haikaiTALKS | Q #21

Updated: Feb 23


haikaiTALKS Q #20 | a saturday gathering _under the banyan tree host: Kala Ramesh *** Q #21***

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Hearty Congratulations, to myself :))

Richa has picked my answer as the best reply to her Q!


To follow last week’s Q and As, here is the link:

https://www.trivenihaikai.in/post/haikaitalks-q-20


Richa says:


Dear Kala,


Greetings!

I truly enjoyed the discussion. The uniqueness and vitality of each answer makes it impossible for me to select any one as the best. Each answer is poetic and highlights important points with regard to the question.


What i enjoyed the most was the work and examples shared. Thank you all so much for that! :)


I express my heartfelt gratitude and thanks to you, Vandana, Pravat Sir, Subir, and Laxmi for participation and sharing deep insights. This has been a memorable learning experience for me to become aware that as readers and writers, it is through the element of musicality and rhythm that one perceives the spirit of a haiku. It also emphasises that a haikai poem is definitely meant to be heard.


I love the sound of the piano. Today, for me practicing haiku is somewhat like learning to play the piano :)


About choosing the best response to the question, i feel Kala has explained in detail certain important poetic devices : syncing words with stress beats, using an appropriate swinging word, alliteration, and the technique of 'held breath' vs 'spent breath'. These jewels can sharpen one's intuitive response to create and enhance rhythm in a poem after thorough study and practice. Also more than one technique can be effortlessly synced with the other(s) without burdening the poem.


I sincerely appreciate and thank all who liked, read and responded :)


Happy writing! God bless!

Warm regards,

Richa



Now for my Q!


the yogi walks the streets singing about emptiness



as birds settle

breathing earth and

a stillness from within

the seamless sky

the trees

a tune beyond


the aum the beat the light silence shunyata



As a student of Indian classical music, I have often been fascinated by silence, more by my inner music of silence, and what it brought to my art and to my understanding of art.


Music is divided into two categories: the silent vibrations of the self (internal music, anahata), and the sounds from the outside world (external music, ahata.) Kabir a 15th-century Indian mystic poet and saint says: “The whole sky is filled with Sound, and there that Music is made without fingers and without strings.”


To be able to tune in to that sound is what the unstruck inner music is all about.


The built-in silences in this poem:


on a bare branch

a crow has alighted ...

autumn nightfall


Matsuo Basho

Tr. by Makoto Ueda


My haiku which speaks of the inner unstruck music:


morning raga ...

my breath holds even

the song’s silences


The uncluttered mind helps weave in a pause, a breather into our hectic lives.


to be —

i walk

where leaves fall


Little drops of water make a mighty ocean ... each step taken forward is a step towards understanding how the creative force of nature interweaves vigour and vitality with silence.

And, we all create only in silence.



So my Q is – can you show how you incorporate silence in your haiku, senryu, tanka and haibun?

Give us some examples.


………………...


You are given time until midnight of 2nd MARCH (IST) to share your views and reviews!

Waiting to read your responses!

your host,

_kala

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