I was captivated by how honestly Malick Sidibé’s photograph captures at once the essence of young love, expressed through the intimacy of these two individuals, sharing this specific moment, and the greater spirit of liberation during what was truly a euphoric moment of social change in Mali and much of the African continent. Haiku really lends itself to the harmonization of dual concepts, thus I felt this would be the most effective way to translate the relationship between these moments. Furthermore, I hoped the directness of expression necessitated by the form would stay true to the “snapshot” feeling of the photograph as capturing only a fraction of a second of time. “Spring” unifies Haiku, which traditionally includes a reference to season, democratic upheaval (Arab Spring, Prague Spring)—Mali had just gained its independence from France while many other African states staged uprisings against their European colonizers—and the simple joy of the dance being enjoyed by the young lovers, faces lit up by their shy smiles, echoing the anticipation coupled with uncertainty of a new day for their nation.