niime 百科
Encyclopedia of niime
玉木新雌のルーツ、福井・勝山を巡る。
〈後編〉
Visiting Katsuyama in Fukui, the roots for Tamaki Niime
〈 part 2 〉
〈後編〉
〈 part 2 〉
2024 . 06 . 15
2月24日(土)「勝山左義長まつり」当日。朝の福井の空気はピンと冷たいものの、晴れわたった青空。今日もえちぜん鉄道に乗って勝山へと向かう。
9時55分発。「左義長」を観にゆく人を運ぶためだろう、この日の電車は1両増えて2両編成。それでも客席は満席とはいかず、お祭りの高揚感もそれほどには感じられない車内ではある。
車で高速道路を使えば福井市中心部から勝山のまちへは40分足らず。だけど、小一時間のスローな電車旅がなにか時の流れを緩やかにし、これから待つ「奇祭」のあれこれにワクワクと想いを巡らし備える心持ちにさせてくれるのだ。
勝山駅から再びボンタマキへ。11時にお店に伺い、和美さんの運転で昨日は逃した越前大仏を参拝しに連れて行っていただいた。
勝山の市街地からさほど遠くない郊外、大師山の山裾にある大師山清大寺は、1987(昭和 62)年に地元出身の大実業家・故多田清翁によって建立されたもの。臨済宗妙心寺派の寺院で、22ヘクタールにおよぶ広大な境内には東大寺を上回る規模の大仏殿や高さ日本一の五重塔が配され、九頭竜川の流れるこの地に中国の国宝を再現した九龍壁や四季折々の樹々の彩りが愉しめる日本庭園など、見どころが豊富にある。
駐車場から門前町へ。緩やかな坂の参道に面してかつては商店が軒を連ねて賑わっていたそうだが、現在は数店舗のみの営業となっている。顔馴染みのお店の方と親しく会話する和美さん。
しばらく行くとゆったりとした幅の階段の向こうに巨大な大門が。対になった仁王像も巨大でとにかくスケールが大きい。
中門へと進み大仏殿の中に入る。ほの暗いが目が慣れると、自然光を取り入れた建物の三方の壁一面に無数の仏像が何段にも安置されているのに気がつき驚嘆。その数なんと千二百八十一体。それらの真ん中に鎮座する、見上げるばかりの大仏座像がまた圧巻だ。身の丈17メートルの黄金の昆盧舎那仏は端正で穏やか、慈愛のこもった眼差しを衆生に注いでおられる。その姿に静かに手を合わせた。
和美さんによれば、超一級のものを、と多田翁が細部に至るまでこだわり、納得が行かず作り直した箇所さえもあるというほどの寺院建築。
玉木の亡き父・達雄さんが生前、老師の講話を聴く会を立ち上げ、現在は和美さんが役目を引き継がれているそうで玉木家にとって縁の深い清大寺。今も毎月1日朝の参拝を欠かさないと大輔さんからは聞いた。
経営者であり四六時中寝食を惜しんで働いた仕事人間でありつつ、読書家の一面を持ち日々「学び」に価値を見い出して、人が生きる意味を問いかけていたという達雄さん。探究心に溢れ求道者のようなストイックな横顔が玉木と重なる。
ボンタマキの現在の店舗は近隣の住居建築を譲り受け曳家で移動させてリノベーションを施したもので、入り口の天井を吹き抜けにし梁を露出させ全体を真っ白に塗ったのも達雄さん。
白が好き。それも玉木の嗜好と共通だ。達雄さんが休日返上で西脇までやって来ては2年かけてtamaki niimeの社屋のペンキ塗りをしたというエピソードを私は聞いていた。「歓んで塗りに行ってましたね。」と和美さん。かつてボンタマキはこれも達雄さんの手によって木々が置かれまるで森を思わせるような空間になっていたそうだ。そんな当時の店内の様子を想像してみるのもまた愉しく感じられる。
和美さんと大輔さんから聞いたお話の続きに行こう。
地元の勝山高校を巣立ち関西へ。4年生大学の家政学部を卒業した玉木だったが、より専門的に学ぶべく服飾専門学校に再入学を決意する。
和美「全然物足りないからと専門学校へ行って。そこで目覚めたんじゃないですかね。紳士服の専攻だったんだけど、シャツづくりから始まって、男性も女性も着れるモノをとやり出して。」
フランス流儀の専門学校での勉学は手取り足取りではなく、課題に自主的に向き合い取り組むことを求められるカリキュラムで、学びが多かったと玉木からも聞いた。
和美さんにも玉木が勝山に戻っていた時期の話を聞いてみた。
和美「家に帰って来て、一生懸命服づくりしてましたね。福井市の飲食店の制服を創ったりだとか。営業は酒井君が担当して。その後2年くらい京都へ行って。試行錯誤してた時期なんじゃないかなぁ。そうして西脇の水が合ったってゆうかね。西角さんという織物職人さんと出会って、直にお願いできるから、その場で色々と問題解決もできるしね。」
——自分の手で生地に触れながら創るってことを新雌さんはすごく大事にされてますよね。それはやっぱりパターンを子どもの頃から習ってたりとか…
和美「自分で創りあげるってことが好きですね。人にただ使われるというのが嫌っていう。名の通ったアパレル企業の入社の話を会社の規模が大き過ぎるから自分のやりたいことができないと断って、せっかく入った大手の繊維商社も言われたことをやってるだけだから面白くないと一年半で辞めて。」
——独立心が旺盛だったと。
和美「そうですね。自分の思い描く形にするには、やはり独立が必要だったのかなと。」
——なるほど、一貫した姿勢が伺えますね。播州織での更なる試行錯誤の末にショールの開発と発表で一気にブレイクを果たされたといいますか。
和美「そうそう。ショールで良くなって。その前に大阪の百貨店でブラウスの展示販売をして、こっちから友だちと観に行ったこともありました。」
大輔「今はスタッフが増えたから、いろんな人のアイデアで服づくりしてて、どんどんたくさんのアイテムが出来てきてますよね。」
和美「ほんとはシャツが好きやったんやでな、あの子。」
大輔「昔はね。」
和美「今は着やすいもの、着心地の楽なものばかり着てるもんね。」
大輔「そうそう。自分にとっての着やすさ、身に付け心地の良さを追求してなかったらショールも生まれてはないやろね。」
——なるほど…。
大輔「今はジーンズも創ってるけど、好きじゃなかったやろ?」
和美「ジーンズはいてるの見たことなかったもんね。」
大輔「最近ははいてるもんね。」
和美「自分たちのジーンズはものすごくはきやすいって言う。嫌いだった人が、はき心地を考えて創ってるから。」
——ご活躍されている姿をご覧になっていかがですか?
和美「知り合いの人たちからスゴいね、頑張ってるねって言われて。応援したいよね、って言って下さるのはよく聞きます。こちらの市長からも応援して頂いて、何を教えているのかは知りませんけど、勝山高校の探求コースの授業に行ったりだとか…静かで黙々と取り組むタイプで、そんなに話の出来る子だとは思わなかったんですけど。」
大輔「最近じゃない?しゃべるというか、人付き合いが上手になったの。昔はそうでもなかったと思うんだけど。」
和美「秘めてるものがあった感じ。昔はモノトーンしか着なかったしね。」
——白と黒、お好きですよね。
和美「それが、作品にこれだけ色が溢れて来たというのが不思議なくらい。だから色感性みたいなものが…逆にモノトーン好きだからこそ色んな色が見えたのかな?」
——なるほど、逆に…。
和美「私は紺や黒系が多いから、2人がこっちに帰ってきたら睦美からも暗いよ、って言われる(笑)。もっと明るい色を着たら、みたいな。」
大輔「今や、赤とか着てるもんな。」
——心境の変化が(笑)。
和美「やっぱり、明るい色を着ると人間元気に見えるしね。でも、さて自分が着ようかとなると、シックな色選んじゃうんだけど。」
tamaki niimeがもたらした、従来のセオリーとは真逆と言えそうな斬新なアプローチが呼び水となって、織物職人や商社による最終商品開発や直売、若手デザイナーの活躍や価値を高めるブランディング、行政の支援、生地マルシェの開催等々、播州織産地は活気も呈して来ている。
しかしコロナ禍なども相まって後継者不足の問題、事業者数の減少など課題もまた多いのが実情だ。
和美さんは玉木からショールをはじめとする作品の価格を聞いた時に最初驚いたという。
和美「正直高過ぎるんじゃない?って言ったんですけど、違うんやって、と。せっかく良いものが出来てもとにかく安く、値段下げられてってなったら、作り手が歓んで作ってるかどうかわからない、って。製品ひとつ作るのに大変な思いをして、仕事だからと只々働いてるとしたら、心から愉しんで作ってると思う?って。愉しめてない、そんな気持ちが服に乗り移っちゃうと。」
——ああ~…。なるほど…。
和美「そんな服からは着心地の良さとかって感じにくいやろ?って。ウチのは一点一点創り手が愉しんで創ってるから、絶対その気持ちはお客様に伝わる。そう言いながら一生懸命やってましたね。」
——…。
和美「それを言われてから、あ、なるほどなって。スタッフさんたちが元気で愉しんで一点ものづくりをするのをみて、今ではそうじゃないと思えるようになりました。」
——…いや、本当に深いところまで考えておられますよね。
和美「そうなんです。…もうびっくりして。」
——直感、感性も素晴らしいですけど、どうあるべきか?どうすべきか?をとことん掘り下げ考えた上で実行されてるというか。
和美「なんか上の方から降りてくるみたいですね(笑)。だからあの、コロナの時のタマスクにしてもね。それまでネットのオンラインでは販売してなかったんだから。」
2020年2月、ようやく念願だったオンラインショップを立ち上げたタイミングでコロナの被害が急激に広がり緊急事態宣言に。タマスクの生産と販売に一点注力し、実店舗の売り上げが見込めない状況をtamaki niimeは社内一丸、オンライン販売で乗り切ったのだった。
——その辺の「賭け」に勝つところとか、神がかり的な…。
和美「物事の流れをよく観とるというか。」
——モノづくりに関してのアーティスト的・職人的な才能に加えて、ビジネス的な才覚もズバ抜けておられますよね。
和美「日本のモノづくりのためにじゃないけど、自分があれもこれも何もかもやってしまったら、人が育たないからって。なるべくもう、任してるって。…辛いよ、って言ってたよ、任すのは。いやちょっと違うな…って思うところもあるけど、それをやり直すうちに、その子も学んでくるし、頑張ってやるからって。」
——……はい、それでは、これからの新雌さんに期待することを最後にお願いします。
和美「私からも、頑張ってください…いや、期待するって、これ以上無理はしてほしくないよ。どうするんだろう?って。普通ではないわ。自分のことを人間だと思ってないんじゃない?(笑)」
——(笑)。確かに。並外れた方ですね。
和美「でもね、たくさんスタッフさんいるでしょ。このまま順調に、皆んなに心配かけないように。もう心配だけよ、やっぱり。大きくなればなるほどね。ちゃんと寝てるのか寝てないのか…最近なんでも食べるようになったことがちょっと安心。身体だけは気をつけて。」
母である和美さんの、母ならではの鋭い視点と娘への親ごころが表れた温かなお話だった。お客様のご来店が切れ目なく、頻繁な接客の合間を縫ってお答えいただき、またまた恐縮しきりの私だった。
ボンタマキ。勝山の中心地にあって賑わい溢れる素敵なお店だった。老舗洋装店として、代々地域に愛されていることがよく伺えた今回の訪問だった。
和美さん、大輔さん、大変お忙しいところ、改めてありがとうございました。ご家族ならではの、とても良いお話が聞けました。
2月24日(土)午後1時。奥越地方に春を呼ぶ「勝山左義長まつり」がついに始まった。今年は立川区櫓が担う一番太鼓を合図に全12地区の櫓が競演する。
地場産業・絹織物の展示館とまちの案内所を兼ねる施設「ゆめおーれ勝山」でガイドをお願いした。先ずは館内で動画を観ながら祭りの歴史など解説を聴いた後、街へと。ガイド 役Kさんの軽妙なお話を聴きながら商店街の中心部に設置された下袋田地区の櫓と浮き太鼓、そして「絵行燈」や「作り物」の展示などを案内してもらった。
Kさんに導かれて今は市役所や市民会館が立つ勝山城跡から河岸段丘の坂を下りる。段丘の崖に築かれ今も遺る「七里壁」の石垣がかつては上段に城郭や武家屋敷、下段には町家や寺院と、武士のまちと町人のまちを隔てていた。坂を下って少し歩いたところで多くの人が行き交う通りに出た。「勝山左義長」の会場である12の地区は現在の商店街の通りを中心に南北に広がっている。
コロナ禍が落ち着き、ようやく祭り本来の賑わいが戻って来たのだろう、通りを一杯に埋め尽くす人出。活気溢れる太鼓の響きと三味線や笛の音色、軽快なテンポで心浮立つ左義長ばやしに包まれて屋台がずらりと並ぶ商店街をそぞろ歩く楽しさ。
拝殿造りの立派な櫓の2階舞台では長襦袢に身を包んだ「浮き手」たちが替わる替わるに左義長太鼓を叩き、おどけた仕草で演技を繰り広げる。大人も子どもも、男も女も、老若男女が櫓(やぐら)に乗り祭囃子に合わせて「蝶よ花よ♪」と太鼓を打ち、皆笑顔で浮かれ舞う姿は春の到来を告げ、生命力と希望に満ち溢れている。観るこちらもウキウキとした気持ちになり思わず笑みが溢れる。
櫓近くの街角にはご神体を奉る松飾り。そして時事ネタの川柳に挿し絵が付けられた辻行燈が立ち並ぶ「絵行燈」。世相の風刺や庶民の気持ちがユーモラスに表現されているのが観てとれて愉しい。昔々、小笠原藩主が「無礼講」として左義長の場で古川柳や狂歌に庶民が気持ちを託すことを許したのが始まりだそう。
「作り物」はその年の干支(今年は辰)をテーマに、生活道具・日用品を組み合わせて表現し展示されるユニークな立体作品。使用したものの名前を盛り込んだ歌(書き流し)が添えられる。
どちらも各区の住民による創作、オリジナル作品というからびっくり。。江戸時代以来、300年以上の長きに渡って勝山の人びとに脈々と受け継がれてきた伝統と、暮らしに根差した高い文化性に驚愕した私だった。街なかの12の地区それぞれの櫓と演技、創意工夫を愉しみながら、あちらこちら巡り歩けるのがまた素晴らしい。
1時間のガイドの後、案内人のKさんや同行の方々と別れ、各区の櫓と左義長ばやしを巡りながら私が向かったのはまちの北部にある芳野地区。玉木の実家があり、子ども時代に兄妹が左義長を演じた櫓があり、今も大輔さんが祭りの開催に尽力している。
商店街の北端を右へ、緩やかにカーブする坂道を上り、幹線道路を横断して左に曲がり細い道を入って行くと可愛い小さな雪だるま達の展示が。突き当たりにはお寺があった。その手前を横切る通りに据え置かれた櫓から太鼓とお囃子が聞こえて来る。
「来てくれたんですね。」後ろから声を掛けられて振り向くと恐竜の被り物と長襦袢姿の大輔さんの笑顔が。出店で温かなそばを頼んで暖をとり地元の銘酒「一本義」の淡麗な味わいを堪能する。メインの商店街の辺りからは奥まった場所での左義長にはこの地区に住み暮らす人たちのコミュニティの温もりが漂っていた。
お座敷芸が元の「左義長ばやし」は昭和50年(1975年)頃までは太鼓の打ち手は大人の男性中心で、三味線と唄は勝山の芸妓衆が担っていたという。
その後「子供ばやしコンクール」の開催や「左義長保存会」の三味線講習によって、子どもたちの保護者など一般の女性らが三味線や笛など楽器や唄を担当するようになったと聞く。「勝山左義長」は、次第次第に勝山市民皆んなのお祭り、街ぐるみの左義長へと素敵に発展して行ったわけなんだなぁ…。
時代ごとの変化も経験しながら庶民の心意気を脈々と今に受け継ぎ伝える「勝山左義長まつり」。「左義長が終わったら春が来るみたいな。」とは和美さん。勝山ではこの伝統行事までがお正月なんだとか。
地方都市の例に漏れず、近年は少子高齢化や市街地の過疎化・空洞化の影響を受けながらも、コロナ禍も経て4年ぶりに全やぐら12基が勢揃いし完全復活。「奇祭」と呼ばれるこのお祭りに魅せられた椎名誠さんは“奇跡のまつり”と言い換えたそうだ。
白雪を抱く高い山々に周囲を囲まれ、九頭竜川の流れとおおらかな大地に育まれた奥越前・勝山の陽気な「奇祭」が、稀少な日本の宝もののように思えてならない私だった。
勝山巡り最後の3日目。朝からあいにくの雨模様だ。
この日は先ず福井県立恐竜博物館へと向かう。玉木からも昨年7月にリニューアルし新館も誕生した博物館を視察するようにとのミッションを与えられていた。
えちぜん鉄道に今日も揺られて勝山駅へ。オンラインで恐竜博物館の入場チケットを購入したまではよかったが、駅構内でのんびり構えていたら失態…恐竜博物館行き直通バスに乗り遅れてしまった。
次の便を待つ時間が惜しいので、前日も立ち寄った「ゆめおーれ勝山」まで歩き、そばの停留所から市内循環バスに乗ることにする。
雨もなんのその、勝山橋を渡るとすぐに左義長ばやしが聞こえてくる。商店街を行き交う人の数はやはり昨日に比べると少ない。だがまだ午前中ではある。
ゆめおーれ勝山でスタッフの方に恐竜博物館行き循環バスの停留所の場所を尋ねると支配人の方が出て来られ、わざわざ道の斜め向かいにある乗り場まで連れて行ってくださった。左義長祭りのため、普段とは循環バスのルートが変わっているとのこと。待つ間にいつもとは運行が違うからと言いながら心配して?再び様子を見に来てくださり、勝山人の温かみを感じた私だった。
恐竜博物館は日本を代表する建築家・黒川紀章による設計で、恐竜のタマゴをイメージしたデザイン。展示室へとエスカレーターで地中(胎内?)深くへ降りてゆく仕掛けにいきなり度肝を抜かれる。巨大なものから小さなものまで、多種多様な恐竜の展示がテーマパーク感も十分に、かつ詳細になされていて、質量ともに子どもからマニアまで幅広く愉しめる素晴らしい博物館だった。家族連れ中心にお客さんも多い。
鉱物や作物の進化の過程なんかもよくわかる。化石発掘現場にほど近く日本の恐竜研究の一大拠点でもあるようだ。お昼はレストランで古代米が使われているスピノザウルスを模したカレーを。セルフサービスで、食べ残しや食器の分別も利用者に任せるシステムにもなるほどと思った。
新館は福井産恐竜たちが連なる恐竜の塔がシンボリックにそびえる。特別展示室では高さ9m×横16mの巨大スクリーンに実物大の恐竜が映し出され中生代の福井が蘇る「3面ダイノシアター」が大迫力。
地球規模で太古から現代までを見通す、エンタメ性と専門性を兼ね備えた展示は、玉木の発想のスケール感、毎日をオモシロク愉しむ気持ちと旺盛な探究心に相通じるものを感じた。
午後ははたや記念館「ゆめおーれ勝山」見学へ。一時は絹織物が伝わった“本家”の桐生をしのぐほどの産地だった勝山の旧工場が利用されている2階建の木造の建物。かつての機屋の様子を再現した充実の施設を無料で観て回る。まちの歴史と織物文化を今に伝えるクオリティの高い展示には郷土への愛が滲んでいる。
雪が多く、水資源が豊富な気候と風土が絹織物生産に適し全国から人を呼び込み産地を育んだことがよくわかる。播州織と西脇もそうだが、織物で栄えたまちにはそうなるだけの必然性があるのだ。玉木の内にはそんな勝山のまちのDNAも刻まれているのだなぁ…そう思わされた。
夕方からは再び各地区の櫓を巡り、飲食テントにお邪魔して地区の人たちに混じって小腹を満たし暖を取る。左義長で勝山に帰って来た若い娘とご近所のおっちゃんが久しぶりに交わす会話が漏れ聞こえる。夕食は古い町家を使った居酒屋で。ここでも銘酒「一本義」が旨い。祭りと食と。誇れる故郷があることの素晴らしさ。
左義長の最後を締めくくる「どんど焼き」は午後8時から九頭竜川の河川敷「弁天緑地」で執り行われた。各地区の御神体に一斉に火が付けられる。一年の五穀豊穣と鎮火を祈願する、盛大なまつりのフィナーレ。
円状に並んだ各地区のご神体から天に向かって立ち昇る炎と煙が漆黒の闇に幻想的に揺らめく。小雨が降るひんやりとした夜空に燃え盛る火に敬虔な気持ちを引き出される。勝山駅へと向かう橋の上から私はその様を名残惜しくじっと眺めていた。
参考文献:『平成「勝山左義長」備忘録』
勝山左義長まつり実行委員会発行
書き人越川誠司
On Saturday, February 24th, the day of the ‘Katsuyama Sagicho Festival,’ the air in Fukui was crisp and cold in the morning, but the sky was clear and blue. Once again, I boarded the Echizen Railroad to head to Katsuyama.
The train was scheduled to depart at 9:55. Expecting more passengers going to the Sagicho Festival, the train for this day had an extra second car, which usually has only one car. However, most seats were not filled with passengers, and I couldn’t feel much excitement for the festival on the train.
Driving from the central town of Fukui to Katsuyama City on the highway takes less than 40 minutes. However, the slow one-hour train trip made me excited to see the ‘unique festival’.
Getting off at Katsuyama Station, I went to Bontamaki again. At 11 a.m., I visited the store, and Kazumi drove me to see the Echizen Daibutsu, which I had missed the day before.
The Daishizan Seidaiji Temple, located at the foot of Mount Daishi in the suburbs not far from central Katsuyama, was established in 1987 by the late Kiyoshi Tada, a prominent local entrepreneur. Belonging to the Myoshinji School of the Rinzai sect of Zen Buddhism, the temple boasts an expansive 22-hectare precinct featuring a Great Buddha Hall larger than that of Todai-ji and Japan’s tallest five-story pagoda. Visitors can also enjoy numerous attractions, including the Nine Dragon Wall, a replica of a Chinese national treasure, a Japanese garden showcasing the seasonal beauty of trees, and the scenic Kuzuryu River that flows through the area.
From the parking lot, we headed to Monzen-Cho. Along the hilly slopes of the street, there used to be many busy stores, but nowadays, only a few are running. Kazumi chatted friendly with the store clerks whom she knew.
After walking up the wide, gentle steps, we came to a massive gate. A pair of Niou statues was so huge that they were out of scale.
Going inside the middle gate, we got into the Great Buddha Hall. It was a little dark, but after our eyes got used to the area, I was surprised to notice that countless Buddha statues were enshrined in multiple tiers on the walls of three directions in the building incorporated with natural light. Marvelously, their number is 1,281. It was impressive to look up at the vast Great Buddha Statue, which sits in the middle, surrounded by such small Buddha statues. Golden Birushanabutsu: Vairocana, 17 meters in height, looks calm and is good-looking. It watches over the living with it affectionate eyes. Watching the statue, I quietly put my hands together in prayer.
According to Kazumi, Mr Tada wanted the temple to be first-class, so he paid particular attention to the details of its construction. He even recreated some parts of the building because he couldn’t convince himself that they were good enough.
Tatsuo, Tamaki’s late father, established a listening group for his discussions when he was alive. Kazumi has been taking over that role now, which is why this temple is very connected with the Tamaki family. Even now, Daisuke says they come to morning worship on the first of every month.
Tatsuo was a business owner who worked a brutal 24/7 schedule without wasting any time. He loved reading to discover the value of learning daily. He was searching for the meaning of life. I could see how this overlapped Tamaki’s face, which was like a seeker inquisitive about finding something serious.
The present Bontamaki store is where they bought the house from neighbours, moved and renovated it. The ceiling at the entrance is open, and the beams are exposed and painted pure white, which was Tatsuo’s idea.
He loves white, which is the same as Tamaki’s preference. I heard the episode that Tatsuo came to Nishiwaki on his day off to paint the building of ‘tamaki niime’ for 2 years. Kazumi said, “He was so happy to do it.” Tatsuo used to place trees around Bontamaki, which looked like woods. I enjoyed imagining such structures in the old store.
Let’s go back to the episodes Kazumi and Daisuke told me.
Tamaki graduated from the local Katsuyama high school and left for the Kansai district. She then completed a four-year program in the Department of Home Economics in college and decided to study at a fashion vocational school to learn fashion more deeply.
- Kazumi
- I think she felt it was not enough to learn, so she went to the vocational school where she was aware of fashion. First, she specifically studied men’s clothing; after that, she began making shirts and explored clothing that both men and women could wear.
The French-style vocational school had a curriculum that encouraged you to learn by yourself on the project, not by example. She told me she learned a lot from it.
I also asked Kazumi about when Tamaki was back in Katsuyama.
- Kazumi
- She worked hard making clothes when she was back home, such as making uniforms for local restaurants. Mr Sakai was in charge of running the business. After that, she went to Kyoto, where she worked by trial and error for 2 years. After that, she found Nishiwaki, where she fit in. She met Mr Nishikaku, the weaver whom she could ask directly to solve problems.
—— Niime makes it very important to make clothes by touching fabrics with your hands. It’s because she learned to make patterns from a young age.
- Kazumi
- She likes to create things with her hands. She doesn’t like to work under people. She turned down joining a famous apparel company because the company was too big and she couldn’t do what she wanted, and she quit working at a large fabric company after working for a year and a half because the work they asked of her was not very interesting.
—— She was very independent.
- Kazumi
- I think so. She needed to set up her own business to create what she envisioned.
—— I see. I can see her consistent approach. After trial and error with Banshu ori, she made a breakthrough in the creation and promotion of the shawls.
- Kazumi
- Yeah, the shawls gave her a chance. Before that, she had exhibited blouses at a department store in Osaka, and I went to see it with my friend.
- Daisuke
- They now have more staff to create clothing based on various creators’ ideas. They have more items.
- Kazumi
- She liked making shirts before.
- Daisuke
- Yeah, it was a long time ago.
- Kazumi
- She likes to wear only comfortable clothes now.
- Daisuke
- Yeah, if she hadn’t searched for ease of wearing or being comfortable, she wouldn’t have invented that shawl.
—— I see…
- Daisuke
- She makes jeans now, but she didn’t like them before, right?
- Kazumi
- We didn’t see her wearing them before.
- Daisuke
- She is wearing them now.
- Kazumi
- She told me that the jeans she makes are very comfortable because people who hated jeans sought them out for comfort.
—— What do you think about seeing her doing so well?
- Kazumi
- The people we know often tell us that Niime’s work is excellent, and they want to support her. Our mayor also supports her work. We don’t know what she teaches precisely, but she gives lectures in the investigative course at Katsuyama High School. She was the type of person to work quietly. I have never thought she was good at talking or giving lectures.
- Daisuke
- She has just changed in recent years, right? She became better at being sociable or talking. She was not like that before.
- Kazumi
- She kept something hidden inside her before. She only wore monotone colours.
—— She likes whites and blacks.
- Kazumi
- It’s marvellous to me that her products have a lot of colours. So her colour sense has developed because her favourite colours were based on mono colours.
—— I see; it worked in reverse.
- Kazumi
- I always wear navy blue or dark colours. When Niime and Mutsumi came to see us, even Mutsumi mentioned to me that I looked dark (laugh), saying, “Why don’t you wear colourful clothes?”
- Daisuke
- She wears red or bright colours now, right?
—— I am surprised at her change of heart. (laugh)
- Kazumi
- I guess it’s true that people look bright when they wear colourful clothing. However, when I choose what to wear, I always pick dark colours.
Triggering the innovative ideas by ‘tamaki niime’, which is contrary to the original theory, Banshu ori districts became lively in final product development and sales; young designers worked on branding that added their value, the government helped, opening fabric marches, and so on.
However, the pandemic has caused problems with a lack of successors, which has decreased the number of enterprise owners.
Kazumi was initially surprised when Tamaki told her the prices of products such as shawls.
- Kazumi
- I told Niime that the prices were too high, but she said to me, “That’s not right; even though good products were made if they were priced down to cheaper, you wouldn’t know if the makers were happy to make them. If workers worked hard to make one product but just spent time making money, do you think they enjoy making products? The workers are not enjoying creation, and that spirit would transfer to the clothing.
—— Oh, I see.
- Kazumi
- She said, “People wouldn’t feel comfortable with such clothing. Each product is made by workers who enjoy creation; I am sure customers feel that spirit”. Niime believed in it and worked hard.
—— ….
- Kazumi
- After she said that, I understood it. As I watched the staff enjoy creating each item, I thought the prices were not too expensive.
—— Wow, she has been thinking very deeply.
- Kazumi
- That’s right. I was amazed.
—— Not only are her intuition and senses wonderful, but she also does it after thoroughly digging and thinking about what and how she should do it.
- Kazumi
- It looks like something comes down from heaven (laugh), just like when they made ‘Tamask’ during the pandemic because they didn’t sell it online before.
In February 2020, when they finally set up the long-awaited online shopping, the COVID-19 pandemic suddenly spread, and an Emergency Declaration was announced. They focused on one thing: making ‘Tamask’ and selling them while they couldn’t expect to make sales in the physical store. With the efforts of the whole company, they overcame such conditions in online sales.
—— Looking like winning a bet, she has something like God-like inspiration…
- Kazumi
- She looks well, watching how things run.
—— She has artistic and creative talents and excellent business sense.
- Kazumi
- She said, for even Japanese manufacturing, if she did everything, she wouldn’t help workers grow. She tries to make them do as much as possible. She said it is hard to let them do everything. She sometimes thinks that what she or he does is not right, but when they fix it, they learn by themselves and do their best to make it.
—— …Well, at last, will you tell me the things you expect Niime to do?
- Kazumi
- I just want her to do her best; no, I don’t want her to work harder than now. I wonder how she would do. She is not a normal person. She may not think she is a human being. (laugh)
—— (laugh) That’s true. She is out of the ordinary.
- Kazumi
- But they have many workers. I just hope they will keep doing the business smoothly like now and not make trouble for everyone. I just have worries as their business grows bigger. I just wonder if she sleeps enough or not. I am relieved to know she eats well. I just want her to take care of her health.
Kazumi’s words had sharp points of view and showed parental love for her daughter, which only a mother could give. Continuing to have customers at her store, she answered in the interview in between the busy customer service. I felt horrible about it again.
Bontamaki is in the centre of Katsuyama City. It is a busy and interesting store. During this visit, I learned that generations have loved the store as an old clothing store in this area.
Kazumi and Daisuke, thank you so much again while you were very busy. I could hear from you about very nice episodes which only the family knows.
At 1 p.m. on Saturday, February 24th, the Katsuyama Sagicho Festival finally started, inviting spring to the Okuetsu district. This year, signalled by the first drum on the scaffold of the Tachikawa district, all the scaffolds of 12 districts competed to play.
I asked to have my guides at ‘Yumeore Katsuyama’, which is the local silk weaving industry exhibition centre and the local information desk. First, I watched the movie, learned about the festival’s history there, and then walked outside to the city. Listening to my guide, Mr K’s witty conversation, he showed me the Shimofukuroda district’s scaffold and floating drum at the shopping district’s centre. He explained displays of ‘picture lanterns’ and ‘cultural creations’.
Guided by Mr. K, we now descend the slope of the river terrace from the ruins of Katsuyama Castle, where the city hall and civic centre stand today. The stone walls of the “Shichirikabe,” built on the terraced cliff and still preserved, once separated the samurai district on the upper level, which housed the castle and samurai residences, from the merchant town and temples on the lower level. After descending the slope and walking a short distance, we arrived at a bustling street filled with people. The 12 districts that host the Katsuyama Sagicho Festival are spread north and south, centred around the current shopping district.
The COVID pandemic has calmed down, and finally, the festival’s lively atmosphere has returned, with many people on the street. There are echoes of lively drums and the sounds of Shamisen and whistles. It was fun to stroll around the street, which has lined-up stalls in the Sagicho music that makes me feel excited with a light tempo.
On the second-floor stage of the magnificent scaffold built in the haiden style, performers called Ukite, dressed in long undergarments (naga-juban), take turns beating the Sagicho drums and performing playful, exaggerated gestures. Men and women, young and old alike, climb onto the scaffold, striking the drums to the festival music while singing “Choyo Hanayo♪.” Their joyful dancing and bright smiles signal the arrival of spring, brimming with vitality and hope. Watching them lifts the spirits, bringing an uncontrollable smile to the faces of onlookers.
Near the scaffold, pine decorations are placed on the street corners to honour the gosshintai (sacred objects of worship). Additionally, the area features ‘picture lanterns’ — street lanterns adorned with senryu, paired with illustrations reflecting current events. These clever depictions humorously convey the sentiments of ordinary people, making them enjoyable to observe. It is said that long ago, the lord of the Ogasawara domain declared the Sagicho festivities to be a time of bureiko (a suspension of formality), allowing the townsfolk to express their feelings through senryu and kyoka (humorous poems).
The ‘cultural creations’ are unique three-dimensional artworks inspired by the year’s zodiac animal (this year, the Dragon). They are crafted using household tools and everyday items. Each piece is accompanied by a song (kakinagashi) that incorporates the names of the materials used, adding another layer of creativity and charm.
I was amazed to learn that both the ‘picture lanterns’ and ‘cultural creations’ are original works crafted by residents of each district. The high level of cultural sophistication and the deeply rooted traditions of Katsuyama, passed down for over 300 years since the Edo period, left me in awe. The ability to stroll through the town, enjoying the performances and creative ingenuity displayed by the scaffold in each of the 12 districts, was truly delightful.
After taking an hour-long tour, I left my guide, Mr K, and the people with me, walked around each scaffold and Sagicho music and headed to the Yoshino district in the north of the town where there used to be Tamaki’s old home, and there was the scaffold that Tamaki and Daisuke used to make a performance. Even now he makes an effort to continue opening the festival.
I made a right turn on the north side of the shopping street, climbed a gently curving hill, crossed the main road, and turned left to a narrow street. There! There were displays of cute little snowmen. At the dead end of the street, there was a temple. Before the temple, there was a street to turn onto, where the scaffold was placed. I heard the sound of drums and musical accompaniment.
“You came to see us!” Someone said to me, and I turned around to look. Wearing a dinosaur headgear outfit with a long undergarment, Daisuke showed me a smile. At the festival stall, I bought a bowl of warm noodles to keep me warm and enjoyed a famous local sake, ‘ippongi’, which has a light and elegant flavour. In the back area of the Sagicho festival, which is away from the main shopping street, I feel that there’s a warm community of residents in this district.
‘Sagicho musical accompaniment’ was initially played as parlour entertainment until around 1975. The drum performers were mainly men, and a Katsuyama entertainment group performed Shamisen and songs.
After that, I heard that by holding a ‘children’s music competition’ and Shamisen practice by ‘The Sagicho Preservation Society’, children’s parents and ordinary ladies were put in charge of playing instruments such as Shamisen, whistles, instruments, and singing. ‘Katsuyama Sagicho gradually became like the Katsuyama Citizens’ Festival and developed fantastically into a whole-city Sagicho Festival.
‘The Katsuyama Sagicho Festival’ has experienced historical changes but still continuously inherits ordinary people’s spirits. Kazumi said it is thought that ‘after the Sagicho Festival has passed, Spring will come’. In Katsuyama, the period of New Year is considered until this traditional event.
Examples of local cities: the low birth rate and aging population, depopulation of urban areas, and hollowing out are influencing this city; however, after four years of the pandemic, all 12 scaffolds have recovered completely. This festival is called ‘Strange Festival’, but Mr Makoto Shiina, who is very interested in it, rephrased it as ‘a miracle festival’.
This cheerful ‘strange festival’ was raised in Oku Echizen, Katsuyama, which is surrounded by high mountains covered with white snow and has the Kuzuryu River in this rich land. It is a rare treasure in Japan.
On the last day of my Katsuyama trip, it was unfortunately raining.
On that day, I headed for the Fukui Prefectural Dinosaur Museum.
Tamaki also recommended that I visit a museum that was recently renovated into a new building in July.
I headed for Katsuyama station by Echizen railroad again today. It was good that I bought the admission ticket for the dinosaur museum, but I made a careless mistake while spending time in the station. I missed the direct bus to the dinosaur museum.
I didn’t want to waste time waiting for the next bus, so I walked to Yumeore Katsuyama to take the city circulator bus there.
Rain was no bother, as soon as I crossed the Katsuyama bridge, I heard the music of the Sagicho festival. Compared to the ones of last year, there were fewer people who walked around in the shopping centre, but it was still the morning.
At Yumeore Katsuyama, as I asked the clerk for the bus stop for the circulation bus to the Dinosaur Museum, the manager approached me and took me to the bus stop across the street. He explained to me that there had been a route change because of the festival. While waiting for the bus, he came to see me again if I was worried about taking a different route. The Katsuyama people were really warm.
The Dinosaur Museum was designed by Kisho Kurokawa, one of Japan’s leading architects, and its design is inspired by a dinosaur egg. The moment I descended deep underground via an escalator to the exhibition hall, I was utterly blown away. The museum features a wide variety of dinosaurs, from massive to miniature, presented with the feel of a theme park while maintaining detailed, high-quality exhibits. It’s a remarkable museum that appeals to everyone, from children to enthusiasts, and it is bustling with families.
The exhibits also provide a clear understanding of the evolution of minerals and crops. Located near a fossil excavation site, the museum serves as a significant hub for dinosaur research in Japan. For lunch, I had a dinosaur-shaped curry modelled after Spinosaurus, made with ancient rice, at the museum’s restaurant. The self-service system, which requires visitors to handle food waste and separate dishes themselves, struck me as practical and thoughtful.
The new building features a symbolic “Dinosaur Tower,” showcasing Fukui’s local dinosaurs in a stunning lineup. In the special exhibition room, a 9-meter-tall by 16-meter-wide screen projected life-sized dinosaurs, bringing the Mesozoic era in Fukui to life in a breathtaking “Three-Screen Dino Theater.”
The exhibits, which combine entertainment and expertise to offer a global perspective from ancient times to the present, reminded me of Tamaki’s expansive vision, his enthusiasm for making everyday life enjoyable, and his insatiable curiosity.
In the afternoon, I visited the Hata Memorial Hall Yume-Ole Katsuyama. The building, a former textile factory, is a two-story wooden structure that once represented Katsuyama, which at one point surpassed Kiryu, the birthplace of silk textiles, as a leading production area. The facility, which recreates the appearance of an old weaving factory, offers excellent exhibits that can be toured for free. The high-quality displays, which preserve the town’s history and textile culture, radiate a deep love for the local heritage.
The heavy snow and abundant water resources of the region provided a climate ideal for silk textile production, attracting people from all over the country and fostering the industry. Like Banshu ori in Nishiwaki, Katsuyama thrived in textiles because of these natural advantages. I couldn’t help but feel that such history and craftsmanship were embedded in Tamaki’s very essence.
In the evening, I walked around each district to see each scaffold stopped by their break room tents and joined them to satisfy my hunger and keep myself warm. I overheard a conversation between a young girl who came home from the festival and an old man in the neighbourhood. It’s been a long time since they met. I had supper at the pub where it used to be a traditional wooden townhouse. I had ‘ippongi’, the fine sake there again, which was really good. How wonderful they have the festival, good food, and proud hometown.
The “Dondo-Yaki” ritual, which marks the finale of the Sagicho Festival, began at 8 p.m. on the banks of the Kuzuryu River at Benten Green Space. Sacred objects from each district were set aflame simultaneously. This grand finale prays for a bountiful harvest and fire safety for the year ahead.
Flames and smoke rose heavenward from the sacred objects arranged in a circle, their glow flickering fantastically against the pitch-black sky. In the cool night air with a light drizzle, the roaring flames inspired a sense of reverence. From the bridge on my way back to Katsuyama Station, I stood and gazed at the scene, reluctant to leave.
References:
“Heisei ‘Katsuyama Sagicho’ Memorandum”
Published by the Katsuyama Sagicho Festival Executive Committee.
Original Japanese text by Seiji Koshikawa.
English translation by Adam & Michiko Whipple.