CONNECT Magazine Japan #109 December 2021

08 | Soft Process: The Ceramics of Nate Ryman 36 | Inside Awa Odori: Interview with a Dancing JET 84 | Winter Road Trippin’: Four Days in Aomori’s Hakkoda Mountains 106 | Self Care Through Skin Care

AJET

Issue No. 109 December 2021

Season Arts & Culture, Lifestyle, Language, Travel & Community

Tis the

LETTER FROM THE

EDITOR

Hello Lovely Readers, and welcome to the December issue of CONNECT! The days grow short and the cold settles in; winter vacation and the new year are just around the corner! You know what that means: ’Tis the season to give yourself the greatest gift of all—fantastic new articles from the hard-working team at CONNECT Magazine!

Within these pages you can discover the Travel section’s fantastic guide to Winter Road Trippin' through Aomori prefecture.

This detailed itinerary has given me tons of ideas for how to spend my own winter break exploring the mountains, valleys, museums, and weird roadside stops of snowy, scenic Aomori, in a fun, pandemic-safe way.

Or perhaps, if you’re already sick of the cold and yearning to return to warmer times, you might like to learn about Awa Odori—one of Japan’s most exuberant summer festivals.

The Culture section’s Inside Awa Odori: Interview with a Dancing JET takes you right inside the wildest dance party in Japan.

You can also read all about gorgeous ceramic sculpture in the Art section’s Soft Process: The Ceramics of Nate Ryman.

Or check out Community’s Self Care Through Skin Care, a cool conversation with a young woman who started a line of beauty products using her city’s favorite local vegetable: Japanese Mustard Spinach.

These are just a few of the wonderful articles that await you in the December issue of CONNECT! Happy reading!

Cheers,

Rachel Spain Fagundes __________________ Head Editor

P.S If you have an interesting story you’d like to contribute, please get in touch! You can send article pitches directly to me at connect.editor@ajet.net, or join CONNECT Magazine Contributor’s Circle on Facebook to get updates from our editors when they’re on the hunt for a story!

Photo: Megan Luedtke

HEAD EDITOR

Samantha Marks

connect.editor@ajet.net

connect.generaleditor2@ajet.net

Rachel Fagundes

“With luck, it might even snow for us.” — Haruki Murakami

“‘It is required of every man,’ the Ghost returned, ‘that the spirit within him should walk abroad among his fellowmen, and travel far and wide; and if that spirit goes not forth in life, it is condemned to do so after death. [ . . . ] to wander through the world—oh, woe is me!—and witness what it cannot share, but might have shared on earth, and turned to happiness!’”

— Charles Dickens, A Christmas Carol

Samantha Stauch connect.generaleditor3@ajet.net “Your problem is, you’ve been disconnected for too long. Disconnected from the people who love you and disconnected from yourself.” ― Toph Beifong, The Legend of Korra

ASSISTANT HEAD EDITOR connect.assistanteditor@ajet.net

HEAD WEBSITE EDITOR connect.homepage@ajet.net

Monica Hand “In the middle of winter I at last discovered that there was in me an invincible summer.” ― Albert Camus, L’été

Rhema Baquero “I’m good at everything, except the things I can’t do.” — Mi-Nyeo, Squid Game

HEAD DESIGNER visualmedia.connect@ajet.net

ASSISTANT WEBSITE EDITOR connect.assistanthomepage@ajet.net

Lloyd Cruickshank “Time longa dan rope” (Time is longer than a rope) Meaning: one ought to be patient, work hard and wait until your time comes.

— Unknown

Senie Calalang ““Learn everything. Fill your mind with knowledge— it’s the only kind of power no one can take away from you.” Hansu never told him to study, but rather to learn, and it occurred to Noa that there was a marked difference. Learning was like playing, not labor.” ― Min Jin Lee, Pachinko

ASSISTANT HEAD DESIGNER emilygriffith99@outlook.com

Emily Griffith “It’s fine. Luckily we’re all English so no-one’s going to ask any questions. Thank you, centuries of emotional repression!” – Mark Corrigan, Peep Show

SOCIAL MEDIA connect.socialmedia@ajet.net

Katherine Wang “You miss 100% of the shots you don’t take — Wayne Gretzky — Michael Scott” — The Office

GENERAL SECTION EDITORS connect.generaleditor1@ajet.net

Ryon Morrin “Man can climb to the highest summits, but he cannot dwell there long.” — George Bernard Shaw

CREDITS CONTENT HEAD EDITOR Rachel Fagundes ASSITANT EDITOR Monica Hand SECTION EDITORS Sarah Baughn Sierra Nelson Marco Oliveros Kayla Francis Dahlia Lemelin Fergus Gregg Kimberly Fitzgerald Jessica Craven CONTRIBUTORS Fergus Gregg Rachel Fagundes Dianne Yett Caroline Lefebvre David Cowland-Cooper Marco Oliveros Jessica Craven Nate Ryman Kazhiro Kimra Lavinia Elisia Sadamu Asami Kayla Beyer Kimberly Fitzgerald Elizabeth Andoh

Rashaad Jorden Tessa Calvin Noelle Uba Teni Wada Meg Luedtke Sierra Nelson-Liner Lacey Gerdes

HEAD WEB EDITOR Rhema Baquero

HEAD OF DESIGN & LAYOUT Lloyd Cruickshank

TABLE OF CONTENTS PHOTO Jaye Lasseigne

ASSISTANT HEAD DESIGNER Emily Griffith

ART & PHOTOGRAPHY Mark Christensen Megan Luedtke Chris Barbalis Macrovector Clay Banks Samuel Berner Elizabet Andoh Kimberly Fitzgerald

ASSISTANT DESIGNERS Phoebe Jin Muriah Ellis Katherine Wang COPY EDITORS Natalie Andrews Day Bulger Dianne Yett Jon Solmundson

SOCIAL MEDIA Katherine Wang COVER PHOTO Anton Jansson

GENERAL SECTION EDITORS Ryon Morrin Sami Marks Samantha Stauch

This magazine contains original photos used with permission, as well as free-use images. All included photos are property of the author unless otherwise specified. If you are the owner of an image featured in this publication believed to be used without permission, please contact the Head of Graphic Design and Layout, Lloyd Cruickshank, at visualmedia.connect@ajet.net. This edition, and all past editions of AJET CONNECT, can be found online at http://ajet.net/ajet-connect/magazine-issues/ or on our website. Read CONNECT online and follow us on ISSUU.

Photo: Mark Christensen

CONNECT | Art 8 Soft Process: The Ceramics of Nate Ryman 16 Urban Sketchers Japan: See Japan, One Drawing at a Time CONNECT | Entertainment 22 It’s Beginning to Feel a Lot Like Christmas 28 December Releases 30 December Reviews & Recommendations CONNECT | Culture 36 Inside Awa Odori: Interview with a Dancing JET 44 Koedo Kawagoe

CONNECT | Sport 50 Karate: What Goes into this Great Sport CONNECT | Wellness 54 The Struggles of Standing out in Japan 62 Winter Flavors 70 COVID Update 72 Mental Health Support

CONNECT | Language 76 Immerse Yourself: A Pathway to Genuine Fluency 81 Monthly Language Corner

CONNECT | Travel 84 Winter Road Trippin': Four days in Aomori's Hakkoda Mountains 98 #47 - Ibaraki: The Most Underrated Prefecture CONNECT | Community 106 Self Care Through Skincare 112 Dance Your Way Into a New Community: Bachata in Shizuoka City

ARTS AND CULTURE ART EDITOR connect.arts@ajet.net

ART DESIGNER

Jessica Craven

Katherine Wang

connect.socialmedia@ajet.net

“I believe that all objects contain energy that embodies a feeling.” ― Joanna Powell

“You miss 100% of the shots you don’t take — Wayne Gretzky — Michael Scott” — The Office

ENTERTAINMENT EDITOR connect.entertainment@ajet.net

ENTERTAINMENT DESIGNER

Fergus Gregg “The darker the night, the brighter the stars.

The deeper the grief, the closer is God!” — Fyodor Dostoyevsky

visualmedia.connect@ajet.net

Lloyd Cruickshank “Time longa dan rope” (Time is longer than a rope) Meaning: one ought to be patient, work hard and wait until your time comes.

— Unknown

CULTURE EDITOR connect.culture@ajet.net CULTURE DESIGNER Marco Oliveros “No matter how far you travel, you can never get away from yourself.” — Haruki Murakami, After the Quake

Muriah Ellis “Everyone should believe in something. I believe I will have another coffee.”

— Unknown

COPY EDITOR connect.copy1@ajet.net Natalie Andrews “A friend had commented once that Neal had a gift for making someone want to punch him just for saying hello.” — Tamora Pierce, Squire

Photo: Chris Barbalis | Unsplash.com

CONNECT ART

SOFT PROCESS THE CERAMiCS OF NATE RYMAN

Nate Ryman (Tokyo) interviewed by Jessica Craven (Saitama)

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J: WHAT iS YOUR BACKGROUND, AND WHAT BROUGHT YOU TO JAPAN?

J: COULD YOU TELL US ABOUT YOUR ARTWORK?

N: I studied Architecture and Design at the University of Tennessee. During my studies, I took a lot of inspiration from Japanese architects and craftspeople. I think a large part of my decision to come to Japan stemmed from these interests. Before coming to Japan, I was employed in an architectural office while also working part time as an artist in residence at a ceramic studio in Kentucky. This was an extremely busy but formative time in my creative approaches to ceramics. The constraints, stress, and politics of the architectural field led me to find a creative release. I started focusing on ceramics as a way to more freely express my ideas and explore new techniques.

N: For better or worse, the medium of ceramics is extremely freeform. The most basic tools at an artist's disposal are mud and their hands. With enough skill and understanding of this deceptively simple material, one can create artwork that will survive for millennia. I find that extremely beautiful, and it led me to experiment in this medium.

My current art is very process-driven.

Where many artists and ceramicists would have an image of their ideal finished piece in their head while creating, I prefer to think and plan processes that produce unexpected, interesting, and—if I'm lucky— beautiful results. I've experimented with

|9

various materials to produce ceramic objects, from sheets of latex to silicone, tablecloths, and Elmer’s glue. Even though I have encountered far more failures than successes with my experiments, I enjoy the journey and mental challenge.

Even with my unconventional approaches, I still see clay as a utilitarian material, and, as such, want to create objects that fulfill a purpose. Throughout history, beautiful paintings have hung on the walls of the rich and powerful. Intricate sculptures have accented the gardens of the wealthy, but pottery rests in the households of both the rich and poor. An accent of beauty and craft that is inseparably intertwined with human life regardless of social class.

J: WHAT iS YOUR PROCESS LiKE? N: My process has changed with my location and studio conditions. Back in college, I took classes in wheel-thrown and hand-built forms. Those processes were very therapeutic for me when dealing with the stress of deadlines at architecture school. When I moved to a new city to take a position at an architectural firm, I was provided with a larger studio, and I began experimenting with slip casting. I missed the constant intellectual stimulation I had as a university student and was drawn to the precise and strenuous art of plaster slip casting.

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When I came to Tokyo and had to cram my experiments into a small Tokyo apartment, I supplemented my slip casting with 3D printing technology. Ceramic plaster in Japan is around seven times more expensive than in America, so I needed to become much more precise with what I was making. I could no longer make large experimental casts and instead began to plan my creations with 3D software.

Finally, with my current mentor's guidance, I have returned to my roots and have begun to re-learn hand building and wheel throwing to participate in a precious opportunity to fire in an anagama (穴窯), or “Japanese Cave Kiln.”

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J: WHAT KiND OF THEMES OR iDEAS DOES YOUR ARTWORK EXPLORE? N: Back in America, I enjoyed exploring different processes and seeing how they naturally lead to new shapes and details. Instead of thinking about how a finished project should look, I preferred to think about unique processes or approaches. For example, in one series, I explored how pushing and pulling latex shapes while filling them with plaster can create interesting and supple forms. Another experiment led me to produce a paper-thin non-drying clay using various chemical additives and a lot of Elmer's glue.

Even though the experiment was, by and large, a failure, I learned a lot about the limitless possibilities of the medium.

After coming to Japan, I was inspired by ikebana and kimono. I wanted to take ceramics out of the home or tea room. I became preoccupied with how ceramic forms could become a part of the body. After some thought, I landed on creating a mask with wearable ikebana. So far, I have created an identical mask with a variety of textures and finishes. This mask showcases the natural beauty and variability of ceramics.

In addition, the sometimes cold urbane aesthetics of Tokyo led me to experiment with using minute, precisely-fitted plaster pieces and allowing the clay to seep between the gaps. I have plans to continue experimenting with these ideas in the future.

12 |

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J: WHERE DO iNSPiRATiON?

YOU

LOOK

FOR

N: Over time, the artists that I drew inspiration from have changed. Some of my current sources are Isamu Noguchi (sculptor), Louis Kahn (architect), and the artists of Japanese Bizen style pottery. In my process, I look for inspiration in new materials or methods. Since coming to Japan, 3D printing technology has inspired a new direction in my work.

J: HAVE YOU EXHiBiTED ANY WORKS iN JAPAN (OR ABROAD)? COULD YOU TELL US ABOUT iT? N: As an artist in residence at a studio back in America, I was a part of two exhibitions showcasing my work and explorations at the time. Due to corona, my exhibition plans in Tokyo have been postponed. However, I do plan to have an exhibition this coming year, 2022.

J: HOW DiD YOU BECOME CONNECTED WiTH THE ARTS AND CERAMiCS COMMUNiTY iN JAPAN? N: Before coming to Japan, I asked a Japanese artist I had met to put me in contact with someone they knew in Japan with a studio.

The studio was very friendly and welcoming but, unfortunately, very far from where I was currently living in Tokyo at the time.

Later on, however, I was lucky to meet my current mentor at a traditional Japanese tea ceremony. I politely asked if I could visit their studio, and they warmly allowed me to come work there when I had time off. My mentor invited me to participate in an anagama firing. At that event, I could meet a large group of Japanese artists from Tokyo and surrounding prefectures.

My recommendation to anyone wanting to find a studio in Japan is simply to ask around.

I have found the ceramics community worldwide to be extremely welcoming and supportive.

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J: DO YOU HAVE ANY ADViCE FOR OTHERS WHO WOULD BE iNTERESTED iN LEARNiNG CERAMiCS iN JAPAN? N: If you want to learn to swim, you have to first get in the water. Take some classes at a local studio to get your toes wet. Wheel throwing is how I learned the basics of clay, but there are many other types of classes.

Here is a shortlist of class types and translations: 手びねり 玉作り ひもづくり たたら作り

•

Hand Buildingー - Pinching ー - Coil building ー - Slabbuildingー

•

Wheel throwingー 電動ろくろ

•

Plaster Castingー

鋳込み石膏型

Ceramic arts come in a variety of forms and processes, so find what you like to do. The various processes of creation can be both meditative and therapeutic, as well as extremely challenging and mentally stimulating. If you have some free time and want to save money, some studios offer free classes if you volunteer your time.

If you have any questions for me, you can reach me through my Instagram or website links below.

Nate is an ex-JET studying Japanese full-time in Tokyo. Most nights, he can be found in front of the computer screen developing his 3D modeling skills in hopes of finding a job in the Japanese game industry. Otherwise, he is riding his bike or experimenting in the ceramics studio. You can also find him on: Instagram, Twitter, and through his website.

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Jessica is a fifth-year American JET living in Saitama. On weekends, she enjoys hiking in remote areas of Saitama or taking day trips to Tokyo. When not adventuring, she can be found reading or creating her own artwork, which can be seen on her Instagram.

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Urban Sketchers

Japan

See Japan, One Drawing at a Time Kazhiro Kimra (Shimane), Lavinia Elysia (Tokyo), Sadamu Asami (Tokyo), and Jessica Craven (Saitama)

Sometimes, you just need to ditch your phone and open your eyes to the world around you. I believe that’s why urban sketching has become so popular among artists and illustrators around the world over the last few years. Urban Sketchers Japan is one of the national chapters of the movement that aims to connect people across the globe who draw on location where they live or travel within the country.

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What is Urban Sketching?

When I first heard of urban sketching, my initial thought was, “isn’t that just plein air painting?” In the mid-1800s, the invention of paint tubes enabled artists to take their easels outside, explore nature, and paint onsite. Some of the most famous artists who painted in plein air were the Impressionist painters, such as Renoir and Monet.

”for all sketchers out there who love to draw the cities where they live and visit, from the window of their homes, from a cafe, at a park, standing by a street corner . . . always on location, not from photos or memory.”

—Gabriel Campanario

Plein air—the practice of painting outdoors that began in the 1800s Like the plein air painters, urban sketchers are also interested in capturing their impression of a moment and place, and responding directly to the world around them, but there are some key differences.

Urban sketching is less formal, has fewer rules, and is more accessible so that anyone can join, regardless of artistic training. Plein air painting generally takes much more time and must be completed with either paint or pastels, but urban sketching allows for any use of material and can be completed very quickly. (1)

Urban sketching is not limited to the outdoors and can be done in other public spaces like cafes, shops, and museums.

Also, artists can include photographs or write details of the environment onto their artwork, making urban sketching a journalistic practice that enables you to remember your experiences and travels.

The urban sketching movement was also born out of the internet when, in 2007, Seattle-based journalist and illustrator Gabriel Campanario created an online forum “for all sketchers out there who love to draw the cities where they live and visit, from the window of their homes, from a cafe, at a park, standing by a street corner . . . always on location, not from photos or memory.” (2) The urban sketching movement uses the internet to bring people together, but also encourages them to step away from technology for a few hours to experience and record the physical world.

The Urban Sketchers Manifesto Urban Sketchers Japan also follows the Urban Sketchers Manifesto that many communities within the movement adhere to. The lenient rules allow for a broad range of artistic freedom but help connect artists to the same purpose. They are as follows: 1.

2.

3.

4.

5.

6.

7.

8.

We draw on location, indoors or out, capturing what we see from direct observation.

Our drawings tell the story of our surroundings, the places we live, and where we travel.

Our drawings are a record of time and place.

We are truthful to the scenes we witness.

We use any kind of media and cherish our individual styles.

We support each other and draw together.

We share our drawings online.

We show the world, one drawing at a time.

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A Tour of Japan through the Eyes of Urban Sketchers Japan Members Some of the members of Urban Sketchers Japan have generously contributed their works to be published here so that you can tour Japan without ever leaving your home. Let’s go on a journey with them:

Sketch of a persimmon tree in Nakameguro by Corinna Menzer from Germany.

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Sketch of Tokyo Station by Atsuko Maruyama from Japan.

Sketch of Mankusen Jinja, Izumo City by Kazhiro Kimra from Japan

Kazhiro Kimra is a hobbyist illustrator and urban sketcher from Shimane prefecture.

“It is the shrine named Mankusen Jinja in Hikawa-cho, Izumo City.

The ancient Izumo gods gather at the Izumo Taisha Shrine in October of the lunar calendar—which is the Month of the Gods (called Kamiarizuki in Japanese)—and hold a meeting. After this meeting, the gods cross the Hii River to return to their respective nations. This shrine is the place where the gods depart for their respective countries.”

“I suddenly see people on the train and think, “Oh! I want to draw them! So I pull out my smartphone and start using a drawing app, hoping no one will notice. My smartphone is very convenient like that.

However, the train in this city stops every one or two minutes at different stations, so there is a high risk that a good model will get off the train as soon as I start drawing them. That’s why I draw many people who are fast asleep.”

Sketches of people on a Meguro Line train by Sadamu Asami from Japan

Sadamu Asami is an illustrator and urban sketcher from Tokyo. You can see more of his artwork on his blog. | 19

Sketch of Kita Hirsohima Cho (North Hiroshima Town) by Lavinia Elysia from Indonesia

“Same earth, with a different season.

Same book, with a new chapter.”

Lavinia Elysia is a design graduate of Petra Christian University in Indonesia. As an author and design researcher, her main works focus on projects and research related to design for sustainability and waste management in Indonesia, Japan and South East Asian countries. She is currently living in Japan, and one of her hobbies is urban sketching. You can see more of her artwork on her website.

Jessica is a fifth-year American JET living in Saitama. On weekends, she enjoys hiking in remote areas of Saitama or taking day trips to Tokyo. When not adventuring, she can be found reading or creating her own artwork, which can be seen on her Instagram.

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If you are interested in joining Urban Sketchers Japan and making friends you can sketch together with, you can join their Facebook page here. These days, they are also holding some online events where creators can share their artwork easily, even during coronavirus. Hobbyists of all experience levels are welcome to join.

Sketch of the Deer Park in Nara by Kenneth Chin from Singapore.

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CONNECT ENTERTAINMENT

It's be�nning

to feel

alikelot

Ch�stmas THE CONNECT TEAM SHARE THEIR CHRISTMAS TRADITIONS & RITUALS Fergus Gregg (Kobe)

22 |

It’s that time of the year.

Shopping centres start playing seasonal jingles, Mariah Carey’s incessant song becomes a frequent earworm, and if you’re like me, you start pining for home.

As my first Christmas away from Australia in a few years, I become easily nostalgic for our traditions. In my home, Christmas is a summer affair through and through.

We start with my nephew jumping up and down on my bed, tirelessly excited for the day of presents and games that awaits him, then we exchange gifts. After that a large Australian breakfast is served, typically consisting of “Brekkie Burgers” crafted with lashings of barbecued bacon, buttered mushrooms cooked in a saucepan, perfectly poached eggs and topped with Heinz’s finest BBQ sauce.

After this delight, we hit the beach.

There we recline for hours; typically my mother and I read in the dunes, whilst my father takes my nephew boogie boarding and splashing in the shallows.

After we’ve all worked on our tans, or in my case fought off sunburn, we return to the house. Family members from across the states start to turn up. Aunts and uncles I haven’t seen in months, as well as happy cousins looking for some light-hearted holiday fun.

The spread is inspired: honeyed ham, prawns on buttered bread, and fresh trout. After lunch, we get to my particularly favourite holiday tradition— the films!

My mum, dad, sister and I all crowd together to watch Bridget Jones’s Diary, Love Actually and of course, The Holiday. When it comes to Christmas I’m as basic as they come, so sue me.

With all this at the forefront of my mind, I’ve reached out to some of my colleagues here at CONNECT to find out how they celebrate the holidays and get in the mood. So enjoy these excerpts of the winter season!

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In a column dedicated to personal traditions, perhaps it’s a little unproductive to highlight ideas that are deeply embedded in the holiday landscape. Avoiding cliches and religious connotations seems standard nowadays. But like, you gotta have Bing at Christmas, don’t ya?

While his spirit haunts the shopping malls and car radios of December, old man Crosby is no less welcome in my home. Onto the playlist he goes.

Yes, he shares the glorious stage of my crackling Bluetooth speaker with contemporary pretenders to the throne—Buble, Carey, WAM, et al.—but we all know who reigns supreme. The dulcet tones of the OG-croon-daddy ring through the home with a lazily confident step. I can almost hear my father’s half-baked attempts to match. What option does one have? I drop to an exaggerated baritone and belt out, “IT’S BEGINNING TO LOOK A LOT LIKE CHRISTMAS . . .” Of course, it takes only a few moments to remember that I now share thin Japanese apartment walls, and bring the volume back to a more reasonable level, lest I share a little too much holiday spirit.

Jon Smoldson’s (Hokkaido) Winter Wonderland

Jon Solmundson is a second-year JET and CONNECT Copy Editor. This Christmas you'll find him prancing through the snow, camera in hand, enjoying the festive winter wonderland which so many songs and movies are fascinated with, that was unavailable to him and his fellow Australians.

24 |

’

Ch�stmas-themed (Gunma) My family’s holiday rituals might sound a little bit strange (or funny). Whenever I get the question “Do you have Christmas cake?” from my Japanese students, it always short-circuits my brain because the answer, for me, isn’t as clear-cut. You see, I was born on Christmas Day, and while it isn’t the custom to have cake on Christmas in the U.S., it certainly IS customary to have cake on your birthday.

So, for every Christmas morning, my grandma always made spice cake out of those Pilsbury cake mixes you could buy at the grocery store. She’d bake it, throw on some cream cheese frosting, and then my dad would stick two candles in it: one for me, and one for Jesus. Guess who gets a birthday song? That’s right: me and Jesus. If that’s not a great start to a great holiday, I don’t know what is.

As for the finisher: My family really thrives on Jim Henson humour; we love everything Muppets, from the tried-andtrue The Muppet Show to Muppet Treasure Island and beyond. How do we typically spend Christmas night? By watching The Muppet Christmas Carol, of course!

While it’s silly to reimagine a classic Charles Dickens tale with goofy, bug-eyed puppets in period garb, this movie will always hold a special place in my heart. It’s just the right balance of humour, drama, and camp to get me feeling the Christmas spirit.

Dianne is a third-year JET in Gunma Prefecture and a copy editor for CONNECT. If she’s not frantically trying to meet her daily word count for National Novel Writing Month, she’s hiking up her electric bill by baking adorably tiny BirthdayChristmas cakes to share with her co-workers this holiday season. | 25

Dahli a Lemeli n ’s “Honmei” Party Christmas I came to Japan after spending my teenage years hoping I could come to see my favourite Japanese bands play live.

Since I’ve lived here, I can’t start to count how many times I’ve seen my favourite artist, or 本命 honmei, but December always comes with the special promise of the annual “end of year parties” and New Year countdowns live concerts. It’s often lonely in the countryside, so knowing I’ll get to meet my fellow concert enthusiast friends from all over the country coming to see our favourite musicians is reassuring and exciting.

The process of planning our meeting, finding the perfect outfit, and sharing this passion we have for supporting inspiring creative people makes it feel like a family reunion when some of us can’t see our true families. We forget, for a few hours, the loneliness of our obscure music taste unknown to most in remote countryside villages and we become one strong powerful support party.

Recently, even from home, we can talk to each other watching the concert online and share emotions in real-time. Every year, I know that no matter what, Christmas is when I get to meet my chosen musical family.

Dahlia is an obscure music and fashion enthusiast that enjoys spending way too much money on live concert goods.

Every year, as Christmas approaches, I feel a holiday film to get me in the holiday mood. I get under kotatsu covers, laptop in my lap, a mug of tea nearby, play button pressed on a movie inspired by the iconic Christian Nativity scene: Tokyo Godfathers, by Japanese director Satoshi Kon. A middle-aged alcoholic, a transgender woman, and a runaway teenager—all homeless—discover a baby on Christmas Eve in a manger of trash. They decide to care for the babe; what ensues is a funny, tragic, and heartfelt tale about the marginalized of society . . . plus other more traditional Christmas themes like family.

Marco is a fourth-year JET who likes studying Japanese culture and history and watching and writing about anime. On occasion, when he’s not busy and huddling for dear warmth under several layers during winter, he combines the two interests.

An Unorthodox Comfort Film

for Marco Oliveros (Tokushima)

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Merry

Christmas

The ways that we all celebrate the holidays are as varied as our backgrounds as a community. As part of the recent cohort of expats, fresh to Japan, I believe that the first step towards settling into a new home is finding new traditions and rituals. That’s why this Christmas in particular, and the perspectives of my colleagues, is so important to me.

On that note, and in the interests of creating new traditions, I’m excited this Christmas to create a favourite dish of mine in the confines of my own neighbourhood. I’ll be making a festive Gyoza Tantan Hotpot and pouring some nice sake for myself and my guests . . . before I subject them all to a veritable smorgasbord of the soppiest, cheesiest, and most festive overplayed films that Hollywood has to offer. Those poor people, hehe.

Hopefully this article, as well as the contributions of some of our CONNECT Team members, will help you readers to find new holiday traditions or even build onto your existing ones.

Happy Holidays toallofyou!

Fergus is a youthful first-year JET who has stepped into Japan bright-eyed and looking for adventure.

When not obsessing over horror films and literature, he can be found exploring Hyogo in search of mystery.

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r e b m e c e DRELEASES Fergus Gregg (Kobe)

MOVIES December 3 • Venom: Let There Be Carnage (2021) • I Care a Lot (2020) • Gloria Bell (2018) • Only the Animals (2019) • The Last Warrior: Root of Evil (2021) • The Red Ghost (2020) • Steel Rain 2 (2020) • Chasing Trane: The John Coltrane Documentary (2016) • Hula Fulla Dance (2021) • 189 (2021)

December 4 • Kounachir (2021) • The Only Son (Colorized Version) (2021)

December 10 • Last Night in Soho (2021) • West Side Story (2021) • Gunda (2020) • Lola & Her Brothers (2018) • Your Turn to Kill (2021)

December 11 • Joan of Arc (2019) • Jeannette: The Childhood of Joan of Arc (2017) • The Witches of the Orient (2021)

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December 17 • The Matrix Resurrections (2021) • The Boss Baby: Family Business (2021) • Dark Waters (2019) • The Most Beautiful Boy in the World (2021) • Endless Rain (2021) • Belushi (2020) • Kamen Rider: Beyond Generations (2021)

December 24 • The King's Man (2021) • Jujutsu Kaisen 0: The Movie (2021) • A Perfectly Normal Family (2020) December 30 • 99.9 Criminal Lawyer: The Movie (2021)

December 31 • I Still Believe (2020) • The End of the Pale Hour (2021)

GAMES December 1 • Wartales - Steam Early Access (PC)

December 2 • Century: Age of Ashes (PC) • Fights in Tight Spaces (PC, Xbox One, Xbox Series X/S) • Anvil: Vault Breakers - Steam Early Access/Xbox Game Preview (PC, Xbox One) • Archvale (PC, Xbox One, Switch) • Solar Ash (PC, PS4, PS5) • Mechajammer (PC) • KungFu Kickball (PC, PS4, PS5, Xbox One, Xbox Series X/S, Switch)

December 3 • Chorus (PC, PS4, PS5, Xbox One, Xbox Series X/S, Stadia) • Big Brain Academy: Brain vs. Brain (Switch) • Grim Dawn: Definitive Edition (Xbox One, Xbox Series X/S)

December 4 • Icarus (PC)

December 7 • White Shadows (PC, PS5, Xbox Series X/S) • Final Fantasy 14: Endwalker (PC, PS4, PS5) • Thunder Tier One (PC) • Heavenly Bodies (PC, PS4, PS5)

December 8 • Halo Infinite (PC, Xbox One, Xbox Series X/S) December 9 • Breakwaters - Steam Early Access (PC) • Monster Rancher 1 & 2 DX (PC, Switch, iOS)

December 10 • Syberia: The World Before (PC) December 14 • Firegirl: Hack 'n Splash Rescue (PC, PS4, PS5, Xbox One, Xbox Series X/S, Switch)

December 16 • The Gunk (PC, Xbox One, Xbox Series X/S) • Alfred Hitchcock – Vertigo (PC) • Trash Sailors (PC) • Alien: Isolation (Android, iOS)

Sources: https://www.imdb.com/calendar/ ?region=jp https://www.vg247.com/2021/01/22/ video-game-release-dates-2021/

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nc e 965 scieeen 1 ’s t r e b erb Frank H ovel Dune has ,” due n le b fiction d as “unfilma bizarre describe ense plotting, highlyto its d and weird, space imagery, d, feudal-future er, not developeThis has, howeveatedly society. people from rep movie stopped film it. The 2021 e: Part trying to o known as Dun Denis Dune (alsdirected by r 2049, unne One), (Blade Rattempt. e v u e n le t Vil the lates Arrival), is st rs the fir is e v o c , e r t On t 2 Dune: Pathe book (Par 2023), half of d for release in g Paul schedulethe story of younlamet), and tells ( Timothée ChaplanetAtreides of a powerful, y takes the son ke, as his famil planet s er t ruling Du of the de s factions n io s s e riou p o ss anning while va Arrakis the space-spscenes within ork behind the Empire wy them. to destro film neuve’s tation le il V p es So, do either as an ada as an — r d o e succe urce material n right? of its soing movie in its ow entertain 30 |

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of ad Editor an e H e th nd Itali ear JET aomic books, the -y h ft fi a c , is ce fiction agunde s Rachel F T. She likes sciene festivals.

CONNECnce, and Japanes Renaissa

tiful s of beauking ie r e s a loo hing like watc ne novel: cool ght the ls e fe it li t At bes ns of the Du hile it may de s and illustratiowithout context. Weir favorite scene ch a pictures une fan to see ths illustrated in suork to ardent D eloved character tually doing the w ng or already-b lm itself is not accters are interesti way, the fiwhy these chara establish love. the film worthy of ome into e swept c o h w s r iewe still b er hand, v of the book may d intrigued th o e th n e O t visuals an knowledg with zero h in the stunning plot elements tha g e up enou y the few surfac to have a good enough b it to the screen did make its time. ? Despitence g in e e s film worth ave a cha fe to a So, is theink so, yes. If you h you feel s flaws, I th theaters (and if tching, if only to to see it in ink it’s worth wa scale, lovinglydo so), I th its sense of cable cast. And appreciateesign, and impec ing about the detailed dall critics are rav working for hell, over it’s obviously ood time. But film, so y. Go and have a gnce the best somebodlly want to experie e book. if you reaf this story, read th version o

K O BOVIEW: RE ma)

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If Cats Disappeared from bytheGenkiWorld Kawamura If you knew that your life was going to end any day now, and you were presented with the opportunity to permanently erase something very important to you— something like your cell phone, a favourite movie, or your beloved pet cat Cabbage—from the whole world in exchange for one extra day of life, would you do it?

Neither would I! If Cats Disappeared from the World by Genki Kawamura has a very simple premise with potentially complex meaning.

What would the world be like if all cats disappeared forever? Written by a Japanese author, this book has a lot of potential to explore very complex themes about the value of life, and all the little things that make it worth living. Though I listened to the audiobook of the English translation, from start to finish I could tell that this story was very Japanese. I could clearly picture much of the imagery of businessmen shuffling around on crowded trains, cramped apartment living, the simple beauty of the everyday, and, of course, the unabashed admiration of cats. Oh, yes. As a foreign resident of Japan, still more or less an outsider looking in, even I could see and understand some of the cultural nuances in this story’s settings and characters.

32 | Photo: bookshout.com

However, the English translation of this story is sadly a little lacking in substance. All throughout, it was impossible for me to forget that this was a translation from the original Japanese. From the ham-fisted presentation of its message to the incredibly stilted, almost cringe-worthy dialogue, I really felt like the writing and story-telling fell painfully flat. It made me really wish I could read Japanese well enough to enjoy the story in its original language. It’s a short read, too, so there isn’t a whole lot of room to flesh out its characters and settings, or to explore its themes very deeply.

That said, If Cats Disappeared from the World definitely has a lot of heart in my opinion. The unnamed main character, while kind of a dunce, does eventually come to the realization that every little thing in life is, in fact, precious. Things like cell phones, movies, family and friends—and yes, even cats—play an important role in our lives. I only wish that were more obvious to him as it was to me while shouting out loud for him to grow a brain, dude!!

Despite its lukewarm reception, I’d say this book is worth a read solely for the fact that it’s so short and oddly campy. The audiobook is only four hours long, and the book itself is only about 170 pages. I recommend renting it from a library or borrowing it from a friend if you can—that is, if you aren’t willing to spend roughly 1000 yen on a somewhat mediocre translation to a book about a dumb guy making dumb decisions (at least until he makes one right decision at the end, thank goodness).

Dianne is a third-year JET in Gunma Prefecture, originally from Southern California. She is also a copy editor for CONNECT Magazine. As an avid writer, she tries to read as much as she can, but as soon as she starts reading, she just wants to stop and start writing. She hopes to read a lot more books this next year along with her admittedly more bookish friends, with whom she has organized a very small, very casual (and currently very distracted) book club.

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A

K-DRAMA RECOMMENDATION

Korean drama with a unique plot, directing skills, and interesting scene changes, Extra-ordinary You is a must-watch drama, with its unique storytelling methods and plot twists gaining the audience’s undivided attention without fail.

Coming from the directorial team behind The King in Love and True Beauty, Extra-ordinary You begins by introducing us to Dan Oh, 17-year-old high school girl, suffering from a severe heart ailment and a struggling relationship with her fiancé. We follow Dan Oh’s perspective as her character maintains a self-aware approach to her unfulfilling life when she suddenly comes across a book. The book shows past scenes involving herself and the people around her at school, depicting both past and present scenes, and private moments between herself and her fiancé. Puzzled by this strange book, she comes across a perplexing chef who is also self-aware but seems to want her to leave the truth alone; he continues to discourage her as he mutters about the consequences.

Since gaining self-awareness, Dan Oh soon finds that every time she is in an allocated scene from the book, she is forced to act a certain way with no control over her behaviour. As she gains more self-will, she is able to break the scene but finds the world won’t allow her, sending her back to the beginning of that scene until she completes it successfully.

Extra-ordinary You follows these pedantic and contrived actions to the letter as characters strive against the unbreakable chains of fate, gradually becoming ever more desperate against their hopeless situations. Where other narratives might have focussed on the human struggle against the fatalist nature of their situations, where Extraordinary You shines is how it portrays a character who simply goes with the path that fate has written for her, but after gaining self-awareness soon begins to bend the rules of her world’s “fate.” Dan Oh wants to find free will, but believes she can do so by following the rules of this book that dictates her life events, providing audiences with an interesting perspective on the inevitability of life and the nature of selfdetermination.

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Extra-ordinary You seeks to challenge our reality by utilising realism to immerse audiences into identifying with characters. We’ve all, after all, sometimes felt trapped by our situations and life decisions, yet Extra-ordinary You looks at what life could be like if instead of resisting change, we choose to make it work to our advantage.

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Extra-Ordinary You Caroline Lefebvre (Saitama)

Director Kim Sang Hyub makes use of stylised realism cinematography to convey these themes—he highlights bright set pieces then contrasts them with dour and dank lighting, reminding his audience that beauty can be found in our day to day lives. Thematically, he follows up on this with a melancholic soundtrack that breaks briefly to moments of unbridled triumphs as our characters seek meaning in their destinies.

So will Dan Oh and her friends successfully break free from the confines of the book, or will they suffer the consequences of their actions as the world notices their divergence from the plot?

Follow their adventure, the twists and turns and the unique directing skills and scene changes throughout the episodes of this stand out K-drama.

Caroline Lefebvre is an Aussie, happy to finally be back in Japan, living in Saitama.

When not writing profusely, organising her life and striving against the unwritten script that dictates her life, she can be found wandering the alleys and gardens of her new home.

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CONNECT CULTURE

David Cowland-Cooper (Tokushima) interviewed by Marco Oliveros (Tokushima) Awa Odori is both a dance style and one of the biggest festivals in Japan. For four days in August, locals and visitors, in the thousands, pour out into the streets of Tokushima to join what’s basically a massive dance party. The dance fever has even swept up JETs, other parts of Japan, and places overseas.

Here’s an inside look from one JET, David Cowland-Cooper.

Could you tell us a little about Awa Odori and its origins?

Also, what started your personal interest and passion in Awa Odori?

Awa Odori is popularly thought to have originated around 1586 during the celebration of Tokushima castle’s construction.

Awa is the traditional name for the eastern part of Shikoku, now Tokushima Prefecture. The Japanese word odori literally means dance. The drunken dancing of the Awa locals, accompanied by simple but

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catchy music, was entertaining, eventually taking on a life of its own as “the fool’s dance” of Awa Province.

Even prior to the 16th century, the roots of Awa Odori lie in Bon Odori, traditional dancing connected to the annual Obon festival in August. Bon dances have been practiced for centuries and are still done all over Japan, with styles that vary region to region. Most traditional Bon Odori are relatively low-key local events, but Awa Odori has evolved into a massive spectacle of performance lasting several days.

It is a wonderful expression of the spirit of Tokushima’s people.

New teachers coming to Japan as part of the JET Programme generally arrive in the middle of summer, which is festival season across the country and peak time for Awa Odori in Tokushima. As part of our new Tokushima JET orientation, before doing actual teacher training, my JET group

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was thrust into Arasowaren, an Awa Odori dance team established expressly to foster international exchange. That was my first taste of Awa Odori, but I had little idea of how big it would end up becoming in my life!

I heard that you are a part of and actually lead an Awa Odori ren. What is a ren and how did you end up participating in one?

I’ve always struggled with translating the word ren neatly. I feel it has nuanced connotations of community or family, but I usually go with “team” or “group.”

My first Awa Odori ren was a local team in western Tokushima called Minodaren. I grew to love doing 38 |

Awa Odori so much that I decided to move to Tokushima City in August 2004 and join a famous team there.

The Awa Odori team that I’m a member of in Tokushima now is called Tensui-ren. I’m just a standard member of that team.

Tensui-ren is one of the largest and most wellknown Awa Odori teams in Tokushima and across Japan. Tensui-ren was founded in 1946 and is amongst the original groups involved in the post-war rebirth of Awa Odori as a modern festival. It has sister groups across the country— in Osaka, Saitama, and Tokyo. You might say that Tensui Australia—a team I

started when I moved back to Australia—is also a sister group.

For my group here in Australia, you could possibly refer to me as Tensui Australia’s renchou, or leader.

So you are a member of Tensui-ren in Tokushima, and you also started and are leading the Tensui Australia ren. What would you say is your biggest challenge with leading your ren in Australia?

How have you been dealing with it?

The challenge here with Tensui Australia is getting ourselves known and growing the team.

To put on a proper live Awa Odori performance requires a critical mass of dancers and musicians. It’s been hard to pull together enough people in Australia to achieve that.

The real power of Awa Odori is in live performance—the group dynamic, the sound of the live music, and the interplay between dancers and musicians. To show people what it’s all about and communicate its feeling, it’s hard to just show them a video or talk about it.

You really need at least a handful of dancers and solid musicians to make the magic happen. We’re just about at the point where we can do that.

Starting out, we focused on the dancing and just used recorded music (from Tensui-ren) to practice and perform. Along the way, we have taken opportunities to practice the music with instruments and do a couple of outdoor parades and workshops with very basic instrumental accompaniment. We are getting to the point where we can perform on stage with live music.

We are also starting to get more invitations to festivals and workshops, from which we can hopefully build into something sustainable.

I’ve heard Awa Odori consists of different dances, like a male dance, a female dance, and other sub-varieties. Could you tell us about some of these dances, their differences, and what dances your ren specializes in? Additionally, how common is it for women to do male dances and men, female dances?

Dancing itself is basically two styles—onna odori, which is danced only by women, and otoko odori, which can be danced by anybody.

If I was translating the terms into English, I’d refer to these dances as the feminine and masculine styles, rather than really “women” and “men” ones.

Otoko odori typically wear either a short happi coat or a longer yukata summer robe, with fitted tabi plastic-soled socks and a hachimaki headband tied in one of many styles. Otoko odori is typically danced in a

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lower, open stance, a bit more freestyle, embodying the theme of the “dancing fool” that Awa Odori is famous for. Onna odori wear a more ornate full length odori kimono, lighter than a traditional formal kimono for ease of dancing, with wooden geta clogs and the distinctive half-moon amigasa reed hat. This costume compliments the onna odori dancing style, which is more upright and refined than otoko odori, but still full of motion and joy.

otoko odori, and finally the narimono, or accompanying instrumentalist section, at the back of the pack.

Speaking of musicians, what else goes into a ren’s performance besides dancing? I’ve personally seen various instruments being played in this narimono, and different accessories being employed by the dancers.

There are a number of traditional Japanese instruments that typically feature in the narimono, all of them played while

It is quite common for women and girls to dance otoko odori. I have seen some men parody the onna odori style or use an amigasa hat for a bit of light entertainment, but I have never seen anyone other than a woman or girl seriously dressed in the onna odori gear or doing the onna odori dance.

Perhaps there has been someone out there who has done it, but I haven’t heard about it. The majority of men probably couldn’t handle dancing in geta clogs anyway! walking: drums of different sizes, bamboo flutes, threestringed shamisen guitars, Although a ren traditionally and the small kane gong. features dancers of both styles, it isn’t compulsory Awa Odori can be danced to have both, and there are many smaller teams that just with a wide variety of accessories such as fans do one or the other. or lanterns, which are often recognisable elements of In Tensui-ren, we have both. the style of each individual For otoko odori, we have both men and women. When ren. In Tensui-ren, the otoko odori usually dances with we parade down the street, an uchiwa fan in their right we tend to have a kids hands. Back when I was in group with boys and girls Minoda-ren, we often used together doing whichever uchiwa in both hands; we style they want, followed also used chouchin lanterns, by the onna odori, the sensu folding fans, even a metal jutte stick at times.

I’ve seen some groups 40 |

using traditional umbrellas, too. Of course, you can dance without accessories; all you really need are your hands and feet. Between the music, costumes, choreography, and accessorising, there’s quite a lot of variety in look and style amongst Awa Odori teams.

My understanding is that most Awa Odori is performed in Tokushima— from August 12-15, the four days of Obon. In Tokushima, where does Tensui-ren usually perform during August? Has Tensui-ren ever traveled outside of Tokushima, before or after August, to dance?

The main dancing season kicks off in the lead-up to Obon, with practice for the main festival starting in June and ramping up through July.

By the end of July, we are practicing every night of the week in the carpark of a local temple, and there are often lead-up performances during that time. We continue to practice and perform every day in August until the end of Obon on August 15.

Tensui-ren is actually large enough to practice and perform all year round. When it’s not the main dancing season, we keep busy with

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regular performances at the Awa Odori Kaikan about once a month, occasional requests to dance at weddings, appearances at events or festivals elsewhere in Japan, and the major off-season events held in spring and autumn in Tokushima City.

As part of an association of the most famous groups, Tensui-ren also sends people overseas when requests come through, such as festivals in places like Taiwan and Paris.

Could you share with us one or two memorable experiences of you performing Awa Odori? How did you feel during and after it?

Dancing on stage at zenyasai . . . and in the souodori at the end of each night’s dancing . . . these are probably the most memorable performances I’ve been involved in.

Zenyasai is the major stage performance that happens every year on August 11, the day before the official start of Obon. It’s regarded as the pinnacle showcase of Awa Odori each year, with something like 500 of the best dancers and 100 mixed narimono musicians performing on the biggest indoor stage in Tokushima City.

Sou-odori is the “all-in dance,” the big parade traditionally held at the end of each night during the Obon festival. About a thousand dancers are packed shoulder to shoulder into a single street stadium, making their way down the street to the combined sound of hundreds of narimono.

There’s not many Awa Odori performers who

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get to dance in either of these events, let alone Tokushima locals or foreigners. It’s pretty special.

Could you tell us what’s your favorite part about Awa Odori? What’s your favorite part about your ren?

The beauty of Awa Odori is that it’s for everyone.

Kids can join in, and so can grandparents. You can dance otoko odori or onna odori, or if you don’t want to dance, you can play an instrument instead. There’s depth and complexity to the dance if you’re passionate about learning it, but you can also enjoy Awa Odori casually if that’s all you want to do. . . . And once we’ve finished practicing or performing, we tend to have drinks and be social, too. In Tensui Australia, particularly for our member parents who bring their kids along, they’ve said the kids really look forward to seeing their ren friends every week.

Although they spend most of their time just running around, being part of an Awa Odori team makes these kids feel proud of their Japanese heritage in a country like Australia where, compared to Japan, there are few opportunities to celebrate it.

In what ways has Awa Odori changed your experience living in Tokushima or Japan?

At the time that I was living in Iya and Tokushima City, it gave me an immediate connection to my local community, a regular activity to keep busy and deal positively with isolation, a good amount of exercise, a social network beyond the dancing, an improvement in my language skills, and

.

,

insights into Tokushima life and culture that are hard to gain otherwise. I ultimately stayed in Tokushima for over five years because of Awa Odori. I’ve always felt very lucky to have been placed in Tokushima as a JET.

resonates with you. Seeing the top teams perform on stage in Tokushima City was a real eye-opener for me that led me to move there and search for opportunities to take my dancing to the next level.

Was joining a ren something that was easy for you? How easy do you think is it to join a ren now as a foreigner? Do you need to be in a ren at all to do proper Awa Odori? What advice would you give someone who’s thinking of doing Awa Odori?

You can probably learn the motions of the dance or the rhythms of the music without joining a ren, but I think that would make for a pretty limiting experience. Awa Odori is more than the dance or the sound or the individual performances. The heart of Awa Odori is really in coming together as a community and being part of something larger than yourself.

It certainly used to be rare to see foreigners in Awa Odori teams, but they’re a little more common these days. If you want to join a team, the key is probably to find one with an atmosphere that suits your personality and commitment. The majority of smaller local teams are less about perfection and more about having a good time with your mates.

Afterwards, if you find you really enjoy it and want to take it to the next level, you can search for a larger or more active team. April is a good time to do this. Many teams are waking up after their winter break by then and starting to prepare for the coming summer’s festival, so they are often welcoming to new people.

So my advice would definitely be, firstly: give it a go! Try the dancing, but also watch a range of performances. You want to experience the depth and variety available within Awa Odori and identify what really

If you approach an Awa Odori team and decide you want to try it out regularly, I think the key is to demonstrate commitment. Like most things in Japan, you can’t do it in a halfhearted way!

David Cowland-Cooper joined the JET Programme in 2001 and spent over five years living in Tokushima Prefecture.

He served as Chair of the AJET National Council in 2004 and did a season as a whitewater rafting guide on the magnificent Yoshino River in 2006, but his real reason for staying on Shikoku for so long was the dancing. He returned home to Australia and settled down, joining the public service and marrying a Tokushima girl (a dancer, of course!). David now has three kids who have all been co-opted into Tensui Australia.

Marco Oliveros is a fourth-year ALT and the current Culture Section Editor for CONNECT. He likes history. He lives in Tokushima. He enjoys watching Awa Odori, but he’s pretty bad at dancing it.

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Koedo-Kawago

Saitama’s Charmin Merchant Distr Jessica Craven (Saitama)

Kurazukuri w

A

sakusa in Tokyo is hailed as one of the best places to visit if you want to get a taste of what life was like in the old capital of Edo. While this Tokyo district has its charms, there’s another city with a place more off the beaten path that I think provides a much more authentic impression of old Japan: KoedoKawagoe in Saitama.

Kawagoe became known as Koedo, or “Little Edo,” due to its importance as a northern defense point of Edo and as a prosperous merchant district where workers collected and shipped goods coming in from across Japan to the

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capital. (1) The exchange between the two cities was not limited to the goods distributed by Kawagoe— the culture and architecture of Edo were also adopted by the wealthy citizens of the merchant city, making it a true cosmopolitan center.

However, while many of the area’s Edo-style buildings still remain, the city has evolved throughout the decades through careful planning and preservation. Because of those efforts, today in Koedo-Kawagoe, you can walk through centuries’ worth of different architectural styles in just a few minutes.

The Koedo-Kawagoe historical

district is like a living arch museum—a place where imbibe the atmospheres eras in one small locality.

Edo Period Sights (160

The Edo period architect associated with the city’s nickname is the fire retar warehouses known as ku These warehouses store plentiful supplies that flo and out of Kawagoe. The merchants spared no exp constructing them, and t the historical district of K Kawagoe much of its orn charm. Each warehouse

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in design, and many today retain their original functions, drawing in numerous tourists looking to get a taste of the area’s traditional refinement. Tea shops . . . craft houses . . . traditional sweets stands. . . . You can experience the sights, the tastes, and even the smells of this bustling traditional merchant town, if you ignore the modern (although often antique-style) cars cruising along the street.

Some of the kurazukuri have been turned into small museums, such as the Kurazukuri Shiryokan and the Kawagoe Matsuri Kaikan. A visit to the Kurazukuri Shiryokan offers a view into the interiors of these old warehouse buildings, with guides explaining how they are constructed. The Kawagoe Matsuri Kaikan is dedicated to the city’s major festival held annually in the third week of October, allowing you to view the magnificent floats and other cultural artifacts if you are unable to attend the 370-yearold festival itself. This festival, the Kawagoe Hikawa Float Festival, is

connected to one of Kawagoe’s major shrines, Hikawa Shrine, and features floats crafted in the Edo style which parade down the traditional Edo-style warehouses.

However, the name “Little Edo” is in a sense misleading, as most of the city’s historical architecture isn’t from the Edo period at all. Unfortunately, only about 30 of the original 200 warehouses from the Edo period remain. Even many of the “fireproof” kurazukuri could not withstand the Great Fire of Kawagoe of 1893.

Nevertheless, some buildings were reconstructed in the early Meiji period in the traditional Edo style, including the famous Time Bell Tower (Toki no Kane) that overlooks and is now an icon of the warehouse sub-district.

Perhaps the original tower burned, but its Edo period character still endures.

Meiji Period Sights (1868-1912) Heading south from the warehouses, you begin to see buildings from the Meiji period, made of brick and

warehouses

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ture s old rdant urazukuri. ed the owed in e wealthy pense in they give Koedonate is unique

One of the Kawagoe Hikawa Festival floats from the Edo period

Toki no Kane (Time Bell Tower) | 45

stone not only to imitate Western architecture but also to prevent fires. (2) The influence of Western architecture was strong in this period due to much more frequent exchange with Western cultures during this time, as opposed to when Japan was largely shut-off from the rest of the world in the past. Some of the buildings are quite interesting interpretations of the Western-style, somehow fusing Japanese and Western elements to create something new altogether, such as the Tanaka-ya residence—a stylish western-style building that now functions as a classical cafe that also serves the local beer of Kawagoe, Koedo beer.

Nearby the warehouses, there are also narrow streets that branch off into what is known as Kashiya Yokocho, or Penny Candy Lane, a road lined with shops that have been selling unique, traditional-flavored candies since the early Meiji period. Even if you don’t buy anything, it’s an area of sweet smells you’ll never forget.

Speaking of, be sure to try Koedo-Kawagoe’s signature sweet potato ice cream, available in various shops near the warehouses. It is purple, delicious, and nearly impossible to find anywhere else.

Dai-Hachijugo National Bank

Taisho Period Sights (1912-1926)

Stepping further away from the Edo warehouses, you can set foot on the romantic pathways of the Taisho period. There is no contemporary visual clutter such as power lines there, and the buildings are an eclectic mixture of styles influenced by both classical Roman architecture and 1920s art movements such as Art Deco and the Bauhaus.

The Taisho period was a prosperous era in which Japanese society really began to benefit from the country’s modernization efforts, and the wealthy merchants of Koedo-Kawagoe at the time adopted this internationally-inspired architectural style as a statement of their sophistication and cultural awareness. You can lose yourself in the nostalgia o this unique area.

The Tanaka-ya residence that has been turned into a classical cafe 46 |

The most iconic modern building in the traditional townscape of Koedo-Kawagoe is the Dai-Hachijugo National Bank, which was constructed in 1918 and features a distinctive green copper dome roof. It still serves as a branch of Saitama Resona Bank to this day. (3) Be sure not to miss it as you walk down Kawagoe’s streets.

s

of

o d

Taisho-Roman buildings

As you make your way back to the station and re-enter the contemporary world, the experience of walking through KoedoKawagoe feels like being a real time-traveler . . . if you make it back to the station, that is. Be aware that it is incredibly easy to get lost in the area. It’s by design. Remember, the area used to be a major point of defense for the city of Edo—Kawagoe was a castle town—so the city layout was purposefully designed to be difficult to navigate as a method of defense. If you stray too far from the beaten paths, you can easily get lost, so be sure to take Google Maps along.

However, I can think of few better places to get lost in. The district is so rich in culture, sights, and history to explore; I’ve only covered the tip of the iceberg here. I would further recommend visiting Kawagoe’s Hikawa Shrine and also crafting your own Kawagoe adventure meandering the city streets.

Jessica is a fifth-year American JET living in Saitama. On weekends, she enjoys hiking in remote areas of Saitama or taking day trips to Tokyo. When not adventuring, she can be found reading or creating her own artwork, which can be seen on her Instagram @jessica_craven_art.

Note: It appears that the Kurazukuri Shiryokan Museum is temporarily closed for maintenance work. Please check online here to see if it has reopened before visiting.

Sources: (1) https://bit.ly/3GZspA6 (2) https://bit.ly/3bCw9Je (3) https://bit.ly/3weC0Oh

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LIFESTYLE WELLNESS EDITOR connect.wellness@ajet.net

WELLNESS DESIGNER Emily Griffith

Kimberly Fitzgerald “Always borrow money from pessimists.

They’ll never expect it back.”

— Kimberly Fitzgerald

“It’s fine. Luckily we’re all English so no-one’s going to ask any questions. Thank you, centuries of emotional repression!”

—Mark Corrigan, Peep Show

SPORT DESIGNER SPORT EDITOR connect.sports@ajet.net Kayla Francis “But part of getting to know yourself is to unknow yourself—to let go of the limiting stories you’ve told yourself about who you are so that you aren’t trapped by them, so you can live your life and not the story you’ve been telling yourself about your life.” ― Lori Gottlieb, Maybe You Should Talk to Someone

Muriah Ellis “Everyone should believe in something. I believe I will have another coffee.”

— Unknown

COPY EDITOR connect.copy4@ajet.net Jon Solmundson “Many of the normal motives of civilised life—snobbishness, money-grubbing, fear of the boss etc.—had simply ceased to exist. . . It was simply a temporary and local phase in an enormous game that is being played over the whole surface of the earth.

But it lasted long enough to have its effect upon anyone who experienced it.”

— George Orwell, Homage to Catalonia

Photo: Mark Christensen

CONNECT SPORT

Gakuji Tozaki interviewed by Rashaad Jorden (Yamagata 2008-2010, Kochi 2018-2020) This interview was conducted prior to the Tokyo 2020 Olympics postponement.

Gakuji Tozaki is a karateka who has competed at a high level for the United States.

This transcript has been edited for clarity and flow.

Gakuji Tozaki has a YouTube channel.

In the United States, we see sensei and instructors as coaches. It’s okay to talk to

them normally. I talk to them when I want to. I ask them questions. When I don’t know something, I tell them I don’t know. I say things to make something clear because I don’t understand. But in Japan, it’s not really the same case.

Especially in martial arts. If the instructor says something, you just do it. My instructor in the United States was kinda like that. As I became an adult, that slowly changed because my opinion mattered more as I became an adult.

So I questioned my sensei in America.

50 | Vector images: macrovector | freepik.com

But the difference between the Japanese martial arts environment and American sports environment was big.

So, there’s a big difference between a shihan and a coach.

It’s kind of disrespectful to talk to a shihan in the first place. To me, it’s kind of weird because when I don’t know something or I want to make something clear, I want to talk to them. In Japan, senseis and shihans are very prestigious and they’re really respected. I didn’t experience that hierarchy in the United States, so it was

something that I had a hard time with. It’s everywhere in Japan. Even in school, when you have a senpai, you always have to call him senpai. On the other hand, in the States, that’s totally different. In Japan, I feel like it’s a whole working environment.

In Japan, you have to respect your sensei.

You can’t talk to them as much. You don’t question, you just do. But in the States, we talk, we communicate, and we get to that goal in the fastest way possible. So that’s one of the hardest things that I have experienced.

But other than that, Japan has really advanced sensei, they’re really knowledgeable.

As the tournament gets closer, I focus on the flow of the techniques. I focus on small details and things I can do really well. It kinda relates to how students approach exams. I’m a grad school student right now so once the test approaches, I don’t really try to cram things I don’t know. But I focus on things I know. That way, I feel like it’s more efficient to get points. I get points from things that I know.

It’s the same way for karate. I know that

I’m more of a speed technique, cleanness accuracy guy. A lot of people praise me for how well my techniques are executed. So I focus on the sharpness, speed, and cleanness of the kata. I focus on the intensity and the application behind the kata. So when people are watching me, they really see what I do when I do the actual kata.

Good kata show the opponent basically. If you can see the opponent when the person is doing the kata, then you know that person is someone real. If you don’t see the opponent or if it’s just movement, there’s no meaning behind the technique, then that person doesn’t really get the whole point of the kata. I try to focus on the application portion of the kata and what I do really well at.

I don’t really go full-out when I practice. If I put 100% of my effort into training, it won’t come out during the fight or competition. What I focus on is the movements, how my body’s moving, how my body’s coordinating. I think karateka mostly focus on using their body like a whip—the more they harden, the techniques get weaker. Our body movement has to flow

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all together. When I practice, that’s what I focus on—to coordinate my body as one.

Also, what I really focus on is the recovery portion. I think the worst thing you can do as an athlete is to not recover enough so that you can’t compete or practice the next day.

Let’s say you teach someone to go 100% all the time. The fatigue level increases so much that it gets to the point where the athlete doesn’t improve at all. Even if you teach him a new skill they end up plateauing. But once they introduce recovery to the training, even if they don’t go back to 100%, they can get close to it, their level of learning increases. So that’s why I really try to focus on recovering as much as I can. That goes hand in hand with how I practice.

I think that was the beginning of what really fueled my passion as a karateka. Until 12, I only saw karateka in the United States. I had never crossed the ocean to compete with other athletes. So when I went to Japan, I really felt the big difference between the athletes there and how advanced they are. That really fueled my hunger to get better. I thought I was one of the best in the States, but when it came to Japan, that totally went away. I knew I had to get better. But it was a great experience overall.

I want to say this on behalf of all the athletes that are competing in the Olympics. It’s surreal because it’s amazing that it’s the first time karate is in the Olympics. And all our sensei and senpai were raised getting told that one day, karate would be in the Olympics. But it never appeared.

Finally, in 2020, karate will make its debut, and it’s in Tokyo.

So if I had the chance to compete, I’d be really excited. I feel like it would be great to be able to compete in the country where the sport you love was born. I think it will be an amazing experience for all the athletes who get to go and compete.

Very significant. Very, very significant. I really hope karate gets bigger. I hope karate fans promote the sport to make it more popular overall. There are a lot of karateka but it’s small compared to some others. I hope karate gets more popular, and I think that will lead to an increase in the level 52 |

of athletes because there’s more c becomes more popular, I hope the becomes fairer to the athletes so t compete in the Olympics. I hope it sport that we see all the time on TV

I actually think the favorite to win t Japan. What makes him the best is application, his techniques are cle So he’s already considered to be th karate. He hasn’t lost in the Premie there’s Damian Quintero. He’s very don’t think his technique is the bes referees like that.

Kiyuna went on to win gold in the m silver.

I think the top two competitors are Sandra Sanchez of Spain. I don’t kn

(in the Olympics). Last year (2019), Sandra Sanchez won more than Kiyou Shimizu in the Premier League. I think she won five or six versus Kiyou winning three. So I really don’t know what’s going to happen. Stats wise, it might be Sandra Sanchez. But again it’s in Japan. There’s obviously a home advantage (for Shimizu). Everyone in the crowd is probably going to be cheering for Kiyou. She’s not a bad athlete, either. I would say the percentage between their wins and losses would be 50-50. I really don’t know which one’s gonna win. Last Premier League in Tokyo (in Sept. 2019), Kiyou beat Sanchez. But every Premier League after that, Sanchez beat Kiyou. So we won’t really know what’s gonna happen.

Sanchez went on to beat Shimizu and claimed the first gold medal for women’s kata. She has also been recognised by the Guinness World Records for winning the most medals (35) in the Karate1 Premier League.

competition obviously. As it e rules start to change so it that anyone has a chance to t gets to the point where it’s a V.

the gold is Ryo Kiyuna from s his strength, his speed, his ean. Japan is very good at kata. he guy that’s closest to gold in er League like . . . ever. And then y strong, he’s very athletic. I st. But he’s very athletic, so the

men’s kata final. Quintero won

It’s really difficult to teach someone what the athletes are doing in kata. What I would recommend is to really think about what they’re doing, why are they executing this technique against their opponent. What I can ask them to do is to visualize the opponent. Another easy thing to see is their intensity. Which one looks more fierce? Their speed, their athleticism. Do you think they can move that fast? How athletic do you think they are? Look at how strong they’re moving. The easy stuff like that.

Gakuji Tozaki is an American karateka from San Diego.

He has medaled in numerous international competitions, including this year’s Pan American Championships in Uruguay. Tozaki didn’t qualify for the 2020 Tokyo Olympics but he participated in the World Championships in Dubai in November 2021 Rashaad Jorden was a two-time JET—first in Yamagata Prefecture from 2008 to 2010, and in Kochi Prefecture from 2018 to 2020. During his JET experiences, he completed the Tokyo Marathon in 2010 and the Kochi Ryoma Marathon twice, 2019 and 2020. He also served as the Sports Editor for CONNECT from Sept. 2019 to July 2020.

e Kiyou Shimizu of Japan and now what will ultimately happen Back to Contents

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CONNECT WELLNESS

Kayla Beyer (Niigata)

Being anywhere in the world will present you with different standards of how a person’s image and body “should” and/or “shouldn’t” be.

Japan is not immune to this and is, like much of the world, slightly influenced by Western beauty standards (1 & 2), standards the global majority do not fit. At least when it comes to presenting diversity within Japan’s media, these standards generally favor skinny, white, able-bodied people (3). Outside of that “diversity,” you’ll generally find a preference for thin, light-skinned people.

In the face of these standards that weigh all too heavily on many people, especially women (4), it is easy to get lost within the eyes of others.

As any long-term foreign resident of Japan knows, it is very difficult to be “invisible” outside of a major city like Tokyo. If you present differently than the average Japanese person, then you will certainly be noticed

for better or worse (5 & 6). This is something that had bothered me for quite some time after arriving in Japan some two and a half years ago.

“Why is everyone glaring at me?” is a question that caused a lot of anxiety when facing the world alone; whether it was grocery shopping, taking public transportation, or just going to the convenience store across the street, I found myself looking down to avoid the eyes of passersby.

Mine is not a revolutionary experience—it is shared by many people living in Japan. You may have already heard the proverb,

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Being different has not generally been encouraged, and at the very least, it’s bound to attract a lot of eyes. Even though many of those eyes are without malicious intent, feeling different or “othered” can have a negative impact on one’s well-being (7).

For the past few months, I’ve come to co-run a “Drink & Draw” monthly event with another JET Program participant in Niigata Prefecture.

This event allows anyone within the community to practice their drawing and creativity skills, no matter the skill level. Even some members of a local design school have begun attending. I frequently model for this event, as do other participants.

Believe it or not, I’ve not always been an outgoing person, nor the most confident in my image. But since moving to Japan, with its largely homogenous society (8 & 9), I have become even more hyperfocused on how I’m being perceived by others. Interestingly,

56 |

Practice makes perfect, right?

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In the face of criticism, good and bad, with the weight of what standards I do/don’t fit, and in an environment where I am somewhat of an anomaly, I want to connect with my own image from a more neutral angle as well as encourage others to step outside of the box in becoming more comfortable within our skins.

I hold the belief that, despite what societal standards insinuate, our personalities are multi-faceted and our bodies are not what make up our overall personality or value.

Thankfully, the ideas of how people “should” or “shouldn’t” look are beginning to change. This is thanks to models and celebrities such as Naomi Watanabe, a comedian gone fashion designer who produced the brand “Punyus” to combat sizeism in Japan (10); Naomi Osaka, half Haitian, half Japanese, and U.S. born tennis superstar who speaks openly and in support of Black Lives Matter (11) and self-care (12); and Ariana Miyamoto, born to an African American father and Japanese mother, who was crowned Miss Universe in 2015 despite criticisms of her “Japaneseness” largely due to her being biracial (13 & 14). These celebrities help normalize the fact and reality that humans come in various shapes, sizes, and colors— even within Japan.

Slowly but surely, we are seeing more diversity in media (15). Perhaps this will have an overall effect on standards and how the public reacts to those who present differently, or perhaps it won’t. Regardless, through events like “Drink & Draw,”

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I also hope to introduce my community to many different people in a welcoming and fun manner.

Personally, since beginning “Drink & Draw,” I’ve had much less anxiety surrounding my appearance in public. Not as often do I find myself avoiding solo outings or errands due to the weight of glances and glares. Of course, like anyone else, I have good and bad days, but putting myself into the spotlight through my hobbies and passions has helped me to cope and form new bonds and confidence. I hope for “Drink & Draw” to continue to inspire and liberate anyone struggling with self-image and feeling out of place, and I otherwise want to encourage anyone living in Japan to find comfort and community in their own special interests.

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Kayla Beyer is a third-year JET Program participant from northern Virginia, U.S.A. She is currently living in Nagaoka, Niigata and holds a bachelor’s degree in Fine Arts. In her free time, she enjoys drawing, reading, meditating, and playing ukulele. Along with co-hosting “Drink & Draw” once a month, she models for and collaborates with photographers in Niigata Prefecture. You can view some of those photos or contact her via Instagram @kayla_cbear.

1. https://bit.ly/3ojP0Pi 2. https://bit.ly/3F7LgXF 3. https://bit.ly/3kqc5yA 4. https://bit.ly/2YxQrk6 5. https://bit.ly/3qzh5EK 6. https://bit.ly/2YA79iZ 7. https://bit.ly/3ogF3SA 8. https://bit.ly/3Hdd3bl 9. https://bit.ly/3He8RI7 10. https://bit.ly/3krbe0y 11. https://bit.ly/31Rc28A 12. https://bit.ly/3qoN4aT 13. https://bit.ly/2YxRiBk 14. https://bit.ly/3C5zz27 15. https://bbc.in/3D8KHMI

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Winter Flavors Delectable Daikon Kimberly Fitzgerald (Wellness Editor) One of the many benefits of living in the Japanese countryside is that friends, neighbors, and coworkers tend to display their kindness and generosity with food—often straight from their own gardens. This happens so regularly that I have developed a system of storing some reciprocal gifts, otherwise known as “okaeshi,” in my apartment to show my appreciation for their generosity. This okaeshi stockpile came in handy a few weeks ago, as one of my neighbors recently gave me a bag, bursting at the seams, of what looked to be massive, pale carrots.

As you may have suspected, these were not actually carrots, but rather white Japanese radishes, better known as “daikon.” And I was now the proud owner of more daikon than I knew what to do with.

Daikon is a common staple in Japanese cuisine. Pickled daikon is a popular side dish in restaurants all across Japan, but it is also eaten raw, boiled, steamed, and fried.

Though the flavors of a daikon can vary greatly depending on the variety, raw daikon has a sweet and slightly sharp flavor, milder than a red radish. When cooked, daikon tastes mellow and becomes tender, absorbing the juices of whatever it is cooked with. Daikon greens are very peppery with a strong flavor, but also mellow when cooked.

Valued for its nutrition, it is used not only in Japanese cuisine, but also in Chinese, Korean, and many Southeast Asian cuisines. The vegetable is so versatile that a simple Google search for “daikon recipes” yields over 2,800,000 results, ranging from the traditional simmered daikon to “daikon french fries.”

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In Japan, aside from pickled daikon, you’ve also most likely eaten daikon oroshi, or raw, grated daikon. As daikon oroshi is similar to horseradish, but less pungent, it is a good addition to tempura and soba sauces.

Daikon oroshi has been eaten in Japan since the Edo Period (16031868) not only as a delectable side dish, but also to aid in digestion.

There are many excellent sources of digestive enzymes in daikon, such as diastase, amylase, and esterase. These enzymes become much easier to absorb when daikon is grated. (1) In fact, daikon is great for your digestive tract in general as it is also low in digestible carbohydrates, high in fiber, and contains a large water content. (2) Which basically means it helps to keep you regular and your digestive system squeaky clean. Daikon has also been proven to inhibit infections of the kidneys and urinary system. (2) So, though my stockpile of okaeshi is significantly depleted, I have a stockpile of daikon that is sure to keep my stomach healthy, happy, and full this winter. If you also have more daikon than you know what to do with or are looking for some traditional, seasonal recipes, then I hope you will continue reading for this month’s recipe—Furofuki Daikon—a true Japanese classic.

References: 1 https://bit.ly/3F1qZTR 2 https://bit.ly/3C3XLSn

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Furofuki Daikon Piping Hot Radish with Miso Sauce Elizabeth Andoh (Tokyo) Furofuki, literally “blowing steam,” is the name given to vegetables—most often, daikon radish—that have been tender-prepped and then simmered in (kelp) broth. Served piping hot, so hot you will need to blow away the steam (that’s the origin of the dish’s name), it is a perfect wintertime fare. Serve it in the broth in which it was cooked (I like to garnish it with strips of fragrant yuzu peel) or sauced with miso, light or dark . . . or a bit of both.

The flavored miso sauces used to finish the steamed radish in this recipe are basic building blocks in the Japanese kitchen. The sauces can be used as a dip for sliced fruit (try crisp apples) or slathered on blocks of tofu and finished under the broiler (a dish the Japanese call dengaku).

This recipe makes about 4 to 6 servings.

Ingredients: • 4 to 6, one-inch thick circles daikon (each about 2 ounces) • 2 cups komé togi-jiru, (starchy, cloudy water from washing rice) • 1 cup kombu-jiru (soak kelp in water for at least 20 minutes and up to several hours) • 2 teaspoons usukuchi shoyu (light-colored soy sauce) • 2 teaspoons mirin (syrupy wine) • 1/4 teaspoon cornstarch (mixed with a few drops cold water) • 1/4 teaspoon zest or peel from fresh yuzu or lemon • 1/3 cup Lemony Miso Sauce and/or 1/3 cup Pungent Red Miso Sauce (recipes below)

64 | Photo: Kimberly Fitzgerald

Directions: 1. Peel the circles of radish, preferably by cutting off a thin continuous sheet. Then slice into one-inch thick circles and bevel the edges of each circle of radish to keep it from crumbling as it simmers later in broth. You can use a vegetable peeler or a knife to do this.

2. Place the starchy rice-washing liquid (kome togi-jiru) in a deep pot just wide enough to hold the daikon pieces in a single layer.

3. Slowly bring the liquid to a boil over medium heat. Large clouds of froth will form and rise in the pot (which is why you want to use a deep pot); adjust the heat to keep it from overflowing. Using a dropped lid helps keep the daikon submerged throughout the tender-prepping (also known as par-boiling) process.

4. Cook until the daikon is tender (a toothpick or bamboo skewer meets little resistance), about 10 minutes. Drain; rinse away scum.

Daikon tender-prepped in starchy water will have a luminous appearance.

5. Place the tender-prepped daikon in a saucepan filled with kelp stock, seasoned with usukuchi shoyu (light-colored soy) and mirin.

Simmer the daikon until very soft and tender (a toothpick will meet with no resistance), about eight to nine minutes.

6. While the daikon is simmering, prepare one OR both miso sauces, each in a separate, small saucepan.

The technique for tender-prepping in starchy rice water is a useful one to remember whenever you are cooking daikon, carrots or other firm root vegetables or tubers. Tender-prepping makes the vegetables very soft without falling apart (the natural oils in the rice water help them hold their shape). Tender-prepping also makes them porous, getting them ready to absorb the flavor of the broth in which the final cooking takes place. When you wash rice, save the starchy water in a jar—storing it in the refrigerator if you do not use it the same day. After several hours you will notice a sediment forming in the bottom of the jar. When ready to use, stir it to recombine.

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Lemony Miso Sauce (Makes about 1/3 cup)

Ingredients: • 1/3 cup Saikyo shiro miso (sweet, light bean paste) • 1 and 1/2 tablespoons saké • 1 teaspoon sugar (+ 1/2 teaspoon, optional) • 1 tablespoon water • 1 teaspoon finely-grated lemon zest

66 | Photo: Elizabet Andoh

Directions: 1.

Combine the sweet miso with the saké and one teaspoon of sugar in a small, sturdy saucepan. Before placing the pan over heat, stir ingredients with a wooden paddle or spatula until the ingredients are thoroughly mixed.

2. Stir in the water until combined.

3. Using a spice grater or fine-tooth microplane, scrape the skin of a fresh lemon to produce fine zest. Add half of this zest to the pan, reserving the other half for later.

4. Cook the sauce over medium heat, stirring constantly to prevent scorching.

The sauce will bubble and splatter a bit, so use caution and a long-handled wooden spoon or spatula.

5.

Cook until the mixture is glossy and the consistency of ketchup (when you stir, you should be able to see the bottom of the pan), about five to eight minutes.

The sauce will stiffen and thicken a bit as it cools, so err to the side of thin (but not runny).

6. Use a spoon to take a small sample from the pot. Allow the sample to cool before tasting.

7.

Adjust, as needed, with a pinch more sugar (if too salty) and/or water (if too stiff).

8. Add the remaining zest and stir to blend.

9. Set aside to cool completely.

10.

Transfer the cooked and cooled sauce to a glass jar with a tight-fitting lid.

Refrigerated, it will keep for three to four weeks.

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Pungent Red Miso Sauce (Makes about 1/2 cup)

Ingredients: • 5 to 6 tablespoons Sendai miso (pungent “aka” miso, or “red” miso) • 2 to 3 tablespoons sugar • 2 to 3 tablespoons saké • 1 to 2 tablespoons water

Directions: 1. Combine the ingredients directly in the pan in which the sauce will be made, ideally fairly deep (the sauce will splatter as it cooks). Before placing the pan over your source of heat, stir ingredients with a long-handled wooden spatula until they are thoroughly mixed.

2. Cook, stirring constantly, over medium-high heat until the mixture is glossy and the consistency of ketchup, about five to eight minutes. The sauce will stiffen and thicken a bit as it cools. The sauce will bubble and splatter a bit as you cook, so use caution.

3. Use a spoon to take a small sample from the pot. Allow the sample to cool before tasting. Adjust, as needed, by adding more sugar (if too salty) and/or water (if too stiff).

4. Set aside to cool completely.

5.

Transfer the cooked and cooled sauce to a glass jar with a tight-fitting lid.

Refrigerated, it will keep for three to four weeks.

68 | Photo: Kimberly Fitzgerald

Born, raised, and educated in America, Elizabeth Andoh has made Japan her home for more than half a century. She is the author of many books including Washoku: Recipes from the Japanese Home Kitchen (Ten Speed Press, 2005), winner of the Jane Grigson award for academic excellence in food writing.

Elizabeth directs “A Taste of Culture,” a Tokyo-based culinary arts program. Her website www.TASTEofCULTURE.com is a resource for recipes and information about Japan’s food culture. Links for her Facebook page and Kitchen Culture Cooking Club (FB group), Kitchen Culture (blog), podcasts (NPR Japan Eats), and newsletter can be found on her site.

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States of Emergency*

Vaccinations

There are currently no prefectures under a State of Emergency.

The Japanese government recommends that all people over the age of 12 get vaccinated. COVID-19 vaccinations are available to everyone, including foreign residents, free of charge. After a second dose, vaccines provide significant protection against contracting COVID-19 and greatly reduce the risk of developing severe symptoms in those who do contract the virus. Getting fully vaccinated remains the best protection against severe illness, hospitalization, and death.

Local authorities may still impose restrictions, especially on dining and entertainment establishments. Please check with your local authority regarding specific restrictions in your region.

*All information is accurate as of December 2nd. For an up-to-date list of all prefectures under States of Emergency, please refer to the Cabinet Secretariat Office’s Website.

The following recommendations remain in effect.

• Please avoid the “3 C’s” (closed places, crowded places, and close-contact settings).

• Wear a mask in public places.

• Keep social gatherings small and short.

• Exercise proper social distancing.

• Clean and disinfect common facilities, thoroughly wash hands, and disinfect with alcohol.

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For up-to-date vaccination statistics, please visit the Chief Information Officer’s portal.

For information regarding how to get vaccinated or how to receive your vaccination certificate for overseas travel, please visit the Ministry of Health, Labor, and Welfare’s website.

As of December 2nd, 73% of the population in Japan have received their first dose of the vaccine and 72% have received both doses.

PCR Testing PCR tests are covered by medical insurance (as of March 6, 2021).

If you believe you may have contracted the COVID-19 virus, please contact your prefecture’s COVID call center to find the testing facility nearest you. Do not go to the hospital. For information on your prefecture’s call center and other COVID resources, please visit the Ministry of Health, Labor, and Welfare’s website.

Resources Questions?

Japan Visitor Hotline: 050-3816-2787

The Japan Visitor Hotline, operated by the Japan National Tourism Organization (JNTO), is available 24 hours a day to answer COVIDrelated questions or direct you to appropriate mental health resources in English, Chinese, Korean, and Japanese.

Back to Contents

• For medically accurate, up-to-date information, check: World Health Organization • For medical resources in your community, check the JNTO Medical Institution Guide • For up-to-date news about COVID in Japan, check: NHK WORLD • For information regarding international travel, check: Immigration Services of Japan

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Mental Health Support English counselling services TELL is a not-for-profit organization that provides support and counselling services to Japan’s international community through their in-person offices in Tokyo and Okinawa, as well as online services.

They have professionally licensed neuropsychologists on staff to provide testing and assessment to individuals (children or adults).

TELL does not prescribe medicine, but they can refer you to psychiatrists and places to receive a prescription if needed.

TELL also runs LifeLine, a free and anonymous support communication system for English speakers in Japan. For anyone wanting to talk to someone, no matter what the issue, please call the number below or see the website for more information.

TELL Lifeline (every day, 9:00 to 23:00): 03-5774-0992 (regular phone call charges apply) TELL Chat (Friday, Saturday, Sunday, 22:30 to 2:00)

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Additional support for JET Programme participants With the aim of enhancing mental health support for JET Programme participants, CLAIR offers the JET Programme Mental Health Counselling Assistance Programme.

This programme provides a partial subsidy (50%, up to 30,000 yen per year) for counselling costs not covered by health insurance.

As of April 2021, you can use this subsidy to pay for mental health services in Japan or those received online from providers in your home country. If you wish to use a service overseas, please consult with your contracting organisation supervisor for more information. If you wish to apply for the subsidy, you must do so through your contracting organisation.

CLAIR offers a toll-free telephone counselling service which does not require any advance reservation to use.

The service generally operates twice per month, on the 10th and 20th (counselling days which would fall on a Sunday or holiday are instead held on the Saturday prior to that day). Operating times are from 17:30-21:00 on Weekdays and 13:0016:30 on Saturdays.

Counselling via Telephone* Phone number: 0120-810-803 (No advance reservation required. Calls are free of charge.)

In addition to the telephone service, CLAIR also offers free Web-Mail and Skype counselling.

Web-Mail Counselling Login Password: jet2021mental Skype Counselling Login password: jet2021mental

*Limited to one call per person per day (no annual limit) *CLAIR has prepared three telephone lines for this service; however, there may be times when the lines become congested.

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LANGUAGE LANGUAGE EDITOR connect.language@ajet.net

LANGUAGE DESIGNER Phoebe Jin

Sarah Baughn “But hey!!! I won’t give up! I can’t give up!

I have to make everyone give up giving up!” — Undertale

“There is virtue in work and there is virtue in rest. Use both and overlook neither.”

— Alan Cohen

COPY EDITOR connect.copy2@ajet.net Day Bulger “Love, it sustains you. It’s like oatmeal.”

— Raymond Holt, Brooklyn 99

Photo: Clay Banks | Unsplash.com

CONNECT LANGUAGE

Ryon Morrin (Hokkaido)

THE OLD SCHOOL WAYS If you’ve ever sat down in a traditional foreign language classroom, you’re probably familiar with dry textbooks full of giant word lists, uninteresting reading passages, and page after page of grammar point explanations that feel impossible to commit to memory. What you retain from the sheer amount of drilling seems insignificant as you progress to the next chapter with less than half of what you “learned” in the last one. You speak and make error after error, sitting on the edge of your seat as you await a swift correction from your teacher (or worse, classmate) that is intended to help you fix your speech, but you will surely make the same mistake again. You overthink it all, fearing embarrassment from mispronouncing a word or stumbling over yourself, producing an entirely incomprehensible string of nonsense in a flustered state. Ah yes, fun times. After a while, many (myself included) hit a rock-solid wall that stands about 50 feet tall; the dreaded intermediate-level plateau.

Your understanding is limited. You can communicate some of the things you want to say, but your speech is simplistic, probably

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broken, and almost certainly sounds unnatural. Your writing isn’t much different.

What can you do?

While traditional classes were a nice introduction to the Japanese language, I focused all of my time and energy on text books, attempting to cram everything into my brain using rote memorization tactics.

The truth is, I should have been focusing much less of my time on that. Though I’m beyond grateful for my wonderful, dedicated professors in the U.S. and in Tokyo, my Japanese studies were missing a very important part of the equation: real, native content.

THE SECRET SAUCE: IMMERSION Immersion is what it sounds like: you dive head first into the “real world” of your language of choice and surround yourself with it. It can be intimidating, but anybody who is willing to dedicate the time can do it.

Steven Krashen’s research was the starting point, arguing against the old ways and advocating for a different, much more effective approach to second language education.

ON KRASHEN Dr. Steven Krashen is a famed linguist and educational researcher known for his theory of second language acquisition. His work inspired the current trend of language acquisition through immersion that’s rapidly gaining popularity. Notice the phrasing: acquisition, not learning. Think of the way that children acquire language. Through consistent exposure to speech, they gain the ability to understand as well as produce it themselves. Once thought to only be possible for infants and young children, Krashen theorized that even adults could acquire language in a similar fashion.

Input (language you listen to or read) needs to be from content that you want to understand; ideally, content should be mostly comprehensible as well as compelling. Traditional learning can still play a role in the acquisition process, but Krashen argues that it is less important than receiving native language input, such as television, actual conversation, books, and more. It needs to be enjoyable, captivating, gripping content. Krashen’s input hypothesis details what exactly comprehensible means.

Acquisition takes place when it follows the rule of “i + 1.” “i” is the learner’s current level, and “+1” stands for the level just above that.

This is the ideal zone where acquisition takes place. Ideally, most of the content is comprehensible and follows the rule of “i + 1.” It’s important to note this is all about input, not output (speaking and writing).

On output, Krashen states, “According to the comprehension hypothesis, speaking is the result of language acquisition, not the cause. We don’t learn to speak by speaking; rather, we build up the competence for speaking by listening and by reading (of course, reading alone won’t do the job). This has been confirmed by a number of case histories showing that the ability to speak ‘emerges’ gradually as a result of listening.”

For years and years, I had thought that the only way to get better was to speak as much as possible, but in reality, I was just establishing bad habits that sound unnatural and are hard to break. As Krashen states, we learn how to speak by hearing the language spoken. It is not a creative process that we figure out on our own; the patterns are already there, you just need to hear them in action over and over in various contexts.

Hearing this theory for the first time blew my mind, as it challenged a core understanding I had held from the very start. | 77

ALL JAPANESE ALL THE TIME Japanese is a notoriously difficult language for native English speakers. Many try, yet fail to become fluent in the language. However, some have succeeded, and they have shared their stories in recent years. All Japanese All The Time, a language immersion method, has been popular among Japanese learners ever since the creator, Khatzumoto, developed the site and shared his quest for fluency years ago. In his own words: “I learned Japanese in 18 months by having fun. In June 2004, at the ripe old age of 21, all post-pubescent and supposedly past my mental/linguistic prime, I started learning Japanese. By September 2005, I had learned enough to read technical material, conduct business correspondence and job interviews in Japanese. By the next month, I landed a job as a software engineer at a gigantic Japanese corporation in Tokyo.”

Khatz started a website where he shared his methods and soon after, the AJATT community was formed. He never stepped

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foot in a traditional classroom, claims he never read a single textbook and did it all by having fun. He immersed himself entirely in Japanese from sunup to sundown and came out of it fluent without stepping foot in Japan.

More recently, popular YouTuber Matt vs.

Japan has been sharing his wisdom and demonstrating his highly fluent Japanese.

He has been mistaken for a native speaker in public settings and in online chats many times. He is heralded as one of the greatest success stories in the immersion community, having mastered not only fluency but Japanese pitch accent, an element of the language most people don’t even realize exists or simply disregard as unimportant despite being essential to native-like speech. He did it through the AJATT method along with some of his own strategies and modifications, and his channel is full of extremely valuable tricks and tips that any Japanese learner can benefit from.

THE LATEST AND GREATEST: REFOLD Adapted versions of AJATT have been developed in an attempt to refine what Khatzumoto did while cutting out or replacing some parts many considered to be unimportant or flat-out ineffective. Namely, the Refold method has gained popularity not just with Japanese learners, but also with learners of many other languages like Korean, Spanish, and Mandarin. Matt vs. Japan is now a part of the Refold team; his methods inspired the project. Refold’s detailed roadmap to fluency is free and suitable for anyone, including absolute beginners. On the home page, they explain that the roadmap will show you “. . . how to combine media, strategic study, and educational technologies to achieve high-level language fluency faster than any other method in the world.” Refold is broken into stages from 0 to 3 (stage 4 is in development), telling readers not just the what and the how, but also the why; links to research and theory are provided along the way for those interested. Particularly important, Stage 2A details strategies for watching and reading content: intensive and free-flow. Intensive immersion involves

looking up every single unknown word in an episode of a TV show or a chapter of a book.

It takes a lot of time, but it can be especially useful when the content is packed full of unfamiliar words. Free-flow, on the other hand, requires you to embrace the ambiguity, accept that at times, you simply will not understand, and perhaps most importantly, pushes you to infer meaning through context.

Free-flow can feel very uncomfortable at first, but in my personal experience, it has been the most powerful form of immersion. Refold recommends spending time immersing using both methods.

The roadmap also details ways to find content, implement useful, time-saving software, select shows and books that are level-appropriate, and evaluate your level of comprehension as you progress on your immersion journey. From learning a writing system and grammar basics at the start to actually using your acquired language in speech after hundreds of hours of immersion, Refold tells you exactly how to do it.

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A TOOL TO REMEMBER As previously stated, immersion can be supplemented with active study. Among the immersion crowd, the primary tool of choice is Anki, an extremely powerful and versatile Spaced Repetition System (SRS) flashcard program. It’s free for PC, open-source, and has countless add-ons available on the web aimed at language learners. There are mobile versions of the app, too. For those who aren’t familiar, SRS uses algorithms to determine the frequency at which you see a flashcard depending on whether you pass or fail it. Each time you consecutively pass a card, the frequency at which you see it decreases, going from one day, to three days, to seven days, and so on. This process is highly effective at turning new information into long-term memories. Remember long nights of cramming for a test only to lose most of it within a week? Using an SRS app is the answer to this problem, and is a language learner’s best friend, especially when combined with other useful tools. Anki can be a bit complicated to learn, but with a little bit of reading, you can pick it up quickly.

While the technology aids for immersion continue to improve and become increasingly appealing, it’s easy to sink too much time into tech rather than immersing. There’s an initial time investment required to get set up; that’s absolutely necessary and worth doing.

However, try not to get caught up in constant customization; it’s easy to fall down that rabbit hole (I know firsthand).

IT ALL BOILS DOWN TO… This: just immerse!

Watch, listen, and read. Use existing habits to make the transition easier. Everything you already do can be done in your target language. Whether it’s watching TV after dinner, reading news articles on the train to work, or listening to podcasts on your drive to the store, it all has value. An important distinction to be aware of is active versus passive immersion. Active is considerably more valuable than passive, but both have benefits. Active immersion is when you focus exclusively on the content: nothing is coming between you and that movie or book at that moment. Passive immersion is when you play something in the background while you’re tending to another task. You still catch bits and pieces as you’re washing dishes or folding laundry, but your attention is divided.

IN THE END Immersion is not for someone who just wants survival skills for small talk or vacation.

It’s for someone seeking a high level of fluency; a person who wants the ability to live their life in a foreign language. It’s also for anyone who’s tired of deathly boring textbooks and grammar drills. If you’re interested in starting your own immersion journey, check out the links below and start reading!

Resources: Krashen- Theory of Second Language Acquisition /Dr. Steven Krashen- Comprehension Hypothesis AJATT | All Japanese All The Time Matt vs Japan - YouTube / Stevi (Interview) - Basic Fluency and JLPT N1 in 18 Months Refold | Home / Roadmap | Refold / Refold Unofficial Japanese Guide Anki - powerful, intelligent flashcards (ankiweb.net) Sources: 1. bit.ly/3qYWx9h 2. bit.ly/3njGD70 3. bit.ly/3HvOG8X Ryon Morrin is a third-year ALT based in Shintotsukawa, Hokkaido. In his free time, he enjoys discovering new music, hiking in the mountains, and playing rhythm games at the arcade.

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Happy Holidays if you celebrate them, and if not, enjoy the winter break! Here’s a few words that might come up in conversation over the month ahead and a seasonal pun I’m sure you could pull off in the right setting.

Snow-viewing

yukimi

Snowman

yukidaruma

Winter break

fuyuyasumi

Christmas

kurisumasu

“illumination” or light decorations that are often put up in winter

irumineshon

Blizzard

fubuki

New Year’s

shougatsu

Money that children receive every New Year

otoshidama

New Year’s Cards

nengajou

Mandarin oranges (traditional winter fruit!)

mikan

roasted sweet potatoes

yakiimo

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TRAVEL AND COMMUNIT TRAVEL EDITOR connect.travel@ajet.net

TRAVEL DESIGNER connect.socialmedia@ajet.net

Dahlia Lemelin

Katherine Wang

“A ship is safe in harbor, but that’s not what ships are built for.” — John A. Shedd.

“You miss 100% of the shots you don’t take — Wayne Gretzky — Michael Scott” — The Office

COMMUNITY EDITOR

COMMUNITY DESIGNER

connect.community@ajet.net Sierra Nelson-Liner “If you can dance like raindrops, there will always be sunshine.” ― Curtis Tyrone Jones

Phoebe Jin “There is virtue in work and there is virtue in rest. Use both and overlook neither.”

— Alan Cohen

COPY EDITOR connect.copy3@ajet.net Dianne Yett “Monday for me is like waking up and stumbling very quickly down a flight of stairs only to land perfectly on your feet at the bottom and wondering how in the actual hell you managed that.” — Self

Photo: Samuel Berner | Unsplash.com

TY

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CONNECT TRAVEL

Winter Road Trippin’ FOUR DAYS IN AOMORI’S HAKKODA MOUNTAINS Tessa Calvin (Aomori)

As the pandemic finally appears to give Japan a bit of a break, many of us are looking toward this year’s winter holidays with a bit more optimism about travelling again.

the same warm-hearted local people and learning new things from them, I believe I’ve come close to perfecting the art of the Aomori road trip.

Thanks to nearly two years of travel restrictions, which have kept all my adventures within the borders of my adopted home of Aomori, I’ve criss-crossed the entire prefecture in my kei car. After visiting many of my favorite local spots two or three times, frequently meeting

If you’re itching to run off to the mountains and watch the snow fall from an open-air hot spring, a road trip around the northern section of Towada-Hachimantai National Park in central Aomori may be the escape from the modern world that you’re looking for.

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Central Aomori, particularly the beautiful and mountainous area within the national park, has essentially no train service. Bus routes do exist, and they serve the majority of locations highlighted in this sample itinerary. However, service frequency decreases significantly in the winter.

The freedom to move exactly at your own pace, including stops on the side of the road for random photos of the stunning scenery, makes driving a car by far the best option.

Do be aware that many of the mountain roads close for the night or the entire winter, which could lead to extremely time-consuming detours without careful planning. Always

check in with locals if you’re unsure about your route. Google Maps can and will lie to you!

If you’re nervous about snow driving, don’t panic just yet—Aomori locals have spent many years perfecting the art of efficiently clearing impossible amounts of snow. Take a few deep breaths as you hit the road and go slowly at first. Brake gradually, and start braking earlier than you would on a clear road. Don’t make any quick turns, and stay calm and focused.

With the right preparation and the confidence to drive in snow, you can safely enjoy many sparsely-travelled winter landscapes across Japan at your own pace.

Let’s hit the road.

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“The place to live is Japan.

The place to play is Towada.

The place to walk is the sanrihan (~14 kilometers) of Oirase Gorge.”

—Omachi Keigetsu (Taisho era travel writer)

DAY 1

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Arrive at Shichinohe-Towada Station As you exit Shichinohe-Towada Station, take a deep breath and take a moment to adjust.

Once your train continues on its way, a distinct quietness sets in—aside from the occasional chunk of snow sliding off the roof. You may have boarded the train from one of the many large, buzzing cities of metropolitan Japan, but you’ve stepped off in the deep snow country.

Rent a car Pick up a rental car at Nippon Rent A Car or Toyota Rent A Car, both just outside the station. Although a bit more expensive than a round-trip, I suggest choosing a one-way plan, as you’ll be dropping off your car in a different location at the end of your trip. This option will save you quite a bit of driving time.

大歩遊住 町きばま 桂ゃばば 月奥十日 入和本 瀬田 三 里 半 .. .

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DAY 1

Have your first taste of Central Aomori’s tasty local dishes

Towada A renowne design b of the cit the muse on the fa across fr Art Squa Love Fo accessib

Discover the illuminated for

If you’re like me and willing to eat gelato regardless of the weather, Namiki is a great stop near the station to perk you up after the journey to Aomori. Try a mixture of seasonal flavors, and see if you can spot any horses in the pasture.

After checking out the art in Towada City, take a short walk over to Tsukasa for lunch to try this region’s simple, saucy, and delicious “soul food,” barayaki. You can even buy a bottle of the signature sweet, slightly garlicky sauce to bring home and try your hand at making it yourself.

Experience Towada’s quirky, artistic side at Towada Art Center

Hidden in som from the shore mystical atmos illuminations (w of another festiv natural surroun

On Friday and enjoy a Tsugaru Lastly, make su there on a week

End you Enjoy a lu Lakeside

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Art Center holds a variety of works from internationallyed contemporary artists. The building's unique blurs the boundary between the museum and the rest ty. Large glass windows allow passersby to see into eum and museum guests to see the daily flow of life amously beautiful main street, Kanchogai-dori. Just rom the museum and its symbolic Flower Horse, the are holds even more works such as Yayoi Kusama’s orever, Singing in Towada which are completely ble to the public.

winter story of Lake Towada through an rest and shrine.

me primeval forest just a few hundred meters e of the lake, Towada Shrine has a uniquely sphere any time of year. The Festa Luce winter which were actually a pandemic era adaptation val) are well-integrated into the ancient shrine’s ndings and add a new level of otherworldliness.

The Festival is held from December 4 to February 20 Closed : Wednesdays and Thursdays. (*Exception : They will remain open on December 29-30, 2021) Fireworks shows will be held on weekends and holidays during January and February. (*Except January 1-2)

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Hours of Operation : 5:30 - 9 p.m.

Entrance fee : 1600 yen (1200 for tickets bought in advance) Parking is available for 500 yen.

Saturday nights in December, you can also u Shamisen performance for no additional fee. ure to catch the short fireworks show if you’re kend or holiday!

ur first day just steps away from Lake Towada. uxurious kaiseki meal and hot spring bath at Towadako e Hotel before settling in for the night.

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DAY 2

Canoe or Snowshoe Tour

Towada Guidehouse Kai 11,000 yen 10 a.m.-12:30 p.m.

While Mount Fuji is world-famous and has been climbed by thousands of tourists and locals alike, far fewer know the magic of gliding across the mirror-like surface of Lake Towada in a canoe on a crisp winter morning. After some quick oar training on land, paddle out onto the icy surface of one of Japan’s deepest lakes with Towada Guidehouse Kai. If the weather doesn’t allow for safe paddling, or you’re not a fan of boats, there’s also the option to trek through the forest on snowshoes and see the lake from above.

Lunch at Lake Towada Take advantage of the lake’s proximity to sample Himemasu, a species of salmon transplanted from Lake Shikotsu in Hokkaido. This completely land-locked population of red salmon is known for its oiliness and is delicious when served as sashimi.

As Lake Towada lies directly on the Akita-Aomori border, you can also try Akita’s pounded rice specialty, kiritanpo here. In winter, the roasted kiritanpo is a delicious addition to a hot nabe pot.

Take a scenic drive through Oirase Gorge

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Departing from Lake Towada, enjoy a leisurely drive through Oirase Gorge and soak up the scenery. In the winter, large waterfalls such as Choshi Otaki continue to rush with cold water draining from the lake. Smaller falls may freeze to a near-stop in the winter—although if you look carefully, you may be able to spot some droplets still rolling down the ice falls.

大ひ湖 町ろ水 桂いは 月世十 界和 に田 ひ と つ ず つ ﹂

→

“In th Mo L —O

VI IN

湖﹁ 水山 はは 十富 和士 田

←

n this wide world, here is only one ount Fuji, and one Lake Towada.”

Omachi Keigetsu

DAY 2

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Personally, I bring a camera even when I’m just passing through Oirase; you never know when a “photo emergency” might arise here. Don’t hesitate to take a little extra time to stop; you’ll probably be glad you did.

Learn about the unique natural features of Oirase Gorge Just before exiting the gorge, you’ll find the Oirase Field Museum, where you can learn about how the volcanic eruptions below Lake Towada formed its unique shape and created Oirase Gorge. If you’re more into ecology than geology, try inspecting some of the local plants under a microscope. Don’t miss the A la Ringo Café for a wide variety of apple-flavored drinks and sweets.

Create and bring home a mossy friend

(2,000 yen E W 9 a.m.-4 p.m.

N F O No reservations required)

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DAY 2

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Just a short distance from the Field Museum, the Oirase Mossball Park feels a bit whimsical—it might be all the googly-eyes looking out at you from the garden. Here, you can create and bring home your own “small Oirase” in the form of a kokedama, or moss ball, and give it life with a pair of plastic googly eyes.

Stay the night and warm up in the rustic beechwood baths of Tsuta Onsen Nestled in the deep forest of the eastern Hakkoda mountains, Tsuta Onsen is one of Japan’s 100 most famous hot springs and was well-loved by a number of Taisho-era literary talents.

Keigetsu Omachi, a travel writer of the time whose praise led to the area’s first tourism boom, frequently spent long periods of time at the inn and registered his residence there in his final years. Tsuta Onsen also offers snowshoeing tours, and day trip bathing is available for 800 yen if you aren't staying the night.

DAY 3

→ Snow of Tsugaru Powder snow Corn snow Cotton snow Wet snow Spring snow Coarse snow Ice snow —Osamu Dazai

大 町 桂 月

→

Take the Hakkoda Ropeway up one of the s mountains on Earth

The scenery is stunning in every direction on the Ropeway, which takes you to the top of Tamoyachid of the many peaks in the volcanic Hakkoda range, in minutes.

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大太こざかみわつこ津 町宰ほらたづたぶな軽 桂治雪め雪雪雪雪雪の 月 雪 雪 →

→

←

→

DAY 3

→

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While the ropeway ride could be considered an attraction in itself, don’t head back down without a photo with one of the giant juuhyo, or “snow monsters”—trees covered in frost and wind-blown snow. These formations are quite rare and require a particular combination of fierce wind, heavy snow, and cold that can only be found in two mountain ranges in Japan: here at Hakkoda, and at Zao in Miyagi.

snowiest

Hakkoda dake, one n just 10

Advanced snow enthusiasts also may opt for a one-way ropeway ticket to haul their gear up the mountain and then make the return trip to the base station by ski or snowboard.

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DAY

Lunch - Kuroishi Tsuyu Yakisoba How do you adapt a classic summer festival food to an Aomori winter staple? In Kuroishi, the solution was to put their uniquely thick soba noodles into some hot, salty soup and add tempura. While it started with one soba shop across from a junior high school, Kuroishi now has over 70 yakisoba shops, making Kuroishi Tsuyu Yakisoba a true community comfort food.

Make your own lamp from old Neputa festival floats

fan: 2600¥ small lantern: 3800¥ VIEW medium: 5800¥ I N FO large: 8800¥ A small city in the foothills of the Hakkoda Mountains, Kuroishi was an old samurai town just a short distance from the Tsugaru Clan’s castle city of Hirosaki and still retains a lot of its old-world charm. Walking away from your car, under the covered arcades of the preserved traditional Komise Street, you may feel as if you were suddenly transported back to the Edo era.

Upon arriving at Irodori, the colorful glow of the hanging lanterns (made from pieces of recycled Neputa floats) is sure to draw you in. The artisans will welcome you to join them around a large table and create your own lantern or uchiwa fan. They’ll probably convince you to come back in the summer for the festival, too!

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Y 3

Spend a night away from the modern world at Aoni Onsen

Put your phone down; it’s useless here. At Aoni Onsen, also known as Lamp no Yado, there’s nothing to do but soak in the steaming hot baths, watch the snow fall, fill up on delicious food, and listen to the sound of the river. You won’t find a phone or TV in your room, and the narrow valley blocks out all wireless signals. In fact, most of the complex doesn’t have any electricity at all—it’s all gently lit by old-fashioned oil lamps. One important exception: they do have a refrigerator to keep the beer and sake cold.

Aoni Onsen is only accessible by shuttle bus in the winter. Park at Nijino Mizuumi Roadside Station and call to reserve a seat before putting your phone away for the night. The last shuttle leaves at 16:00.

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← Enjoy your last drive through the snowy Tsugaru countryside

DAY

Lunch: build-your-own sash classic Aomori ramen

After the Lamp no Yado shuttle bus returns you to your car, it’s just under one hour’s scenic drive to the capital, Aomori City. It’s the last leg of your journey circling the Hakkoda Mountains, so soak up the countryside scenery while you can.

Once you arrive in the city, it’s time to say goodbye to your trusty rental car. Return it close to Aomori Station and spend the day exploring on foot. There’s a lot to see along the Aomori waterfront and near the station, so you won’t have to go far.

Warasse Nebuta Museum

Surrounded on three sides b blessed with a variety of deli 10 tickets (or 15, if you’re hun Gyosai Center, and first grab explore the market and trade to craft your custom “Nokked

Don’t wait ‘til August to experience Tohoku’s greatest summer festival! Aomori Prefecture actually hosts a variety of different Nebuta and Neputa festivals in early August, but Aomori City’s Nebuta is by far the largest and most well-known.

While nothing beats the festival atmosphere itself, you can see some old floats up close and learn about the history of Nebuta at Warasse, the festival museum located directly next to Aomori Station. There may also be live music and dance performances or Nebuta crafting workshops, depending on the daily schedule.

Aomori consistently ranks for health metrics compared and one main culprit is the l butter, and ramen. You can ge ingredients in one dish with favorite in Aomori City. We hav somehow, and the thick, hot b

Rasse-ra, rasse-ra, rasse-rasse-rassera! (Aomori Nebuta festival chant)

「ラッセラー，ラ セラー, 96 |

.. .

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himi bowl or wildly unhealthy,

Pick up anything and everything Aomori at A-Factory A great source for a huge variety of locally-produced Aomori products, including crafts, sweets, and of course apples, A-factory also bottles its own apple cider on site (both alcoholic and non-alcohol). You can even use the sample vending machine on the second floor to taste-test a variety of ciders before choosing which one to bring home! After you’ve picked out all the Aomori goods you can stuff into your suitcase, grab a coffee at Coffee Colors or chow down on an Apple Burger at Ocean’s Diner before your journey home.

Wave goodbye to the snow country—for now.

by cold, abundant sea, Aomori is icious seafood. Pick up a set of ngry) at the front of the Furukawa b your warm bowl of rice. Next, e your tickets with each vendor don” bowl a few slices at a time.

near the bottom of every list d to other prefectures in Japan, local obsession with salt, miso, et all those deliciously unhealthy Miso Curry Milk Ramen, a local ave to get through the long winter broth certainly helps!

Hop on the local train to Shin-Aomori Station (if departing by bullet train) or the bus to Aomori Airport (if departing by plane). Safe travels, and see you again soon! Or as they say in Tsugaru dialect, Heba-na!

Tessa Calvin is originally from Southeast Alaska and planned to stay in Japan for exactly one year. She is now a fourth-year ALT in Towada, Aomori. She enjoys wandering aimlessly in the countryside, sampling every type of Aomori apple product, and taking photos of whatever happens along the way. You can find some of these photos on her Aomori-based Instagram, @ten.peaceful.fields, or under the hashtag #towadaisbeautiful.

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#47 : Ibaraki The Most Underrated Prefecture Noelle Uba (Ibaraki) Every year, Japan’s Brand Research Institute releases a survey asking respondents to rank all 47 prefectures based on different attributes such as nature, local products and living comfort, all gathered as points tallied up for general “attractiveness.” This year, Ibaraki has once again found itself at the bottom of this list for the eighth year.

I’ve lived in Ibaraki for a little over two years now and it’s become such a special place to me, so it was a bit disheartening to see it ranked as the “least attractive” prefecture. However, I think this result just shows that there are too many people who are uninformed about all the wonderful things Ibaraki has to offer!

Along the eastern coast, Ibaraki is located in the Kanto region, about an hour north of Tokyo. Ibaraki is accessible by various train lines and highways, so it is possible to explore the prefecture with or without a car. Whether you want to take a day trip or spend some time exploring the prefecture, here are some ideas to get you started on your discovery of all the regions of the most underrated prefecture in Japan!

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Northern Region Fukuroda Falls Located in Daigo City, Fukuroda Falls is one of Japan’s top waterfalls. If you visit during the colder months, you will be lucky enough to see the waterfall frozen over and illuminated. You can get there quickly by taking a local bus from Fukuroda Station, which is about an hour’s ride from Mito. Although the waterfall is Daigo’s main attraction, I highly recommend reserving time for apple picking.

A popular spot is Fujita Apple Farm, but Daigo has plenty of local orchards to choose from as well. Last fall, after stopping by a small orchard there with my friends, we not only had a big bag of apples to take home, but also delicious turnovers. After a long day outside, you can finish your day by a small detour to a close-by onsen in the area. Is there anything better than soaking in a nice onsen after a chilly day?

Ryujin Suspension Bridge As one of the longest pedestrian bridges in the country, the Ryujin suspension bridge is 375m long and stands 100m tall. Located a bus ride away from Hitachiota Station, the lovely blue bridge offers a stunning view of the gorge below. I’m definitely too scared of heights to try it out, but if you’re feeling brave, you can try bungy jumping off the side! One of the most popular seasons to visit is autumn, when you can see all the trees below changing colors. My friends also recommend visiting during springtime for the famous Ryujinkyo Koinobori Festival, where 1,000 colorful koi flags are on display.

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Southern Region Ushiku Daibutsu Ushiku Daibutsu is probably the most well-known tourist attraction in Ibaraki. About half an hour’s bus ride from Ushiku Station, Ushiku Daibutsu is one of the tallest statues in the world, standing at 120m. You really have to see it in person to truly understand how massive this statue is! Visitors can head inside and explore four different floors. My favorite was the third floor, where the walls are lined with thousands of small golden Buddha statues. Although you can’t go to the head, there’s an observation floor at 89m, and you can peek out of the Buddha’s chest! The surrounding park is also lovely and is a unique hanami spot.

If you are in the mood for some shopping, Ami Premium Outlet is a short bus ride away. Styled exactly like a typical American outdoor mall, it’s a surprising find in Ibaraki. I felt like I was transported back home to California.

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Mount Tsukuba Hiking Mount Tsukuba was one of the first things I did after I arrived in Ibaraki, so this spot is very sentimental to me.

Mount Tsukuba is known for its iconic double peaks and offers a gorgeous view of the Kanto plains. The mountain is easily accessible from Tsukuba Station on a direct bus. Even though I am a very inexperienced hiker, I was able to make it to the top in about an hour and a half, which made the experience even more rewarding! At the bottom of the mountain, check out Tsukuba-san Jinja.

As you head up, the trail is dotted with small shrines and power spots. If you’re not interested in hiking and just want to enjoy the view, you can always take the ropeway or cable car!

Lake Kasumigaura The second largest lake in Japan, Lake Kasumigaura, stretches over several cities in Ibaraki. If you stop by Tsuchiura station, you can take a boat cruise around the lake and check out the hobikibune, traditional Japanese fishing boats that are unique to Kasumigaura. The boats look striking with their wide, white sails against the water. If you are looking to explore more of the area and are an avid cyclist, there is also Ring Ring Road, a cycling course that goes around the entire lake.

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Kairakuen

Central Region Oarai and Beaches Oarai is a seaside town known for its popular aquarium, seafood, and beaches. In fact, Ibaraki has a number of amazing beaches to choose from! One of my friends has taken many fellow JETs on surfing trips, and she believes the beaches here are the most underrated aspects of the prefecture. If you’re looking for a summer spot, take the Oarai-Kashima Line from Mito, and check out one of these beaches: Kujihama, Kawarago, Sun Beach, or Ajigaura. If you visit Oarai Sun Beach, make sure to visit Isosaki Shrine, which has a beautiful torii gate right by the water.

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One of the Three Great Gardens of Japan, Kairakuen, is located in the capital city of Mito and is easily reached by bus. I’ve been told by a friend who has visited all three that Kairakuen is the most beautiful (Not to be biased!). Translating to “garden to be enjoyed with others,” it is a perfect place to enjoy a relaxing day with friends and loved ones. The garden is busiest in late February during the Ume Matsuri, where visitors can enjoy 3,000 plum trees in bloom as well as some local umeshu. I was lucky to be able to see the Borderless exhibit hosted there this year, and even at night, the garden looked beautiful!

Kasama Kasama is a small city, about 35 minutes from the capital, that is famous for its unique pottery called Kasama-yaki. At Kasama Craft Hills, I had the opportunity to take a beginner pottery class and make a bowl. I had a wonderful experience

and the staff were very patient, even with inexperienced potters. The workers will fire and glaze your piece, then mail it to you once it’s ready. After class, you can explore the Ibaraki Ceramic Arts Museum which houses an impressive collection of original works.

If you're looking for souvenirs, there is an abundance of high-quality, locally-made ceramic goods available for purchase!

After a fun, pottery-filled day, don’t forget to stop by Kasama Inari Jinja, one of the three largest Inari Okami shrines in Japan.

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Western Region Yuki-tsumugi

Koga Lantern Festival

Interested in traditional Japanese crafts? Yuki is famous for their silk, which has been designated as a UNESCO Intangible Cultural Heritage. If you take the train to Yuki Station, you can walk over to the Yuki City Gallery of Traditional Arts and Crafts to learn more about the intensive traditional process still done by hand. You can rent a kimono and even join a workshop to try your hand at making yuki-tsumugi. Aside from their famous silk, Yuki is also home to several distilleries, where you can sample and buy sake directly.

Koga was historically a castle town, giving it an oldworld feeling. During the first Saturday of December, the city hosts the Koga Lantern Saomomi Festival, right next to Koga Station. This unusual festival involves groups of people carrying extremely tall bamboo poles, with a lantern attached at the top.

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Groups gather around and attempt to extinguish their rivals’ lanterns. Due to the pandemic, I have not had the chance to attend this festival myself, but friends give it a high recommendation! Keep an eye out for next year’s festival!

Southeastern Region Rokko Kashima Kashima is home to two popular tourist spots: Kashima Jingu and Kashima Stadium. Kashima Jingu is one of the oldest shrines in Japan and is known for its deep connection to martial arts. I was able to visit the shrine with my family, and it was beautiful. Similar to shrines in Nara, Kashima Jingu also has a small deer enclosure. If you’re a sports fan visiting the area, check out a soccer game at Kashima Stadium! The local home team, the Kashima Antlers, are one of the top teams in the country.

Suigo Itako Ayame Festival Itako is a small town known for the annual Ayame (Iris) Festival taking place in late May to early June. Located a short walk away from Itako station, you will be able to see rows of yellow, white, and purple iris flowers blooming by the riverbank. The festival also has a special tradition for engaged couples, where the bride is brought downstream in a boat to meet her fiance. I lived in Itako during my first year on JET, and everyone in the town always looks forward to it!

Namegata Farmer’s Village A bus ride away from the Suigo Itako terminal, Namegata Farmer’s Village has a number of facilities that make it an ideal spot for fruit picking, barbecuing, and glamping. Come to Namegata Farmer’s Village to experience the best parts of the countryside. One of the things I miss the most about living in the countryside is that you are actually able to see the stars at night. Early into my stay in Ibaraki, my host family took me to Namegata for a day trip before I headed back to Itako. I have so many fond memories of exploring the Sweet Potato Museum with them and getting to enjoy all the delicious local produce.

I hope that, with this information, you can see that the attractiveness ranking is not what defines Ibaraki and have had a glimpse of some of the wonderful things we have here. No matter what region you’re in, you’ll find something that makes your visit memorable.

Noelle is a third-year Ibaraki JET. She loves crafting, collecting knick knacks, and watching horror movies.

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CONNECT COMMUNITY

An entrepreneur, blogger, and mother, Teni Wada is transforming the sustainable beauty industry in Japan.

Originally from America, Teni started her life in Japan working in the fashion industry. She was mesmerized

by Shibuya fashion. However, after several years, “fast fashion” brands like H&M and Forever 21 began to take hold and the Shibuya fashion that she loved was losing popularity. As a result she decided to attend graduate school and focused on second language acquisition, which led to early childhood education and teaching at international kindergartens. During her maternity leave she decided to start her own blog about motherhood in Japan; The Wagamama Diaries.

Finally, as a result of a business design contest through her city hall, she decided to create her own online business. Though she says it took a year of paperwork and strategic planning, everything seems to have paid off in the end. Teni’s core product is a clay beauty mask, the main ingredient of which is komatsuna or Japanese mustard spinach. The locally produced spinach is very popular in her town of Edogawa. As of publication, her sustainable beauty brand EDO BEAUTY LAB has been up and running for three months.

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When I was on maternity and childcare leave, I started my blog, The Wagamama Diaries.

I noticed that my beauty posts (Japanese skincare product reviews) were just as popular as my maternity posts, and those beauty posts performed well on Instagram.

Most of my skincare journey actually began with Korean cosmetics after my very first trip to Korea. But, with the demands of being a new mom and working, I no longer had the time to invest in a multi-step skincare routine.

Japanese skincare products, on the other hand, often function as “all-in-one” products. Plus, Japanese cosmetics are readily available at my neighborhood drugstore or for purchase online, and I didn’t need to worry about being unable to decipher what’s on the label.

My daughter developed a terrible skin rash at around six months. Because she was breastfeeding, I was certain that it was some sort of food allergy. In order to pin down possible triggers, I ended up switching to a plant-based diet that avoided all 27 major allergens designated by the Ministry of Health, Labor and Welfare. Her skin showed no signs of improvements, so I thought that my skincare products were the possible cause of irritation.

This prompted me to do research on cosmetics ingredients and incorporate “natural” products into my skincare routine.

As for developing a sustainable skincare line, that comes from working with many beauty brands. I admit that I love trying new skincare products, and nice packaging makes for great flatlays and unboxing videos, but sometimes it can be a pain breaking everything down into its proper trash category.

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I’d always avoided Japanese beauty boxes, because I didn’t want to end up with a box of makeup too light for me or a box full of whitening products.

Well, one year after taking the plunge and signing up for a beauty box; in the summer I found myself opening a box containing whitening cosmetics!

I was hesitant to throw them out, so I gave them a try. And, despite my initial fears, I discovered that Japanese whitening cosmetics don’t actually bleach the skin! I ended up doing a bit of research which turned into this blog post, The Truth About Japanese Whitening Cosmetics, which is my second-most visited post of all time.

I think POC (from outside of Asia, or of non-Asian descent) may be hesitant to use Japanese cosmetics because of the prevalence of whitening ingredients and the lack of English instructions. I rarely found reviews on Japanese beauty products written by someone with my own skin tone, so I ended up blogging about many of the Japanese products that I personally use. I often cross-post or promote those posts on Instagram. As a result, I ended up working on many social media marketing campaigns with Japanese beauty brands and Korean brands entering the Japanese market.

Sometimes I feel self-conscious about being a very visibly foreign looking person working with Japanese and Korean brands. So, I’d say that my biggest struggle is overcoming my low self-confidence, which is something that I’m still working on!

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EDO BEAUTY LAB originally started as an entry for my city’s annual business plan contest.

I came up with the idea of creating a line of “green beauty” products that use komatsuna, a Japanese superfood that’s native to Edogawa City.

Starting a business in Japan, in most cases, is a straightforward process, especially if you opt to have a professional guide you through the necessary paperwork. However, things get complicated when it comes to the beauty industry, specifically skincare products.

In the United States, for example, there is no formal governing body concerning cosmetics.

However, the Japanese cosmetics industry is highly regulated, and there’s a lot that takes place behind-the-scenes to keep consumers safe.

For example, cosmetics can only be manufactured in licensed facilities. In addition, paperwork to register a product’s name and ingredients must be filed with the prefectural government before production can begin.

But, perhaps the biggest hurdle I encountered was finding a way to register komatsuna into the international and Japanese cosmetic ingredient databases. All ingredients in any skincare product manufactured or sold in Japan must be listed in both databases. Without this registration, I couldn’t even begin the process of formally registering a company!

All of my day-to-day business takes place in Edogawa City, which is already pretty accommodating when it comes to parenting programs, childcare allowances and benefits.

Still, I was pleasantly surprised that my vendor and suppliers have all been so extremely accommodating when I needed to bring my daughter along on meetings.

On our last trip to the bank, my daughter got a cute plush toy of the bank mascot, whereas I only got packets of tissues when I opened my business bank account!

Starting a business is perhaps one of the most challenging things you can do because there’s no guarantee on how things will go. In fact, everything won’t go smoothly, and that’s okay because every moment is a learning opportunity.

You might be tempted to do it all on your own because, after all, it’s “your” business. But, don’t hesitate to seek professional help or outsource Overall, the startup process for EDO BEAUTY steps of your entrepreneurial journey. Having LAB took about 12 months—and a majority of help will certainly save you time and reduce that time was spent waiting on paperwork! stress!

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Definitely! I certainly would have budgeted more to have someone take care of all the back end stuff on my website, set up payment gateways, and help integrate my store catalog into Facebook and Instagram! During my first week, I missed out on a few sales simply because PayPal wasn’t working and customers didn’t feel comfortable using Stripe (which is very understandable!). With that said, I’m glad that I figured out how to do it all on my own.

On a more personal note, I think it would have been interesting if I had started a TikTok account at the beginning of the process and used it to document my experience.

I want people to think about Tokyo’s Edogawa City when they use our products because every step of the manufacturing process takes place in Edogawa City!

Edogawa City grows tons (literally!) of komatsuna, and you’ll find all kinds of delicious komatsuna creations here, like smoothies, chiffon cake, udon, doughnuts, quiche, and gyoza!

To prevent food loss, we use unsold komatsuna that is grown at a family farm and processed by a local vendor. This processed komatsuna, along with other ingredients, is taken to our cosmetics manufacturer, also located in Edogawa City.

Our exfoliating tenugui towels are also made in Edogawa City using traditional methods, and they feature a komatsuna print. In addition, we also stock beauty goods made by talented local artisans. Basically, EDO BEAUTY LAB is a community effort, and I would invite anyone to experience this city and all it has to offer.

Teni has graciously provided our readers with a discount! Please use the coupon code “CONNECT” during checkout at her website. The coupon will be valid for 50% off the “Green Radiance Clay Mask” until December 31, 2021. I hope you continue reading and learn more about how Teni has made her new home and business in Japan.

At EDO BEAUTY LAB, we use the minimal amount of packaging material. Our Green Radiance Clay Mask is hand-made in small batches, and packaged in a recyclable and resalable kraft pouch. It comes in powder form and is preservative-free. Inside each package is a desiccant sachet to prevent moisture and to extend the product shelf-life.

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Teni Wada is a beauty and lifestyle writer residing in Edogawa City, Tokyo. Her green beauty brand EDO BEAUTY LAB incorporates the principles of Japanese skincare and sustainable initiatives that support the environment and community. In her free time, she enjoys doing activities with her daughter, walking with her dog, and catching up on pop culture.

Meg is a third-year JET enjoying the small town life in Fukui. She is frequently found out exploring and taking photos but also enjoys relaxing at home playing games or watching TV. Sierra Nelson-Liner is a third-year ALT in Hamamatsu City and is the Community Editor for CONNECT Magazine. She enjoys learning about sustainability in Japan, and collecting flowers from the side of the road. She wants to inspire cultural exchange through farming in the Japanese countryside.

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Everyone wants to find their own community. A place where they can be themselves as well as connect to others.

Unfortunately, that can sometimes feel difficult to do as a foreigner living in Japan.

There are often language or cultural differences that keep people from making initial connections. Exploring a new passion can be intimidating enough on its own, especially if you don’t know anyone, or struggle speaking the common language.

But, if you look at it another way, jumping into a completely new experience can be extremely rewarding.

Last weekend I put my best foot forward (literally, as it was for a dance class and I’m recovering from a broken ankle) and stepped into an entirely new community where a mix of cultures is encouraged. Bachata is a dance that is originally from the Dominican Republic, and American-born instructor Lacey Gerdes focuses on a fusion style that was formed in Spain. I was happily surprised to find such a multicultural class all the way here in Japan. From this experience I can faithfully say bachata is thriving in Shizuoka city. All thanks to Lacey.

Lacey is an instructor, model, and marketing consultant who offers bachata dance classes for beginner and intermediate dancers, regardless of nationality. She empowers her dancers to bring attitude to the many steps and hip circles that bachata offers. She welcomes newcomers to explore new passions and join an international community through her classes.

With a mix of English and Japanese, we warmed up together. Stretching and moving to the rhythm of an upbeat song. Lacey explained the movements in both Japanese and English. The languages mixed together as effortlessly as her steps. You would never be able to tell that she only started teaching just 6 months ago.

She explained to us in detail how to move our feet and bodies for bachata’s basic steps. As we moved our hips in figure eights and spinned around the studio she made us laugh and feel confident in her choreography.

She reminded us that even though these were set moves, it is important to express ourselves with attitude so we stand out as individuals. She also reminded us all that we were powerful, strong, and beautiful women.

I couldn’t be more happy to be introduced to this community in Japan. Lacey is an incredibly driven and passionate woman who is definitely making an impression in the bachata community in Japan. The studio was inviting, and the girls were welcoming.

If you are a dancer, interested in learning more about spanish-fusion-style bachata or looking to try something new, then this class is definitely for you.

I was initially nervous to take her class because it was my first time dancing bachata, and my first dance class that I assumed would be entirely in Japanese.

That nervousness quickly melted away after meeting Lacey and the other dancers in person. She didn’t hesitate to help with introductions in Japanese and English when I entered the studio. I was pleased to meet a mix of Japanese and International women wearing rhinestone shoes—all eager to get started on the dance floor.

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I love dancing bachata and I really wanted to make a community based on my interests.

There are not many dancing groups in Shizuoka, so I decided to make one based on my style. My boyfriend has also been teaching salsa for years, so he has supported me with this goal.

Not necessarily a challenge, but I have been trying to reach new students to grow the community. It’s hard to know how to get my lessons out there. More than money, I just want to grow the community. I love dancing with my students, and we even have “cafe time” before class, for us to bond. I started my girls class a couple of months ago, and before I had any students, my experienced friends in the salsa world would come to my classes, encourage me and cheer me on.

Also, I have been trying to utilize flyers, and social media of course.

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My favorite thing about starting my ladies group specifically, is that several foreigners started joining for the first time. I think since I, the teacher, am a foreigner that it makes others feel more comfortable with joining.

The girls that come to my class have become very close and even though we all come from different countries we bond over the fact that one, making friends in Japan is hard, and two, we like dancing. The crazy thing is that most of the girls haven’t necessarily been dancing for years, but we still make such a great group. This is not to say that Japanese students don’t also attend, but I was just shocked at all of the foreign ladies that weren’t already in the dancing community.

I also really love that I met some of the girls in the most random ways. One of them saw me at a gym and asked me about Latin dancing. Another was working at a cafe I was eating at with some of the girls. And I love that I finally feel like I have a community and a place to belong in Japan and that I have created that feeling for other people too.

I really want the students in my class to remember the fun experiences with each other and the confidence they gain from dance. I had a late start to dancing and I was originally quite shy and self conscious, but dance has helped me gain confidence and a way to express myself, and I want to help others find that feeling.

Japan in general has a decent sized salsa and bachata community, the two are basically intertwined (although, I cannot teach salsa, haha). Of course the biggest hub is Tokyo.

With the pandemic the community was hit pretty hard, although it is slowly making a comeback as the vaccine rates increase and people start to feel more comfortable with coming out to dance again. It’s almost strange that Shizuoka, being more in the countryside, has a dancing community.

Although small, each and every member is sweet in Shizuoka. Although it’s starting to recover from the pandemic, I am trying to help it grow through reaching out to the foreigner community in Shizuoka, as I can provide English and Japanese support. | 115

I really want to help the community bounce-back from the pandemic 100% and grow it a little extra. I want foreigners to feel empowered and comfortable with coming to class, especially because with me they don’t need to know Japanese. It’s a great way for people from different cultures to mingle while having fun. No one has to be a pro to dance. Many of the dancers started dancing as adults.

I’ve liked dance since I was young, but my family never had enough money for me to take lessons. I started in university actually.

I did belly dancing for three years and then I switched to bachata. Once I finally began dancing, and improved, I really wanted to become an instructor.

I never worked for JET, but I started as an ALT for Altia. I knew I wanted to live in Japan, but I didn’t want to be an ALT forever. I started off as an ALT to get my foot in the door in Japan, and then started job hunting once my contract was almost up. I do have a pretty decent level of Japanese, N2, which helped.

I actually was going to work at Hilton before the pandemic hit. I had a job offer, which I never ended up starting because of corona.

I felt a bit discouraged, but I kept looking and was able to find a marketing job that didn’t make me move to Tokyo. It was a rocky time, but I’m glad I didn’t give up. Of course, working for a company is not my dream, so I love doing dance on the side. I think that piece of advice I would give is even if it is scary, you are worth it. Don’t give up. After corona took my Hilton job, I was unemployed for almost three months and terrified, but my work and courage paid off.

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I studied abroad twice in Japan before moving. I went to Gifu University for two semesters, and Nanzan for one, so my Japanese was pretty strong.

So I had a completely random start in modeling. My ex boyfriend was showing my picture to his hair stylist and he asked me to come do a paid shoot. It was my first one. After that stylist posted my picture on Instagram, I got more jobs. Since I don’t live in Tokyo, the number of jobs are limited, but I do bridal and hair salon modeling about once every two months or so.

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I actually only started two years ago, but my body isolations from belly dance certainly helped. I was, and am very intense with my dance training and took several private lessons. I still take private lessons online with a famous teacher from Spain that coaches me on teaching bachata and choreography creation. I feel that dancers should never stop learning because it helps with creativity.

Thank you! They are from Gfranco, an American dance shoe brand. Most of the dancers in Japan order that brand. Burju is also good!

Of course it varies, I have a couple of steady students, and I have new people attend too. Average is usually 6 or so for my ladies class.

I recommend that they never give up.

Especially when learning as an adult it’s easy for people to say, I can’t dance, I’m terrible, etcetera, etcetera. I don’t believe that. Everyone can dance. Yes some people may have more of a natural ability and some may need more practice, but if you want to, there is no reason not to. You’re not a pro and it doesn’t need to be perfect. The most important thing is to enjoy yourself and have fun. Try, practice, and don’t give up.

That’s the goal. Before I only taught once a month and took videos with the girls.

Now that I am growing, I am teaching longer choreography to hopefully perform now that there are events. Many events were cancelled because of corona.

Of course, not all of the students are interested in performing. Some only want to take videos (because there is always a retake, haha) so it’s really for the girls that want to.

Lacey Gerdes is a dance instructor, model, and marketing consultant. She enjoys dancing of course, travel, and baking. She wants to create community connections in Shizuoka through dance.

Her current dreams are to visit Spain and do a month of dance training to bring back new skills and techniques (psst, it’s happening soon!).

If you would like to follow Lacey or sign up for her classes, you can find out more at: Instagram: laceychan TikTok tok: laceymgerdes Sierra Nelson-Liner is a third year ALT who is the Community Editor for CONNECT Magazine. She enjoys dancing on the beach and putting flowers in her hair. She wants to inspire cultural exchange through farming in the Japanese countryside. Her current dream is to swim like a mermaid in Okinawa.

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CONTRIBUTING TO CONNECT is a magazine for the community in Japan, by the community in Japan. Everyone is welcome to write, no matter your experience or style! If you have an idea you want to see in these pages, reach out to our Head Editor, or any of our awesome section editors. We’ll work with you to make it the best it can be and share it with our audience of thousands. Not every article needs to be an essay! We feature interviews, infographics, top-ten lists, recipes, photo spreads, travelogues, and more.

Contact the Head Editor of CONNECT, Rachel Fagundes, at connect.editor@ajet.net with your submissions, comments, and questions.

ARTICLES Write about something you’re doing. Write about something you love. Tell us a story.

SPOTLIGHT Tell us about someone in your community who’s doing something neat and noteworthy.

Cooks, collectors, calligraphers — we want to hear about the inspiring people around you.

COMMENTS Let us know what you think.

Interact with us on Facebook, Twitter, and issuu.com.

CONTRIBUTORS PAGE Have an article you want to share? Join our Contributors Page on Facebook to stay connected with our team so you can share your adventures whenever story strikes!

PHOTOS Members of the JET community contributed to the photos you see in this issue. If you’re an aspiring photographer and want your work published, please get in contact with the lead designer, Lloyd Cruickshank, at visualmedia.connect@ajet.net .

CONNECT WITH US Interested in contributing to CONNECT? Want to stay up-to-date on interview opportunities, photo requests, and CONNECT announcements? Get involved with CONNECT by contacting our current CONNECT staff and reading about the possible positions here.

You can also like us on Facebook, follow us on Instagram, and interact with the magazine via CLIP at ISSUU.