Katagami - An Artwork in Itself 型紙自体も作品

Late in May (how is it mid-July already?!) I went on a whirlwind day-trip with a friend in search of Katazome and Katagami. We headed first to Nagoya to see a large-scale exhibtion of my professor Toba Mika's Katazome artworks and then we jumped on another train to Shiroko in Mie Prefecture to visit the Ise Katagami Stencil Museum. 五月下旬（まさかもう7月の中旬ですか！？）型染と型紙を見ようとした冒険に行ってきました。ギリギリ日帰りで行けない三重県の白子と名古屋の清須へ行って、鳥羽美花の型染展と伊勢型紙資料館も見えました。

"From the Eternal Place Beyond Time and Space"

The exhibition was Toba Mika's, "From the Eternal Place Beyond Time and Space" held from April 12-June 8 2014 at Kiyosu City Haruhi Art Museum, just outside of Nagoya City.　鳥羽美花展は愛知県清須市はるひ美術館で開いていた「「時空を超えて―辿りついた場所より」 でした。

Toba Mika "Leaving Da Nang" 2001 197x570cm

I had seen a lot of my Sensei's artwork before but never so many at once. Toba-Sensei is working in katazome, creating large-scale folding screens that are vibrant and painterly. Her imagery alternates between that of Japan and scenery of Vietnam. I am always impressed by her use of colour, in particular the way she can use many different colours and tones of dye within one piece and yet makes it look so unified.
今まで鳥羽先生の作品は何回も見える機会がありましたが、このように一つの場所にたくさんの作品が見えるのは初めてでした。鳥羽先生は大きい屏風等の作品に、日本やベトナムの風景を型染で染めて描写しています。色の感覚は素敵だといつも思います。一枚の作品にあんなに沢山の色を使うのに、違和感がないのはすごい尊敬しています！

"The place to embrace calm" 2007 230x540cm

Toba-Sensei also has a unique way of incorporating texture into her work using coloured nori resist paste, that is, paste mixed with dye. By using this in areas she is effectively printing though detailed stencils directly with dyes. I think this effect helps to soften the harsh sharp lines of katazome and adds a further layer of interest.　また、「色糊」の使用によって、鳥羽先生は型染の作品にもう一層の面白さを加えていると思います。型染の硬い線を柔らかくする効果がある気がします。

Detail showing texture from Toba-sensei's "Labyrinth"

Toba-sensei's folding screen on display in Vietnam 2013

Most impressive though was a display of Toba-sensei's hand-cut katagami stencils hanging in the second-floor space of the museum with it's 360 degree glass windows. Because her works are large, (often a set of panels measuring at least 90cm wide by 2 metres or more tall) it means that Toba-sensei's katagami stencils are accordingly of a matching grand scale. Seeing them hanging there in the space you could see how detailed and yet enormous they were.　今回一番感動したのは、はるひ美術館の二階にあるガラス張りの部屋に飾られた「型紙」の展示でした。鳥羽先生の作品が大きいから、当たり前ですが、型紙も大きいです。目の前につるされて、裏に緑の畑の風景が見えたり、風に動いたりしていた型紙の細かさを改めて気づきました。

just one corner of the katagami display on the second floor. image taken from this site.

Image from Toba Mika describing the steps in her katazome process

To the viewer with no knowledge of katazome or textile dyeing, they are beautiful hand-cut artworks. If you know about katazome then you know what these stencils are destined for and that they are just one stage in an involved process. But that doesn't lessen their beauty. Actually, as someone doing katazome it was interesting to see the stencils displayed in that way because we get so used to seeing then just as a tool or an implement in the process and roll them up and stash them away once we've printed the resist paste through them. Seeing them hanging there in all their glory reminded me the stencils are an artwork in themselves too.

型染や染色が全然知らない人には、展示した型紙はただの綺麗な作品だったかもしれないですね。でも、型染をやった人っだったら、この型紙は、複雑な工程の中に使われる道具を過ぎないと思ったことがあるでしょう。型染をやっている人々は、型紙を糊置きに使い終わったら、どこか暗い場所に置いてしまうから、ただの道具だと考えるのを慣れて来たはずです。なので、そうゆう風に飾られた型紙を見て、型紙自体もとても美しいし、作品なのだと思いました。

the cover of one of Toba-sensei's catalogues shows details of a stencil of finely cut cherry blossoms.

The katagami stencil paper that Toba Sensei and many other contemporary dyeing artists use today is a wide, plastic-like paper. Traditional Katagami (or shibugami) was something much more sensory; darker in colour, produced in smaller sized textured sheets and with a strong smell you won't quickly forget. 鳥羽先生や現在型染をする人の多くは、昔と違う型紙を使っています。水で縮まない、幅が広いプラスチック製の物です。昔に使われた型紙（又は渋紙）はまた違うものです。小さい一枚ずつは手触りが粗くて、色は濃くて、記憶に絶対残り香りもします。

Katagami 'Autumn Sakura' from the Tanaka Nao Collection held at Kyoto Seika's Gallery Fleur. Edo Period　京都精華ギャラリーフロール所蔵の型紙。江戸時代。「秋桜」

What is now known as “Ise Katagami” has been produced in the Suzuka area of Mie Prefecture for over 1000 years. Katagami was used in the dyeing of patterns on Kimono and other fabrics. Thanks to a painting by Kano Yoshinobu (1552-1640) depicting an artisan using katagami, we can assume it has been around since at least the Muromachi Era (1336-1573).

Katagami production flourished during the Edo period thanks to it’s popularity for understated kimono pattern dyeing but today the stencil paper is only manufactured in Shiroko in Mie.

現在「伊勢型紙」と呼ぶものは三重県には1000年ぐらいの歴史を持っています。室町時代からの狩野の絵に型紙を使っている職人さんが描写されているから、最低室町時代から存在していたものだと思われます。

Painting by Kano Yoshinobu depicting a dyers workshop

an eye-popping Pine-tree stencil design using circular punches, from the Tanaka Nao Collection, Gallery Fleur, Kyoto Seika University Katagami Collection　切彫りの型紙「松」。京都精華大学ギャラリーフロール所蔵

The paper is made by layering 3 pieces of fine Kozo washi (paper from mulberry fibre) in alternate directions and then painting them with astringent Persimmon juice. This is left to dry in the sun and then hung and smoked in a room which gives it this amazing woody, cinnamony smell. The whole process takes about a month and half before even taking a blade to it!

3枚の和紙を重ねて柿渋を塗ってから燻すものなので、初めて買うと凄い香りはします。だんだんなくなるのですが、最初は焦げた木か、シナモンか、大好きになった香りはします。一か月半の生産が終わったら、ついにそれを彫ります。彫るには4つの技法があります。

There are four main techniques for carving Ise-katagami stencils:

1. Shaped punches dougu-bori　道具彫り

Shaped punches. including Petals, rice grains, sea cucumbers, waves, horse hooves, fish scales... Chart from specialist Katagami shop Osugi, they are so friendly there! http://www.osugi.co.jp/

The blade tips of these punches are specially made into tiny shapes like sakura petals or crescents or waves. The carver holds the punch upright with their left hand, steadies the blade tip with the right and then pushes the punch perfectly straight with their cheek! It sounds a little odd but it enables them to work quickly and accurately.
桜の花びら、波、米などの形に作られた細かい刀で型紙を彫ります。この場合は小刀を慎直に持って、ほほで押すという不思議なやり方です！

2. Semi-circular punches kiri-bori　錐彫り

The metal blade tip on these punches is a semi-circle. The action of pushing it into the katagami stencil paper and rotating it results in cutting a full circle shape. Patterns are created by repeating these very fine circles and often various sized circles are used to create clever effects. Apparently there are examples of katagami that have 100 circles cut within 1cm² !!
半円形の小刀を型紙に突いて回したら、円形が彫れます。様々なサイズの円を合わせて面白い模様ができます。1センチ四方に１００個のまるが切ってある例があるらしいです！

3. Freehand Cutting tsuki-bori　突き彫り

whaaaaat!!??　へえええぇ！？細かい突き彫り。

This is apparently the oldest carving technique and the one that is maybe most akin to contemporary katagami carving. In the case of tsuki-bori, the blade is not dragged to slice the paper but pushed vertically through the paper with a kind of sawing action. A mat with a hole in it is placed below the paper being carved to allow the blade to pass through the layers of paper without damage. The blade for these intricate patterns can be as small as 3mm wide and 1mm thick.
突き彫りはもっとも古い彫り方だそうです。小刀を引っ張って切るのではなく、まっすぐに押して、上下に動きながら切っていくという感じです。突き彫りに使う小刀は小さいと幅３ミリ厚さ１ミリだそうです！

4. Striped Designs shima-bori　縞彫り

These finely striped stencils are carved with a small blade and a metal ruler. Once cut, these very fine lines are held in place with a net of fine silk threads that keeps the stripes straight and the whole stencil in one sturdy piece. The impressive step in this technique comes once all the stripes have been cut and the layers of katagami that were stacked up during cutting are separated from each other and what looks like brown hair falls away. Such fine work!

定規と小刀で細い縞模様を彫る方法です。最後に残っている線動かないように、絹の糸を横に付けます。

These techniques are being practiced, documented and kept alive by the so-called “Association for the preservation of Ise-Katagami” which has been classified an ‘Important Intangible Cultural Asset’. Check out this beautiful video that shows 5 members of the association demonstrating carving stencils using these techniques. 伊勢型紙技保存会で様々な知識を残そうとしています。このビデオはとてもいい感じで、保存会の５人も登場します。ぜひ見てください！

I think this is one of the great things that sets Katazome or Textile dyeing apart from just "Art". There is this extra layer of history, of techniques and of tools that are all behind the scenes and whilst unknown to the viewer of the final piece (and in come cases unbelievable to them), these things all form an important part of making the work.
型染や染色がこの技術・歴史・道具のことで「アート」とはちょっと違って、素晴らしいと思います。このもの全部出来上がった作品には見えないですが、制作に欠かせないものです。

It was a nice experience to see the hidden background tools of Katagami being shown off and highlighted for what they were: not simply tools but beautiful objects in themselves.
普通は皆に見せない道具に焦点を当てたことで、ただの道具じゃなく、そのもの自体も美しい作品というだと感じました。

From one artwork to the next 最近の制作

I wanted to share some images of the most recent artwork I dyed in March. It was on display as part of group exhibition held at 3F Project Room in Kyoto called "Colours of Kyoto". The idea was that the 18 participating artists created an artwork based on or inspired by a particular place or scene of Kyoto. The artworks were then arranged in order within the gallery space in terms of North, East, South and West.
今回は最近作っているものをちょっと紹介したいです。特に、4月上旬に染め終わった「大文字山とトンビ」の作品です。これは18人の作家さんが出品したグループ展で出したものです。「京都の色」というグループ展で、みんなそれぞれ京都の風景もしくは好きな場所をモーチフにした作品が並んでいた楽しい展覧会でした。

I was assigned to North-east, so I chose to depict Mt Daimonji, a mountain famously bearing the Kanji symbol "dai" (meaning big) on its peak. This mountain becomes the centrepiece of the Okuribi  festival held in mid August every year when mountains around Kyoto are lit with giant Kanji characters (as well as a boat and a torii gate) to guide the spirits of ancestors back to the heavens as part of O-bon. See more information about the festival here. For me though, this Kanji-topped mountain is just a beautiful landmark of my beloved Sakyo-ku area.
私はお盆の「送り火」に有名な大文字山をモーチフにしました。私にはお盆だけではなく、年中に大好きな左京区のシンボルになっています。

 Photo I took of Daimonji from one of the other "kanji mountains" in Kyoto, the hill bearing "myo"

You can hike up Daimonji mountain to the large stone fireplaces that are lit during the festival. I have done this hike up through the forest several times and it affords an amazing view over Kyoto, both in the daytime and at night. For my artwork I wanted to depict this natural forest of Daimonji mountain and also incorporate some birds (because what would my artwork be without some?!). 大文字山の山頂まで登れます。送り火の祭に火がつけられる「大」のところから、京都の景色は見事です。昼間も夜にも北の山から京都駅や（晴れている日に）大阪が見えます！作品には、登った時に味わった「森」や「葉っぱの緑」を表現したかったです。それで、私の作品では鳥が欠かせないものですから、トンビを染めてみました。

one "stroke" of the "Dai" kanji atop the mountain. You are seeing those concrete fixtures where the fires are lit for the okuribi festival

My artwork. sorry for the poor lighting, 私の作品です！

 I chose to dye circling Black Kites which I have seen up the top of the mountain, and let's be honest, anywhere in Kyoto that somebody is picnicing or waving around food. They have always been scary birds for me, but I also think they are so cool the way they fly with precision and wheel around in the air. To recreate the sense of circling kites, I made this work with two layers of fabric which hang slightly apart and sway in the breeze. The birds are on the front layer on a sheer organza, dyed using the yuzen technique.
大文字山の山頂でも、弁当などを食べている人が居ましたら、トンビは絶対上に飛び回っています。友達が持っていたおにぎりが目の前に取られた事件以来は怖がっていますが、トンビの飛び方や鳴き声はきっとカッコウいいと思います。空に飛び回っている行為を描写したかったので、二枚の生地を染めて、空気に揺れるように間を空けて吊るしました。

トンビ！ ピーヒョロロー Black Kites detail. In Japanese their whistling call is put on paper as "pii-hyororo--"

kites mid-dyeing. brown, brown and more...brown. トンビを染める最中。茶色、茶色、茶色

I also included snatches of text from 18th century descriptions of Kites like, 18世紀からのトンビについての文書もあちこちに入れました。

"The flight of this bird is peculiarly easy and graceful, as the wings are seldom flapped, and the Kite sails through the air as by the mere power of volition"（私の訳：この鳥の飛翔は妙に楽で雅やかである。殆ど羽ばたかせずに意志の力だけで飛んでいるそうです）

snatches of text during the making

The back layer is a heavy hakusan tsumugi silk which I dyed using katazome　stencil technique, depicting Daimonji mountain with cherry blossoms for spring and the roof of Ginkakuji temple (complete with ornate phoenix statue on top!) which sits nestled in the base of the mountain.　一枚目は透明感があるオーガンジーですが、二枚目はわりと厚い白山紬を使いました。型染で大文字、桜、山のふもとにある銀閣寺（屋根の鳳凰も！）をデザインに入れました。

two layers of cherry blossoms, on organza in the front and pongee at the back. 桜模様２層。前はオーガンジー、後ろは紬。

森のディテール。紬に型染 detail of the forest. katazome on tsumugi silk.

The response to my work at the exhibition was good. A lot of guests said they thought it looked "so Japanese!". I guess that is because of the temple roof and Cherry blossoms which are ubiquitous in Japanese art. It was also pointed out that these colours are quite subdued for me. It's true! It was my first time to dye Japanese birds and as I was dyeing them in brown, brown, lighter brown, darker brown and brown, I was realising how vibrant some Australian birds really are! But all in all, a good experiment with layering fabrics and combining techniques.
展覧会での反応は良かったです。たくさんのお客さんに「とても和風！」と言われました。それは日本画などの定番である『桜』や「お寺」のせいかもしれないですか？それで、友達にも言われたのですが、今回の作品はかなり地味というか落ち着いている色合いでした。それはそうですね。日本原産の鳥を染めるのが初めてでした！染めの段に「茶色、薄い茶色、濃い茶色、黒目の茶色」のような色を作った時にも、オーストラリアの鳥は本当に鮮やかのだ！と改めて思いました！全体としては、違う生地を重ねったり、違う技法を同時に使ったりすることでいい実験でした。

details

With that, I'm now onto my next piece, based on giant flocks of Budgerigars that gather in central parts of Australia. I had never heard of the term "murmuration" before but it is word usually used to refer to enormous flocks of starlings that move fluidly as one, almost like a school of fish. These are incredible things to watch in motion, see the video below for an incredible 3 minutes 36 seconds!
それで、さっそく次の作品の制作へ！今回、オーストラリアの中心にあつまる（信じられないぐらい）大群のセキセイインコをモチーフにしています。セキセイインコはオーストラリア原産のインコですからね。英語では「murmuration」（マーマーレィション）という言葉が初めて知ったのですが、大群の鳥、特にムクドリ、の液体な動きを表しているらしいです。この現象はもう～、すごいですよ！！Youtubeで「murmuration」を検索したら、何時間も潰してしまいそうです。ムクドリの例として、このビディオを見てね



Well it's not only starlings that form these giant flocks, Australian Budgerigars do it too, apparently to protect themselves from predators and find food and water more efficiently. The budgerigar's yellow and green plumage really adds to the visual effect as they turn and curve around. See this video for the budgerigar version of a murmuration! ムクドリだけではなく、オーストラリアのセキセイインコもこういう行為をします。大群だと、えさや水をより見つけやすくて、捕食性の鳥から逃げやすいらしいです。セキセイインコの黄色と緑の羽のおかげ大群の動きがでさらに綺麗ですね。



I've just finished cutting my own giant flock of budgerigar stencils to create a murmuration inspired work in katazome. I cut the stencils from smoked katagami  paper with it's distinct smell and then went about applying a fine mesh to the front of the stencils using black lacquer. I hate the way it smells but once applied, the fine detailed areas and pointy sections will not catch on the spatula whilst applying resist paste.

tracing budgies onto katagami stencil paper using a light box 型紙にセキセイインコを写して

大好きな段階の一つ：型彫り！one of my favourite steps, cutting detailed stencils!

ちょうど大群のセキセイインコ、、、の型紙を彫り終わりました。この風景からインスピレーションを受けた作品を型染で作っています。型紙を彫った後、臭いカシュで紗を上に張りました。塗っている間にきついにおいが気になりますが、次にする「糊置き」はとても楽になりますので我慢します！型紙の細かいところや突き出しているところがヘラに引っかからないのですから。

stencil after applying netting with a layer of black lacquer. stinky stuff but it really makes things easier for pasting the fabric!

I'll show you the final artwork in the near future! I'm hoping this artwork will show people that unlike the well-bred, pretty, caged Budgerigars we are now used to, Budgies are actually native parrots, beautifully wild, uncaged and intelligent.
近いうちに出来上がった作品を見せます！この作品では、多くの人は習ている籠に入っているセキセイインコに対して、野生のままのセキセイインコは賢くて、自由で美しいということをみんなさんに伝えたいです。
これから楽しみにしてください！

Bashofu and the centenarians of Okinawa 芭蕉布と長寿の村

When you speak of Okinawan Textiles, the most famous technique is probably bingata stencil dyeing (which I recently posted about) and I would guess that a close second goes to basho-fu, a kind of hand-woven fabric from the Japanese banana fibre plant.
沖縄の染織と言えば、一番知られているのは今間も書き込んだ「紅型」のだろう。その次はもしかしたら糸芭蕉からできてい手織りの「芭蕉布」のではないか？

beautiful bashofu with it's distinctive beige colour and intricate dyed thread patterns

"From the what!?", I hear you say? Yes, a mostly female group of workers farm basho fibrous banana trees, hand process the fibre into thread and dye and weave it into a wonderfully light but strong beige fabric called basho-fu. The small village of Kijoka in Ogimi, Okinawa, is most well known for basho-fu production thanks to efforts to maintain and revive basho-fu production by Taira Toshiko, a nonagenarian designated as a so called "living cultural treasure"in the year 2000.
糸芭蕉って？！と思っている人もいらっしゃらないか？そう！バナナのような木を栽培して、手で糸に加工してから染めて、麻のような手触りがある布に織るは「芭蕉布」というものだね。沖縄の大宜味村にある喜如嘉が芭蕉布を作っている町として有名のだ。それは、2000年に人間国宝に認定された平良敏子さん（現在93歳）が芭蕉布の技を守る努力に大きく影響されたのだ。

ito-basho or fibrous banana plants being cultivated in Ogimi. They are grown until the trunks are about 1-1.5 metres tall. 大宜味の芭蕉布会館前の糸芭蕉。

As you drive into the Ogimi area, the signage boasts not only of Ogimi's basho-fu production but also that it is a region famous for shikwasa citrus, for bunagaya fairytale creatures (see here) AND of long life. Indeed, the numbers of centenarians living in Ogimi means it's population is touted as having the greatest longevity in Japan! These older members of the community attribute their good health to exercising and farmwork, to their positive attitude towards life and to staying involved in the community. One such community that elderly women remain active in is the group work environment required for basho-fu production.
大宜味村の地域に入ると、大きな看板に大宜味村の名物が書いてある。それは、芭蕉布だけではなく、シークヮーサーも、ぶながやも、長寿も書いているのね。沖縄での平均寿命が海外の研究者の間でもよく勉強されている。大宜味村は特に平均年齢が高いらしいです。大宜味の老人たちは畑で仕事したり、クラブなどに参加したり、自分の食べ物を作ったりしている元気な人々です！おばあさんたちがコミュニティーに活躍している場の一つは、皆で協力しながら作る芭蕉布の畑や工房ですね。

I think it should also be noted that the eldery population in Ogimi has a healthy sense of humour too. These daikon radish people were on display at the local produce centre. 大宜味村の人もユーモアの感覚も元気に生きている。大宜味産の物を売っている道の駅にこの赤土大根人間も見かけた。

Check out this nice video about Okinawan longevity made by some foreign students in Japan. I especially like the old lady singing at the very end. Too cute!　この留学生に作られたビデオは大宜味の「おばぁ」と「おじぃ」の生活を紹介している。最後に歌っているおばぁがすごくかわいい！

Link to youtube: The Longest Lived Village in Japan

Last month I visited the so called "Ogimi Village Basho-fu Hall" which is a working facility where basho-fu is made by hand. They have a display of basho-fu examples and equipment on the first floor with an informative video running and you can go upstairs to see the women working away on looms, on low tables, sorting threads, stretching cloth and whatever processes they happen to be working on that day. 　
先月大宜味にある「芭蕉布会館」へ行きました。一階には、芭蕉布の歴史や工程を説明する展示とビデオがあって、二階へ上がると実際に作っている作業が見学できます。その日はいくつかの工程が見えました。

plaque outside the Bashofu Hall, tells of how bashofu knowledge was something passed from mother to daughter.

The process of turning banana plants into fabric fit for wearing is long and involved and you'd be forgiven for wondering how anyone has such patience to pour that amount of effort into one roll of fabric. But see the final product in real life and you can appreciate that the group effort involved in its making results in something hand-crafted and wonderful that is unique in the world.
糸芭蕉を布にするのが信じられない手間がかかる工程です。どうして一反の生地をそんな時間を入れるだろうと思ってしまいそうですが、実物をみると、共同の努力で作られた、いわゆる大人数の手で作られた物であるこそ独特で美しい生地とすぐに分かります。

According to a brochure I bought at the Basho-fu hall, the process goes something like this:
-Farming the fibrous basho plants and then harevsting at approximately three years when the trunks are over 1 metre long.
-U-hagi Stripping the concentric layers of pale fibrous material from the felled trunks and classing into 4 ranks based on softness.
-U-daki Boiling fibres in lye to soften them
-U-biki Dividing the strips into finer fibres by running a bamboo scraper down the length of the fibre. These fibres are sorted according to softness and colour.
-Once dried, fibres are wound into fist-sized balls called chingu to assist in the next step.
工程を下手な日本語で説明するより、もう丁寧に書いてあるサイトを見た方がいいと思います！この二つは分かりやすいと思います：こもれび工房　＆ 芭蕉布事業協同組合

On the left a small bunch of these softened fibre strips. These will split into even finer strands to form the thread. On right a swatch of the fibre as it first comes off the stalk. 手に持っているのは、「うびき」の工程が終わったもの。これから、また細かく分けて、糸にする。右は木から剥がしたままの素材。

-Which is, U-umi or forming the thread. The chingu balls are soaked in water, and split into even finer threads with a knife then the individual lengths (remember the tree trunk is only around a metre long, so the fibres are too) of fibre are knotted together end to end with TINY knots to form skeins of basho yarn.

Did I mention the knots are TINY?! see that little knot on my fingertip? This is the most time consuming and skilled step of the production. Tension will be placed on the threads when on the loom so the knots must be strong but not form large bumps in the fabric surface. 小っちゃいと言ったよね！？指先に見える結びは一番手間がかかる工程らしい。織るときは糸が張力も必要から、結んだ所が強かないといけないし、できている布に目立たないように小さく結ばないといけない…

-The yarn is lightly spun to prevent fraying when it gets woven
-After measuring off the lengths of warp and weft required for the fabric to be woven, this is softened in lye again.
-The distinctive patterns in the fabric are dyed at this point by tying resists on the threads and dyeing in hawthorn (for a terracotta colour) or Ryukyu Indigo.

LIving National Treasure Toshiko Taira dyeing threads that have been selectively tied with tight resists also made of basho.
人間国宝の平良敏子が糸を染めている。白い部分は染料が入らないところですね。イメージは 芭蕉布事業協同組合　からです。

Threads before the resists have been removed. the tightly wrapped white sections will be unwrapped to reveal the pale natural colour of the basho fibre.
平良敏子。イメージは 芭蕉布事業協同組合　からです。

-The threads can now be setup on a loom, ensuring dyed patterns stay in alignment and threads kept supple with moisture.
-The fabric can finally be woven. Because of the fragility of the threads, rainy season is best and it can take one weaver roughly 3-5 weeks to weave one bolt of fabric for kimono (!!!)
-The woven fabric is again boiled and soaked, pressed under a weight, stretched by hand to it's correct width, and correct length by a tug of war type effort by two workers.
-The surface of the fabric is polished with the rim of a ceramic cup and the process of stretching is repeated.
-After final ironing and checking for faullts, the bashofu cloth is finally finished.

We saw this step in progress when we visited the Bashofu Hall. Workers at each end of the fabric give the fabric a few strong pulls to bring it back to it's correct length..

PHEW! what a process.

I admire the strength of purpose of 94 year old Taira Toshiko who I mentioned above. She has really dedicated her life to making sure that basho-fu is kept alive and carried on for future generations. You can see her big personality in this Japanese news feature:
もう94歳である意志の強い平良敏さんがすごいと思います。将来の世代でも芭蕉布が楽しめるように活躍しているのは素晴らしいですね。

Link to Toshiko Taira Interview (in Japanese) Toshiko Taira

To finish let me share this quote from Toshiko Taira that was on display at the Bashofu Hall.

...bashofu-making is a priceless tradition and skill that our mothers and grandmothers and ancestors have safeguarded and passed down here in our homeland through many centuries. If we break this chain, bashofu will cease to exist. The thought of what a betrayal that would be has kept my colleagues and I going, despite many challenges.
 While in recent years our work has begun to be recognized around the world, the future is still far from assured. Our members at Kijoka are aging.  In particular we have fewer people able to perform the u-umi task of joining basho fibres to make thread, so that even securing a high-quality supply of this most essential material is becoming difficult.
...My goal is to have as many people as possible come to know this local heritage and see its value and understand, too, what we here at Kijoka are trying to accomplish. If more would step forward to join in the effort bashofu will live on for generations to come. That is our dearest wish.  Toshiko Taira, March 2013