At the foot of Mount Ishizuchi—the highest peak in western Japan—there is a type of tea said to have been introduced by Kōbō Daishi Kūkai. It is called Ishizuchi Black Tea. The Ishizuchi Black Tea Satsuki Association has carried on the traditional production methods that date back to the Edo period, and to this day, every step of the process is done by hand.

One of only four “post-fermented teas” in Japan

Mount Ishizuchi, the highest peak in western Japan. At its foot lies the Kurose district of Saijō City, Ehime Prefecture. Ishizuchi Black Tea, produced in this region, is one of only four post-fermented teas in Japan, alongside Toyama’s Batabata-cha, Tokushima’s Awa-bancha, and Kochi’s Goishi-cha.

Post-fermented tea refers to tea in which freshly picked tea leaves are immediately heated to halt the activity of oxidase enzymes, after which they are fermented using microorganisms such as lactic acid bacteria and koji mold.

Ishizuchi Black Tea, in particular, is characterized by a rare production method known as “two-stage fermentation,” which involves primary fermentation (aerobic fermentation)—where organic matter is broken down and fermented while exposed to air—and secondary fermentation (anaerobic fermentation), conducted in an oxygen-free environment.

“I’ve heard that, even on a global scale, Goishi-cha and Ishizuchi Black Tea are the only teas confirmed to undergo a two-stage fermentation process,” says Kumi Toda, chairperson of the Satsuki Association. This rarity played a major role in Ishizuchi Black Tea being designated as an Intangible Folk Cultural Property in 2018.

Handcrafted tea production in the mountains during the height of summer

At Satsuki-kai, they adhere to traditional production methods that date back to the Edo period, performing every step by hand. They remain committed to a tea-making process that has nothing to do with efficiency or mass production—one that relies entirely on the local climate and the passage of time.

Production of Ishizuchi Black Tea begins from late June through early July. The variety used is “Yabukita,” a representative variety of Japanese tea. Unlike sencha, fermented teas use hardened tea leaves known as “kowaba.” Consequently, the harvest period is later, and the work is concentrated from around the end of the rainy season through midsummer.

Workers manually cut the hard leaves—along with the branches—from tea bushes that have grown as tall as a person, bundle them together, carry them down from the mountain on their backs, and load them onto light trucks. Harvesting takes place from 6:00 a.m. to around 8:00 a.m. They reportedly harvest enough to fill three light trucks in a single day. It’s quite hard labor.

Primary Fermentation: Leaving It to the Mountain Microorganisms 

Once the tea leaves are brought down from the mountain, they are trimmed, washed, and then sent to the steaming process at the processing facility.

After the tea leaves are steamed, they are placed in wooden barrels for fermentation, where primary fermentation (aerobic fermentation) takes place. Natural microorganisms and filamentous fungi—oxygen-loving organisms that inhabit the barrels—take in oxygen, which drives the decomposition and fermentation process.

It is said that the microorganisms inhabiting a particular location determine the flavor of the tea. Even if the production process is identical, the flavor will differ depending on the location. That is precisely why Kumi is so committed to the traditional methods passed down through the generations. “As long as we call it ‘Ishizuchi Black Tea,’ the tea leaves, water, and fermentation site must all come from the Ishizuchi mountain range. This is one thing I absolutely cannot compromise on,” she states firmly.

After undergoing the unique rolling process characteristic of Ishizuchi Black Tea, the tea proceeds to secondary fermentation.

After the first fermentation is complete, the tea leaves undergo a rolling process before the second fermentation. “Ishizuchi Black Tea is the only tea among those that undergo a two-stage fermentation process that involves this rolling step. That’s why I believe it’s the most labor-intensive tea in the world,” Kumi says with pride.

Once the rolling process is complete, the tea leaves are transferred back into wooden barrels, covered with a lid and weighted down to prevent air from entering, and left to undergo secondary fermentation. This anaerobic fermentation, carried out by lactic acid bacteria that do not require oxygen, produces the tea’s distinctive tartness and aroma.

After secondary fermentation—which takes about 10 to 14 days—the tea leaves are spread out on straw mats and sun-dried. This process, which involves carefully turning the leaves to dry both sides thoroughly, takes another 2 to 3 days.

The Ishizuchi Black Tea produced in this way is delightful for its fresh, tangy flavor right after it’s made, but it’s also wonderful to enjoy the changes in flavor that develop as it ages for two or three years. “It gradually becomes mellower, and the sweetness increases. When I drank a 10-year-old batch, I was really surprised by how sweet it was.”

The Satsuki Association: Preserving a Culture on the Brink of Disappearance

Although Ishizuchi Black Tea is now referred to as the “phantom tea,” it was once a tea that was routinely produced and consumed in every household at the foot of Mount Ishizuchi.

However, as the population declined, that culture quietly faded away, and by 1996, there was only one producer left. “When talk arose that even the last remaining household was going to stop production, we felt it would be far too wasteful, so a local lifestyle research group took the lead in preserving the technique,” .

This is how the Satsuki-kai was born. Initially, the group was led by Kumi’s mother’s generation, who inherited the production methods from the last remaining household and began manufacturing through a process of trial and error.

Around 2012, Kumi and others—representing the daughters and daughters-in-law of the original members—took over production. Around the same time, research conducted by Ehime University revealed that Ishizuchi Black Tea possesses functional benefits, such as regulating digestion and boosting immunity.

Aiming to make tea an integral part of daily life, just as it once was

Ishizuchi Black Tea is not yet widely known throughout the country. That is precisely why the Satsuki Association is putting a lot of effort into promoting it in various ways. They have received cooperation from local pastry shops that are developing prototype cakes and cookies using Ishizuchi Black Tea, as well as from the women’s division of the Chamber of Commerce and Industry. The association is also actively collaborating with Ehime Prefectural Komatsu High School in Saijo City; students there have developed a jelly made with Ishizuchi Black Tea as a summer product. After repeated prototyping, they have even begun selling it.

“The high school students are taking on all sorts of challenges to help spread the word about Ishizuchi Black Tea. I’m truly grateful for that,” says Kumi, her face breaking into a smile.

In addition, the “Kurocha Daifuku,” created in collaboration with the local radio station FM Ehime, went on sale in September 2024 and generated a huge response.

This treat features Ishizuchi black tea powder kneaded into the mochi dough, enveloping a filling of lightly sweetened fresh cream. The surface is also generously dusted with Ishizuchi black tea powder.

Engaging Supporters Nationwide to Create “Everyone’s Ishizuchi Black Tea”

The Satsuki Association also participates in exhibitions held in Tokyo and other locations, working to promote Ishizuchi Black Tea nationwide. Coupled with the recent fermentation trend, the response from health-conscious consumers has been very positive. The connections forged in various regions have not only expanded the consumer base but have also provided valuable support to the production process.

The production of Ishizuchi Black Tea is entirely done by hand. As a result, annual output is limited to about 300 kilograms. Labor shortages are a constant challenge. However, in recent years, people from outside the prefecture who have experienced the appeal of Ishizuchi Black Tea at trade shows and other events have begun visiting to participate in the production process. In 2023, more than 120 people in total were involved in the production. “It’s no longer just the Satsuki-kai’s tea—it’s everyone’s tea. The connections forged through Ishizuchi Black Tea are a treasure that money can’t buy.”

Not only do visitors experience the entire process—from harvesting the tea leaves to steaming, fermentation, and rolling—but, driven by the desire for them to “take home lasting memories,” the team works together to extend a warm welcome. Between tasks, everyone enjoys chilled watermelon together, and they even take trips to try their hand at painting Tobe-yaki, a traditional craft of Ehime. Once you’ve experienced this warmth, you’ll undoubtedly want to come back for more.

Whenever they hold an exhibition, people they’ve connected with through past workshops or events rush to show their support. “We give a hand towel as a gift to everyone who comes for a workshop, and when they come to cheer us on with it tied around their necks, I’m so happy it brings tears to my eyes,” says Kumi. Tokyo, Chiba, Kanagawa, Kyoto… the circle of people brought together by Ishizuchi Black Tea is spreading far and wide.

Looking toward the future, we never stop moving forward

What can be done year-round to promote Ishizuchi Black Tea, which can only be produced for about two months in the summer? Kumi is constantly thinking about this. “I’ve never once felt satisfied with what I’ve done. I’m always thinking about what I can do next.”

Her ultimate goal is a future where Ishizuchi Black Tea is no longer something special, but rather something that blends seamlessly into everyday life—a culture that the next generation will naturally carry on. Weaving this vision together, the organization celebrated its 30th anniversary in 2026.

A cup of tea nurtured by Mount Ishizuchi and perfected by human hands. Ishizuchi Black Tea is filled with the memories of the land, the daily lives of its people, and the passionate dedication of the Satsuki-kai.

The post The Satsuki Association, which continues to preserve the legendary fermented tea known as Ishizuchi Black Tea, a tradition passed down from the sacred Mount Ishizuchi / Saijo City, Ehime Prefecture first appeared on NIHONMONO.

Located in Minabe Town, Wakayama Prefecture, “Kishu Takada Orchard” has been cultivating plums since Meiji 35 (1902). As the birthplace of the Nanko plum—one of Japan’s most representative plum varieties—the orchard pursues “authentic flavor” through organic cultivation and processing. We take a closer look at the challenges and aspirations of President Satoshi Takada as he works to share plums with the world and pass them on to future generations.

Nanko Ume, grown in a region with a history of plum cultivation dating back to the Edo period

Wakayama Prefecture is a major plum-producing region that has ranked first in harvest volume for 61 consecutive years and accounts for approximately 60 percent of Japan’s total plum harvest. In particular, the area encompassing Minabe Town and Tanabe City in the central part of the prefecture boasts the highest plum production volume in the prefecture, with a cultivation history dating back to the Edo period.

Facing the Pacific Ocean and blessed with a warm climate, the Minabe and Tanabe area was unsuitable for rice cultivation due to its steep, forested slopes and rocky, nutrient-poor soil. During the Edo period, Naotsugu Ando, the lord of the Tanabe domain within the Kishu clan who governed this area, implemented a policy of preserving firewood and charcoal forests near the mountaintops while clearing land at the mountain’s base to cultivate plum orchards—marking the beginning of plum cultivation.

Since these firewood and charcoal forests enhance the mountains’ water retention capacity and the wild bees inhabiting the mountains play a major role in pollinating the plums, the plums in this area thrive and have grown into a major industry. Even now, more than 400 years later, they continue to support the livelihoods of the local people. In 2015, the “Minabe-Tanabe Plum System” was recognized as a Globally Important Agricultural Heritage System (GIAHS) by the Food and Agriculture Organization of the United Nations (FAO), a specialized agency of the United Nations, in recognition of its innovative farming methods and the culture and landscape that have evolved from the plum industry.

The Nanko Ume, the flagship variety of the Minabe-Tanabe area, is characterized by its beautiful, large fruits with a faint reddish tint, thick flesh, soft skin, and fruity aroma. It accounts for about 80 percent of the plums produced in Wakayama Prefecture and is a nationally renowned variety.

The “creator” of the Nanko Ume is “Kishu Takada Orchard,” which has been cultivating plums in Minabe Town since 1902. Satoshi Takada, the company’s representative director, explains, “The plum saplings planted by my grandfather, the founder Sadagusu Takada, marked the beginning of the Nanko Ume.”

A single tree planted by a plum farmer grew into the “Nanko Ume,” one of Japan’s most representative varieties.

Before the Nanko Ume was developed, the Minabe and Tanabe areas were home to a wide variety of plum cultivars, with each farm growing different types. “At Takada Orchard, too, among the plum trees my grandfather planted, there was one that bore an abundance of beautiful, large plums. We called it the ‘Takada Ume,’ and we carefully nurtured it while increasing the number of trees through grafting,” Mr. Takada recalls.

Amid this situation, in 1950, the “Committee for the Survey of Superior Plum Trees” was established with the goal of standardizing the region to a single variety best suited to the local climate, in order to enhance the brand value of the production area and ensure a stable supply of high-quality plums. At the time, the committee surveyed 114 varieties cultivated in the region, evaluating them based on criteria such as “stability of yield,” “fruit quality,” “adaptability to the climate of the Minabe and Tanabe areas,” and “ease of cultivation.” After a review process spanning five years, the Takada Plum was evaluated as “the finest variety best suited to the local climate.” Subsequently, the new variety was named “Nanko”—combining the “Nan” from “Minabe High School,” a local high school that assisted in selecting mother trees for propagation, and the “Ko” from “Takada Ume”—and the variety name was registered in 1965. What began as a single plum tree at Takada Orchard has since grown in popularity to the point where people now say, “When it comes to umeboshi, it’s got to be Nanko plums.”

As the farm where the Nanko Ume originated, we grow each exquisite fruit using organic farming methods.

Takada Orchard, which handles everything from plum cultivation to processing and sales, has been committed to organic farming for over 10 years. Currently, 80 percent of its approximately 9-hectare farm is dedicated to growing plums without the use of chemical fertilizers or pesticides. The company’s plums have received “Organic JAS” certification, a national standard awarded to agricultural products grown by harnessing the power of nature.

The company’s commitment to organic farming stems from Mr. Takada’s strong conviction: “As the farm where the Nanko plum originated, we want to deliver the very finest fruit.” By enriching the soil with handmade compost, pruning the trees to ensure the fruit receives ample sunlight, and sparing no effort in these meticulous care practices, the trees yield an abundant harvest of large, beautiful plums.

At Takada Orchard, they harvest both green plums—while the fruit is still firm—and fully ripe plums that have turned yellow and softened, processing them to bring out their respective characteristics. For example, their flagship product, umeboshi (pickled plums), is made using fully ripe plums, which result in a mellow flavor and smooth texture. For plum wine, they blend green plums, which provide a refreshing aroma, with fully ripe plums, which add depth and richness.

Speed is everything when it comes to pickling. Umeboshi made from fully ripe plums

The plums used for umeboshi are not picked from the tree; only those that have ripened and fallen naturally are used. Mr. Takada explains the reason: “For us, the moment they fall after ripening—having grown on the tree until the very last possible moment—is the sign of ‘perfect ripeness.’ “In terms of aroma, skin, and flesh, they are in a class of their own,” explains Mr. Takada. These fully ripe plums—so ripe that even when eaten raw, they have a faint sweetness—exude a sweet, peach-like fragrance and feature thin skin and soft flesh. When made into umeboshi, their mellow flavor stands out, resulting in a smooth texture.

However, the softness of the flesh also means the fruit spoils quickly. Driven by the desire to act “even one second faster,” Mr. Takada and his team harvest fallen plums regardless of the weather and always salt-cure them on the same day. According to plum farmers, fully ripe plums spoil just as quickly as fresh produce, so speedy harvesting and salt-curing are directly linked to quality.

The company produces a total of eight varieties of umeboshi, including “Kuradashi Shirohiki Ume,” which is cured using only natural salt; “Traditional Shiso Umeboshi,” pickled between leaves of shiso grown organically on the company’s own farm; “Kinume,” made with large Nanko plums and acacia honey; and “Magokoro,” made with hundred-flower honey. Recently, due to improvements in preservation technology and changing tastes, there has been a trend toward preferring umeboshi with lower salt content or those pickled in seasoned brines such as honey or dashi. However, the company’s “Kuradashi Shirohiki Ume” and “Traditional Shiso Umeboshi” remain popular products with many repeat customers. To highlight the delicious flavor of the organic plums, both varieties have a salt content of 18%. These are exquisite products that offer a mellow richness even amidst their tartness.

Highly acclaimed at international competitions. Aiming to create a plum wine that stands up to global standards.

In 2008, Minabe Town was designated a “Plum Wine Special Zone.” Taking advantage of the relaxed minimum production volume requirement for a liquor manufacturing license when producing plum wine within the town using locally grown plums, Takada Orchard began making plum wine in 2011.

What Mr. Takada values most in umeshu production is a simple, pure flavor that allows the natural taste of the ingredients to shine through. The company consistently produces its umeshu without adjusting the flavor, color, or aroma, using only organically grown plums from its own orchard, sugar, and alcohol. Since the umeshu is brewed exclusively with plums harvested in the same year, one of its distinctive features is the ability to enjoy the variations in aroma, acidity, and body that occur from one vintage to the next.

Currently, the company produces four varieties of plum wine. Among them, “Aged Plum Wine Takada TAKADA”—made with organic plums, domestically produced brandy, and rock sugar, and aged for over seven years—is one of the company’s flagship products, having won both the Platinum Award and the Excellence Award in the 2025 plum wine competition at “Kura Master,” a Japanese spirits competition held in France. While many plum wines have a heavy “body” due to their high sugar content, “Aged Plum Wine Takada TAKADA” is characterized by a clean, crisp finish. The purity of the organic plums, free of any off-flavors, blends seamlessly with the brandy.

Since 2023, Takada Orchard has been actively submitting its plum wines to international competitions. Mr. Takada explains the reason behind this: “It stemmed from the question: ‘Will plum wine be accepted worldwide?’” “Kura Master,” where sommeliers, chefs, and representatives from top-tier hotels active in Europe judge the taste and aroma, is a competition with strong influence in the European market. Although “Aged Umeshu Takada TAKADA” was selected for the Excellence Award—given to the top three brands—Mr. Takada looks toward even greater heights, stating, “When it comes to whether people around the world are actually drinking umeshu, we still have a long way to go. I want to keep taking on new challenges, always striving for an even better flavor.”

Born from this spirit of challenge is “Teinoku,” the brand’s premium umeshu line. Named after the founder, this umeshu employs a two-stage brewing process: fresh plums are steeped in a base liquor—made by aging organic plums, brandy, and rock sugar in oak barrels—before being added to the mixture. Designed to be “a glass that redefines the concept of umeshu,” it offers a rich, deep flavor with vanilla notes derived from the oak barrels. This brand received the “Magnifica Award” (a special prize awarded to the most outstanding bottle among the Platinum Award winners in each category) at the “Milan Sake Challenge 2025,” an international Japanese spirits competition where Italian sommeliers conduct a multifaceted evaluation of factors such as compatibility with Italian cuisine and design.

Bringing authentic flavors to the world and to the next generation.

Although ume plums have long been cherished as part of Japan’s culinary culture, their value is not yet widely recognized around the world. As the founder of the farm where Nanko Ume originated, Mr. Takada’s greatest dream is to share the appeal of ume plums with the world.

Ume trees do not bear abundant fruit immediately after being planted. Similarly, umeshu—a plum wine that requires long-term aging—takes many years to reach maturity. Although he may not immediately see the results of the initiatives he has just begun, Mr. Takada is enthusiastic, saying, “I want to keep implementing measures that will pave the way for the future.” He will continue to work diligently with the ume, create new products, and share the appeal of Nanko Ume both domestically and internationally. This challenge also connects to carrying on the spirit of his grandfather, Teikan—who carefully nurtured the ume trees—and passing it on to the next generation.

The mother tree that laid the foundation for the Nanko Ume plum variety continues to bloom and bear fruit every year at Takada Orchard, even now that it is over 130 years old. The story of the Nanko Ume, which began with a single plum tree, continues to spread its branches across the world and into the next generation.

The post Bringing Nanko Ume to the World and to the Next Generation: Satoshi Takada of “Kishu Takada Orchard” / Minabe Town, Hidaka District, Wakayama Prefecture first appeared on NIHONMONO.

In Uchiko Town, Ehime Prefecture—a town that flourished during the Edo period thanks to “mokuro,” a natural plant-based wax, and where the traditional townscape remains to this day—there is a brewery that has been producing sake for over 100 years. “Sakaroku Shuzo” was founded in Taisho 9 (1920) when several small-scale breweries joined forces. It is a long-established brewery known for its “Kyohina” brand.

Local Sake Breweries Come Together to Create “Kyohina” 

From the late Edo period through the Meiji era, Uchiko Town flourished as a center for wood wax production. The town’s white-walled streetscape, which still reflects that prosperity today, has been designated as a National Preservation District for Groups of Traditional Buildings.

The roots of “Sakaroku Shuzo,” which operates a brewery in this town steeped in historical charm, date back to the Edo period.

Thanks to the high-quality water from the Oda Miyama Gorge and the climate conditions of the mid-mountainous region—which have long been ideal for sake brewing—there were more than a dozen sake breweries in this area, which was then part of the Ozu Domain. Eight of these breweries joined forces and built a new facility in Taisho 9 (1920), marking the beginning of the company. Breweries from the former towns of Uchiko and Ikazaki (now Uchiko Town) and Ozu City merged to establish Kita Shuzo Co., Ltd.

“Since each one was a small brewery—too small to be called a ‘sake brewery’ on its own—I think the natural progression was for them to come together to produce sake on a larger scale,” says Naoyuki Takechi, the current owner.

In Showa 16 (1941), Ken’ichirō Sakai, who ran a cotton textile business in Yawatahama within the prefecture, acquired the brewery and founded “Sakuroku Shuzo.” He inherited “Kyōhina,” the flagship brand that had been in production since the company’s founding. The name is said to derive from the fact that sake served to a renowned monk in Kyoto was highly praised, and that the occasion coincided with the Hinamatsuri (Doll Festival).

“Looking at the sign still hanging in the brewery, I see that during the Kita Shuzo era, it was written in kanji as ‘Kyōbina’ (京雛). At some point, it changed to ‘Kyōhina.’ Since this is a brewery that produces clear sake rather than cloudy sake, I think the intention was to remove the dakuten,” says Mr. Takachi.

Embracing the Local Food Culture 

In Ehime, blessed with the bounty of the Seto Inland Sea, the cuisine features dishes that highlight the natural flavors of the ingredients, particularly sea bream and whitefish.
“Country cooking isn’t about adding ingredients—it’s about subtracting them. It’s about simply enjoying the natural flavors of the ingredients. To complement this regional culinary tradition, our sake is slightly dry with a clean finish. It doesn’t take center stage; rather, it acts as a supporting player, enhancing the dining experience. That’s the kind of sake I like, and that’s always been the character of Kyohina,” says Mr. Takachi.

Sake from Sakuroku Sake Brewery has long been cherished as a supporting actor that helps people savor the moment while enjoying a meal.

Mr. Takechi’s Challenge to Preserve and Carry On the “Kyohina” Legacy 

Mr. Takechi was not originally the heir to Sakuroku Brewery. He came to take over the brewery through his marriage to Mika, the daughter of the previous owner, Fujio Sakai.

After graduating from college, Mr. Takechi worked for an electronics manufacturer in Tokyo, leading a fulfilling life as an engineer. It was during this time that he met Mika and married her. Although he knew her family owned a sake brewery, he had absolutely no plans to take it over at the time.

However, a turning point came suddenly.
“In 2010, my father-in-law passed away suddenly, and after discussions among the family, we concluded that if my wife and I didn’t take over, the brewery would have to close. So we thought, ‘If we can pitch in, let’s give it a try…’ To be honest, at that time, I didn’t really understand how difficult sake brewing would be,” he recalls.

At Sakuroku Sake Brewery, we have invited master brewers from Ikata—a tradition originating in Ikata Town, Nishiuwa District—to produce sake based on traditional techniques. Mr. Takechi, who became the representative of Sakuroku Sake Brewery, learned from them, living and working side by side to master their craft.

“Having such outstanding Ikata Toji master brewers with us made a huge difference. Together with the employees who have been here since the previous generation, we’ve worked hard with the determination to preserve ‘Kyohina,’ and that’s how we’ve reached where we are today.”

What the previous generation valued most was handcrafted sake brewing focused on quality, rather than mass production. Mr. Takachi, who adopted this philosophy and took on the role of master brewer himself, has guided the brewery to its continued success through his flexible approach and the rationality of his engineering background.

Between Tradition and Innovation

Sakaroku Shuzo’s main brand is “Kyohina.” Under this umbrella, a lineup of distinctive sub-brands—such as “Ichito Ryōdan” and “Suimōken”—are featured.

The flagship product is the dry junmai daiginjo “Ichidō Ryōdan.” It is made with Yamada Nishiki and Matsuyama Mitsui rice varieties grown in Ehime Prefecture. The rice polishing ratio is 50%. The umami of the polished rice spreads across the palate, and the finish is clean and crisp. While it has a dry and crisp flavor, it also offers a subtle hint of rice sweetness, and it is highly regarded for being a sake that never gets boring.

In addition, the brewery offers a range of distinctive brands, including the dry daiginjo “Kōsaburō,” the junmai daiginjo “Kakushiken,” and the junmai ginjo “Uchikozaza.” “Uchikozaza,” in particular, was created to commemorate the 100th anniversary of the Uchikozaza theater—built in Taishō 5 (1916)—and is an ambitious creation made using yeast unique to Ehime. In 2024, the brewery won a Gold Medal at the “SAKE COMPETITION” and Silver Medals in both the SAKE and Junmai categories at the “IWC (International Wine Challenge).”

“I’d be happy if our sake could be one of the elements that helps create those moments when customers gather around the table with their loved ones and share conversations.” Mr. Takechi’s sentiment has resonated, and “Kyohina” has received numerous inquiries from seafood-focused izakayas and yakitori restaurants, complementing a wide range of dining experiences that transcend the boundaries between Japanese and Western cuisine.

“While I do have some concerns about branding, I want to preserve what my father-in-law built, so I’m carefully carrying on these brands.”

In fact, the previous generation’s leader, Fujio Sakai, had aspired to be a film actor in Tokyo when he was young. He was part of the 13th class of Toho New Faces.

“When I look at old photos, he was a real heartthrob. I hear he retired from acting, returned to his hometown, and took over the family sake brewery—he had a sense of style that I just don’t possess. Back when sake was strongly associated with men, he focused on creating sake that women would find appealing. He used vibrantly colored bottles and came up with creative names. I think he was taking on challenges that were very innovative for his time.”

While remaining committed to the traditional, handmade production methods in the wooden warehouse that has been in use since the brewery’s founding, Mr. Takechi leveraged his experience as an engineer to drive efficiency improvements and capital investments. He implemented mechanization to maintain consistent quality even with a limited staff, while also establishing systems that allowed the team to focus fully on tasks—such as sensory evaluation and moromi management—that can only be performed by humans.

“Making good sake takes time and effort, but spending too much of it to the point where the brewery can’t survive defeats the purpose. We place great importance on balancing quality and business management.”
As a result, despite being a small brewery with a production capacity of 300 koku, the company has built a stable market with mid- to high-priced products and is expanding its sales channels both within and outside the prefecture.

Cherishing the bonds between people

Sakaroku Shuzo’s sales model is based on a traditional system of authorized dealers where everyone knows each other personally. Rather than relying on wholesalers, the company has always prioritized building relationships of trust with local liquor stores. The history of the company—which has thrived by taking the encouragement and constructive criticism from these stores to heart—remains alive today.

“We sometimes receive harsh advice from the liquor store owners, but I’m actually grateful when they speak their minds clearly. After all, business is really all about the connections between people,” says Mr. Takachi.

Leveraging the connections he made during his time in Tokyo, the brewery owner has personally worked to increase direct contact with customers by hosting tasting events and sake gatherings—a significant factor in the company’s success. It is precisely because they are a small brewery that they are able to build trust through these personal, face-to-face relationships.

Looking Ahead to the Next 100 Years: Challenges and Prospects for the Future

At the same time, there are challenges to face: rebuilding aging breweries, finding successors, and establishing a sustainable management structure. While sake brewing is a traditional industry, a business perspective is essential.

Mr. Takechi speaks about what makes a “good brewery” as follows:
“It’s a company where everyone—including the employees—can make a decent living. To ensure that the history of this brewery, which has endured for 100 years, is not cut short and to carry it forward into the next 100 years, we must generate profits and create an environment where our employees take pride in their work and want to continue. That is my role.”

His words convey both the level-headedness of a business leader and the passion of someone deeply involved in sake brewing.

“I believe sake is a culture that will never disappear, but it’s true that the industry is facing tough times. While each brewery is going through a process of trial and error, the sake that survives this period of consolidation will surely be recognized worldwide.”

From engineer to brewery owner. Mr. Takechi’s journey, guided by the flow of events, was both a coincidence and an inevitability. Supported by the natural beauty and the bonds of community in Uchiko Town, Sakuroku Brewery continues to take new steps forward today under the name “Kyohina.”

The post From Engineer to Sake Brewer: Naoyuki Takachi of “Sakaroku Shuzo” Takes on the Challenge of Carrying On the “Kyohina” Legacy Through an Unconventional Career Change / Uchiko Town, Ehime Prefecture first appeared on NIHONMONO.

Based in Morioka City and Shiwa Town in Iwate Prefecture, “Sun Farm” Ltd. produces fruit trees and rice. Guided by the philosophy of “doing things differently,” President Satoshi Yoshida cultivates a wide variety of apples, including rare overseas varieties. The collection includes a staggering 140 varieties—it’s practically an apple museum.

“Sun Farm”: Committed to Iwate, Starting with “Soil Preparation”

Iwate Prefecture is a major apple-producing region, second only to Aomori and Nagano prefectures. Its history of apple cultivation predates that of Aomori and Nagano; apple cultivation is said to have begun in Morioka City in 1872.

　“Sun Farm” is an agricultural corporation based in Morioka City—which boasts the highest apple production volume in the prefecture—and the neighboring town of Shiwa to its south. The company grows apples and other fruit trees, as well as rice. It was founded by a family of farmers whose lineage has continued in this region for generations, and is currently led by Satoshi Yoshida, the 11th-generation head of the family.

Under the concept of “Iwate from Soil Preparation Onward,” the company practices circular agriculture using compost and oyster shells produced within Iwate Prefecture. Its apples and rice have earned “Special Cultivation” certification, which requires that pesticide use be kept to less than half that of conventional farming. The company also operates tourist farms where visitors can pick cherries and blueberries; people come from the local area, the Tokyo metropolitan area, and even overseas to enjoy the harvest experience.

140 Varieties of Cooking Apples, Curated by a Former Trading Company Employee

Mr. Yoshida is originally from Joetsu City in Niigata Prefecture. After graduating from the Faculty of Agriculture at Yamagata University, he joined a trading company specializing in aquaculture equipment. Following his marriage in 1995, he moved to Morioka City—the hometown of his wife, Mika—and joined Sun Farm, a business run by his father-in-law. Starting with no prior experience, he plunged into the world of agriculture and dedicated himself to mastering cultivation techniques, while also working to reform the business by launching initiatives such as a tourist fruit orchard and a direct-sales operation.

Among his initiatives, he has placed particular emphasis on cooking apples. He cultivates approximately 140 varieties, focusing primarily on rare varieties with a strong tart flavor. “In terms of the number of varieties we handle, I believe we’re probably number one in Japan,” Mr. Yoshida says with pride.

I’m a relative newcomer to apple farming. That’s exactly why I want to do things differently from everyone else.

Morioka City in Iwate Prefecture was one of the first places in Japan to introduce “dwarfing cultivation,” and the adoption rate there is over 90 percent. “Dwarfing cultivation” is a method in which fruit trees are grafted onto “dwarfing rootstocks”—which naturally suppress plant growth—and trained to grow at a low height. The benefits of this method include easier cultivation management and harvesting due to the trees’ compact size, as well as the ability to grow high-quality fruit because sunlight reaches every part of the tree.

Although the area has a long history of apple cultivation, the orchard was not growing apples when Mr. Yoshida began helping out there. “Our family has been farming for generations, but we didn’t start growing apples until 2009. Compared to our neighbors, we were latecomers,” says Mr. Yoshida. That is precisely why he says he makes a conscious effort to focus on “doing things that others aren’t doing.”

“The JA cooperatives in Iwate Prefecture handle 22 varieties of apples. Most apple farmers grow one of these 22 varieties, and the apples they grow are lumped together with those from other producers and distributed to the market. I felt that made it hard to stand out and wasn’t very interesting. So I decided to compete on a completely different playing field, and starting the following year—2010—I began expanding our variety selection.”

Most apples grown and distributed in Japan are sweet varieties meant for fresh consumption, such as Fuji and Jonagold. Mr. Yoshida decided to “go in the opposite direction” and focused on varieties with a strong tartness that are well-suited for cooking. He believed there was significant demand, particularly among restaurants, for cooking apples whose flavor is enhanced when heated. Therefore, he set his primary target audience as chefs and pastry chefs and visited restaurants and pastry shops across the country to understand their needs.

“As I spoke with various chefs, I came to realize that the characteristics required in apples differ depending on the intended dish or use—for example, apples that don’t release much moisture when baked, or those that break down easily when made into jam. So I started by searching for varieties suited to each specific need.”

The 140 varieties currently grown include classic British varieties such as “Bramley” and “Cox’s Orange Pippin,” as well as “Calville Blanc,” which originated in France. While the focus is on foreign varieties, they also handle rare domestic varieties such as “Moon Rouge,” which originated in Nagano Prefecture. In addition, they have set aside a portion of the orchard as a test plot where they trial-grow new varieties every year.

“Many of the countries of origin for these foreign varieties have drier climates with less rainfall than Japan. It’s difficult to grow them in Japan’s hot and humid climate, and there are some varieties we’ve had to give up on,” says Mr. Yoshida. Rather than trying to forcefully overcome the differences in the fruits’ characteristics through technical means, he explains, “We select and grow varieties that retain their unique characteristics and subtle nuances even when cultivated in Japan’s climate.”

Furthermore, the farm is reportedly working on breeding its own original varieties, which are derived from the foreign varieties they currently grow.

These apples are primarily supplied to restaurants and patisseries, including three-star restaurants and renowned hotels. The company’s reputation grew through word of mouth from chefs who actually used the apples on their menus, following a steady sales effort that began by visiting each establishment one by one. In addition, apples that do not meet standard specifications are sold wholesale as primary processed products—such as peeled, sliced, or grated apples—for commercial use. This helps San Farm reduce food waste and also helps its restaurant customers lower their labor costs. In addition, the company now sells directly to consumers through farm-to-consumer e-commerce sites such as Tabechoku.


“When we ship to organizations like JA, the distribution system makes it difficult for our rare varieties to be properly appreciated. But with direct sales, we can leverage our strength in handling a wide variety of apples to meet specific needs,” says Mr. Yoshida. The company enjoys strong trust from chefs and pastry chefs, and currently, 90 percent of Sun Farm’s sales come from direct transactions.

Furthermore, participating in the national “Hometown Revitalization Global Project” gave him a firsthand sense of the demand for Japanese apples overseas. Since then, by partnering with a fruit-specialized distribution company, he has experienced in-person sales at shopping centers in Thailand and appearances on TV shopping programs, allowing him to truly grasp the potential of Japanese apples in the global market.

“Red-fleshed varieties, such as ‘Beni no Yume,’ are particularly popular. While red-fleshed varieties from overseas tend to be astringent when eaten raw, people are delighted to find that Japanese ones are much easier to eat.”

Apple Picking in the City Center? A Collaboration with “Hobonichi”

Sun Farm’s efforts in growing a wide variety of crops also led to a collaboration with “Hobonichi,” a company headed by copywriter Shigesato Itoi.

The “Maybe It’s an Apple-Picking Exhibition,” held annually by “Hobonichi” since 2021, takes place at Shibuya PARCO and offers a simulated apple-picking experience. Sun Farm provides a variety of apple varieties for this event every year.


At the venue, a wide range of varieties—from sweet to tart, and varying in size and color—are on display. Visitors can choose and purchase their favorite apples from the selection and eat them right there.

“We have many varieties on display that you rarely see in supermarkets. Children often eat tart apples without batting an eye. Even when parents try to stop them by saying, ‘That’s sour,’ the kids will reply, ‘I like this one.’ I’d be happy if people could discover the many charms of apples without being bound by the preconception or standard that ‘sweet equals delicious,’” says Ms. Yoshida with a smile.

Addressing Climate Change and New Challenges

Sun Farm has earned the trust of chefs and pastry chefs across the country, including those at renowned restaurants and patisseries. While the farm’s operations appear to be going smoothly, there are challenges. Among them, adapting to climate change is a pressing concern.

“In recent years, both apples and cherries have been plagued by heat-related issues—such as softening fruit and poor color development—caused by extreme heat. Rising temperatures in early spring are also a problem. Flower bud development is progressing faster than usual, causing the timing of blooming to coincide with late-spring frosts. Cherry flower buds, in particular, are vulnerable to frost; if the flowers die from frost, the trees won’t bear fruit. To address this, we’ve installed anti-frost fans and, on days when a cold snap is expected, we use the ‘burning method’—lighting fires to warm the entire orchard.”

Even if these efforts prevent spring frost damage, a prolonged heatwave in the summer is highly likely to cause heat stress. If global warming continues at this rate, cherry and apple yields will likely decline in the future. Anticipating this, Mr. Yoshida has reportedly begun cultivating heat-tolerant fruits such as peaches and nectarines.

I want to prove that “farming is profitable” and pass this on to the next generation.

“Farming is a process of trial and error,” says Mr. Yoshida. “And you only get one chance to try each year.” It’s been about 30 years since he left his corporate job to become a farmer. I asked him what kind of future he envisions at the end of this journey of challenges he’s built up one by one.

“I don’t mind if my own children don’t take over the farm. However, I want to establish a solid business model so that employees who are interested—or the next generation—can successfully carry on the legacy. If I can prove that farming is a genuinely profitable business, young people will naturally be drawn to it.”

Mr. Yoshida says that what he “wants to do most right now” is to open a café on the farm.

“I want guests who come for cherry or blueberry picking to be able to stay at the farm after their experience—to relax at the café or take a stroll and enjoy a leisurely time,” he says.

Now in his mid-50s, Mr. Yoshida says, “I want to be ready to pass the baton to the next generation in about 10 years.” So that apples can continue to be grown on this land, no matter how the climate changes or who takes over. Mr. Yoshida’s journey continues.

The post “Doing Things Differently.” “Sun Farm,” a one-of-a-kind orchard that grows 140 varieties of apples / Morioka City, Iwate Prefecture first appeared on NIHONMONO.

The “Taragi Rice Fields Power Research Group,” a rice production team formed in 2017 by 11 rice farmers in Taragi Town, Kuma District, Kumamoto Prefecture, aims to revitalize agriculture throughout Taragi Town by fostering cooperation among farmers—led by its representative, Shinichiro Ogata—to cultivate high-quality rice under a unified brand.

I want to grow rice I can be proud of to repay the debt of gratitude I owe to those who came before me.

A deeply forested area in Kuma District, Kumamoto Prefecture, known as “Oku-Kuma.” Taragi Town, located there, was ruled by the Sagara clan of samurai from the early Kamakura period through the Meiji period. During their long reign spanning approximately 700 years, the Sagara clan constructed irrigation canals such as the “Hyakutaro-mizo” and the “Kono-mizo.” It is said that this improved agricultural productivity within their domain, allowing it to develop into one of Kyushu’s leading rice-producing regions.

In particular, the “Hyakutaro Ditch”—a massive, challenging project said to have taken 100 years to complete—stretches approximately 18 km in total length. While farmers were digging it by hand—with the entire community mobilized—the site was struck by floods numerous times; the ditch was ultimately named after Hyakutaro, who was sacrificed as a human offering. “The bountiful natural environment we enjoy today is thanks to our ancestors, who endured blood, sweat, and tears,” says Shinichiro Ogata. “To repay that debt, we must continue growing rice on this land.” Driven by the desire to “produce delicious rice that we can be proud of nationwide,” he took the initiative to form the rice production team “Taragi Rice Fields Power Research Group” in 2017. As the representative of the group—comprising 11 rice farmers in Taragi Town, Kuma District, Kumamoto Prefecture—he coordinates the farmers’ efforts while also cultivating rice himself.

To ensure the future of agriculture, the entire region must develop together.

Mr. Ogata was born into a farming family in Taragi Town that has been in the business for generations. He left his hometown for a time to work in sales in the beauty and hair industry. However, as the internet and mail-order sales became more widespread, he felt he had reached the limits of his sales career and returned home in 2009. By participating in the establishment of the local agricultural corporation “Taragi Nobiru Agricultural Cooperative,” he came face-to-face with challenges such as the aging farming population and a shortage of successors.

Consequently, while working as a staff member for the corporation, he sought to identify “what he could do.” Believing that “there are limits to developing individual farms alone; only by developing the entire region can we ensure agriculture’s future,” he became a founding member of the “Taragi Rice Fields Power Research Group.”

Subsequently, starting around 2011, the “Taragi Rice Paddy Power Research Group” invited Goichi Endo—a rice farmer from Takahata Town, Yamagata Prefecture, who had won the Gold Prize and Diamond Award for four consecutive years at the Rice Taste Analysis and Appraisal Competition—to serve as an advisor. Under his guidance, the group meticulously examined cultivation methods from seedling raising to harvest. By refraining from using chemical fertilizers and instead employing organic fertilizers based on fish meal, while implementing cultivation management based on scientific evidence, the group established a standardized cultivation method and resolved to strictly adhere to Mr. Endo’s teachings as a whole.

“Kometaragi,” a brand of rice that has won numerous competitions

The main variety cultivated by the “Taragi Rice Paddy Power Research Association” is “Nikomaru.” The association ships rice under its “Kometaragi” brand only after it has met its own strict standards—including a protein content of less than 7% and a minimum grain size of 1.9 mm as determined by sifting—as clearly defined in its shipping specifications. The lower the protein content, the fluffier and softer the rice becomes when cooked, and the more pronounced its sweetness. When the grain size is uniform, heat is distributed evenly during cooking. “Kometaragi” rice, which meets these strict standards, features large, satisfying grains with a sticky, moist texture, as well as a rich umami flavor and pronounced sweetness.

The group also pays close attention to the drying process. First, the rice is dried overnight through air circulation without applying heat to ensure uniform moisture distribution within the grains. Then, it is dried using heat to prevent variations in overall moisture content. In addition, the group has collaborated with designers on brand development, focusing on the logo and packaging design. They have worked diligently to enhance the brand’s appeal.

These efforts are evident in the “Kyushu Rice Taste Competition” (held in Miyawaka City, Fukuoka Prefecture), where municipalities across Kyushu compete based on the taste of their rice. At the second competition in 2018, Taragi Town stood at the top among 163 Kyushu municipalities, and has since gone on to win consecutive titles in the municipal division. The town has won the Grand Prix a total of five times, including four consecutive victories. Members of the research group have also won the Highest Gold Award in the individual overall category, further attesting to the high quality of “Nikomaru.” As the rice has also gained popularity as a return gift for the “Hometown Tax” program, Mr. Ogata feels encouraged, noting, “I think awareness of Taragi Town’s rice is gradually increasing.”

So that it can serve as a model for rice farming in Japan

The “Taragi Rice Fields Power Research Association” had previously established rules to ensure that producers did not deviate from standardized cultivation methods based on their own judgment, in order to maintain uniform standards. However, in recent years, the association has begun to broaden the scope of its activities by relaxing these rules—for example, by permitting the cultivation of new varieties such as “Pikamaru” and “Kuma-san no Kagayaki” in addition to “Nikomaru.” The group is also actively pursuing new initiatives, such as introducing sensors for water management and applying AI-driven moisture control to the rice drying process. This is because the group’s goal is “to pass on rice production in Taragi Town to the next generation,” and they believe that to achieve this, they must continue to evolve with the times.

Mr. Ogata believes, “If we continue to deliver Taragi Town’s rice to many people through the association, ‘Taragi Town Rice’ will surely become a household name in 15 years.” He adds that if successful, the association’s activities could serve as a model for rice cultivation in Japan, and the recognition of “Taragi Town Rice” would further help promote “Taragi Town agricultural products” as a whole.

“The Hyakutaro Canal was carved out by our forebears for the sake of agriculture in this land. It is said that the weirs were washed away time and again by repeated floods, and it took about 100 years to complete. In other words, it is an irrigation canal that can be called a regional treasure, built not over the course of a single generation, but across many generations. We must never forget that our lives depend on it,” said Mr. Ogata. He continues to look to the town’s past and future in order to draw out the full potential of Taragi Town and pass it on to the next generation.

The post “Kometaragi” is a group of 11 rice farmers from Taragi Town. Shinichiro Ogata of the “Taragi Rice Paddy Power Research Group” / Taragi Town, Kuma District, Kumamoto Prefecture first appeared on NIHONMONO.

Located in eastern Kochi Prefecture, Aki City is bordered by the Shikoku Mountains to the north and overlooks Tosa Bay to the south. With 89 percent of its land covered by forests, the city features a rugged terrain of deep mountains and numerous valleys. As a result, charcoal-burning huts once dotted the mountainous regions, shaping the local culture. However, due to declining demand for charcoal as a fuel and changes in the industrial structure, the fires in the charcoal kilns eventually went out.

A young charcoal maker has reignited the charcoal-making industry in Aki City, which had once fallen by the wayside. His name is Toshiyuki Kondo, who transitioned from a career as a teacher to launch “Tosa Binchotan Ichi” in July 2015. Ten years later, he continues to produce charcoal as the only charcoal kiln operator in Aki City.

A Fresh Start in a Former Binchotan Production Area

When you stand in front of the kiln, the first thing that strikes you is its beauty. When people think of charcoal-burning huts, they tend to imagine a workplace covered in dust and soot. However, Mr. Kondo acquired this structure—originally built by the prefecture and city—10 years ago and has continued to preserve it by making repairs. The well-maintained atmosphere exudes his pride as a craftsman.

Another distinctive feature is that the charcoal kiln is fully enclosed. While kilns with roofs to shelter them from the rain can be found throughout the country, it is quite rare to see one enclosed to this extent.

Even in Wakayama (Kishu Binchotan) and Miyazaki (Hyuga Binchotan)—regions famous for producing Binchotan—the kilns are generally left exposed to the elements. In contrast, Kochi (Tosa Binchotan) has long had a tradition of enclosing kilns within buildings. “I suppose it’s to prevent moisture from seeping in and causing the charcoal to crack in Kochi, where the rain and wind are strong. Though, to be honest, I’ve also taken extra care to enclose it securely here,” says Mr. Kondo. This wisdom, aimed at preserving quality, has taken tangible form.

Felling high-quality Binchotan logs is a life-threatening job.

The logs used to make Binchōtan charcoal are broadly categorized into two types: Ubame oak and Japanese oak. The harder and denser the wood, the better the charcoal. “The higher the density of the log, the higher the temperature of the charcoal and the longer it burns,” says Mr. Kondo.

While Ubame oak can be found in some areas of Aki City, its distribution is limited to very specific regions, such as Wakayama Prefecture, the Chita Peninsula in Aichi Prefecture, and Muroto City and Toyo Town in Kochi Prefecture. In all of these locations,

Ubame oak does not grow on flat land but rather in harsh environments such as rocky terrain and steep slopes. Growing slowly in these harsh conditions tightens the wood’s fibers, resulting in trees that are hard and strong—with the density ideal for use as raw logs for binchōtan.

Consequently, the mountains where these logs are harvested are far more rugged than one might imagine.

“The mountains in Kochi Prefecture have steep slopes, and the trees grow on steep inclines. Logging sites are always fraught with life-threatening danger.”

Binchotan charcoal, with its unique character, is known as the “cooking partner.”

There are two types of charcoal: “white charcoal” and “black charcoal.” Tosa Bincho-tan is classified as white charcoal, and its firing and finishing processes differ significantly. White charcoal is carbonized all at once at temperatures exceeding 1,000 degrees, removed from the kiln while still glowing red-hot, and then rapidly cooled by covering it with ash. It is called “white charcoal” because the ash turns white when applied. Black charcoal, on the other hand, is slowly burned at low temperatures between 400 and 700 degrees and cooled while sealed inside the kiln, resulting in a charcoal that remains black.

In the culinary world, these distinct characteristics of the charcoal make a decisive difference.

“White charcoal doesn’t produce open flames; instead, it cooks food slowly using high-temperature far-infrared rays, allowing heat to penetrate all the way through without charring the surface. Black charcoal produces open flames, so the surface gets a fragrant, charred finish. For example, yakitori grilled over black charcoal turns pitch black even if it isn’t actually burnt, right? “As chefs say, there’s a golden hue that only white charcoal can produce, and a deep black that only black charcoal can achieve,” says Mr. Kondo.

Chefs understand the unique characteristics of each type—such as heat output, how quickly the temperature rises, burn time, and aroma—and select the appropriate charcoal based on the dish. This is why binchōtan is called a “partner in cooking” rather than simply a “cooking tool.”

An innovative kiln-firing method known as “yokokube” propelled Kochi to the top spot in Japan in terms of production volume.

Tosa Bincho-tan employs a unique method of loading the kiln that is unlike any other. Unlike the “vertical loading” method traditionally used in Wakayama and Miyazaki—where logs are stood upright in the kiln—Kochi uses “horizontal loading,” in which the logs are laid flat. Because the logs are stacked horizontally, large quantities of raw wood can be easily piled inside the kiln. This technique actually originated from an interesting coincidence.

During an era when the fuel revolution had caused charcoal sales to plummet, a disheartened charcoal maker in Kochi—exclaiming, “I can’t take this anymore”—casually tossed logs into the kiln. To his surprise, the result was beautifully charred charcoal. From there, the craftsman refined his technique, and in just about ten years, he perfected the “yokokube” method.

The “yokokube” method made it possible to build larger kilns, and Kochi grew to become Japan’s largest producer of binchōtan, operating kilns in the 9- to 12-metric-ton class.

Tradition cannot be sustained simply by preserving it. Sometimes, chance can spark a revolutionary shift in thinking.

Criteria for Distinguishing Between Good and Bad Charcoal 

High-quality Tosa Binchotan is charcoal that is approximately 24 to 20 centimeters long, produces a clear, metallic “ting-ting” sound when tapped, and has a hardness of 16 degrees or higher.

“You can tell right away just by looking at it. Good Binchotan has a smooth, polished, and beautiful surface. Conversely, pieces with a rough, splintered surface or holes are not good. Air enters through the cracks, causing the burning time and temperature to become inconsistent. For customers who require a consistent heat source—such as those at yakitori or unagi restaurants—this makes the charcoal difficult to handle. As a result, it is evaluated as not being good charcoal,” says Mr. Kondo.

Toward Creating Workplaces Where People with Disabilities Can Work 

It has been 10 years since he opened his business. Mr. Kondo, who previously worked as a teacher at a special education school, apprenticed at a kiln in Muroto City—a town known for its traditional Tosa Bincho-tan charcoal industry—where he spent two years mastering the craft before opening his own kiln in his hometown of Aki City. However, the world of traditional industries is by no means an easy one. What has driven him to keep going all this time?

In fact, it seems Mr. Kondo did not originally enter the charcoal-making trade with “charcoal” as his primary motivation. While working as a teacher and supporting students with disabilities in their growth and career paths, he was confronted with the reality that there were almost no employment opportunities for people with disabilities in eastern Kochi Prefecture. It was around that time that, through his hobby of kendo, he met a Tosa Binchotan artisan and learned about the charcoal-making process, which is divided into 17 detailed steps. He realized that “with the right support, there are steps in this process that even people with disabilities can perform,” and decided to make the transition to becoming a charcoal artisan.

“I pushed aside all the opposition from those around me and jumped into this world, but I thought, ‘I made a mistake.’ It’s exhausting, it’s grueling, the pay is low, and there are no days off. But since I quit my job as a schoolteacher saying I wanted to create a workplace that employs people with disabilities, I couldn’t go back without achieving that goal. I decided I wouldn’t quit until I’d created those jobs, no matter what.”

Finally, he was able to hire people with disabilities, and some time later, one day, his staff told him:

“I’m glad I was born with a disability.” “I’ve lived my whole life in the online world, but for the first time, I’ve found a place for myself in the real world.”

These words affirmed the path Mr. Kondo had chosen.

The Reward for a Job That Puts Your Life on the Line

The production of Tosa Binchotan No. 1 involves a series of processes—logging, transportation, loading into the kiln, 10 days of drying, 10 days of carbonization, and unloading from the kiln—that take approximately 30 days to complete. This is followed by sorting, packaging, and shipping. This is the cycle that Mr. Kondo spent 10 years perfecting to best suit his workshop’s kiln. The safe and easy-to-master processes are handled by staff members with disabilities. Mr. Kondo has previously employed four people with disabilities, and he reports that a fifth staff member is currently working there and performing well.

Mr. Kondo explains:

“I think the image most people have of charcoal burning is quiet work in front of the kiln, but it’s the work in the mountains involved in making binchōtan that I really want to convey.”

The logging takes place on steep slopes with gradients of 50 to 60 degrees. You reach the site by driving along a narrow mountain road—with a ravine yawning on one side—as the vehicle jolts along the bumpy path. Wearing spiked tabi socks, you climb a ladder to reach the base of the trees. On unstable footing, you maneuver a chainsaw, taking care to fell the trees in the correct direction. The felled trees are cut to a length of about 180 cm, and one by one, they are slid down the slope until they reach the point where the transport vehicle can access them.

In half a day, we load 30 logs—about one metric ton—onto the transport vehicle, transfer them to a light truck, and haul them to the kiln. Working in the mountains means that a single mistake could cost you your life. In fact, there have been accidents where people have fallen.

“It’s not exactly cost-effective,” he says with a wry smile, though his serious gaze remains unwavering.

Yet Mr. Kondo continues because of his strong desire to create a workplace for people with disabilities, to meet the needs of chefs waiting for his charcoal, and to protect the mountains.

“My current dream is—well—to increase employment opportunities for people with disabilities a little more. I’m not satisfied with the status quo. Once I achieve a goal, I set another one. I feel happiest when I’m pursuing what I can do.”

Connecting the Future of People and Mountains Through Charcoal Burning 

To protect the future of the mountains, Mr. Kondo has adopted the “selective logging” method—a practice long used by producers of Kishu Bincho-tan charcoal—and continues his efforts to regenerate the mountains on a 10-year cycle.

Selective logging is a method of harvesting only mature trees from within a forest. Because it involves selecting and cutting only the necessary trees while leaving the rest of the forest intact, it allows the forest to be utilized while preserving its natural functions—such as providing habitats for birds and animals and maintaining water-retaining soil.

In contrast, clear-cutting—which has been the standard practice until now—involves cutting down all the trees in a specific plot at once, offering the advantage of yielding a large amount of timber in a short period. However, immediately after logging, the ground is left bare, and the forest environment changes significantly as the patterns of light and wind are altered. For this reason, reforestation—planting saplings and nurturing the forest anew—is essential after logging.

It is said that with clear-cutting, it takes approximately 25 years for the next generation of trees to grow. In contrast, with selective logging, it is possible to return to the mountain once every 10 years to harvest timber.

However, selective logging isn’t possible on every mountain. In mountains that have long been left untouched by humans, trees can grow too thick and too large. If such large trees are felled, they may snag on surrounding trees or pull them down with them, potentially leading to serious accidents. Prioritizing safety can result in the need to clear a wide area, which in some cases can end up resembling clear-cutting.

Mr. Kondo says:

“I practice selective logging because I believe that if we adopt this method in Kochi as well, we can prevent our resources from running out. Right now, with the global boom in Japanese cuisine, we’re receiving many inquiries about binchōtan. Since there are few producers, we’re in a situation where the more we produce, the more we sell. However, if we cut down too many trees for raw materials, we’ll eventually run out of supplies and be unable to produce it. I don’t want to see our resources depleted or our techniques lost, so I think striking the right balance is absolutely crucial.”

That is precisely why Mr. Kondo places such importance on not leaving the mountains untended for long periods.

“Mountains can be passed on to the next generation by having people enter them at regular intervals to harvest trees and nurture the next generation of trees. I believe the work of a charcoal burner isn’t just about cutting down trees to make charcoal—it extends to using the wood while simultaneously nurturing the next generation of the mountain.”

Today, once again, a single tree is being transformed into Tosa Binchotan charcoal.

This process sustains a place where people with disabilities can live with pride and supports the future of the mountains. For Mr. Kondo, charcoal-making is a job that connects the future of people and the mountains.

The post Charcoal-Making That Brings People Together: “Tosa Binchotan Ichi” / Aki City, Kochi Prefecture first appeared on NIHONMONO.

In 2021, lotus root grown in Chonan Town, Chiba Prefecture, attracted attention after recording a sugar content of 9 degrees—one of the highest levels in the country. The producer is Akihiro Kanesaka. Although he had experienced social withdrawal, he took up farming following the death of his father, who was a prominent figure in the industry. He established a natural farming method that utilizes the activity of soil microorganisms without the use of fertilizers or pesticides, and markets his lotus root under the brand name “Kanesaka Renkon.”

From a Reclusive Online Gamer to a Lotus Root Farmer

Located in the inland region of the Boso Peninsula, Chonan Town is a mid-mountainous area where valley paddies stretch along mountain valleys; it is a major lotus root production center in Chiba Prefecture, where agricultural cooperatives are also active. In Chonan Town, the Kanasaka family—spanning two generations—has been cultivating lotus roots and continues to bring a breath of fresh air to the lotus root industry.

Lotus root is the edible, swollen portion of the lotus rhizome, which grows beneath the surface of muddy ponds known as “hasuda.” During harvest, farmers wade into these muddy ponds and use a hose to apply water pressure, flushing away the mud and causing the lotus roots to float to the surface. However, since the conditions beneath the water’s surface are obscured by the mud, the work must be done by feel. In such an environment, the roots must be dug up without damaging them. “If you apply too much water pressure, it leaves bruises on the lotus roots,” says Mr. Kanesaka, explaining the difficulty of the task.

My father was a dedicated farmer whose name lives on in the name of a crop variety. 

Takasumi Kanasaka, Mr. Kanasaka’s father, is a well-known figure in the lotus root industry as a dedicated farmer who developed a new variety of lotus root. The first variety, “Kanasumi No. 1”—named after his own name—was registered in 1985. After further improvements with No. 2 and No. 3, the Kanasumi series now accounts for about 70 percent of the lotus root produced in the Kanto region.

While Takasumi developed these varieties with a focus on disease resistance, yield, and ease of harvesting, he says that “flavor” was his top priority. “My father was always looking for sweetness and a crisp texture. Ever since I was a child, my father’s simmered lotus root often appeared at the dinner table—but it never contained chicken. That was so he could check the flavor and texture of the lotus root itself.” Although Mr. Kanesaka grew up under such a father, he would actually go on to experience a period of social withdrawal.

My Days as a Shut-In Obsessed with Online Games 

Mr. Kanesaka had never originally planned to take over the family business. He studied programming at a vocational school and got a job at an IT company. However, the workplace had such harsh working conditions that several of his colleagues from the same hiring class quit. To take his mind off things, he became obsessed with online gaming and was eventually forced to resign. Looking back on that time, Mr. Kanesaka says, “It was a period of online gaming when I had given up on life. I had even become afraid to check my email or answer the phone.”

The turning point in his nearly three-year period of social withdrawal came with his father’s sudden death. “Since neither my older brother nor my older sister had taken over my father’s business, I started thinking about him a lot after he passed away. I guess I must have sensed the presence of a father figure from a young age.” At his father’s funeral, Mr. Kanesaka told his older brother, “Maybe I’ll be the one to take over the lotus root farm.”

Overcoming the Pressure of Being the Son of a Famous Father 

However, he said he struggled for several months over whether to actually take up farming. Having spent so much time as a shut-in, he lacked confidence that he could stick with it. “I was afraid people would say, ‘Kanesaka’s son started farming, but he quit.’” Precisely because his father’s presence loomed so large, the pressure to take over the lotus root farm weighed heavily on him.

Even after finally deciding to become a farmer, he found himself in a cycle of working for one month, taking three months off, then working for another month, and taking half a year off. “There were times I cried, wondering why I couldn’t push myself harder.” Amid these days of inner conflict, he came to realize: “If my sole purpose was to preserve the variety my father created, I’d never be able to surpass him, and farming would just be a struggle. I can only surpass my father by throwing myself into what I truly want to do and expressing my own identity.” Something she could become completely absorbed in and devote herself to. For Ms. Kanesaka, that meant taking on the challenge of naturally cultivating lotus root.

Nationwide top-class lotus root grown using natural farming methods

Because Nagaminami Town is characterized by a landscape dotted with valley paddies nestled among the mountains, it cannot compete with Ibaraki Prefecture—Japan’s largest lotus root production area, where the crop is cultivated on vast flatlands—in terms of work efficiency or yield. In the market, lotus roots from Ibaraki Prefecture—which enjoy high brand recognition—command higher prices than those from Chiba Prefecture. Given this reality, Mr. Kanesaka had been searching for a way for local agriculture to survive. The conclusion he reached was to produce high-quality lotus roots using natural farming methods and add value to them.

Organic Farming with a Focus on Microorganisms 

While interviewing elderly lotus root farmers about traditional farming methods, Mr. Kanesaka made an important discovery: about 60 years ago, farmers did not use pesticides or chemical fertilizers, but instead used fallen leaves from the mountains as compost. This discovery sparked Mr. Kanesaka’s interest in natural farming. As a first step, he chipped bamboo—which grew abundantly in the local area—to use in place of fallen leaves, adding it to the lotus fields to restore the soil’s fundamental fertility.

As he continued farming, he learned that some of Japan’s top lotus root producers were focusing on microorganisms. Mr. Kanesaka came to believe that the activity of microorganisms in the growing environment influenced factors such as flavor and resistance to pests and diseases. To maintain the balance of soil microorganisms and stimulate their activity, he gradually transitioned to natural farming—free of pesticides and chemical fertilizers. The lotus roots grew steadily, and he was able to harvest large, plump specimens. While acknowledging that “there is still much we do not understand about the role of microorganisms,” Mr. Kanesaka positions his farming method as “microorganism-centered cultivation”—distinct from “cultivation based on the use of fertilizers and pesticides.”

Lotus root with a sugar content of 9 degrees, among the best in the country 

The cultivation methods Mr. Kanesaka developed have been proven to produce excellent flavor, as confirmed by analytical results. In 2021, Mr. Kanesaka’s lotus root recorded a sugar content of 9 degrees—the highest level in Japan. Conversely, levels of nitrate ions—which are considered the source of bitterness and astringency—were kept low. This remarkable achievement, especially given that the sugar content of typical lotus root is generally around 6 to 7 degrees, attracted significant attention; his lotus root is now used as an ingredient even at hotels that have earned five Michelin stars.

He uses an online store to sell to the general public. Drawing on skills he acquired during his time as a company employee, he designs the labels himself. The product name, “Kanesaka Renkon,” was given to him by his online gaming friends during his time as a shut-in. He adopted it as his favorite brand name, representing lotus root infused with the “soul” he poured into it after overcoming past struggles and trial and error.

I want to continue taking on new challenges and help develop the local industry. 

Although Mr. Kanesaka has achieved success with his natural farming techniques for lotus root, challenges remain—such as crayfish, which had previously been controlled with pesticides, now causing damage to the lotus root—leading him to note, “There are still things I need to research.” Even so, unlike during his reclusive days, ideas for new projects he’d like to tackle are now constantly coming to mind. “Going forward, I’d like to move forward with initiatives such as hosting agricultural experiences for people who have been socially withdrawn and developing agritourism programs. In the long term, after developing processed lotus root products, I’d like to grow this into a regional trading company that safeguards local industries and employment.” We can’t wait to see what he accomplishes next.

The post Cultivating Lotus Root with a Sugar Content Rivaling That of Fruit Tomatoes: “Kanesaka Renkon” by Tetsuhiro Kanasaka / Chonan Town, Chiba Prefecture first appeared on NIHONMONO.

Kochi Prefecture’s official fish is the skipjack tuna, and the prefecture ranks first nationwide in consumption. Skipjack tuna is deeply loved by the people of Kochi.

Even in this “skipjack tuna prefecture,” Myojin Suisan in Kuroshio Town is a well-known name. Myojin Suisan’s straw-grilled tataki isn’t just delicious. The company protects marine resources from overfishing by using single-hook fishing methods and eagerly adopts techniques to ensure the utmost freshness. To secure high-quality straw for making tataki, they established an agricultural corporation, revitalized fallow fields within the town, and return the straw ash to the rice paddies as fertilizer—thus creating a circular model that connects the sea and the mountains.

It is the prefecture’s official fish, and consumption of it ranks first in Japan. The prefecture’s love for bonito

Located about 90 kilometers west of Kochi City, Kuroshio Town in the southwestern part of Kochi Prefecture has long been known for its thriving single-line fishing industry, which tracks skipjack tuna riding the Kuroshio Current off the coast of Tosa, solidifying its reputation as the “Town of Skipjack Tuna.”

In recent years, the town has also attracted large numbers of visitors from both within and outside the prefecture through experiential tourism—such as “whale watching,” which makes use of the area’s natural resources—and sports tourism centered around the Tosa Southwest Large-Scale Park.

Located right next to Saga Fishing Port, where fishing boats set sail, is the headquarters of “Myojin Suisan,” famous for its “straw-grilled bonito tataki.”

Shoichi Myojin, the company’s representative director—who, even now as the head of his own business—still takes out his boat to fish for bonito as a hobby—explains the origins of “tataki.”

“Originally, tataki was a method devised by fishermen in fishing villages to safely eat bonito that had lost some of its freshness in an era before refrigeration or freezing. They would place vinegar and soy sauce in the palm of their hand, slice the lightly seared bonito into sashimi, and then pound it to let the flavors soak in. They would then top it with garnishes such as green onions, onions, and garlic.”

We will continue to preserve line-and-hook fishing

Riding the Kuroshio Current, the “first bonito” migrate northward off the coast of Tosa Bay from around February to March. Afterward, they head south while feeding heavily on krill off the coast of Chiba and in the Tohoku region; by the time they return to the waters off Tosa in the fall, they are rich in fat and are called “returning bonito.”

Myojin Suisan, founded in 1959, has been practicing Tosa’s traditional “single-rod fishing” method—catching bonito with a single fishing rod—off the coast of Tosa Bay.

“Nationally, there may be an image that ‘skipjack tuna equals Kochi,’ but in reality, our catch volume isn’t particularly high. In other prefectures, such as Shizuoka and Kagoshima, the primary method is purse seine fishing, which allows for massive catches—sometimes exceeding 100 metric tons at a time—essentially sweeping up the entire school of skipjack tuna in a single net. Our daily limit is 40 to 50 metric tons. Even today, Kochi and Miyazaki still use the traditional single-line fishing method. If a school isn’t feeding, we stop there and look for another spot. It’s a sustainable fishing method that avoids overfishing and is gentle on the environment,” Mr. Myojin says with great pride.

By using a lure hook without a barb, the skipjack tuna—which is jerked high into the air—slips off the hook at the apex of its trajectory, allowing anglers to catch them one after another. It takes about three years of practice to master the rhythm of this technique. The larger the skipjack tuna, the more difficult it is to handle, and this is where differences in skill become apparent.

Because line fishing minimizes damage to the fish and ensures high quality, the catch is traded at a unit price 3 to 4 times higher per kilogram than that of net fishing. Consequently, the fishery has remained viable even with relatively small landings.

Currently, the company owns four inshore vessels and, through a group company, three large freezer vessels, one of which is the “Katsuei Maru,” capable of operating in the open ocean. This vessel is known as a “B-1 ship.” The caught skipjack tuna are immediately placed, one by one, into a fish hold containing a “salt brine solution”—a highly concentrated saltwater solution maintained at around minus 20 degrees Celsius—where they are rapidly frozen while still alive, preventing any loss of freshness.

Furthermore, veteran fishermen reel in fish at a rate of one every two seconds. To prevent overfishing from filling the fish hold and slowing down the freezing process, the fishing master monitors the catch volume and calls a halt when necessary.

“When they’re really biting, we can go nonstop for an hour and a half to two hours. In terms of weight, that’s 55 or 60 metric tons—or 60,000 kilograms—and they just keep coming, one after another,” says Mr. Myojin, who has served as fishing captain for many years, speaking with passion.

The skipjack tuna from Myojin Fisheries, which has mastered the art of single-hook fishing, is highly regarded nationwide as “B-1 (Brine-Frozen First-Class Product).”

On the other hand, with purse seine fishing, if, for example, 100 metric tons are caught, that entire 100-metric-ton haul is loaded into the ship’s fish hold all at once and frozen. This results in “slow freezing,” where the core temperature of the fish drops gradually, which tends to degrade the quality of the flesh.

At Myojin Fisheries, all top-grade bonito caught by their B-1 vessels are processed into straw-grilled tataki; even so, this accounts for only about half of the annual volume of bonito used for their in-house tataki production.

Kenta Tomioka, the department manager in charge of public relations, explains, “For example, if one of our boats catches a very high-quality, fatty bonito, we can assume that the catch from other companies’ boats in that same fishing ground is of the same quality. By purchasing from them, we can select and gather only the best raw materials.”

Mr. Myojin adds, “Due to soaring fuel costs and the issue of finding successors, the number of fishing vessels is decreasing year by year. To the untrained eye, one might think that fewer rivals would be an advantage, but from a fisherman’s perspective, fewer boats mean it becomes even harder to catch fish. Precisely because we’re scattered across the vast Pacific Ocean fishing, we rely on data shared among fellow fishermen to locate fishing grounds.”

Skipjack tuna vessels are required to share information three times a day regarding their current location and catch volume, and all of this information is publicly available. When Mr. Tomioka showed me his smartphone, I was able to immediately pinpoint the “Katsuei Maru’s” location using AIS (Automatic Identification System). While vessel safety is certainly a factor, the fishing world—where competitors coexist and thrive together—is fascinating.

The intensity of straw-grilling is directly proportional to its deliciousness.

In 1986, Myojin Suisan began processing and selling seafood, as well as manufacturing and selling straw-grilled bonito tataki. The company was founded with the desire to introduce people across Japan to the delicious taste of authentic Kochi-style tataki.

Since the straw burns rapidly and turns to ash almost instantly, only the surface is seared, leaving the inside raw. This creates a unique aroma and texture that cannot be replicated by gas grilling. The combination of frozen bonito with exceptional freshness and the aroma of the straw-grilling process is what makes Myojin Suisan’s tataki so appealing.

What instantly made this appeal famous was the “Myojin Maru” store located at Hirome Market, a popular tourist spot in Kochi City. There, they demonstrate the straw-grilling process and serve the freshly prepared dish on the spot. The aromatic, delicious flavor of their bonito tataki has earned them a stellar reputation, and they now operate restaurants both within and outside the prefecture. They also manage “Roadside Station Nabura Tosa-Saga” in Kuroshio Town, where customers can enjoy the same straw-grilled bonito tataki.

Currently, Myojin Suisan operates six restaurants in Kochi Prefecture, five in Tokyo, two each in Osaka and Okayama, and two in Shikoku. At these restaurants, they use straw grown at “Myojin Farm”—a farm the company established to secure high-quality straw—to grill the tataki, and they also use rice harvested from the farm.

The staff’s hard work is evident in the massive straw warehouse.

Myojin Suisan has focused its efforts on securing both skipjack tuna and straw.

Initially, staff members collected straw from farmers in neighboring municipalities, as well as throughout the prefecture and across Shikoku. However, as many farmers stopped growing rice due to an aging population, the straw shortage became a serious issue. Consequently, Mr. Myojin decided, “If that’s the case, let’s grow our own rice,” and launched “Myojin Farm” in 2014. The company leases abandoned farmland and has been expanding its operations year by year. In collaboration with local farmers, they are also preserving traditional techniques such as drying rice on racks.

They have also set up a dedicated warehouse to further dehumidify the dried straw and store it in a condition that ensures it burns well. I was shown around the massive straw warehouse, but I learned there are actually about six such warehouses where the straw is stored. Even so, this is still not enough to meet their annual demand of 40,000 bundles, so the staff are constantly on the move throughout Kochi Prefecture to secure more straw.

Experience the intensity of minus 50 degrees

I was given a tour of the processing facility. The ultra-low-temperature warehouse where the skipjack tuna is stored to maintain its freshness is kept at minus 50 degrees. Because it is stored at such low temperatures, the tuna has a long shelf life, allowing the facility to supply skipjack tuna year-round without ever running out.

While still frozen, the product is cut into portions—such as single or double servings—to meet customer needs. Then, using a proprietary straw-grilling machine, the surface is grilled for about 5 to 6 minutes while carefully monitoring the day’s temperature, humidity, and the fat content of the bonito to adjust the amount of straw used. The product is then packaged for gifts or sets, sorted on the production line, and subjected to “liquid flash freezing” at minus 35 degrees before being stored in cold storage.

Reportedly, 80 to 90 percent of production consists of tataki, with the remainder being rice bowls made with tuna.

Paving the Way for the Future with the Traditional “Single-Line Fishing” Method

Mr. Myojin says, “Our strength lies in the strong bonds we share—our executives, fishing captains, and food service managers are all family members, including siblings and relatives.” He adds, “As long as we have our boats, we can keep going, and our own vessels are indispensable for securing a stable supply of skipjack tuna.”

Currently, there are plans to build a new skipjack tuna vessel. From a company that knows the sea inside and out, one can sense a determination to constantly evolve. Mr. Myojin describes the current challenge as follows:

“You see, having served as a fishing captain from the age of 28 until I was 71, I can’t help but notice that every time I look out at the sea, the fish are dwindling. Compared to the size of the schools I saw in my 30s and 40s, the fishing grounds these days are worlds apart. I don’t think the fish themselves will ever completely disappear, but it’s certain that their numbers are declining. If we don’t secure our own supply of bonito, no matter how much people say ‘Myojin’s tataki is delicious,’ there’s nothing we can do once the raw materials run out. “We need to expand our deep-sea fishing operations.”

Myojin Suisan’s commitment to preserving marine resources through single-line fishing is unwavering. While facing the changing sea, they are striving to pass the baton to the next generation. I can’t help but hope that this time-honored fishing method will not only continue uninterrupted but actually expand, so that we can continue to enjoy delicious bonito.

The post Founded in 1959, “Myojin Suisan Co., Ltd.” has steadfastly preserved the tradition of pole-and-line bonito fishing and continues to support Kochi’s food culture / Kuroshio Town, Hata District, Kochi Prefecture first appeared on NIHONMONO.

Sake brewing, a tradition passed down through the mountains of Shimane Prefecture, is now gaining new momentum. Drawing on the history preserved by the Tanabe and Takeshita families, master brewer Ryota Hamazaki is crafting sake that resonates with modern lifestyles while working closely with the local water and rice.

The Tanabe and Takeshita Families: A Legacy of Sake Brewing

Located in Kakeya, Unnan City, Shimane Prefecture, “Tanabe Takeshita Sake Brewery” is a sake brewery built upon the history of two families: the Tanabe family, who were long involved in tatara ironmaking in Okuizumo, and the Takeshita family, who carried on their sake-brewing tradition. Today, the Tanabe family has once again taken over the business, and sake is being brewed at this location.

Sake Brewing and the Tatara Ironmaking Process

In Okuizumo’s Yoshida Town in Shimane Prefecture, the traditional Japanese ironmaking process known as “tatara” was once thriving. The Tanabe family served as the head of this industry and played a central role in supporting it as a pillar of the local community. Ironmaking required a large workforce; it is said that at its peak, more than 20,000 people were involved in the industry.

Among the various businesses the family operated—including tatara ironmaking—was sake brewing.

A Storehouse Passed Down Through the Generations—and Now Returned

However, toward the end of the Edo period, the warehouse was destroyed by fire. In 1866, the sake brewing license was transferred to the Takeshita family in Kakeya, Unnan City, and sake production was continued there.

The Takeshita family is also the family of Noboru Takeshita, the 74th Prime Minister of Japan. Operating as “Takeshita Honten,” the family continued to preserve the tradition of sake brewing for over 150 years thereafter, but in 2003, they suspended brewing operations and switched to purchasing ready-made sake by the barrel.

The disused sake brewery was donated to Unnan City and has been open to the public as the “Kakeya Sake Brewery Museum” since 2005. While the physical structure remains, its role as a place where sake is produced has been relinquished.

Then, in 2022, the Takeshita family faced the challenge of a lack of successors. It was the Tabe family—to whom they had once entrusted their sake-brewing license—that stepped in to help with business succession.

The history of sake brewing, passed down between the two families, led them to make a fresh start as Tanabe Takeshita Sake Brewery in order to preserve that legacy.

Master Brewer Ryota Hamazaki and a New Form of Sake

The head brewer at Tanabe Takeshita Sake Brewery is Mr. Hamazaki, a native of Fukuoka Prefecture. He studied environmental microbiology in college. It was during that time that he heard, “Sake has the most difficult brewing process of any alcoholic beverage,” which sparked his interest in sake.

Mr. Hamazaki then embarked on a career in sake brewing, training at breweries in Okayama and Aichi to gain hands-on experience.

It was during this time that he heard about the search for a successor at Tanabe Takeshita Sake Brewery. “I told myself I’d go anywhere as long as I could brew my own sake,” he said. True to his word, he decided without hesitation to head to Shimane.

Kakeai, which he visited for the first time, was a quiet town surrounded by mountains. It was also a place where a culture of fermentation thrived in everyday life, with families still making their own miso by hand.

Brewing Sake from Scratch: Our Goal Was “The Summer Sea of San’in”

When Mr. Hamazaki took over the brewery, sake production had already ceased at this location. Although a master brewer had been selected, the facilities needed for brewing were not in place. It was truly a matter of starting from scratch.

Faced with a brewery that had been unused for a long time, the first task was to prepare the space so it would be suitable for brewing sake. He identified which pieces of the old equipment were still usable and retained them, while adding new equipment where necessary.

In 2022, the environment for sake brewing was finally in place, and in the early stages of the relaunch, they conducted repeated test brews. While exploring yeast strains and brewing conditions, they began to shape the profile of the sake they aimed to create in this region.

Through this process, Mr. Hamazaki envisioned “a sake with the clarity of the San’in Sea in summer.”

The result of this journey was “Rihachi.” Named after the head of the Takeshita family at the time the brewing license was granted, this sake embodies a deep respect for history.

Fruity and clear, yet not too light—it offers a flavor that invites you to keep drinking. Rather than seeking flashiness, the goal is to create a sake that is naturally chosen as part of everyday life.

The Sensations of the Sake-Brewery Floor

Sake brewing begins with handling rice and water: washing the rice, steaming it, making koji, mashing, and fermentation. Each of these steps builds upon the others, ultimately shaping the flavor of the sake.

While controlling temperature and timing is, of course, important, Mr. Hamazaki says he “deliberately avoids relying on data.” He values brewing sake based on his accumulated experience, while using his five senses to detect subtle differences—such as aroma, the condition of the foam, and changes in sound.

Sometimes he even visits the brewery in the middle of the night. Because sake is constantly changing, he must stay attuned to its evolution at all times.

Mr. Hamazaki says, “The real sake brewing begins after the sake is pressed.” Sake brewing continues not only through the production process but also through subsequent management and distribution. For this reason, Tanabe Takeshita Sake Brewery sells its products directly to consumers, bypassing wholesalers. This decision prioritizes quality control and the speed with which the sake reaches consumers.

Sake Brewing That Bridges the Next Generation

Meanwhile, Tanabe Takeshita Sake Brewery is currently investing approximately 1.2 billion yen to construct a new brewery within the city. The company aims to relocate there in May 2027. The new facility will feature year-round brewing with fully controlled temperature and humidity, enabling the brewery to supply sake of consistently high quality throughout the year. The plan is to increase production to 161,100 liters—more than seven times the current output—by the fiscal year ending September 2030.

Of course, even as the scale changes, their approach to sake brewing remains unchanged. Looking ahead, they are also considering a brewing process that fully incorporates local water and rice, creating a self-contained production cycle within this region.

There is no guarantee that the sake we enjoy today will be in demand in the same form 50 years from now. Nevertheless, continuing to brew sake in this very place is what connects us to the next generation.

From the Tanabe family to the Takeshita family, and back to the Tabe family again. The legacy of sake brewing, passed down through the generations, continues to this day.

The post Carrying on the legacy and moving forward once again. Ryota Hamazaki of Tanabe Takeshita Sake Brewery, supported by two families / Unnan City, Shimane Prefecture first appeared on NIHONMONO.

Kami City in Kochi Prefecture has long been a hub of forestry and agriculture. The Monobe River, a Class 1 river that originates at Mount Shiraga and flows into Tosa Bay, runs through this area. Pure water carried down from the upstream mountains, the excellent drainage typical of alluvial fans, and an inland climate characterized by significant temperature fluctuations between day and night. Captivated by this blessed environment, newcomers have established a brewery and are working alongside the local community to create one-of-a-kind craft beer.

From Osaka to Kochi: The Beginning of a Move Inspired by the “Lifestyle”

Shinya Setoguchi first visited Kochi because his brother-in-law was attending Kochi University.

Unspoiled nature, food that delights the palate, and warm-hearted people. Captivated by all of it, he recalls thinking, “First of all, I want to live in this area.”

At the time, Setoguchi was an engineer who had studied science and engineering from technical high school through graduate school. Even while working in the electronics industry, he was always searching, deep down, for “a job to which he could devote his life.” In his late 20s, amid a period of uncertainty and soul-searching, he discovered craft beer.

He traveled to breweries across the country, witnessed the dedication of the brewers, and learned that beer had become an integral part of local culture. He then underwent training in Portland, Oregon, and upon returning to Japan, spent a year apprenticing at Iwami Beer Co., Ltd. in Shimane Prefecture. That was the moment when “what he wanted to keep making for the rest of his life” began to take concrete shape.

Craft beer is a craft that involves engaging with ingredients, the land, and people. Mr. Setoguchi was captivated by its depth and eventually came to strongly desire, “I want to brew my own beer in a place of my own choosing.”

The Birth of a Small Brewery Supported by the Community

Eight years after moving to Kochi, Mr. Setoguchi opened a brewery in Kami City.

His first workshop was an old, turnkey property offered to him by a local resident who said, “I can rent this to you cheaply.” He polished the floors, painted the walls, built the equipment himself, and handled the entire brewing process all by himself. It was truly a start from scratch, but with nothing but his determination to “brew here in this region,” Mr. Setoguchi continued working quietly.

Eventually, after being featured in newspapers and on television, orders skyrocketed. Even brewing twice a day wasn’t enough to keep up, and his exhaustion reached its peak.

It was then that a local resident asked, “You’re in a bind, aren’t you?” and volunteered to help him apply labels for a full six months.

It was the moment when the entire community embraced him, a newcomer to the area. Mr. Setoguchi says he felt strongly that “I’m not brewing beer alone. I’m brewing it together with the community.”

Beer that can only be brewed in Kochi. A philosophy that puts the ingredients front and center.

At the heart of Mr. Setoguchi’s beer-making is always the “ingredients.” His first projects featured Kochi-grown yuzu, rice from terraced fields, sansho pepper, and Tosa bunkwan.

“I make the ingredients the stars, not just a subtle accent,” he says. For ingredients that impart astringency, he designs the beer to envelop them; for those where he wants to bring out the aroma, he refines the profile through fermentation temperature and hops. He creates harmony in the beer while respecting the individuality of each ingredient. Although the malt currently comes from Germany, he repeatedly tests saccharification efficiency and flavor compatibility, blending them over and over to find the optimal solution.

This approach—working backward from the ingredients to define “the meaning of brewing in Kochi”—gives the beer an unshakable core.

Mr. Setoguchi explains, “The taste of the beer is shaped by the very background of the ingredients.”

The producers’ passion, the local climate, and the changing seasons—all of these are part of the beer. That is precisely why placing the ingredients at the center is also an act of encapsulating the very essence of Kochi itself within the beer.

A Return to Our Roots Amid the COVID-19 Pandemic: The Birth of “Regional Beers”

The COVID-19 pandemic struck the brewery, which had been growing steadily. Sales plummeted by half, forcing the company to furlough its employees. However, this “forced hiatus” led Mr. Setoguchi to return to his roots.

A strong passion—“to brew beer for the community”—was rekindled in his heart.

This led to the creation of region-exclusive beers such as “Shimanto Bushukan Ale” and “Hidaka Village Fruit Tomato Ale.” Following a newspaper feature, requests poured in from roadside stations across the prefecture, and collaborative regional beers began to emerge one after another.

Beer made with local ingredients, crafted with local people, and enjoyed locally.

It was more than just a product; it served as a medium for telling the stories of the land.

“Wa-Jo Kölsch”: Where Japanese and Western Fermentation Cultures Meet

Mr. Setoguchi’s workshop features a “koshiki,” which is a rare sight in a brewery.

Here, rice, sweet potatoes, chestnuts, and heirloom corn are steamed over an open flame and then converted into glucose over the course of 48 hours in an amazake saccharification tank.

Furthermore, we developed “Wajo,” a unique fermentation technique that combines sake yeast with beer yeast.

The fruity aroma and crisp, clean finish produced by this process were reminiscent of “Kölsch,” a beer style traditionally brewed in the Cologne region of western Germany, so we named it Wajo Kölsch.

The aroma, a harmonious blend of the delicacy of sake yeast and the robustness of beer yeast, is the magic of fermentation—something that can never be replicated through cooking.

He continues to take bold risks by incorporating local ingredients, such as using “kaya nuts” in place of hops.

This beer, where Japanese and Western fermentation cultures intersect, embodies Mr. Setoguchi’s philosophy.

“Using local ingredients, local water, and creating it with local people.” This approach is giving birth to a new culture of fermentation.

The “smooth finish” created by Ryugakudo’s hard water

The area has such limestone-rich strata that Ryugado Cave—one of Japan’s three great limestone caves—is located on the mountain where the brewery stands. The brewery’s well water originates from an underground water source within this mountain; having flowed underground for over 100 million years, it is a moderately hard water rich in minerals and magnesium. While many breweries in Japan brew with soft water, here they can brew using water whose quality is closer to that of European ale culture.

Mr. Setoguchi says, “The water determines the direction of the flavor.”

Moderately hard water provides not only sweetness and umami but also forms the backbone of bitterness and astringency. This water is what supports the “clean finish”—a smooth, unbroken line that flows seamlessly from the aroma to the aftertaste.

This hard water, which shares its origins with Ryugado Cave, gives Kochi Campagne Brewery’s beers a unique crispness and depth, creating a character found nowhere else.

“Beer for Sharing.” Promoting the Monobe River Basin Brand!

Mr. Setoguchi’s dream is to develop the entire Monobe River basin into a single brand. He hopes to create a place where visitors can fully experience the charm of this region through dining, lodging, and hands-on activities.

An essential part of that experience is a beverage that brings people together around the same table to share a toast and laughter. To appeal to both beer lovers and those who aren’t fond of beer, he has made the development of low-alcohol and non-alcoholic beers a priority for the future.

Preparations are also underway to welcome a video production team to share the stories behind the ingredients and the producers’ passion.

Co-creating and conveying inspiration. With this philosophy in mind, Mr. Setoguchi continues to brew beer today that could only be born in this region.

The post “Kochi Campagne Brewery”: A One-of-a-Kind Craft Beer Crafted from Kochi’s Local Ingredients and People / Kami City, Kochi Prefecture first appeared on NIHONMONO.