Login

Tutti i servizi di Cascinamacondo, compreso il concorso haiku li trovi sul nuovo sito: www.cascinamacondo.com

Se ti sei già registrato sul nuovo sito premi qui per accedere.
Se ancora non ti sei registrato sul nuovo sito e vuoi registrarti gratuitamente premi qui.

Registrati sul nuovo sito per partecipare al concorso premendo qui.

recupera la password
Forgot your Password?
Menu
Home Haiku Crestomazia Concorso Haiku 2008 Concorso Haiku 2007 Concorso Haiku 2006 Concorso Haiku 2005 Concorso Haiku 2004 Concorso Haiku 2003 VideoChe cos'è un HaikuBibliografia Haiku Cos' è un Senryu Shashaijin Fuci Wasnahaijin Manifesto della poesia Haiku in lingua italiana Gli Haiku Bifronte
ovvero
I Gianu-Haiku
Haiku correlato
o Haiku narrativo
Articoli Congresso Europeo HAIKU-VADSTENA, SVEZIA - 8-9 Giugno 2007 Riflessioni sui sistemi di votazione
Il sistema a coppie alternate
Le sillabe - nozioni di metrica Haiku tombolato L'angusto sentiero del nord
di Matsuo Basho
NewsletterArchivio newsletter
<<Torna

Intervento di Cascina Macondo alla conferenza Haiku - Vadstena (inglese)
25/07/2007

2nd EUROPEAN HAIKU CONFERENCE

Vadstena (Sweden)- 8-9 June 2007

 

Haiku: transversal poetry

Pietro Tartamella – Cascina Macondo, Italy

 

translated by Antonella Filippi

 

 

Some years ago in Italy our television news informed that in Naples was born a Committee fighting for the acknowledgement of the Neapolitan Pizza’s “origin mark”. The committee asserted that only a recipe made with a series of specific ingredients had to be considered as the real recipe of the Neapolitan pizza. In consequence of legal acts and petitions, the Neapolitan committee managed at last to state its point of view. Then we asked ourselves: if Japanese people did the same thing with Haiku poems? If they wanted to claim paternity laying down the rules and the specific ingredients of Haiku? Well, we believe that they would win the battle, just like Neapolitans did. All the quarrels and the issues in the western world, relevant to Kigo, 5-7-5 syllables, blank verses, would immediately fall and have no sense at all.

 

 

Change of course

 

In the past, Cascina Macondo maintained that it was necessary to free the Haiku poem from the too tight chains of the 17 syllables and of the season. Some of us used to compose Haikus with blank verses, without feeling obliged to refer to the season.

Thanks to the television news about Neapolitan pizza, we revised our positions and arrived to compile the “Manifesto della Poesia Haiku in Lingua Italiana” (“Manifesto of Haiku poetry in Italian”), defining in a simpler and clearer way as possible a functional terminology. The necessity to draw up a Manifesto was born also from the technical problems linked to the organization of an International Contest of Haiku Poetry in Italian like ours, that reached this year its fifth edition and that ended a few days ago, on May 31.

We chose, then, to follow the traditional way, accepting the limit of three lines of 5-7-5 syllables. In truth, with some derogation as to the syllables, but only within the limits that the metric phenomena of the division into syllables allow.

This choice pushed us to study and to deepen the division into syllables and the metric phenomena, until writing a “Manifesto della sillabazione italiana per la composizione di Haiku” (“Manifesto of the division into syllables of the Italian words for the composition of Haikus”) that broadens and makes more elastic the possibilities of Haiku poetry.

 

 

A name for each thing

 

·          HAIKU  a composition of three lines of 5-7-5 syllables containing the Kigo or the Little Kigo

·          SENRYU a poem of three lines of 5-7-5 syllables that does not contain the Kigo or the Little Kigo

·          HAIKAI  a composition of three lines of 5-7-5 syllables containing the Kigo or not, whose characteristic is to have a humorous or comic connotation

·          HAIGA  a composition of three lines of 5-7-5 syllables (that can be a Haiku, a Senryu, a Haikai, a Haisan) matched to a photographic, filmic, graphic, multimedia image

·          HAISAN  a composition of three lines with a free quantity of syllables, containing the Kigo or not, and that can be lyric, dramatic, comic, surreal. With the specific term HAISAN we want to give major dignity to those compositions and those authors that chose to use blank verses. Compositions that are generically defined as “pseudo-haikus”, “improper haikus”, “false haikus” and other similar expressions.

 

 

Great cycle and Small cycle

 

We introduced also a new concept, not contemplated by tradition, the concept of the LITTLE KIGO, meaning an element that refers to a part of the day. Following and going deep into the concept of “here and now” (Bashō and the classic poets considered it fundamental), we thought it was pertinent the comparison between the great cycle of the seasons that repeat and the smaller cycle of day and night that unceasingly repeat.

In our manifesto we maintain that a part of the day mentioned in a Haiku (LITTLE KIGO) makes the composition a perfect Haiku, as if the Kigo was present.

 

 

Syllabic division

 

Some say: “You of Cascina Macondo have a way to divide into syllables that is too complicated”. It is nonsense. The division into syllables is the same that we all learnt at school, and that everybody should know. But in Italy normally people know only the grammatical division into syllables, the one that is taught at school. In our manifesto we explore the metrical division into syllables and we conclude that the haijin is free to choose, in case of need, the grammatical division or the metrical division, seeing in this way remarkably increased the possibilities to play with words, still remaining into tradition. We have not to be amazed reading a line of 10-11 syllables (grammatical calculation) that come down to 7 syllables if we use the metrical calculation.

Anyhow, many judge our choice as excessively “traditional”. It is right, we chose to be traditional in practising with precision the formal structure of Haiku, but this does not prevent us, within this choice apparently restrictive, from being “transgressive” just like the ones that chose to adopt the blank verse. We think indeed that the introduction of the Little Kigo is a transgressive choice, breaking with tradition, still remaining into tradition.

 

 

Haiku, transversal poetry – handicap, children, literary people

 

For many years Cascina Macondo taught Haiku poetry to children (primary and secondary schools, high schools) and to young people with disability and handicap. An experience that makes us believe that the Haiku composition is the only kind of poetry really “transversal”.

With the word “transversal” we mean that it can be composed by everybody, without any distinction of race, colour, language, religion, culture, academic title, profession, age.

It is not necessary to be literary people to write wonderful Haikus. It is necessary to have understood what Haiku is. Peasants, workmen, graduates, housewives, children, handicapped people, as regards the Haiku poems, are really on the same level.

Our experience with schools, children, disability, demonstrates it.

Wonderful Haikus can be written also by chance, as “Haiku tombolato (Tombola Haiku) demonstrates, that is composed drawing out at random the three lines of a Haiku from a great quantity of lines.

 

 

 

Poetry already exists

 

We share the thought of the poet Jan Skachel when he says: “poetry already exists, it lays hidden somewhere from time immemorial; the poet does not create or invent anything, he simply discovers poetry and brings it to light”.  Children, disability, tombola Haiku, cut-up seem to demonstrate this truth, that can be a little scary, because it can put in crisis our identity of “authors”.

Here are some Haikus written by children and by young disabled people during our poetry, Haiku and affabulation workshops.

 

Ha il cappello

un pupazzo di neve.

Gocciola il naso.

 

wearing his hat

a snowman-

dripping nose

Marcello (7 years old)

belli i fiori

di papà in giardino

il mio haiku

 

beautiful

dad’s flowers in the garden

my haiku

Emilian Ratis (7 years old)

cibo nascosto

nell’armadio del pane

formiche nere

 

hidden food

in the kneading trough

black ants

Rafis Raham (8 years old)

salta la rana

dalla foglia all’acqua

fiori che sbocciano

 

frog leaping

from leaf to water

blooming flowers

Carmela Dragotta

Handicap Area

Torino - Italy

emozionata

spegnere la candela

e il cielo azzurro

 

moved

putting off the candle

and the blue sky

Germana Gottero

Handicap Area

Torino – Italy

 

Just two words about this last Haiku. To grasp its many meanings it is necessary to scan it with different pauses. If we read:

 

moved                                     (pause)

putting off the candle                 (l o n g   p a u s e)

and the blue sky

 

it means that the author, in some merry occasion (probably a birthday) is moved when she puts the candle off. She looks at the sky and she simply realizes that the sky is so blue and bright.

But if we read it with another rhythm:

 

moved                                     (little pause)

putting off the candle                 (not any   p a u s e)

and the blue sky

 

it means that the author is moved while she puts off the candle and the blue sky. That is to say that she puts off the candle and at the same time she also puts off the blue sky.

The question is: how is it possible to put off a blue sky while putting off the candle with which I am celebrating my birthday? There is only a sensible way to put off a blue sky in such circumstance: closing the eyes for the emotion! With eyes closed for the emotion the blue sky disappears for a moment! As if, for a moment, I had put it off! A good Haiku, as Hans-Peter Kraus says, begins after the reader has finished reading the three lines that compose it.

Autore: Pietro Tartamella

<<Torna
Copyright 2004 - 2007 Cascinamacondo.com - Realizzato da DeArt - Torino