Gallery Higashihama: Presenting the Value of Ako Dantsu

Please tell us about the background of your founding first.

Higashihama Ako Dantsu Gallery & Studio (referred to as Gallery Higashihama) was established in 2016 to produce and sell Ako Dantsu.

In this region, Ako Dantsu has long been crafted, and my grandmother was an active weaver of Ako Dantsu.
However, as time passed, Ako Dantsu began to decline, and despite my grandmother's efforts to continue her weaving enterprise, she couldn't overcome the worsening circumstances, and eventually, the operation had to be shut down. As a result, only one person from her workshop remained.

Afterward, Kirie Sakaguchi, who was that surviving craftsman, taught the method of making Ako Dantsu in a course held by Ako City, and it was embraced by the disciples who continue to craft it individually.

I learned the techniques from professor Yukari Yanagida, one of those disciples, and continued preserving and passing on the value of Ako Dantsu through my work with Higashihama. In 2016, I opened a gallery and workshop for Ako Dantsu, starting my activities.

The unique patterns of Ako Dantsu, many of which are auspicious designs called kikkou-mon, are a distinct feature. These traditional patterns are cherished by Gallery Higashihama.

The Allure of Ako Dantsu that Takes Artisans 8 Months to Weave

What kind of history does Ako Dantsu have?

The town of Ako was vibrant with the salt industry, and it is said that all the men were involved in salt production. However, since salt production is weather-dependent, there were days when work couldn't be done.
As there was a need for stable work, women took on the task of creating Ako Dantsu.

Eventually, Ako Dantsu became so popular that it was exported overseas. However, during the war, cotton became difficult to obtain, leading to a decline in the industry.
There was even a time when animal hair was used as a substitute for the material, but even then, cheaper floor coverings from overseas created price competition. The number of craftsmen gradually decreased, and Ako Dantsu was almost extinct at one point but has been carried on into the modern era by new craftsmen as mentioned earlier.

Ako Dantsu is characterized by the process of creating patterns with a single pair of scissors. This process is called "Tsumi" (摘み), and involves three stages: "Sujitsumi" (筋摘み) to carve grooves on the pattern's outline, "Jitsumi" (地摘み) for even thickness, and finally "Shiagetsumi" (仕上げ摘み).
As threads need to be cut to the same length, most of the production time is dedicated to this process.

Because of this, creating Ako Dantsu takes a lot of time. For larger pieces, even veterans take about 8 months. Also, since the fabric's length varies with temperature and humidity, careful work is essential.

According to Professor Yukari Yanagida, "It takes a substantial amount of time to become fully proficient," and although I've learned the techniques, I can count the number of works I'm truly satisfied with. I still feel I'm only halfway there.

Learning from Ako Dantsu—The Importance of Day-by-day Gradual Progress Learned from Practicing the Trumpet

What are your thoughts when creating Ako Dantsu?

My desire boils down to increasing awareness of Ako Dantsu.

My grandmother was a weaver, and there was always Ako Dantsu in our home. I can still remember the sight of it in the entranceway.
My grandmother loved me very much, buying me a music box and a trumpet...
When she passed away, during her funeral, I realized anew that she was a weaver of Ako Dantsu.

For me, Ako Dantsu was a natural part of life. To truly understand its charm, I began working with Ako Dantsu.

Timing played a role as well. At that time, I was considering making the trumpet my career. However, the path was incredibly challenging.
Playing the trumpet is enjoyable, but to make it a career, you need not just talent but also mental strength and a personality that can enjoy performing in front of others.

Even though I loved playing the trumpet, there was a part of me that feared I might end up hating it if it became my job.
It was at such a time that I lost my grandmother.

Currently, I focus on creating Ako Dantsu and teach the trumpet in the evenings.

The skills I acquired through the trumpet have also been invaluable in my Ako Dantsu creation.

Ako Dantsu requires a lengthy production period, making the daily accumulation essential. Naturally, a disciplined mindset is required, which is akin to playing the trumpet.

You must practice the trumpet every day; otherwise, your skills won't improve.

Through my grandmother's gift of the trumpet, I naturally learned the important approach needed for Ako Dantsu.

Now, Ako Dantsu is an integral part of my life. Even on my days off, I find myself thinking, "I can use this unique design in Dantsu."

When the finished piece reaches the customers and I hear their feedback, it brings me joy. I enjoy a pleasant time at the gallery serving tea while listening to the music box my grandmother gave me, which becomes my greatest pleasure.

That's why I want to convey the charm of Ako Dantsu to more people, to have it be more in demand.

For that, I want to spread Ako Dantsu more widely. That's my passion.

Making Ako Dantsu More Accessible

Is there anything you want to challenge in the future?

Recently, there has been an increase in interest among young people in Gallery Higashihama, primarily due to our activities and outreach efforts.
For instance, the current trainee discovered our recruitment post on Instagram and decided to come from Okayama Prefecture. We also have many customers in their 20s. In the past, it was common to have visitors in their 60s or 70s, but now people from various generations are visiting us.

Additionally, we had the opportunity to exhibit at a show in France last year, where we were able to spark significant interest in Ako Dantsu among many individuals.

It's a challenge for the entire production area, but I want to spread Ako Dantsu even more. Ako Dantsu is not an easily affordable product, so it's understandable that it can be a high hurdle for customers to make a purchase. Therefore, it's crucial to continually increase the number of people interested.

While cherishing the traditional patterns' embedded sentiments, I am also working on introducing designs, sizes, and items that are appealing to modern customers. This is my current challenge.
Products like stationery and hand towels are examples of this effort. Some people also enjoy hanging the Dantsu as if it were a painting, to appreciate its inherent beauty.

I aim to continue my efforts to spread Ako Dantsu to a wider audience.