Distinguishing Haiku from Senryu
I would suggest there is an insidious and subtle reason for the distortion in the artistic authenticity
and natural aesthetic quality of haiku. This distortion is being intensified today, and is the result of
humanities modern and technological progression apart from nature.
Traditional or classical Haiku is distorted when it’s confused with senryu. Often even well
intentioned poets, critics, publishers, and the media erroneously identify senryu as haiku. This is how
haiku's unique natural aesthetic is re-appropriated, and in a sense is gentrified by the A-W World.
Senryu that reference nature with human or manmade themes at the forefront, themes
which are not created or included as saijiki simply do not qualify as traditional/classical haiku. What is
saijiki? Saijiki is a list of kidai/seasonal topics, and kigo/seasonal words. Several regions, countries, and
organizations around the world have even created their own culturally and geographically specific saijiki.
These saijiki are usually derived from or are seasonally aligned with T-C (traditional-classical) Japanese
Saijiki. On the other hand there is nothing wrong with non-traditional haiku that does not derive its kigo
from saijiki. Still there is a distinct difference between traditional/classical haiku, non-traditional haiku,
and senryu.
Again when writing traditional/classical haiku kidai/kigo are applied to the appropriate season or
seasons one is writing of. Japan's traditional/classical perception and categorization of seasons into a book
of saijiki differs from our A-W concept of seasons. This difference is where cultural, ethnic, and racial
misconceptions of how we perceive nature begins. It is our failure as haijin, to clearly define what is and
isn't haiku, that contributes to the public’s misconception, and ennui in regards to how haiku is defined.
This has created a haiku identity crisis in the A-W world, since it isn’t being definitively self defined in
A-W terms. So the A-W world treats T-C Haiku as a divergent literary art form. An art form which
acquires limited tangible or artistic value in A-W society. This is where, how, and why ehi like haiku
struggle in A-W society. It is also part of why senryu is beginning to thrive, often under a guise that is
indistinguishable from haiku.
The primary distinction between senryu and T-C Haiku can be discerned in how
haiku references nature as defined by kigo/kidai drawn from saijiki as its primary subject. So what does it
mean to have nature as the primary subject of a haiku? Well when writing traditional haiku nature is
defined as anything that is identifiable or listed as kigo/kidai. Saijiki do include some references to
humanity or manmade objects. Again this is where confusion can creep in. Since saijiki include
references to humanity and manmade objects, this does not give us free reign to begin speaking of
manmade issues (as the primary subject of a haiku) if they are not included in saijiki. Although if we take
the time to create our own saijiki, and document manmade issues under a specific season then the poem
can be called T-C Haiku. Writing haiku derived from a list of saijiki or kigo/kidai can simultaneously limit
and expand the subject matter available to a haiku poet. kigo/kidai allow us to indirectly speak of nature
without necessarily directly referencing nature, its plants, animals, etc; to do so we have to use seasonal
references/kigo or topics/kidai when speaking of humanity or manmade objects.
Still when writing haiku outside of the geographic area of Japan I believe we have to improvise if
you will. If you are going to improvise then I think the kigo or kidai you use must reference nature from
the locale you are writing of. It is also perfectly acceptable to create your own book of saijiki for your
own geography, culture, ethnicity, etc as well. Again I want to reiterate there is nothing wrong with
writing senryu, or non-traditional haiku not derived from saijiki. I’m just trying to create a clear
framework for future distinctions between them.
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