{"id":3282,"date":"2017-06-30T16:46:02","date_gmt":"2017-06-30T05:46:02","guid":{"rendered":"http:\/\/www.robwalkerpoet.com\/?page_id=3282"},"modified":"2017-07-02T03:04:43","modified_gmt":"2017-07-01T16:04:43","slug":"speech-at-the-launch-of-haiku-bindii-anthology-willow-light-april-25-2015","status":"publish","type":"page","link":"https:\/\/www.robwalkerpoet.com\/?page_id=3282","title":{"rendered":"Speech at the launch of Haiku Bindii anthology Willow Light"},"content":{"rendered":"

(Play Shakuhachi: Yama)<\/em><\/p>\n

Good afternoon. Thanks Lyn and Jill for inviting me to launch the second collection by the Bindii Japanese Genre Poetry Book.<\/p>\n

I\u2019d planned to launch this book by giving a bit of an over-view of the history of the Bindii group. It wasn\u2019t long before I realized that this probably wouldn\u2019t be terribly exciting for a group of people primarily interested in the poetry. Then I decided that most of the people who\u2019d be at the launch would probably know more about the history of Bindii than I did anyway.<\/p>\n

Julia and Jill had suggested that I play a bit of shakuhachi since people with an interest in Japanese genre poetry would probably have an interest in other aspects of Japanese culture as well.<\/p>\n

For some reason I\u2019ve let the shakuhachi practice slide since my knee operation in February. So for the last few days I\u2019ve been brushing up on some traditional Japanese folk tunes so I wouldn\u2019t look and sound too bad for you. While I was practicing I also reflected on the nature of the instrument and Japanese poetry.<\/p>\n

This was quite fortuitous as it provided me with the theme of my little spiel: the strong parallels between playing the shakuhachi and writing (or performing) Japanese genre verse.<\/p>\n

For me there are countless parallels between the two. The obvious one is that they are both deeply a part of ancient Japanese Art and Tradition. More pertinent for me is that they are both intimately personal, both are minimalist (and look deceptively easy) and both are steeped in the \u2018Here and Now\u2019.<\/p>\n

(Play Shakuhachi: Kokoriko)<\/em><\/p>\n

The basic structure of the shakuhachi is a piece of bamboo cut from the point where it leaves the ground. It\u2019s drilled with 5 holes \u2013 hence the pentatonic nature of the traditional music played on it. Having said this, however, by covering 1\/3, \u00bd or 2\/3 of a hole or altering the angle of wind blown across the guchi<\/em> or \u2018mouth\u2019 of the instrument, experienced players can reproduce any note desired, including all Western scales.<\/p>\n

It\u2019s probably not coincidence that the simplest haiku is usually presented in a syllable format of 5. 7. 5. Odd numbers represent good fortune. Japanese people will rarely give you two gifts. (3, 5, or 7 are much more auspicious.) Try buying 2 pieces of pottery in Japan and the seller would rather give you a third piece than to tempt the fates.<\/p>\n

Pagodas are likely to have 3, 5 or 7 storeys.<\/p>\n

Incidentally – I was pleased to see variants on the usual 5.7.5 in your collection. I believe that Haiku is about the idea and brevity \u2013 not slavishly counting syllables!<\/p>\n

 <\/p>\n

The basis of both speech and music is the human breath and voice, so perhaps it\u2019s the voice and breath that make both the shakuhachi and poetry quintessentially human. The Chinese qi<\/em> or chi<\/em> or \u201clife force\u201d is literally \u2018breath\u2019 or \u2018air\u2019.<\/p>\n

 <\/p>\n

Both the shakuhachi and Japanese poetic forms have a kind of zen mimimalism about them. The Komuso monks used their shakuhachis as a meditative tool in much the same way as prana (breath) is the basis of Indian yoga. The monks wore large wicker baskets over their heads to eliminate ego. Their reaching towards perfection was a quest for detachment. The beauty of the music was to glorify Buddha, not themselves.<\/p>\n

 <\/p>\n

Both the shakuhachi and Japanese poetry look simple, yet to do it well is far from simple. Expressing complex and deep ideas in a simple way is a great challenge but very rewarding when it\u2019s achieved. Sometimes the self-imposed discipline of stringent rules can release a kind of creativity which can only come from this enforced matrix. It reminds me of jazz musicians like Herbie Hancock or Chick Corea who can improvise freely at lightning speed because they are working within an intransigent chord pattern and are benefiting from the discipline of a lifetime\u2019s practice.<\/p>\n

(Play Shakuhachi: Takeda no komori uta)<\/em><\/p>\n

I\u2019d like to read just a few poems from the collection to illustrate some of these ideas. Many haiku and shakuhachi tunes demonstrate this idea of<\/p>\n

Here and now<\/u>:<\/p>\n

Judith Ahmed\u2019s:<\/p>\n

today I\u2019ll enjoy the warmth<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 and fragrance of this first spring day<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 without<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 wishing myself<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 in another time or place<\/em><\/p>\n

 <\/p>\n

 <\/p>\n

Almost every poem in Willow Light speaks of a unique moment<\/u>:<\/p>\n

Karin Anderson\u2019s:<\/p>\n

missing birds<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 the question marks<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 of cat tails<\/em><\/p>\n

 <\/p>\n

or Maeve Archibald\u2019s<\/p>\n

cockatoos<\/em><\/p>\n

strung along the line<\/em><\/p>\n

white washing<\/em><\/p>\n

 <\/p>\n

or Belinda Broughton\u2019s:<\/p>\n

down the painting<\/em><\/p>\n

\u00a0\u00a0 on tiptoes<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 the daddylonglegs<\/em><\/p>\n

I really admire the way that Belinda has married her twin talents of writing and visual art!<\/p>\n

Lyn Arden\u2019s:<\/p>\n

near Basho\u2019s statue<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 a hundred tadpoles striving to become frogs<\/em><\/p>\n

 <\/p>\n

Many of these poems can be appreciated on more than one level.<\/p>\n

Lee Bentley\u2019s<\/p>\n

Christmas buffet<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I pick and choose<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 my words<\/em><\/p>\n

 <\/p>\n

We appreciate poems when we can identify with the emotion. I found this with Lyn Arden\u2019s spectacles<\/em> and this one of Jill Gower\u2019s:<\/p>\n

melancholy notes<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 send chills down my spine<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 his saxophone<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 no longer stands<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 in the corner of my room<\/em><\/p>\n

It isn\u2019t possible for me to read the whole book. Please forgive me if I haven\u2019t read one of yours! There isn\u2019t a bad poem in this entire publication. Good luck with your writing. Please accept my personal invitation to the launch of my poetry collection tropeland<\/em> on June 25.<\/p>\n

Congratulations everyone for this fine collection. With that, I officially declare Willow Light to be well and truly launched!<\/p>\n