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W6nnews.com ==== وطن === تاريخ النشر – 2026-02-13 00:09:00
In light of the growing interest in children’s literature, and the search for creative methods that address his awareness and imagination, “haiku” directed at young people is emerging as a modern literary form that is trying – with the efforts of specialists – to make its way into the world of children, to become an educational and aesthetic means that contributes to developing the child’s taste, and enhances his ability to contemplate and discover beauty, in the details of daily life, without monopoly by adults or limiting it to them. The spark of the initiative was launched, with a series of tweets published by Dr. Ahmed Al-Qaisi, through the (X) platform, called on those interested and concerned with children in the Kingdom to pay attention to this expressive form, which is lacking in children’s literature in the Arab world. He announced in those tweets his next project, which he has been working on for months in a specialized literary workshop that he established for this project. It is considered the first of its kind in Arab and Middle Eastern literature. During four literary partner evenings, Al-Qaisi shed light on this topic from different aspects, starting with talking about its importance and the extent to which the Arab child needs it, noting that children’s literature in our Arab world lacks brief texts that frame simple scenes from nature or fleeting daily situations, and motivate him to contemplate them, as the texts directed to him – despite their importance – are long. He considered this art a new tributary that opens a different horizon for Arab children’s literature. He also addressed the theme of questioning in this text and its importance, indicating that (haiku) in most of its texts either comes in the form of a question, or provokes it, or answers it, and it is the theme that regulates the child’s questions at this stage and develops them aesthetically. In his talk about the language of the text, he explained that the writer of (haiku) must be aware of the child’s level of reception, in order to realize the suitability of the child’s questions at this stage and develop them aesthetically. The vocabulary and structures that he selects in his text are for the target age group, and that he descends into the worlds of young people to capture scenes from their simple surroundings. Al-Qaisi stressed that a project like this will not achieve success except with the combined efforts of specialists in (haiku) and children’s literature. From this standpoint, he established a workshop on the (WhatsApp) program, and included a group of Saudi (haiku) writers, male and female, namely: Muhammad Al Fadel, Abdullah Al-Anazi, Attaf Salem, Youssef Al-Anazi, Madawi Al-Quwaidi, Sundos Al-Sharif, Nada Al-Omrani, Al-Anoud Yahya, and Afaf Ahmed. Al-Qaisi hosted in the workshop the expert and researcher in children’s literature, Dr. Wafaa Al-Sabeel, to be a supervisor on the aspects related to children’s literature in texts. Regarding the texts produced by the workshop, Al-Qaisi explained that they are characterized by the diversity of their scenes, and their avoidance of various ideologies, in order to address children from all cultures and languages of the world. As for The final outputs aspire to be a series of books sponsored by one of the parties, starting with the first book, which will include the texts of this workshop, and will be designed according to the standards of children’s books, to open a new path for emerging readers. A number of critics unanimously agreed on the freshness of the idea, and its merit once it acquires a tone appropriate to our cultural and educational reality. Critic Dr. Zakia Al-Otaibi believes that the importance of the idea stems from the nature of the art of haiku, which is based on condensation, amazement, and capturing the moment. It included elements that are consistent with the child’s way of perceiving the world, hoping to contribute to modernizing the tools of Arab children’s literature, and linking it to a global art without compromising its linguistic and cultural specificity. She added: “If God grants this idea implementation, children’s literature will have a long-term impact in shaping the literary taste of future generations.” While the researcher specializing in children’s literature, Dr. Wafaa Al-Sabeel, explained that “Haiku poetry is suitable for the child because it presents fleeting images that are in line with his visual imagination and has a short focus period.” Pointing out that “instead of long poems, the three lines give him tangible sensory scenes (such as the sound of rain or the color of the flower), which makes him enjoy the language as a quick artistic painting that arouses his curiosity and develops his aesthetic taste, provided that the text is accompanied by drawings that convey the full experience to him.” Meanwhile, the President of the Literature Society, Dr. Hassan Al-Naami, considered “haiku texts to be texts that are open to many possibilities, relying on the image as opposed to a narrative scene full of movement,” pointing out that in the experiments he reviewed Haiku texts were taken to a point beyond the ordinary, testing the use of childhood intuition between the spontaneity of the shot, the ingenuity of expression, and the geometry of the idea. Stressing that if the child is not restricted by the language of absolute awareness, then his reception of these texts represents a qualitative shift in the philosophy of reception. Al-Naami added: “Since literature, and (haiku) in this context, are transcendent to realistic awareness, these texts embody the child’s awareness that is not bound by the barriers of realistic speech, excessive sensitivity of reception, and the contents of memory.” Dr. Ahmed Al-Qaisi and his team congratulated this step, which connects the (haiku) texts with the transcendent world of the child. While the critic Dr. Saud Al-Saedi said, “Haiku in this initiative comes as a parallel path to the art of drawing, which begins with it.” The child is constructing his imaginary world, except this time it is shaped by language, not by color,” he explained, explaining that by integrating the child’s language with color, we will inevitably obtain a refined language and radiant color, and the child’s experience with language will be a meditative experience that refines his conscience before his tongue, and returns him to the world of nature while entering the world of language through contemplation, imagination, and accurate description. He added: “It is important, in my view, to build a solid vision for this simulation, by uprooting (haiku) from his Japanese soil, and planting it.” In a new soil that interacts with nature, through a contemplative act that does not stop at the limits of absolute contemplation.” Interaction with a creative form is considered part of adult acculturation, which searches for new ways of creative interaction and building bridges between language and nature, language in its density and nature in its extension to open a new window. It becomes an educational and aesthetic tool that contributes to developing the child’s taste and enhances their to contemplate and discover beauty in the details of daily life, without monopolization by adults or restriction ability to them.The spark of the initiative was ignited by a series of tweets published by Dr. Ahmed Al-Qaisi on the (X) platform, in which he called on those interested and relevant parties in the Kingdom to pay attention to this expressive form, which is lacking in children’s literature in the Arab world. He announced in those tweets his upcoming project that he has been working on for months in a specialized literary workshop he established for this project. It is considered the first of its kind in Arabic and Middle Eastern literature.In four evenings of the literary partner, Al-Qaisi shed light on this topic from various angles, starting with discussing its and the extent of the Arab child’s need for it, noting the lack of concise texts in children’s literature of importance in our Arab world that frame simple scenes from nature or fleeting daily situations and encourage contemplation. The texts directed at them—despite their importance—are long. He considered this art a new tributary that opens a different horizon for Arab children’s literature.He also addressed the theme of questioning in this text and its importance, indicating that (haiku) in most of its texts either comes in the form of a question, provokes one, or answers it. This theme regulates the child’s questions at this stage and develops them aesthetically. In discussing the language of the text, he clarified that a (haiku) writer must be aware of the child’s level of reception to understand the appropriateness of the vocabulary and structures they choose in their text for the targeted age group, and to descend into the worlds of children to capture scenes from their simple surroundings. Al-Qaisi emphasized that a project like this will only succeed through the collaboration of efforts between specialists in (haiku) and children’s literature. From this standpoint, he created a workshop on the (WhatsApp) program, including a group of Saudi (haiku) writers, namely: Mohammed Al-Fadhil, Abdullah Al-Anzi, Atif Salem, Youssef Al-Anzi, Mudawe Al-Qwaidi, Sundus Al-Sharif, Nada Al-Omrani, Al-Anoud Yahya, and Afaf Ahmed.He hosted in the workshop the expert and researcher in children’s literature, Dr. Wafa Al-Sabeel, to supervise the aspects related to children’s literature in the texts.Regarding the texts produced by the workshop, Al-Qaisi explained that they are characterized by the diversity of their scenes and their avoidance of various ideologies, so they can address children from all cultures and languages of the world.As for the final outputs, he aspires for them to be a series of books sponsored by one of the entities, starting with the first book that will include the texts from this workshop, designed accordingly to children’s book standards, to open a new path for young readers. A number of critics agreed on the freshness of the idea and its worthiness if it acquires a suitable character for our cultural and educational reality. Critic Dr. Zakia Al-Otaibi sees the importance of the idea stemming from the nature of the (haiku) art, which is based on condensation, astonishment, and capturing the moment, considering these elements to be in harmony with the child’s way of perceiving the world. She hopes it will contribute to modernizing the tools of Arab children’s literature and linking it to a global art without compromising its linguistic and cultural specificity. She added, “If God wills this idea to be implemented, children’s literature will reap long-term effects in shaping the literary taste of future generations.”Meanwhile, researcher Dr. Wafa Al-Sabeel, a specialist in children’s literature, clarified that “haiku poetry is suitable for children as it presents fleeting images that align with their visual imagination and short attention span.” She pointed out that “instead of long poems, the three lines provide tangible sensory scenes (like the sound of rain or the color of a flower), allowing them to enjoy the language as a quick artistic canvas that piques their curiosity and develops their aesthetic taste, provided that the text is accompanied by illustrations that convey the complete experience.”Dr. Hassan Al-Naami, president of the Literature Association, considered “haiku texts to be open to many possibilities, relying on the image in contrast to a narrative scene filled with movement.” He noted that in the experiences he reviewed, (haiku) texts were taken to a point beyond the usual, testing the employment of childhood intuition between the spontaneity of the snapshot and the skill of expression and the engineering of the idea. He affirmed that if the child is not constrained by the language of absolute awareness, then their reception of these texts represents a qualitative leap in the philosophy of reception. Al-Naami added, “Since literature, and (haiku) in this context, transcends realistic awareness, these texts embody the child’s consciousness unbound by the barriers of overly sensitive realistic expression and the implications of memory.”Dr. Ahmed Al-Qaisi and his team congratulated this step, which intertwines (haiku) texts with the transcendent world of children.Critic Dr. Saud Al-Saadi stated that “haiku in this initiative comes as a parallel path to the art of painting, which the child begins to construct their imaginary world with, but this time it is shaped with language, not color.” He explained that by integrating the child’s language with color, we will inevitably achieve a polished language and a radiant color, and the child’s experience with language will be a contemplative one that refines their emotions before their tongue, bringing them back to the world of nature while entering them into the world of language through contemplation, imagination, and precise description. He added, “In my opinion, it is important to build a solid vision for this simulation by uprooting (haiku) from its Japanese soil and planting it in new soil that interacts with nature, through a contemplation that does not stop at the limits of absolute reflection.” He considered interaction with a creative form to be a form of mature cultural exchange that seeks new ways for creative interaction and bridges between language and nature, language in its density and nature in its expansion to open a new window.
