I first arrived in Japan in 1971.  I entered my new apartment with its tatami mats, shoji window shades, futon bed, Hagi tea pot, lacquer bowls, and a drawer filled with handmade wooden and bamboo gadgets, whisks and brushes — and I felt like I’d been transported to a magical kingdom of handmade master artisan crafts. Since then, I have experienced countless ways that my life has been enriched by the finely crafted items I use every day.  Coming from suburban Los Angeles and having little exposure to true craftsmanship, I marveled at the breadth and depth of Japanese ceramics, lacquerware, weaving, dyeing, metal work, bamboo master works and carpentry — artistry that is among the most developed in the world.

When Japan ended 250 years of self-imposed isolation in the 1800s, it astounded the world with the depth and enormity of its craft tradition. Many of those traditions were still alive in 1971, supported by vibrant craft communities. In recent decades, however, I have watched Japanese craft culture deteriorate at an alarming rate. Machine-printed kimono flood in from offshore while local master weavers, dyers, and embroiderers struggle to survive; sales of lacquerware are plummeting; few young people are capable of replacing the now-retiring bamboo basket artists; wood joinery is no longer taught to young carpenters.  The list goes on. Though tens of thousands of master craftspeople still function, most are near or past retirement age and few young people are taking over. In 1979, there were about 300,000 highly skilled craftspeople in Japan; today, there are about 50,000. Also disappearing are craft support specialists such as unique tool makers, dye blenders, brush makers, stencil cutters, etc., all of whom form a highly interdependent network in the craft community. 

Despite this alarming trend, the craft world in Japan is still in a better state than most of the world. In a world of click, use, and discard, this is one of the last places where you can buy moderately priced daily-use items that are sustainable, eco-friendly, and of exceptional quality based on centuries of trial and error.

But time is quickly running out. The causes for the decline are complex. Demand for crafts decreases as Japan’s craft-supporting cultural institutions also decline.  Buddhism is losing support as the public utilizes the corporate funeral industry. Where it was once common to see Japanese company presidents supporting the tea ceremony, many now turn to western pastimes such as golf.  Artisanal housing built by master carpenters faces crushing competition from factory-style construction. The advertising budgets of huge clothing brands crowd out traditional weavers and dyers.

Four years ago, I decided to take action. I gathered a few like-minded friends together and started JapanCraft21, an organization whose aim is to revitalize traditional Japanese master crafts by identifying the issues artisans face and implementing solutions for the 21st Century. For our first project, we focused on high-level wood joinery. Working with Tomohiro Naito (president Naito Komuten), a 5th generation Kyoto master carpenter, we helped form Shishokai, an NPO made up of traditional building masters, and helped establish a small school for young working carpenters that offered intensive, free-of-charge, weekend joinery classes.  We recently graduated our first class of 6 — the first generation of young people in decades who are capable of building a wooden house entirely without nails. This year we are training 6 new students in wood joinery as well as 5 young plasterers in Japanese bamboo mud wall construction.  An advanced Japanese garden technique course for 5 young gardeners began just this month.

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JapanCraft21 co-sponsored advanced joinery class for young working carpenters

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JapanCraft21 co-sponsored bamboo and mud wall building classes for working plasterers

After establishing the school, JapanCraft21 decided to integrate a new approach into its revitalization efforts. Together with the Asia Society (Japan Center), a highly respected international cultural institution, JapanCraft21 co-sponsors a series of Japan Traditional Craft Revitalization Contests. We let the applicants identify both problems and solutions. By identifying and funding exceptional individuals with talent, track records, and passion for revitalizing crafts in the 21st century, the contests help reverse the decline in craft culture.  The first place Ronnie Prize winner is awarded ¥5 million in targeted funding to be applied toward achieving their vision as well as the active support of a mentor group of experts in fields such as business, design, product development, IT, and marketing. All 10 finalists are also provided with a broad and significant support package.  

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Takuya TSUTSUMI, recipient of the JapanCraft21 2021 Ronnie Prize (1st prize) for Lacquer Works Revitalization

The crafts of Japan have inspired the world for more than 150 years and belong to all of us. JapanCraft21 is funded by Japanese-craft lovers both in and out of Japan.  We are showing that even a small, private organization can make a difference. We offer our members an opportunity to be active supporters of the Japanese craft community, to do something worthwhile that benefits us all.


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  • Steve Beimel is a Californian who has been involved with the Japanese culture since the early 1970’s. He is the founder of JapanCraft21 (www.japancraft21.com), a volunteer organization dedicated to identifying viable but vulnerable traditional Japanese crafts and assisting in their revitalization. In addition to sponsoring annual craft revitalization contests, JC21 helped establish and currently funds Shinmachiya Juku, a free-of-charge school in Kyoto which teaches disappearing traditional building skills to young carpenters, plasterers and gardeners. Steve recently retired from U.S.-based Esprit Travel and Tours, a Japan culture-focused tour company that he founded in 1992 (www.esprittravel.com).  He lives in the Kyoto foothills with his wife of 39 years, Ritsuko, an ikebana (flower arrangement) instructor.