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Long Ago, When Okinawa Was Still the Independent

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Long Ago, When Okinawa Was Still the Independent FEBRUARY 2018 | OKINAWA LIVING 27 LOCAL ARTISANS ARE BREATHING NEW LIFE INTO TRADITIONAL OKINAWAN TEXTILES AND FABRICS. long ago, when his small island nation was the World War II. However, as Okinawans region’s epicenter for exchange of began to rebuild, so began the rebirth of Okinawa was still foreign treasures—among them these beloved art forms. various textiles, which the people of Today, as the world becomes the independent t increasingly absorbed in pop culture and Ryukyu would later adopt as their own by kingdom of Ryukyu, creating distinct styles and techniques that technology, these costly handmade items utilized resources native to the land. once again struggle to maintain their maritime trade These textiles thrived and were so rightful place in modern Okinawan society. brought with it the prized that they were exported in massive But Okinawans are a resilient people, volumes. Then came the introduction and their crafsmen highly skilled. influences of China, of western clothing, causing a decline in Trough the creation of more afordable Southeast Asia and the popularity of eastern textiles. Use of and contemporary items, they’ve managed these fabrics dwindled over time—even to bring back this piece of the Ryukyu’s mainland Japan. more so following the devastation of rich history for everyone to enjoy. Nestled in the village of Uruma sits a quaint litle neighborhood and an unsuspecting house. A casual passersby would never guess the kind of magic that happens underneath its tile-clad roof during the day; but if they were to step inside, they’d come to witness hundreds of yards of beautifully blue-toned threads strung over looms, whirling about on bamboo wheels and woven intricately into highly refned sapphire-colored creations. Tis is studio Karansha, owned by artisan textile maker Chika Miyara, who practices ai zome—an indigo dyeing method that dates back centuries and has a history that crisscrosses the entire Orient. Miyara-san’s own ai zome story traces back to Osaka, where she grew up around a goldmine of gorgeous fabrics in her father’s clothing shop. In high school, she happened the sole colors in her creations are all gradients of the same brilliant blue. upon Indonesian ikat and was immediately captivated. Tat was the moment Miyara-san decided she would leave the Kansai region to embark on her textile-making journey, which ultimately led to Okinawa. But unlike the colorful Indonesian ikat she fell in love with years ago, the ‘sole colors in her creations are all gradients of the same brilliant blue. Such brilliance comes from Ryukyu Indigo, locally grown in the Yanbaru Ooshi’tai wetland just outside Nago City. From these plants, Miyara-san makes the dye through a complex process that involves the drying and fermentation of the leaves. In time, additive wood ash, fusuma, lime and awamori are combined with the mix and, fnally, the dye is complete. Barrels of this fnished product take up most of the room in Miyara-san’s humbly-sized kitchen. Dyeing, the artist says, is another lengthy process. Fresh, untainted thread is dipped and then hung to dry. As the pigment oxidizes, the fbers turn blue. Tis is repeated as necessary to achieve diferent shades. Te darkest shade of blue, an almost black called nasu ion, requires a daily dip over the course of six months. FEBRUARY 2018 | OKINAWA LIVING 29 TOMOKO WATANABE (LEFT) AND CHIKA MIYARA WILL EXHIBIT THEIR WORK MARCH 1—11 AT GALLERY HARAISO IN URUMA CITY. At one point in pre-modern Japan, nearly 80 percent of the population dressed in ai zome garb due to the plant’s abundance and versatility. It was also used to make fremen’s coats and samurai warriors’ yoroi hitatare (under armor clothing) because of its durability, fame-resistance up to 1500°F and antiseptic properties. Ai zome today, however, like the kind made at Karansha, takes on more a polished form. From traditional kasuri kimono and detailed noren (split-panel entryway curtains) to decorative conversation pieces like table runners, coasters and tapestries, Miyara-san has come to produce some stunning masterpieces over the last 20 years. But that’s not all. Working to the steady beat of modernity, studio Karansha has taken on 28-year-old staf member, Tomoko Watanabe, a graduate of the Okinawa Prefectural University of Arts. Together, the two have begun churning out more wearable items in hopes to once again popularize this ancient art. Well-sought are their scarves—sof fowy stoles to which they occasionally add splashes of yellow (a color extracted from the local Fukugi trees). Tis contemporary spin is also the inspiration for their latest creations. Okinawans and Japanese can now carry with them a tangible piece of their culture wherever they go in the form of wallets, business card holders and pouches—all to be unveiled at Karansha’s upcoming exhibition. See this overlap of old and new from March 1–11 at Gallery Haraiso in Uruma. Gallery hours are 11 a.m.–4 p.m.; closed Wednesday and Sunday. Karansha ai zome can also be purchased at Kudaka Mingei in Naha City. FEBRUARY 2018 | OKINAWA LIVING 31 Located in the Maeda district of Urasoe is a pleasant family-owned shop and studio that’s bringing a modern twist to what’s perhaps the most renowned Okinawan textile—bingata. A simple glance through the window will reveal a sea of brilliant hues and unique paterns created by sisters Shoko Yamashiro and Ai Yoshihama, whose mother was the founder. Teir mother, Masako Tamaki, opened the business afer geting fed up with knockofs circulating the island. At that time, bingata was slowly fading into a mere memory, cursed to live through cheap renditions that would never do its magnifcence justice. Tamaki felt it was her duty to make genuine, high-class bingata and educate others on the tradition. As a result, Gusuku Bingata Dyeing Studio was born. Bingata is a dyed cloth crafed by the age-old resist technique that’s believed to have been inspired by Southeast Asian batik in the 14th century. In this method, a piece of fabric is covered by a wax or paste (through a stencil) before using dye. Tis prevents the dye from penetrating the fbers, thereby creating SISTERS SHOKO YAMASHIRO (FOREGROUND) AND AI YOSHIHAMA WORK TOGETHER ON THE INTRICATE COLORING PROCESS. ...no other art form can a patern. Upon its arrival, visionaries adopted this process to create vivid colors and bold, distinctive capture the designs depicting natural subjects (such as fsh, water and fowers) that enchanted all who laid eyes on the vibrant spirits elegant garments. Bingata quickly became the perfect representation of Ryukyu culture. of nature... During the Ryukyu Era, bingata-styled kimono were strictly reserved for royalty, nobility and dancers who welcomed envoys from China. In other words, it was prohibited for commoners to wear. Variations between colors and paterns distinguished diferent classes. Te royal family usually wore yellow, while nobility wore pale blue. Also, to make sure that no one would wear the same patern, women in the royal family would stow ‘ away the stencil used to make their kimono. Fortunately, now anyone can enjoy the grace of bingata. Te ever-changing world and its skilled innovators ’ have since reshaped bingata into an evolutionary art form that will be able to mold itself into each new era. Tis means the craf is no longer limited to labor- intensive kimono. At Gusuku Bingata, the traditional textile illuminates the store in the form of baby clothes, t-shirts, phone cases, umbrellas, tapestries, bowties and other stunning FEBRUARY 2018 | OKINAWA LIVING 33 items. Te shop and studio hopes that by producing everyday items that ft into today’s society, they’ll infuence both natives and visitors to continue pushing bingata into the future. Gusuku Bingata isn’t just modern in what they produce. Tey’re also up-to-date with social media. Shingo Yamashiro, the sales manager and son-in- law of the original owner, has been commited to creating an online presence since taking the position. By promoting their shop online and interacting with their followers, he’s been able to draw in more of the younger generation and play to the new (and constantly shifing) trends. No other art form can capture the vibrant spirits of nature and create a walking display of earth’s ofen- neglected scenery quite like bingata. Tanks to the passion of those involved in the crucial movement to preserve traditional textiles, these stunning displays can live forever. Gusuku Bingata Dyeing Studio invites you to not only take part in this movement, but experience BABY CLOTHES, T-SHIRTS, PHONE CASES, UMBRELLAS, TAPESTRIES, BOWTIES AND MORE ARE AVAILABLE AT GUSUKU BINGATA. making it with your own hands! Visitors can create their own original bingata products, unlike anything that exists elsewhere, and put their own modern twist to this glorious craf. Gusuku Bingata Dyeing Studio is open Monday through Saturday from 10 a.m. to 6 p.m. Reserve to make your own bingata online at facebook.com/gusukubingata.okinawa or gusukubingata.com. You can also email [email protected]. If you want to see more of what the store ofers, follow them on Instagram @gusukubingata_okinawa! ! FEBRUARY 2018 | OKINAWA LIVING 35.
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