Wood that has accumulated 100 years of growth rings is boiled in hot water, bent by hand, and then sewn together with cherry bark. This is "Magewappa," a national traditional craft that remains in Odate, Akita.
Mr. Ishikura, the representative, founded the workshop at 60 and continues to create new Magewappa. Ms. Ito, the first female traditional crafts master, says, "Magewappa is not a work of art; it's meant to be used." In the work they have built up over the years, we found the reasons why Magewappa has been loved for so long.
Yoshihiko Ishikura
Born in Akita Prefecture. After working for 30 years at a Magewappa factory in Odate City, he established "Ryobian" at the age of 60 after retirement. Since its inception, he has advocated the concept of "old yet new Magewappa" and developed new products such as baguette containers for French bread and Magewappa cups. His work has been featured in various media.
(*Article content is based on information at the time of the interview)
#4 It doesn't have to be a lunchbox.
The reason why he started his workshop at 60 and continues to develop products
──Please tell us about yourself, Mr. Ishikura.
I've been in this industry for nearly 40 years. At first, I never thought I'd enter this world; I was a frequent transferee.
After I got married and had our second child, transferring was no longer an option, so I looked for a local job, which is how I entered the Magewappa industry. While overseeing the workshop floor, I was primarily in sales.
I walked a lot in Tokyo, selling through wholesalers, specialty stores, and department stores. It was tough if I didn't achieve certain results.
Ryobian has been around for 7 years, and I'm 68 now, so I've thought about retiring soon, but since we have 6 artisans, I'll try to keep going a bit longer.
──Was your path after becoming independent smooth?
It started smoothly, but then COVID-19 hit, and I was completely disheartened. Until then, I had attended a certain number of exhibitions and expanded my client base, but some businesses closed down, and others downsized. Looking back, COVID-19 was an entirely unforeseen era.
──What direction do you envision for the workshop in the future?
For our part, we aim to focus on custom-made items while also working on planned products. We don't want large-lot orders at all. We want to work even with small lots.
If you consult with us casually, I think we can accommodate you. We continue product development with the desire to do a broader range of items beyond just lunchboxes.
──Some of your products, like the baguette container, are quite unique.
That product was created after a presentation at the National Traditional Crafts Aoyama Square forum project.
It was for a "Magewappa for bread" concept. Whether it sold or not, it generated a lot of buzz as a large Magewappa, and it was featured on TV, in magazines, and in Furusato Nozei (hometown tax donations).
After all, if you don't release unusual items like this, there won't be any buzz. Magewappa equaling lunchboxes is understandable, but it's not very interesting, is it?
──Are there new initiatives to effectively utilize materials as well?
For example, with the torn lunch box, instead of Magewappa, we use a method called "sashimono" where four sides are glued together and processed.
Magewappa materials consume a lot of material when bent.
We reuse the cut-off parts. While this process is more time-consuming, it's difficult to manage without incorporating such product compositions to effectively utilize materials.
We also utilize materials that would originally be incinerated in a stove, ensuring nothing goes to waste.
#5 Magewappa is not a work of art.
What Ms. Ito, the first female traditional crafts master, nurtured over 30 years
──Ms. Ito, please tell us how you came to be in this field.
Ms. Ito:
After attending a vocational school in Tokyo, I tried to come back here, but I couldn't find a job. I couldn't just do nothing, so I thought I'd try this as a part-time job. I thought it looked easy.
──So you started with a casual mindset.
Ms. Ito:
That's right. I never thought I'd be here for over 30 years. It was just because Magewappa happened to be in Odate.
But looking back, I remembered that I loved crafting when I was little, and my father was a carpenter, so I grew up surrounded by wood scraps. Ah, I might have loved this kind of craftsmanship from the beginning.
──What motivated you to aim for the title of traditional crafts master?
Ms. Ito:
I saw the factory manager at my first company making one-of-a-kind items himself and thought, "That's nice."
I diligently followed him, asking, "How do you do this?" and as I was learning, the factory manager told me, "You can do it. Gender doesn't matter."
Since I was already in this field anyway, I just thought it might be good to get the traditional crafts master certification.
──At that time, were there any other female artisans around?
Ms. Ito:
None at all. When I was 20, I looked around and it was all men. They asked me, "Why did you come to a place like this?" But the old men were kind to me. And I didn't want to lose to men.
──What does Magewappa mean to you, Ms. Ito?
Ms. Ito:
Magewappa is not a work of art. It's a household item. It's meant to be used. I don't really like the idea of just displaying and looking at it.
People in Akita, you know, some display them because they're expensive. So, I want them to use it, to use it a lot. If you use it, you'll immediately understand its goodness.
──Is the most difficult process still bending?
Ms. Ito:
It's still bending, after all. To bend it beautifully, you have to do it many times, and unlike men, I don't have the same strength.
But anyone can bend it. Bending it beautifully is difficult.
The "hagi-tori" process, where you thin the overlapping part, is the most important; if it's too thick or too thin, it won't be perfectly round.
And if the wood is too hard or too soft, or if the grain is crooked, it won't work out well.
──Ms. Ito, you also teach Magewappa classes at elementary schools, right?
Ms. Ito:
Every year, I go to local elementary schools. First, I explain all about "Odate has such wonderful things," then they get to experience making a lunchbox and use it for their school lunch.
Sometimes, when there's a particularly skillful child, I think, "Ah, they're suited for this, I want to recruit them."
When I think about myself, I wasn't very smart, but I loved it, and I might have been dexterous, so I always try to tell them that it's not just about academics. There are many worlds of craftsmanship beyond just Magewappa. At the end, I tell them, "Study hard too," while glancing at the teacher.
But, you know, I hope that even if there's just one child who thinks, "Ah, I might be able to do that too," it'll be worth it.
──What are your thoughts on nurturing successors?
Ms. Ito:
First, just having the qualification of a traditional crafts master isn't enough. Magewappa is popular now, thankfully, but if we don't nurture successors and create Magewappa that fits the times, customers will get bored.
Our workshop doesn't have machines, so everyone has to do everything from start to finish on their own.
In other workshops, it's divided labor, so it's difficult to try to do everything only during the exam, but here, if you're motivated, you can do anything. I think this is the best place for that.
Mr. Ishikura:
Currently, Odate has been designated as a national traditional craft, and we have over a dozen traditional craftspeople.
Anyone who has worked in this industry for 12 years is eligible to take the national exam, which includes written, practical, and interview sections. Obtaining the traditional crafts master certification makes a difference in salary and adds prestige. That's why I tell them to work hard to achieve it.
Our 26-year-old male employee is in his fourth year, and because he's young, he learns quickly.
I think about half of them are women now. Women are more dexterous, so I think women are more suited to be traditional craftspeople than men.
Ms. Ito:
The environment is important. If you want to do something but can't because of the environment, many people get frustrated and quit.
I've seen that happen many times. If there's no understanding from superiors or the president, children who came in thinking it was interesting end up being crushed.
Here, no matter how many ideas for projects you come up with, the president will say, "You can do it." I feel happy just about that.
