Haiga with Other Artists

The following haiga and photo-haiga present poems by Michael Dylan Welch, with artwork, photography, and calligraphy by the artists indicated, and occasionally my own artwork and adaptations. First is a tan-renga I wrote with Jeanne Emrich, who also did the watercolour painting. We printed this haiga to give as a lagniappe with copies of our book Berries and Cream: Contemporary Haiga in North America (Foster City, California: Press Here, 2000, with an introduction by Stephen Addiss). This haiga appeared in the 2003 edition of Reeds: Contemporary Haiga, pages 14–15. The second and third haiga appeared, respectively, in the Autumn/Winter 2005 and June 2011 issues of Haiga Online, produced by teams of artists, translators, and calligraphers. See also Tulip Festival Haiga. The fourth image, a photo-haiga created by Graziella Dupuy with a haiku of mine translated into French, appeared on the 25 June 2011 blog entry for the Akita International Haiku Network. The fifth haiga also appeared on Haiga Online. The sixth poem is from A Hundred Gourds. The seventh poem appeared, without the Hiroshige image, in Ekphrasis, the 2017 British Haiku Society members’ anthology. The eighth poem is a previously unpublished poem written in response to a postcard image given to me by John Budan, shared on Facebook on 2 April 2019. The ninth poem, a photo-haiga, is a still video image from “Haiku Getaway,” produced by Haiku Chronicles, released 6 April 2019, with the poem previously published in the 2014 Seabeck Haiku Getaway anthology, Rainsong. The tenth poem first appeared in Modern Haiku 24:3, Fall 1993, and in Hiroaki Sato’s Erotic Haiku (IBC Publishing, 2004; Stone Bridge Press, 2005), presented here with artwork created in 2020 by Terry Ann Carter. The eleventh haiga is a haiku postcard created by Jamie Wimberly in 2020. The twelfth image features a poem of mine as part of the 2019 Vancouver Cherry Blossom Festival “Haiku Quilt” created by Linda Coe. The thirteenth image is something I put together for fun, and the fourteenth is a bit more serious, together with images of the same poem from its outdoor installation in Washington, DC in the spring of 2022. The last two haiga appeared in Contemporary Haibun Online 18:3, December 2022, with images from a library of Japanese paper designs (the second of these two images was also the opening image in that issue of Contemporary Haibun Online—see the table of contents). See also “Dense Fog” and “Tarnished Silver.”