Kurdish Poetry of Ilam: From Tradition to Revival

The provincial service of the Iran Book News Agency (IBNA) – Hossein Shekarbeigi, writer and poet: Kurdish poetry in Ilam had not seriously entered its era of revival until about 30 years ago. Although efforts had been made, these endeavors were still scattered and limited. After the Revolution, innovative poets, inspired by Persian poetry after Nima, tried to create a new movement in Kurdish poetry. Single poems were also published along this path, but the reign was still held by traditional poets such as Valimohammad Omidi, Abbasi Aram, Heshmat Mansouri, and others.

The poetry of these poets resonated with the public’s taste. Their themes were often nostalgic, and people who were gradually embracing urban life were still trying to maintain their connection with nature, local customs, and traditional lifestyles. Traditional poetry served as a connecting link between their new urban life and their rural past; poetry that reflected the clarity and simplicity of that era.

However, gradually, poets emerged who differed in every respect from their predecessors. Neo-classical poets arrived and tried to present newer concepts in more diverse forms. They moved away from single-form (Masnavi writing) and turned to composing in classical Arabic meters (Aruzi), but strong traces of literary tradition still existed in their work.

Most of these poets had experience composing contemporary Persian poetry and gradually transferred this experience to Kurdish poetry. Nevertheless, all the pioneers of modernism in Ilam’s Kurdish poetry were originally classicists, specifically Ghazal poets. Although they created a new movement, they followed a path that had already been paved in Persian poetry.

The important point is that modernization in Kurdish poetry should not be limited solely to Nimaic or free verse forms. In many cases, a poet can achieve modernism within the classical form itself, but with a modern language and imagination. In fact, modernization occurs more in the poet’s perspective and language than in the “form.”

Despite this, the works of that period, although fresh, often remained confined to the regional sphere and were less able to connect with non-Kurdish speakers. If these poems were translated, in many cases, they would appear to be nothing more than a collection of clichés. The reason was that the poets had not yet fully accessed the depth of modern language and worldview. Nevertheless, these very experiences opened the way for subsequent generations. A prominent example of this transition was Farhad Shahmoradian, who managed to advance Kurdish Ghazal in terms of language and imagery.

Since then, Kurdish poetry, especially Ghazal, underwent a transformation, and beautiful and noteworthy works were composed. Yet, Kurdish poetry is still in a transitional phase. Traditional poetry remains the dominant form, and free verse, which could have become the main language of modern Kurdish poetry, is still marginalized.

But why, after three decades, does traditional Kurdish poetry still reign? Several reasons can be listed:

Firstly, Persian poetry, the most powerful poetic movement in Iran, has had a profound influence on contemporary Kurdish poetry. Kurdish-speaking poets have always viewed Persian poetry with admiration and tried to keep pace with its developments. Therefore, the influence of Nima and Nimaic poetry on Kurdish poetry is undeniable.

However, it should be noted that Kurdish poetry has not only drawn sustenance from Persian poetry; it is rooted in its own linguistic, musical, and mythological traditions, and this indigenous identity is the source of its independence and freshness. Modernism in Kurdish poetry will only bear fruit when a delicate balance is struck between “external influence” and “innate authenticity.”

Kurdish free verse, much like Nimaic poetry in its early stages, is still grappling with cultural and mental resistance. A large segment of Kurdish poetry audiences has an auditory preference and appreciates classical poetry through music and rhythm, rather than through reading and contemplation. In contrast, free verse is visual poetry; its beauty lies in its form, line breaks, and meaningful silences, and understanding it requires skill and precise reading.

Consequently, traditional poetry, due to its classical meters and rhyme music, is still more appealing to the listener’s ear. Furthermore, local media and literary associations are also mostly controlled by traditional poets, and young poets have fewer opportunities to experiment with free forms.

On the other hand, some poets, instead of expanding their theoretical knowledge, take refuge in classical poetry, as meter and rhyme can cover many poetic weaknesses. Free verse, however, offers no such refuge; the poet must create thought, imagery, and language themselves.

Given this, the way out of this situation is clear: holding specialized workshops for free verse and Nimaic poetry, creating spaces for criticism and dialogue, translating new Kurdish poems into other languages, and studying contemporary poetry theories can pave the way for Kurdish poetry to become more global.

Today’s poet must elevate themselves from a local poet to a global poet; a poet whose work, even after translation, retains its meaning, emotion, and beauty. Otherwise, poetry will merely revolve around rhyme and rhythm, and in translation, it will be like a peacock that has lost its feathers.

In conclusion, Kurdish poetry in Ilam today stands between tradition and modernization. What can save it is not a break from the past, but a creative blend of roots with the new language of the times. Modernization, if it stops at form, is superficial; but if it occurs in the poet’s language, thought, and worldview, it will endure.