In other words, when we discuss haiku from a global perspective, the contents of haiku will have closer relation with each country's local characteristics. Therefore, when haiku spreads to the rest of the world, it is important to treat it as a short-formed poem and to take methods suitable to each language. For a poem to be recognized worldwide as haiku, it must be short-formed and have an essential spirit of haiku. We believe in the possibility of the birth of new techniques such as fixed-form and the kireji that are characteristics of a particular language and that are appropriate for expressing the spirit of haiku. For example, the French sonnet began as a long poem, but when Tachihara Michizo introduced it to Japan, he shortened it and succeeded in producing a Japanese-style sonnet.
Western poets can do the same thing with haiku.
Today, it is common in the West to write haiku as a three-line poem. It creates a different space from the Japanese haiku that is written in one vertical line, which visually allows for instantaneous unconscious perception. The fact that haiku is, in essence, symbolic poetry that has stopped being long-winded and talkative is recognized worldwide. Kigo is an accumulation of a long tradition of poetic sensibility that has continued to grow since the birth of waka. Surely all cultures are certain to possess symbolic keywords that are unique to them, and which have been nurtured throughout their history.