nhà thơ – Lidia CHIARELLI, điều phối viên
Nghệ thuật phê bình: MARY GORGY, Long Island, NY; Enzo Papa
Nhiếp ảnh gia: Cesare DELLAFIORE
Điều hành sản xuất: Lidia CHIARELLI  



2007년 11월 9일
이미지 및시
예술 – 문학 MOVEMENT

1. 문화 시와 예술 – 새로운 세대의 영혼을 위하여 음식을 통해 여야합니다
2. 시 및 순간에 비유 미술 단서가 수정을 건너
3. 표현의 각 형태는 다른 사람들에게 영감을 수 있습니다 : 우리의 목표는 그들의 통합입니다
4. 시와 비유 예술의 통합에서 서로, 새로운 리치와 완벽한 형태 미술의 발원지 수있다 격려
5. 운동은 예술가와 작가들이 서로 다른 지리적 영역과 문화적 배경에서오고 열려
6. 이들 예술가와 작가의 상호 동작과 다른 사람의 존경 대한 이해를 향상시킬 수 있습니다
7. 우리는 전통적인 미디어 또는 인터넷을 통해를 통해 자리를 차지할 수있는 협력 선호하는 이유
8. 새로운 기술은 창의적인 아이디어의 교환에서 원하는 것입니다
9. 우리는 무관심, 진부함, 천박하고, 상상력, 독창성과 연구 활동을 지원을 위해 싸우고 싶어
10. 이동시 이미지 및 추가 개발 및 다른 학문과 예술 형태와 링크를 열려 있습니다.
차터 회원 :
AERONWY 토마스, 시인이자 작가
미술 비평가 : 메리 GORGY, 롱아일랜드, 뉴욕; 엔조 PAPA
사진 작가 : – 체사레 DELLAFIORE
이그 제 큐 티브 프로듀서 : LIDIA CHIARELLI



تئاتر آلفا – تورینو

۹ نوامبر ۲۰۰۷


جنبش هنری ادبی


۱. فرهنگ – از طریق شعر و هنر – باید غذایی باشد برای روح نسل‌های نو

۲. شعر و هنر فیگوراتیو منجر به لقاح متقابل می‌شوند

۳. هرگونه‌ای از بیان می‌تواند برای گونه‌های دیگر الهام‌بخش باشد: هدف ما ادغام آن‌ها است

۴. به وسیله ادغام شعر و هنر فیگوراتیو، تقویت متقابل، یک گونه هنری جدید و غنی و کامل می‌تواند شکل بگیرد

۵. این جنبش پذیرای هنرمندان و نویسندگانی است که از موقعیت‌های جغرافیایی مختلف و با زمینه‌ فرهنگی متفاوت هستند

۶. اثرات متقابلی که این هنرمندان و نویسندگان بر یکدیگر می‌گذارند می‌تواند موجب بهبود فهم رابطه با دیگران شود

۷. ما از مشارکت حمایت می‌کنیم، چه از طریق رسانه سنتی و چه از طریق اینترنت

۸. تکنولوژی‌های جدید برای تبادل ایده‌های خلاق ترجیح داده می‌شوند

۹. ما خواهان جنگ با بی‌عاطفگی، ابتذال و بی‌مایگی هستیم و از فعالیت، تخیل، ابتکار و تحقیق حمایت می‌کنیم

۱۰. جنبش تصویروشعر راه را برای تغییرات بعدی و ایجاد روابط با چهارچوب‌ها و گونه‌های دیگر هنری باز می‌گذارد



ALFA Teatro – Torino
9 November 2007
Artistik – sastera GERAKAN

1. BUDAYA-melalui-PUISI dan ART harus makanan untuk semangat generasi baru
2. Puisi dan memimpin seni figuratif untuk saat-saat CROSS Pemupukan
3. Setiap bentuk ekspresi boleh menginspirasi orang lain: Matlamat kami adalah mereka INTEGRASI
4. Dari integrasi PUISI dan ART kiasan, saling mendorong, sebuah KAYA BARU DAN LENGKAP BERUPA ART dapat berasal
5. Gerakan ini terbuka untuk seniman dan penulis yang datang dari daerah geografi yang berbeza dan latar belakang budaya
6. The INTER-TINDAKAN dari seniman dan penulis dapat meningkatkan pemahaman dan rasa hormat dari yang lain
7. Kami menyokong kerjasama yang boleh dilakukan melalui MEDIA TRADISIONAL atau melalui INTERNET
8. TEKNOLOGI BARU akan lebih disukai dalam pertukaran idea-idea kreatif
9. Kami ingin berjuang apatis, banalitas, kedangkalan dan untuk menyokong aktiviti, imajinasi, Orisinalitas dan penyelidikan
10. GAMBAR & PUISI Gerakan ini terbuka untuk perkembangan lebih lanjut dan hubungan dengan disiplin lain dan bentuk-bentuk seni.
Piagam Members:
AERONWY THOMAS, penyair dan penulis
GIANPIERO ACTIS, pelukis – Silvana Gatti, pelukis
Sandrina PIRAS, penyair – Lidia CHIARELLI, penyelaras
Seni Critics: GORGY MARY, Long Island, NY; PAPA Enzo
Fotografer:  Cesare DELLAFIORE
Eksekutif penerbit: Lidia CHIARELLI –





 9 Nobyembre 2007
Mga imahe at mga tula
Maarte – pampanitikan kilusan
ANG Manipesto

1. Kultura-sa pamamagitan ng tula at ART-dapat na pagkain para sa mga espiritu ng mga bagong henerasyon
2. Poetry at simbolismo ng sining humantong sa mga sandali ng CROSS pagpapabunga
3. Ang bawat uri ng pagpapahayag ay maaaring magbigay ng inspirasyon sa iba: ang aming layunin ay ang kanilang pagsasama-sama
4. Mula sa pagsasama-sama ng mga tula at simbolismo ng ART, katumbas hinihikayat, isang BAGONG mayaman at KUMPLETO FORM NG ART ay maaaring manggaling
5. Ang kilusan ay bukas para sa artists at manunulat na mula sa iba’t-ibang mga heograpikal na lugar at kultura pinagmulan
6. Ang Inter-ACTION ng mga artists at manunulat na maaaring mapahusay ang pag-unawa at ang paggalang sa iba
7. Kami ay sa pabor ng isang pakikipagtulungan na kung saan ay maaaring umabot ng lugar sa pamamagitan ng tradisyonal na media o sa pamamagitan ng INTERNET
8. Mga bagong teknolohiya ay ginustong sa palitan ng malikhaing mga ideya
9. nais namin upang labanan ang kawalang-pagpapahalaga, pagkakaraniwan, superficiality at suporta sa aktibidad, imahinasyon, pagka-orihinal at pananaliksik
10. Ang kilusan ng mga imahe at mga tula ay bukas para sa karagdagang developments at mga link sa iba pang mga disiplina at sining form.
Charter Mga Miyembro:
AERONWY Thomas, makata at manunulat
GIANPIERO ACTIS, pintor – Silvana GATTI, pintor ng bahay
SANDRINA PIRAS, makata – Lidia CHIARELLI, tagapag-ugnay
Art Critics: MARY GORGY, Long Island, NY; Enzo Papa
Potograpo: Cesare DELLAFIORE
Executive producer: Lidia CHIARELLI

Immagine & poesia

“Manifesto” of IMMAGINE & POESIA (Chinese, Japanese, Arabic)








  1. 通过诗歌与艺术相结合的文化将成为新时代的精神食粮;
  2. 诗歌和具象艺术引发文化的交流;
  3. 每一种表现形式都能激发其他文艺类型:我们团队的目标是综合这些文艺形式;
  4. 通过诗歌与具象艺术的相互正面影响,一个全新的丰富而完整的艺术形式将被激发出来;
  5. 这次运动将对来自世界各地和不同文化背景的艺术家和作家全面开放;
  6. 这些互动能增进艺术家和作家的相互了解和相互尊重;
  7. 我们通过和传统媒体或网络的密切合作来支持这次活动;
  8. 新技术将成为创新思想交流的首选技术;
  9. 我们将摈弃冷漠、贫乏、肤浅,支持活跃、奇想、原创和研究;
  10. 图像与诗歌运动也面临长远发展并与其他领域的艺术形式衔接;









アルファ・ティアトロ - トリノ





  1. 詩とアートを通じた文化とは、新しい時代の糧であるべきです。
  2. 詩と具象画を結びつけることにより、より深みのある作品を創り出します。
  3. 様々な表現方法が新しい発見へとつながります。そしてそれらを統合するのが私達の目標です。
  4. 詩と具象画を一体化することにより、斬新、且つ豊かで完璧なアートを創作することができます。
  5. 国や文化背景を問わず、どのようなアーティスト、ライターの方もこの活動に参加できます。
  6. アーティストとライターのコラボレーションにより、互いを尊重し、理解を深めることができます。
  7. 私達は元来の媒体またはインターネットを介し、コラボレーション活動を行っています。
  8. インターネットなど最新技術を用いての創作アイディアの交換を提案します。
  9. 冷たく平凡で表面的なものに惑わされず、想像力、独創性を重んじる研究や活動を支持します。
  10.  イメージと詩のコラボレーションを通じて、より一層の発展を求め、新たな分野におけるアートとのつながりを持っていきたいと考えています。





芸術評論家: MARY GORGY, Long Island, N.Y;  ENZO PAPA


エグゼキュティブ・プロデューサー: LIDIA CHIARELLI



2007 9

صور و شعر

حركة فنية وأدبية


الثقافة  ـ من خلا ل الشعر والفن ـ يجب أن تكون الغذاء الروحي للأجيال الجديدة  1

الشعر و الفن الرمزي يجلبون في بعض الأوقات إبداعات معبرة  2

كل طريقة في التعبير يمكن أن تلهم أخريات: هدفنا إدن هو اندماجهم  3

  بالتكامل الشعري والفن الرمزي، وبالإلتماس المتبادل يمكن الحصول على طريقة جديدة للفن غنية و متكاملة

العمق   حركة مفتوحة للكتاب والفنانين من مناطق جغرافية وثقافية أيضا مختلفة  5

. احترام الأخرين تفاعل هؤلاء الكتاب والفنانين سوف يؤدي إلى تحسين المعرفة والفهم ، وبذالك6 

نحن نؤيد التعاون اللذي سيجري على حد سواء من خلال وسائط الإعلام التقليدية ، أو  من خلال الانترنت

تبادل الأفكار والمقترحات الفعالة التكنولوجيات الجديدة ستساهم في 8

للتأكيد على النشاط الإبداع، الأصالة  والبحث  نريد مكافحة اللامبالاة ، التفاهة و السطحية 9

الحركة صور وشعر مفتوحة لمزيد من صلات التنمية  مع تخصصات أخرى وغيرها من أشكال التعبير الفني 

AERONWY THOMAS      الشاعر والكاتب


                                                   SANDRINA PIRAS, شاعرة- LIDIA CHIARELLI منسقة

                                                   MARY GORGY (NY), ENZO PAPA  النقد البناء

                                                 CESARE DELLAFIORE   مسؤولو التصوير

                                                  LIDIA CHIARELLI – المنتجون المنفدون

Immagine & poesia

“Manifesto” of IMMAGINE&POESIA (Spanish, Portuguese, German)



9 DE Noviembre del 2007

Presentación Oficial

del movimiento Artístico-Literario



1.- LA CULTURA – a través de la POESIA y el ARTE – debe ser la nutrición espiritual de la nueva generación.

2.- La POESIA y el ARTE FIGURATIVO nos lleva hacia un estado de CREATIVIDAD COMBINADA.

3.- Cada una de estas  formas de expresión puede inspirarnos algo más: nuestro objetivo es su INTEGRACIÓN.

4:- De la integración de la POESIA y EL ARTE FIGURATIVO, recíprocamente estimulados, puede originarse una NUEVA FORMA DE ARTE, rica y completa.

5.- El movimiento está abierto a escritores y artistas provenientes de áreas geográficas bastamente diversas.

6.-LA INTERACCION  entre esta publicación y el artista nos llevará a un mejor conocimiento y comprensión, así como a un mutuo respeto.

7.- Estamos a favor de una COLABORACIÓN que podrá darse ya sea a través del MEDIO TRADICIONAL, o a través de la WEB.

8.- La NUEVA TECNOLOGIA será de todas maneras ventajosa en el intercambio de ideas  y el despertar creativo.

9.- Deseamos contrarrestar la apatía, la banalidad y la superficialidad reafirmando la actividad, la inventiva, la originalidad, la búsqueda.

10.- El movimiento IMAGEN Y POESIA está abierto a un mayor desarrollo y a enlazarse con otras disciplinas y otras formas de expresión artística.

AERONWY THOMAS, poeta y escritor


SANDRINA PIRAS, escritora – LIDIA CHIARELLI, coordinadora

Colaboración en Crítica: MARY GORGY, Long Island, N.Y;   ENZO PAPA

Fotografía Oficial: CESARE DELLAFIORE

Productor Ejecutivo: LIDIA CHIARELLI




 November 9  2007

Imagem & Poesia

Movimento de arte e literatura
O Manifesto

  1. CULTURA através da poesia e arte deve ser o alimento do espírito das novas gerações.
  2.  Poesia e arte figurativa levam a momentos de FERTILIZAÇÃO de uma para outra.
  3. Cada forma de expressão pode inspirar outras: nosso objetivo é sua INTEGRAÇÃO
  4. Da integração da Poesia e Arte Figurativa, reciprocamente encorajadas, uma Nova Forma Rica e Completa de Arte pode se originar.
  5. O movimento está aberto a artistas e escritores vindos de diferentes localizações geográficas e bases culturais.
  6. A Intera-ção desses artistas e escritores pode aumentar o entendimento e respeito dos outros.
  7. Nós somos a favor da colaboração que pode acontecer via Midia Tradicional ou via Internet.
  8. Novas Tecnologias serão preferidas na troca de idéias criativas.
  9. Nós queremos lutar contra apatia, banalidade, superficialidade e dar apoio a atividade, imaginação, originalidade e pesqui
  10.  O movimento de Imagens & Poesia está aberto para  mais desenvolvimentos e links com outras disciplinas e formas de arte.

Charter Members:

AERONWY THOMAS, poet and writer



Art Critics: MARY GORGY, Long Island, N.Y; ENZO PAPA


Executive producer: LIDIA CHIARELLI





 November. 9  2007




  1. KULTUR – durch Gedicht und Kunst- ist ein Muss, für den Geist der neuen Generationen.
  2. Dichtung und bildende Kunst führen zu Augenblicken des Kulturaustausches.
  3. Jede Form von Ausdruck kann andere inspirieren: unser Ziel ist es, diese Formen zu verbinden.
  4. Durch die Verbindung von Poesie und bildender Kunst kann eine neue, reiche und vollendete Kunstform erschaffen werden.
  5. Die Bewegung ist offen für Künstler und Schriftsteller aus unterschiedlichen geografischen Gebieten und kulturellen Ebenen.
  6. Die Zusammenarbeit dieser Künstler und Schriftsteller kann das Verständnis und den Respekt vor dem Anderen fördern.
  7. Wir setzten uns für eine Zusammenarbeit ein, welche über traditionelle Medien oder Internet erfolgen kann.
  8. Im Austausch von kreativen Ideen werden neue Techniken bevorzugt.
  9. Wir kämpfen gegen Gleichgültigkeit, Banalität, Oberflächlichkeit und fördern Aktivität, Fantasie, Originalität und Forschung.
  10. Die Bewegung Images & Poetry ist für weitere Entwicklungen und Verbindungen zu anderen Disziplinen und Kunstformen offen.


AERONWY THOMAS, Dichterin und Schriftsteller



Kunstkritiker: MARY GORGY, Long Island, N.Y; ENZO PAPA


Exekutive Hersteller: LIDIA CHIARELLI

Immagine & poesia, Khế Iêm, Lidia Chiarelli

“THÊM MỘT NGÀY” by Lidia Chiarelli, Khế Iêm chuyển dịch

Hy vọng lớn đã mất Bạn không nghe thấy tiếng ồn

Sự đổ nát đã tới

Emily Dickinson

Thêm một bình minh của một ngày dài mãi khác.

Sự tĩnh lặng kỳ lạ như một màng mờ đục bao bọc thành phố.

Đôi khi những hình dạng phù du ra khỏi góc tối

vượt qua và biến mất

chìm sâu trong nỗi đơn độc đổi thay.

Chỉ những con chim nhạn những bậc thầy của bầu trời lặp lại trò chơi của chúng trong gió tháng Tư.

Hôm nay một lần nữa Tôi sẽ vào

mê cung ảo

nơi mất đi sự im lặng.

Hôm nay một lần nữa

Tôi sẽ lật – lần lượt – mỗi trang trống của thời gian khác biệt này.

Fine Art Photo by Lidia Chiarelli
Immagine & poesia, Khế Iêm, Lidia Chiarelli

“CHAIRS” poem by Khế Iêm (Vietnam), image by Lidia Chiarelli (Italy)



Chairs not of the same colors,

chairs not used for sitting,

the words for chairs, not chairs; chairs

that can be touched, chairs that can


be called names, chairs that are

indeed chairs, that are not chairs;

chairs that can never be drawn,

chairs that can never speak, chairs


that can never be had,

because they are chairs that

never change their form, chairs that

can never be misplaced or


lost, chairs that are not present;

chairs, alas, that is what they

are indeed chairs, alas, not

of the same colors, chairs, alas


not used for sitting; chairs that

are not far away, chairs beyond

all things; chairs that are just

what they are chairs.

Khế Iêm





Sedie non degli stessi colori,

sedie non utilizzate per sedersi,

parole per sedie, non sedie; sedie

che possono essere toccate, sedie che possono


essere definite con nomi, sedie che sono

davvero sedie, che non sono sedie;

sedie che non possono mai essere disegnate,

sedie che non possono mai parlare, sedie


che non si potranno mai avere,

perché sono sedie che

non cambiano mai forma, sedie che

non possono mai essere fuori posto o


perse, sedie che non sono presenti;

sedie, ahimè, ecco cosa

sono in effetti le sedie, ahimè, non

degli stessi colori, sedie, ahimè


non utilizzate per sedersi; sedie che

non sono lontane, sedie oltre

tutte le cose; sedie che sono proprio

cosa sono le sedie.



Khế Iêm (Vietnam) Khế Iêm was born in 1946. Founder and editor in chief of Tạp Chí Thơ (Journal of Poetry from 1994 to 2004), Editor of online Journal for New Formalism Poetry Club, since 2004. He has published Hột Huyết (Blood Seed) play, 1972, Thanh Xuân (Youth) poetry, 1992, Dấu Quê (Traces of the Homeland), poetry, 1996, Thời của Quá khứ (A Time Past), stories, 1996, Vu Dieu Khong Van, essays, 2018.