Bindii Meeting 12 June 2022

 Lynette Arden, Stella Damarjati, Steve Wigg and I gathered this afternoon for a Zoom meeting. Our agenda was writing tanka. We began by discussing the definition of tanka, and Lyn pointed out that the pivot that is so often emphasised in tanka definitions doesn’t have to occur on the third or fourth line, but can happen anywhere. The only requirement is to progress from one image or thought to a different place. It is often helpful to encompass this progression in a sentence, but this is not compulsory. Below are some links sent from Lyn that help to clarify this definition. I also found some examples (2021 contest winners, on the right-hand side of the home page) on the American Tanka Society website that show the variety of pivot point locations that can be found in different tanka: https

Report on Bindii Meeting 6 February 2022

Julia, Stella, Steve, Lynette, Maeve and Kaarin met together on Zoom. We discussed the possibility of attending the upcoming Zoom meeting on International Haiku Day, April 17. As previously arranged, we all brought examples of classic haiku and/or some of our favourites from the Snapshot Press collections. We also attempted our own haiku that evoked similar moods to the examples. Steve began with a haiku by Boncho, a student of Basho. the dyeing tubs dripping ceased tree cricket Steve explained that crickets are associated with Autumn, which is when indigo dyeing takes place. In the original Japanese the cutting word translates as ‘happened to notice’, or ‘lo!’ We are asked to notice the absence of dripping, which enables us to hear the crickets. This depth of meaning contrasts with ‘shopping list haiku’, which is a habit that Western haiku poets can fall into. Stella and Maeve gave two examples by Shiki, which expressed both the brevity of life and the tedium of finding no

Report for Bindii meeting, October 31 2021.

Present: Lynette Arden, Stella Damarjati, Steve Wigg, Julia Wakefield. We discussed tanka, as planned from the previous meeting. Stella showed us some that she had prepared, including one that had been accepted for Eucalypt, and Lynn showed us some tanka that she had previously published. We also looked at tanka by Julie Thorndyke. We agreed that tanka are most often successful when they form a complete sentence, and the last two lines don’t have to be longer in order for the tanka to work – even one word in a line is acceptable. We tried doing a five-minute brainstorm, writing sentences on the topic of ‘fear’ and trying to turn them into tanka. An abstract term is a better theme for a tanka than a concrete one such as ‘water’, which is more suitable for a haiku. The results were surprisingly effective. It seems that if we pick on a deeply personal interpretation of a theme, the sentences start to flow. It was in many ways a refreshing approach compared to the discipline of haiku

Report for Bindii meeting, September 12 2021.

Present: Lynette Arden, Stella Damarjati, Steve Wigg, Julia Wakefield. Apologies: Maeve Archibald. The meeting had been postponed form August 9, as not all of us could attend. We are getting quite good at running Zoom meetings, but we all forgot what the topic was this time – it was supposed to be water! Julia thought it was winter, so some of us submitted some winter haiku, and Lyn showed us some of her senryu, which alluded to Adelaide-related themes from the past. Perhaps we’ll look at water next time, as it has a great deal of metaphorical potential. Julia did a short analysis of Gregory Piko’s featured haiku from the Haiku Oz website, in which rainfall could be taken as a metaphor. grandpa’s window we touch raindrops from the other side Lyn made the point at this meeting that the metaphor has to be part of the scene, not something imagined and imposed on the scene. Julia realised that she still over elaborates her haiku! It’s very easy to add too many ideas or ex

Report for Bindii meeting, June 27 2021

Present: Lynette Arden, Stella Damarjati, Steve Wigg, Julia Wakefield. Apologies: Maeve Archibald.   Steve gave a short presentation, preceded by a description of the online tea ceremony that he experienced. He related how there are winter solstice ceremonies in Japan that are designed to appeal to all the senses, and this example included an ikebana arrangement, sound stimuli such as the ‘deer scarer’ fountain, a scroll with the inscription ‘Direct (the) mind in this place’ and a charcoal burning, using a log of a special type of Japanese wood that creates a glowing star. It was at such ceremonies as these that renku were traditionally written. Steve’s online ceremony did not include poets, but we liked the possibility of uniting an international online ceremony with a renku in the future. Steve’s presentation was about the writer and haiku scholar Richard Gilbert and his book ‘The disjunctive Dragonfly’, which addresses the perennial problem of how to define a haiku. According to Ste

Bindii meeting, April 10 2021, report.

 Present: Lyn, Stella, Steve and Maeve. Apology: Julia.   Saturday afternoon's Bindii meeting was a discussion  with feedback o n haibun.   Maeve's haibun was written in classic haibun style,  with haiku inserted at the end of each paragraph.         Stella offered her 3 short haibun ,  in the style of a flash fiction (30 words) , followed by one haiku . We discussed  changing the prose to present tense (from past tense) and possibly  expanding the prose to make it feel more satisfying.    The next meeting will be  on the 27th June at 3pm. Meeting topic: haiku workshop.

Report of Bindii Meeting for 28 February 2021

February’s Zoom meeting was an evaluation of haibun we had been tasked with writing since we last met. The results were quite diverse: Maeve offered a short story style haibun with paragraphs of prose punctuated by haiku at the end of each. Julia also offered a short story with a twist at the end, underlined by a tanka. Her example brought up the question of whether a poem could be used to clarify the text above it. We decided that this was certainly an option. Lynette’s was a shorter, first draft haibun with options for the final haiku, which we successfully workshopped. Stella had two short paragraphs, each with a haiku at the end, and her titles needed some work, which she modified successfully, and Steve had a travel journal-style with a single haiku at the end – a bit unfocussed, so some pruning was in order.   A common issue we found in the writing was lack of focus, which we agreed could be solved with tighter editing. Some works had no title, and we noted that title, body