Kose Cormorant Fishing, the Tradition of Ayu Fishing

Cormorant fishing is a fishing method in which a cormorant master pulls the reins from the top of a boat and steers the cormorant to catch ayu (sweetfish) and other river fish. The cormorant’s habit of diving into the river and holding the fish it catches in its throat is utilized. The cormorant swallows the ayu as it begins to move, startled by the bonfire lighting up the surface of the water, and catches it. In the silence of the dark night with a pleasant river breeze, the sight of cormorants dressed in traditional costumes, boats lit by crackling bonfires, and cormorants maneuvering their boats to catch the ayu is truly a fantastic sight.

The festival has a long history, dating back 1,300 years in Japan, and is still held in 11 locations throughout the country, including Ehime and Oita prefectures. Of these, the Ose Cormorant Festival in Seki City, Gifu Prefecture, and the Nagara River Cormorant Festival in Gifu City, Gifu Prefecture, are conducted under the protection of the Imperial Household, and nine cormorant masters carry on the tradition under the title of Imperial Household Agency ceremonial cormorant masters. In 2015, the Nagara River Cormorant Fishing Technique was also designated as an Important Intangible Folk Cultural Property of Japan for the first time in Japan. Yoichiro Adachi, the 18th cormorant master in the Adachi family, is the inheritor of the Kose cormorant fishing tradition. While working as a cormorant fisherman during the annual cormorant fishing season from May 11 to October 15, he also runs a Japanese inn, Cormorant House Adachi, in a 300-plus-year-old house that is also a tangible cultural property of the city. After the summer cormorant fishing season is over, I take care of the cormorants every day in preparation for the following year. Cormorant fishing is not only about fishing, but also about feeding the cormorants. I am the only one who can take care of the cormorants, so I can never take a day off. （Cormorants are wild-caught cormorants, so at first they are wary and resistant, not eating their food or biting. By taking care of them every day and reassuring them, they finally get used to it. Because cormorants only feed from people they have become accustomed to, cormorants do not have holidays and cannot go on trips.

Cormorants of the “Imperial Household Agency Ceremonial Artisanship” passed down from generation to generation

He was also conflicted about his occupation and longed for other jobs when he was a child. 27 years old, he decided to follow in his footsteps, but it was not all glamorous work like the cormorants he saw on TV. He laughs, “There are other ways to catch ayu, but I don’t think I’ve found one that works. There are other ways to catch ayu, but why does cormorant fishing continue? Nakada replied, “Because it is the most efficient way to catch ayu, and the ayu they catch tastes good. One cormorant can hold several ayu in its throat, and the freshness of the fish is excellent because it is caught in an instant with a sharp chopstick. Also, when making stews and other dishes, the cormorant’s bite marks soak up the flavor, making them delicious,” says Adachi.
Although it may seem like a performance for tourists, there is actually a rational reason for this, backed up by 1,300 years of history.

Inside the tasteful main house, there is a box painted with “Goyo” (literally, “Imperial Office”), inside of which is a lantern. There are several in a row that were supplied from the Edo period to the Showa period. In those days, these lanterns were hung over cormorant boats to indicate that the fishermen were fishing with the endorsement of the Imperial Court, the Shogunate, or the government. Because cormorant fishing could not continue without such backing, it has survived with the help of patrons of each era,” said Adachi. In such cases, the backing of the court nobles and other officials allowed the cormorant fishermen to play a special role and be protected. Currently, Mr. Adachi is a ceremonial cormorant fisherman (national public servant) for the Imperial Household Agency, and keeps the tradition alive by conducting the “Imperial Cormorant Fishing” eight times a year at Goryojo, a prohibited fishing area, for the Imperial Household. When the bonfire is very powerful, the sparks from the fire are quite hot, but if the fire is big enough to light in the darkness, ayu fish can be caught, and the sight of the bonfire gives it an air of elegance, and tourists cheer loudly, so I feel that it is worthwhile. That’s why bonfires are the life of cormorants,” says Adachi.
Matsuo Basho composed a haiku poem, “Omoshiro te yamashiki udonohuna kanana,” or “If something disappears, it disappears, and if something continues, it continues,” Adachi muses. As long as there are cormorants who keep the fire burning in their hearts, this mysterious traditional culture will never die out.

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■Also on TDK VOICES FROM NIHONMONO
Hidetoshi Nakata Gifu Trip: Cormorant Master Yoichiro Adachi
https://www.j-wave.co.jp/original/nihonmono/entry/211107.html

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NIHONMONO – 「にほん」の「ほんも…

宮川のあばれ鮎に魅せられ、ブランド化を目指す釣り名人 室田正/岐阜県飛騨市 – NIHONMONO あばれ鮎が育つ環境 岐阜県北部の飛騨市宮川町。富山県に隣接するこの地域を流れる宮川の下流には、夏になると全国から多くの釣り人が集う。鮎釣りの名人・室田正さんもそ…

NIHONMONO – 「にほん」の「ほんも…

刀鍛冶に江戸時代から愛されたうなぎ屋・辻屋／岐阜県関市 – NIHONMONO 今から1200年ほど前につくられた日本最古の和歌集として知られる「万葉集」に大伴家持（おおとものやかもち）が同

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Tea ceremony using Ishikawa tea ware

Nakata was invited to the Urasenke tea ceremony held at the D. T. Suzuki Museum hosted by Urasenke Munehisa Nara (Konnichian Gyoutei Instructor). Urasenke is the largest school of all tea ceremony schools. Nara is an instructor of Urasenke, regularly visiting and instructing in Kyoto, Kanazawa and other regional branches while constantly striving to develop his own skills. For this particular tea ceremony held at night, he had arranged for tea equipment that were all made by local artists of Ishikawa Prefecture. The tea container with ”matcha”, the beautiful lacquerware ”natsume” are works by Hikoju ”makie” lacquer artist, Takashi Wakamiya.

Enjoying the tea and tea ware

In the tranquility, we hear nothing but the whisking of the tea. Nakata asked Nara, ”Have you designed any pottery lately?” Nara replied, ”I want to, as I want to understand the minds of the creators.” He prepared tea for us with an Ohi Chozaemon the 10th ”matcha” bowl that had just been presented the day before at an exhibition. The novel design made with ”kakewake” technique, a method of pouring different glazes one at a time, is truly contemporary.

The post Taking a step back and looking into the soul “Urasenke, Munehisa Nara” first appeared on NIHONMONO.

Town with nostalgic taste

There are 3 old Chayagai (entertainment districts) where you can sense the nostalgic past, the Higashi Chayagai, Nishi Chayagai, and the Kazue Machi Chaya Gai. Higashi Chayagai is the largest district, designated as Conservation District of Traditional Buildings with ”bengaragoshi” rouge latticed doors of the Chaya (literally teahouse, institution where Geisha girls are dispatched for drinks and games)　line both sides of the cobble pavements. During the day, the neighborhood attracts many tourists, but at night with few visitors and sparsely lit streets, the nostalgic ambience is enhanced. Nakata appeared in his ”hakama” and ”kimono”. He walked down the cobbled pavements commenting, ”It feels like a movie set, as though we’ve traveled into the past.”

Ozashiki asobi at “Harunoya”

Nakata headed for Harunoya, in Higashi Chayagai. The proprietress greeted us and we were given the opportunity to experience ”ozashiki asobi” (teahouse games). We are directed to the ”ozashiki” room, where three geiko　（≒geisha) showed us the ”ozashiki taiko” druThe first number was the ”Take ni Suzume (sparrows in the bamboo tree)” also called ”Takesu”. It is a light, rhythmical tune played by the ”taiko” drums, the ”shamisen” (three stringed banjo-like instrument) , and singing. It is said to be the most difficult out of all ”taiko” tunes. Following this, the ”Mushi Okuri Taiko” was played. In Ishikawa, there are many ”taiko” tunes about getting rid of bugs, and this tune was arranged especially for the ”ozashiki”. One person performs standing, while the other sits and strikes the ”taiko”.

Playing the “taiko”

After the performance of ”Mushi Okuri Taiko” the ”geiko” urged Nakata to give it a try. Nakata sat in front of the ”taiko” and performed in the center. The four of them played together, as he was taught how to strike the ”taiko”.

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Spreading Ryukyu performing arts all over the world

Sanshin is an essential instrument in Ryukyu performing arts. Sanshin plays Ryukyu scale, and its sound has been handed down from generation to generation. Nakata visited Chokichi and Tomokuni Terukina, father and son who belong to Afusoryu musical group. Choichi has been playing the Sanshin since youth, and has earned many awards. At the age of 25, he started to study under Haruyuki Miyazato, the grand master of classical music Afusoryu group. In 2000, he became the first person to be designated as Living National Treasure from Okinawa in the performing arts class. Now, together with his son and also the grand master, Tomokuni, he is striving to spread Okinawan cultural arts by performing not only within Japan but also all over the world.

The unique Okinawan scale of Sanshin

When asked the difference between Sanshin and Shamisen, Choichi-san answered, ”Normally scales have 7 notes in the scale sound, but in Okinawan scale we have just 5. We don’t have the notes ”D” and ”A”. If you play with this scale, anything will all sound like Okinawan music.” Nakata actually tried playing Sanshin. You hold the pick with the right hand, and the neck　in the left. Nakata was shown the finger position of each sound, and started playing the musical scale. It was pretty difficult, but he was able to feel the Okinawan scale with his entire being.

Celebration song “men-so-re”

It was practice day when we visited, so we were able to listen to live Ryukyu music. Tomokuni-san was the instructor. ”Men-so-re” was the number of the day, a song played to celebrate the completion of Shuri castle. The performance started among students of all ages, and Nakata enjoyed this relaxing moment, sometimes keeping rhythms. We asked Tomokuni what he thinks about this traditional culture he has inherited from his father, he answered, ”Not everybody needs to play Okinawa music just because they are residents of Okinawa. I feel that Sanshin music is a symbol of peace. To hand it down to the next generation, I want to leave the memory of the sound to the ears of people as much as I can.”

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Hand dance, essential for Tsugaru folk song

Because of the Yoshida brothers’ contribution, when you say ”Tsugaru XX”in Tsugaru art, you might immediately think of Tsugaru shamisen. Although it has been the recent trend to hear Tsugaru shamisen being played solo, it is actually often played as an accompaniment to songs. It is a performing arts which developed as part of Tsugaru folk songs such as Tsugaru Jongara folk song.
　The characteristic of Tsugaru folk song is that the dance called ”te odori” or hand dance is added to the folk song which is a combination of song and shamisen. If you are familiar with Tsugaru shamisen, you will already be aware, but since Tsugaru folk songs have a very fast tempo, the dance is brisk rather than slow.

Brisk dance that gives you a good feeling

Of the Tsugaru folk songs, Tsugaru Jongara song, Tsugaru Ohara song, Tsugaru Yosare song, Tsugaru Aiya song and Tsugaru Sansagari are called the Five Great Tsugaru Songs. We were told that in addition to the Five Great Folk Songs, each school has their original folk song. Among the several schools, we visited Tsugaru folk song Ishikawa school’s practice session. The shamisen players were also invited, so we were able to see the Tsugaru folk song ”te odori” with live music.
　We listened to the light and fast tempo of the Tsugaru shamisen. To the gorgeous voice of the singers, and watched the snappy dance. More than a dance, the charm of this dance is the brisk movement. We were drawn into their world, and when their movement ended with a snap, it brought us back to reality. Nakata found himself applauding.

Trying the “otoko odori”

When we looked around, most of the participants that day were women. When Nakata asked, ”Aren’t there any male dancers?”, they said there aren’t many but some did exist. The teacher, Kumiko, the Ishikawa school’s second generation master said ”The ”otoko odori” or male dance has a special quality that is different from the ”onna odori” or female dance.” She showed us the male dance. Gestures, especially how you use the feet is masculine. ”You can do it too.” Kumiko said as she handed Nakata an umbrella and showed him the steps. One must be aware of not only the movement of the body but also the fingertips, in order to dance handsomely and briskly like they showed us. Nakata, while struggling, somehow danced through the music, finishing off with the final pose.
　Folk songs are a song of the heart that has been sang by past generations in that region. At the Ishikawa school, they of course teach adults how to dance, but they also teach children how to dance the ”te odori”, connecting the spirit of the art to the future.

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Kamigata Music and Edo Music

Katoubushi is a leading school of Edo Joururi, which is recognized as an Important Intangible Cultural Asset of Japan as a group. It was established in 1717 by the founder, known by the name Masumi Kato, who had served as an apprentice under Edo Handayu, said to be the founder of Handayu bushi. The strong sound of the stylish narration captivated the hearts of the Edo people.
Noh and Kyogen are both art that was derived in the Kamigata area: Kyoto and Osaka. In Kamigata, a type of music called Ichhubushi was born along with Gidayu style singing, which later came to Edo. From this, various types of music branched out, such as ”Tokiwazubushi”. Then the Edo-born, Edo-bred people made a Joururi style especially for Edo, which became Katoubushi. The Katoubushi shamisen is known for its high stringed pitch, whereas for Noh, the basic sounds are ”low pitch”.

Edo Joururi Expressed by High Pitch

The musical scale is expressed by something called “Kan” and “Otsu”. “Kan” are the high pitch sounds and “Otsu” the low pitch. The Kamigata region places importance on the Otsu pitch and that is where the Japanese expression “It is Otsu (It is fine)” is derived. However Edo music used a lot of high pitch notes. This was a new trend of music created in the fields of Musashino. There was a great influx of people, and people had to use high pitch for the sound to be heard.” Takeuchi from the Kokyokukai Foundation explained.
This is the music loved by the Edo people with its vibrating sounds, a good match for the bustle of the city.
Kamigata Gidayu Bushi uses a very wide-bodied ”shamisen”, the Kiyomotobushi uses a moderately wide-bodied ”shamisen”, and the Katoubushi uses a thin-bodied ”shamisen”. The ”bachi” pick is thin and flexible.
Yamabiko Senko, recognized as a Living National Treasure for Katoubushi Shamisen, played us a tune. “Another characteristic of Katoubushi Shamisen is that you use the ”bachi” as though you are scooping up the string. You strum the string and let it vibrate by holding it up from the ”shamisen”. And then, you give a call, “Hauu” which is another characteristic.” Yamabiko played us a part of “Sukeroku” from ”Kabuki”, producing a splendid sound, which resonated to our soul.

Delicate Movements

We asked Yamabiko about ”tuning”. The strings are tightened or loosened before a performance. We witnessed Yamabiko doing this.
“The strings are silk, so the pitch is affected with the slightest change in environment, such as the stage light hitting them. Sometimes it loosens on stage, so we need to tune it.” she explained. If the adjustment can’t be done while on stage, she changes the positioning of her fingers on the strings. ”Shamisen” requires delicacy of the ears as well as the fingertips. Nakata also experienced for himself how difficult this can be.
The ”shamisen” is placed on your right thigh and the ”bachi” pick is held with your left hand. The ”bachi” is held ever so lightly by balancing it with just one pinky from the back.
“Then you use your right elbow as the support for the lever, and strum the strings.” Those were the instructions, but the center string is terribly difficult to reach. When playing the ”shamisen”, the left hand is constantly moving around, adding to the difficulty. However, Nakata commented, “When you’re actually able to make a sound, it gives you great satisfaction!” Yamabiko smiled and replied, “Yes, see what I mean?” ”Shamisen” has many different methods and schools based on the region, each with its own sound and expression. It was another encounter with the profound depth of Japanese cultural music.

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Succeeding the “Iemoto” at age 6

Ohara-ryu is a Japanese flower arrangement school that has been around since the 19th Century. We interviewed the 5th ”Iemoto” or head, Hirotaka Ohara, born in 1988, 10 years younger than Nakata. He succeeded the Iemoto at age 6 when his father passed away. He presented his works for exhibition for the first time when he was 10, and in March of 2012, his first solo exhibition took place at Takashimaya department store in Tokyo, where it attracted about 45,000 visitors over 6 days.
Some of his work expresses something unimaginable from the word ”ikebana”. Some are installations as big as several meters, and some use artificial material, perhaps expressing an evolution of the traditional world.

Ohara-ryu Undergoing Change

“The traditional style of Ohara-ryu was established by the first and second Iemoto,” the current Ohara Iemoto told us. One of the characteristics of Ohara-ryu ”ikebana” is “moribana”. Until then, ”ikebana” mostly had to do with linear lines, and thus ”moribana”, which uses a wide open vessel, arranging the flowers so that it can be enjoyed 3-dimensionally, was an Ohara-ryu invention. ”Moribana” made it possible to express the surface and the depth through ”ikebana”.
There were also transitions within the traditional methods. The 3rd Iemoto perfected an art form with surrealism, and the 4th Iemoto incorporated modernism, an artistic form that would match Western style space. The current Iemoto himself creates art that relates to modern art. Tradition is inherited, and is expanding its ways of expression.

Culture is Like Glue that Connects People

Ohara arranged flowers while we watched. He cut the branches off and started to create his work. The key is “to figure out what to delete to emphasize something else.” Nakata seemed intrigued by the Iemoto’s movements, and commented, “This is totally beyond my realm of imagination. My hands would just freeze, not knowing what to do.”
“”Ikebana” as I see it, is just sheer fun. Coming in touch with the flowers, and arranging them.” Ohara commented. “So it’s important to merge it with my lifestyle. In the past, ”ikebana” was associated with authentic Japanese such as ”kimono” and ”tatami” mats. These days it’s more often taught using tables. Of course we continue to teach the fundamentals, but the true essence has to do with freedom of expression.” As more students come to the schools, the ”ikebana” community expands. “I think culture is like glue that links people together.”
We have encountered people, flowers and tradition via ”ikebana”.
This is the culture and the charm of ”ikebana”.

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Displaying for the mother-in-law?

“When teaching at a college, I asked the students, “What kind of image do you have of ”ikebana”?” and a male student answered, “It’s something you would do sitting formally on a tatami mat in front of your mother-in-law.” I was shocked!” Akane Teshigawara, 4th Iemoto to Sogetsuryu Ikebana said with laughter.
Sogetsuryu Ikebana totally contradicts this image. Some of the pieces created by the Iemoto were huge, as big as a stage, using bamboo.
“This is considered ”ikebana” as well. My father was the first to adopt bamboo in his work, and the works tended to become very big. I myself made a stage using bamboo at the Imperial Villa in Numazu. It was gigantic. I braided vertically cut narrow bamboo and constructed the stage using a crane. Of course we have rules and the fundamentals, but more importantly, what exists inside the person arranging the flowers rules over that. I believe the fundamentals exist to help express that image,” Iemoto Teshigawara told us.

Transition of Ikebana

“The characteristic of Sogetsuryu is that it changes. Flowers change according to the arranger’s emotions. The creation is dependent on what it’s meant to express.” Teshigawara explained.
Nakata commented “I’m not sure how to appreciate ”ikebana”.”
This is up to the individual, Teshigawara explained, “For example, someone may create a dynamic work of art, hoping to express strength and energy. But some people may simply sympathize with the flowers being taken out of their natural environment. There is no correct answer to how you relate to the work. “
“But,” she added, “The creator must always add feeling and emotion. Unless their feelings are added, the value of the piece cannot be evaluated. The work would rely only on the beauty of the flowers themselves. To live up to a level of appraisal, you need to add a piece of “yourself” in it.”

Being Witness to the Birth of Art

At the end, Teshigawara showed us an ”ikebana” demonstration. She made 2 pieces. The vase was one of her own creations. Her grandfather not only practiced ”ikebana”, but was also a calligrapher. Her father likewise practiced calligraphy, made his own ceramics, and was also a movie director.
As we watched, the vase and the plants take on a different form. Teshigawara not once stood with her back to Nakata. This form is called “ushiroike” meaning the work is created from behind the vase, showing every single transition of the creation. Her motions are at times swift, and other times very thought out.
Nakata asked after it is completed, “Do you have a final image in your mind before you start, or do you make it along the way?”
“I start with an image, but plants do not always comply. The exciting part about ”ikebana” is that you need to resonate with the plants. You have to communicate with the plants and sometimes, they may not be the exact shape or color you had imagined when you take them in your hand. You need to be flexible, which is the most exciting part about ”ikebana”.” There are no two plants exactly alike. Thus it is a collaboration between man and flower.

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Traditional Flower Arrangement and Free-style Flower Arrangement

Founded in 1886, Ryusei-ha is a school of ”ikebana” which celebrated its 125th anniversary in 2011.
We talked to Kashu Yoshimura, Iemoto of Ryusei-ha. Originally an architect, he started to study the art of flowers as a way to learn more about void spaces, an element valued in ”ikebana”, hence his use of space is highly recognized and appraised. He arranges flowers in both the traditional Ryusei-ha method and in freestyle as well. Freestyle is done in large installations, He is not particular about material either, and has worked with artificial flowers as well.
Yoshimura said “Today, I’d like to have Nakata-san try out freestyle.” “Freestyle is actually the most difficult,” Nakata grimaced.
More about Nakata’s creation later. We’ll discuss the iris Yoshimura arranged first.

Seasonal Differences

The iris, arranged in the traditional way. There are differences in style in each ikebana school, but the Ryusei-ha has “rules” and these rules need to be followed. For example, two leaves are joined together, and the positioning of the flower and leaves differs according to the season.
This time, the piece represents summer. The positioning of the flower should be at the top, which expresses its prime. For spring, the leaves are positioned higher than the flowers and depicts its growth in the oncoming season. For autumn and winter, fruit is used or sometimes dead leaves.
Nakata asked, “If the expressions are different by season, does that mean that what ikebana is trying to do is to reenact nature itself?”
“That is a good question. The objective is not just to depict nature, it’s ”whatever you want to express, though it may not grow that way in nature”. You should still try to value its natural state. In this piece, I used one bulb to express how an iris starts its growth in early summer. This is the exciting part, where you imagine what is being expressed.”

The difficulty of being free

“Next is your turn!” Monstera leaves and a gigantium flower is prepared. With freestyle, any shape, color, vase, can be used. Nakata chose a unique white vase with many holes on the side.
“Maybe this might not be the best choice.” Nakata commented weakly. He started off with a pair of scissors and a monstera leaf in his hand. The first cut takes the longest time.
”The monstera leaf has a different expression when you look at it from the other side. From the side, it’s frilly. You can use it to express different things,” Mr Yoshimura advised. Nakata took a long time to arrange the monstera leaf. Then he took quite some time again with the gigantium.
He gradually starts to enjoy the “freedom” and eventually finishes. As soon as he finishes, he reaches out once again and bends the monstera leaf, tucks it under the flower to make it look like a flower placed on a plate.
“Does that look a bit crowded?” Nakata contemplated after looking at his work again.
“That is one way of expression. Take a look at it from the side. It shows another expression, does it not? And what if you place a branch here, then you would be able to create a partition and …” Freedom enhances so many ideas, and the conversation continues endlessly.

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The Meaning Behind Sensu

We entered the gate and were invited into a room called the “yoritsuki”. Our host is the 13th Iemoto of Enshu School of Tea. Of course, under normal circumstances we would not have the Iemoto himself greet us at the front gate, especially as he is the host. But on this visit, since we were there to learn about the Enshu School, he made the gesture of meeting us from the start. First, we enter the ”yoritsuki”, where normally people prepare for the tea ceremony. For our visit, the Iemoto himself offered Nakata a ”sensu” and ”fukusa” to use. As Nakata received the 2 items, he noticed that the ”sensu” was quite small.
“This is unusually small. Is there a meaning behind this?”
“”Sensu” used for tea ceremonies are used to greet people, not to fan yourself. You sit properly with your legs folded and place it on your lap when you first greet your guest. It shows respect, acting as a sort of boundary to keep some tension. Therefore it is better to use a small sized ”sensu”. You do at times use it as a fan to fan the palm of your hand to cool it slightly, never would you use it with big movements to fan your face or your body. “

Fully taking in the “roji”

After staying a while in the ”yoritsuki” we step outside. Before entering the tea room, we walk through a small alley, the ”roji”. In a formal setting, the host would appear here, and greet his guests. ”Roji” is like an inner garden. While walking in this garden Nakata commented, ”What a nice calm atmosphere.”
Enshu School of Tea is a school that was started by Kobori Enshu. Kobori Enshu, a feudal lord of the Edo period, was also active as an architect and a landscape architect. He played an active role in the restoration of the Bicchu Matsuyama castle, the renovation of the Sunpu Castle and the construction of the Nagoya Castle tower and the Goyozeiin Imperial palace.
For a long time in the history of Japan, gardens played an important role and were appreciated for viewing. Eventually, gardens which were meant to walk through emerged. Enshu was said to have made gardens for different purposes.
“Gardens for tea ceremony are designed for the guests to enjoy,” Sojitsu explains. Enshu used to create his gardens and structures by imagining the visitors and users. He never made his works of art to express himself.

Space to Appreciate Tea

After fully appreciating the roji garden, we enter the tea room. We duck through a small door called the ”nijiriguchi”.
And the door is closed behind us. It is closed with a rather loud bang. This is “to announce that the last guest has entered.” As soon as we enter the tea room, the ”kakejiku” hanging in the ”tokonoma” and the flowers in the vase capture our attention. In Tokyo, we had opportunities to meet many ikebana masters. The flower in the tea room is quite different from ”ikebana” flowers. Nakata asked about this. “The flowers for ”ikebana” and the flowers used for tea ceremony are quite different. Their objectives are different. The flowers here need to be inconspicuous, as they are not the main character. They cannot interfere with the tea, so strong scented flowers are never used. It cannot interfere with the calligraphy either. It cannot distract the guests while they enjoy the tea. The flowers have a different meaning, and they are there to support the overall ambience.” The flowers help create a good sense of space in the tea room.

Everything is for the Tea

We drank the tea prepared by Sojitsu . Since we were not familiar with manners associated with tea, we need to be instructed step by step, and Sojitsu showed us, helping to alleviate our anxiety.
At the end, we asked to see the ”chashaku”. This particular ”chashaku” was created by Sojitsu using bamboo from Myanmar, where he visited to perform a tea ceremony.
“I made this chashaku as a “bridge” between Japan and Myanmar and named it for the Japanese word for bridge, “kakehashi”. I used it for this tea ceremony so I could convey my wish for you to continue your travels and act as a “kakehashi” or bridge ,” he said, giving us encouragement.
From the ”yoritsuki”, ”roji”, the tea room, the flowers, calligraphy, and the tea and its cup. All of these items are part of what it means to enjoy “tea”, and we were able to experience this first hand.

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