Wednesday, October 20, 2010

VIŠEGODIŠNJE CVEĆE











VIŠEGODIŠNJE CVEĆE (PERENNIAL PLANTS)

Čini mi se da je jedan od osnovnih problema u današnjem haiku to što smo okupurani haikuem i teorijam haikua koja dolazi iz engleskog jezika-zapadnog jezika iz kojeg haiku ne potiče i koji se lažno predstavlja haikutvornim tj. emancipovanim od japanskog haikua i kulture. Na žalost, haiku u engleskom jeziku nije privukao pesnike već intelektualce. Zato u engleskom jeziku imamo vrlo malo ljudi sa potrebom da kroz haiku priča o svojim vizijama, iskustvima, osećanjima i doživljajima (što inače pesnici strastveno i neutešno rade) a imamo mnogo onih koji se bave jezikom i formom i jedino o tome govore stalno i neprekidno. Umesto da bi poput pravih pesnika davali primere svojih pesama koje na odredjeni način svojstven haikuu govore o ljubavi, ratu, prijateljstvu, društvu ili čemu već žele-- oni do u beskonačnosti raspravljaju formalističke principe. Onomad sam pročitao četiri primera iste pesme nekog čoveka u kojima se isprobava delovanje cezure! Prilično je monotono i nezanimljivo pomerati cezuru sa jednog sloga na drugi i to četiri-pet puta. O čemu govori taj tekst—niočemu!
Zar nije bolje da nam pesnik pokaže svoja četiri-pet haikua o ljubavi (recimo) te ponudi čitaocu da oceni njegov duhovni i pesnički napredak u shvatanju teme. To bi bilo vrlo suštinski i vrlo pesnički. Na primer da kaže:"Ovako sam o ljubavi pevao pre dvadeset i pet godina--pa predstavi primer--, zatim sam o ljubavi pevao na sledeći način--pa primer--, pa zatim..., a danas evo kakav haiku napisah ženi za rodjendan..."
Kako bi to bilo divno pesničko iskustvo! Tako bi saznali kakvi su ljudi tamo preko okeana i kakva je njihova srčana kultura i navike a tome poezija i služi: da se upoznajemo kao ljudi. Ali upoznavanje izostaje i nažalost moram reći: komuniciranjem putem haikua na engleskom jeziku ostajemo jedan drugom stranci, nepoznanice. U tom smislu haiku na engleskom jeziku nije adekvatna zamena za japanski haiku ako takvu pretenziju ima, a rekao bih da ima i to neskriveno. Umesto humanih sadržaja presipa se iz šupljeg u prazno ali visokoučeno! Metod ovih formalističkih egzibicija upotpunjuje citiranje nekakvih egzotičnih floskula (lažno spiritualnih i kvazi egzotičnih) koje u smesi formalnih misli (tipa „onji“ ili „more“ ili „jukstapozija“ ili se radi o "novim definicijama" jer ta gospoda stalno nešto objašnjavaju, definišu i redefinišu a poeziju slabo pišu) čine betonsku armaturu „nepobitnog znanja“ koje su u satelitskim kulturama engleskog jezika uzima zdravo za gotovo... Kako je to daleko od skromnosti pesništva! I kako je to daleko od pravih poetskih potreba! A to, da smo japansku kulturu prirode izgubili sa horizonta nije potrebno govoriti.
Forma 17 slogova je za intelektualnu elitu „smrtonosna“ jer nije špekulativna već prozaično jednostavna a poput prazne čaše traži da se stalno puni poetskim sadržajem. A tog sadržaja ti ljudi izgleda nemaju i u tome je problem, izvor svih problema.
Zato me ne začudi što u jednom poznatom američkom haiku časopisu nadjoh belešku o svojoj knjizi haikua o kojoj piše i nevorovatna misao: „..that successfully insist that haiku can be 'about' something.“ Dakle „uspešno tvrdim da se haikuem može nešto reći“. Naravno da je takva „tvrdnja“ dosta neobična medju onima koji navodno "pišu haiku" a da pritom nemaju šta reči. Izgleda da je za većinu zapadnjaka haiku ime za formalistički ritual. Reći "pišem haiku" za njih znači otprilike kao "treniram jogu" ili "bavim se filatelijom"--nema tu pesničkih obaveza, niti obaveza da se nešto kaže.
Učesnici haikuističnog rituala u engleskom jeziku često navode kao razlog nepisanja u formi 17 slogova (da li pomalo rasističku?) teoriju da engleski i japanski jezik nisu isti. U čemu bi mogao biti smisao ove tvrdnje? Da li to znači da su drugi jezici medjusobno isti? Očito je da ti ljudi koji pišu teorije haikua na engleskom ne samo da nisu pesnici već nisu ni prevodioci. Prevodjenje je važna pesnička delatnost i smem reći da pesnik koji ne prevodi ne može dovoljno iskoristiti svoje pesničke sposobnosti a još manje može biti autoritet u polju poezije. Proces prevodjenja donosi važne spoznaje, to je najbolja škola poezije. Kada bi naše kolege haikuisti engleskog jezika prevodili iz drugih jezika u svoj (ili obrnuto) znali bi da posao prevodjenja postoji baš zbog toga što jezici nisu isti. Ako oni to paradoksalno ne znaju, a donose obavezujuće pesničke zaključke onda je takvo ponašanje nalik nasilničkom, jer onaj koji ne zna a koristi autoritet i primućstva imperijalnog jezika da bi izgledalo kao da zna--nametnuo je pesnicima subordiniranih jezika i kultura svoje neznanje kao znanje samo zato jer govori imperijalnim jezikom... Stvari stoje drugačije, razlike medju jezicima su osnova kulture i čine njen karakter-- ali kulturne razlike ne smeju da uništavaju naše zajedničko poetsko tlo.
Dajem jedan sveži primer iz moje današnje dvojezične haiku prakse. Sledeći haiku sam napisao povodom ženinog rodjendana na srpskom i slovenačlom, zatim sam ga za potrebe ovog teksta preveo na engleski:

Ženin rodjendan:
višegodišnje cveće
kiša osveži

Ženin rojstni dan:
trajnico zraven hiše
je osvežil dež

My wife birthday:
a perennial by the house
refreshed with rain
(Prevod: Dimitar Anakiev)

Haikui su napisani u 17 slogova, ali haiku na slovenačkom ima tri reči više od haikua na srpskom (statistički podatak za kolege koji pišu na engleskom: reč je o 33,33% dužoj pesmi--izgleda baš toliko dužoj koliko tvrdite da je prosečno duži engleski haiku od japanskog! Pa šta onda?) i to veoma značajne reči: „pored kuće“, plus glagol "biti" a i vreme pesama je drugačije: u srpskom je aorist u slovenačkom perfekt (slovenački nema aorist!)-- pesme medjutim imaju isto značenje (reč je o jednom istom haikuu originalno napisanom dva puta, na dva jezika--svaka od pesama je original iako je prvo nastala srpska verzija) i prenosi istu emociju koju sam zapisao u veoma srodnim jezicima. Haiku na engleskom opet ima nove karakteristike: dve nove reči iz slovenačkog potrebne su i u engleskom, takodje i perfekt, ali dodat je pridev "moja" a glagol "biti" je izbačen.
Zaključak: razlike od jezika do jezika su suštinske i posledica kulturnih razlika koje ne smemo uništavati već negovati! Razlike medju jezicima nisu nepoželjno zlo koje treba eliminisati i prevazići već sasvim suprotno: jezičke razlike su glavni izvor pesničkog bogatstva ovog sveta! Oni koji skrnave poeziju i otpisuju strane kulture i uticaje sa argumentom "postojanja jezičkih razlika" kao opravdanja za svoju nakaradnu, kvazipoetsku praksu, pokazuju i dokazuju svoje suštinsko nepripadanje svetu poezije koga tako intenzivno i bez ikakve sumnje definišu i redefinišu. Tendencija (kvazi)poetske prakse kao jezičke unifikacije je pored ostalog i izrazito nedemokratska i svakako nije osnova za relevantne teorije o haiku! Izvesno je da takve teorije ne mogu biti univerzalne (da važe u svim jezicima prosto zato što same sebe definišu kroz kulturnu redukciju). Smatram takodje da ovakve teorije pored svoje očite neuniverzalnosti ne mogu biti uzdignute ni na nivo lokalnog kulturnog stava (zato što su mnogi pesnici engleskog jezike dokazali suprotno).Šta su onda one? Pre svega i jedino individalna licentia poetika. Individualno svaki pesnik može a možda i mora da postavlja principe svoje poetike. To što se odredjeni indivudualni stvavovi plasiraju kao kulturološke istine a u slučaju haikuista engleskog --imperijalnog-- jezika u satelitskim kulturama odmah i automatski unapredjuju u "univerzalne" istine, je poseban problem. S jedne strane postoji očita tendencija tih imperijalnih i samozvanih pesničića da govore u ime svojeg imperija i kada se kaže "japanski nije sličan engleskom" to znači "naš imperij nedozvoljava japanski uticaj na našu pobedonosnu kulturu", not allowed! Mi se tu pitamo a ne Japanci! S druge strane postoji tendencija subordiniranih pesničića za automatsko i nekritičko pretvaranje impulsa dolazećih od imperatora u kvazi univeralne vrednosti.
Forma 17 slogova dakle omogućava da se uoče razlike medju ljudima i kulturama i to je bez sumnje za poeziju od suštinskog značaja. Klasična forma ističe karakter jezika i kulture!

Tuesday, October 5, 2010

10 GODINA POSLE SVETSKE HAUKU KONFERENCIJE U TOLMINU





Ekipa NHK TV u Tolminu (Dimitar Anakiev i producent Kiyoshi Nanasawa)





Balkanski haikuisti posle panel diskusije u Skupštini opštine Tolmin.


Prošlo je 10 godina od osnovačke konferencije Svetskog haiku udruženja (WHA) u Tolminu, Slovenija. Zbog velikog ushićenja koje je taj istorijski susret haiku pesnika iz celog sveta doneo pesnicima Balkana ali i širom zemljine kugle, donosim ovde prvi izveštaj koji je posle višednevnog druženja u svet poslao naš ko-osnivač Jim Kacijan.
O uzrocima kasnijih problema upućem čitaoca na post od 4.oktobra 2010 "Haiku i Imperijalizam" u istom blogu.





Alain Kervern, Banya Natsuishi, Jim Kacian i Dimitar Anakiev



Report on the World Haiku Conference in Tolmin, Slovenia

Jim Kacian, September 8, 2000
redmoon@shentel.net


Hello Everybody:

We've had an amazing time at the first World Haiku Association meeting here in Tolmin. Over 60 people gathered to share poems and thoughts on poetry, and the camaraderie and energy generated has been much greater than even I anticipated. So much in fact that many new initiatives and projects have been created, with expanding expectations of what we can accomplish to bring haiku to more people around the world, on every level. I thought I might share some of the key moments in the conference with those of you who were not so fortunate as to be able to attend. (As this will serve as a press release as well, I hope you won't mind if I address myself in the third person below.)

Friday September 1:

People arrived in waves, first the contingent coming here from London (site of the World Haiku Festival 2000, August 25-30) at 3am, then a large group from Japan who had spent some holiday time at Lake Bled, then many of the Balkan attendees, usually in groups of 2 or 3. By mid-day most everyone was in, and the ginko to Tolminka Gorge attracted the whole group. The weather was perfect for such a trip, sunny and warm, but cooler as we walked up the river's edge through the gorge it has carved out of the dolmitic mountains, until we passed through a cave into the dim opening from which the river issues. To everyone's credit, we all successfully completed the walk, and had many opportunities to write haiku and appreciate the splendor of the setting. We returned to Tolmin for the welcome reception, held in the Tolmin Theatre. There we were treated to not only food and drink, but also a concert of traditional Slovenian music, wonderfully performed by a quartet, Dednina, from Zagreb. Welcoming speeches from the Mayor's office (Deputy Mayor Carli), the site host (Dimitar Anakiev) and the performance director (Igor Drnovsek) were followed by a round reading of greeting haiku from about half of the participants. It was time for dinner, so we adjourned from the theatre to the dining hall of the Hotel Krn, where we ate copiously and conversed in many tongues. At the beginning of desert, all those who had not yet greeted us with a haiku were able to do so, and after much more conversation we retired to our comfortable lodgings







Saturday September 2:

Following breakfast in the hotel's dining room, we moved to the theatre for the opening session of talks. Dimitar Anakiev began the day's conversation with his paper on "The Third Way". He advanced the idea that WHA is not merely a gathering of poets, but actually a seeking of a furthering of the form itself. Poised between the two models which predominate the haiku world today, those of Japan on the one hand, and the western mirroring of Japan on the other, he proposed that WHA is the beginning of a third model, which is a more inclusive form, losing nothing from the earlier two models but emphasizing the poetic element to a greater degree than has heretofore been permitted. He offered the point that the important work being done today in the form is taking this third way, and includes the development of the "keywords" concept, and a broader latitude for poetic association. This set the tone for the kind of poetry WHA values and will seek to advance.

He was followed by Jim Kacian, who spoke on "The Structure of WHA". After surveying of the state of the haiku art around the world, and concluding that interest is burgeoning in many countries, cultures and languages, he asked the question of what would best serve these many and disparate people, and how WHA could be structured to accomplish this service. He advanced a design that intends to accomodate as many people as possible, on the level of their interest and involvement. First of all, he advocates the creation of a website wherein all members might have space for their own work. This site is free of charge, and available to all members, and, as membership is also free, provides an opportunity for all poets to have a voice. How this site differs from other large and usually unedited site, however, is in its management by editors who would be appointed or elected by their national or regional organizations. The mandate for these editors is to choose work which is exemplary of their place of origin, thus assuring that the local and specific is not lost in the growth of the form internationally, but rather preserved, as haiku must be, as a poem of a specific place and time. To create these positions of editor will require cooperation between WHA and local, regional and national haiku societies around the world, which constitutes the second level of the structure. Beyond this, WHA will provide the kinds of work that will help bind these societies together: the critical work of good translation (English has been adopted as the official working language of WHA, for practical reasons, but each language is encouraged to find its own best poetry in the form); outreach in the form of instruction and resources for those countries and cultures just coming to haiku (taking the form of books, magazines, and workshops, among other things); major projects which will advance the understanding of global haiku, such as those currently planned: the first world haiku anthology, the first "saijiki" based on keywords, and the history of world haiku as it has come to the many countries around the world; and finally, but not least, regular meetings where people from the many countries can come together to share their poetry and ideas about poetry for the evolution of us all.

The third speaker of the morning was Susumu Takiguchi, who had us consider, at this most appropriate time, "Challenges of World Haiku in the 21st Century". These are many and varied, and it is important to begin dialogue on them, to find the most useful language, as well as possible direction for solutions. Included among these questions are matters such as the Japanese position in haiku in the future, the near-ubiquitous use of English in international haiku, and the predominance of what we might term "the American model" as the most common type of haiku to be found . These are not new questions which face us: how will haiku grow, how will we be able to share it, what are the repercussions to making the decisions we make. But they are issues which must be faced if haiku is to continue to grow, and remain meaningful in both artistic and personal ways, in the futur. What is most heartening is that they are being answered: Japanese poets increasingly embrace international haiku, and even Japanese haiku societies are coming to recognize the value, importance and necessity of working in a larger sphere; English certainly has been adopted world-wide, and this is not without problems, but it also seems apparent that any choice would be frought with the same considerations, and that English offers some things, such as the number of users and its currency in other realms, which offset whatever disadvantages it might offer; and the creation of entities such as WHA ensures that other models will have good exposure in the international world, and that not a single model will be recognized to the exclusion of all others. So there is much reason for encouragement as we come to meet these challenges that await us in the years to come.

Most significant of all for the morning session was the spirited question and answer period which followed. Many broad topics were discussed, and it was enlightening to all to hear the many points of view regarding each. Only through this kind of interchange can we hope to know the full breadth and depth of the issue at hand. And only at such a colloquy as WHA made possible can this breadth and depth be made available.

Following lunch at the hotel, the second session was begun in the theatre by Ban'ya Natsuishi, who spoke on "Our Basis for World Haiku in the 21st Century". Ban'ya acknowledged that many problems face world haiku in the next century, but explored one of the ways in which these problems might be overcome, or at least faced. He chose the keyword "dream" and, through examples and commentary, suggested how poets from around the world--Joanne Morcom and Jim Kacian of the United States, Sumie Aihara, Tota Kaneko and Saki Unui of japan, Dimitar Anakiev of Slovenia, and Miroslav Klivar of the Czech Republic--find a wide range of material, but ultimately a commonality of spirit and being. Conceding that the entire basis for the new haiku could not be known at this time, it is at least possible to see how it can work amongst people by calling forth shared realities, and appreciating the deep feelings each poet expresses and therefore shares.

Marijan Cekolj then addressed some of the philosophical issues concerned with the position of haiku as zen. He considered the position from the point of view of what it was like when zen was taken to be essential to the understanding of haiku, and drew many conclusions which arise from such a consideration.

Ion Codrescu spoke on "Communication through Words and Images in a Time of Globalization". In his talk, Codrescu advanced the idea that haiku is primarily a visual poetry, and that just as we create energy through the juxtaposition of images transmitted verbally, so too can we accomplish this between poem and image through the medium of haiga. There followed a discussion of how haiga functions, of how what is missing is equally important to what is presented, and of how we might share meaning across borders when the verbal suggestions is accompanied by visual cues.

Zinovy Vayman then considered the new haiku cultures in russia and israel, both of which he has had a hand in fomenting. The emergence of haiku culture in such places, rich with literary tradition and with great passion for culture, is critical for the growth of world haiku. That haiku understanding and community have begun here, and in so many other places, is the mandate for an organization such as WHA.

To conclude the session, Serge Tome spoke on "Haiku, a Poetic Form Adapted to the Present World". He first considered how information is taken in by the mind, and how it is processed, and then used this information to suggest how haiku works. This comparison to other information-processing systems was provocative and prompted lively discussion.

We adjourned at this point to the theatre lobby where samples of local food and wine, and more lively conversation, was waiting again the sounds of many languages, and many intonations of english, floated in the air. In addition, rain had come up during the afternoon and fell heavily without. It was with reluctance that we finally moved ourselves to the city museum, where we were to have readings from our many participants.

Our reluctance was changed to appreciation, however, as the readings were full of enthusiasm and enjoyment. They were commenced by Ban'ya Natsuishi, who read, with the aid of Dimitar Anakiev (Serbian and Slovenian), Alain Kervern (French) and Jim Kacian (English), in 5 languages, selections from his book "A Future Waterfall". This was followed by readings from the many present who appeared in the recent anthology "Haiku Troubadours", these too in at least Japanese and English, with Jim again doing the honors. Then readings from "Our Dream", another recent anthology on the theme of the keyword "dream". And then all others sharing at least a poem or two with the assembled gathering.

From one piece of theatre to another: the group once again returned to the theatre (and it must be said that all these buildings, the threatre, museum and hotel, are adjacent to one another, and so transport was a matter of only a minute or so) for a presentation of haiku music, arranged by Igor Drnovsek. Included on the program were several pieces of music, all inspired by haiku, included "Seven Haiku for Piano" by John Cage; a trio of pieces by contemporary Slovenian composer Neved Valand--"Birds" for piano solo (based on selected Balkan haiku), "Slika za Klavir" ("Picture for Piano") for piano solo (based on haiku by Gordana Valand), and "Leprsa Ledena Cipka" ("Trembles the Frozen Lace") for soprano, piano, violin and percussion (based on haiku by Gordana Valand); selections from "Jasmine Tea" by Grace Asquith, for mixed voices (based on haiku by Ebba Story); and "Seasons" by Russell J. Courter (setting classical Japanese haiku for soprano and harp).

At its conclusion we walked through the balmy night to dinner, conversation, and a nightcap on the hotel piazza.

Sunday September 3:

Again the day begins with breakfast at the hotel, but this time following it we move to the Mayor's conference room. This to accomodate the slightly different program for the day which is to include a round-table discussion. But first we are treated to Alain Kervern's paper "The Haiku and the Poetry Almanac:Can this Formula be Transposed Elsewhere?" Besides being a fine summation of what a saijiki is and is intended to be, Alain places the origins and uses of the saijiki within the historical context in Japan, and within the larger context of similar works around the world, notably the English tradition of pastoral calendars which often took the form of extended works of poetry. He went on to consider the problems of kigo in the contemporary world, the diminution of the role of kigo, and ultimately the emergence of keywords as a critical element in the forward movement of haiku. At last, he spoke of the importance of the Tokyo conference held in 1999, which ratified the use of keywords and bridged the gap to the future of haiku.





Balkanski haikusti sa Jimom Kacianom u foajeu


Vladimir Devide next addressed the assemblage, speaking on Croatian haiku. His concerns highlighted the need to maintain the local and the specific to be found in each country's haiku, without which the form would become homogenized and bland. He concluded with some anecdotal definitions of haiku, which were an excellent conclusion to our many talks, being light and refreshing and often amusing.

Which led us to the featured part of sunday's meeting, the round table discussion. This, in my opinion, was the most important single event on the WHA calendar, as it was an opportunity for the many people present, and the many languages and cultures they represented, to voice their opinions and concerns on a wide range of issues facing contemporary haiku. And it did not disappoint. While many issues were discussed, the conversation was concentrated in three major areas. The first of these concerned the saijiki: is it merely a local phenomenon, a cultural and literary history of a people, or can it have a more sweeping impact? Can it, indeed, transport itself across national borders? What has been the success of saijiki which have attempted to do just that, such as William J. Higginson's "Haiku World"? Each of these points was discussed in detail, with, as might be expected, a particularly generous amount of information supplied by the Japanese contingent. The consensus was that a saijiki was an historical phenomenon, and that its effects upon the haiku were enormous, but that the needs of haiku poets in contemporary times are different. All of which WHA finds encouraging as it moves to bring forth the first saijiki based upon the concept of "keywords", currently in process. Such a book should be broader than a saijiki in that it will convey kigo, indeed, but also other categories heretofore not generally included in such volumes, and in a more inclusive fashion, utilizing the shared traditions and poems of all haiku cultures. Only such a volume can make the claim to cross national borders and serve a truly world poetry.




Vladimir Devide


Many surprising things came out of our conversation about haiku education. Of course many grassroots attempts to foster a deeper appreciation of haiku as a form have been attempted, in the west as well as in Japan. But perhaps most interesting was that the Japanese are finding the teaching of haiku to their children to be a difficult matter. Standards of teaching haiku in Japanese schools have decreased in recent years, to the point where an average student might now know 2 or 3 haiku by the 4th grade, as opposed to 50, 100 or more only a few years ago. But perhaps the biggest surprise came when Professor Ikuyo Yoshimura said that the most successful way of teaching haiku to children of late has been to introduce them to English-language haiku (!). Because English, especially American, culture is seen as "cool," haiku issuing from America might be seen to be cool enough for Japanese kids to know something about. So the circle has closed, in a way, and the wave laps back upon Japan which had once been started there.

A final key issue of conversation, especially of interest to the japanese contingent, was the organization of Japanese haiku, especially as this affects public haiku life in japan. What emerged from the conversation was that, contrary to pubic opinion, Japanese poets are quite interested in the movement of haiku into the world sphere, although Japanese haiku heirarchies have been slow to embrace this movement It was apparent, however, that the feeling amongst the assembled poets was that of interest and cooperation. Haiku as a world phenomenon seems assured, and in the very near future.

This brought us, sadly, to the final round of readings. Each of the poets shared a moment from their time and varied experiences in Tolmin. The full collection of these poems will be made into a volume of commemoration by Ban'ya Natsuishi in the next couple months, but perhaps I can share with you my own farewell poem. I wore a shirt upon which was imprinted the kanji for "buddha" as the morning session began, Sagicho Aihara, President of the Gendai Haiku Kyukai (the Modern Haiku Association), came up to me to greet me, and also to read my shirt. And so I must thank him for playing the major role in creating my poem:

reading "Buddha" on my shirt

a man lays his hands

on my belly

We adjourned for lunch, following which the Japanese contingent boarded their bus for a brief tour of Kobarid, and then return to Ljubljana and their flight home. Others among us lingered a bit longer, sharing conversations and a last drink, before dispersing. Finally only Dimitar and I are left in Tolmin, but we are happy to say that we've heard from nearly all to say they have arrived home safely and happily.

And now we have work to do: we move forward on creating the website, the gathering place for national societies, and the book projects which we feel to be crucial to the future of haiku around the world. What we found to be the most important message of the first WHA meeting is that communication between haiku poets must improve, that people want to know what is going on in other parts of the world. And such a gathering as we have had, face to face with other poets, sharing with them poetry and food and conversation, is the most important means at our disposal to supplying that communication.

Thanks for taking the time to read this. I hope it has been of some value to you.

Jim Kacian


(p.s.: The whole of the proceedings was filmed by NHK, National Television in Japan, with an eye towards producing at least two different programs for viewing in Japan, and possibly for export to other places. The first is a study of haiku in the Balkans, and to this end the tv crew followed Dimitar through most of his daily rounds. The second was a general overview of WHA and this historic first meeting. Expected time of airing of these programs in Japan is December.)




Panel diskusija u Tolminu, WHA


Izveštaj Jima Kaciana preuzet sa: http://www.iyume.com/kacian/tolmin.html

KONJSKO POJILO--haiku za danas


















U blatu oko
konjskog pojila leže
zrele jabuke

Dimitar Anakiev

DAMIROV BRODSKI DNEVNIK 4

DAMIROV BRODSKI DNEVNIK ( 4 )

26. Septembar, Ljeta Gospodnjeg 2010., Damirovog 32.

Za par sati cu uci u vode poznate po napadima somalijskih pirata, tako da
ovo mozhe biti moje poslednje zbogom!
U narednim danima dok budemo prolazili kroz moreuz Bab el Mandeb i Adenski zaliv, zbog aktivnosti pirata u ovom podruchiju, na
brodu ce biti pojachane mere sigurnosti, shto znachi da opet nema
telefoniranja i dopisivanja sa blizhnjim svojima, a sve to da neprijatelj mrski ne bi otkrio nash polozhaj i muchki nas napao, mornarski recheno, sa krme.

Modra puchina
prikriva jesenji ton.
Prva seda vlas.

29. Septembar

P.S. Josh uvek zhiv

Monday, October 4, 2010

RAZGOVOR S MAČKOM




Dimitar Anakiev
RAZGOVOR S MAČKOM

Niz haikua „Razgovor s mačkom“ zapisao sam kao svojevrstni poetski dialog sa prijateljem Banyom Nacuišijem. Već poduže polemišemo. Nedavno me je zamolio da mu recenziram knjigu izašlu u Srbiji. To sam uradio. Zatim mi je on poslao objavljenu recenziju u njegovom časopisu Ginyu br. 47 zajedno sa svojom novom knjigom štampanom u Indiji. Pažljivo sam, zajedno sa svojim mačkom, sve to pročitao i zapisao poetske refleksije:



Japanski pesnik
napustio Balkan, sada on
knjigu štampa u Indiji
#

---Banji Nacuišiju*
Taj vulkan
što povraća rajeve
moj je prijatelj
#

Mačor
koristi printer
za spavanje
#

Dijalektika mog života:
nimfa što ljubi
biku rogove
#

Još su živi
autonomni marksisti--
grmi planinom
#

Čitam
Hibridne rajeve
glavu uz glavu sa mačkom
#

Iz dijalektike
u metafiziku skoči
mačor
#

Sa mačkom spavamo
jedan pored drugog
koliko su udaljeni naši snovi?
#

Mačka spava
duboko štiteći
svoje skriveno blago
#

Zamisli moj mačore:
40 godina plaćam kredit
jednog napisanog haikua
#

Sa mačkom
što spava na mojoj nozi
osećam se potpun
#

Ližući mi prste
jedan za drugim—ponesen sam
u mačiji raj
#

Kako mačak
istrča u noć, leptir ulete
u osvetljenu sobu
#

Portret filozofa
na zidu mojem mačku
na djavola liči
#

---Na temu Banje Nacišija**
Razgovarajući sa ciganima
ispod punog meseca Santoka i ja
postadosmo marksisti
#

U Ginju br. 47
jedan pored drugog
bankar i marksista
#

Mog mačora
posetio drugar: jede
njegovu hranu
#

*Banja Nacuipi „Hibridni rajevi“,2010, Cyberwit.net, Indija

**Ragovarajući sa ciganima
ispod punog meseca moj drug
ostareo
Banja Nacuiši

HAIKU I IMPERIJALIZAM













Dimitar Anakiev
HAIKU I IMPERIJALIZAM


足は手は支那に残してふたたび日本に
Ashi wa ta wa Shina ni nokoshite futatabi Nihon ni
Noge i ruke ostale u Kini, vi se vraćate u Japan

Santoka Taneda



Septembra 2010. dogodio se incident u Istočnom kineskom moru kojom prilikom je japanska obalna straža kratkotrajno uhapsila i zadržala posadu kineskog broda koji je ribario u vodama kraj Daijao (Daiyao) ostrva, koja su tradicionalna „ribarska platforma“ ribarima sa Tajvana (štaviše, „daiyao“ na kineskom znači „ribarska platforma“). Ta kineska ostrva okupirao je Japan krajem XIX veka, međutim, nakon poraza japanskog imperijalizma u Drugom svetskom ratu međunarodna zajednica je odlučila da se okupirane kineske teritorije vrate Kini. Do toga nije došlo jer je u Kini 1949. pobedio Mao Zedong, pa su ova ostrva prepuštena na upravu Japanu, a prema odrebama specijalnog Američko-japanskog ugovora
Na osnovu tekstova i polemike koja se nedavno, nakon septembarskog incidenta, rasplamsala u časopisima »New York Times«, »China Daily« i »The Japan Times« čitalac je mogao da uoči da je tema imperijalizma na Delekom istoku veoma vruća, pogotovu zato što Kina postaje sve važniji faktor međunarodnih odnosa i više ne dozvoljava da razni globalni i lokalni imperijalisti po svojoj volji raspolažu njenim teritorijama. Štaviše, Kina pokazuje tendenciju vraćanja i reintegracije otkinutih delova svoje teritorije, kao što se je to desilo u slučaju Hongkonga.

Na ovom mestu bi trebalo istaći nekoliko stvari koje su od važnosti i za takozvani „međunarodni haiku“:

1. Japanska imperijalistička politika prema Kini ostavila je značajan pečat na japanski haiku i indirektno dovela do stvaranja osnove međunarodnog haikua. Tako su pesnici prvi put u japanskoj istoriji bili u prilici da mogu i moraju da se opredeljuju po kompleksnim pitanjima svoje kulture, koja nastaju usled prelaska iz uskog feudalnog u širi kapitalistički sistem; pokazalo se da ideologija feudalizma ne može da da odgovor na nova pitanja koja pred pesnika postavlja kapitalizam svojim ekspanzionizmom ali i svojim kosmopolitizmom.

2. Politika japanskog imperijalizma, koja je nastupila nakon integracije Japana u kapitalistički društveni red, dovela je do raskola u japanskoj unutrašnjoj politici prema haikuu: dominantna, nacionalistička linija, nazovimo je »strategija 'doma' (uchi)«, čiji je idealistički simbol Takahama Kjoši, bila je oslonac japanskom imperijalizmu a krhka, od vlasti proganjana i prema moći opoziciona linija, nazovimo je „inostrana“ („soto“), čiji je najistaknutiji predstavnik Santoka Taneda, postala je kamen temeljac „internacionalnog“ haikua. Pesnici ove linije bili su poznati po svojoj otvorenosti prema tuđim (zapadnim) uticajima.

3. Japanski nacionalizam koga je naoružao Zapad uperuje svoje cevi prema Kini, paradoksalno proglašavajući svojom ideološkom osnovom tekovine i pripadnost kineskoj civilizaciji. U ime Kine se takoreći napala Kina. Kjoši Takahama postavlja u centar nacionalnog haikua ideologiju "kacho fuei" (ptice i cveće), koja je direktno preuzeta iz istoimenog kineskog figurativnog slikarstva (花鳥魚蟲hua, niao, yu, chong—cveće, ptice, ribe, insekti) i, takođe, magični ritam prirode od 5 i 7 slogova, zajednički kineskom i japanskom kratkom stihu, i, naravno, „kigo“-- još jedan tipičan element kineske kulture proglašava se esencijom japanskog duha. Ultimativno odvraćanje pogleda od humanizma u imperijalističkom Japanu teče paralelno sa teškim zlodelima koje vrši japanska fašistička armija širom Azije, a posebno u Kini. Zato je, opet paradoksalno, imajući u vidu da je Zapad od Japana načinio svog glavnog vojnika protiv Kine, zapadnjački manir postavljanja čoveka i humanizma u centar japanskog haiku pesništva od strane jiyuritsu pesnika (Ogivara, Santoka, Hosai) ali i celokupnog pokreta „Novi haiku“ smatran od strane nacionalista veleizdajom Japana. Drugim rečima, u vreme svoje kapitalističke ekspanzije Japan želi da sačuva svoj feudalistički duh u kome humanizam i posledični kriticizam ne mogu da deluju. Ova izopačena i, pre svega, nedemokratska politika Japana biva podržana kao efikasna borbena formacija i od strane Zapada, čije interese Japan brani i na čijem putu se nalazi Kina, jedina država i kultura koju zapadni imperijalizam nije mogao da osvoji—čak ni udruženim snagama.

4. Odnos međunarodnog haikua i imperijalističke osovine Zapad-Japan (veza globalnog i lokalnog imperijalizma) i danas predstavlja pesnički izazov dok su paradoksi prošlosti i danas živi. Istorijski gledano, međunarodni haiku je dete zapadnjačkog imperijalizma, međutim, haiku je na Zapadu omasovio New Age, pokret koji je na Zapadu, a pre svega u Americi, odbacio politiku moći i imperijalizma -- postavivši humanizam u centar svog zanimanja -- na isti ili sličan način kako su to nekad u Japanu radili jiyuritsu pesnici.

5. Međunarodni haiku nije isključivi rezultat imperijalizma. Kultura se, srećom, širi i prijateljskim vezama a ne samo putem imperijalnih osvajanja. Na primer, balkanske države koje uglavnom nemaju imperijalističku istoriju, već su i same često bile žrtva imperijalizma, stvorile su svoju haiku literaturu potpuno nezavisno od tokova imperijalnih uticaja. U Rumuniju, na primer, haiku je ušao preko japanske knjige poklonjene rumunskom knezu a prvi rumunski prevodi haikua, načinjeni mnogo pre onih kojima je rukovodila imperijalna sila, nastali su uz pomoć kineskog baštovana koji je živeo u Bukureštu.

Kao i pre jednog veka imperijalizam je i danas jedan od najvećih izazova međunarodnog haikua, a pre svega je odnos prema moći glavna determinanta pesničkih puteva. Iskustva u organizovanju konferencije Svetske haiku asocijacije (SHA; World Haiku Association /WHA/ ) 2000. godine u Tolminu (Slovenija) govore da haiku pesnici sveta imaju potrebu za druženjem, prijateljevanjem i razmenom poezije (o tome svedoči ogroman entuzijazam učesnika među kojima su bili i pesnici svih tada zaraćenih balkanskih država), ali i da međunarodni haiku ne može biti nedemokratski organizovan. Relativni neuspeh te konferencije posledica je asimilacije prvobitno demokratskih intencija organizacije u lokalno-japansku formu organizacije poznatu pod imenom Tate-Shakai (縦社会)—The Vertical Society. Jednostavno rečeno, japanski pesnici kidnapovali su originalni koncept SHA i pretvorile je u svoju lokalnu imperijalno-kulturnu formaciju.
Iznenadna suspenzija humanosti je bila vrlo specifično i dragoceno kulturološko iskustvo vezano za Japanske pesnike prilikom osnivanja SHA. Svakako, kultura, pogotovo međunarodna kultura, ne može biti građena na suspenzijama humanosti. Odnos prema moći bio je i ostaje ključna tačka kulturnih razmimoilaženja. Međunarodni kulturni odnosi mogu biti samo demokratski—u suprotnom su negacija samih sebe. Neki pesnici nemaju dovoljno vlastite moći, pa moraju da zajašu vetar državne moći da bi kao pesnici bili živi...
Za divno čudo, imperijalizam u Japanu ostaje na ceni, čak i kao neskrivena zvanična politika. To je tekovina koju tamošnja vlast brižljivo gaji kao što etno-profesionalni vojnici (tipa Gurke ili Kozaci) gaje svoju porodičnu tradiciju i ne mogu, izgleda, nikad da postanu civili. Ovo bi trebalo uvek imati na umu kada se govori o Japanu. Iza takvog ponašanja očito postoji širi interes koji ga podupire. Nije nikakva tajna da ceremonijalne svetkovine duha mača na imperijalnom groblju Jasukune (zbog kojih Kina neprestano i uzaludno protestuje jer, zapravo, slave fašističke oficire koji su prouzrokovali strašne masakre u Kini) podržava japanska država i »nevidljivi« strani sponzori—verovatno oni čije interese ti vojnici danas brane... Jesu li to oni isti vojnici koje opeva Santoka?

DAMIROV BROFSKI DNEVNIK (3)

JESEN



23. Septembar
Jesen je ponovo stigla u nash kraj. Kad kazhem nash kraj mislim na brod i nepregledne vode Pacifika.
Jesen ovde nece obojati parkove u zlatnu, a komshijska krushka nece bogato roditi, jer ovde jednostavno nema ni parkova, ni komshija, tek poneki prolaznik na isto tako ruzinavom brodu shto valja se gore, dole, levo, desno.
Ovde je jesen plava. Plava je kao shto je plava i zima i prolece i leto. Plava kao onog prvog dana kada je stvorena Budinom rukom, a opet ne uprljana ljudskom.
Plava i lepa, moja 10. mornarska, mada kao da je prva...

Kormilo bezhi
kako se moru hoce.
Jesenje magle.




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Posle dugo vremena evo me ponovo na brodu, pa je valjda vreme da se nastavi i moj dnevnik.
Iskreno se nadam se da ste Vi dobro. Moram priznati da mi nedostaju vashi textovi na Kamesan Blogu.
Veliki pozdrav od Damira