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.