Category Archives: Poetry

Autumn Poetry Reading from Kyoto Journal at Be-Kyoto; November 16th

Here’s an up-coming event hosted by the good folks at Kyoto Journal.

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An Autumn Reading
Sunday November 16th.
2pm~3:45pm at Be-Kyoto (http://www.be-kyoto.jp/)
Entry: ¥500
RSVP: feedback[at]kyotojournal.org

Be-Kyoto is just west and north of the Imadegawa/Karasuma intersection.

About the Poets
MARGARET (MAGGIE) CHULA has been writing and teaching haiku, tanka, and haibun for more than thirty years. Her seven collections of poetry include: Grinding my ink; Shadow Lines (linked haibun with Rich Youmans); Always Filling, Always Full; This Moment; The Smell of Rust; What Remains: Japanese Americans in Internment Camps (with quilt artist Cathy Erickson) and Just This. Margaret serves as President of the Tanka Society of America. Having lived in Kyoto for twelve years, she now makes her home in Portland, Oregon, where she hikes, gardens, swims, and creates flower arrangements for every room of the house.

LINDA RUSSO (inhabitorypoetics.blogspot.com) is a creative-critical writer. Poetry works include Mirth (Chax Press), and picturing everything closer visible, an excerpt of a walk-in poem (Projective Industries); Meaning to Go to the Origin in Some Way (Shearsman Books) is forthcoming. Born in New York, she lives in the Columbia River Watershed and teaches at Washington State University.

GREGORY DUNNE is the author of the recently published critical memoir on Cid Corman: Quiet Accomplishment, Remembering Cid Corman (Ekstasis Editions, 2014). He is also the author of two collections of poetry: Home Test (Adastra Press, 2009) and Fistful of Lotus (2000). He lives in Japan and teaches in the Faculty of Comparative Culture at Miyazaki International College.

Pictures from Sanka’s Autumn Ritual by Ensō Watt

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I am now officially a fan of Ensō Watt! Last Friday’s performance was excellent and I enjoyed every minute of it. With musicians posted in various corners of Urbanguild, and Yannick Paget both conducting and performing with hypnotic percussion from the center, we were fully immersed in a landscape of sound. Simultaneously the live video art of Andy Couzens and Masato Tokumaru cast images upon the walls while poet Chris Mosdell cast images in our minds. I really was quite lost in it all, and am looking forward to their next Winter performance. Long live Ensō Watt!

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Samuel André (Soundscape, Field recording)

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Ryotaro (Accordion & effects)

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Chris Mosdell (lyricist/poet) gave a stirring reading…

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Yuki Nakagawa (Cello & effects)

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Taisuke Enami (piano & synth effect)

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Yannick Paget (conductor, composer and percussionist)

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For more details on this performance please refer to the previous post: Sanka’s Autumn Ritual by Ensō Watt
Follow Ensō Watt on Facebook or on their website here: http://ensowatt.org/

Sanka’s Autumn Ritual by Ensō Watt – Mixed Media Experimental Event @ UrbanGuild; October 10th

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Well, this looks like something…

ensō Watt Sanka’s Autmn Ritual from PollenRec on Vimeo.

Thanks to Marguerite Paget for sending the following information:

Kyoto Experiment Fringe program 2014 presents the artist collective: Ensō Watt at UrbanGuild from 7.30 pm, October 10th

Initiated in 2014 by the sound designer Samuel André, the Ensō Watt artist collective is born in Kyoto from the encounter of artists coming from different countries and raised in entirely different artistic universe, from classical music to electro, improvisation and sound design.

For Kyoto Experiment Fringe program 2014, Ensō Watt ensemble
performs SANKA’S AUTUMN RITUAL

A hundred years after Stravinsky’s revolutionary “Rites of Spring,” the members of this artistic collaboration pursues the experience-cum-experiment by focusing on Japan’s seasonal cycles, especially celebrated by the little-known mountainous tribe, the Sanka.

SANKA, can be translated from Japanese by “Mountain Cave” or “the one who
come down the mountain”. They are a mysterious, some say magical group of
people, who retreated, wandering in small bands through the mountainous regions of Honshu when the rice farmers arrived from the Asian continent in the third century. The Sanka are sometimes called the Japanese Gypsies. Little is known of their history. Although they are mentioned in Japanese chronicles from the 11th century, much of the information about them is vague.“Being a secluded community their cultural development grew far outside the social framework of the rest of the country. They developed their own language
based on natural sounds ie: the hum of the cicada, and their daily lives became dominated by rituals and esoteric rites.” Chris Mosdell

For SANKA’S AUTUMN RITUAL, Ensō Watt celebrates, autumn season in three acts. The music is inspired by the poetry of Chris Mosdell; it navigates between improvisation and conducted improvisation live by Yannick Paget, based on scored music’s elements. The performers, positioned in the audience, generate an immersive, musical surround-experience (broadcast on 4 speakers). More than just a musical experiment, the event is also shot live via a series of 6 cameras, and is processed and projected on 2 screens during the performance.

The exploration of the season’s cycle started this summer with the SANKA’S
SUMMER RITUAL (2014 July 18th at Urban Guild) :
Act I : rites of dragon fly, driving the dream machine. Act II, rites of the hundred
wind chimes, rites to refresh the earth, rites of the great fire dance. Act III the insect « hum » of humanity ritual, dance of the sacred peach.

Ensō Watt will conclude the cycle next year with winter and spring. A cycle that is meant to continue through years…

Why Ensō Watt ?
Ensō: 円相, in Zen Buddhism, an ensō is a circle that is hand-drawn in one or two uninhibited brushstrokes to express a moment when the mind is free to let the body create. The ensō symbolizes absolute enlightenment, strength, elegance, the universe, and mu (the void). It is characterised by a minimalism born of Japanese aesthetics.

えんそう (演奏) means also in Japanese: concert or performance

Watt: reflects the electric energy impulsed by the musicians and the artists of this collective.

Ensō Watt is a space of experiment and overture where frontiers between
musics, classical, electro or sound design melt, where scored music meets
improvisation, where arts (music, image and poetry) enters a free dialogue, where the melting pot of culture is a strength. And so what? with this unique spirit breathed by Kyoto city everything’s possible, isn’t it?

Ensō Watt collective’s members are:
Samuel André (Soundscape, Field recording),
Yannick Paget (classical music conductor, composer and percussionist),
Taisuke Enami (piano & synth effect),
Yuki Nakagawa (Cello & effects),
Ryotaro (Accordion & effects)
Chris Mosdell (lyricist/poet),
Andy Couzens ( live vidéo),
Masato Tokumaru (live vidéo)
Hirisha Metha (Sanka’s Symbols Design)

For more information:
Press contact: Marguerite Paget: mgtpaget[at]gmail.com / 090 6556 1974
Event coordination: Samuel André: sandre.constellation[at]gmail.com
Facebook: https://www.facebook.com/ensowatt?fref=ts
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Honke Owariya with Sean Lotman

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On Sunday Mewby and I had the pleasure of lunch with writer/photographer Sean Lotman. Sean’s wife manages the Honke Owariya soba noodle business, a family company which is pretty famous in Kyoto.  The business actually dates from 1465, though they “only” started making noodles Sean told me about 300 or 400 years ago, as they were originally a confectionary business.  They still make confectionary but it is the noodles that have made it famous. We met up with Sean at the main branch of Honke Owariya, a delightful old traditional Kyoto building for a stimulating lunch of hearty food and good conversation in beautiful surrounds. Continue reading

Blue Sky – An Excerpt from Deep Kyoto Walks

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Today I am posting another in a series of short excerpts from our ebook Deep Kyoto: Walks. In Blue Sky, the poet Stephen Henry Gill acts as a guide to the Saga & Arashiyama area for a young visitor who has come to learn more about the conservation NPO, People Together for Mt. Ogura. Stephen whimsically names his visitor Blue Sky, because that was the first thing he saw that fine autumn day. We join them mid-way through the tour…

On our left is a tilled field, in which the raggedy, nondescript greens are straggling. Going down this near side of the field, we soon come to the rustic gate of Rakushisha, the ‘House of Fallen Persimmons’, the thatched cottage once owned by Mukai Kyorai (1651-1704), and where his haiku master, Matsuo Bashō (1644-94), once stayed. Here, Bashō wrote his Saga Nikki, the ‘Saga Diary’. Another story for Blue:

One day in autumn, a merchant from Osaka passed the house, which was then located in an orchard of persimmon trees. He went in and negotiated with Kyorai to purchase the entire crop, paying him an advance and telling him he would come back the following day to harvest the glowing orange-coloured fruit. Kyorai went to bed feeling pleased with himself, but awoke in the night as a storm set in and proceeded to shake all the fruit down onto the ground. The crop was ruined and, the next day, when the merchant finally appeared, Kyorai had to hand back the deposit he’d received. From that day on, he would refer to himself ironically as ‘The Master of Persimmons’.

Continue reading

ECHOES: Painting & Poetry Exhibition at KICH – February 25 ~ March 2

ECHOES is an upcoming poetry and art exhibition organized by the Hailstone Haiku Circle, and featuring the conservation efforts of PTO (People Together for Mt. Ogura). Click on the flyer below for details!
Echoes
H a i g a c o l l a b o r a t i o n
Hailstone Haiku Circle is an international group founded in 2000 by Stephen Gill and centred on Kyoto. Its main activity is to compose, share and publish English language haiku, but recently it did so based on paintings brought to the meetings. Each poet took home one of these paintings and wrote a haiku to accompany it. Many of these collaborations are displayed in this exhibition. Haiku seems like an entirely new art when written in English, and, fortunately, many of the poets are also fine artists!

M t. O g u r a c o r n e r
In summer 2003, Stephen Gill spent 16 hours walking about Mt. Ogura in Saga, Kyoto. His objective was to write poems celebrating the mountain, but inadvertently he discovered many environmental problems, including a huge amount of rubbish tipped there. The following year, he met Okiharu Maeda of the NPO ‘ACE’ (and more recently, PTO) and, ever since, together they have been clearing the rubbish and attracting to this beautiful mountain many volunteers, both Japanese and foreign. There will be a small section of the exhibition devoted to artworks and poetry made on or for Mt. Ogura.

Location: KYOTO INTERNATIONAL COMMUNITY HOUSE, 2F
4 min. from Keage Station on Subway Tozai Line. Here is a MAP.
Dates: February 25 (Tue.) ~ March 2 (Sun.) 11:00~19:00
First day opens 12:00, reception 18:00~ 20:00 last day closes at 18:00
Admission Free!
Enquiries (K.I.C.H.): 075-752-1187
HAILSTONE HAIKU CIRCLE (Stephen Gill): 075 865 2773
Links:
Hailstone Haiku Circle: http://hailhaiku.wordpress.com/
PTO: http://www.ptogura.org/ep.html
KICH: http://www.kcif.or.jp/HP/access/en/index.html

 

Meltdown – An Anthology of Haiku, Z – A

meltdownMELTDOWN メルトダウン (2013) An Anthology of Haiku, Z to A.
ISBN: 978-4-9900822-5-3
Edited by Stephen Henry Gill
Includes almost 500 haiku and a short 4-part seasonal renku cycle over 228 pages.
Cover by Richard Steiner.
Price:¥1,500; airmail $20, incl. p&p
Dimensions: 19 x 13 cm.  Covers feature a tactile matt paper finish.
How to order: details are at the Hailstone Haiku Circle’s Publications page: http://hailhaiku.wordpress.com/publications/

I thought I might examine some gems from the latest Hailstone haiku anthology for clues as to haiku possibilities. What makes a haiku a haiku? Wherein lies the haiku’s charm? Why indeed, write haiku at all?

Haiku, we know, should be brief, and Japanese haiku conventionally (though not always) follow a 5-7-5 Japanese syllabic count. There are some masters of the haiku craft who stick to the 5-7-5 syllable count in English – and work wonders within those confines:

Ainu songs are sad:
like this deep blue crater lake
with fog cascading

(Nobuyuki Yuasa, Meltdown, pg 119)

Many people also think a haiku should be written in three lines, and this is often the case. But not always. There are those who throw both syllable and line counts aside, with brilliantly bold experiments.

Unspoken history dark clouds shroud the hunter’s moon

(Duro Jaiye, Ibid, pg 71)

Thump
sun fingers
the forest snow
THUMP
no-one is here

(David McCullough, Ibid, pg 65) Continue reading

Highlights from the Bob Dylan & Allen Ginsberg Poetry & Song Celebration at Tadg’s Bar Kyoto

MeadowlarksFriday night’s Bob Dylan & Allen Ginsberg celebration at Tadg’s was a whole lot of fun. High praise to all the performers and musicians who took part and to our hard-working hosts Tadg & Mika McLoughlin. Apologies also to Mika for trying to pay the same bill multiple times. I must be more careful when supping craft beers… Here below are some video highlights I managed to record while still in a semi-sensible condition. I believe the next poetry & song celebration will be dedicated solely to Mr. Leonard Cohen.







Zuishin-in ~ A Refuge in Ono

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As I posted a piece on the autumn leaves at Daigo-ji last week, I thought I might post some pictures I took earlier this year at the nearby Zuishin-in. These pictures were taken in June; the season for irises and azaleas. I think this temple would be good to visit in any season though. It has a very special atmosphere. You can see a slideshow of the gardens through the seasons here. Apparently the red maples in autumn and the plum gardens in spring are quite special. Continue reading

English Haiku Poems Class

Hailstone Haiku Circle “Hibikiai Forum”

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Click to look around the classroom.

One of the most enjoyable activities I regularly take part in, is the monthly haiku class at Friend Peace House. I’d recommend it to anyone who is interested in learning more about poetic forms like haiku, senryu, and tanka in English. The class is usually divided into two main parts. After sharing an introductory poem of his own, the facilitator leads us in an analysis of several haiku that have been submitted anonymously prior to the class by group members. Members freely offer feedback with an aim to polishing these poetic efforts. After some announcements and a break, the facilitator or a guest speaker will introduce a theme. This could be anything, but in the past we have had lessons on Irish Haiku, the American haikus of Jack Kerouac, food haiku, animal haiku… Last time we began to look at the roots of English haiku in Orientalism, and I am very much looking forward to the next session when we will be continuing this series with a lesson on the Imagists. Continue reading