A New Hub for Okinawa's Traditional Crafts

First, could you provide a brief overview of this facility?

Suikara was established as a center to preserve the two traditional crafts of Ryukyu bingata and Shuri-ori cloth for future generations. The first floor features a gallery and shop, the second floor houses the Ryukyu BINGATA Business cooperative, while the third floor contains the Naha Traditional Textiles Cooperative Association. Each floor includes workshops where artisans continuously improve their skills while creating. Additionally, the facility allows the general public to tour and participate in dyeing and weaving experiences.

In 2019, Shuri Castle was devastated by fire, significantly impacting the tourism industry in Shuri. In response to this situation, Suikara was built as a facility for passing on traditional craft techniques to the next generation. This establishment provided a stable space for cooperatives that had long lacked a base for their activities.

The appeal of Ryukyu Bingata and Shuri-ori

Can you tell us about the historical background of Ryukyu Bingata and Shuri-ori?

Okinawa is known as the “island of crafts”, and of the 16 items designated as traditional Japanese crafts, 13 of them are related to dyeing and weaving. Since the 14th century, various techniques have been introduced through trade with Southeast Asia, China and Japan, and these have been adapted and developed to suit the climate and natural environment of Okinawa. Distinctive weaving techniques have been passed down in various regions, but in Shuri in particular, beautiful and elegant textiles have been woven for royalty and the nobility.

Shuri-ori cloth is both colorful and patterned, while possessing a calm elegance. The name Shuri-ori was adopted when it was designated a national traditional craft in 1983, encompassing various weaving techniques passed down in Shuri. The materials used in Shuri-ori include silk, cotton, and hemp, with dyes primarily sourced from natural plant dyes like Ryukyu indigo and Fukugi, although synthetic dyes have been used in recent years. Not only are traditional fabrics for kimono and obi produced, but also small items and interior decorations born from the artisans' creativity.

Ryukyu bingata is the only dyeing craft native to Okinawa, with every step of the process done by hand. It features vibrant colors typical of the tropics and intricate yet bold designs. During the Ryukyu Kingdom period, the techniques developed through exchanges with Japan, China, and other Asian nations, employing stencils for dye patterns. Notably, the multicolored "Benigata" is renowned for its beauty and loved by royalty and nobles. This craft has endured two significant crises: the dissolution of the Ryukyu Kingdom and the Okinawa War, with the efforts of past artisans ensuring its techniques were passed down to the present. Today, it is recognized as an intangible cultural asset of Okinawa Prefecture and a national traditional craft, with its techniques applied in a wide range of fields including traditional Ryukyu attire, kimono fabric, everyday items, interior designs, and art pieces.

The Challenges Faced by Artisans

What specific challenges arise while continuing to protect traditional crafts?

The challenge lies in distribution issues. Over 90% of the beautiful crafts made in Okinawa are sold outside the prefecture, but the reality is that artisans receive very little income during the distribution process. As a result, it becomes difficult for artisans to make a living, impacting the cultivation of successors. Shuri-ori has many female artisans, and due to changes in life stages, there is a problem in securing stable income.

What measures are necessary to improve the current situation of difficulties in nurturing successors?

I believe diversification and multi-channel distribution are needed. At Suikara, we are making efforts to increase artisans' income, even slightly, by selling directly in the shop on the first floor. Additionally, utilizing online sales requires the introduction of new systems that can help a wider audience understand the value of traditional crafts.

It is essential to have a system in place for artisans to lead stable lives.

That's right. To protect traditional crafts, it is essential to create an environment where artisans can continue to pass down their techniques. It is also crucial to understand what modern consumers are looking for in products and establish product development and sales methods that respond to these needs. Furthermore, we are working on creating a framework that guarantees a certain income for nurturing successors.

Walking Hand in Hand with the Younger Generation in Traditional Crafts

What changes have you seen in customers since the facility was established?

I have the impression that there has been an increase in customers visiting in kimono. Additionally, by allowing customers to observe the actual production process within the facility and then purchase products, it has become easier for them to understand the value of traditional crafts. We've also been able to directly hear feedback from customers and relay this information to artisans, leading to new product development.

What efforts do you think are necessary to spread the value of traditional crafts in the future?

First, it is essential to promote to the younger generation. At Suikara, we are increasing opportunities for local elementary school students to visit on field trips. By exposing them to traditional crafts at an early stage, we hope to increase the number of children who aspire to become artisans in the future. Additionally, we continue to develop products that incorporate traditional techniques while also fitting the modern lifestyle, making it easier to integrate into daily life.

By bringing in younger generations with fresh ideas, a new wind can blow into traditional crafts. At Suikara, we provide a space where young artisans can freely create their works, supporting them to confidently continue honing their skills. We hope to spread the appeal of Ryukyu bingata and Shuri-ori to the world.