Category Archives: biography

Hiroi-sensei and his apprentices

In this post, Hiroi-sensei highlights his own experiences as an apprentice and the many years he instructed others. He describes the apprenticing process and the years of dedication necessary to become a master top-maker.



Paula Curtis: And to continue, can you tell us a little about your experience as an apprentice?

Hiroi Michiaki: As an apprentice?

Paula: Yes, um, such as, when you were an Edo top apprentice and first began learning it, what was the most difficult thing, for example. Could you explain a bit about that experience?

Hiroi: Ahh… yes. The most difficult thing was whether a top would spin well or not. At the beginning I didn’t know what I should do to make it spin well. That was definitely the most difficult thing. It’s still hard now, though, it’s still difficult. How it will spin, how I should produce it to get different ways of moving; since the many ways it moves depend on the strength of the top. That foundation… making the top so that it spins, that’s the most [difficult]. A lot of years… it takes a lot of years [to learn], you know. Even now it’s the same. That’s really the most difficult thing.

Paula: Even now, um–

Hiroi: Even now.

Paula: Even now, do your apprentices think that is the most difficult thing [to learn]?

Hiroi: Ahh, I don’t know what my apprentices think. I think it’s probably the same, though. And for tops, you know right away. Whether it’s good or bad. No matter how many you make with this shape, if you spin it and watch and it goes rattling about, it’s not a good one. So that’s the most difficult part. I think my apprentices probably have that same worry, even now, worried [about how they spin].

Paula: When did you first start accepting apprentices?

Hiroi: Mm, when was my first apprentice…?  Ahh, it was after we came to Fukuhara, right. Umm it was some years ago… mm, it was some years ago so I’ve forgotten. Quite a while back. It was before we came here, so we came here at least twenty-five years ago, and it was before that, so about thirty years ago, I think.

Paula: How many apprentices do you usually have?

Hiroi: At first it was one. And I mentioned this before, but that apprentice had a lot of friends and brought seven people with him, so, yeah, it was when we were in Fukuhara, so before we came here.

Paula: Um, when Janell came here to learn about these Edo tops, did you have [other] apprentices did you have at that time?

Hiroi: At that time… ah! I already had some apprentices, seven of them. The apprentices from Shiroishi were already here at that time. And in addition to them, um, there were a number of people, umm, who like Landis-sensei came here to learn as a hobby… Amano-san, Jin-san… umm… Suzuki-san, Zanma-san… ahh, also there was Shimamura-san, Watanabe-san… who else was there… Amano-san, Jin-san… Junna-san, Suzuki-san… and… Ah! Today, err? Kyōya-san, was he around that time? When we were in Fukuhara. Kyōya-san…

Mrs. Hiroi: Also there was the Jins.

Hiroi: So, Amano-san, Jin-san, and Zanma-san, Suzuki-san, Kyōma-san…

Mrs. Hiroi: Yeah. That’s about it.

Hiroi: That was about all the people doing it as a hobby. Ah, and Landis-sensei, too.

Mrs. Hiroi: Yeah. So that’s about it.

Hiroi: Six people doing it as a hobby. And other than them, there were people doing it professionally… Ah, Shinomura-san was doing it for a hobby at first, and from that beginning went pro.

Mrs. Hiroi: Yeah.

Hiroi: So other than the seven from Shiroishi that I said before, the people who became professionals were the two from Marumori and today’s Tome. Umm, seven people plus two people, so nine.

Mrs. Hiroi: Mm.

Hiroi: Nine people, these were those aiming at being pros and who were pros. And the other six were amateurs doing it as a hobby. So in all there was ten– ah, there was also Morimoto-san.

Mrs. Hiroi: Yeah. There was also Morimoto-san.

Hiroi: Right. In that case there was a lot. Fifteen or sixteen. Heh heh heh. So there was a turnover.


Paula: And were you apprentices usually men? Women?

Hiroi: Female apprentices. Umm with Landis-sensei as the first, then there was Jin-san’s wife. And… there was Yamada-san. Umm… female apprentices…

Mrs. Hiroi: Yeah… yeah… that was about it.

Hiroi: Is that about it? I thought there was someone else…

Mrs. Hiroi: Yeah. There weren’t [that many] women.

Hiroi: Only three? It was three women.

Paula: Going pro…?

Hiroi: Mmm… probably…

Paula: Was there no one?

Hiroi: There was no one who went pro that was a hobbyist, but there are people above pro. But that doesn’t mean that they’re making a living from it…

Paula: About how old were people who became apprentices? At the beginning, at the beginning–

Hiroi: When they first came?

Paula: Yeah.

Hiroi: How old were they? Around that time I think everyone was in their thirties.

Mrs. Hiroi: Yeah.

Hiroi: Yeah… it was their thirties. Yeah. Among the men, who was the oldest?

Mrs. Hiroi: Around that time wasn’t there Minoru-kun?

Hiroi: Minoru-kun was so young at that time.

Mrs. Hiroi: Was he that young?

Hiroi: He was still a child.

Mrs. Hiroi: Was he?

Hiroi: Yeah, yeah, was he in his twenties? [Or] in his thirties.

Mrs. Hiroi: Uh, who, who was?

Hiroi: Was he in his thirties? Yeah, everyone was, weren’t they?

Mrs. Hiroi: That’s how it was. Yeah.

Hiroi: The oldest person… ah, was it Watanabe-san? Mm. Watanabe-san was the oldest. He was from a place called Marumori. And he was interesting, I have a story about him. His younger sister’s husband, he was from Marumori. And this sister, the man she married, her husband, he was the chauffeur for the mayor of Marumori. And I was often told that in Marumori they didn’t have any special [local] products, so they wanted me to make something. And at that time, when they said “Let’s make something!” in Marumori, there was one person who made kokeshi, and they asked him if he’d make them something. I spoke with them about it, but ahh– “bring him along”– [no,] I think they said to bring what I’d made and show them to see what they were.

Mrs. Hiroi: Mm. Yeah.

Hiroi: Then I brought my goods, but they were the [amusing] sort you laugh at. And that guy was someone who specialized in making a new kind of kokeshi using unfinished wood; it seems that he didn’t make them himself, but he made the unfinished wood to order, and didn’t have any experience making them himself. And I brought him with me, and at the time, because they came from the town hall… did the mayor come? The mayor, and– ah, no, it was the deputy mayor.

Mrs. Hiroi: Yeah. The deputy mayor.

Hiroi: The deputy mayor and… umm, the section chief of the commerce and industry division. I think three people came.

Mrs. Hiroi: Yeah. Three people came.

Hiroi:  I wonder if the mayor came… In any case, three people from the town hall came to my home with his younger sister’s husband. And they came saying that they had thought about something that could be the special local product of Marumori, and [asked] whether I had anything good. At that time, uhh, and then, the thing I made was, umm, this sort of… is there a pencil? Umm, this kind of shape… [drawing]  and here there’s… this top with three [other tops] attached.

Mrs. Hiroi: Yeah. Three [tops] attached to it.

Hiroi: It’s in this shape, one, two, three. I made this kind of top… and I made this kind of top, but they didn’t understand what it was for some reason. In Japanese, it’s “marui” (round), round and there’s three trees. There are three trees in the round place, so it becomes “Marumori.” [translator’s note: the town’s name, Marumori, is comprised of the kanji for “round” and for “forest.” The character for “forest,” mori 森,  is made up of three of the “tree” kanji (木), making this a pun on three round objects representing trees becoming a “round forest,” or “marumori,” the town name.]

And I made this top and show it to them and the people from town hall were surprised and said, “Ohh, this is great!” So they took it and had the person I mentioned before, Watanabe-san, make it, and it’s [now] sold as Marumori’s special product. They’re [still] making it now. They’re still making it now, though I don’t know where they’re selling it, but I hear it’s still made somewhere. So a few might still be sold somewhere, but I don’t know. I don’t know how they’re selling it. But at that time, for the first time I met Watanabe-san, and the people from town hall said that they definitely wanted me to make him an apprentice and teach him. When he came, he was quite a different age than you, wasn’t he?

Mrs. Hiroi: Yeah.

Hiroi: He was the oldest [of the apprentices]. He also had a lot of experience. Even now there are a lot of shops that have the products he’s made. He might come here directly today. Yesterday he called and he said he might come. He was the oldest.

Paula: How many years are your apprentices apprenticed to you before they become independent top-makers?

Hiroi: Umm, in the end it takes ten years. Of course, it takes half a year or a year to learn the lathe. And then there’s a lot to remember. Even for someone like Maeda-kun, who can do it all now, it took ten years. It takes ten years.

Paula: Did you have any foreign apprentices after that?

Hiroi: No, after that, I didn’t any apprentices, but the people who came because they liked it were those that Landis-sensei introduced to me. They were her friends, and Newton-san, Landis-sensei had– what was it? Was he from Shichigahama? Takayama? After she returned to America, Newton-san joined [my workshop]. Newton-san came to my home for a while, but I think he moved somewhere before the [Tōhoku] earthquake. It was that he moved to Okayama or somewhere shortly after, right? So I think he wasn’t around for the earthquake, the tsunami.

And other than him, there was a person from Sweden, a person from Denmark, and– where was it? Was he Japanese? And there was another person. An American. Someone related to [Janell’s] church, I think. And they gave me wooden clogs or something. Clogs from Sweden or Denmark– I thought they were from Holland and they were like “No, you’re wrong!” and “Mine are the real thing.” I have the clogs somewhere, I could find them if I looked. And often when they came, they’d make me cherry-shaped [tops]. They said it was because they loved cherries, [so they made] cherry-shaped tops. If you travel to Sweden and Denmark, they have purple and yellow cherries, not just red ones. So I asked them to [make tops] in all kinds of colors. So they did, and I was delighted.

But they didn’t become apprentices. In that time, ummm… their term [of office], they had to switch jobs, so they had to go back to their countries. So both of them had to go back to their countries at the same time, and I never met them again. And one more person, who was it? Newton-san came every day, didn’t he? Until he moved to Okayama. He came until the earthquake happened. So he must have moved to Okayama just before that. And Landis-sensei brought him. Yeah, and Landis-sensei told him to become an apprentice, and he half-wanted to, but it was impossible for me [to make him do it]. Heh heh heh. He didn’t become an apprentice. He was a handsome person. Heh heh heh. When you met him you were like “Whoooa.” Hahahaha.

















































































ジャネルの独楽: Part 2


Hiroi-sensei and Exhibitions

In this post, Hiroi-sensei discusses his experiences on and feelings about displaying his work in public. He touches on Edogoma being shown at museums around the world and interest from international collectors.




Paula: And, um, regarding your work, do you travel within the country much for work?

Hiroi: Ahh, here–

Paula: For work.

Hiroi: Mm. For work?

Paula: Business trips, etc. Do you go on many of them? For example, well, for selling the Edo tops, doing exhibitions, for example, do you do a lot of that within Japan?

Hiroi: I see. It’s almost all within Japan. After I came here [to Akiu] I haven’t go out much for work, but before I came here, I did. At product exhibitions, here and there. Yeah. The Edo tops were actually the most popular [items] wherever I went.

Paula: About how many times a year [did you go to them]?

Hiroi: Ahh, well when there were a lot–three, four, I did them three or four times a year. Ah! Ahh, I did more than that! Ummm… among those trips, yeah, because my younger brother started going to Tokyo. Every year he put out his goods, so [my trips] were almost all-year round. Tokyo, Osaka. Because my brother went about with [his tops].

Paula: And you said that your younger brother had international exhibitions?

Hiroi: Ah, yes. My brother was called abroad, to America and Europe quite a bit. Thanks to that we were quite popular. So like I said before, he was even made an honorary citizen of Seattle in America. He was even asked if he’d become an honorary citizen in New York, too, but he said he was scared so he turned it down. Mm. That’s how much importance he’s put into [our craft].

And, umm… and he was often called to museums in Germany and France, etc., and went there. I heard they even set up some special spot [for his work there]. In Finland or somewhere he was able to [display his work] in a museum. Americans and Europeans have really appreciated [our work]. It’s a shame, really… it would be good if Japanese people had a fraction of that appreciation. But it can’t be helped.

Even our neighbors, the Koreans, have said as such. Some time ago, on Korean television there was a cultural broadcast that came to collect data. And what they said when [they came] was, “Are the people at the craft village receiving protection from the state? For example, have you been named a living national treasure?” It turns out there was a place similar to our [craft village] close to Seoul, and the artisans there were what Japan calls “living national treasures” but for Korea. They asked “Is this place the same as there?” and when I said “No, everyone here is individual. The prefecture [helped us] make the village, but everyone is individual and has debts, and set it up themselves and supports themselves,” they were shocked. “Ahh, that’s too bad!” they said. (laughs) Even though artisans are the treasures of a country. They said “Korea won!” (laughs) It was mortifying. (laughs)


Paula: This is about Sendai again, but, what are your interactions with the local community like? Do you do special activities or exhibitions?

Hiroi: Ah, in Sendai?

Paula: Yes.

Hiroi: After I came here… After I came here I didn’t really do any, but before that… before I came here… for many years, three or four, I wonder? In front of the station there was– it’s not there anymore, but– there was a Jūjiya department store, and at the department story for three or four years every year we did an New Year’s exhibition and sale. Jūjiya was a small department store and not that many people went to it, but this Edo top exhibition, it was only at New Year’s, and people lined up for them. We hung up a huge curtain and everyone was really delighted. Jūjiya was the first time I did [an exhibition] in Sendai, and to have people lined up into the night on New Year’s, it was really something.

And for three years [we did it], and the fourth year I came here, and they asked me to do it a fourth year, but I’d moved here, so I think I couldn’t do it. Then Jūjiya went bankrupt. Heh heh heh… And now… what did the store become? I think they turned it into something. Ah, it merged with Daiei… I think it merged with Daiei. Anyway, the store isn’t there anymore. The department store. Jūjiya was the one I did grand exhibitions at for three years, and after that… after that I didn’t really do any. After that there were sometimes kokeshi-maker or product exhibitions, but we always did that as a group. There weren’t many. Then I moved here, so. But even if I didn’t do that kind of thing, people who liked [the tops] requested them and lots of people came to the shop, so there was no inconvenience to selling them. And after moving here, since moving here people came steadily [to the shop].


Paula: And did you have any chances to do an international exhibition?

Hiroi: Ahh… international. I don’t really… don’t really know. Umm… there were some things. Not direct [opportunities], but people who collected [the tops], umm… where was it? Not America. Somewhere in Europe, France…? Ahh, Germany. A German museum… they said they would do an exhibition. [They asked] if I’d contribute what I had and exhibit them. Just exhibit them. After that a German person came, and it was the museum person, and they saw my works and bought a number of them.

After, the interesting thing was that in France– where was it? Uhh, the sister city with Sendai. Hm? What was it called? Umm… what was it… eh? I’ve forgotten the name. The sister city with Sendai… uhh… wait, Rennes, Rennes…? Rennes?? Rennes, I think it was called Rennes. I don’t really remember the name. It might be Rennes. He said the mayor [of Rennes] was collecting tops. And he wanted Edo tops, and for cultural exchange artisans from that city, people from Rennes, had come from Rennes to Sendai. And a number of Sendai city councillors had come with him to the craft village. And they went there and from here I could see them talking [to the artisans]. And this one red-faced, enormous man pointed at me and was saying something over and over. And everyone restrained him and kept shaking him off and he rushed off in quite a hurry, and I was really shocked and thought, wow, we’ve become important. They’d say “Ohhh!” and that they wanted my howling top, and such. And the interpreter said said that he’d come here and collected tops, and that he had a number of Edo tops, but no matter what the cost he wanted a howling top and he’d heard that they were made in Sendai, so he definitely wanted to come. But he’d tried to come here and everyone had held him back, so he had gone out of his way to go out. And did we have howling tops? And just at the time I had some howling tops, so I gave him one as a gift, and he was really happy and went back [to France]. That sort of thing happened.


Paula: And when was that story about France and Germany? What year–

Hiroi: Ahh… that was some time ago. Ten… fifteen or sixteen years ago, I think. It’s been fifteen or sixteen years. After… wait, it was early than that. Twenty years ago…? Ahh… Mm. When I did a museum exhibition was about twenty years ago.

The Sendai museum. I’ve done an exhibition of these Edo tops before. What was amazing at that time was the museum exhibited all of the tops, and we asked Landis-sensei if there was something she’d use to describe the Edo tops in one word in English, and it was the first time I’d heard her use the word unbelievable [anbiriihaburu]] And the museum wrote above its entrance “Unbelievable Edo Tops.” And before long it was on television, so at the time they started saying unbelievable. It might be because of Landis-sensei that the word unbelievable spread throughout Japan at the time. Heh heh heh. Until then no one knew about that kind of thing. It was said that that word fit Edo tops perfectly. I thought, “Yeah, that’s the sort of thing they are.” It was right about… and Landis-sensei also… ummm that time was… seventeen or eighteen years ago, after all. It was after that museum exhibition, wasn’t it? When the mayor from Rennes came. Seven, seventeen or eighteen years ago.

After that, a person who was the curator of the Mexican National Museum [also] came. She was a really high-spirited person. She was fussing was like “WOW!” [over the tops]. Always “WOW!” She was so animated. It made me so happy. It was a woman. She said was from the national, Mexican National Museum. I was so delighted. I don’t really remember what came of it. Hahaha. She made a clamor and was dancing about. Heh heh heh. I thought “Amaaaaazing!”
































仙台市の博物館、博物館でね。この江戸独楽の、展示をやったことがあるんですよ。そのときに、あとすごかったのは、あの博物館全部この江戸独楽を飾って、でそのときにランディス先生に、あの英語で、一言でこの江戸独楽を表現する、何か言葉ないかってんで、そのとき初めてランディス先生に「アンビリーバブル (unbelievable)」って言葉を聞いて。であの博物館の入口にでっかく「アンビリーバブル (unbelievable) 江戸独楽」って書いてあった。それからね、間もなくしてからテレビだのなんだので、この頃アンビリーバブルって言うようになったのね。そのときは、だから、日本でアンビリーバブルって言葉流行らしたのはランディス先生かも分かんない。へへへ。それまで、そういうこと知らなかったものね。だっけ、江戸独楽がその言葉にぴったりなんだって言われて。あぁそういうもんなだ、と思って、いたんですけどね。えぇ…ちょうど、んだから、またランディス先生が・・・うんと、あんときは…うん、やっぱり十七・八年前、前かな。その博物館で展覧会やった後だもんな、レンヌの市長が来たのは。で十、十七・八年前ですね。



Making tops: Then

What does making wooden tops look like? How do they use the lathe to make this kind of art? Below we feature photographs of Hiroi-sensei and his apprentices from the 1980s, seen hard at work producing Edo-style tops. The tops are made by placing a block of wood on the lathe and spinning it rapidly while cutting into the wood with metal tools. Paint is applied to the finished top while it spins on the lathe.

You can listen to and read an interview with Hiroi on his own early apprenticeship here.

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Hiroi and the Life of the Artisan

In this interview segment, Hiroi-sensei describes the life of a woodworking artisan and the difficulty of maintaining Japanese traditional arts in the modern world.



Paula Curtis: What are some of the biggest difficulties you have encountered working as an artisan?

Hiroi Michiaki: The most difficult thing… it’s nothing but difficult things, right? (laughs) There’s nothing that’s easy. Saying which one is most difficult– it’s all difficult. On the other hand, the thing that makes me most happy is when people who buy my tops enjoy them. If they go “Woooow!” I’m so happy. Other than that, every day I’m suffering. (grins)

Paula: (laughs) Those, well, difficult things, of course you said there are a lot of them, but did they change a lot over time? What was difficult–doing business? Selling them?

Hiroi: Well, the difficulty of being an artisan, the more you do it the more difficult it becomes. Other than that, selling them, I’m bad at selling them. So, yeah, I’m always at a loss.

Paula: Do you feel that artisanal professions are in danger of dying out? Why do you think that is?

Hiroi: Ah! Yes. This is the thing that troubles me most. Umm… why it is that Japan takes artisans for granted. If there are no artisans, I don’t think that they can even established Japan’s large businesses, but for some reason artisans are looked down upon and taken for granted. Umm…  people in administration also think little of artisans and don’t support us. I’m not saying we want [more] support, but I think we want them to value us more.

But Japan right now is developing only this one [type of] skill, and maybe the bottom, you’d call it, artisans are definitely at the very bottom [of those priorities]. Artisans make things [to be used], and at this time [those things] are made in great quantities, so large companies are established. And if those artisans gradually disappear, someone will say “Let’s [make] this thing,” and they probably won’t be able to. So there are a lot of artisans of different occupations, but in any case I want those people who are artisans to be valued more. That’s my wish.

Paula: Do you have a lot of apprentices compared to the past?

Hiroi: Ahh, yeah. So, um, this is, well, as for why apprentices increased, it’s because I was doing traditional kokeshi, umm… and there were a number of people doing kokeshi. So there were a lot of people who gathered to do that. And I was painting kokeshi, and selling them, selling them to collectors, and people were saying difficult things to me like “that’s wrong,” “this is wrong,” and I was very troubled, but I did my best at it, and became able to [make them] to a certain extent.

My name was published in kokeshi books, too. And at that time, I realized, “Ahh, in my home there was something even more precious than kokeshi.” There were a lot of kokeshi makers, and they would definitely survive [in the future], but the Edo tops of my family, there was only one house [that made those] in all of Japan. All of the world. The ones who inherited that were only me and my younger brother. Kokeshi [makers] weren’t like us, who were only one family, there were had hundreds, thousands. I realized that it would be impossible to revive it and leave it behind [after we died]. So I thought to myself that I had to increase our apprentices. And young heirs to kokeshi maker families… they came to me, and those young people said “Can’t we make a living not just doing the kokeshi from before?” and “I want you to teach me other things.”

At that time, there was another person here like Maeda-kun whom I was teaching. He was the son of a kokeshi maker, someone from Obara Onsen, he was someone famous, and this was his child. He was named Yūsuke, Honda Yūsuke. That was in Shiroishi, and the young sons of the kokeshi makers of the Yajirō [style] lineage came together and I had seven [apprentices]. And since Yūsuke said “I’m learning [Edo top making] right now at this place,” everyone else said they wanted to, too. And so they [all] came saying, “Will you teach us?” It was like asking if it’s true and going “It’s true!” And he was saying “Come with me everyone!” Those seven came to Shiroishi and I ended up teaching them.

Well then, my goods are different from kokeshi, and there’s a lot of different kinds, and you have to want to enjoy yourself, so first it was like “If you come to my home, it’s not work, it’s more like fun.” And everyone was like “Whaaat!” and was really surprised. Heh heh heh. One person really took that seriously and messed around and found a girlfriend and got married. Haha.

Now, for kokeshi, the Yajirō line is the best one, but he couldn’t really make tops well. He’d been learning for almost half a year but couldn’t make them. And kokeshi, well, his parents were kokeshi makers, so, first, first it was best for him to do kokeshi [instead of tops]. So he put all his efforts into kokeshi. And everyone else was doing tops. And of course I wondered if their parents were angry, if they were complaining. I thought, “I’m teaching their precious heirs unnecessary things!” Surely they must have been mad. But their parents all came and said “Please take care of them,” and bowed their heads to me. All seven. Contrary to it all, I was the surprised one. “Ahh this is serious,” I thought, and put my all into teaching them. I think usually one person can remember about a hundred types [of tops].

Paula: Umm, about these artisanal occupations disappearing, what do you think should be done about that? So that they become more popular?

Hiroi: Ahh. Yeah.

Paula: Do you think there’s anything that can be done?

Hiroi: I think it would be really good if they were popular. It’s regrettable that in Japan there’s not a system for that. Like I said before, if important people would take note of us artisans, wouldn’t a bit more traditional things and skills survive? And young people becoming artisans–you know there’s quite a lot of young people who want to become artisans But the world of artisans is difficult. And artisans are quite stubborn. And people are scared of that popular image, that they can’t get used to that [sort of life]. Heh heh heh. there are quite a lot of people who say “I really want to do that…” So I thought [it would be good if] it was easier for those people to become accustomed to it. I thought [to myself] “I want to teach them.” Umm… last year, a year and a half ago, in Sendai, our Craft Village, we wanted to do successor training, so the city gave us money. And five young people came.

And, ah– the city gave us wages. And we got quite a bit of money as an honorarium, too. It went on for a year and a half and it ended in March of this year. In the end those who stayed on were one person with Kotake-san, and Maeda-kun here with me, and another person, Misa-chan, a girl. Three of them were left. I think that if something like that [program] went on a little longer we’d have more young people come. And if they did it without such strict conditions. This time around, the conditions weren’t so tough, and that was good. Five people came and three stayed. I think that’s a huge success.

And doing something like that again, not just with the city, but with the prefecture, the country, if they did that, I think the number of young successors really go up. And, well, among the same artisans, places with money, they can steadily support young people themselves. Places like mine that don’t have any money, because of that people like Maeda-kun are doing part-time jobs but also want to learn, so they come [to us]. I think people like that can become the real thing. So I think that if [the government] extended its hand more to places like that, more young people could be trained, and I feel like Japan, too, would be a richer place for it.







ポーラ:(laughs) その、まぁあの難しいことが、もちろん、多いと、おっしゃいましたが、まぁあの時間とともに、ま、多少変化しましたか。何が難しいか、あのその、ビジネスとか、売るのとか。














廣井: そういうのがあると本当いいんですけどねえ。残念なことに日本にはまだそういう制度ないし。もうちょっと、偉い人がさっきも言ったように職人に、えぇ、こう、目を向けてくれれば、少しは、伝統的なものとか、技術が、残るんじゃないかな。で、若い人も、職人に、結構職人になりたい若い人いるんですよね。でも、職人の世界って難しい。で職人っていうのは頑固でなかなか。こう、馴染めないっていう、そっちのイメージの方が多くて恐ろしがってね、へへへ。なかなか『やりたくてもなぁ・・・』っていう人結構多いんですよね。だから、そういう人たちにね、もっとこう、スムーズに馴染んでもらって。育てたいな、と思っていたんですけど。ええと、去年ね、ええと一年半、仙台市で、この工芸の里で、後継者の育成をしようっていうことで市の、市がお金を出してくれて。で五人、入れたんですね若い人を。