Writing haiku is adress to something universal, one flows in such refinement to submit to nature, return to nature. “Where they look is nothing but flowers, what they think is nothing but the moon. Perceiving shapes other than flowers amounts to being a barbarian. Holding thoughts other than the moon is akin to being a beast. Come out from barbarians, depart from beasts.” (Bashô, translated by William J. Higginson in The Haiku Handbook, 1985).
But as R.H.Blyth said: “A haiku is not a poem, it is not literature; it is a hand beckoning, a door half-opened, a mirror wiped clean…” (Haiku, Volume One). As Jalaluddin Rumi said, “I’m a mirror, not a debater.” (Ghazal-38).
Haiku has thrive so far from its place of origin. It is challenging to express my experience as an Indonesian into haiku or haiga. I have selected my haiku and chose my own photograph, and especially Jimat Achmadi’s photographs and paintings to this ‘Kampung Halaman (Hometown)’ series. In Jimat’s art, my haiku find once again their new way to share Indonesian experiences in a such universal way. Thanks to Jimat Achmadi who allowed me to use his work to be responded in my haiga.
About his art at this series, Jimat said: “My work is my expression about the most memorable memories about Yogyakarta, and a village in the southern Yogyakarta, where I stayed there for long enough in my school holidays at my grandfather’s house. Yogyakarta is my hometown, where I was born and grew until my adolescence. Pojok Beteng for instance, was my everyday outdoor playground. Making batik woman was my neighbour I was always happy to see her in my childhood. Mount Merapi I saw it every day. Riding a buffalo was the most exciting time when I lived in grandfather’s village, where kedasih (plaintive cuckoo, Cacomantis merulinus lanceolatus) often appeared and would be made the village felt gloomy when it sang.“ Some of Jimat’s work can be found at Jimat’s blog.
Ken Sawitri (Indonesia)