Izumo Taisha is known as the shrine of matchmaking. The massive shimenawa rope displayed in its Kagura Hall is an iconic sight that draws visitors’ eyes upward. The organization responsible for crafting this grand shimenawa is the Tonbara Branch of the Izumo Taisha Kan’no-kō Society, located in Iinan Town, Shimane Prefecture. The craft of shimenawa-making, which supports this land of myth, has been passed down as a source of pride for the town.

Giant Shimenawa Ropes Crafted in a Mountain Village Workshop

Iinan Town, located in Shimane Prefecture, is surrounded by the mountains of the Chugoku Range. It is a quiet place where snow falls in winter and is blessed with clear water and fertile fields. The “Izumo Taisha Kanno-kōsha Tonbara Branch” is responsible for crafting the large shimenawa (sacred straw ropes) at the “Oshimenawa Creation Hall” in the town. Mr. Wada serves as the branch’s representative, supporting the long-standing tradition of offering these ropes in this region.

The Tradition of Making Shimenawa Passed Down in the Mountains

The Tonbara Branch of the Izumo Taisha Agricultural Promotion Society is responsible for crafting one of the largest sacred straw ropes in Japan. Its destination is the Kagura-den Hall at Izumo Taisha, which attracts worshippers from all over the country. It measures approximately 13.6 meters in length and weighs about 5 tons. Its sheer scale is so impressive that first-time visitors instinctively stop in their tracks and look up in awe. However, the place where this magnificent shimenawa is created is a workshop located in a mountain village, far removed from the hustle and bustle of the tourist area.

The Connection Between the Giant Shimenawa and Iinan Town

The connection between Iinan Town and the giant shimenawa dates back to the 1950s. At that time, a branch of Izumo Taisha was located in the area. It is said that, as a result of this connection, local residents and worshippers began crafting shimenawa to dedicate to the shrine.

Later, in 1981, when the Izumo Taisha Kagura Hall was constructed, a request was made to create a new shimenawa. The result was a massive shimenawa measuring approximately 13.6 meters in length. To create a shimenawa of a size befitting the Kagura Hall, local residents joined forces to undertake the project. Work on the shimenawa continued, moving from the auditorium of Tonbara Elementary School to the gymnasium of the junior high school. Finally, in 2015, the “Great Shimenawa Creation Hall” was completed as a dedicated facility for shimenawa production.

The “Great Shimenawa Creation Hall,” which preserves the tradition of shimenawa to this day

Essentially, shimenawa serve as a “barrier” separating the realm where deities dwell from the world in which we live. Since ancient times, they have been displayed at shrines, household altars, and home entrances, becoming deeply ingrained in Japanese daily life. At the “Oshimenawa Creation Museum,” visitors can view photographs and materials that trace the history of shimenawa and learn about the local tradition of shimenawa-making that has been passed down through the generations.

Shimenawa woven with skilled craftsmanship

As you proceed further inside, a workshop opens up before you. There, artisans are busy weaving shimenawa ropes. Some weave, others prepare the core, and still others craft small components. The work progresses as each person fulfills their specific role. The scent of dried rice straw fills the air, and the soft sound of twisted straw bundles echoes quietly. The artisans take the straw in their hands and twist it with all their strength, shaping it into a single rope.

At first glance, making shimenawa may seem like a simple task, but creating ropes of uniform thickness requires skilled craftsmanship. How much force to apply when tightening the bundles of straw, and at what angle to twist them together—these nuances are acquired through years of experience.

Making a giant shimenawa to be hung at the Kagura Hall

While the creation of standard shimenawa ropes usually takes place in the back room of the Creative Center, the atmosphere inside changes dramatically when crafting the giant shimenawa to be hung at the Kagura Hall of Izumo Taisha. To create this massive rope, which measures approximately 13.6 meters, the entire building is utilized for the production process.

The giant shimenawa is not made from a single rope. It is completed by braiding multiple thick ropes and combining them. The process of bundling straw, twisting it together, and then assembling the structure requires a great deal of time and manpower.

Rice cultivation for rope-making also takes place in Iinan Town

The production of the giant shimenawa begins in the spring, with the rice planting. The basic principle is to use materials produced locally in Iinan Town, and there are rice paddies within the town specifically designated for shimenawa. The variety of glutinous rice grown here is called “Akaho Mochi.” It is stickier than ordinary glutinous rice and is characterized by its resistance to breaking when twisted into a rope. Such sturdy rice is essential for making massive ropes like the giant shimenawa.

Unlike rice grown for consumption, the rice used for shimenawa is harvested before the grains mature. This is because the stalks, while still green and with strong fibers, produce a stronger and more beautiful rope. The harvested rice is dried, bundled, and eventually twisted into rope. Freshly made shimenawa retains a faint hint of the rice’s green hue. Over time, the color fades, eventually transforming into the familiar, subdued brown seen at shrines.

The Kagura Hall will be renovated this summer

Toward the end of the production process, there is a stage known as “grand twisting.” This involves bundling together numerous thick ropes and twisting them into a single, massive rope. Since this is difficult to accomplish with machinery alone, it requires the combined strength of many people. In Iinan Town, volunteers are recruited to participate in this stage, and local residents and other willing helpers work together to complete the rope. It is said that a total of 800 people are involved in the creation of the giant shimenawa. The massive shimenawa is completed not only by the craftsmen but also through the efforts of the townspeople.

Shimenawa Making: From Iinan Town to the Whole Country

Once the craft center was established and the production process was opened to the public, the technique gained widespread recognition. Today, the center reportedly receives orders for shimenawa from shrines and facilities across Japan, as well as from overseas.

As a result, shimenawa production continues year-round at the center, even during periods when large shimenawa are not being made. The ropes come in a variety of sizes and serve various purposes; from those displayed at shrines to those used for decorating public facilities, the ropes woven in Izumo are shipped to locations all over the country.

Sharing our local pride with all of Japan and future generations

“Making shimenawa is a source of pride for this region,” says Mr. Wada. The shimenawa-making techniques developed here in Iinan Town have now spread throughout the country, becoming an integral part of places of worship across Japan.

At the same time, Iinan Town is facing an aging population. How to pass on the art of shimenawa-making to the next generation is a major challenge. Nevertheless, even today, straw is being bundled and ropes are being twisted in this town. This traditional craft, along with the pride of the community, is being passed down to all corners of Japan, overseas, and into the future.

The post The Tradition of Shimenawa Making Passed Down in Iinan Town, the Birthplace of Japan’s Largest Shimenawa—Izumo Taisha Kan’nōkōsha Tonbara Branch / Iinan Town, Shimane Prefecture first appeared on NIHONMONO.

Yusuke Kawata of “Omishima Minna no Winery” moved to Omishima in Ehime Prefecture on his own to grow grapes and make wine. Having traveled across the country from north to south to study winemaking at various wineries, Kawata’s goal on Omishima is to create wines whose flavors capture the island’s unique charm.

I moved to Omishima after sensing its potential as a wine-producing region

Mr. Kawata, who was interested in winemaking, attended a university in Yamanashi Prefecture—a major hub for Japanese wine—and spent his college years visiting renowned wineries across the country to gain practical experience. Shortly before graduating, he had the opportunity to participate in the “Project to Revitalize Omishima,” launched by architect Toyo Ito, which sparked his interest in winemaking on Omishima.

Ito, who has won numerous architectural awards both in Japan and abroad and enjoys worldwide acclaim, is also a figure who has actively engaged in regional revitalization beyond the realm of architecture. His vision—to utilize the island’s landscape and resources to foster new industries and attract people—resonated deeply with Kawata.

High-quality grapes are an essential prerequisite for winemaking. Kawata realized that Oshima’s climate closely resembles that of Katsunuma in Yamanashi Prefecture—Japan’s premier wine-producing region—and, convinced that this land would surely yield excellent grapes, he decided to embark on winemaking with Mr. Ito and his team.

“The scenery of the Seto Inland Sea is truly magnificent. It’s very similar to Shizuoka, where I was born and raised—the sea is close by, it feels wonderful, and the people who live here are kind. I wanted to try growing grapes and making wine here.” In 2015, Kawata moved to Omishima on his own. He leased abandoned farmland—which had become a challenge for the island—planted grapevines, and began cultivating grapes.

The constant trial and error is challenging, but it’s also fun

Although he has a deep knowledge of wine, grape growing was a first-time challenge for Mr. Kawata. He began by consulting local farmers who knew the land intimately to select high-quality vineyards suitable for grape cultivation. “The soil on Omishima is sandy loam formed from weathered granite, which drains well and is ideal for growing grapes. However, it also has poor water retention, so we have to take that into account. “I’m working on this while learning various techniques from local farmers, such as adding compost to activate the soil’s microorganisms,” says Kawata. His commitment to using locally sourced fertilizers stems from his desire to preserve the unique character of the land. He also values grape cultivation that is deeply rooted in this region, going so far as to handcraft the materials for his trellises with the help of a local shipyard.

We grow a variety of grape varieties, including the popular Chardonnay, Muscat Bailey A—the first variety developed in Japan—and Albariño, which originates from coastal regions of Spain and Portugal where the climate is similar to that of the Seto Inland Sea. “I chose Chardonnay because it’s grown all over Japan, so I thought it would be easier to discern the terroir. Koshu is also a famous variety, but I felt I might be too constrained by its name, so I’m not growing it at the moment. I’m experimenting with various varieties—looking for ones that are disease-resistant, high-yielding, and well-suited to the island—but it’s going to take quite some time to find the right answer,” he says. Both cultivation methods and variety selection are a constant process of trial and error.

Wines raised on the island, crafted at a small winery by the sea

The grapevines planted in 2015 bore fruit for the first time in 2016, but unfortunately, the entire crop was devoured by wild boars, so the following year, 2017, marked the long-awaited first harvest. The harvested grapes were vinified at a winery outside the prefecture, resulting in the birth of Omishima’s first-ever wine—a truly historic milestone. Furthermore, in 2019, a winery was established on the grounds of “Omishima Ikoi no Ie,” an accommodation facility renovated from a former elementary school. This made it possible to produce wine that is 100% Omishima-grown in both name and reality.

Despite various design constraints, Mr. Kawata poured everything he had learned into the winery, striving to incorporate as many of his personal preferences as possible. One such feature is the gravity flow system, which utilizes the elevation difference to move raw materials to tanks and aging vessels. He explains that this method places less strain on the grapes than using pumps, allowing their natural flavors to shine through. For the tanks, after carefully weighing the pros and cons of options such as enamel, resin, and concrete, they ultimately opted for custom-made stainless steel tanks from Slovenia. They also introduced French oak barrels, both five-year-old and three-year-old. While new barrels impart a strong woody aroma, the flavor becomes milder with use, deepening the harmony with the wine. Selecting the right barrels based on their age-specific characteristics is another of Mr. Kawata’s key commitments.

First, a wine that more people will enjoy

Mr. Kawata aims to create “truly Japanese” wine. “Rather than striving to meet Western standards, I want to cherish the flavors that emerge from Japan’s climate and soil, using grapes grown right here in Japan. I believe there is genuine value in the ‘truly Japanese’ wine that results from this approach. The lightness that was once described as ‘like water’ is, when you look at it another way, a gentleness that complements any dish. It’s unpretentious and comes alive at the dinner table. That, I feel, is what a ‘Japanese-style’ wine is all about,” he says.

A pleasant life on Omishima, surrounded by grapes and wine

It has been 10 years since Mr. Kawata moved to Omishima. While there have been significant changes in grape cultivation and winemaking, he says these past 10 years have also been a whirlwind of changes for him personally.

“I came to Omishima alone, but then I met my wife, we got married, and we had a child. It’s been a decade in which the meaning of my life shifted from ‘coming here to grow grapes and make wine’ to ‘living here.’ Even though I sometimes feel a bit of inconvenience regarding infrastructure and such, every day is fulfilling, and I am truly satisfied with my life on Omishima,” he says.

The island’s current population is approximately 5,000. While the original resident population is on the decline, the number of people moving to the island from elsewhere is reportedly increasing. The reasons for moving vary from person to person, but many cite a desire to live in the Seto Inland Sea, a wish to contribute to the island’s revitalization—such as through the Regional Revitalization Corps—or a decision to settle here after falling in love with the place during a visit. Even without moving permanently, some people maintain a dual-residence lifestyle, keeping their primary address and job elsewhere. “I wonder if the number of people leaving the island will eventually be overtaken by the number of people moving in?” Kawata says with a laugh.

Wines from a small island in the Seto Inland Sea

While Omishima has many charms, it also faces its share of challenges. Adapting to the climate changes caused by global warming in recent years is a serious issue. In particular, the summer of 2024 brought life-threatening heat, forcing both people and the grapes to struggle just to survive.

Furthermore, according to Mr. Kawata, neither the grapes nor the wine have yet reached a satisfactory level in terms of quality or technique. “I haven’t yet established what ‘the taste of Omishima’ means to me,” he says. “So, my first priority is to clarify that. My goal is to create a wine that expresses the atmosphere of Omishima—a wine that is approachable and full of depth, one that allows you to feel the sea and the wind of Omishima.”

His immediate goals are to produce wines with a flavor he finds satisfying and to get the islanders—who aren’t accustomed to drinking wine—to try their wines. Beyond that, winning an award at the Japan Wine Competition is his primary objective, and eventually, he hopes to compete in international competitions. Mr. Kawata’s dreams continue to expand.

The post Our goal is to create wines that capture the essence and atmosphere of the Seto Inland Sea. “Omishima Minna no Winery” / Imabari City, Ehime Prefecture first appeared on NIHONMONO.

“Yoheho~, yoheho~.”The “Yamaga Lantern Festival” features about a thousand women dancing gracefully to the folk song “Yoheho-bushi.” The lights flickering above the dancers’ heads are Yamaga lanterns, traditional crafts. Hirotaka Nakajima is the fourth-generation master of Yamaga lantern making. While grounded in tradition, he is not afraid to adapt to the times.

The ethereal lights flickering above the dancers’ heads are traditional crafts

————No bones, no flesh, Yoheho, Yoheho————

The “Yamaga Lantern Festival” features approximately 1,000 women dancing gracefully with supple movements to the folk song “Yoheho-bushi.” Held every August, it is a major event in Yamaga City that typically attracts over 100,000 visitors annually. Legend has it that the festival originated when the villagers of Yamaga guided Emperor Keiko, the 12th emperor, who had lost his way in thick fog, by holding torches aloft.​​The source of the fantastical light flickering above the dancers’ heads in the darkness of night is the “Kin-tōrō,” a type of Yamaga lantern that is a traditional craft.Although they appear to be made of metal from a distance, they are actually made of paper. Without using any wood or metal fittings, they are assembled into three-dimensional forms using only Japanese paper and a small amount of glue, weighing a mere 180 grams. Achieving the substantial and luxurious appearance that defies belief that they are made of paper requires exquisite craftsmanship, and their creation is entrusted to artisans known as “lantern masters.”

Hirotaka Nakashima is the fourth-generation member of a family of lantern makers with a history spanning over 100 years. While his great-grandfather and grandfather ran both a lantern-making business and a clock shop, his father’s generation focused solely on lantern-making, and today he operates “Yamaga Lantern Shop Nakashima,” a specialty store along the Buzen Kaido.Born as the second son in a family of lantern makers, Nakajima worked as a company employee until the age of 33. However, realizing that the craft would die out if none of his brothers took over the family business, he made a determined resolution. He became his father’s apprentice, entered the path of lantern making, and has continued on that path to this day.

He switched careers from a different industry and mastered the craft under his father, his master

Making the career switch from a different industry was not easy. Although he had watched his father create lanterns up close since childhood and had been training even before the switch, the skills of a traditional craftsman are not easily acquired. The production of Yamaga lanterns involves a continuous series of meticulous tasks that cause pain in the fingertips, eye strain, and stiff shoulders. It requires extraordinary concentration and perseverance. Moreover, he received relentless criticism from his father, his master.“But looking back now, I’m grateful to my father for treating me as a disciple rather than going easy on me just because I was his son,” says Nakajima. To be recognized as a lantern maker, one must undergo about 10 years of apprenticeship and have one’s skills acknowledged by other lantern makers. Nakajima received his certification in 2017, after he had already entered his 40s.

Yamaga lanterns feature traditional styles, including the aforementioned gold lanterns, as well as “Miyazukuri” (shrine-style), which takes inspiration from shrine and temple architecture such as main halls, gate towers, and five-story pagodas, and “Zashikizukuri” (parlor-style), which mimics traditional Japanese houses.In addition, there are many works created by the lantern makers themselves, resulting in a diverse and extensive range of styles. These are primarily used for the “dedicatory lanterns” described below, and some are designed to be displayed without a light. Furthermore, they are often displayed in local homes as substitutes for lanterns during the first Obon memorial service, and custom orders featuring family crests are also available.

There are three criteria for Yamaga lanterns: “use only hand-made Japanese paper and starch paste,” “the main components of the lantern must be hollow,” and “do not create overlapping edges on curved sections.”Consequently, the designs are free and diverse, with examples ranging from Benkei from the *Kanjincho* to trains and battleships. Among these, the gold lanterns attract particular attention, not only because they are the symbol of the Yamaga Lantern Festival but also because they represent a rite of passage for lantern artisans. They embody the full range of skills required of a lantern artisan, and successfully completing a gold lantern is considered the first step toward certification.

A traditional craft deeply rooted in the life of the local community

The creation of a gold lantern involves endless work precise to the millimeter.Thick washi paper, onto which the design has been traced, is cut and assembled. While this may sound simple, because the lantern is hollow and lacks a framework, its shape and structural integrity must be maintained solely through the layering of washi paper. This is why the Yamaga lantern is nicknamed the “boneless lantern.” This is also the reason behind the line in the folk song mentioned at the beginning: “No bones, no flesh.”

Since there are neither bones nor flesh, even the slightest misalignment in the layered washi paper causes the structure to collapse. And to ensure a perfect fit, the washi paper must be cut with absolute precision, without the slightest deviation. A gold lantern consists of approximately 200 parts and takes about three days from preparation to completion. Hearing Mr. Nakajima say, “To create a Yamaga lantern, you need the perseverance to see it through without losing focus,” I find myself nodding in agreement once again.

The lanterns made in this way are placed atop the dancers’ heads and are also used as dedication lanterns. Dedication lanterns are those commissioned by neighborhood associations and other groups from lantern artisans specifically for the festival; they are so named because they are dedicated to the local Ōmiya Shrine after being displayed during the festival period. There are no regulations regarding their shape, and the motifs are decided through consultation between the group and the lantern artisan.Every year, 27 to 28 lanterns are made, and after the dedication, they are stored and displayed in the “Lantern Hall” within the shrine. They are replaced with new lanterns one year later in August. “It happens every year, but it truly makes me happy when the clients are pleased. It’s the moment when I feel rewarded for all my hard work,” says Mr. Nakajima.

To Pass Tradition On to the Future, We Must Ask Questions

Legend has it that Yamaga lanterns originated about 2,000 years ago when the 12th Emperor Keikō was on a royal tour of the Tsukushi region and his path was blocked by thick fog; the people of Yamaga guided him using torches.Afterward, the people continued to offer torches to Omiya Shrine, which enshrines Emperor Keikō, and during the Muromachi period, these torches evolved into Yamaga lanterns. Then, in the Edo period, influential figures in the town began competing to create the most lavish lanterns for their offerings, leading to the full blossoming of the Yamaga lantern culture.

Currently, there are seven active lantern makers in total. Five of them are women and two are men, with most in their 50s and 60s.There are three apprentices aiming for certification. While the number of lantern makers has remained stagnant over the past few decades, all the apprentices are in their 20s. Nakajima believes, “The future of Yamaga lanterns is by no means a situation to be optimistic about, but it’s not one to be pessimistic about either.” However, he also notes that “questions” are necessary to pass the tradition on to the future.

“I want to expand the occasions where people purchase them not just for festivals, but as traditional crafts for everyday use. If their usage is limited, the tradition will only dwindle. To achieve that, I need to ask: What kinds of products will sell? How can we make Yamaga lanterns feel more accessible to consumers…?”

By constantly asking these questions, Nakajima strives to bring new creations to the world. “By making gradual updates in line with changing times and needs, there are surely traditions we can preserve.” Continuing to craft lanterns while holding these questions in mind—it is this accumulation of effort that will carry the light of Yamaga into the next generation.

The post Asking questions and keeping the light alive. “Yamaga Lantern Shop Nakashima” – Hirotaka Nakashima / Yamaga City, Kumamoto Prefecture first appeared on NIHONMONO.

Located in Iizaka-machi, Fukushima City, “Momiyama Orchard” produces cherries, peaches, and apples. Kazuhiro Momiyama, the fifth-generation owner of this long-established orchard—which has been in operation since the 1890s—continues to produce superior fruit through relentless curiosity and daily research, including a commitment to natural soil cultivation.His wife, Tomomi, runs a farm stand and café that sells fresh fruit and original processed goods from the orchard, promoting the appeal of Fukushima’s prized fruits. “Nothing makes us happier than hearing people say our peaches and apples are delicious,” the couple smiles, their hearts united in this shared passion.

An Orchard and Family Bonds Passed Down Since the Meiji Era

Fukushima City offers high-quality fruit throughout the four seasons: strawberries in spring, cherries in early summer, peaches in summer, pears and grapes in autumn, and apples in early winter. Located in a basin surrounded by the Azuma Mountain Range and the Abukuma Highlands, the area enjoys a blessed climate that allows for the cultivation of both cold-climate and warm-climate fruits. Through continuous breeding improvements and technological innovations, a wide variety of fruits thrive here.

Located along the so-called “Fruit Line,” a stretch lined with such orchards, is “Yotsuba no Clover FARMERS GARDEN,” the direct sales shop and café of Momiyama Orchard. The pure white building, blending gently into the idyllic landscape, is particularly striking.

Matsuyama Orchard, a long-established orchard with a history spanning over 100 years since the 1890s, is located in Iizaka Town, Fukushima City, where dozens of orchards are scattered. They cultivate cherries, peaches, and apples, and Kazuhiro, the fourth-generation owner and son of the founder, has even received the Minister of Agriculture, Forestry and Fisheries Award.“Since I grew up hearing my father repeatedly say, ‘Farming is great,’ I had no hesitation whatsoever about taking over the family business,” Kazuhiro says with a smile. After graduating from university, he spent a year training as an intern at the Fukushima Prefectural Agricultural Comprehensive Center’s Fruit Tree Research Institute, and took over the family business at the age of 23.

Premium fruit nurtured by the temperature fluctuations unique to the basin

Fukushima is widely recognized as the “Fruit Kingdom.” Fukushima peaches are characterized by their bright red color, the result of abundant sunlight, and their high sugar content. Due to the significant temperature difference between day and night, sugar accumulates well in the fruit, making it easy to grow peaches with a strong sweetness. While Fukushima ranks second in the nation for peach production, it is by far the top consumer of peaches nationwide. In fact, residents of Fukushima Prefecture consume more than seven times the national average.

In Fukushima City, a wide variety of peaches are grown from late June to late September, and at Momoyama Orchard, we cultivate over a dozen different varieties in succession.Starting with the early-ripening “Hatsuhime,” followed by “Gyosei,” “Akatsuki,” and “Madoka,” and ending with the late-ripening “Yuzora” and “Sakura Hakuto,” this relay of diverse peach cultivation delivers the delicious flavors of the season.

Fukushima’s signature peach, “Akatsuki”

In the past, while many prefectures gave up on cultivating “Akatsuki” because they couldn’t overcome a single flaw during trial cultivation, only Fukushima Prefecture persisted without giving up and successfully overcame that flaw. Today, it has become a nationally recognized variety that represents Fukushima peaches.

“Thanks to the perseverance of the people of Fukushima, it has grown to its current size, and ‘Akatsuki’ is now synonymous with Fukushima,” Kazuhiro says with a smile. With its vibrant color, juiciness, and superb balance of sweetness and acidity, “Akatsuki” is popular as a mid-summer gift and for other occasions. We aim to harvest it every year just before Obon (late July to early August).

Rich in Minerals: Naturally Derived Soil Management

Kazuhiro, who tends to the fruit with love alongside his father, Kazuhiro, and with the help of part-time workers, speaks calmly: “I firmly believe in never compromising on our work.” He also focuses on natural soil cultivation, spreading crushed oyster shells from the Sanriku region—rich in minerals—onto the soil to harness the power of microorganisms, creating an eco-friendly approach.

Spring work begins with “bud thinning,” which involves reducing the number of buds before they bloom, cutting the total down from 100% to about 30%. This is followed by “fruit thinning,” where unwanted fruit is removed while the fruit is still small. Fruit thinning—removing fruit while it is young—is an essential step for producing high-quality fruit. Furthermore, he places great importance on maintaining healthy trees through winter pruning.

Delivering the Season’s Freshest Flavors Through a Variety of Peaches

You may have seen fruit in orchards covered with bags (or “skirts”). These are placed by hand, one by one, to protect the fruit from “rain burn”—a condition where the fruit splits open when heavy rain falls suddenly after a prolonged period of dry weather that has left the soil overly dry. By the time the fruit begins to color, the bags (skirts) are removed to allow sunlight to reach the fruit and promote coloring.Since the fruit won’t turn red all over unless it receives even light, a light-reflecting sheet is placed underneath. “The parts covered by leaves are particularly slow to color, so if you cut the leaves in half occasionally, they’ll start to color in about two days,” he explained.

Peaches turn red starting from the tip, and each variety reaches peak ripeness in about 10 days to two weeks.

Apparently, the ones with a vivid red color are sweeter and tastier. By performing these tasks in sequence, the relay of cultivating multiple peach varieties is completed. One of the real pleasures is savoring and comparing the various peach varieties harvested in season.

“My personal recommendation is ‘Yuzora.’ Compared to other varieties, it’s difficult to grow because it experiences a lot of physiological drop—where the fruit falls off naturally—but the flesh is dense, juicy, and smooth, making it incredibly delicious,” says Kazuhiro. He also recommends it for those who prefer firmer peaches.

Growing Delicious Fruit and Passing Agriculture on to the Future

Kazuhiro’s current challenges include taking on new challenges in fruit tree cultivation with an eye toward the future, and addressing labor shortages caused by the aging workforce in the orchard. “Since determining the optimal harvest time requires extensive experience, I handle the harvesting myself, except when my father helps out.” He is acutely aware of the difficulties in implementing IoT technology in an orchard, where years of experience and skilled techniques are essential.

“I’m thinking of reducing the cultivation area slightly in the future so I can focus more on each individual tree,” he shared honestly. “At the same time, I have a strong desire to preserve this region as a fruit-growing area, and I’m torn because I don’t want to create abandoned land while others around me are retiring due to old age.”

Although abnormal weather patterns have persisted in recent years, Kazuhiro says, “Striving daily amidst the harshness of nature to produce delicious fruit is what makes fruit farming interesting and is the pride of a professional orchardist.” While devoting himself to research and producing better fruit, he also considers the development and sustainability of agriculture in Fukushima.

Turning Freshly Picked Fruit into Exquisite Sweets and Processed Goods

Driven by the desire to “share the delicious fruit Kazuhiro has grown with such love with as many people as possible,” his wife, Tomomi, opened “Yotsuba no Clover FARMERS GARDEN,” a farm stand and café, in November 2019. Located along the “Fruit Line”—a prefectural road lined with tourist orchards—it operates only during the fruit harvest season, yet attracts many visitors from both within and outside the prefecture every year.

“My parents also ran a fruit farm, but even though they worked from early morning until late at night, they never got to hear directly from the customers who bought their produce, so I always wanted to open a farm stand someday,” Tomomi says with a smile. At the farm stand that fulfilled her long-held dream, they sell seasonal cherries, peaches, and apples that Kazuhiro has carefully cultivated, as well as handmade processed goods like jams and juices that highlight the natural flavor of the fruit.In the attached café space, desserts made with generous amounts of freshly picked fruit are a big hit. The “Luxurious! Whole Morning-Picked Peach Parfait,” which is both adorable and visually striking, is also a huge hit. On sunny days, you can enjoy desserts and drinks on the terrace while admiring the views of the surrounding mountains.

We want to share the appeal of Fukushima’s fruit with children and younger generations

One of the unique advantages of a direct sales shop is the ability to sell “B-grade” items—such as fruit with minor blemishes or smaller-than-average pieces—directly to customers. “These items are well-received by our customers, and when they return, they often buy jams made from the same fruit as souvenirs,” says Tomomi. It has been six years since she opened the direct sales shop and café she had long dreamed of.“I feel joy in sharing Kazuhiro’s delicious peaches with so many people, and in passing on the appeal of Fukushima’s agriculture and peaches to my own children,” she says with a beaming smile. “It also makes me happy to see the younger generation taking an interest in Fukushima’s fruit and agriculture through the café,” adds Kazuhiro, his face also lighting up with a smile.

Drawing energy from customers’ comments like “That was delicious,” the Momiyama couple work hand in hand to promote the appeal of Fukushima’s fruit. They continue to protect the precious orchard inherited from their ancestors with pride.

The post Kazuhiro and Tomomi Momiyama of Momiyama Orchard, who carefully cultivate Fukushima’s prized peaches using natural soil-building methods / Fukushima City, Fukushima 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.

MONKEY MAJIK, one of Japan’s premier rock bands, continues to shine in the music scene. Their vocalist and guitarist, Maynard Plant, and drummer, TAX, are now dedicated to beekeeping. They harvest honey in Tomiya City, Miyagi Prefecture, where they’ve lived for over 20 years. They sell their raw honey at a shop called “EIGHT CROWNS” inside the city’s central tourist exchange station, “Tomiya-do.”What led these musicians to become beekeepers…?

Beekeeping in Tomiya, inspired by childhood memories

Tomiya City, Miyagi Prefecture, is a town of over 50,000 people adjacent to northern Sendai City, once prosperous as a post town. In recent years, it has gained attention as a “child-rearing friendly town,” attracting young families. Living in Tomiya for over 20 years are MONKEY MAJIK’s Maynard Plant and drummer TAX, aka Takuya Kikuchi.

These two founded the honey company “EIGHT CROWNS” in 2018.

The world of beekeeping they encountered in Canada

The background to this lies in Maynard’s childhood in Canada. As a teenager, he sometimes helped his uncle, who was a beekeeper. He learned firsthand about nurturing the tiny lives of tens of thousands of honeybees, how their pollination allowed crops to bear fruit, and how people then enjoyed that bounty. It was a time of experiencing the cycle of nature and the role each living thing plays. That memory stayed with him, becoming a desire to “try it myself someday.”

An encounter in Tomiya City connects the dots

Amidst this, Maynard, who was serving as a navigator on an NHK local program, met Tomiya City Mayor Hirotoshi Wako. Mayor Wako was interested in “urban beekeeping” conducted on building rooftops and was practicing it on the roof of Tomiya City Hall. Sensing something fateful in this, Maynard decided, “Tomiya is a town promoting beekeeping, so I should try it too!” and began beekeeping with TAX.

The Beginning: “Eight Beehives”

They started by placing seven Western honeybee hives and one Japanese honeybee hive—eight hives total—in the lush green area called “Nanatsumori” in central Miyagi Prefecture.The “EIGHT” in the company name EIGHT CROWNS comes from this. Maynard explains that “CROWNS” was chosen because he wanted a word showing respect for the queen bee, adding with a laugh, “Later, I realized ‘EIGHT’ is the Japanese word for the number eight (hachi), so it was perfect.”

Creating Unique Honey Through Terroir-Driven Beekeeping

Rather than migratory beekeeping, which moves hives in search of flowers, Maynard and TAX wanted to harvest honey from their own terroir. They planted Japanese honeysuckle (Lonicera japonica) as a nectar source. Known for its distinctive blue-purple flowers, Japanese honeysuckle is considered one of the best nectar plants for honeybees. Collecting its nectar produces a golden, fruity honey. Characterized by a light sweetness, it pairs well with tea, yogurt, and cheese.While the honey yield is never large, their sole focus is on quality.

While they may expand their collection sites, they have no plans to move their hives. The flavor of the honey subtly changes each year due to the climate and natural environment. They find value in these differences, seeing them as the unique terroir of this land, offering distinct tastes to enjoy.　

The “WILD FLOWER” flavor born in Tomiya

Given Tomiya’s location, collecting monofloral honey from a single type of flower is difficult. Instead, they harvest nectar from mountain cherry, acacia, wisteria, and others, packaging it as “WILD FLOWER.” Meanwhile, they source and sell monofloral honeys from beekeepers across Japan who share their scale and dedication.

Using this single-flower honey (acacia), the company focuses on producing Infused Honey, where ingredients like habanero peppers, lemon, and saffron are steeped in honey. Beyond its versatility in cooking, it’s gaining attention overseas for its potential health benefits, such as boosting metabolism and enhancing immunity.

Challenging the World from Tomiya with Honey Wine (Mead)

Furthermore, they brew “mead” from WILD FLOWER. Mead is an alcoholic beverage made by fermenting honey, water, and yeast. It is said to be the world’s oldest alcoholic beverage, even appearing in mythology.

Developing Mead with Tohoku Breweries

The impetus for mead brewing came when TAX, during MONKEY MAJIK’s Canadian tour, saw an in-flight magazine feature on mead and proposed, “We should definitely try this.” After returning to Japan, Maynard and TAX sampled meads worldwide and decided to commission brewing with a sake brewery in the same Tohoku region.Only about 20-30 companies in Japan brew mead, and this company is the sole producer in the Tohoku region. The rarity lies in the very environment capable of producing mead. Leveraging fermentation techniques honed in sake brewing, they craft mead that preserves the honey’s natural aroma and flavor. The range extends from sweet to dry styles. Maynard and TAX tasted it and found it delicious, which was the deciding factor in entrusting them with the brewing.

A dry, fruity cup born from sake yeast × raw honey

EIGHT CROWNS’ mead uses sake yeast as an ingredient. Combining watered-down raw honey with sake yeast results in a slightly tart, dry finish. After much experimentation, the president of Mine no Yuki Shuzo settled on this yeast, producing a mead that’s fruity like Muscat grapes and easy to drink.

Maynard laughs, saying of his mead, “I never imagined it could taste this good! I’m incredibly satisfied.” Just as grapes determine wine’s flavor, honey dictates mead’s taste. It goes without saying that EIGHT CROWNS’ exceptional honey creates exceptional mead.

Worldwide Recognition

EIGHT CROWNS’ mead, named “WILDFLOWER TRADITIONAL MEAD,” won a gold medal at the 2023 BTI World Mead Challenge, a globally recognized American mead competition. It boasts an exquisite balance of acidity and sweetness, with a clarity reminiscent of sake. Though Maynard was initially hesitant about brewing mead,his pursuit bore fruit, driven by the desire to “pair it perfectly with various dishes and deliver the natural bounty gathered by bees directly to the table.”

His goal is to create “the world’s best mead” and connect beekeepers globally.

When asked about his future dreams, Maynard shared: “First, I want to build my own meadery.” He also aims to create a mead that surpasses even their highly acclaimed current offerings to become the “world’s best,” and to revitalize the local community through mead.

He also smiled as he shared his vision as a beekeeper: to become a “hub” connecting beekeepers not just in Japan, but around the world.

EIGHT CROWN honey is unheated and minimally filtered, preserving abundant natural vitamins, minerals, and enzymes. This is because they want to deliver the flavor and nutrients of the nectar gathered by bees from flowers with as little loss as possible. This also connects to expressing Tomiya’s terroir.

Born in a small town in nature-rich Miyagi Prefecture, this honey and mead, recognized worldwide, should bring richness and vitality to everyday life. We invite you to experience the “finest honey and mead” born in Tomiya with all five senses.

The post The goal is to create the world’s best mead in both name and substance. Maynard Plant, Representative of “EIGHT CROWNS” / Tomiya City, Miyagi 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.

Kiyosato Jam began when its founder relocated to run a pension, eventually creating jams and cordials with unique recipes that resonated widely. President Yoshiki Sanoma attributes this success to “Kiyosato’s distinctive environment,” a place with a history of welcoming pioneers. What drives his ongoing product development?

Jam Making Born from Pension Management

Located in the Moegi Village area of Kiyosato, Hokuto City, Yamanashi Prefecture, at the southern foot of the Yatsugatake Mountains, is Kiyosato Jam Agricultural Corporation. Here, you’ll find jams so fresh and juicy that people say it’s “like eating the fruit itself.”

“We avoid unnecessary steps and let the ingredients’ natural flavors shine,” says Yoshiki Sanoma, President and CEO of Kiyosato Jam Agricultural Corporation.

They continue making jam with the motto of valuing “sincerity” over manufacturing efficiency. Mr. Sanoma established the “Kiyosato Jam” workshop in 2003. It began when he moved to this area in his early thirties and started producing ingredients for the pension business he launched.

Starting a Second Life in Kiyosato

Born in Gunma Prefecture, Mr. Sanoma moved to Tokyo for university and later pursued a career in fashion by attending a specialized school. After graduation, he worked as a designer under a famous fashion designer. While the work was rewarding, he gradually felt stifled by the relentless, fast-paced days of constantly chasing trends.

Longing to work amidst nature reminiscent of his hometown, he decided to pursue the then-booming pension business. While searching for properties around the Yatsugatake area, he encountered Kiyosato and resolved to establish his pension business here.

Interest in Agriculture

Reflecting on those early days, Sano-san recalls starting farming himself because he couldn’t reliably source the ingredients needed for the meals served at the pension.

He started by growing herbs and vegetables, but gradually became deeply immersed in farming. “I started farming because I had no choice but to grow my own ingredients, but it actually worked out pretty well. Since I was already interested, I studied and gradually expanded what I grew.” After much trial and error searching for crops suited to Kiyosato’s soil, he settled on blueberries.

He began cultivating them in earnest as a tourist farm. When he served homemade blueberry jam made from his harvest with meals at the pension, it received overwhelmingly positive feedback from guests. Requests for supplies also started pouring in from nearby hotels, finally prompting him to take the plunge into full-scale product development.

Kiyosato’s Welcoming Environment and the Expanding Jam Business

Mr. Sanoma began developing the processed goods market as a pillar alongside lodging. A pivotal moment arrived in 2003 when he was approached about the construction of facilities within Moegi Village, an initiative conceived by the then-mayor of Takane Town.

“The mayor at the time was an extremely enthusiastic and intelligent person. While the region traditionally focused on dairy farming and its products like milk, he dedicated himself to developing other local specialties and agriculture.”

Creating specialty products beyond milk. To fulfill this mission, Mr. Sanoma entered the jam-making business with a direct recommendation from the mayor. Successfully selected, he expanded the small-scale operation—previously only producing enough for the pension—and established “Kiyosato Jam Agricultural Corporation, Ltd.”Finally, the “Kiyosato Jam” brand, using local Yamanashi fruits, was born. Mr. Sanoma describes this entire process as “something only possible because it was Kiyosato.” “Kiyosato is a town of pioneers, so it had a culture of welcoming outsiders.” Indeed, history shows that residents from villages submerged by the 1938 construction of the Okutama Lake dam relocated to the Kiyosato area and began new settlements.Kiyosato, which developed the region through the harsh work of reclaiming barren land while enduring severe cold and hunger, likely possesses the “culture of acceptance” Sano-san mentions. It was precisely because of this culture, which treated migrants without discrimination, that such a new movement could emerge.

Back then, Takane Town was also an early adopter of “farmstay collaboration,” combining agricultural experiences with lodging. The town mayor established an organization called the Youth Academy, conducting annual study tours to European countries. They learned how to link agriculture to tourism through “agritourism” and observed vegetable and fruit production sites firsthand.”It was an extremely meaningful experience,” recalls Mr. Sanoma, who was a member of the Youth Academy at the time. Inspired by these study tours, Mr. Sanoma began implementing initiatives at his pension that combined lodging with farm activities, such as picking experiences and jam-making workshops.

The Enchanted “Kiyosato Jam”

The most popular product in the “Kiyosato Jam” line is the white peach jam. “While strawberry jam is usually the top seller, white peach is our best seller,” he explains.One reason is that by manufacturing and selling only during the peak season, they can deliver the inherent fresh, juicy flavor of the fruit. Of course, the other varieties in the lineup are also so popular they sell out within the season. The jams, made from carefully selected ingredients, come in 25 different types.

The “Kiyosato Jam,” featuring large chunks of fruit for a satisfying texture, comes with a trade-off. “Preparing the fruit takes half a day, which is inefficient,” he says with a wry smile. While typical jam production might allow for three batches a day, here they can only manage one.The daily process begins with prepping ingredients personally inspected by Sano-san in the morning. His jams have a sugar content of 37 degrees Brix, slightly lower than store-bought varieties. This allows the acidity, aroma, and the depth of flavor from the natural bitterness to shine through, resulting in a jam that highlights the ingredients’ true taste rather than just sweetness.

He uses a unique “vacuum low-temperature concentration” method, taking time to evaporate moisture without using additives like pectin or flavorings to achieve the jam’s viscosity. This process concentrates the ingredients’ flavors, resulting in a jam that is fruity and tastes like “the fruit itself.”

Mr. Sanoma described this entire process as “casting a spell.” Inside each jar of delicious-looking jam lies the magic he arrived at through continuous trial and error, packed tightly within.

A “Japanese Cordial” found only here 

Jam-making began as a side venture to the pension business. While wholesale to retailers and hotel shops was the main focus until recently, requests for product development have increased in the last few years—for jams served at hotel breakfasts and gift jams. “Thanks to the positive response, I truly feel our recognition is gradually growing,” Sano-san answers proudly.

In response, they closed their thriving pension business and now focus solely on jam production. Within this shift, a new product called “Cordial” was developed.

Cordials are relatively unfamiliar to Japanese consumers. Originating in Britain, they are flavored syrups meant to be diluted. They can be enjoyed in various ways: mixed with sparkling water for a non-alcoholic drink, or added to tea or yogurt to savor their aroma and sweetness. Currently, most cordials available in Japan are imported, with very few produced domestically.

“Of course, our best-selling product is jam. But jam-making and fruit processing naturally lead to developing various other products. Cordial is one such example. We enjoy processing and are actively developing new products.”

Since its development, it has grown into a popular product, garnering significant attention as “Japanese cordial.”

The Future of “Kiyosato Jam”

The current challenge for Kiyosato Jam Co., Ltd. is a shortage of workers. Mr. Sanoma himself is getting older, and finding the next generation to take over is proving difficult. Furthermore, many of the farms supplying the fruit are closing down because they lack successors. There’s also anxiety about whether they can continue sourcing the same fruits consistently, due to poor harvests caused by global warming. Yet, even in these tough circumstances, quitting jam-making is not an option for Mr. Sanoma.

“Even so, I still get ideas for things I want to do. I think it’s like being told, ‘You should keep working for the world.’ So, while I can still move, I want to challenge myself in various ways. Making bread that pairs well with jam is my immediate challenge.”

Kiyosato Jam offers a variety of products, including jams, cordials, and bread. At its core lies the desire to create quality goods, to contribute to Yamanashi’s agriculture and tourism, and ultimately, to serve the world. Through trial and error, developing unique methods, and crafting products with sincerity, Sano-san’s journey will likely continue to be embraced by the world.

The post Made possible by the land of Kiyosato: “Kiyosato Jam Agricultural Corporation, Ltd.” / Hokuto City, Yamanashi Prefecture first appeared on NIHONMONO.

The Amataki-Ondan Terraced Rice Fields in the Ondan district of Kawauchi, Toon City, Ehime Prefecture, designated as a “Connecting Terraced Rice Field Heritage.”The “Hotaru Mai” rice grown here has received high acclaim, including consecutive Gold Awards in the 22nd (2020) and 23rd (2021) editions of the “International Rice Taste Analysis and Appraisal Competition – International Comprehensive Division.”

Farming to preserve the terraced field landscape

My family home is a farm in Toon City that cultivates rice and shikimi (an evergreen tree used in Buddhist ceremonies). In my youth, I strongly yearned for the city and had no intention of taking over the family business. After graduating from university, I ended up working for the local Toon City government. While working in the Agriculture and Forestry Promotion Division, I became deeply involved in community activities, including the maintenance of terraced rice fields. There, I faced the reality of agriculture declining year by year and the loss of the landscape of the past.Onda is a small village of about 40 households. Its farmland totals just over 10 hectares. After the war, the entire Kawauchi area had about 80 hectares, but currently only about 50 hectares are cultivated. Driven by the desire to “preserve the terraced rice field landscape,” he took early retirement at age 58 and began seriously pursuing rice farming.

Shortly after starting rice cultivation, he had agricultural cooperative staff measure the taste score of his rice. Unexpectedly, it scored a high 88 points. This high score from his first harvest gave him great confidence that the terraced fields of Amataki and Onda were indeed a place capable of producing delicious rice.

Clear Streams and Terraced Fields Nurtured by Forests and Valleys

The Onda terraces possessed all the conditions necessary for growing delicious rice. Located at an elevation of 250 meters, they experience significant temperature differences between day and night and enjoy excellent sunlight. Furthermore, the soil has good water retention properties, making it well-suited for rice cultivation. Above all, the area boasts exceptional water quality.

Right beside the farm lies a small waterfall called Amataki, once a sacred site for rain-praying rituals. Other abundant water features dot the landscape, such as Shirai Falls, Karakai Falls, and Kubo no Fuchi. Nestled in mountains surrounded by broadleaf forests, these sources provide the paddies with pure mountain water rich in nutrients and minerals.A testament to the purity of these streams is Amataki Hotaru no Sato (Firefly Village), located near the terraced rice fields. On summer nights, countless fireflies dance here, offering a profound sense of nature’s abundance.　

The Birth of Hotaru Mai Rice

Despite benefiting from a rich natural environment, rice cultivation in terraced fields is not highly efficient due to burdens like grass cutting and damage from harmful birds and animals. To continue, it was necessary to enhance the rice’s value and establish it as a brand. Named “Hotaru Mai” (Firefly Rice), meaning “rice shaped by the landscape,” it was first entered in 2013 into Japan’s largest international rice competition, the “Rice Taste Analysis and Appraisal Contest.”This competition evaluates rice’s deliciousness from two perspectives: numerical analysis of moisture, protein, amylose, etc., using specialized machinery; and sensory evaluation of taste perceptions like umami, sweetness, and richness when eaten. “It was sweet. At first, it was nothing,” he recalls of that time. Afterwards, he traveled to the competition’s venue, visited farmers nationwide, and learned techniques through dialogue with many producers.

Transitioning to reduced-pesticide and organic cultivation, leading to a gold medal

“Hoda Ryu Rice” began with conventional farming using pesticides and chemical fertilizers. Through repeated exchanges with farmers nationwide, interest in reduced-pesticide and organic farming gradually grew.Through extensive analysis—including cultivation methods that suppress nitrogen in fertilizers and soil preparation using organic mineral fertilizers—he aimed for delicious rice with low protein content and excellent stickiness. Rice with less protein allows starch to blend well with water, resulting in fluffy, soft grains with a pleasant texture. “I was good at collecting and analyzing data. I absorbed the subtle differences unique to each farmer and refined them in my own way.”

After several years of organic farming, in 2020 and 2021, the “Niko Maru” variety from Sakamoto Natural Farm’s “Hotaru” rice won the Gold Prize in the International Comprehensive Division at the “Rice Taste Analysis and Appraisal Contest.” Following the taste value assessment at the contest, a taste index evaluation measuring the “sticky layer” is conducted.The sticky layer refers to the viscous layer formed on the surface of rice grains when starch dissolves during cooking. Rice with a robust sticky layer exhibits greater luster, stickiness, mouthfeel, and perceived sweetness. “The taste value increased after switching to organic farming and eliminating chemical fertilizers. It didn’t suddenly blossom after going organic; it was gradual. We’ve gotten closer to the flavor we pursued.”

“Hoda Ryu Rice” is rice meticulously crafted for taste, safety, and quality. Quality control extends all the way to the consumer.The rice is milled in a climate-controlled milling room using cold milling and stored year-round in refrigerated warehouses maintained below 14°C (57°F). This prevents condensation from forming during winter due to temperature differences between the interior and outside air. Furthermore, even the rice bran used as fertilizer, which is prone to insect infestation under normal conditions, is carefully stored under temperature control.

JINEN (Nature): Where Nature and People Coexist

Currently, “Hoda Ryu Rice” cultivates four varieties across six brands, divided into two types: “Rice with 80% Reduced Pesticides (compared to Eco Ehime standards)” and “Pesticide-Free Rice · JINEN (Nature)”. Both are grown without chemical fertilizers, using only organic fertilizers that return to the fields, such as straw, rice bran, and rice husk charcoal.

The unique brand “JINEN (Nature)” embodies the desire to cultivate rice alongside all life forms inhabiting this land, including microorganisms and flowers blooming along the field borders. “Rice should grow naturally. Instead of forcibly adding unnecessary fertilizers, we gently supplement only what is lacking. That is our authentic approach to rice farming. We want to produce rice worthy of this landscape,” they explain.

One variety within JINEN, “Ondasennen Rice,” is cultivated using natural farming methods. It employs “single-seedling cultivation,” relying solely on self-harvested seeds and completely avoiding fertilizers and chemicals. Every step is done by hand, truly nurtured by the power of people and nature alone.Due to its mountainous cultivation, the yield is extremely low, about 4 to 5 bales per tan (approx. 1000m²). While modern farming typically yields 8 to 10 bales per tan on flat land, this significantly lower harvest forms the foundation of Sakamoto’s rice-growing cycle.

Rice Farming in Terraced Fields: Restoring Pride to Rural Communities and Connecting to the Future

The reality is that almost no new farmers are starting rice cultivation. Utilizing old, narrowly structured terraced fields as farmland presents many challenges, including the maintenance of irrigation channels. What began as rice farming driven by the desire to “protect this landscape” has now expanded beyond a personal challenge into a hope for the entire region.

Sakamoto Natural Farm Hoda Ryu established the “Hotaru Club,” a rice ownership program, creating a system where people can engage with rice farming from the very beginning. Participation is possible even with small tasks like weeding, allowing people to be involved in rice farming as a side job without needing initial investment or farmland. Participants, especially parents with children, are particularly conscious of creating “a future where children can safely eat rice without worry.”Learning, growing, and eating. Through this experience, they feel that having an environment where rice can be grown is a step toward protecting children’s futures.

“The most important thing is restoring pride to the rural community. We need to be able to take pride in the fact that we are the ones creating this landscape.” To that end, they spare no effort in enhancing the value of the rice grown here.In the “Amadake Onda Terraces,” an environment ideal for growing delicious rice, maximizing the potential of this land’s natural resources holds the possibility of developing a globally competitive rice brand. “It might be the generation after mine that makes it happen. Passing this legacy forward is my dream now.”

In December 2025, the group, previously operating as a production and sales association, incorporated as a company, establishing “Hoda Ryu Co., Ltd.” This move allows the company to aim for business expansion, focusing on broadening sales channels with an eye toward exports, processing agricultural products, and even engaging in satoyama conservation activities. It marks the step into a phase dedicated to passing on the region’s resources to the next generation.

The post 棚田の美しい風景を作る米、「坂本自然農場 穂田琉」／愛媛県東温市 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.