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PRESENTERS' BIOS | SPONSORS & DONORS | TANKA SUNDAY | BACK TO HNA HOME PAGE
WHAT’S NEW?
September 12: The PDF file of the final program schedule,
including times and room assignments for each event,
is now posted here.
The HNA 2017 Program also includes the Presentation Abstracts (the same as posted below) and the Biosketches of HNA officers and Conference presenters.
Click on the Full Screen icon in the lower right to see the full pages,
and scroll down to view all 24 pages.
Note however, that no sooner did we send it to the printer than changes have had to be made. ¡Asi es la vida!
including times and room assignments for each event,
is now posted here.
The HNA 2017 Program also includes the Presentation Abstracts (the same as posted below) and the Biosketches of HNA officers and Conference presenters.
Click on the Full Screen icon in the lower right to see the full pages,
and scroll down to view all 24 pages.
Note however, that no sooner did we send it to the printer than changes have had to be made. ¡Asi es la vida!
PRESENTATION ABSTRACTS
African American Haiku (Panel Discussion)
Friday 10:00 a.m., Kiva Room
— Survey of African American Haiku
• John Zheng
Richard Wright, James Emanuel, Etheridge Knight, Sonia Sanchez, and Lenard D. Moore are the five most celebrated African American poets in the tradition of haiku and in the variety and inventiveness of their haiku expression. Though different in subjects, each poet presents work of both enduring longevity and cultural perspectives.
— Ashe! Writing the Electric: Haiku, Richard Wright & the Black Arts Movement
• Meta Schettler
This paper will explore how Richard Wright’s experimentation with the haiku form relates to later writings by Black Arts poets Amiri Baraka and Etheridge Knight. All three poets’ work combines Black culture, African American experience, and Zen principles to redeem the past in the present-tense space of the haiku form.
— The Gendered Blues in Sonia Sanchez’s Morning Haiku
• Tiffany Austin
Sonia Sanchez’s haiku offer a look into her attention to the beauty and “non-beauty” of the brief, succinct image with the use of simultaneous moving yet stilling metaphoric language. In her haiku, especially Morning Haiku, Sanchez genders the image through duende and cante jondo or “deep song” related to Andalusian music and dance, providing an embodiment of nature and intimacy amongst relationships either personal or when referring to musical and visual artists and political figures unlike any other poet writing haiku.
— The Storytelling Tradition in Lenard Moore’s Extended Haiku Sequences
• Ce Rosenow
Lenard D. Moore forces us to reconsider the relationship between haiku and narrative. He draws on the African American tradition of storytelling to convey and preserve elements from a broad range of topics and uses formal characteristics of traditional haiku to weave the past into the present and to pass important narratives on to the next generation.
The Ancient Chinese Approach to Understanding the Seasons
Thursday, 2:00 p.m., Hacienda Room
• Alexis Rotella
Classical acupuncturist Alexis Rotella will discuss the law of five elements / seasons and how they impact our lives in ways we may never have imagined. Through a clearer understanding of the seasons, our haiku and insights about the human race also deepen. We will be meeting in autumn, the season of letting go as well as receiving inspiration from the Heavenly realms. Bring your notebooks and your favorite fall haiku.
Circles Round the Sun: The Haiku Writing of Mexican & Canadian Children
Saturday, 11:30 a.m., Kiva Room
• Elizabeth Morley (read by Makoto Nakanishi)
This presentation describes recent research in Japan to examine the haiku writing of children in elementary school in Canada and Mexico. There is an emphasis on teaching methods that inspire and support environmental “seeing,” season-word generativity, and haiku sharing circles. For some of the children, English is a language they are learning, but the young poets make haiku that are accessible and expressive, even in a second language. Links are made to Environmental Education, English as a Foreign Language, and Special Education, as well as to the specifics and data on teaching protocols that work.
Collaborative Tones in Writing to Art (Workshop)
Friday, 3:00 p.m., Hacienda Room
• Robert T. Lundy & Elizabeth Yahn Williams
Award-winning editors, Bob and Elizabeth will teach a workshop on writing to art (ekphrasis) as it relates to haiku. A new member of the British Haiku Society, Elizabeth will also address foreign markets and Bob will speak briefly on how his Sierra Club hikes influence his poetry. With haiku for an Artist/haiku para una Pintora both a 2017 Florida Authors and Publishers Medalist in Poetry and a Mom’s Choice Honoree for Excellence in Family-Friendly Media, they will also comment on the art of collaboration as it relates to this series of French and Spanish parallel readers.
Copyright for Haiku Authors
Saturday, 9:00 a.m., Kiva Room
• Robert Rotella
This presentation covers the basics of copyright according to U.S. law. Topics include how to secure copyright, the benefits of registration. Are haiku even copyrightable, considering their brevity? The doctrines of fair use, public domain, and dedication to the public. Also discussed is the Creative Commons License.
Cover to Cover: Writing & Publishing a Book of Haiku (Panel Discussion)
Friday, 2:00 p.m., Kiva Room
• Deborah P Kolodji, Brad Bennett, Paul Miller, KJ Munro, & Alan Pizzarelli
Now that you’ve written and published a number of haiku, it may be time to think about your first book. Where do you start? What haiku do you include? What haiku do you leave behind? How do you order the haiku within the manuscript? How long should the manuscript be? What are the differences between writing chapbooks, full-length books, and themed anthologies? Our panel of award-winning poets and publishers will provide all the answers.
Creating Haiku Community on the Ground (Panel Discussion)
Friday, 4:00 p.m., Kiva Room
• Julie Warther & Dan Schwerin
We will offer a panel presentation on how to start up and maintain local haiku study groups that meet the needs of on-the-ground poetic environments. There is much to be said for the artistic inspirations and enthusiasms of national and international haiku conferences, but many haiku poets return home to the prospect of little or no local community with which to share and sustain the craft. Each of the panelists has begun a haiku group in the last year. Each group varies in structure and purpose, though in general, the goal is to nurture haiku poets at every stage of creative development. We plan to share our stories of getting started, as well as meeting outlines, inspirational activities, craft workshops, and the dos and don’ts of critique with conference participants interested in teaching haiku and developing haiku community in their own home town or regional neighborhood.
Dance Your Way Through earthtones
Saturday, 9:00 a.m., Hacienda Room
• Preethi Ramaprasad & Kala Ramesh
A recital of dance and haiku reading that highlights the synergy between an Indian classical dancer and a haiku poet. A selection of haiku from Naad Anunaad: An Anthology of Contemporary World Haiku, written by authors from all over the world, will be read aloud by Kala, then interpreted through Preethi’s abhinaya (body and facial expression), a beautiful idiom of the Indian classical dance style called bharatanatyam.
Final Round Reading
Sunday, 11:30 a.m., Kiva Room
• All conference participants; led by Michael Dylan Welch
Attendees are invited to share the haiku they have written over the weekend and/or under the spell of The Land of Enchantment and The City Different.
Georgia O’Keeffe & the Haiku Aesthetic
Friday, 11:30 a.m., Hacienda Room
• Lidia Rozmus & Charles Trumbull
While Georgia O’Keeffe is not known to have composed haiku, she certainly knew of them. Japanese aesthetics infused her work from the outset, and evidence can be found not only in her paintings but in her studios and living spaces. Trumbull will speak briefly about the sources of O’Keeffe’s Oriental influences, and Rozmus will provide examples of Japanese aesthetics in her paintings. Illustrative slides will pair O’Keeffe paintings with haiku that have been written about them.
Haiga Gallery
Friday, 1:30 p.m., Hacienda Room
This is an electronic presentation of haiga from the haiga panelists: Linda Papanicolaou, Melissa Allen, Terri L. French, Kris Moon (Kris Kondo), Patricia J. Machmiller, Carole MacRury, and Alexis Rotella.
Haïjins & Haïkus in French-Canada: Beginnings & Trends (Panel Discussion)
Saturday, 1:00 p.m., Kiva Room
• Jessica Tremblay gives an introduction to pioneers Jocelyne Villeneuve and André Duhaime and an overview of the most innovative poets of the new generation
• Claudia Coutu Radmore on publications and publishing in French and English
• Maxianne Berger on spreading the Good News today: teachers, groups, and publishers — what they do and how they do it
• Bilingual reading of haïkus from French Canada
Haiku: A First for Everything (Workshop)
1st session, Thursday, 4:00 p.m., Hacienda Room
2nd session, Thursday, 7:30 p.m., Hacienda Room
• Tom Painting
Unlock the rich treasury of your memory, the power of imagination and a keener awareness of the here-and-now. Participants will focus on “firsts” as a way isolate moments in time around which one may build haiku.
Note: Each session is limited to 30 people and both are now closed.
Haiku: The Basics (Workshop)
Friday, 10:00 a.m., Hacienda Room
• Jeannie Martin
A workshop for those new to haiku, we will cover the basics: form and structure, content, the four most recent trends in writing haiku, and a little history. We will take a look at famous and not so famous haiku and review the elements that make them work. Participants will have an opportunity to consider what attracts them to haiku and what may be their preference in terms of style and content.
Haiku: The State of Wonder
Thursday, 11:30 a.m., Kiva Room
• Scott Mason
If New Mexico is the Land of Enchantment and Santa Fe is the City Different, haiku poetry might just be the State of Wonder. Scott Mason will explore several of the distinctive ways that haiku begins with and inspires wonder.
Haiku & Senryu in the Santa Fe Internment Camp
(The William J. Higginson Memorial Lecture)
Friday, 1:00 p.m., Kiva Room
• Teruko Kumei
About 70 years ago, looking down over the city of Santa Fe, Japanese immigrants in the Santa Fe Internment Camp gathered and wrote haiku and senryu. They left a record of their senryu reading circle, Kogen (Highland), and published a haiku anthology, Ginto (Silver Dome). I propose to introduce their poems in Japanese, then explain the meaning in English. As haiku and senryu are “the records of life, poems of sentiments,” listening to the voices of the internees deepens our understanding of the lives and sentiments of the people in the Santa Fe Internment Camp.
Haiku & the Art of Forest Bathing (Workshop)
Friday, 3:00 p.m., Hacienda Room
• Michael Dylan Welch
A presentation and generative writing workshop on the virtues of soaking in the woods as inspiration for writing haiku. Learn how shinrin-yoku and friluftsliv can help you with your haiku. It’s not just for tree-huggers!
Haiku Chronicles: An Exhibition of Concrete Poetry
Saturday, 1:30 p.m., Hacienda Room
• Donna Beaver & Alan Pizzarelli
This video short exhibits classic concrete poetry, from the Calligrammes of Apollinaire, the mouse’s tail in Alice; the worldwide concrete “renaissance” of the early sixties, featuring works by Eugen Gomringer, Emmett Williams, Ian Hamilton Finlay, and others, all the way to contemporary visual, animated, and kinetic concrete poetry (including haiku) by poets such as Marlene Mountain, Richard Brautigan, Mason Williams, and others.
Haiku Learning as a Life-Long Continuing Education Saturday, 4:00 p.m., Kiva Room
• Shinko Fushimi
In an aging society, life-long continuing education becomes a critical concern. Japan has hundreds of years of tradition of composing poetry (haiku or tanka) on an occasion of ceremony and event among educated people. Farewell poetry is their last work and a summary of their lives, as a result of their life-long education.
Haiku North America 2017 Memorial Reading
Friday, 5:00 p.m., Kiva Room
• Presented by Deborah P Kolodji
Remembering the life and work of members of our haiku family who have left us since the last Haiku North America conference in 2015.
Haiku North America 2017 Regional Reading
Thursday, 5:00 p.m., Kiva Room
• Led by Kathabela Wilson, with Rick Wilson, flutes
Haiku Performance
Thursday, 3:00 p.m., Kiva Room
• Jim Kacian
I come to bury haiku performance, not to praise it. Haiku can be excruciating to watch, listen to, be present at — and if you think it’s hard for us, imagine what it’s like for those not attuned to haiku nuance. The hope and aspiration of this talk is to inspire you to consider what haiku performance is and what it might be, and to make of it something that someone besides your mother would enjoy. It will include an overview of how haiku has been presented over the ages, what our goals for presentation might be, and the elements of performance itself. It won’t be easy, but if we work on it, maybe we can improve the way we present our favorite genre.
In Silence, a short film with accompanying booklet by Lidia Rozmus (ca. 20:00).
Juxtapositions, The Journal of Haiku Scholarship (Panel Discussion)
Sunday, 10:00 a.m., Kiva Room
• Jim Kacian, Peter McDonald & Ce Rosenow
Using The Haiku Foundation’s peer-reviewed journal of haiku research, Juxtapositions, as a model, this panel discusses the value of haiku scholarship to the larger haiku community, including to poets who do not consider themselves academics. It also considers the relationship between published haiku scholarship and several of the topics addressed by other presenters at this year’s HNA conference. Additionally, it addresses the functions performed by different types of haiku journals, including Frogpond, Modern Haiku, and others.
Kaleidoscope — New Book Launches & Readings —
1st session, Wednesday, 8:00–9:30 p.m., Kiva Room
Free and open to the public
• Charles Trumbull reading from Donna Bauerly — Raymond Roseliep; L.A Davidson, My Fifty Favorite Haiku; & Masaoka Shiki (trans. John Brandi & Noriko Martinez), A House by Itself
• Charles Trumbull reading for Sonia Coman-Ernstoff — Passages
• Brad Bennett — A Drop of Pond
• Penny Harter, reading for Terry Ann Carter — Tokaido
• William Scott Galasso — Silver Salmon Runes
• Bill Kenney — The Earth Pushes Back
• Robert Lundy & Elizabeth Williams — HAIKU for an Artist / HAIKU para una Pintora
• KJ Munro — Body of Evidence: a collection of killer ‘ku’
• Kathabela Wilson — Driftwood Monster
2nd session, Thursday, 7:30–9:00 p.m., Kiva Room
Free and open to the public
• Elaine Adams — Haiku Bouillabaisse
• Jim Kacian — after image
• Deborah P Kolodji — Highway of Sleeping Towns
• David G. Lanoue & contributors — Write like Issa:
A Haiku How-To
• Patricia J. Machmiller — Utopia: She Hurries On
• Vicki McCullough — Sisyphus: Haiku Work of Anna Vakar
• Jacquie Pearce — The Jade Pond
• Claudia Coutu Radmore — the business of isness
• Cristina Rascón Castro -- Flor del alba (haiku of Chiyo-ni read in English, Spanish, and Nahuatl)
• Francine Banwarth — The Haiku Life
3rd session, Friday, 7:30–9:00 p.m., Kiva Room
Free and open to the public
• Carolyn Hall — Calculus of Daylilies
• Kala Ramesh — beyond the horizon beyond
• Alexis Rotella — Between Waves
• Carmen Sterba — An Amazement of Deer
• Don Wentworth — With a Deepening Presence
• Ruth Yarrow — Lit from Within
• Yoko’s Dogs — Rhinoceros
• Michael Dylan Welch & Tanya McDonald -- Seven Suns / Seven Moons
• Karina M. Young — Eucalyptus Wind
Late-Night Renku Writing
Thursday & Friday , 9:00 p.m. till ??, Amaya Restaurant
• Marshall Hryciuk & Karen Sohne
Anyone not exhausted by the Thursday and Friday daytime programs is invited to join other linked-verse aficionados in composing a new masterpiece under the tutelage of world-renowned renku masters Hryciuk & Sohne.
Mexican Haiku: Tradition, Translation, & Transgression
Thursday, 1:30 p.m., Kiva Room
• Cristina Rascón-Castro
Where was Mexican haiku born? What shapes does it take today? Contemporary haiku styles in Mexico.
Moments in Time: Remembering the Santa Fe Japanese Internment Camp (Video, 9:26)
Friday, 11:30 a.m., Kiva Room
From March 1942 to April 1946, the Santa Fe Internment Camp held 4,555 men of Japanese ancestry. After the bombing of Pearl Harbor in December 1941, the U.S. Government arrested and imprisoned thousands of Japanese-American men, branding them “dangerous enemy aliens.” Incarcerated without trial, they were forced to leave behind their families along with everything they knew and loved. Professor of Literature Gail Okawa, renowned photographer Patrick Nagatani, and southwestern artist Jerry West share their family’s stories about the Santa Fe camp. Highlighted are original family photographs along with rare camp photographs loaned by Brian Minami of manymountains.org. Featured is Japanese flute music performed by Andrea McQuate. YouTube video shown with the permission of New Mexico PBS,
Native American Haiku — A Conversation
Friday, 3:00 p.m., Kiva Room
• Donna Beaver & Veronica Golos
Poets Donna Beaver and Veronica Golos discuss Native Americans writing haiku and other short forms. Through readings and conversations they review the history and rediscovery of short poetry in Native cultures and the current state of Native American work in short forms, including haiku. Beaver and Golos discuss how short poetry is being explored to express the experience of Native culture through the power of place, Native languages, traditional storytelling, and much more.
New Mexico Haiku
Thursday, 2:30 p.m., Kiva Room
• Miriam Sagan
New Mexico has long served as muse to writers seeking vision and expanse. Its haiku history includes the counterculture, Haiku Society of America, scholars, poets, and renegades. This will be a look at almost fifty years of haiku springing from the Land of Enchantment.
Nick Virgilio (Two Short Films)
Saturday, 3:00 p.m., Hacienda Room
• Nick Virgilio Haiku Association
The NVHA is pleased to present two short films about the pioneering American haiku poet: Remembering Nick Virgilio by Sean Dougherty, and the filmed play Nick of Time … Nick of Time by Joe Paprzycki.
Old Pond Comics: Flowers and Skulls
Sunday, 11:00 a.m., Kiva Room
• Jessica Tremblay
HNA’s cartoonist-in-residence presents some of the highlights of the conference using comics, photos, and storytelling. From panels to workshops, her two adorable characters, Master Kawazu and his apprentice Kaeru, leave no book table unturned. Watch the presentation carefully — maybe you’ll recognize yourself in one of the cartoons!
One Brush Stroke: Sumi-e Demonstration & Workshop
1st session, Saturday, 10:00 a.m., Hacienda Room
2nd session, Saturday, 4:30 p.m., Hacienda Room
• Lidia Rozmus
Renowned sumi-e and haiga master Lidia Rozmus demonstrates the Japanese art of black-ink painting, explaining the materials, preparations, and techniques involved. Workshop participants are invited to try their hand at sumi-e. All materials will be provided.
Note: Both session are limited to 10 participants and are now closed. Some auditors allowed in the 2nd session.
The Power of Haiku and Practice (Workshop)
Thursday, 3:00 p.m., Hacienda Room
• Natalie Goldberg
In this hour we will explore the connection between Zen practice and the way of haiku, another great practice.
Note: This session is limited to 20 participants and is now closed.
The Power of Kigo in Making Haiku
Saturday, 10:30 a.m., Kiva Room
• Makoto Nakanishi
Kigo--season words—can be very powerful in bringing out rich and colorful images for readers of haiku. It is even said that one season word is worth 20 to 30 sentences! This presentation will explore the power of season words, using examples from the haiku classes I have conducted in Canada.
Prickly Pear: Touch in Haiku (Workshop)
Friday, 2:30 p.m., Hacienda Room
• Jeannie Martin
Touch is perhaps our most basic sense, the way we first experience the world and often, our last as well. In this workshop we will focus on touch in haiku: how we convey deep reality, connection with nature and each other, and belonging through this most basic sense. After reading a variety of haiku involving touch, we will try our hands at writing a touch haiku using an easy prompt.
Reading of Earthsigns, the HNA 2017 Anthology
Thursday, 9:00 a.m., Kiva Room
• All poets included in the book, led by Michael Dylan Welch & Scott Wiggerman
Rengay Workshop
Saturday, 2:00 p.m., Hacienda Room
• Garry Gay
This hands-on workshop will be taught by the creator of the rengay, a fun and easy Western linking form. The rengay will be explained and explored, and participants will divide into twos or threes to write their own collaborative poems. If you can write haiku, you can write rengay! Come join us for some fun.
Revising Haiku for Beginners
Friday, 5:00 p.m., Hacienda Room
• Scott Wiggerman
Those new to haiku often sense that something’s not quite working in haiku they’ve written, but they don’t know what it is or how to fix it. In this critiquing workshop for newbies, Earthsigns co-editor Scott Wiggerman will lead the way in discussing haiku that you bring to the workshop, highlighting techniques that just might turn mediocre haiku into something you can be proud of. With open minds, be prepared to share, discuss, and put your worst work forward.
Note: This session is limited to 30 people and is now closed.
Ruminations on Charles Trumbull’s Unfinished Odyssey to the Geographical Center of the 20th Century
Saturday, 2:30 p.m., Kiva Room
• Patricia J. Machmiller
A commentary on the two completed parts of “Trinity,” the trilogy by Charles Trumbull focused on the development, testing, and first use of the atomic bomb. The trilogy is written in a haibun / haiku sequence form. The commentary will examine the effectiveness of the form, the methods employed to incorporate the specialized language of science into the poetry, and how the location of the different sites affects the writing.
Seeing Haiku: Haiku in American Sign Language &
Sign Mime
Saturday, 4:00 p.m., Hacienda Room
• Jerome Cushman
A few well-known haiku will be performed using ASL and sign mime, followed by a discussion of the special analysis required to translate haiku/senryu. Time permitting, we’ll try to sign haiku/senryu submitted by members of the audience.
Skin Tones are Earth Tones (Keynote Address)
Thursday, 10:30 a.m., Kiva Room
• Ruth Yarrow
Ruth Yarrow will link the HNA 2017 conference theme of “earthtones” to the skin colors of our species. While affirming that the concept of race is a biological illusion, she will share haiku by many poets that reveal some ways bias and power in our society, based on skin color, affect all of our lives.
Suminagashi Demonstration
Thursday, 5:00 p.m., New Mexico History Museum
• Tom Leech
Curator Tom Leech of the Press at the Palace of the Governors will demonstrate the eleventh-century Japanese technique known as suminagashi, or “black ink floating.” Inherent in the art form is the implication of meandering water, wind-blown clouds and tumultuous topography. While this will not be a hands-on workshop, participants will be encouraged to pursue this meditative marbling practice on their own.
Note: This session is limited to 15 people and is now closed. Transportation to the Museum will be available.
Teaching Haiku / Online Course
Friday, 4:00 p.m., Hacienda Room
• Rich & Zoann Schnell & Jean Ann Hunt
This program will present the objectives, learning activity structure, and technology used for an entirely online haiku course. The course, through its assignments and feedback processes, was developed to expose teachers and mental health clinicians to the dimensions of the haiku form, along with haiku’s relationship to culture, consciousness, and spirituality. Reading and writing haiku, participating in a live online renku group, experiencing ginko walks and accessing haiku-devoted blogs such as Haiku Chronicles were incorporated into the course. This presentation might be of special interest to educators, health & mental health workers, and other individuals committed to awakening a larger population of students and emerging professionals to the haiku form.
Translating Haiku: Where Spirit Meets Letter
Saturday, 3:00 p.m., Kiva Room
• David G. Lanoue
Good poetic translation is a tightrope act. On one side, the translator needs to convey literal sense, while on the other he or she must find a way to approximate the spirit of the work in the target language. To lean too far one way or the other is to court disaster, as this talk will show — drawing from examples of English translations of Japanese- and Spanish-language haiku.
Trends in Modern Haiga (Panel Discussion)
Saturday, 4:30 p.m., Kiva Room
• Linda M. Papanicolaou (chair), Melissa Allen, Terri L. French, Kris Moon (Kris Kondo), Patricia J. Machmiller, Carole MacRury, & Alexis Rotella
Seven practitioners of haiga discuss their own work as well as broader topics such as text-image linking, current approaches to creating a image, and the implications of these issues for the development of the art form.
Weathergrams (Calligraphy Demonstration)
Thursday, 11:00 a.m–2:00 p.m., Hotel Lobby
• Escribiente, The Albuquerque Calligraphy Society
Calligraphy and haiku have gone hand-in-hand for centuries, whether in Japan or the West. Stop by and watch the skilled calligraphers of Escribiente make weathergrams — paper tags to hang on trees.
What the Earth Holds: A Haibun Workshop
Thursday, 4:00 p.m., Kiva Room
• Margaret Chula
Earth is the ground we stand on. It feeds and sustains us. We entrust our dead to the earth and honor them. The Santa Fe landscape of rock formations, minerals, and plant life will stimulate our imaginations as well as poems by eminent poets on the theme of earth. This is a generative workshop for both new and seasoned haibun writers.
What Is a Haiku, What is an English-language Haiku, & Why Do We Ask These Questions?
Sunday, 9:00 a.m., Kiva Room
• John Stevenson
What we call haiku today is the product of many centuries of evolution. This presentation will focus on what is consistent through most of that period and what has fallen away as haiku has been adapted to the poetics of various languages and cultures, particularly to English-language practices. The program is open to all but is tailored to be of most value to poets relatively new to haiku.
Winnows: HaikOuLiPo
Friday, 4:30 p.m., Hacienda Room
• Maxianne Berger
OuLiPo is a French experimental literary group founded in 1960. Members of the Ouvroir de littérature potentiel (workshop of potential literature) use constraints to writing as a means to creativity. Berger will present some Oulipian and other constraints, as they have been applied to haiku, before discussing her own experience with Winnows. Each haiku in her 2016 book is the product of an extreme erasure of Moby Dick. Within each chapter, the selected words — at times paragraphs apart, at times pages — some whole in the original, others hidden within a word or spanning adjacent words — these words, without changing their order, produce a haiku or senryu.
You Are Here: Where Perspective and Point of View Intersect in Haibun
Saturday, 10:00 a.m., Hacienda Room
• Beverly Acuff Momoi
This presentation will look at the relationship between what Haruo Shirane called “the vertical axis” and perspective and point of view within haibun. Specifically, it will consider if the haibun’s vertical axis provides depth that will resonate over time and place and how our choices of perspective and point of view operate to increase accessibility and enjoyment for today’s readers. Further, how do the approach we take in prose and the way we frame the haiku influence the readers’ overall experience? Does point of view—whether we choose first-, second- or third-person narration—strengthen or weaken that perspective? And how do perspective, point of view, and the vertical axis work together to create memorable haibun that reward rereading?
Zen and Haiku
Friday, 9:00 a.m., Kiva Room
• Henry Shukman
Dogs, stars, a flowing bridge and a single hand: haiku and koan share brevity and an association with the Zen tradition, but are they really alike? Some thoughts from a poet and Zen teacher. (Sometimes described asa “touchstone of reality,” a koan is a rhetorical device, often in the form of a dialogue or action excerpted from the biographical record of a Tang Dynasty chan master, used by Zen teachers to help a student awaken from delusion.)
Friday 10:00 a.m., Kiva Room
— Survey of African American Haiku
• John Zheng
Richard Wright, James Emanuel, Etheridge Knight, Sonia Sanchez, and Lenard D. Moore are the five most celebrated African American poets in the tradition of haiku and in the variety and inventiveness of their haiku expression. Though different in subjects, each poet presents work of both enduring longevity and cultural perspectives.
— Ashe! Writing the Electric: Haiku, Richard Wright & the Black Arts Movement
• Meta Schettler
This paper will explore how Richard Wright’s experimentation with the haiku form relates to later writings by Black Arts poets Amiri Baraka and Etheridge Knight. All three poets’ work combines Black culture, African American experience, and Zen principles to redeem the past in the present-tense space of the haiku form.
— The Gendered Blues in Sonia Sanchez’s Morning Haiku
• Tiffany Austin
Sonia Sanchez’s haiku offer a look into her attention to the beauty and “non-beauty” of the brief, succinct image with the use of simultaneous moving yet stilling metaphoric language. In her haiku, especially Morning Haiku, Sanchez genders the image through duende and cante jondo or “deep song” related to Andalusian music and dance, providing an embodiment of nature and intimacy amongst relationships either personal or when referring to musical and visual artists and political figures unlike any other poet writing haiku.
— The Storytelling Tradition in Lenard Moore’s Extended Haiku Sequences
• Ce Rosenow
Lenard D. Moore forces us to reconsider the relationship between haiku and narrative. He draws on the African American tradition of storytelling to convey and preserve elements from a broad range of topics and uses formal characteristics of traditional haiku to weave the past into the present and to pass important narratives on to the next generation.
The Ancient Chinese Approach to Understanding the Seasons
Thursday, 2:00 p.m., Hacienda Room
• Alexis Rotella
Classical acupuncturist Alexis Rotella will discuss the law of five elements / seasons and how they impact our lives in ways we may never have imagined. Through a clearer understanding of the seasons, our haiku and insights about the human race also deepen. We will be meeting in autumn, the season of letting go as well as receiving inspiration from the Heavenly realms. Bring your notebooks and your favorite fall haiku.
Circles Round the Sun: The Haiku Writing of Mexican & Canadian Children
Saturday, 11:30 a.m., Kiva Room
• Elizabeth Morley (read by Makoto Nakanishi)
This presentation describes recent research in Japan to examine the haiku writing of children in elementary school in Canada and Mexico. There is an emphasis on teaching methods that inspire and support environmental “seeing,” season-word generativity, and haiku sharing circles. For some of the children, English is a language they are learning, but the young poets make haiku that are accessible and expressive, even in a second language. Links are made to Environmental Education, English as a Foreign Language, and Special Education, as well as to the specifics and data on teaching protocols that work.
Collaborative Tones in Writing to Art (Workshop)
Friday, 3:00 p.m., Hacienda Room
• Robert T. Lundy & Elizabeth Yahn Williams
Award-winning editors, Bob and Elizabeth will teach a workshop on writing to art (ekphrasis) as it relates to haiku. A new member of the British Haiku Society, Elizabeth will also address foreign markets and Bob will speak briefly on how his Sierra Club hikes influence his poetry. With haiku for an Artist/haiku para una Pintora both a 2017 Florida Authors and Publishers Medalist in Poetry and a Mom’s Choice Honoree for Excellence in Family-Friendly Media, they will also comment on the art of collaboration as it relates to this series of French and Spanish parallel readers.
Copyright for Haiku Authors
Saturday, 9:00 a.m., Kiva Room
• Robert Rotella
This presentation covers the basics of copyright according to U.S. law. Topics include how to secure copyright, the benefits of registration. Are haiku even copyrightable, considering their brevity? The doctrines of fair use, public domain, and dedication to the public. Also discussed is the Creative Commons License.
Cover to Cover: Writing & Publishing a Book of Haiku (Panel Discussion)
Friday, 2:00 p.m., Kiva Room
• Deborah P Kolodji, Brad Bennett, Paul Miller, KJ Munro, & Alan Pizzarelli
Now that you’ve written and published a number of haiku, it may be time to think about your first book. Where do you start? What haiku do you include? What haiku do you leave behind? How do you order the haiku within the manuscript? How long should the manuscript be? What are the differences between writing chapbooks, full-length books, and themed anthologies? Our panel of award-winning poets and publishers will provide all the answers.
Creating Haiku Community on the Ground (Panel Discussion)
Friday, 4:00 p.m., Kiva Room
• Julie Warther & Dan Schwerin
We will offer a panel presentation on how to start up and maintain local haiku study groups that meet the needs of on-the-ground poetic environments. There is much to be said for the artistic inspirations and enthusiasms of national and international haiku conferences, but many haiku poets return home to the prospect of little or no local community with which to share and sustain the craft. Each of the panelists has begun a haiku group in the last year. Each group varies in structure and purpose, though in general, the goal is to nurture haiku poets at every stage of creative development. We plan to share our stories of getting started, as well as meeting outlines, inspirational activities, craft workshops, and the dos and don’ts of critique with conference participants interested in teaching haiku and developing haiku community in their own home town or regional neighborhood.
Dance Your Way Through earthtones
Saturday, 9:00 a.m., Hacienda Room
• Preethi Ramaprasad & Kala Ramesh
A recital of dance and haiku reading that highlights the synergy between an Indian classical dancer and a haiku poet. A selection of haiku from Naad Anunaad: An Anthology of Contemporary World Haiku, written by authors from all over the world, will be read aloud by Kala, then interpreted through Preethi’s abhinaya (body and facial expression), a beautiful idiom of the Indian classical dance style called bharatanatyam.
Final Round Reading
Sunday, 11:30 a.m., Kiva Room
• All conference participants; led by Michael Dylan Welch
Attendees are invited to share the haiku they have written over the weekend and/or under the spell of The Land of Enchantment and The City Different.
Georgia O’Keeffe & the Haiku Aesthetic
Friday, 11:30 a.m., Hacienda Room
• Lidia Rozmus & Charles Trumbull
While Georgia O’Keeffe is not known to have composed haiku, she certainly knew of them. Japanese aesthetics infused her work from the outset, and evidence can be found not only in her paintings but in her studios and living spaces. Trumbull will speak briefly about the sources of O’Keeffe’s Oriental influences, and Rozmus will provide examples of Japanese aesthetics in her paintings. Illustrative slides will pair O’Keeffe paintings with haiku that have been written about them.
Haiga Gallery
Friday, 1:30 p.m., Hacienda Room
This is an electronic presentation of haiga from the haiga panelists: Linda Papanicolaou, Melissa Allen, Terri L. French, Kris Moon (Kris Kondo), Patricia J. Machmiller, Carole MacRury, and Alexis Rotella.
Haïjins & Haïkus in French-Canada: Beginnings & Trends (Panel Discussion)
Saturday, 1:00 p.m., Kiva Room
• Jessica Tremblay gives an introduction to pioneers Jocelyne Villeneuve and André Duhaime and an overview of the most innovative poets of the new generation
• Claudia Coutu Radmore on publications and publishing in French and English
• Maxianne Berger on spreading the Good News today: teachers, groups, and publishers — what they do and how they do it
• Bilingual reading of haïkus from French Canada
Haiku: A First for Everything (Workshop)
1st session, Thursday, 4:00 p.m., Hacienda Room
2nd session, Thursday, 7:30 p.m., Hacienda Room
• Tom Painting
Unlock the rich treasury of your memory, the power of imagination and a keener awareness of the here-and-now. Participants will focus on “firsts” as a way isolate moments in time around which one may build haiku.
Note: Each session is limited to 30 people and both are now closed.
Haiku: The Basics (Workshop)
Friday, 10:00 a.m., Hacienda Room
• Jeannie Martin
A workshop for those new to haiku, we will cover the basics: form and structure, content, the four most recent trends in writing haiku, and a little history. We will take a look at famous and not so famous haiku and review the elements that make them work. Participants will have an opportunity to consider what attracts them to haiku and what may be their preference in terms of style and content.
Haiku: The State of Wonder
Thursday, 11:30 a.m., Kiva Room
• Scott Mason
If New Mexico is the Land of Enchantment and Santa Fe is the City Different, haiku poetry might just be the State of Wonder. Scott Mason will explore several of the distinctive ways that haiku begins with and inspires wonder.
Haiku & Senryu in the Santa Fe Internment Camp
(The William J. Higginson Memorial Lecture)
Friday, 1:00 p.m., Kiva Room
• Teruko Kumei
About 70 years ago, looking down over the city of Santa Fe, Japanese immigrants in the Santa Fe Internment Camp gathered and wrote haiku and senryu. They left a record of their senryu reading circle, Kogen (Highland), and published a haiku anthology, Ginto (Silver Dome). I propose to introduce their poems in Japanese, then explain the meaning in English. As haiku and senryu are “the records of life, poems of sentiments,” listening to the voices of the internees deepens our understanding of the lives and sentiments of the people in the Santa Fe Internment Camp.
Haiku & the Art of Forest Bathing (Workshop)
Friday, 3:00 p.m., Hacienda Room
• Michael Dylan Welch
A presentation and generative writing workshop on the virtues of soaking in the woods as inspiration for writing haiku. Learn how shinrin-yoku and friluftsliv can help you with your haiku. It’s not just for tree-huggers!
Haiku Chronicles: An Exhibition of Concrete Poetry
Saturday, 1:30 p.m., Hacienda Room
• Donna Beaver & Alan Pizzarelli
This video short exhibits classic concrete poetry, from the Calligrammes of Apollinaire, the mouse’s tail in Alice; the worldwide concrete “renaissance” of the early sixties, featuring works by Eugen Gomringer, Emmett Williams, Ian Hamilton Finlay, and others, all the way to contemporary visual, animated, and kinetic concrete poetry (including haiku) by poets such as Marlene Mountain, Richard Brautigan, Mason Williams, and others.
Haiku Learning as a Life-Long Continuing Education Saturday, 4:00 p.m., Kiva Room
• Shinko Fushimi
In an aging society, life-long continuing education becomes a critical concern. Japan has hundreds of years of tradition of composing poetry (haiku or tanka) on an occasion of ceremony and event among educated people. Farewell poetry is their last work and a summary of their lives, as a result of their life-long education.
Haiku North America 2017 Memorial Reading
Friday, 5:00 p.m., Kiva Room
• Presented by Deborah P Kolodji
Remembering the life and work of members of our haiku family who have left us since the last Haiku North America conference in 2015.
Haiku North America 2017 Regional Reading
Thursday, 5:00 p.m., Kiva Room
• Led by Kathabela Wilson, with Rick Wilson, flutes
Haiku Performance
Thursday, 3:00 p.m., Kiva Room
• Jim Kacian
I come to bury haiku performance, not to praise it. Haiku can be excruciating to watch, listen to, be present at — and if you think it’s hard for us, imagine what it’s like for those not attuned to haiku nuance. The hope and aspiration of this talk is to inspire you to consider what haiku performance is and what it might be, and to make of it something that someone besides your mother would enjoy. It will include an overview of how haiku has been presented over the ages, what our goals for presentation might be, and the elements of performance itself. It won’t be easy, but if we work on it, maybe we can improve the way we present our favorite genre.
In Silence, a short film with accompanying booklet by Lidia Rozmus (ca. 20:00).
Juxtapositions, The Journal of Haiku Scholarship (Panel Discussion)
Sunday, 10:00 a.m., Kiva Room
• Jim Kacian, Peter McDonald & Ce Rosenow
Using The Haiku Foundation’s peer-reviewed journal of haiku research, Juxtapositions, as a model, this panel discusses the value of haiku scholarship to the larger haiku community, including to poets who do not consider themselves academics. It also considers the relationship between published haiku scholarship and several of the topics addressed by other presenters at this year’s HNA conference. Additionally, it addresses the functions performed by different types of haiku journals, including Frogpond, Modern Haiku, and others.
Kaleidoscope — New Book Launches & Readings —
1st session, Wednesday, 8:00–9:30 p.m., Kiva Room
Free and open to the public
• Charles Trumbull reading from Donna Bauerly — Raymond Roseliep; L.A Davidson, My Fifty Favorite Haiku; & Masaoka Shiki (trans. John Brandi & Noriko Martinez), A House by Itself
• Charles Trumbull reading for Sonia Coman-Ernstoff — Passages
• Brad Bennett — A Drop of Pond
• Penny Harter, reading for Terry Ann Carter — Tokaido
• William Scott Galasso — Silver Salmon Runes
• Bill Kenney — The Earth Pushes Back
• Robert Lundy & Elizabeth Williams — HAIKU for an Artist / HAIKU para una Pintora
• KJ Munro — Body of Evidence: a collection of killer ‘ku’
• Kathabela Wilson — Driftwood Monster
2nd session, Thursday, 7:30–9:00 p.m., Kiva Room
Free and open to the public
• Elaine Adams — Haiku Bouillabaisse
• Jim Kacian — after image
• Deborah P Kolodji — Highway of Sleeping Towns
• David G. Lanoue & contributors — Write like Issa:
A Haiku How-To
• Patricia J. Machmiller — Utopia: She Hurries On
• Vicki McCullough — Sisyphus: Haiku Work of Anna Vakar
• Jacquie Pearce — The Jade Pond
• Claudia Coutu Radmore — the business of isness
• Cristina Rascón Castro -- Flor del alba (haiku of Chiyo-ni read in English, Spanish, and Nahuatl)
• Francine Banwarth — The Haiku Life
3rd session, Friday, 7:30–9:00 p.m., Kiva Room
Free and open to the public
• Carolyn Hall — Calculus of Daylilies
• Kala Ramesh — beyond the horizon beyond
• Alexis Rotella — Between Waves
• Carmen Sterba — An Amazement of Deer
• Don Wentworth — With a Deepening Presence
• Ruth Yarrow — Lit from Within
• Yoko’s Dogs — Rhinoceros
• Michael Dylan Welch & Tanya McDonald -- Seven Suns / Seven Moons
• Karina M. Young — Eucalyptus Wind
Late-Night Renku Writing
Thursday & Friday , 9:00 p.m. till ??, Amaya Restaurant
• Marshall Hryciuk & Karen Sohne
Anyone not exhausted by the Thursday and Friday daytime programs is invited to join other linked-verse aficionados in composing a new masterpiece under the tutelage of world-renowned renku masters Hryciuk & Sohne.
Mexican Haiku: Tradition, Translation, & Transgression
Thursday, 1:30 p.m., Kiva Room
• Cristina Rascón-Castro
Where was Mexican haiku born? What shapes does it take today? Contemporary haiku styles in Mexico.
Moments in Time: Remembering the Santa Fe Japanese Internment Camp (Video, 9:26)
Friday, 11:30 a.m., Kiva Room
From March 1942 to April 1946, the Santa Fe Internment Camp held 4,555 men of Japanese ancestry. After the bombing of Pearl Harbor in December 1941, the U.S. Government arrested and imprisoned thousands of Japanese-American men, branding them “dangerous enemy aliens.” Incarcerated without trial, they were forced to leave behind their families along with everything they knew and loved. Professor of Literature Gail Okawa, renowned photographer Patrick Nagatani, and southwestern artist Jerry West share their family’s stories about the Santa Fe camp. Highlighted are original family photographs along with rare camp photographs loaned by Brian Minami of manymountains.org. Featured is Japanese flute music performed by Andrea McQuate. YouTube video shown with the permission of New Mexico PBS,
Native American Haiku — A Conversation
Friday, 3:00 p.m., Kiva Room
• Donna Beaver & Veronica Golos
Poets Donna Beaver and Veronica Golos discuss Native Americans writing haiku and other short forms. Through readings and conversations they review the history and rediscovery of short poetry in Native cultures and the current state of Native American work in short forms, including haiku. Beaver and Golos discuss how short poetry is being explored to express the experience of Native culture through the power of place, Native languages, traditional storytelling, and much more.
New Mexico Haiku
Thursday, 2:30 p.m., Kiva Room
• Miriam Sagan
New Mexico has long served as muse to writers seeking vision and expanse. Its haiku history includes the counterculture, Haiku Society of America, scholars, poets, and renegades. This will be a look at almost fifty years of haiku springing from the Land of Enchantment.
Nick Virgilio (Two Short Films)
Saturday, 3:00 p.m., Hacienda Room
• Nick Virgilio Haiku Association
The NVHA is pleased to present two short films about the pioneering American haiku poet: Remembering Nick Virgilio by Sean Dougherty, and the filmed play Nick of Time … Nick of Time by Joe Paprzycki.
Old Pond Comics: Flowers and Skulls
Sunday, 11:00 a.m., Kiva Room
• Jessica Tremblay
HNA’s cartoonist-in-residence presents some of the highlights of the conference using comics, photos, and storytelling. From panels to workshops, her two adorable characters, Master Kawazu and his apprentice Kaeru, leave no book table unturned. Watch the presentation carefully — maybe you’ll recognize yourself in one of the cartoons!
One Brush Stroke: Sumi-e Demonstration & Workshop
1st session, Saturday, 10:00 a.m., Hacienda Room
2nd session, Saturday, 4:30 p.m., Hacienda Room
• Lidia Rozmus
Renowned sumi-e and haiga master Lidia Rozmus demonstrates the Japanese art of black-ink painting, explaining the materials, preparations, and techniques involved. Workshop participants are invited to try their hand at sumi-e. All materials will be provided.
Note: Both session are limited to 10 participants and are now closed. Some auditors allowed in the 2nd session.
The Power of Haiku and Practice (Workshop)
Thursday, 3:00 p.m., Hacienda Room
• Natalie Goldberg
In this hour we will explore the connection between Zen practice and the way of haiku, another great practice.
Note: This session is limited to 20 participants and is now closed.
The Power of Kigo in Making Haiku
Saturday, 10:30 a.m., Kiva Room
• Makoto Nakanishi
Kigo--season words—can be very powerful in bringing out rich and colorful images for readers of haiku. It is even said that one season word is worth 20 to 30 sentences! This presentation will explore the power of season words, using examples from the haiku classes I have conducted in Canada.
Prickly Pear: Touch in Haiku (Workshop)
Friday, 2:30 p.m., Hacienda Room
• Jeannie Martin
Touch is perhaps our most basic sense, the way we first experience the world and often, our last as well. In this workshop we will focus on touch in haiku: how we convey deep reality, connection with nature and each other, and belonging through this most basic sense. After reading a variety of haiku involving touch, we will try our hands at writing a touch haiku using an easy prompt.
Reading of Earthsigns, the HNA 2017 Anthology
Thursday, 9:00 a.m., Kiva Room
• All poets included in the book, led by Michael Dylan Welch & Scott Wiggerman
Rengay Workshop
Saturday, 2:00 p.m., Hacienda Room
• Garry Gay
This hands-on workshop will be taught by the creator of the rengay, a fun and easy Western linking form. The rengay will be explained and explored, and participants will divide into twos or threes to write their own collaborative poems. If you can write haiku, you can write rengay! Come join us for some fun.
Revising Haiku for Beginners
Friday, 5:00 p.m., Hacienda Room
• Scott Wiggerman
Those new to haiku often sense that something’s not quite working in haiku they’ve written, but they don’t know what it is or how to fix it. In this critiquing workshop for newbies, Earthsigns co-editor Scott Wiggerman will lead the way in discussing haiku that you bring to the workshop, highlighting techniques that just might turn mediocre haiku into something you can be proud of. With open minds, be prepared to share, discuss, and put your worst work forward.
Note: This session is limited to 30 people and is now closed.
Ruminations on Charles Trumbull’s Unfinished Odyssey to the Geographical Center of the 20th Century
Saturday, 2:30 p.m., Kiva Room
• Patricia J. Machmiller
A commentary on the two completed parts of “Trinity,” the trilogy by Charles Trumbull focused on the development, testing, and first use of the atomic bomb. The trilogy is written in a haibun / haiku sequence form. The commentary will examine the effectiveness of the form, the methods employed to incorporate the specialized language of science into the poetry, and how the location of the different sites affects the writing.
Seeing Haiku: Haiku in American Sign Language &
Sign Mime
Saturday, 4:00 p.m., Hacienda Room
• Jerome Cushman
A few well-known haiku will be performed using ASL and sign mime, followed by a discussion of the special analysis required to translate haiku/senryu. Time permitting, we’ll try to sign haiku/senryu submitted by members of the audience.
Skin Tones are Earth Tones (Keynote Address)
Thursday, 10:30 a.m., Kiva Room
• Ruth Yarrow
Ruth Yarrow will link the HNA 2017 conference theme of “earthtones” to the skin colors of our species. While affirming that the concept of race is a biological illusion, she will share haiku by many poets that reveal some ways bias and power in our society, based on skin color, affect all of our lives.
Suminagashi Demonstration
Thursday, 5:00 p.m., New Mexico History Museum
• Tom Leech
Curator Tom Leech of the Press at the Palace of the Governors will demonstrate the eleventh-century Japanese technique known as suminagashi, or “black ink floating.” Inherent in the art form is the implication of meandering water, wind-blown clouds and tumultuous topography. While this will not be a hands-on workshop, participants will be encouraged to pursue this meditative marbling practice on their own.
Note: This session is limited to 15 people and is now closed. Transportation to the Museum will be available.
Teaching Haiku / Online Course
Friday, 4:00 p.m., Hacienda Room
• Rich & Zoann Schnell & Jean Ann Hunt
This program will present the objectives, learning activity structure, and technology used for an entirely online haiku course. The course, through its assignments and feedback processes, was developed to expose teachers and mental health clinicians to the dimensions of the haiku form, along with haiku’s relationship to culture, consciousness, and spirituality. Reading and writing haiku, participating in a live online renku group, experiencing ginko walks and accessing haiku-devoted blogs such as Haiku Chronicles were incorporated into the course. This presentation might be of special interest to educators, health & mental health workers, and other individuals committed to awakening a larger population of students and emerging professionals to the haiku form.
Translating Haiku: Where Spirit Meets Letter
Saturday, 3:00 p.m., Kiva Room
• David G. Lanoue
Good poetic translation is a tightrope act. On one side, the translator needs to convey literal sense, while on the other he or she must find a way to approximate the spirit of the work in the target language. To lean too far one way or the other is to court disaster, as this talk will show — drawing from examples of English translations of Japanese- and Spanish-language haiku.
Trends in Modern Haiga (Panel Discussion)
Saturday, 4:30 p.m., Kiva Room
• Linda M. Papanicolaou (chair), Melissa Allen, Terri L. French, Kris Moon (Kris Kondo), Patricia J. Machmiller, Carole MacRury, & Alexis Rotella
Seven practitioners of haiga discuss their own work as well as broader topics such as text-image linking, current approaches to creating a image, and the implications of these issues for the development of the art form.
Weathergrams (Calligraphy Demonstration)
Thursday, 11:00 a.m–2:00 p.m., Hotel Lobby
• Escribiente, The Albuquerque Calligraphy Society
Calligraphy and haiku have gone hand-in-hand for centuries, whether in Japan or the West. Stop by and watch the skilled calligraphers of Escribiente make weathergrams — paper tags to hang on trees.
What the Earth Holds: A Haibun Workshop
Thursday, 4:00 p.m., Kiva Room
• Margaret Chula
Earth is the ground we stand on. It feeds and sustains us. We entrust our dead to the earth and honor them. The Santa Fe landscape of rock formations, minerals, and plant life will stimulate our imaginations as well as poems by eminent poets on the theme of earth. This is a generative workshop for both new and seasoned haibun writers.
What Is a Haiku, What is an English-language Haiku, & Why Do We Ask These Questions?
Sunday, 9:00 a.m., Kiva Room
• John Stevenson
What we call haiku today is the product of many centuries of evolution. This presentation will focus on what is consistent through most of that period and what has fallen away as haiku has been adapted to the poetics of various languages and cultures, particularly to English-language practices. The program is open to all but is tailored to be of most value to poets relatively new to haiku.
Winnows: HaikOuLiPo
Friday, 4:30 p.m., Hacienda Room
• Maxianne Berger
OuLiPo is a French experimental literary group founded in 1960. Members of the Ouvroir de littérature potentiel (workshop of potential literature) use constraints to writing as a means to creativity. Berger will present some Oulipian and other constraints, as they have been applied to haiku, before discussing her own experience with Winnows. Each haiku in her 2016 book is the product of an extreme erasure of Moby Dick. Within each chapter, the selected words — at times paragraphs apart, at times pages — some whole in the original, others hidden within a word or spanning adjacent words — these words, without changing their order, produce a haiku or senryu.
You Are Here: Where Perspective and Point of View Intersect in Haibun
Saturday, 10:00 a.m., Hacienda Room
• Beverly Acuff Momoi
This presentation will look at the relationship between what Haruo Shirane called “the vertical axis” and perspective and point of view within haibun. Specifically, it will consider if the haibun’s vertical axis provides depth that will resonate over time and place and how our choices of perspective and point of view operate to increase accessibility and enjoyment for today’s readers. Further, how do the approach we take in prose and the way we frame the haiku influence the readers’ overall experience? Does point of view—whether we choose first-, second- or third-person narration—strengthen or weaken that perspective? And how do perspective, point of view, and the vertical axis work together to create memorable haibun that reward rereading?
Zen and Haiku
Friday, 9:00 a.m., Kiva Room
• Henry Shukman
Dogs, stars, a flowing bridge and a single hand: haiku and koan share brevity and an association with the Zen tradition, but are they really alike? Some thoughts from a poet and Zen teacher. (Sometimes described asa “touchstone of reality,” a koan is a rhetorical device, often in the form of a dialogue or action excerpted from the biographical record of a Tang Dynasty chan master, used by Zen teachers to help a student awaken from delusion.)
