Hirosaki Park is known as one of the premier cherry blossom viewing spots in the Tohoku region, with many saying, “When it comes to Aomori Prefecture’s most famous cherry blossom spots, Hirosaki Park is the place to go.” The park is also known as Ouyouen and stands on the site of Hirosaki Castle, the seat of the Tsugaru clan, which ruled over a domain of 100,000 koku. Spanning a total area of approximately 50 hectares, the park features remnants of the castle, including the main keep, moats, watchtowers, and castle gates. During cherry blossom season, some 2,600 cherry trees bloom in spectacular fashion.

The History of Hirosaki Castle

The main keep of Hirosaki Castle is one of 12 keeps built during the Edo period and is the only surviving keep in the Tohoku and Hokkaido regions.

The castle ruins are designated as a National Historic Site, and the surviving main keep, turrets, and castle gates are also designated as Important Cultural Properties. Hirosaki Park is located in the center of Hirosaki City. It covers a vast area of approximately 600 meters east to west and 1,000 meters north to south, with a total area of about 50 hectares. Within the park, in addition to the castle keep (the Tatsumi Yagura in the Honmaru), six bailey areas surrounded by moats and earthen ramparts, three turrets, and five castle gates remain.

“I believe it’s rare even nationwide to find such a large-scale castle complex open to the public as a park while retaining its original appearance,” said Kokoro Shōji, Chief of the Hirosaki Castle Maintenance and Utilization Promotion Office in the Hirosaki City Parks and Green Spaces Division.

The History Leading Up to the Construction of Hirosaki Castle

By 1590, Tsugaru Tamenobu had secured confirmation of his lands in Tsugaru from Toyotomi Hideyoshi, and in 1603, he decided to build a new castle, selecting the site at Takaoka. However, progress on the project was slow, and Tsugaru Tamenobu died of illness in Kyoto in 1607 without ever seeing the castle completed. He was 58 years old. Subsequently, his third son, Nobuhira, who became the second lord of the domain, completed Takaoka Castle (now Hirosaki Castle) in 1611.

Why Hirosaki Castle Was Reduced from Five Stories to Three

“The castle tower originally had five stories and was located in the southwest corner of the inner bailey when the castle was first built, but it was destroyed by a lightning strike in 1627,” says Mr. Shōji. “After the castle tower burned down, there was a strong movement to rebuild it, but the plans stalled midway. Later, when the Hirosaki domain’s rice yield reached 100,000 koku, the 9th lord, Yasuchika, rebuilt it in 1810 under the pretext of constructing the Tatsumi Turret of the Honmaru; this structure remains as the castle tower today.” The town’s name was changed from “Takaoka” to the current “Hirosaki” the year after the fire, reportedly as a way to ward off misfortune.

From the turmoil of the Shogunate’s fall to a symbol of the people of Hirosaki

Eventually, the Meiji Restoration led to the dissolution of the Hirosaki Domain. Hirosaki Castle came under the control of the Ministry of the Army, and during the war, it was used as a branch of the Army Ordnance Depot—a regional office responsible for the supply, storage, and management of weapons and ammunition. Although some facilities, such as the Honmaru Palace and the Treasure House, were dismantled, the castle keep, gates, and turrets were preserved. Furthermore, because many of the ruins escaped damage during the Pacific War and remain in their original state, the site has been designated a valuable National Historic Site.

Amidst these developments, the area excluding the Sannomaru—which had been used as an Army powder magazine—was opened to the public as Hirosaki Park in 1895. The three-story main keep stands approximately 15 meters tall, offering a magnificent view that takes in the entire park and Mount Iwaki, known as “Tsugaru Fuji.”

This historic site has evolved from the “Kan’ōkai” cherry blossom viewing party to the “Hirosaki Cherry Blossom Festival”

Just as people begin to feel the weight of winter lift, some 2,600 cherry trees of 52 varieties—including Somei-Yoshino, double-flowered cherry, and weeping cherry—bloom beautifully across the park’s expansive 50-hectare grounds. Within the park, which offers views of snow-capped Mount Iwaki, countless circles of people gathered for drinking parties—those who have longed for spring—spread out, and the sounds of Tsugaru folk songs can be heard from all around. Even now, more than 400 years after its construction, Hirosaki Park, home to Hirosaki Castle, continues to be cherished by the citizens as the first place that comes to mind when they think of a place to relax.

The post “Hirosaki Park,” overlooking the ruins of Hirosaki Castle—the only surviving castle keep in the Tohoku region / Hirosaki City, Aomori Prefecture first appeared on NIHONMONO.

The creators of large-scale Nebuta floats, known as “Nebuta masters,” are the artisans who shape the face of the Aomori Nebuta Festival. Among them, Hiroo Takenami is one of only seven people ever to have been awarded the title of “Nebuta Master”—a distinction granted to creators who have contributed to the Aomori Nebuta Festival through their exceptional skills over many years. While preserving the centuries-old tradition of Nebuta as a folk festival, he is also an artist who pushes the boundaries of Nebuta as a sculptural art form.

One of Japan’s premier fire festivals, a source of pride for Aomori City 

The Aomori Nebuta Festival is a summer festival held annually in Aomori City, Aomori Prefecture, from August 2 to 7. More than 20 large Nebuta floats parade through the city streets, accompanied by dancers known as “Haneto” who perform wild dances to the chant of “Rassera,” as well as musicians playing flutes and drums. During the festival, the city attracts more than 1 million visitors.

From a Local Folk Event to a Major Festival

Although it is now one of Japan’s most iconic festivals, its origins lie in a folk tradition. Throughout Aomori Prefecture—excluding the Nanbu region—various local festivals known as “Nebuta” or “Neputa” are held. While the names and forms vary by region, they share the same roots and are believed to have evolved from Tanabata customs. While there are various theories, one suggests the influence of “nemuri-nagashi” (a ritual to dispel drowsiness that hinders farm work), and that the name evolved from “neputē” (meaning “sleepy” in the Tsugaru dialect) to “Nebuta” or “Neputa.”

As for records of the Nebuta in Aomori City, an ancient document remains indicating that Nebuta floats were paraded in Ohama (present-day Aburakawa, Aomori City) in 1730 (the 15th year of the Kyōhō era). While this is considered the first recorded appearance of “Aomori Nebuta,” it is believed that the festival had actually been held as an annual event long before that, even if it was not formally documented.

“The Nebuta festivals throughout the prefecture, including Aomori City, have been passed down for hundreds of years solely through the dedication of the townspeople. I believe it is a truly rare and precious festival,” says Mr. Takenami. Over the long course of time, even as social conditions and the shape of the town have changed, Nebuta has been passed down and has continued to evolve. Behind this must surely lie the passionate dedication of the people of this land.

In modern times, while each neighborhood created and paraded its own Nebuta floats, the trend toward commercialization led to increasingly larger floats. Although the traditions of local Nebuta remained, the focus of the festival shifted to the “Aomori Nebuta Festival,” which is organized by corporations. Regarding the float builders, while the floats were originally crafted by skilled, Nebuta-loving locals, the larger floats came to be created by specialized builders—known as Nebuta-shi—who had honed their technical skills.

“Nebuta masters,” the creators of large-scale Nebuta floats

In the past, Nebuta and Neputa floats were made of washi paper and bamboo, with candles lit inside. They came in both doll-shaped and fan-shaped varieties, with the Aomori Nebuta primarily featuring the doll-shaped design. After World War II, as national highways were widened, the floats gradually evolved into their current wide, horizontal shape, and the materials used also advanced. Today, washi paper is attached to a wire frame, and LED lights are used for illumination.

As of 2025, there are about a dozen “Nebuta masters” who create these floats, and Mr. Takenami is one of them. Mr. Takenami says he begins thinking about the theme for the following year even before the current festival ends. The themes are primarily drawn from Kabuki, history, and legends. He coordinates the theme with the sponsoring company, researches literature and historical materials, develops a concept, and then draws the original artwork. Mr. Takenami describes this process of creating the original artwork as “the most important part of a Nebuta master’s work.” “Even with the same subject or scene, the expression varies depending on the creator’s individuality. It requires sensitivity in turning a captured scene into a painting, as well as a sense of color,” he explains. He completes the pencil sketch of the original artwork by around New Year’s and prepares the details, such as the face and limbs, in advance. In May, he moves to the “Rasseland,” a workshop dedicated to Nebuta. They build a framework using square timber pillars as a base, install lighting, apply Japanese paper, and proceed to the “kakigiri” stage, where they draw the faces and outlines in ink. The kakigiri stage is also a crucial part of the process; Takemura says that drawing the facial expressions, which determine the character’s look, “makes me nervous no matter how many times I do it.” Once this is finished, they apply patterns with wax and then use a mixture of paints and dyes to color the float using brushes, paintbrushes, and spray cans to complete it.

The Nebuta master does not perform all the work alone; carpentry, paper application, and lighting installation are handled by specialists and staff, with the Nebuta master serving as the on-site supervisor during these phases. The moment when the Nebuta, completed through the efforts of so many people, is loaded onto a cart—known as “taage”—is said to be exceptionally moving. From conception to completion, it takes a full year to create a Nebuta. While Mr. Takenami is one such example, there are also masters who handle multiple floats, and being a Nebuta master demands that level of skill.

“I was born to make Nebuta floats.” A life captivated by Nebuta

Mr. Takenami is originally from the former town of Kizukuri (now Tsugaru City). That town also had its own small, community-based Nebuta Festival, and the neighborhood association where Mr. Takenami was born and raised would send a float every year. He was captivated by those Nebuta floats from a young age. “I think it started when I was three. Apparently, I was a child who talked about nothing but Nebuta, Nebuta. Eventually, my family took me to see the big Nebuta floats in Aomori. And that’s when I became completely obsessed.”

At the age of 19, he began visiting the nebutah workshop of Chiba Sakuryu (the fifth-generation master) and started helping out. “Among the many creators, Mr. Chiba’s nebutah floats looked very stylish and fresh. So, I wanted to try assisting him. When I knocked on his door, he accepted me.” From then on, he devoted himself entirely to the craft, making his debut with a large-scale Nebuta float in 1989 at the age of 30. Since then, in addition to creating floats for the Aomori Nebuta Festival every year, he has played a central role in the industry, including working on Nebuta floats for tours to Budapest in 1996, the Tokyo Dome in 1998, and Los Angeles in 2007. In 2010, he established the “Nebuta Research Institute” to facilitate year-round activities. In 2023, at the age of 63, he was certified as the seventh-generation Nebuta Master.

“The things that were as precious to me as toys when I was a child remain just as precious to me even as an adult,” says Takenami with a smile. “Perhaps my values haven’t changed since I was three or four years old.” He adds, “Now, I believe I was born to make Nebuta floats.”

The three-dimensionality and colors breathe life into the Nebuta floats

Mr. Takenami says he doesn’t particularly like to depict battle scenes. “Most of my work features guardian deities that ward off evil and drive away demons, such as Kongo Rikishi and Nio statues,” he explains. Even when he depicts figures holding swords, he says they are often held not so much as weapons but to ward off evil. This is Mr. Takenami’s unique style and artistic expression. “It’s really hard to decide on a theme every year,” as Takenami says. Since approximately 23 Nebuta floats are produced for the Aomori Nebuta Festival each year—amounting to about 230 over a decade—it’s inevitable that themes will overlap with past floats, and scenes may repeat. “In the world of creation, where everyone has idols and ideals, the challenge lies in how to express my own unique voice,” he confides.

Amidst this, Takenami’s “sense of self” lies in creating a sense of depth and three-dimensionality in the Nebuta floats. “How do I arrange and fit the characters’ body parts within a cube measuring 9 meters wide, 7 meters deep, and 5 meters high? The way they’re placed completely changes how they look, so I’m particularly meticulous about that aspect,” he explains. Furthermore, he notes that the arrangement of colors is crucial. Takenami explains that he uses a single primary color—such as his favorite red—as a core, then arranges other hues around it as if scattering them out from that point. He uses color to convey a sense of power so that, during the actual festival, the Nebuta floats appear vigorous as they sway slowly toward the spectators lining the streets from afar. “I also make a conscious effort to draw ink lines that have a strong presence,” he adds. While painting the colors is often a collaborative effort with my staff, I draw every single ink line myself. That’s because the ink lines are what give the design its distinctive character.” It can be said that the heroic grandeur of the approaching Nebuta floats is brought to life through the ingenuity and hard work of the Nebuta masters.

It’s better not to lose to yourself than to lose to others

At the 2025 Aomori Nebuta Festival, Mr. Takenami won the Nebuta Grand Prize and the Best Creator Award for the Aomori Ryoyukai’s float, “Kaiō.” “Kaiō” will be on display at the Aomori City Culture, Tourism, and Exchange Facility, Nebuta no Ie Wa-Rasse, until August 9, 2026, when it will be replaced by the next award-winning float.

The year 2025 marked the 400th anniversary of the opening of Aomori Port. With this theme in mind, the float depicted the majestic figure of Poseidon, the guardian deity of the sea, rendered in a traditional Japanese style, as a way to reflect on Aomori City’s history—a history shaped by the sea—and to express hopes for its continued prosperity. Surrounding Poseidon, dressed as a Japanese warrior, are shachi (mythical creatures with the body of a fish and the head of a tiger) and fish-bodied dragons. At the rear, dolphins—which inhabit the waters off Aomori—were placed to emphasize that the setting is the Sea of Aomori. “The contrast between the color of the waves and the yellow tones of the shachi creates a strong visual impact,” said Takenami. “Additionally, for the ink-wash sections, I deliberately drew the lines representing Poseidon’s arms and ribs to be strong and rough,” said Takenami. Upon receiving the award, he commented, “I was able to express something truly powerful and impactful—this is what Nebuta is all about.” The award was a testament to Takenami’s unique artistic vision.

The Grand Prize-winning Nebuta float is placed in the most prominent spot in Wa-Rasse’s “Nebuta Hall.” Standing in front of “Kaiō,” Mr. Takenami said, “Every time I come here, it motivates me to return to this spot again next year. I create a Nebuta float every year, and I really struggle with it every time, but that struggle is also part of the fun. It’s not like a sport where you get clear, numerical results, so rather than aiming to beat others, I set a goal for myself: not to lose to myself. I refuse to compromise on anything when it comes to what my intuition tells me I want to create. I don’t tell anyone this, but I hold that principle—not losing to myself—in high regard.”

Thinking of the future, we’re giving Nebuta a new look

When Mr. Takenami first entered this field, being a Nebuta artist was not yet established as a profession. Even if he spent a year on a single piece, he couldn’t make a living from it. However, Nebuta has continued to grow and has become something we can be proud of on the world stage. People even come to Mr. Takenami, willing to relocate just to make Nebuta. “The people who come to us are the ones who will support the future of Nebuta. To ensure Nebuta’s legacy lives on, we must establish it as a profession so that these people can make a living as Nebuta artisans. By recognizing Nebuta’s value not just as a festival prop but as a work of art, can’t we expand its possibilities?” It was this conviction that led him to establish the research institute.

However, he says the institute faced strong opposition when it was first established. Many argued, “Nebuta is not art; it is, after all, just a festival.”

Nevertheless, Mr. Takenami continued to explore new possibilities for Nebuta based on the concept of “sculptures of paper and light.” He launched “NEBUTA STYLE,” a brand featuring interior goods and apparel made using Nebuta techniques, and created decorative objects for restaurants and hotels. By embracing this role as a sculptor, he built a sustainable livelihood. Moreover, these new products help spread the appeal of Nebuta. Mr. Takenami feels that as his dreams gradually come true, the attitudes of those around him have also begun to change.

Mr. Takenami’s goal for the future is to promote Nebuta more widely around the world as a form of Japanese culture and as a work of art crafted from washi paper. “When I’ve taken Nebuta to places like the United States and Budapest, the crowd gasped in awe the moment the lanterns were lit. Everyone was truly amazed and delighted. I’d like to take it to other countries, such as Europe, where people aren’t yet familiar with Nebuta.” As he spoke, Mr. Takenami’s eyes shone brightly, as if the eyes of the young boy who had always admired Nebuta were still there.

The post Carrying on tradition while embracing creativity. Nebuta artist Hiroo Takenami / Aomori City, Aomori Prefecture first appeared on NIHONMONO.

Koganezaki Farm produces more than 30 varieties of vegetables—including leafy greens, potatoes for processing, and seed potatoes—on one of the largest plots of land in the country. Its client list includes major corporations, and in 2025, its cabbage became the first in Aomori Prefecture to receive JGAP certification. The farm continues to demonstrate the true potential of locally grown vegetables and support the next generation of farmers.

Agriculture that embodies the spirit of Aomori, making the most of its vast land and convenient location

Koganezaki Farm, which operates on 500 hectares of land (equivalent to 100 Tokyo Domes), supplies over 30 varieties of seed potatoes—as well as potatoes, cabbage, daikon radishes, and other crops—to customers across Japan. Its client base spans from Hokkaido to Okinawa and includes major companies such as Calbee and Koikeya, as the farm continues to cultivate crops that take full advantage of Aomori’s unique soil and climate.

Beyond its scale and quality, the farm boasts advantages unique to Aomori. It was these advantages that caught the attention of founder Kimio Sasaki and three other farmers. They aimed to establish a sustainable agricultural business by leveraging the climate, which resembles that of Hokkaido, and the convenience of the land.

Farmers earning salaries comparable to those of office workers

Mr. Sasaki founded the company in 1976, when he was in his twenties. Concerned about the instability of the weather and vegetable prices, he and four colleagues discussed the idea of “whether it was possible to run a farm with a stable income, like that of a salaried employee,” and established a corporate entity. They believed this would allow them to expand their operations and reduce costs, and that any profits generated would translate into salaries.

From the very beginning, they adopted land-intensive agriculture. Land-intensive agriculture is a farming method that utilizes vast tracts of land and incorporates large-scale machinery and smart farming to improve operational efficiency. It also aims to mitigate the effects of crop rotation problems—where continuous cultivation of the same crop in the same field leads to changes in the soil environment and poor growth—by rotating crops. Their goal was to create a large-scale farm modeled after those in Hokkaido. One reason they envisioned a scale similar to Hokkaido’s was the similarity in climate. Many potato varieties thrive in cool regions, and Aomori’s significant temperature difference between day and night is said to be ideal for producing high-quality potatoes.

Furthermore, Aomori’s greatest strength is the ability to distribute produce via land transport. Since it is crucial to deliver leafy vegetables as quickly as possible—even by a single day—this gives them an advantage over Hokkaido when dealing with clients in the Kanto region. They planned to leverage these climate and distribution strengths to establish large-scale farms unique to Aomori.

With the characteristic drive and speed of young entrepreneurs, Sasaki and his team quickly found a plot of land and immediately launched their corporate farming operation. The land they found was on the hills of Koganezaki Cape in Fukaura Town, facing the west coast. They spent their days clearing the land from morning to night while intensively studying cash flow management. Although the instability of farmers’ incomes has always been a challenge, they pressed forward with the goal of resolving this issue and fostering the next generation of young farmers.

From “Profitable Farming” to “Farming That Doesn’t Lose Money”

They cleared the land and grew a variety of vegetables—including potatoes, carrots, melons, and watermelons—which they took to market, but the income didn’t meet their expectations. Compounded by cold snaps and other setbacks, they found themselves in a situation where they could barely make ends meet. Faced with a critical decision, Mr. Sasaki and his team chose to stop shipping their produce to the market. Rather than being at the mercy of market prices, they decided to set their own prices and sell directly to consumers. This was about six years after they had started their business.

One of Japan’s highest-quality seed potatoes

Along with expanding their customer base, they also began producing high-quality seed potatoes. Seed potatoes are potatoes planted for propagation; initially, they had been producing potatoes for processing, but the quality of the seed potatoes they used was poor, and they reportedly couldn’t achieve satisfactory results. That’s when they decided to start growing their own seed potatoes from scratch. The quality of the seed potatoes is crucial for growing high-quality potatoes.

However, it is often said that “growing seed potatoes is even more difficult than growing potatoes,” as disease management is extremely strict, and preventing infection by viruses and bacteria is an absolute requirement. Furthermore, thorough quality control is essential, including selecting a cool location with a low risk of natural disasters and maintaining sufficient distance between different varieties to prevent cross-contamination. Although it was a challenge in a difficult field, they persisted through trial and error, driven by a desire to protect the quality of domestically grown potatoes.

Among their strengths, their vast land proved particularly valuable. It minimizes the risk of cross-contamination even when planting different varieties of seed potatoes and helps prevent crop rotation problems.

Those efforts gradually bore fruit, and today, Koganezaki Farm supplies seed potatoes to potato farmers across the country. Since there are very few farms that cultivate such a wide variety of seed potatoes, it may not be an exaggeration to say that they are supporting Japan’s potato production.

“Koganezaki Farm has become so well-established that some people now associate the name directly with potatoes,” says Masahiro Higashi, the current President and CEO. “However, we also need to understand the characteristics of each variety and have facilities capable of air-drying and cold storage.” He explains that they are continuing to build a system for stable supply by collaborating with corporate representatives and seeking their advice.

A Legacy for Future Generations

“Last year, our cabbage for processing obtained JGAP certification. I believe this will help build trust among both businesses and consumers,” says Kazunori Okura, Senior Managing Director. JGAP is a Japanese agricultural production process management certification system, an acronym for “Japan Good Agricultural Practice.” It is a set of standards designed to reduce risks in agriculture—such as pesticide management, foreign object contamination, and workplace accidents—and to ensure the stable production of safe and reliable agricultural products.

The cabbage the company primarily ships for cut vegetables is the “Okina” variety, which is also used in shredded cabbage commonly found in supermarkets. Its firm leaves retain volume even when finely chopped for dishes like coleslaw, offering a crisp texture and satisfying bite. It is reportedly also used in the gyoza served by nationwide chain restaurants.

“Soil preparation is crucial, but given the size of the fields, it takes a lot of time. With large fields of about 18 hectares each, we have to make numerous passes with the tractor, so I’m considering whether we can automate that process using AI or similar technologies,” says Mr. Okura. While there are cost considerations, he explains that precisely because of the large scale, he wants to actively adopt drones (delivered on May 7, 2026) and machinery to build systems suited to the times and improve the farming environment.

Furthermore, the vast expanse of land offers the advantage of allowing him to experiment with various crop varieties. Although the onions he tried growing last year did not turn out as well as he had hoped, Mr. Okura remains enthusiastic: “There’s always a reason for failure, and I believe that if we can solve it, we’ll succeed. Someday, this might even become a major production area.” It may be this attitude—one of learning from failure rather than fearing it—that has allowed Koganezaki Farm to grow to where it is today.

The Future of Agriculture, as Envisioned by Mr. Sasaki

In fact, Mr. Okura moved here from Ibaraki Prefecture and decided to join the company because he was drawn to Mr. Sasaki’s vision. “I used to work in sales for about 30 years. But I came here because I was attracted to Mr. Sasaki’s character and his passion.”

Mr. Sasaki’s long-standing dedication to securing the future of farming and his tireless efforts to build a bridge to the next generation seem to have touched the hearts of many people. Although Mr. Okura passed away shortly after joining the company, it is said that Mr. Sasaki entrusted him with his vision, hoping he would pass the baton on to the next generation.

“There may still be challenges facing agriculture, such as labor shortages and an aging population. Nevertheless, I want to contribute to the development of local agriculture to help support Japan’s food supply and highlight the importance of domestically grown vegetables.”

The dream of farming that Mr. Sasaki envisioned has been firmly passed down to the current generation. The creation of systems that allow those who support Japan’s food supply to continue their work looks set to expand even further in the future.

The post “Koganezaki Farm”: Looking Toward the Future of Farming and Aiming for Profitable Agriculture / Hirosaki City, Aomori Prefecture first appeared on NIHONMONO.

Aomori Prefecture is known as Japan’s leading apple-producing region, accounting for approximately 60% of the nation’s total apple output. Within the prefecture, about 50 varieties are cultivated, primarily including “Fuji” apples, which offer a good balance of sweetness and tartness, and “Tsugaru” apples, which are juicy and tender.To maintain apple yields, pest and disease control measures and breed improvement are essential. The research for these efforts is conducted by the “Aomori Prefectural Industrial Technology Center Apple Research Institute” (hereinafter referred to as the Aomori Prefectural Industrial Technology Center Apple Research Institute), located in Kuroishi City, Aomori Prefecture. This facility has become indispensable to apple farmers in Aomori Prefecture.

A facility that supports and safeguards the quality of apples within the prefecture

It is said that apples originated in the region stretching from the Tianshan Mountains in China to the Caucasus region of Russia. From there, apples spread to Greece, Rome, Europe, and eventually to America. Around that time, the Meiji government in Japan imported saplings of various fruit trees from abroad and distributed them nationwide. At the time, apples were mainly imported from the United States, France, and the United Kingdom, and the saplings distributed to this prefecture were American apple varieties suitable for fresh consumption.This marked the beginning of apple cultivation in Aomori Prefecture, with a focus on apples for fresh consumption. In particular, the Tsugaru region—including Kuroishi City and Hirosaki City in the western part of the prefecture—is well-suited for apple cultivation due to its cool climate and significant temperature differences between day and night, which enhance the fruit’s sugar content.

However, as cultivation expanded from the 1890s onward, diseases and pests made harvesting difficult, leading to an increase in farmers abandoning their orchards. Consequently, to ensure effective pest and disease control, the “Heika (Apple) Experiment Station”—meaning “apples introduced from the West”—was established in 1931.In 2009, it was renamed the “Aomori Prefectural Industrial Technology Center Apple Research Institute,” and in addition to pest and disease control, it also conducts research on developing new varieties.

Sharing research results with farmers to ensure a consistent annual harvest  

The Aomori Prefectural Industrial Technology Center Apple Research Institute is located in the lush natural environment of Kuroishi City, Aomori Prefecture, and owns 24.8 hectares of farmland on its premises.“Here, we cultivate a wide variety of apples—including ‘Fuji,’ ‘Ohrin,’ and ‘Jonagold,’ which are in high demand among consumers and have high cultivation rates (in fact, we grow hundreds of varieties). We conduct year-round research on tree conditions, fruit set, pesticide application, and the timing of pest outbreaks, and by sharing these results with farmers, we help ensure stable yields,” says Director Noriaki Fukuda.

They quantify factors such as temperature fluctuations, precipitation, hours of sunshine, and snowfall, and conduct detailed research on leaf fall, budding, growth conditions, ripening progress, and quality. “Since the climate varies even within the prefecture, we conduct surveys for each region. It’s painstaking work, but it’s very important research,” he says. It is precisely because of this detailed data that they can accurately convey apple cultivation methods to farmers.

Apple cultivation involves pruning during the winter while considering sunlight exposure, and limiting the number of flowers in the spring when they bloom. This process ensures that each apple receives sufficient nutrients. Then, in the fall, leaves touching the fruit are removed, and the fruit is rotated—a process called “tama-mawashi”—to expose it evenly to sunlight, resulting in a uniform red color throughout. By carefully performing these maintenance tasks, they are able to achieve a consistent harvest every year.

Efforts to reduce pesticide use while combating pests

“It is said that pests and diseases are the biggest weakness of apples, making pesticide-free cultivation very difficult. Of course, we support farmers who wish to reduce pesticide use, but due to factors like global warming, we are now seeing insects and diseases that were previously unseen, so reducing pesticide use is not easy,” he explains the current situation.

He explains that the most troublesome pests include “spider mites,” which parasitize leaves and inhibit photosynthesis, and the “peach fruit moth,” which burrows into the fruit. Since damage from these pests renders the fruit unsellable, they are the farmers’ worst enemies. While pesticides and mating disruption are the primary control methods, Mr. Fukuda notes that a major current problem is the persistence of infestation sources due to the increasing number of neglected orchards—left unmanaged because of an aging population and a shortage of workers.

Continuing research on pesticides that can withstand diseases previously unseen

Research is also being conducted on disease control, not just pest control.In addition to measures against “black spot disease”—which causes mold growth, cracks, and deformities—he notes that due to global warming, diseases previously unseen in Aomori Prefecture are now emerging. These include “brown spot disease,” which causes premature leaf drop and weakened tree vigor; as well as “anthracnose” and “ring spot disease,” which rot the fruit—diseases that were once only found in warmer regions.

Since diseases can change depending on the climate and other factors, relying on the same measures all the time can lead to pesticides becoming ineffective. Therefore, it is necessary to continue researching which pesticides work against specific diseases and when and how often to spray them effectively—making this a never-ending battle.

Efforts to Address the Shortage of Successors

“We are undertaking various initiatives to prevent the number of neglected orchards from increasing,” explains the Apple Research Institute. To make it easier for new farmers to enter the industry, the institute has created an “Apple Pest and Disease Control Calendar” that clearly outlines pesticide application schedules and pest and disease control measures. This calendar has been well-received even by veteran farmers and has reportedly become an indispensable tool for apple growers.

Additionally, to help the general public feel more connected to apples and to encourage new entrants into the industry, the institute holds an annual “Apple Research Institute Open House.” To foster interest in both the local area and the fruit, the event features public tours of the farmland, exhibitions of research findings, and consultations on fruit tree cultivation. “We’d be delighted if even a few more people became interested in apple farming and felt inspired to try it themselves,” they say with hope.

Meeting standards for taste and cultivation methods, and taking on the challenge of breeding varieties for the next generation

There are many apple varieties, and currently, “Fuji” is the best-selling variety, followed by “Tsugaru,” “Jonagold,” and “Ohrin,” with these four varieties accounting for about 80% of the market. Driven by the desire to “create the next big hit apple,” a new variety called “Benihatsumi” was developed in recent years. It is characterized by a rich flavor and a tart aftertaste.

Developing a new variety involves comprehensively evaluating factors such as firmness, acidity balance, and juice content. Mr. Fukuda expresses his enthusiasm for “Benihatsumi,” which took many years to perfect, stating that he aims to increase the number of growers and expand consumption. The Apple Research Institute conducts a wide range of activities, including research on cultivation techniques and pests and diseases, as well as providing guidance to farmers.Apple research is often highly detailed, and the results that can be produced in a single year are limited. However, these research findings are indispensable information for apple farmers and serve as a foundation for the next generation. Currently, efforts are underway to develop new varieties that are resistant to climate change and disease, so anticipation is growing for what delicious apples will be born in the future.

The post The “Aomori Prefectural Industrial Technology Center Apple Research Institute,” which supports apple farmers in Aomori / Kuroishi City, Aomori Prefecture first appeared on NIHONMONO.

Long ago in snowy Aomori, cotton cultivation was difficult, so cloth was used with great care. Worn-out kimonos were eventually cut into strips and woven on a floor loom to make work clothes and other items. This later became known as Nanbu Saki-ori. Teruko Kobayashi carries on the founder’s vision and is striving to spread the appeal of Nanbu Saki-ori in the Reiwa era.

What is Nanbu Saki-ori?

The historical background of Nanbu Saki-ori, truly unique to this land

Born from the wisdom of women who cherished their possessions, Nanbu Saki-ori boasts a tradition spanning over 200 years, tracing its history back to the Edo period.In snowy Aomori, cotton was difficult to grow. Cotton and old cotton cloth transported by Kitamae ships were extremely precious, so farmers at that time wove the natural fiber hemp they cultivated into cloth for clothing. They didn’t discard scraps either; they layered them for sashiko stitching or, finally, tore them and joined them to create a single piece of cloth. This was the prototype of Nanbu Saki-ori.

When the railway opened in 1893, worn cotton fabrics began circulating in this region. Farmers started weaving them on floor looms, using threads from unraveled hemp sacks as warp threads and thin strips of worn cloth as weft threads.The thick, coarse-textured saki-ori weave was well-suited to this region’s harsh, cold winds and was used for work clothes and kotatsu covers. “In this way,” Kobayashi explained, “the people of this area have lived by devising various ingenious methods to overcome the cold.”

Diverse yet each a one-of-a-kind piece

Despite being a very simple weave—”hemp yarn and old cotton shredded into strips about 1 cm wide woven on a floor loom”—the variety of weaving techniques is by no means limited.The most basic plain weave, the saguri weave where cloth and thread are interwoven alternately, the ichimatsu weave and ajiro weave created by warping two colors of thread, the interesting diagonal pattern of the hikikaeshi weave, the tsuzure weave that creates patterns within the fabric, and many other variations exist.

Today, while utilizing traditional techniques on floor looms, it’s possible to create a wide range of items suited to modern life—such as vibrant kotatsu covers, tote bags, bedspreads, tapestries, and slippers.

One of the major charms of Nanbu Saki-ori is that “you can create original items found nowhere else in the world.” “Even if you use the same fabric, the texture changes completely depending on when you weave it in and how much force you apply while weaving,” laughs Kobayashi. “Even if you try to make the same thing, you can never make it twice.” This is why each piece of Nanbu Saki-ori is said to be one-of-a-kind.

The Beginnings of the Nanbu Sashiko Preservation Society: A Miraculous Encounter

It all started when Kobayashi’s sister, Eiko Kanno, then 35 years old in 1971, attended the distribution of her beloved aunt’s belongings.A purple sash made of split weave lay in a corner of the room, seemingly worn out and unwanted. Yet Kanno was deeply drawn to its rich color and the meticulous texture of its weave. “If no one wants it…” she thought, and took it home. The more she looked at that sash, the more captivated she became by the warm, handwoven character of the fabric, and she grew increasingly eager to learn about split weaving.

However, by that time, Nanbu Sashiori was already on the verge of extinction, as people considered “weaving worn-out clothes and rags shameful.” Persistently searching for someone who could teach her its roots and techniques, she eventually found Ms. Kiyé Higashiyama and Ms. Mise Akasaka in Towada Lake Town the following year.Both women initially refused, telling her, “You won’t earn a single penny doing rag weaving,” but through her sincere and repeated visits, she finally gained permission to learn.

A Life Devoted to Nanbu Saki-ori with Burning Passion

Kanno-san reevaluated the value of Nanbu Saki-ori, learned its techniques and spirit to become an inheritor herself, and established the Nanbu Saki-ori Preservation Society on July 7, 1975, Tanabata Day. She started a “Saki-ori Classroom” at her home, pouring her heart and soul into promoting the weaving. Her contributions were highly recognized, earning her the title of “Aomori Prefecture Traditional Craftsman” and many other honors.

Driven by his desire to “introduce Nanbu Saki-ori to as many people as possible,” he lobbied Towada City for years. His efforts culminated in 2002 with the opening of the Towada City facility, the Master Craftsman Workshop “Nanbu Saki-ori no Sato,” adjacent to the Towada Pia Roadside Station.The sight of about 75 looms lined up is spectacular, most of which were collected by Ms. Kanno. “She gathered them not only within Towada City and the Nanbu region, but also traveled to places like Fukushima Prefecture whenever she heard about them,” Mr. Kobayashi told us, gazing fondly at the looms.

After successfully organizing the Nanbu Saki-ori Festival in Towada in October 2003 to commemorate the 30th anniversary of the preservation society’s founding, Kanno passed away in March 2004. He had been suffering from cancer but kept it hidden until the very end. He was 67 years old.

Sister Carries On the Legacy

Kobayashi-san explained that in an era when weaving rags was considered shameful, she initially faced social disapproval and was against Nanbu Sakiori. However, about ten years after Sugano-san began working with Nanbu Sakiori, Kobayashi-san tried it herself on a whim and was immediately captivated. “Sitting at the loom, touching the fabric, and weaving was truly enjoyable. It was a real healing experience for me, who was exhausted at the time.Before I knew it, working until 1 or 2 in the morning became normal. That’s when I truly began to take Nanbu Saki-ori seriously,” Kobayashi says with a smile.

Today, the Nanbu Sashiko Preservation Society has 130 members, most of whom are housewives. While women face various worries and hardships, like raising children, the society strives to embody the founder’s vision: “Leave all that behind when you come here.” They make every effort to ensure no one accumulates stress while participating.About 50 students attend the weekly Wednesday classes, which have no set start or end times. The group gets along so well that laughter is constant. They work to complete one item per year for the city’s cultural festival, ensuring everyone can submit their work.

Beyond the regular classes, they offer experiences, attracting many foreign visitors and groups of children and students. “It seems especially fresh for the kids; they weave with such enjoyment,” Ms. Kobayashi says, her eyes crinkling. She recalls one child who came for an experience and then pleaded, “Daddy, I want this loom. Please buy it for me.” The number of people who have experienced weaving here has surpassed 11,000.

Preserving the Founder’s Vision for Nanbu Saki-ori

The used cloth used for the weft threads comes from donations nationwide, including yukata from hotels and inns, and even sumo stables. “Some people send us cloth, saying, ‘My grandmother passed away,’ or ‘My mother passed away,’ but it feels wasteful to throw it away, so could you take it?'” says Kobayashi. “That’s why we’re supported by everyone.”

While Kobayashi wishes to spread Nanbu Sashiko with this widespread support, he also states, “This isn’t a facility for training artists. Passing on sashiko to future generations and keeping it alive is the most important thing.”Back when Ms. Kanno was still running the workshop, other municipalities with growing numbers of enthusiasts apparently offered, “We want to hold a contest. Please plan it and judge it for us.” However, Ms. Kobayashi firmly refused, believing that裂織 is absolutely not something to be competitive about. “裂織 isn’t about competition,” Ms. Kobayashi told us. “Everyone is a first-place winner. You should just do it freely, following your own sensibilities. That’s one of the strong convictions I inherited from my sister.”

The Society’s Half-Century Journey and Future Initiatives

In 2025, the Nanbu Saki-ori Preservation Society will celebrate its 50th anniversary. As part of the commemorative events, themed “Connecting to the Next Generation,” they are holding a commemorative exhibition and free hands-on sessions. They are showcasing over 500 pieces demonstrating the inherited techniques, displaying a 50-meter-long woven fabric created collaboratively across all their classrooms, and attempting various other challenges.Driven by the belief that “Nanbu Sashiko is a cultural treasure our region can be proud of and has the potential to become a future local industry,” the association is producing and selling not only traditional pieces but also sashiko designs suited to modern tastes. They even received an order from a Japanese designer living in France for indigo-dyed sashiko fabric to be used in men’s suits.

“Nowadays, everything runs on electricity with the push of a button. I feel it’s essential to teach children that, just like in the past, their own hands and feet can be the energy to create things.The reason Nanbu裂織 remains timeless is probably because everyone shares that feeling of cherishing things. My mission is to make more people aware of it,” says Kobayashi. Carrying on the tradition of Nanbu裂織 and the founder’s vision, and striving to create a society where everyone has a place, Kobayashi and her team continue weaving today. They weave, one step at a time, using colorful warp threads and strips of fabric as weft threads.

The post Carrying on the Founder’s Vision: Teruko Kobayashi, Southern裂織 (Setsuori) Weaving Tradition Bearer / Towada City, Aomori Prefecture first appeared on NIHONMONO.

Aomori Prefecture boasts four fishing grounds: the Sea of Japan, the Pacific Ocean, the Tsugaru Strait, and Mutsu Bay. In Aomori City, located at its center, Takashi Shioya, the fifth-generation owner of the fresh fish wholesale and retail shop “Shioya Fish Shop,” and his son Naoki use advanced techniques like nerve-pinching to deliver fish tailored to the specific requests of each chef, both within and outside the prefecture.Underlying their work is a strong desire to halt the decline of the fishing industry and repay the fishermen for their contributions.

Delivering Aomori’s prized fish at the highest quality

Surrounded by sea on three sides, Aomori Prefecture is a treasure trove of seafood, boasting four distinct fishing grounds: the Sea of Japan coast, the Tsugaru Strait, the Pacific coast, and the inland Mutsu Bay. Off the Sea of Japan coast, the Tsushima Warm Current flows northward; part of it enters the Tsugaru Strait, becoming the Tsugaru Warm Current, and then flows out toward the Pacific.The Tsugaru Warm Current collides with the Oyashio Current from the north and the Kuroshio Current from the south off the coast of Hachinohe. Diverse fishing methods are employed across Aomori’s various fishing grounds, where fishermen, facing the sea, use techniques passed down through generations to land high-quality seafood.

It is Aomori City’s fish wholesaler and retailer, Shioya Fish Shop, that transforms these bountiful gifts from Aomori’s sea into the highest quality products for chefs and consumers, using extensive knowledge, advanced techniques, and above all, a passionate dedication.Takashi Shiotani, the fifth-generation owner running the shop, also serves as the representative of the “Hama no Shigoto-nin: Northern Japan Nerve-Stopping Association.” This association, founded by Takashi, is an organization formed by fisheries professionals engaged in nerve-stopping techniques across Aomori, Hokkaido, Iwate, Miyagi, and other prefectures. Nerve-stopping is a technique that delays rigor mortis in fish after death to preserve freshness. This allows high-freshness fish to be delivered even to distant locations.

Transforming frustration into strength: The journey to nerve-pinning

Takashi’s motivation to pursue nerve-pinning began when he heard people in western Japan, far from Aomori, say, “Fish from Aomori are poor in freshness and not tasty.”Shioya Fish Shop, started in 1933 (Showa 8) by four fishmongers, primarily served local restaurants and hotels when Takashi joined. Wanting “people outside the prefecture to taste delicious Aomori fish,” Takashi challenged nationwide distribution in his mid-40s. However, long-distance transport took time, leading him to hear those words again.

“Is there no way to deliver Aomori fish nationwide while keeping it fresh?” Fueled by frustration, he studied and researched relentlessly, eventually arriving at nerve-pinching. Furthermore, alongside his son Naoki, he visited fishermen in coastal villages like Sai Village and Fukaura Town within the prefecture, dedicating effort to sharing knowledge and techniques directly at the fishing sites.Since the condition of the fish at the moment of killing directly impacts its flavor, it became crucial for fishermen to catch fish in optimal condition and perform proper processing. To unite stakeholders in pursuing excellence, they established the “Hama no Shigoto-nin: Northern Japan Nerve-Striking Association” to create opportunities for information exchange and skill improvement. At its founding, nerve-striking professionals from places like Ehime and Kanagawa came to provide lectures.Many fishermen, moved by the passion of the Shioya father and son, have united their efforts with them.

Crafting Custom-Made Fish as One Team

Utilizing techniques evolved into a unique style, the fish crafted by Aomori fishermen and Shioya Fish Shop as one team now attracts attention from renowned chefs nationwide.Because the fish delivered meet or exceed expectations. When an order comes in, Shiotani Fish Shop explains to trusted fishermen: “We want fish like this.” The fishermen then determine the best approach for each request—whether to kill the fish onboard, send them live, or prepare the fish tanks optimally.The fish delivered this way undergoes meticulous management at Shioya Fish Shop. They consider everything down to what the fish ate, selecting the appropriate processing method, such as nerve-pinning. This collaboration between two professional teams enables Shioya Fish Shop to create what they value most: “custom-made fish tailored to each individual customer.”

“We want customers to feel satisfaction beyond the price, just like wearing a perfectly tailored suit,” says Takashi. “Each chef prioritizes different elements—whether texture or aroma. We deeply understand each fish’s individuality, calculating even the optimal cooking timing to meet their requests. Creating fish that tastes absolutely delicious the moment it hits the palate—that’s what making custom-made fish means. Nerve-pinching is just one of the methods to achieve that.”

Shioya’s Nerve-Cutting: Adapting the Process Based on Species, Condition, and Requests

Nerve-pinning involves destroying the spinal cord. Typically, it combines two processes: destroying the brain (known as brain destruction) and bleeding out the fish. Takashi excels by determining whether to prioritize brain destruction or bleeding based on the type and condition of the delivered fish and the customer’s request, thereby adjusting the flavor and freshness. “With brain destruction priority, we destroy the brain and perform nerve-pinning before bleeding, leaving some blood in the fish.”Leaving some blood actually enhances the aroma and umami. So for customers who plan to use the fish immediately upon delivery, we prioritize brain destruction. On the other hand, bloodletting-priority is a technique focused specifically on draining blood. Since residual blood accelerates deterioration of the flesh, we use this method for customers who won’t cook it right away, like those who want to age it,” explains Naoki. He demonstrates brain destruction, a craftsmanship skill passed down directly from Takashi.

Nerve pinning involves severing the spinal cord nerves with a wire. Since nerve locations vary by fish species, it relies on experience and intuition—a true artisan skill. “The wire is coiled, so it wraps around the nerves,” Naoki explains. Removing the nerves causes the color to drain instantly in fresh fish. This also serves as an indicator of the fish’s quality.

While bleeding methods vary, Mr. Shiotani’s approach relies solely on the fish’s own heartbeat. Here too, the fish’s vitality is crucial. With a lively fish, thorough internal chilling allows nearly all blood to drain within about 10 minutes, resulting in a translucent finish.

Regardless of the processing method, the fish must be in excellent condition as a prerequisite. “We get to work with fish that fishermen meticulously manage, allowing us to pursue even higher standards. Our work exists because of the fishermen,” both Takashi and Naoki express their gratitude.

Raising fish prices to halt the decline of fisheries and preserve culinary culture

“We want to produce fish that can compete nationwide. Fish worthy of recognition by chefs featured in the Michelin Guide.” While Takashi initially held such dreams, his desire to “repay the fishermen” gradually grew stronger.”I learned so much from the fishermen, and the work I do now is only possible because of the fishermen who walk alongside me. It’s my turn to repay the debt,” says Takashi. He feels the dwindling fish stocks firsthand and shares a sense of crisis.

“When I go to the beach, I often hear sad stories about sons wanting to take over the family business, but their parents can’t afford to feed them if there’s no catch, so they have to give up. I’ll say it again: our livelihood depends entirely on the local fishermen.We’re sustained by them. Plus, the local fish-eating culture could vanish. So what can we do? We have to raise fish prices. We especially need to lift the rock-bottom prices,” Takashi believes. “To achieve that, I want to spread the knowledge and techniques I’ve gained throughout the entire prefecture, raising the value of fish county-wide.”

If fishermen can continue their work under good conditions for generations, Naoki’s generation will also be able to carry on this profession. Furthermore, they can preserve the food culture passed down from their predecessors. This is the future Takashi envisions. “Ultimately, it’s about people enjoying delicious Aomori fish. I want to keep delivering fish that people will crave again and again to as many people as possible.”

The post Custom-made fish tailored to your preferences. Shioya Fish Shop: Looking to the future, striving alongside fishermen / Aomori City, Aomori Prefecture first appeared on NIHONMONO.

Hachinohe Shuzo has been brewing sake continuously for 250 years since its founding in 1775.In 1910 (Meiji 43), they trademarked “Mutsu Otokoyama.” Then, under the current head, the eighth-generation Komai Shōzaburō, they introduced the renowned sake “Mutsu Hassen” to the world in 1998 (Heisei 10). Today, the eighth-generation head’s two sons, Managing Director Shūsuke and Toji (Master Brewer) Shinsuke, lead the brewery. They preserve tradition while continuing to challenge themselves for the next generation.

The Eighth Generation Who Blazed the Trail and Created the Premium Sake

The history of Hachinohe Shuzo began with the first Komai Shosaburo, who left Omi Province during the Genbun era and entered the sake brewing trade in Mutsu. He established a brewery in southern Aomori Prefecture in 1775 (An’ei 4).The brewery relocated to Hachinohe during the Meiji period. The current brewery building, still in use today, was constructed during the Taisho era. Situated along the Nitta River, it has long been cherished as an iconic symbol of Minato Town.

Incidentally, around 1984, when the current head, the eighth-generation Komai Shōzaburō, joined the brewery as a successor, the Komai family was not operating as a single brewery. Instead, they were part of a cooperative-like organization formed under the wartime Corporate Reorganization Order.

This Corporate Reorganization Order consolidated the 16 sake breweries that existed before the war into just five.

The Komai family initially complied with this structure, but the organization’s performance was lackluster. Sales were poor for all brands except the Komai family’s own Mutsu Otokoyama.

Witnessing this situation, Shōzaburō felt a sense of crisis, thinking, “If things continue like this, the Komai family’s sake brewing will eventually become unsustainable.” He sought independence from the organization. He rented a new brewery and established the new company “Hassen Shuzō.”

He then created the new brand “Mutsu Hassen” and changed the company name to “Hachinohe Shuzo” in 1999. In 2009, he moved back from the rented brewery to the current one, making a fresh start with Mutsu Otokoyama and Mutsu Hassen as the pillars.

The Diverse Flavors of “Mutsu Hassen”

The name “Hassen” originates from the Chinese tale of the Drunken Immortals (a story of eight immortal drinkers). “I was deeply moved by the anecdotes of these drunken immortals and the fascinating ways they enjoyed sake,” Shōzaburō explains. “I named this sake with the hope that people would enjoy it in the same state of blissful intoxication.”

Based on a modern brand concept of “vibrant and fruity,” the lineup offers a wide variety of items. Over 20 types of standard and seasonal limited-edition sakes are always available, with new types like sparkling sake, kijo-shu (sake made with rice lees), and high-acidity sake continuously being developed. This thoroughly delights fans and embodies the sentiment behind the name.

“Originality is key,” Shōzaburō states. “To thrive in today’s sake industry, where breweries nationwide are releasing delicious sakes one after another, we want to clearly express what makes Hachinohe Shuzō unique. To highlight our identity as an Aomori brewery, we switched to using only Aomori-grown rice when we created Hassen.The yeast is also an original Aomori strain. Furthermore, by brewing with local spring water and expressing the land’s terroir, we aim to create sake that truly represents the region.” For the rice, they directly contract with farmers, working together as partners in sake production. “However, compared to wine grapes, for example, it’s difficult to differentiate sake based on rice alone. Within that challenge, how can we express our uniqueness? Hassen is a brand that allows us to challenge ourselves with a wide range of product development, so we are constantly researching.”

The results of this research are evident in their awards.In recent years, it has received high praise at international competitions like France’s “Kura Master” and London’s “International Wine Challenge.” “Moving forward, we’ll focus more on the overseas market and continue our outreach,” says Shōzaburō. The brand has already expanded into 28 countries and aims for 50. “At the same time, we want to work hard to stimulate demand in the shrinking domestic market. After all, Japanese sake is recognized worldwide alongside Japanese food culture.”

Mutsunomiyama: Captivating with Simplicity

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“Mutsu Oyama” is the brewery’s founding brand. It was the first trademark in Japan to use the name “Oyama,” a term long used by breweries nationwide for renowned sake brands. For over 100 years since its trademark registration, it has been the brewery’s mainstay, positioned as a traditional brand line in contrast to the Hassen brand.”Mutsu Otokoyama has a long history as a beloved local sake. While maintaining the traditional image of ‘Otokoyama means dry sake,’ we also emphasize its roots in a fishing town. It’s a sake meant for evening drinks with meals. It’s refreshingly crisp and clean, ensuring you never tire of it,” says Shōzaburō.

Its simplicity is also a defining feature, with two basic labels: Classic and Ultra Dry. It remains a brand with a loyal fan base. Overseas, it receives favorable reviews in markets like the United States, where dry-style sakes tend to be preferred.

The difference from the diverse Mutsu Hassen lineup is clear; each brand has its own established direction, resulting in a broad fan base. This is the brewery’s greatest strength.

Sake Brewing in the Reiwa Era: A Brotherly Challenge

For Shōzaburō’s two sons, older brother Shūsuke and younger brother Shinsuke, the brewery was a familiar place from childhood. It was their playground, and they sometimes helped with work. Today, the Komai brothers manage the brewery’s operations: Shūsuke as Managing Director and Shinsuke as Toji (Master Brewer).

Shusuke joined the brewery in 2002 (Heisei 14). He witnessed Shōzaburō’s challenging times firsthand and has worked alongside him for nearly 20 years as his trusted partner, through to the present day.

After graduating from university in Tokyo, the younger brother, Shinsuke, worked for a beverage manufacturer in the capital. However, he returned to the brewery in 2009. He joined the brewery urgently to help transform the seasonal winter employment system for sake brewing into a year-round staff system. Four years later, he replaced the previous master brewer and took on the role of responsible brewer.

It has been over a decade since the two brothers began managing the sake brewing business in earnest. Through their continuous study and research, Hachinohe Shuzo’s sake brewing evolves daily.

“Fundamentally, we want to make clean sake. Sake that is easy to drink, straightforward, and delicious. Our brewery has a wide range of products, but we strive daily to brew sake that is genuinely delicious no matter which one you drink, and that also has a sense of clarity,” says Shinsuke. “There are trends of the times, and I feel that sweet, acidic sake still sells well now. Even within that, we are conscious of not relying too much on sweetness.”

Using Aomori yeast and rice to express the character of Aomori’s local sake

As Shōzaburō mentioned, the brewery uses Aomori-grown rice and Aomori’s original yeast strains. The five basic rice varieties are “Masshigura,” “Reimei,” “Gin-Eboshi,” “Hana-Omoi,” and “Hanabuki.” Masshigura and Reimei are table rice, while Gin-Eboshi, Hana-Omoi, and Hanabuki are sake-brewing rice varieties.The two table rice varieties are selected when aiming for a clean, crisp finish. The most frequently used is Hanabuki, characterized by its elegant flavor and vibrant aroma. “While Aomori rice generally tends to express its flavor well, Hanabuki often excels by drawing out the rice’s umami to its absolute limit,” Shinsuke explains.

They utilize four distinct original Aomori yeasts, selecting them individually or blending them to define the flavor. Hassen uses Mahoroba Gin, which highly produces the aromatic compound “ethyl caproate” – known for its fresh, juicy aroma reminiscent of apples and pears – as its base.while Otokoyama uses Mahoroba Hana, which produces a mild aroma within the isoamyl acetate family, resulting in a sake suited for pairing with food.

The use of Hachinohe’s renowned “Kanisawa Spring Water” as brewing water is another mark of originality. Hachinohe Shuzo pursues a distinctive character achievable only through its unique flavor profile.

250 years of history, and the future ahead

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With a playful spirit, Shinsuke smiles, “I want to use local ingredients to make not just sake, but all kinds of alcoholic beverages. It would be interesting to have a lineup where our sake alone could cover the entire table.”

Hidesuke, in his supervisory role, adds, “While sake is our foundation,” and then, narrowing his eyes, continues, “One of our brewery’s strengths is our wide variety. We want to design products under the Mutsu Hassen brand that can be enjoyed throughout a course meal, from before the meal to after.” The brothers are perfectly in sync.

These two carry the brewery’s 250-year history on their shoulders and value their relationship with the community as much as the sake-making itself. “Here in the Minato area, the population is steadily declining, and we’re seeing a trend of decline, like major festivals disappearing. In that sense, we have this desire to become something that can revitalize the region again. But that won’t happen unless we build our own strength. For example, we offer brewery tours, but to attract more people, we need to raise our profile even further.Also, to increase local employment, we need to boost sales. To achieve these goals, we first need to solidify our foundation as a brewery,” says Shusuke. His strong determination was evident in his resolute gaze. We look forward to the future endeavors of these two individuals, focused on both carrying on the tradition and looking toward the world.

The post Hachinohe Shuzo Co., Ltd. / Hachinohe City, Aomori Prefecture 250 Years Since Founding: Carrying an Unwavering Spirit to the Next Generation first appeared on NIHONMONO.

Bath Made from Ancient Cypress of more than 2000 years

In the large public bath at Hoshino Resort “Kai Tsugaru”, there is a bath made from a 2000 year old cypress tree. The Hiba tree, used on the floor, is smooth to the touch but slip resistant, making it safe for both adults and children. While bathing, you will be surrounded by the scent of the forest, which will allow you to forget the stresses of daily life. Owani Onsen opened in Hirosaki many years ago. It is said to have a history of about 800 years. There is a theory that in the 1190’s, when the monk Enchi became ill, the alter ego of Dainichi Nyorai stood next to his pillow while he was sleeping, and predicted that bathing in the hot spring in this land would cure his illness. This lead to the discovery of Owani Onsen. And since then, Tsugaru clan lords continued to develop this location as a place to cure sickness. The hot spring water of Owani Onsen is colorless, transparent and a somewhat thick. It also adds moisture and softness to the skin. Many travelers and merchants from ancient times have visited here.

Room with local ambience “Tsugaru Kogin” Japanese style room with adjacent room

The Hoshino Resort “”Kai”” brand has created an exlusive “”Gotochi (local)”” room, collaborating with local traditional artisans. The Gotochi room at “”Kai Tsugaru”” is the “”Tsugaru Kogin room””, full of the charm of Tsugaru Kogin embroidery developed jointly with local artist Iemasa Yamahata who produces Aomori’s traditional craftwork, “”Tsugaru Koginsashi””. “”Tsugaru Koginsashi”” was developed as a way to increase the strength and warmth of clothes during the Muromachi period. Eventually, it was used to decorate the kimonos worn in the Mutsu (current Aomori Prefecture) area and became known as “”Tsugaru Koginsashi””, a traditional craft of Aomori. You can enjoy not just viewing, but also touching the warm texture of the craft made carefully using traditional methods.
The meals also express the transition of the four seasons, strictly using local ingredients, sometimes traditionally and sometimes innovatively. The fun of travelling is mainly in the food, and you can enjoy a meal to highlight your visit to Aomori. The meals will leave a lasting impression on your palate and eyes with its surprising flavors and beautiful presentation.

Tsugaru Shamisen performed in front of a masterpiece.

There are a lot of cultures that represent the various regions in Japan, such as unique music, crafts, performing arts and cuisine. Guests can enjoy the attractive features of each region and their hospitality by staying at “”Kai”” “”onsen”” style inns. At Kai Tsugaru, Kohei Shibuya, the Tsugaru Shamisen national champion, and the staff who leared to play the “”shamisen”” from him, perform live in the lobby every night at 9 pm.
In the spring, to celebrate the arrival of spring in Aomori after the snow melts, “”Tsugaru Aiyabushi”” is often played. Another song representing spring is “”Sakura Sakura””, followed by “”Ringobushi (Apple Song)”” a song about apple flowers, another product of Aomori, which blooms soon after the cherry blossoms have scattered. These performances will allow you to share in the joy of spring’s arrival in Aomori.

The post Hoshino Resort “Kai Tsugaru” first appeared on NIHONMONO.

Island of Black-tailed Gulls, Kabushima Island

Kabushima Island is in Hachinohe City, Aoyama Prefecture. In 1942, the island was connected to the mainland after a landfill project, but until then, it was actually an island separated by the sea. The island is known as a breeding ground for black-tailed gulls, and was designated as a National Natural Monument as “Kabushima black-tailed gull breeding ground” in the Taisho era. Kabushima Shrine is located on Kabushima Island and dates back about 750 years. The image of Benten that emerged from the sea is said to have been enshrined there as “Kabushima Daimyojin Honchi Benzaiten”. Since then, the shrine has been called “Kabushima’s Benten” and has been visited by those seeking good fortune, fertility, business prosperity and safety in fishing.

“Good luck” falls from the sky.

Even when Nakata visited, the shrine was surrounded by the crying of the black-tailed gulls. Far more and much louder than he imagined, Nakata was surprised. “There must be problems from having so many gulls.” he commented. The immediate response was “It’s the droppings.”. “Visitors worry about the droppings falling on them. ” they said. Umbrellas can be rented for free, but they too are damaged quickly. So the shrine started to give out certificates to people who were hit with bird droppings, stating that anyone who got bird droppings would have better luck for one year. This made Kabushima Shrine more popular.

Shrine where black-tailed gulls cry.

Also in recent years, since the name “”Kabushima”” Shrine includes the word, “”kabu (stock)””, people began to say that visiting the shrine would help raise the value of stocks, leading to an increase in worshippers. Not only is the value said to increase, but also stock prices in general, thus attracting many investors. As previously mentioned, Kabushima Shrine is dedicated to Benzaiten who is a God of the performing arts, such as music. Since the Edo era, it evolved to be known as the God of the accumulation of wealth. Although it might have started as a pun, considering how it is worshipped now, it might not be altogether wrong.
The loud cries of the gulls could be heard nonstop at the shrine. Though quite different from most shrines where there is absolute serenity of a somewhat intense quality, this space provides a different kind of peace of mind that puts one in tune with nature.

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At the tip of Honshu, “Oma Saki”

　At Cape Oma, there is a monument that states,”This is the northernmost point of Honshu.”. The cape is located at the northern end of the Shimokita Peninsula in Aomori Prefecture. Hokkaido is across the sea. On a sunny day, Hakodate in Hokkaido which is about 18 kilometers away, is clearly visible from the cape. Oma is also famous for tuna, and there is also a monument of a tuna at the Cape. To the south is Oma fishing port, where you can enjoy fresh seafood including tuna.

Oma Saki included in Shimokita National Park

Oma Saki is inside Shimokita National Park which is a national park encompassing the major scenic spots of the Shimokita Peninsula. Also in the park are Mount Osore and Shiriya Zaki (Cape Shiriya) which is known for the semi-wild Kandachime horses that graze freely in the area. The scenic locations west of Kitashimo Peninsula are also designated to be part of Shimokita National Park. As you proceed down the cliff-lined coast, you come across Hotokegaura with its continuous boulder formations. It was designated as a National Scenic Spot and Natural Monument (as “Hotokegaura”) in 1941. There is a long staircase going down from the road to the coast. As you step off, a huge rock appears in front of you.

Out of reach from human hands

A well known writer, climber and traveler, Keigetsu Omachi wrote a poem when he visited Shimokita Peninsula in 1922 – “This is a deed of God made by hands of Oni, not a place of man”. The intense quiet of the location indeed gives the impression that it is not of this world. Nature, at times, creates sights beyond the human imagination, and this is one of those sights. Grandeur of nature certainly hit home.

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