From an NHK announcer to the path of "traditional crafts" Her extraordinary determination-"I want to live a life that makes me happy to grow old"

We spoke with a woman who gave up her job as an NHK announcer to pursue a career as a craftsman (photo courtesy of Asuka Kajiura)

Even scars become attractive, and beauty and value increase as time passes. Asuka Kajiura (40) was fascinated by the idea of ​​traditional crafts and gave up her job as an NHK announcer to pursue a career as a craftsman. Why did Mr. Kajiura choose to become a craftsman himself, wanting to keep the traditional craft alive and keep it alive? Life only once. This is the 5th installment of a series that introduces the stories of people who quit their jobs and challenged their dreams and goals. ■Between Dreams and Reality Being a TV announcer has been a dream of mine since I was a child. Although he was opposed by those around him because it was a narrow gate, he wanted to make his dream come true no matter what, so he chose Rikkyo University, which has many announcers among its graduates, and entered the university. At university, he works at three vocational schools. Balancing his studies with his studies made him extremely busy, and at last he collapsed from overwork and was taken to the hospital by ambulance. It was a dream that I pursued so stoically.

Soon you will hear from the announcer's affiliated office. From her third year at university, she began appearing as a student newscaster on TV stations in the Tokyo metropolitan area during the daytime and in the evening. Her hard work paid off, and she joined NHK, which she longed for as a new graduate. Assigned to Tsu Broadcasting Station in Mie Prefecture, I read the news, relay from the scene and report. "It was fun like a dream, and I thought it was my vocation," it was an exciting day. On the other hand, the more I continued working as an announcer, the more I realized that one of the values ​​that was required of me was "youth." “People always get old, and no one can resist the loss of youth.How about a way of life that finds value in youth and doesn’t enjoy getting older?” .

When I continued to work with doubts in my heart. In the evening information program, she started to be in charge of a corner called "Tokai's Techniques" that introduced traditional craftsmen. It was through this work that he became fascinated by the world of traditional crafts. Through this interview, I was struck by the concept of “lifelong active life, lifelong growth,” which traditional craftsmen cherish. The craftsman's own way of life appears in his work, so the value of getting older and gaining experience is found. And traditional crafts themselves are more tasteful when used well, and even scratches are evaluated as beautiful. I felt that such a world of traditional crafts had found a light in contrast to the job of an announcer, whose value is found in "youthfulness."

The announcer's work was fulfilling, but "there are many other substitutes for me." There was also a reality that she thought so. On the other hand, many traditional crafts lack successors, and unique techniques and culture are facing a crisis of survival. As the interview progressed, a strong feeling began to grow that "I want to protect, I have to protect" traditional crafts that are irreplaceable if they are discontinued. ■Tears of a craftsman There is an unforgettable event. After the broadcast, when I went to say hello to Mr. Kajiura for the coverage, the craftsman held Mr. Kajiura's hand and cried, "Thank you, my work has seen the light of day for the first time."

Through the interview, I learned that many craftsmen are struggling to keep their traditional crafts alive. The value of traditional crafts was easily neglected in the era of economic development, mass production and mass consumption. Not only that, but there were craftsmen who pointed their finger at him, saying, "If you don't study hard, you'll end up like him." . "A craftsman who has been doing this for 50 years cried and thanked me, who was only 25 years old and had only met him a few times. It's frustrating that today's world has made me do that." .

I want a society in which craftsmen can be proud to be guardians of Japanese culture, a society in which craftsmen are rewarded more. To that end, isn't it necessary to let more people know about traditional crafts? It was a natural flow of work and a sense of mission. However, Mr. Kajiura decided to plunge into the world of traditional crafts as a maker rather than a communicator. He himself has never studied arts or crafts professionally. It's not that I'm particularly good with my hands or that I like making things. Despite this, I decided to become a craftsman because I realized that there was something I could not convey unless I became the successor.

“The program corner had a good audience rating and many people watched it. I thought it would be more persuasive if I could become a craftsman and convey the work, the culture and history surrounding the work, and the thoughts put into it as a person involved.” On his days off, he began to learn how to make netsuke from a craftsman, Tadamine Nakagawa. A netsuke is a small carving that was used as a fastener to hang an inro or drawstring bag on the belt of a kimono.

Among them, "Ise Netsuke" is made by digging out a boxwood tree that can only be found on Mt. Asama near Ise Jingu. It is a traditional craft that has been popular as a souvenir for visiting Ise since the Edo period. ■Reason for choosing “Ise Netsuke” Among many traditional crafts, I chose “Ise Netsuke” because I fell in love with Mr. Nakagawa’s personality. I was drawn to the unique story and stylish playfulness. “For example, the name of the piece is 'squirrel', but the netsuke that is carved out of a mouse in a chestnut has a hint in the kanji for 'squirrel.' hand". There are many works based on rakugo (traditional Japanese comic storytelling) and folk tales, and once you know the meaning and feelings behind them, the fun of netsuke becomes even more profound.

I also sympathized with the culture that finds value in things that change color or become damaged due to long-term use, which is called "be". “In today’s world, there is a tendency to say that even one scratch is not good enough. I thought." After that, I was transferred to the Nagoya Broadcasting Station, and due to my busy schedule, I had no choice but to temporarily suspend my netsuke-making training. However, after getting married in 2009, she felt a stronger desire to live with her family in the same place, and left NHK, which was forced to move every three years. After quitting his job, he devoted himself to training as a netsuke craftsman while undertaking freelance hosting of events and weddings.

In the training, there were 10 assignments for one assignment, and if Mr. Nakagawa passed the exam, I was told that I could dig up the next assignment, and I took on the difficult works one by one. Following flat netsuke and round netsuke, chestnut netsuke was allowed to be produced, and sales were permitted only after 10 pieces passed the test. In Kajiura's case, it took a year and a half. As for sales, I did not depend on Mr. Nakagawa and acted to do something myself. We developed customers through information dissemination on SNS, and we started selling little by little. However, only a few pieces are available for sale.

"Even though I'm really trying my best, as long as I'm doing the emcee, netsuke can only be seen as an extension of my hobby. I'll bear the fate of living as a craftsman properly, and I'll live on my own feet without running away. If I can't show it, I don't think there will be any new people who want to try traditional crafts." With that in mind, in 2012, he decided to stop working as a master of ceremonies and make a living as a netsuke craftsman. A world where traditional crafts are said to be ``lifelong growth'' and ``inexperienced until death''. Especially when the experience is inexperienced, it is difficult to get results and evaluation as a real feeling. Even though Mr. Kajiura thought he had improved to some extent, there was a time when he could not sell it as a product at all. “It was incredibly painful.

But "this is not right". With that in mind, Mr. Kajiura takes action. First of all, the world isn't sweet enough to attract attention with just my work, so I decided to put myself out there more. She won first place in a contest to support working women, and gained a lot of attention. ■Launched a group of traditional crafts from different industries In addition, six young traditional craftsmen who are active mainly in Ise formed a group named "Tokowaka". There are works that can be sold if there are a few of each, and we held a sales event saying, "I can't do it alone, but I can do it as a group."

As a result, it became “unprecedented” and “interesting” for different industries of traditional crafts to form a group, and we were invited to participate in various projects. In particular, the 2016 Ise-Shima Summit was a tailwind, and I was blessed with the opportunity to introduce my work. In 2017, workshops were held in Malaysia, Hong Kong and Vietnam. Even the dream of "one day overseas" when they formed has become a reality. “What you can’t do alone, you can do in a group.” Ms. Kajiura was convinced of this, and formed "Rinku" with nine young female craftsmen from the Tokai region. By sharing the worries and anxieties that are unique to women, we strengthened our cohesiveness and focused on disseminating information.

The challenge continued, and in 2019, I was able to exhibit at the Tokugawa Art Museum (Nagoya City), which conveys the treasures of the Owari Tokugawa family. It is unheard of for a young group like "Rinkyu" to exhibit their works at an art museum with a venerable history that also houses national treasures and important cultural properties. However, one curator persuaded the people around him, saying, "As a museum, if we don't protect and support young craftsmen, we won't be connected to the future." "Blessed with luck, we moved forward one by one." I met friends and people who supported me, and before I knew it, every day as a craftsman had become a matter of course.

In addition to the increase in order-made production due to the transmission of information on SNS, there are many opportunities to display and sell "Tokowaka" and "Rinkyu" at department stores, etc., and earn enough to live on their own. ing. He also received a grand prize at an art exhibition in London. “When I introduce craftsmanship as a fascinating job, I am sometimes criticized for not being irresponsible. You can live reasonably well, and especially in rural areas, the cost of living is not very high.”

It is said that the spread of the Internet is working positively in living as a local craftsman. “If you expand your network through SNS, even inexperienced craftsmen can sell their works. I think we live in an era full of opportunities because we can connect with customers wherever we work.” That said, stable income is not guaranteed, so I think it would be good to get the work of craftsmen on track while doing other work first. ■ I was saved by the words, "lifelong growth, lifelong training."

From my experience of studying tourism at university, I have the belief that "tourism needs the individuality of the region. And as one of the things that creates individuality, traditional crafts are regional treasures and resources that should be left for the future." Traditional crafts designated by the country are protected to some extent, but I have a sense of crisis that the traditional crafts designated by prefectures are in a difficult situation. “There are unknown traditional crafts all over the country, with only one elderly craftsman left.

There were times when I felt bitterly about the fate of “lifelong growth, lifelong training” that I carry as a craftsman. However, now that I am in my 40s, those words have saved me. “There is pressure to keep creating works. Even if you get old or hurt, cherish it as it is. Kajiura's values ​​of traditional crafts shine even brighter in today's society, where many people are suffering.