Located on the main island of Okinawa, in Naha City, Shuri is a district known for its particularly historic, old-fashioned streetscape. Right in the heart of Shuri Castle, Tamanaha Miso Shoyu has been crafting miso for 170 years. Using the same methods as when the company was founded, they continue to produce their miso through natural fermentation in well-seasoned wooden barrels.

A miso brewery in Okinawa that makes its own miso from scratch using koji—a rarity even in Okinawa

Until about 120 years ago, Okinawa was a single kingdom known as Ryukyu. Shuri, home to Shuri Castle, served as the capital of the Ryukyu Kingdom. This area was once lined with samurai residences. In fact, it was here—on the site of a former samurai residence—that Tamanaha Miso & Soy Sauce began producing miso and soy sauce between 1855 and 1860, during the final years of the Ryukyu Kingdom.

The koji mold that survived the ravages of war

As you walk up the hill, you’ll come across an old stone wall that exudes a sense of history. This imposing, stately wall dates back to before the war. Although the building itself was destroyed during the Battle of Okinawa, the pillars that survived the fire were preserved in an air-raid shelter, and it is said that the koji mold that grew on them helped preserve the distinctive flavor of Tamana.

Even within Okinawa Prefecture, miso breweries that make miso from scratch using koji are rare. Although they used to brew soy sauce as well, production was suspended about 10 years ago due to aging equipment.

Even after the transition to U.S. military rule, there were reportedly quite a few breweries producing miso and soy sauce in Shuri alone. However, following the reversion to Japanese sovereignty in 1972, products from outside the prefecture flooded the market, causing most of these breweries to go out of business.

The “entirely handmade” miso-making tradition upheld by the fifth-generation master

The current head of Tamana Miso Shoyu is Yumi Oshiro, the sixth-generation head of the family. She is the eldest daughter of Arinori Tamana, the fifth-generation head, who passed away in April 2025.

Brewed in well-seasoned wooden barrels, with careful maintenance

We use traditional wooden barrels to make our miso. We mix steamed whole soybeans with rice koji and Okinawan sea salt, then allow the mixture to ferment and mature.

As he opened the door to the koji room, a wave of muggy air poured out. Inside the room, where the temperature hovered around 36°C due to the fermentation of the koji, the plant manager was intently studying the rows of koji boxes lined up before him.

The photo shows the starter culture prepared two days ago. The rice koji, made from domestic rice used in the company’s miso, turns yellowish about four days after the starter culture is added. As fermentation progresses further, the temperature inside the fermentation room reportedly reaches around 40°C.

In Okinawa’s hot and humid climate, microorganisms are highly active, making fermentation progress more easily than on the mainland. After fermenting and aging for about 3 to 4 months in the summer and 6 to 7 months in the winter, the miso is ready.

Our signature product, “Dyōcho Miso,” is made with soybeans from Kyushu. It has a mellow flavor with a subtle sweetness from the rice and soybeans. We also produce “Shuri Miso,” made with soybeans from overseas; “Uchin Miso,” which contains turmeric; and “Special Selection Miso,” a blend of rice and barley miso.

In addition to selling directly from their store, they have sold their products at local supermarkets and online. At one point, production couldn’t keep up with demand, and they had to stop accepting new online orders, but they have now resumed sales at a pace of once or twice a month.

“Our miso costs 1,000 yen, but there are people who are willing to pay 1,200 yen in shipping just to buy it from the mainland. We’re truly grateful,” says Yumi.

The ideal environment for bacteria

Okinawa, where temperature fluctuations are relatively mild throughout the year, provides an ideal environment for bacterial activity. Inside large barrels, lactic acid bacteria and yeast are actively at work as the miso matures. The rows of well-worn barrels may be misshapen or have leaks, but they are carefully repaired time and again to ensure they can be used for as long as possible. By minimizing the need to replace them, the shop has preserved the same flavor it has offered since its founding.

Although they could have opted for easier-to-maintain enamel or reinforced plastic tanks, they chose to keep the wooden one because wood provides excellent insulation and heat retention, allowing it to maintain a consistent temperature regardless of the weather. As a result, they have been carefully maintaining and using it for decades.

Even though production can’t keep up with demand, we never compromise on efficiency; we continue to follow the traditional methods that have been carefully preserved over the years.

Although Tamanaha Miso and Soy Sauce remains in short supply, we ensure a steady supply of our miso for the school lunches at a nearby daycare center. We support the daycare’s food education program and want the children to grow up eating local foods made right here in our community.

New wooden barrels for the first time in 80 years

In fact, in February 2026, we just acquired a brand-new wooden barrel for the first time in 80 years. Crafted by one of the few remaining traditional wooden barrel makers on the mainland—a profession that is becoming increasingly rare in Japan—it was assembled using no metal whatsoever, relying solely on cedar planks, bamboo nails, and a bamboo hoop. We are now beginning to brew miso in this brand-new wooden barrel, which is said to last for 100 years.

Miso is a fermented seasoning that represents Japan’s proud culture of fermentation. Nationwide, the number of miso breweries that make miso from scratch using koji has dwindled, and those that ferment it in wooden barrels can be counted on one hand.

The unique flavor of this miso is the result of a combination of traditional, unchanging handcrafted methods and the environment unique to this location. To preserve the flavor that has been carefully passed down through generations, the challenges of this small miso brewery continue.

The post Naturally brewed in wooden barrels since the days of the Ryukyu Kingdom: Tamanaha Miso Soy Sauce / Naha City, Okinawa Prefecture first appeared on NIHONMONO.

Okinawa has long been influenced by American culture, and coffee has been a beloved staple there for generations. Discovering the story behind Okinawa’s “coffee beans” is another way to experience a new side of the island. Yoshiyuki Nakamura, owner and roaster at “Mame Pole Pole,” shared with us the appeal of Okinawan coffee as it emerges into the spotlight.

To Koza, and Then to the Highlands

“Coffee isn’t just bitter; it can have chocolatey or fruity notes—it’s a diverse and fascinating world,” says Nakamura. Since opening his shop in Okinawa City, located in central Okinawa Prefecture, in 2010, he relocated once to accommodate a new roasting machine, and in 2024, due to the aging of the original building, he established a new shop in the Takahara district of the same city.

The old shop in Koza was built on the site of the New York Restaurant, which opened in the 1950s and was the first in Okinawa to serve Western-style cuisine. The design made use of that charm, allowing visitors to feel the history. The original sign and blue rust were deliberately left as they were, the roaster sat majestically at the back of the shop, and the aroma that lingered inside made you want to breathe deeply.Mr. Nakamura himself was particularly fond of the space, where the balance between old and new felt just right, allowing visitors to experience the atmosphere of that era—a blend of Okinawan and American cultures. Naturally, that same aesthetic has been carried over to the new shop in Takahara.

Roasting Skills Recognized Worldwide Through Dedication

Mr. Nakamura was deeply impressed by Vietnamese coffee he encountered during his college graduation trip and gained experience as a barista after returning home. Being the type of person who, once he starts something, is determined to master it, he taught himself through repeated trial and error.Seeking roasting techniques unavailable in Okinawa, he traveled all over Japan. It was during this period of training that he began competing in the “Japan Coffee Roasting Championship” (JCRC). He won the JCRC in 2017, and subsequently represented Japan at the WCRC (World Coffee Roasting Championship) held in Italy in 2019, where he took second place in the world on his very first attempt.

As a roaster, Nakamura focuses on creating a clean finish and a sweet aftertaste. “Whether it’s a light roast or a dark roast, I take care to ensure the finish ends on a sweet note,” he says. People now travel from all over Japan to seek out Nakamura’s beans.

Bringing Out the Bean’s Character: A Dialogue with Coffee

Coffee is a luxury item. Everyone has their own preferred taste, and how the flavor is perceived changes depending on the environment and time of day. As a roaster, Nakamura pursues quality while engaging in a dialogue with the beans in this world without a single “correct” answer, drawing out their potential and individuality.

Even beans from the same variety at the same farm can transform into something entirely different depending on the post-harvest processing methods. For example, sun-drying the beans while still attached to the fruit imparts a rich, berry-like sweetness and body, whereas washing them to remove the pulp brings out a clean, crisp acidity.

Furthermore, the fermentation process—which has garnered attention in recent years—also plays a key role in shaping the flavor. By blocking oxygen and activating microorganisms, complex aromas reminiscent of wine and spices—unseen in traditional coffee—are brought to the fore. Mr. Nakamura says that the appeal of coffee lies in controlling these countless variables to weave the story of each cup.

“Coffee beans, just like us humans, aren’t all the same. Their individuality changes depending on the environment in which they were grown,” says Nakamura.

The roasting time also varies depending on the bean. He explains that he assesses the bean’s condition—such as its size and hardness—to discern its character, visualizes how to finish it, and then determines the roasting method. Depending on the bean’s individuality, not only does the roast level (dark or light) change, but even the recommended way to drink it varies. For instance, if the body is strong, it works well in a cappuccino where it holds its own against the milk.

Farmers take great care during the “processing” stage, which involves extracting the seeds (the part that becomes the coffee bean) from harvested coffee cherries (the fruit) and drying them. Furthermore, the flavors and acidity you experience when drinking the coffee are rooted in the taste of the land where the beans were grown. Because Nakamura values his dialogue with the beans, he confirms where they were born and the environment in which they grew, checking their moisture content and fermentation levels.

As the moisture evaporates, the sound changes.
The beans from “Mame Pole Pole” undergo this relay of care before being roasted in a meticulously selected German roaster.

Okinawa’s World-Renowned Specialty Coffee

What truly surprises Nakamura is the coffee bean “Akachichi” from ADA Farm, a coffee farm located in the Yanbaru Forest in northern Okinawa—the first in Japan to receive specialty coffee certification.

“Akachichi” derives from “akatsuki,” the Okinawan word for dawn. Mr. Nakamura named it with the hope that this would not just be a passing trend, but a dawn that leads to the future.

The intense acidity and fruity flavor characteristic of high-quality coffee beans are created by temperature fluctuations. These fluctuations harden the beans, locking in sugar and making them sweet. Indeed, coffee is a fruit. However, Okinawa has low elevation and minimal temperature variation.It cannot be said to be blessed with an ideal environment for growing coffee beans, and cultivating specialty coffee was considered difficult. So why was Akachichi grown in Okinawa and certified as specialty coffee? The answer lies in the dedication and passion of Mr. Tokuda of ADA Farm, who is meticulous about the ripeness of every single bean.

“Ensuring that every cup of coffee consumed by the customer has a wonderful flavor and is satisfyingly delicious.”
The essence of specialty coffee, as defined by the Specialty Coffee Association of Japan (SCAJ), lies not only in the quality of the beans but also in thorough management and sustainability from production to extraction.The beans from “ADA Farm,” nestled in the deep forests of Yanbaru, embody this ideal. And the roasting by “Mame Pole Pole” connects the producer’s passion and the breath of the forest to us in the finest possible state. Beans grown in the forests of Okinawa and recognized worldwide are roasted by someone who loves this island, bringing out their unique character. Then, they are carefully brewed using the water of this land.The dedication of these two individuals converges to create the ultimate luxury: “satisfying deliciousness.”

To deliver “a cup of coffee that can only be made here and will astonish the world,” they continue to walk alongside the forest today, pouring their passion into every single bean.

The post “Mame Porepore”: A Special Coffee You Can Only Enjoy in Okinawa / Okinawa City, Okinawa Prefecture first appeared on NIHONMONO.

The encounter between Okinawa’s lush soil and the coffee plant, and the bonds formed with fellow coffee lovers. ADA Farm creates special coffee beans packed with a passionate story, carefully cultivated over more than a decade. This richly flavored coffee, distinctive to Okinawa, has become a rare treasure that attracts keen interest from roasters and collectors around the world.

Japan’s First Specialty Coffee, Grown in Lush Forests

Located in the Yanbaru Forest in northern Okinawa Prefecture, “ADA Farm” is the first farm in Japan to receive specialty coffee certification. This designation is awarded only to beans that achieve an extremely high score of 80 or higher out of 100 in a cupping (tasting evaluation). During the evaluation, quality is assessed against strict criteria across 10 categories, including “clean cup,” “distinct acidity,” and “sweetness.”

Despite being situated in an environment that is far from ideal for cultivation, the fact that the beans’ flavor and aroma potential have reached global standards is the culmination of CEO Taijiro Tokuda’s relentless passion. This remarkable achievement has now become a source of great hope for the entire Okinawan coffee industry.

“Mr. Tokuda is constantly evolving. Even after gaining global recognition, he continues to take on new challenges, and that is reflected in the quality of his beans,” says Yoshiyuki Nakamura. Nakamura won the 2017 Japan Coffee Roasting Championship (JCRC) and subsequently represented Japan at the 2019 World Coffee Roasting Championship (WCRC) in Italy, where he took second place in his debut appearance. He runs “Mame Pole Pole” in Okinawa City, Okinawa Prefecture, and is one of Japan’s leading roasters who loves ADA Farm’s beans.

Mr. Tokuda explains why he started growing coffee in Okinawa: “First, there was wonderful farmland here, and rich soil. Then, I encountered coffee as a plant. Furthermore, I met fellow coffee lovers in Okinawa. It was all a matter of fate, and before I knew it, I had come this far.”

With Okinawan soil and coffee

The ideal region for coffee cultivation is the tropical zone known as the “Coffee Belt,” which stretches between the Tropics of Cancer and Capricorn, centered on the equator. While Brazil, Ethiopia, and Indonesia are among the most well-known coffee-producing regions, Okinawa lies just outside the northernmost edge of this belt. With typhoons, cold winter temperatures, and acidic soil, it is by no means a “comfortable” environment for coffee.

However, rather than forcibly altering the environment through soil improvement, Mr. Tokuda chose a farming method that makes full use of the blessings and natural cycles provided by the mountains. Specifically, it is a groundbreaking farming method that preserves the surrounding virgin forests, cultivates crops within them, and avoids disrupting the natural forest cycle.

The climate of each year is directly imprinted on the beans’ character. For example, if there is plenty of rain in the summer, healthy fruit grows robustly; conversely, in years marked by drought or extreme temperature fluctuations, the beans’ vitality becomes concentrated.

Mr. Tokuda says, “The beans tell the story of what kind of year it was in Okinawa.” Drinking ADA Farm coffee is synonymous with reliving the sound of Okinawa’s rain and the warmth of its sunshine from that particular year. It is not merely a beverage, but a one-of-a-kind cup filled with a “record” of Okinawa’s nature.

We wait for them to ripen, then carefully hand-pick each berry one by one

The flowering season for coffee at ADA Farm typically runs from April to July. It takes 7 to 8 months from flowering for the fruit to grow and fully ripen, with the harvest season lasting from December to April. Because coffee flowers have a long blooming period, the harvest window is correspondingly broad; however, coffee generally blooms more readily in climates with distinct wet and dry seasons. In Okinawa, however, the climate is often unstable, which can prevent the coffee plants from triggering flowering, resulting in a longer harvest period. Since coffee beans require not only the growth of the pulp but also the development of the seed, we carefully monitor the condition of the seeds to determine the optimal moment for harvest. It is said that the appearance and condition of the fruit when fully ripe vary depending on the weather leading up to harvest and individual differences among the coffee trees. During harvest, we verify the ripeness with our own eyes, check the texture, taste the fruit, and hand-pick it. This meticulous care is what leads to the quality of ADA Farm’s coffee.

“I’m not doing anything special,” says Tokuda, yet he nurtures each and every coffee cherry with meticulous care.

Processing refers to the steps of extracting the seeds (coffee beans) from the harvested cherries and drying them. Coffee beans harvested at their peak are carefully assessed for their unique characteristics, then hulled, dried, and fermented. The processing methods at ADA Farm are never the same.

“They’re the same beans until harvest,” says Tokuda. “But through processing, we can bring out a surprisingly diverse range of flavors. That’s why I want to hand them over to the roaster in a state where their potential has been maximized.” His goal is not to define the beans’ character as a farmer, but rather to expand the range of possibilities each bean holds through the ‘translation of flavor’ that is processing.

Furthermore, the varieties they cultivate also have their own distinct characteristics. “New World No. 1,” which bears red fruit, is characterized by a vibrant aroma and bright, high-quality acidity. On the other hand, “New World No. 2,” with its yellow fruit, stands out for its robust sweetness, toasty notes, and rich body.

The post “ADA Farm”: World-Renowned Okinawan Coffee Grown in the Yanbaru Forest / Kunigami Village, Okinawa Prefecture first appeared on NIHONMONO.

With its vivid and bold colors and patterns, Ryukyu Bingata is a dyeing technique passed down in Okinawa since ancient times. Bingata was originally crafted and presented as garments for the royal family of the Ryukyu Kingdom. Toma Chinen, the 10th-generation head of the Chinen Bingata Research Institute in Naha, engages with Bingata every day while infusing it with a fresh perspective.

One of the three leading families of Bingata, which used to present Bingata textiles to the royal family

Bingata is a traditional craft unique to Okinawa and the only form of dyeing practiced there. In ancient times, it was produced exclusively as clothing for the royal family of the Ryukyu Kingdom, but today it is widely enjoyed in the form of kimonos, obi sashes, and accessories. Originally, it was written in hiragana as “bingata,” but it is said that during the Showa period, it came to be written in kanji as “Bingata.”

During the Ryukyu Dynasty, which lasted until about 120 years ago, Bingata was crafted as a tribute to the royal family by the three Bingata master families: the Shirogane family, the Takushi family, and the Chinen family.

The Decline and Revival of Bingata Due to the War

However, with the abolition of the feudal domains and the establishment of prefectures, as well as the invasion of Satsuma, the monarchy was dismantled, and the work that had been passed down through generations for some 450 years came to an end. Although they could no longer sustain it as a livelihood, some families continued to produce Bingata after the Meiji era, determined not to let the technique die out. The Chinen family, while making a living through other work, continued to carefully preserve their Bingata tools and materials. As time passed, during Okinawa’s postwar reconstruction in the Showa era, Fuyuma’s grandfather, Sadao, learned the Chinen-style Bingata from a relative who had kept the tradition alive and revived it as a family business.

Artisans began producing Bingata for Ryukyu dance costumes and souvenirs, reviving it as an Okinawan craft. Around 1972, orders began coming in from the mainland for use as Japanese-style clothing, bringing new vitality to the Bingata industry. Consequently, in 1984, “Ryukyu Bingata” was designated as a Traditional Craft by the Minister of Economy, Trade and Industry.

The 10th-generation successor to the historic Ryukyu Bingata tradition

The Chinen Bingata Research Institute is located in a workshop near Naha Airport. The current head of the institute, Fuyuma Chinen, studied graphic design in Kyoto and worked as a designer in Osaka before moving to Milan, Italy, to further his studies in art. There, surrounded daily by works of art and historic buildings that have stood the test of time, he realized, “I want to create things that endure rather than being consumed. I want to express my own world.” The Benibana craft, the family business he had always intended to inherit one day, perfectly aligned with the vision he had arrived at.

With that resolve in his heart, he returned to Okinawa, and his days of dedicating himself to Benibana at the Chinen Benibana Research Institute began. Returning home at the age of 22 was sooner than she had anticipated, but considering that honing her skills was her top priority, it was the best choice. However, shortly thereafter, her grandfather, who had been running the workshop, passed away suddenly, and within just a few months of joining the workshop, she found herself having to take over its management. Looking back, she recalls those years as a time when she was truly struggling.

Chinen has received numerous awards, including the Newcomer Award from the Japan Traditional Crafts Exhibition and the Japan Crafts Association in 2021. She currently serves as a director of the Ryukyu Bingata Promotion and Preservation Consortium and as vice director of the Ryukyu Bingata Business Cooperative.

The Process Behind Okinawa’s Unique Bingata

Bingata is created using stencils carved with the designed patterns. The stencil is placed on the fabric, and resist paste is applied over it. After drying, pigment is applied in layers to the areas not covered by the paste. Next, resist paste is applied to the dyed areas, and finally, the base color is applied to the remaining areas. To set the colors, the fabric is steamed, rinsed, and dried to complete the process. While this is a general overview, there are actually more than 10 distinct steps involved in the process.

There are no strict rules regarding the fabric material, but silk and cotton are commonly used. Because there are no restrictions, a wide variety of dyeing techniques can be employed.

This beautiful indigo-colored pattern is called “Amefibana.” In the Okinawan language, this means “rain flower,” and the design features morning glories. The blue background is dyed with Ryukyu indigo. Ryukyu indigo is characterized by a deeper, more intense blue hue than the indigo found on the mainland.

The background color is created using natural dyes derived from plants, while the pattern itself uses pigments; the vivid pigments are used to express the boldness of Bingata. Since the dye is water-soluble and penetrates deep into the fabric, it blends seamlessly with the base material, while the pigment adheres to the surface as particles, allowing for vivid colors. The contrast in colors, which leverages the distinct properties of each, is a key focus.

Chinen explains, “The pigment comes to the forefront, while the softer dye recedes slightly into the background. This creates a dynamic three-dimensional effect, resulting in a work with great depth.” She uses a variety of pigments and blends the colors specifically for each design.

When she returned to Okinawa and began working with Bingata in earnest, she was strongly motivated to create her own original designs that differed from her grandfather’s. While she did experiment with various approaches, she says that as she continued her daily work, she increasingly came to appreciate the ease of dyeing the traditional patterns passed down through generations and the beauty they exhibit when colored.

Since many people still love the classic patterns that have been popular for generations, she continues to create these historic designs. In addition, she consciously incorporates modern patterns that appeal to younger people, aiming to produce products that will be cherished for a long time as the times change.

This involves a process called “katazuke,” where a stencil is placed on the fabric and resist paste is applied with a spatula. The paste acts as a mask to prevent the dye from penetrating the areas covered, ensuring the pattern remains intact. The artisan scoops up the paste, spreads it evenly, gently peels off the stencil, and places the next one adjacent to ensure the pattern connects seamlessly. If the process is too slow, the paste dries too quickly and clogs the fabric, or the stencil may tear, leaving holes in the design. Chinen’s movements are fluid and smooth. She explains that when she first returned to Okinawa, she could only complete one roll of fabric per day, but now she can produce as many as 15 rolls a day.

The resist paste, made by hand from glutinous rice and rice bran, is mixed with blue pigment. Apparently, this enhances the color intensity when the fabric is dyed later.

“Color application,” the process of layering fine colors, is performed by holding two brushes simultaneously. Pigment is applied with a dipping brush, and then a rubbing brush is used to work the coarser pigment into the fabric to help it penetrate more easily. In the next step, to emphasize the design, color is applied further while blending with the brush to create a sense of depth.

There are several types of brushes, and the one used varies depending on the fabric. Many of the tools are handmade.

Every year, I take on the “Oboro-gata,” a major project that requires twice the effort

This kimono, named “Island of Falling Flowers,” is made using a technique called “oborogata,” in which two stencils with different patterns are layered and dyed together. Since this process takes twice as much time and requires a high level of skill, few artisans attempt it. Although it’s labor-intensive, Ms. Chinen loves this oborogata technique and often works with it. The fabric used is a thin silk known as “kakujou-nuno,” produced in the nearby town of Haebaru.

Growing the Bingata Fan Base Through Social Media

She also actively pursues collaborations with other industries, working on projects that combine Okinawan specialties—such as transferring Bingata patterns onto local pottery or incorporating Bingata designs into Awamori bottle labels. She believes this creates opportunities for people who aren’t interested in dyeing to discover the art, and vice versa.
Currently, Mr. Chinen is actively posting on social media. He shares content designed to spark interest in Bingata, such as videos showcasing the production process. He reportedly handles not only the posting but also all video editing himself.

Perhaps as a result, the number of visitors to the workshop continues to grow, and it seems that our social media posts are reaching younger generations across the country who were previously unfamiliar with Bingata.
I also frequently visit the kimono shops on the mainland that carry our products. While interacting with customers there, I’m able to directly hear about their preferences—which differ from those in my hometown of Okinawa—tailored to each specific region. I often bring these insights back to incorporate into my work.
Currently, about 10 people work at the Chinen Bingata Research Institute, ranging from seasoned artisans to young people who have come with the goal of becoming Bingata artisans, and they all work briskly at their respective stations.

Looking Toward the Future of Ryukyu Bingata

“It’s not about it being culture or tradition—it’s not something special. We’re continuing it as a profession. I believe that’s how it becomes part of our history and culture,” says Chinen. His words convey a sense of determination to look ahead to the future of Ryukyu Bingata and carry that responsibility.
“If it isn’t fun, you can’t keep it up, and because there are challenges, you don’t get bored and can take on new ones. I want to show my staff that I’m taking on these challenges myself, and I want to keep pushing myself to create a form of Bingata that fits the modern era,” he says with sincere conviction.
As he continues to pass down the craft to ensure Ryukyu Bingata’s ongoing development, he will likely continue to take on challenges with a light yet stoic spirit, brightly leading the way for the Ryukyu Bingata community.

The post Toma Chinen of the Chinen Bingata Research Institute, who creates works with an eye toward the future of Ryukyu Bingata / Naha City, Okinawa Prefecture first appeared on NIHONMONO.

Okinawa’s proud brand of pork, “Agu,” is characterized by its tender, high-quality fat and sweet flavor. Matayoshi Farm actively raises 100% purebred Agu pigs. The secret to its special flavor lies in the stress-free environment in which the pigs are raised, the high quality feed, and the commitment of the young successors to Agu.

Agu, the brand pig that bears Okinawa’s food culture

Agu, the pride of Okinawa, is a brand of island pig. It is characterized by its tender meat, rich fat, sweetness, and rich, elegant flavor. It is offered at high-end shabu-shabu restaurants and is gaining recognition both inside and outside Okinawa Prefecture as the meat of choice.

Agu pigs are a difficult breed to produce because they are smaller than most pigs, produce less meat per pig, and produce only a small number of offspring. This makes it a rare and highly prized brand of pig.

The origin of Agu pork is said to date back to the 14th century, approximately 600 years ago, when it was introduced to the Kingdom of Ryukyu from Ming Dynasty (present-day China).

After World War II, the number of Agu pigs decreased drastically to about 30, but a research institute at the Hokubu Agriculture and Forestry High School in Nago City took the lead and succeeded in restoring the original breed in 1993 through backbreeding. In 2013, Nago City declared itself the “Home of Agu” as the place where the Ryukyuan native pig, Agu, was revived.

By the way, did you know that there are two types of Agu pigs?

The katakana notation “Agu” refers to pigs born from the crossbreeding of pure-blooded Agu pigs.

In contrast, “Agu” in hiragana refers to farm-raised pork that meets JA Okinawa’s standards, and is a crossbreed between a male Agu pig and a female Western pig, in essence, a “half-Aguu pig.

The smaller Agu gives birth to less than half as many pigs per litter as the Western breeds. By crossbreeding with larger, faster-growing Western breeds such as Landrace and Yorkshire, they are able to produce “Agu pigs” with high meat production while taking advantage of the superior meat quality of “Agu”.

There are 13 farms in Okinawa Prefecture that are designated as “Agu” brand pork producers, and each farmer uses a different crossbreeding pattern, resulting in pigs of different sizes and meat quality.

Matayoshi Farm, a livestock producer and farmer in Nago City in the northern part of Okinawa’s main island, has focused on crossbreeding close to the original breed in its uncompromising pursuit of “100% purebred x purebred” Agu pigs.

Matayoshi Agu” raised in a stress-free environment and on carefully selected feed

Matayoshi Farm is located at the foot of Mount Awadake in Nago City, where as many as 400 Agu pigs are raised. The land, which is a quarry area, was originally owned by the Matayoshi family and used to be a tangerine farm. Although Okinawa is hot and humid throughout the year, it is surrounded by forest and cool in the shade, making it a comfortable environment for the pigs.

One of the characteristics of the “Matayoshi Agu” brand pigs is that they are raised in an environment where they can run around freely from one month after birth. The pigs are raised in a spacious and stress-free environment, which leads to better meat quality and tenderness.

They also do not use any hormones or antibiotics, and are additive-free.

Founded in 2004, Matayoshi Farm was incorporated in 2013, and in 2021, the main members, led by sales leader Asataro Matayoshi, were replaced by young members in their 20s.

Under the management philosophy of “continuing to bring peace of mind to the community through food,” the company is focusing on increasing the rarity and brand value of its “pure-blooded Agu pork.

The Agu pig is half the size of a normal pig and produces half as many pigs as a normal pig, making it a difficult breed from a business model standpoint, but its superiority in taste is outstanding. We would like to continue to take on this challenge by carefully preserving the original breed,” says Matayoshi.

While Western breeds are fattened up in about six months, it takes about 10 months to fatten up an Agu pig. Because of the cost of feed, the unit price is maintained by branding the pigs.

The problem is that the production volume is limited. We can increase the quantity by fattening the pigs up quickly, but the biggest fear is that the meat quality will deteriorate. Every time we ship, we look at the actual product and check the amount of fat on it,” he says. The desire to preserve the original Agu breed by sticking to pure blood can be clearly felt.

He is also particular about feed, feeding two types of feed, adjusting the balance and quantity according to the stage of growth.

The white feed is the staple food for the pigs and is a formula feed in accordance with JA’s regulations for Agu pigs.

The brown one is Matayoshi Farm’s original fermented feed containing beer lees, rice bran, and pineapple lees. The nutrients in the lees contain lactic acid bacteria and are expected to improve the intestinal environment.

The farm changes the content and quality of the feed according to the growth stage of the piglets, for example, feeding more grain and protein at first and increasing the amount of fermented feed when fattening up piglets to increase their flavor.

While the cost of feed has skyrocketed in recent years and they are struggling, they are negotiating to be able to wholesale their brand as “Matayoshi Agu” at a higher unit price, more than double the price of regular pigs.

He has been negotiating with his customers, including a shabu-shabu restaurant in Naha City, to sell their products at more than twice the unit price of ordinary pigs, under the brand name of “Matayoshi Agu.

The young members of the group are impressive for their straightforwardness: “We frankly tell them about the rising cost of feed and the low productivity of Agu pork, but we also let them taste it and decide if they want to do business with us or not.

Sweet and melt-in-your-mouth Agu pork served in shabu-shabu

Matayoshi Agu” is beautifully fatty.

Agu pork is characterized by its tender meat, rich fatty flavor, and low fat melting point, which makes it melt in the mouth. It is rich in oleic acid, which gives it an aromatic and flavorful taste.

Agu is also high in linoleic acid, which has an almost animal-like sourness and odor, but it also has a wild flavor and is commonly associated with umami.

In addition, Agu has the advantage of having a low melting point of fat, so its “fat is not too sticky. The proof of this is that even when it is cooked, it does not easily become soggy.

The most popular parts of Agu pork are the belly and shoulder loin, and shabu-shabu is said to be the best for enjoying the flavor of the ingredients.

The sweet and easy-to-eat loin is recommended to be served with ponzu (Japanese sauce made of citrus juice and soy sauce) or sesame sauce.

The belly, which has a strong flavor of fat, is tender and does not become hard even when cooked. It goes well with a squeeze of freshly caught shikwasa (citrus fruit) ◎.

Agu’s unique marbling contains many tasty ingredients, and both the lean and fat parts have a rich flavor. The most important point that differentiates Agu is that its flavor is so strong that western varieties seem bland.

Aiming for Livestock Production and Agriculture Rooted in the Local Community

We asked the young trio of sales leader Mr. Matayoshi (center), Mr. Sotoma (left), who is in charge of the processing department, and Mr. Miyagi (right), who is in charge of public relations, about their ambitions for the future.

They said, “With the aging and decline of the farming industry becoming an issue, we want to go against the grain and raise the occupational status of agriculture. We want to raise awareness by actively promoting the production of rare and valuable agu, make the company a place where young people want to try farming, and protect the culture, lifestyle, and scenery of the region.

We would like to strengthen our business model to protect and increase the number of agu seeds we have, based on our “commitment to pure blood.

We want to strengthen our business model, which is based on our commitment to pure blood, while protecting and increasing the number of agu seeds we currently have.

The young successors of the farm, each with his or her own passion, are putting their heart and soul into raising Agu pigs.

They will continue to earnestly pursue the essence of the product without losing sight of its true nature, and will continue to convey the attractiveness of Agu from Okinawa to Japan and the world.

The post Matayoshi Noen,” which delivers high quality agu pigs that are made from pure blood / Nago City, Okinawa Prefecture first appeared on NIHONMONO.

Do you know “San-Pin Tea”? It is the most familiar tea for Okinawans, having been consumed on a daily basis since the days of the Kingdom of the Ryukyus. How did sanpin-cha come to be consumed in Okinawa about 500 years ago? And what is the secret behind the delicious taste of Okinawa Pokka Corporation’s “Ganso Okinawa Pokka Sanpin-cha”?

San-Pin Tea Culture Takes Root in Okinawa

How many people know what kind of tea it is when they hear the word “sanpin-cha”? From the main island to the outlying islands, sampincha is a familiar tea to Okinawans. In Okinawa, green tea is not a daily drink like in mainland Japan, and sampincha has been consumed in every household for a long time.

San-Pin” refers to jasmine, which grows in tropical and subtropical regions. Jasmine has pretty white flowers that grow in tropical and subtropical regions. The tea is richly fragrant, refreshing, and has a slightly bitter taste. In fact, many people are unaware that jasmine tea and sampincha are the same drink, only they have different names.

Okinawa was a country called Ryukyu Kingdom for about 450 years from 1429. It is said that San-Pin-Cha was brought back to the Ryukyu government by a company called Ryukyu Trading from China, where trade was thriving at that time, and that is how it became widespread in the Ryukyu Islands.

In China, jasmine has been widely cultivated from ancient times to the present, and is one of the most mass-produced teas in the country. In China, jasmine is also called matsurika, but it is more often referred to as xiangping, which is pronounced as “san-pin” in Ryukyu, and since then it has become popular as san-pin tea.

Okinawa Pokka Corporation is a wholesaler and distributor of beverages such as tea, coffee, juice, and instant foods. Okinawa Pokka Corporation, which was the first company to sell San-Pin Tea in cans, began in 1989 when a representative of Pokka Corporation (now Pokka Sapporo Food & Beverage), headquartered in Nagoya, established an Okinawa sales office and one of its employees went there.

In order to develop Pokka Corporation’s products in Okinawa Prefecture, a factory was set up in the northern part of the main island of Okinawa, where canned coffee and other beverages, one of Pokka Corporation’s main products, would be manufactured. However, they wondered if they could create something unique to Okinawa. He decided to sell the canned San-Pin-Cha, saying, “Okinawa has San-Pin-Cha,” and he decided to sell it as a canned product.

At the time, sampin-cha leaves imported from China were widely available in the prefecture, and each household and workplace brewed sampin-cha in a teapot and drank it. The culture of taking a kettle full of boiled sampin-cha tea with you when you went out to work in the fields was deeply rooted in the local culture.

San-Pin Tea in a can, which many people advised not to sell.

Would they go to the trouble of putting it in a can, cooling it down, and then paying money to buy it? Most of the local people responded, “No one would buy that” or “It won’t sell. As expected, however, it did not sell at all at first, and the product gradually spread through tastings held at various places.

They even handed it out free of charge to cab drivers waiting for customers at Naha Airport to have them drink it. Thanks to such steady promotional activities, the product was recognized for its taste and convenience, and the number of people who picked it up gradually increased. It was not until five years after its launch in 1993 that the product really began to sell well.

In 1994, TV commercials began airing, accelerating its popularity. Following the canned product, a PET-bottled version of San-Pin Tea was also created.

Even today, sampin-cha leaves are sold in supermarkets in Okinawa Prefecture, but it is thought that the number of households that brew sampin-cha in a kyusu (Japanese teapot) and drink it in a cup is quite small.

Special-grade tea leaves produced by a traditional Chinese process

The base of San-Pin-Cha is made from green tea leaves. The fermentation of the tea leaves is stopped halfway through the fermentation process, and the tea leaves are then flavored with jasmine flowers to create sampincha. Like oolong tea, it is classified as a semi-fermented tea.

In the traditional Chinese method of making San-Pin tea leaves, fresh jasmine flowers are mixed with semi-fermented green tea leaves to transfer the aroma. Once the flowers are removed, new flowers are added to the tea to add fragrance. The more times this process is repeated, the more fragrant the sanbin tea leaves become.

As Toshinori Otake, manager of the sales section of the sales department, says, “A strong astringency is the key to Pokka’s san-pin tea,” the key to san-pin tea’s deliciousness is the aroma of jasmine and a slight bitterness. It is not only refreshing, but also has a deep flavor with bitterness.

Yoshihiro Kitamura, president and representative director (at the time of the interview), says, “We will not sell at a discount, but will firmly maintain the taste that has been loved by the people of the prefecture for many years.

Although many companies are selling San-Pin Tea as a product, no one has registered it as a trademark. When Okinawa Pokka Corporation first started selling canned sanpin-cha, there was some discussion about whether or not to register it, but they decided not to because sanpin-cha is a common noun, just like green tea and oolong tea.

Later, a mainland company applied for and received a trademark registration under the name San-Pin-Cha, but in an effort to protect the dignity of Okinawa’s history and culture, Okinawa Prefecture and the Okinawa Prefecture Tea Association filed an objection with the Patent Office and had the registration canceled.

Okinawa Pokka Corporation will continue to sell its products only in Okinawa Prefecture.

Okinawa Pokka Corporation does not sell San-Pin Tea outside of Okinawa Prefecture. And they have no plans to expand outside of Okinawa in the future.

The image of “San-Pin Tea = Okinawa” has become somewhat common throughout the country, and the number of people picking up San-Pin Tea as a souvenir has increased, but the percentage of purchases by Okinawans is overwhelmingly high.

If this is the case, the idea is to focus on pursuing a taste loved by Okinawans, rather than forcibly expanding sales channels.

In addition, there are still some places in Okinawa, such as small remote islands, where the product is not yet being delivered, so the current goal is to increase the number of sales outlets to reach all parts of the prefecture.

Okinawa Pokka Corporation’s San-Pin Tea, which has enjoyed unwavering support in Okinawa for a long time, will continue to maintain its beloved taste and continue to be a tea that will be familiar to the people of Okinawa for years to come.

In today’s world, where new products are being created one after another, San-Pin-Cha has remained true to its timeless style. It is because it is universal that it is accepted by the Okinawans and has become a natural part of their daily lives.

The post Okinawa Pokka Corporation, which develops “San-Pin Tea” loved by Okinawans / Naha City, Okinawa Prefecture first appeared on NIHONMONO.

Ryukyu classical music, said to have been played at the royal court during the Ryukyu Kingdom era. This music has endured the hardships of the kingdom’s downfall and the Battle of Okinawa, and continues to thrive in the hearts of the people to this day. National Living Treasure Owan Kiyoyuki has dedicated his life to exploring the essence of Ryukyu classical music through both performance and theoretical research.

Ryukyu Kingdom-era court music and Ryukyu classical music

Okinawa was once the Ryukyu Kingdom. The music that developed as court music during that era is known as Ryukyu classical music.Ryukyu classical music is primarily composed of “uta sanshin,” which involves singing Ryukyu songs in an 8-8-8-6 rhythm while playing the three-stringed string instrument called the sanshin. Depending on the piece or stage setting, accompanying instruments such as the koto, kokyu, taiko drums, and flutes are added, creating an elegant world. Representative pieces range from 12 to 13 minutes, with some lasting over 20 minutes.

During the Ryukyu Kingdom era, classical music was performed exclusively by the samurai class as part of their official duties at the royal court. After the kingdom’s fall, the samurai who lost their official roles left the castles and began performing commercially for the common people. Since then, this art form has been passed down through generations, and Ryukyu classical music has been preserved in Okinawa across the ages.

A master of Ryukyu classical music in the Afuso-ryu style, Owan Seiji is a renowned performer of the three-stringed instrument and flute, active on stages such as the National Theater of Okinawa. He is also known as a scholar dedicated to researching the theoretical framework of the “forms” within the Afuso-ryu style.In 2023, his contributions were recognized, and he was designated as a Living National Treasure and a holder of Important Intangible Cultural Property for Ryukyu Classical Music.

Self-taught master of the sanshin and flute

My parents are performers of Ryukyuan classical music, and I grew up listening to them play the sanshin. When I was in elementary school, I started teaching myself to play the sanshin that was at home, and I began singing and playing Okinawan folk songs that I had heard on the radio. I started developing an interest in classical music when I was in middle school.By listening to his father’s daily practice sessions at home, he naturally developed an ear for the music and eventually learned to play one of the masterpieces of Ryukyuan classical music, “Fishibushi.”

“My father didn’t know I could play, so he was surprised when I performed it for him for the first time. He said, ‘You’re really good!’ Then he invited me to join him, and I started participating in practice sessions with the adults.”

I also started playing the flute in middle school. The reason was a certain incident related to music class.

“In class, we needed a vertical flute called a recorder (at the time, they were mainly made of bamboo), but I accidentally bought a horizontal flute used in Ryukyuan classical music. I couldn’t bring myself to tell my parents, who had paid for it, and the music teacher didn’t tell me to replace it, so I ended up playing the horizontal flute alone in class.Unlike vertical flutes, which produce sound simply by blowing air directly into them, horizontal flutes require some experience to produce sound. Since the teacher had no experience with horizontal flutes, I had to learn everything on my own. Later, I started joining my father’s practice sessions on the flute. Thinking about how I might never have ended up playing the flute in Ryukyuan classical music if I hadn’t made that mistake, I realize how interesting life is.”

Ryukyu classical music schools: Nomura-ryu and Anfu-so-ryu

Ryukyu classical music has three major schools: Tansui-ryu, Anfu-so-ryu, and Nomura-ryu. Mr. Owan is currently renowned as a master of the Anfu-so-ryu school, but his father belonged to the Nomura-ryu school. He says that until he was in high school, he studied the three-stringed instrument and flute of the Nomura-ryu style under his father.The reason he joined the Anfuso-ryu was because he met Nishie Kishun after graduating from high school. Nishie was a performer who was designated as a Living National Treasure for “Kumi Odori Music Sanshin” in 2011. At the time, Nishie was studying under Miyazato Haruyuki of the Anfuso-ryu.

“One day, Nishie invited me to go with him to Miyazato-sensei’s place. At the time, there were few people who could play the flute in Ryukyuan classical music, so he probably took me along because I was one of the few who could play it.I played the flute in front of Miyazato-sensei, and Ohama Choei-sensei, a master of the flute, listened over the phone. This led me to join the Anfu-so school, where I studied the three-stringed shamisen under Miyazato-sensei and the flute under Ohama Choei-sensei.“

The melody of a song not written in the ”Koukou-shi” sheet music

Okinawan music is typically performed by a single person who sings and plays the sanshin simultaneously, as the two are inseparable, hence the term “uta sanshin” (song and sanshin). The sheet music is called “kunkunshi,” which includes notations for the sanshin’s fingerings and vocal melodies.The major difference between the Nomura style and the Anfu-so style lies in the “kunkunshi.” While both styles include hand positions for the sanshin, the vocal notation is written in the Nomura style but not in the Anfu-so style. Therefore, while the Nomura style is sung according to the vocal notation, the Anfu-so style is transmitted orally from master to disciple, which is a significant characteristic of this style.

“At first, I was confused by the difference between the singing style I had learned from my father in the Nomura-ryu and the singing style I was learning from Mr. Miyazato in the Anfu-so-ryu. Furthermore, since there are no vocal scores in the Anfu-so-ryu, Mr. Miyazato’s singing seemed to vary each time, leaving me unsure of what the correct way to sing was. Moreover, even when studying under the same teacher, interpretations can vary from person to person, resulting in differences in singing style among disciples.Folk songs are a form of music where each person can express themselves freely, but classical music is a form of music with rules and formal beauty. Even though I was studying the same Anfuso-ryu style under the same teacher, I wondered if such discrepancies were acceptable. Even though I was singing in a way that my teacher had approved of, I was sometimes criticized by other students, and I struggled with where I should place myself.

Theoretical research that began with concerns about differences in performance

So, Mr. Owan decided to trace the origins of his master’s singing style and pursue a theory that he could fully accept, relying on the few remaining old documents on Ryukyuan classical music.Among the recordings of Anfu-ryu songs and sanshin performances, the oldest is said to be the performance by Kin Ryōjin, along with the paper “Ryūkyū Ongaku Kō” written by Tomihara Shusei. As his research continued, he discovered that the performance and theory corresponded, and he began to identify the “patterns” (forms) within them.

“In other words, I was able to clarify the rules behind why certain singing techniques are used. Classical music is composed of small parts, or patterns, that come together to form a single piece. By understanding the fundamental patterns, I no longer feel lost, and I can play with a sense of ease.”

At the same time, he came to believe that even in classical music with its rules, “differences in individual performers are acceptable.” “Mistakes and differences are two different things,” Owan explains.

“Mistakes are not allowed, but differences are acceptable. I want everyone to share this understanding. Simply imitating the master is not enough; you must play in your own way, using your own sensibilities, to create authentic music. It is important to have a sense of what is acceptable within the rules. For example, the pauses in singing. These can be described as changes in length or rhythm.The subtle timing is what makes it art. If you stick too much to the rules, it becomes bland. But you can’t just break the rules either. That subtle timing comes with repeated practice. So, I think it’s important for the individual to have some leeway in how they apply the rules. It’s important to have an environment where individuality is accepted. I want to create an environment where young people can express their individuality.”

The happiness of still having goals

Mr. Owan describes his own path as “still far from complete.” The lyrics of classical music from the Ryukyu Kingdom era tell the stories of the people who lived during that time. How should these lyrics be sung so that they resonate with people of a different era? Should the vocal techniques used when the music was performed acoustically within the palace be employed, or should the louder vocals used during the period when the music was performed outdoors be adopted? Alternatively, should the vocal techniques be adapted to suit the post-war era, when sound equipment became available?How can one pursue their best voice? Where does one draw the line in preserving Ryukyu classical music?

“Every day, I experiment and make mistakes, and because I feel it’s not yet complete, I want to keep going. Having goals to strive for is a source of happiness.”

Through doubt and pursuit, and repeated new discoveries, Owan’s journey to sincerely explore Ryukyu classical music will continue.

The post Mr. Kiyoshi Owan, a Living National Treasure who continues to perform and research Ryukyu classical music / Naha City, Okinawa Prefecture first appeared on NIHONMONO.

Orion Beer, known to everyone as “Okinawa’s beer.” Produced in Nago, the gateway to the northern part of Okinawa Island known as “Yanbaru,” its flavor is characterized by its crisp, easy-drinking quality, with the flagship product “Orion The Draft” leading the way. We spoke with Taruoka Makoto, the factory manager at the Nago plant, about Orion Beer’s commitment to pursuing a taste that makes you want to drink it, tailored to Okinawa’s unique climate, terrain, and people.

Beloved as a local beer

Orion Beer, beloved as the beer of the people of Okinawa and boasting the largest market share in the prefecture. Its manufacturing plant has been located in Nago since its founding. “At the time of founding, we considered various factors such as the abundance of underground water suitable for beer production, and decided to build the plant in Nago. In Nago, Orion Beer has been cherished as ‘the local beer’ for generations,” says Mr. Taruoka. The Nago Plant is now a popular tourist spot, offering tours of part of the production line through the “Orion Happy Pack” program.

The History of Orion Beer

Orion Beer was founded in 1957. Amid the post-war stagnation under U.S. occupation in Okinawa, Gushiken Sosei, a politician and businessman, decided to challenge the notion that beer production was impossible in a subtropical climate, aiming to show the island’s youth that “if you try, you can achieve anything.” The company was originally named “Okinawa Beer Co., Ltd.” After spending one and a half years introducing refrigeration and cooling equipment essential for beer brewing in the tropics, and bringing in brewing technicians from Tokyo University of Agriculture, the beer was finally produced. In November 1957, a public contest was held in newspapers with a prize for the best name, and from the 2,500 entries received, “Orion Beer” was chosen. Orion Beer was launched nationwide in May 1959. That same year, the company name was changed to “Orion Beer Co., Ltd.”

The Birth of Draft Beer

At the time, beer in Okinawa was primarily consumed in restaurants and bars, not at home. Bottled beer and draft beer were the norm. In 1960, draft beer (freshly brewed beer) was introduced, emphasizing the freshness of “beer brewed locally and delivered fresh to the store.” This concept quickly gained popularity among residents. When canned beer was launched in 1973, the company remained committed to using draft beer, leading to the creation of the “Draft” brand name. “Fresh beer is beer that has not undergone heat treatment. By avoiding heat treatment, the subtle aromas of hops and malt are preserved, resulting in a fresh, crisp, and light taste,” explains Taruoka. Even today, all the beer produced by Orion Beer is unpasteurized fresh beer.

“Refreshing” drinkability is a tradition

Regarding the characteristics of Orion Beer, Mr. Taruoka says, “While our beers are diverse, we place great importance on the ‘refreshing’ sensation that Okinawans feel when drinking them. The smoothness that makes people want to drink another one after another at a beach party is the tradition of Orion Beer.” At the time of its founding, Okinawa was flooded with American beers like Budweiser and Miller, which had a mild bitterness and a crisp aftertaste. One of the reasons the original beer struggled to sell may have been its strong bitterness, which was modeled after German beer. It’s likely that the crisp flavor and refreshing finish, which suit Okinawa’s climate and lifestyle, are why “Orion The Draft,” born in 1960, has remained so beloved for so long.

Yanbaru water-based brewing

Water has a significant impact on the taste of beer. Orion Beer uses water sourced from a dam surrounded by the Yanbaru Forest for its brewing process. While the water on Okinawa Island, which has many limestone layers, is often hard water, the water in Yanbaru is closer to soft water. “We refer to this process as ‘refining the water.’ After filtering the sourced water, we subject it to sensory testing, where we use our five senses—sight, hearing, taste, smell, and touch—to assess its quality. This ensures that the water we use for brewing is of the highest quality, with no taste or odor, perfectly suited for beer production,” explains Taruoka.

Commitment to the manufacturing process

The main ingredients of Orion The Draft are malt and hops. Malt is mashed in a mash tun to produce wort, which is then filtered using the husks of the malt to remove any residue from the mashing process, resulting in “clear wort.” The hops added during the boiling stage are carefully adjusted in terms of quantity and timing to impart the ideal bitterness and aroma. The mixture is then fermented and aged in tanks with beer yeast, allowing the natural carbonation from fermentation to remain, resulting in a fine, crisp foam. This process gives “Orion The Draft” its unique smoothness and pleasant aftertaste.

A new challenge in beer

Currently, Orion Beer has about eight standard products. Including limited-edition products, the company manufactures about 15 products annually, including sparkling beer and non-alcoholic beverages. “It is true that beer consumption among younger generations is gradually declining in Okinawa. With an increasing number of people who do not prefer alcohol, we must make efforts to increase opportunities for people to experience the taste of beer by offering non-alcoholic and low-alcohol products,” says Taruoka.

Regarding beer production, since the Tax on Alcoholic Beverages Act was revised in 2018, the range of permissible secondary ingredients has expanded, allowing beers with strong bitterness and aroma that were previously unacceptable to be produced. “The possibilities have broadened,” he explains. Let’s take a look at some of the products currently sold by Orion Beer.

Orion The Premium

Released in 2022, “Orion The Premium” is a high-value-added line true to its name and has become a hit product following “Orion The Draft.” It is made using a new beer yeast, “Okinawa Yeast OB-001,” derived from over 3,000 samples of plants native to Okinawa. It features a smooth finish, deep richness, mild bitterness, and a fragrant aroma reminiscent of sake or wine.

75BEER Series

Inspired by the birthplace of Orion Beer, Nago, comes the craft beer “75BEER (Nago Beer).” In collaboration with the Nago Crossroads Shopping District Association, the “75BEER PROJECT” was launched to create a Nago-exclusive beer. The craft lager features the aroma of Okinawan shikuwasa (a type of citrus fruit) and a copper-red color evoking the sunset over Nago Bay.

In October 2018, a test sale was conducted exclusively within Nago City, and all 23,000 bottles sold out in just four days. As a result, it was released in December 2019 as Orion’s first premium craft beer.

Orion Teeda Red, Orion Coral Blue

The “Orion Tida Red” and “Orion Coral Blue,” limited-edition color beers (sparkling beer) using natural pigments, were released in spring 2024. “Orion Tida Red” is colored red with hibiscus extract, evoking the summer sun of Okinawa, while ‘Orion Coral Blue’ is colored blue with butterfly pea extract, inspired by the seas of Okinawa. When poured into a glass and blended together, the two beers create a purple color, offering a unique drinking experience.

Toward the future of Okinawan beer

“This year has been a year of challenges for us, with the launch of our first craft beer created in collaboration with the local shopping district, and a colored beer inspired by the idea of ‘breaking the stereotype that beer must be golden.’ Going forward, we aim to continue proposing diverse ways to enjoy beer that celebrate each beer’s unique character,” said Taruoka.

In parallel with new product development, since 2022, the company has been producing small-batch craft beer using a miniature brewing facility that is approximately 1/100th the size of its regular production equipment, and this initiative has been well received. Incidentally, this craft beer is available at Orion Beer’s own hotel.

Additionally, through foreign tourists visiting Okinawa, the company is expanding its fan base overseas, currently exporting products to 16 countries and regions worldwide, including Taiwan, Hong Kong, the United States, Australia, and Brazil.

Orion Beer continues to uphold the traditions it has built up over the years while also keeping an eye on the next generation, who are said to be increasingly turning away from beer, and on new markets around the world. The company will continue to challenge the possibilities of “Made in Okinawa” beer with its characteristic open-minded ideas, true to the spirit of the tropical island of Okinawa.

The post A taste born only in the subtropical climate of Okinawa. Orion Beer Co., Ltd. / Nago City, Okinawa Prefecture first appeared on NIHONMONO.

In Okinawa, there are still sacred places called “Utaki” where people have offered prayers since ancient times in various places. Among them, “Sefa Utaki” is known as the most sacred place in the Ryukyu Kingdom. The primitive space that tells the spirit of “nature worship” that gods reside in nature itself such as rocks and trees attracts visitors.

Utaki tells the story of Okinawa’s history, where nature worship is deeply rooted

Sefa Utaki is located in Nanjo City, in the southern part of the main island of Okinawa. Since being registered as a UNESCO World Heritage Site in 2000 as “Gusuku Sites and Related Properties of the Kingdom of the Ryukyus,” it has become widely known both in Japan and overseas, and is now one of Okinawa’s leading tourist destinations, with over 400,000 visitors per year. However, the first thing that confuses first-time visitors is how to read the name.

“Since it is generally read as saijo (funeral hall), some people think that they are visiting a crematorium. The origin of the name is that “sai” means pure, so it was named saijo because it is a sacred place. Another theory is that the place name “Saihabaru” here was corrupted to “Se-fa” and became saijo as a phonetic spelling.” This is what Hideaki Ishida of “Amamikiyo Romantic Association,” a tour guide at Sefa Utaki, explained. Okinawa is an island where nature worship is deeply rooted, worshiping nature such as trees, springs, rocks, and wells. Since it is believed that gods descend to such natural formations, there are no gods or worship halls like shrines in Honshu. However, important history and the spirit that our ancestors have cherished and passed down reside in parts of nature that we would pass by if we were to pass them by. Ishida has been a guide at Sefa Utaki for many years, wanting to convey the importance of such utaki to many people.

The reason why it is said to be the most sacred place in the Ryukyu Kingdom

According to Ishida’s explanation, there are about 900 Utaki in Okinawa. Why is Sefa Utaki said to be the most sacred place in the Ryukyu Kingdom? The reason is that it is a Utaki created by Amamikiyo, the god of the creation of the Ryukyu Kingdom. In Ryukyu mythology, it is said that Amamikiyo created seven Utaki, the Seven Utaki of the Creation of the Ryukyu Kingdom, when he created the nation of Ryukyu. Sefa Utaki is one of them.

There is also a legend that Sefa Utaki was the place where the ceremony “Oaraori” was held, in which “Kikoe Okimi” takes over as the highest priest. Kikoe Okimi is the highest-ranking title for a female priest (Noro) in the Ryukyu faith. It is said that Sefa Utaki was the spiritual protector of the Ryukyu kings and the entire kingdom, and was in charge of the royal ceremonies for over 400 years, from the first king (1470) to the 15th king (1875). With such an important role, the inauguration ceremony of Mikoe Okimi was a significant ritual for the entire nation. This shows just how special Sefa Utaki was in the Ryukyu Kingdom.

A sacred area where only female priests are allowed to enter

There are six places of worship called “Ibi (sacred area)” in Sefa Utaki. It takes about an hour to walk around them all at a leisurely pace. Starting from “Sefa, the Green House,” you will proceed through the mysterious forest where the entire area is considered sacred.

At the beginning of the approach to Utaki, there is the “Kudaka Island Worship Site,” which overlooks Kudaka Island in the sea to the east. Kudaka Island is said to be the first island created when Amamikiyo, the god of the creation of the Ryukyu Islands, descended from heaven to earth, and is also known as the “Island of the Gods.” In Ryukyu, it is believed that Niraikanai, the world where the gods live, lies to the east where the sun rises, and people have offered prayers to Niraikanai. From Sefa Utaki, Kudaka Island is located to the east. For this reason, the “Kudaka Island Worship Site” has also been revered as a passage to Niraikanai.

To the right of that is the entrance to the Utaki, called Ujoguchi. From here onwards, the Utaki was once managed directly by the Shuri Royal Court, and only the king and those who performed religious ceremonies were allowed to enter. During the Ryukyu Kingdom era, only women could become priests, so men were not allowed inside. It is not known for certain, but it is said that even the king had to change into women’s clothing when entering.

“The famous Kikoe Okimi was also a woman, but the reason why there were only women is because of the Onari God faith that was rooted in the Ryukyu Kingdom era. Onari means sisters. In the past, in the Ryukyus, men would go out to work at sea, while women would stay at home and pray for the safety of their men. Eventually, it was believed that sisters had the spiritual power to protect their brothers, and the Onari God faith, which believes in the spiritual power of women, became the foundation of the Ryukyu Kingdom. As a result, women came to be in charge of rituals as priests, and at Sefa Utaki, priestesses (noro) have offered prayers for peace and prosperity for the Ryukyu Kingdom, bountiful harvests, and so on. It wasn’t until 1879, after the Ryukyu Kingdom was destroyed, that anyone was allowed to enter freely.”

There are six stone incense burners at the entrance to the shrine. These represent the six places of worship within the shrine. As mentioned above, not everyone was allowed inside the shrine, so those who were unable to enter offered their prayers here.

Six places of worship within the Utaki where prayers were offered

As you climb through the dense forest from the Gomonguchi entrance, you will see the first place of worship, “Ufugui,” on your left. Ufugui means “large hall” or “first seat.”

There is a huge rock at the back, and in front of it is a prayer space (una) with a raised stone pavement. It is said that the “Oshinagari” ceremony took place here, when Mikoe-no-Okimi was inaugurated as the highest priest.

The second place of worship is “Yuinchi.” Yuinchi is the Ryukyu Kingdom’s term for kitchen. However, cooking was not done here, and it is interpreted as a place where bountiful harvests flowed in from all over the country during the Ryukyu Kingdom era, when trade was thriving. The king and priestesses are said to have prayed for the prosperity of the kingdom and bountiful harvests at Yuinchi, where a large rock juts out above them.

The third and fourth places of worship are the “Amadayuruashikanubi” jar and the “Shikiyodayuruamaganubi” jar. The water that drips from the two stalactites is said to be “sacred water,” and two jars have been placed there to catch it.

“Ryukyu was originally an island formed by the uplift of coral chunks. The rocks at Sefa Utaki are made of Ryukyu limestone, so they have many holes. When it rains, the rainwater seeps into the rocks and accumulates there, and gradually trickles down. It was believed that divine plants grew on top of these rocks, and the water that falls from the rock to nourish the plants is truly divine water. There is a legend that drinking this water will ensure good health.”

A mysterious triangular landscape created by huge rocks

Behind the two jars are the fifth and sixth places of worship, Sangui and Chonohana, which are the highlights of the tour course. The view from in front of these places of worship is a symbolic view of Sefa Utaki and a great spot for taking photos. Two huge rocks support each other, creating a triangular space, creating a mystical landscape created by nature.

Chonohana is a place of worship that is said to have a deep connection with Mikoe-no-Okimi, and is considered the most prestigious place of worship in Sefa Utaki. There are 15 incense burners here, and since Mikoe-no-Okimi was the 15th reign, it is thought that the number of incense burners was prepared for each reign. Currently, it is prohibited to enter beyond the triangular tunnel, and it is not possible to reach these two places of worship, but at the end of the triangle is Sangui, and on the rock to the right of that is Chonohana, so it is a good idea to pray from the outside.

A total of nine magatama (curved beads), including three rare gold magatama (curved beads), have been excavated from the underground of Sangui, and they have been designated as important cultural properties of Japan. Magatama are sacred objects worn by female priestesses, and are said to have been buried here as prayers to appease the anger of the gods.

“Before the magatama was excavated, it was merely a legend, but the fact that such a valuable object was found as physical evidence proves how sacred Sefa Utaki was during the Ryukyu Kingdom era. It can be said that it was truly the most sacred place in the Ryukyu Kingdom.”

Even now, Sefa Utaki is worshiped as a place of prayer, even after the passage of time. Why not surrender yourself to this sacred space, listening to the chirps of the birds, the sounds of the grass and trees rustling in the wind, and the voices of nature, while thinking about the history and spiritual culture that resides in this place?

The post Sefa Utaki, a World Heritage Site famous as the most sacred place in the Ryukyu Kingdom first appeared on NIHONMONO.

Literally translated, it means “salt of life.” The sea salt “Nuchimasu” with this name is made in a factory on Miyagi Island, which is connected to the main island of Okinawa by a bridge. This nutritious salt is rich in 21 types of minerals. It has been 27 years since it was released, and it is now difficult to obtain this salt, but it is made using the same unique manufacturing method as when it was first released.

Natural salt made on a scenic hilltop

Miyagi Island is located in Uruma City, in the center of the main island of Okinawa. This small island is home to a salt factory, a shop, and a restaurant. Nuchimasu Co., Ltd., which can be found at the end of a gentle slope, has been making salt since 1997.

In Okinawan, “nuchi” means life and “masu” means salt. Nuchimasu’s representative, Takayasu Masakatsu, named it this way because he believes salt is so important that it can be said to be the source of human life. Nuchimasu is about 25% lower in salt than regular table salt, but instead contains 21 types of marine minerals. In particular, it contains 200 times more magnesium than regular salt. As soon as it goes on sale in stores and online, it sells out immediately.

Within the factory grounds, there is a cape called “Kafu Banta” that is known as a scenic spot where you can get a panoramic view of the ocean, with its beautiful shades of vivid blue, like a painting, and anyone can visit. “Kafu” means “happiness” in the Okinawan dialect, and banta means “cliff, cape.” As its name suggests, the spectacular view is so beautiful that just looking at it brings a sense of happiness in both body and mind, and it is also popular as one of the most powerful spots in the prefecture.

Takayasu has a factory close to this beautiful sea where he makes salt, but as a child, he wanted to be an inventor, influenced by the stories of great people his father told him every day. He went on to study physics at the University of the Ryukyus. While there, he studied biophysics on his own as a hobby, and said, “Because I had always studied how life was created, I immediately had an idea for how to make salt, which is essential for life. I realized that the salt I make can save humanity.”

After graduating from university, he worked as an engineer for an airline in Okinawa before starting to make salt, and then grew orchids. He developed a fine mist device that cooled the delicate orchids in greenhouses without damaging them, and used it in cultivation. The development of that device was later used in salt production.

When I saw the news about the liberalization of salt, I immediately came up with a method for making it.

In January 1997, news broke that salt was being liberalized in Japan. For about 90 years, salt had been sold by the government, but the salt monopoly system was abolished and anyone could make and sell salt freely. When Takayasu saw the news, he immediately came up with the idea of ​​the room temperature instantaneous aerial crystallization salt production method. He could picture salt falling from the sky. He shivered when he realized that thanks to his studies in college, he had discovered that this salt would save humanity. Takayasu believed that this was the salt that would save humanity, but the public did not readily understand. He sought financing from financial institutions for about a year, but received no positive response. So he had no choice but to convert an orchid-growing greenhouse on the mountain into a room temperature instantaneous aerial crystallization salt production factory.

However, he was not able to immediately create a satisfactory machine, and after disassembling and reassembling it and conducting more than 100 experiments, he was finally able to create the machine that produced the salt he had envisioned.

Salt made using a unique method: instantaneous crystallization at room temperature

Nuchimasu is made using a patented method developed by Takayasu called the room temperature instant air crystallization salt making method. Pumped seawater is filtered and sprayed into a mist, and then hot air is applied to evaporate the water, instantly crystallizing all of the marine mineral components.

By doing this, salt is made that contains the same balance of minerals as seawater, including sodium, magnesium, potassium, and calcium. By eating salt with different ingredients at the same time as a meal, the flavor is enhanced and the taste is deepened.

Nuchimasu is made only by drying the salt that has accumulated in the salt-making room. This produces a very fine, smooth salt. All salt is visually inspected, packaged, and then put through a metal detector before being put on display in the store.

Seawater is pumped up from the Pacific Ocean side of the factory. They say they chose this location after considering the effects of ocean currents, the possibility of human pollution in the future, and looking for a place without rivers. The ocean current in this area flows from south to north, and there are no islands or people to the south, so there is no possibility of future pollution. Furthermore, the seabed is bedrock, so the sea does not become muddy even during big typhoons. They found the perfect place, here on Miyagi Island.

In 2000, Nuchimasu was recognized by Guinness as the salt with the most minerals in the world, with 14 types. In 2003, even more minerals were detected, with 21 types of minerals. In 2009, the results of his research into the relationship between athletic function and minerals, as well as the preventive effects of lifestyle-related diseases, were recognized when he was awarded the Minister of Education, Culture, Sports, Science and Technology Award for “developing an ideal sea salt manufacturing method that overturns conventional wisdom about salt.”

“It’s important to have the ocean inside your body.”

Why are minerals so important to humans in the first place? Because minerals promote digestion in the stomach and intestines, and are responsible for the absorption of nutrients into the body. Takayasu says, “Keeping a lot of minerals in your body will keep you healthy. If you make your body the same as the sea, it will regulate all of your physical condition.”

There is also a case like this. A woman who suffered from severe menstrual pain took 15 grams of Nuchimasu every day, and the pain disappeared from her next period. “Before humans were born, all living things gave birth in the sea. Therefore, it is important that the amniotic fluid that fills the woman’s uterus, where the baby is grown, has the same composition as seawater.” I agree when I hear this.

It is recommended that you take 15g of Nuchimasu every day. Potassium helps the kidneys flush excess salt into the urine. Nuchimasu also contains a lot of potassium, which helps to excrete waste and toxins, and even if you take 15g of it every day, you won’t develop high blood pressure. The salt that was previously sold as a monopoly is 99% sodium chloride, which can cause high blood pressure if taken in excess, but in the case of Nuchimasu, taking 15g a day is said to give you all the benefits of the minerals. In fact, when they tried taking 10g and 15g a day, they found that taking 15g was more effective against menstrual pain.

Long before humans were born, all life on Earth existed in the sea. Fish and other marine creatures take in seawater when they eat food. Although this is natural, people have not thought about taking something to replace the nutrients in seawater even when they start living on land. If they can take that properly, they can maintain the same physical condition as when they were living in the sea. Takayasu explains that this directly relates to health and prevents illness.

I was given tofu made simply by adding Nuchimasu to unsweetened soy milk. Normally, tofu is made by adding nigari to soy milk. Nigari is made up of magnesium, but Nuchimasu still has a lot of magnesium, so tofu can be made by simply adding a small amount of water with Nuchimasu dissolved in it to soy milk and stirring for a while. The freshly made fluffy tofu I was given had a mellow yet strong flavor, which seemed to indicate that it was packed with nutrients.

In the past few years in particular, the products they produce have been selling like hotcakes. They are currently upgrading their machinery to larger models and developing technology to make salt several times more efficient. They are also developing supplements that will make Nuchimasu easier to take while retaining its nutritional components.

Takayasu declares simply that “Nuchimasu can make people all over the world healthy.” This grandiose and passionate idea may actually be a very simple thing, a return to the origins of humanity.

It is with the sincere hope that the sea salt nurtured in the lush waters of Okinawa will protect the health of many people that pure white Nuchimasu is produced on Miyagi Island today.

The post “This salt can make people all over the world healthy,” says Nuchimasu CEO Masakatsu Takayasu. first appeared on NIHONMONO.