10/13/2015

     What things do foreigners want to enjoy in Japan now?

 

Keita Ikeda, my nephew, visited after a long absence from Virginia, America. This is because he is participating in a medical society conference at St. Luke Hospital in Tokyo. It seemed to be secondary after a long absence to meeting Japanese relatives. He also could meet Dr. Sigeaki. Hinohara in the society. His father, Zensuke Hinohara, was a minister of my church, Kobe Eiko Kyoukai. In days past, the red brick church was knocked down by the Great Hanshin Earthquake. S. Hinohara left a junior high school of Kansai Gakuin from his father’s parsonage, graduated from the medical department of Kyoto University and became a doctor. He is an earnest Christian and Keita is also an earnest Christian. Keita came over to Kansai with JR’s Japan Rail Pass on the Shinkansen on Monday, September 28. He came over to my house after an interval of six years. As Keita forgot the route to come to my house, I met him at Shin Kobe Station. I dropped by the department store Sogo on the way home to buy more meat for our shabu-shabu dinner because he looked like he would eat more than we had prepared for him. Because there were many bakeries and cake shops, Keita was surprised on the basement floor of the department store. We call it ‘depa-chika’ and he had the same surprise when I took him to a store in Osaka later. I guided Keita, who thoroughly enjoyed our Kobe beef shabu-shabu for dinner.

The next morning I took him to Osaka. As Keita had seen Kobe several times, and for his hope to go to different places, I took him by JR train to Abeno Harukas with a super view of 300 meters above the ground of Osaka Tennoji and enjoyed the grand view of Osaka city. After that, we went down from the top and entered the underground shopping center of Japan’s biggest department store depa-chika. He was so surprised at the vastness of the area and the amount of food that there was, including cake shops and bakeries. We left the department store and went to the Shinsekai Mall on foot and enjoyed pork fried on a skewer, kushi-katsu, and enjoyed the view of the city from Tsuten-kaku Tower and we went down to Nishinari district where we saw a day laborer meeting and lodging place. We left Nishinari and returned to Kobe and we dropped by a car mechanic of my acquaintance. The master of the shop had a nice talk with us and Keita was absorbed in the talk of Japanese cars. He really enjoyed it very much. We came back to my house at nearly six.

There are many places that foreigners coming to Japan enjoy, but, according to a certain investigation, it is said there are 7 spots for foreigners coming to Kansai area.  ( I’m cheating by using a previous post on my blog,: 2015 Apr.7)

 

Koshien Baseball Studium in Nishinomiya city (High school baseball game studium)

Kaiyu-kan aquarium in Tenpo-zan, Osaka

Shimanami-kaido, Bridge between Hiroshima and Ehime pref. ( for cycling)

Figure shop in Nihon-bashi, Osaka

Yakiniku ‘M’ restaurant in Hozenji, Osaka ( grilled meat restaurant )

Hongu hot spring in Tanabe, Wakayama

 

Because Keita was born in Japan but moved with his parents at 7 years old to the United States and he received education in America and has lived his life there so far, I think of him as completely American and Japan is like a foreign country for him.

He visited relatives in Osaka the next day and he seemed to enjoy Yakitori (barbecued chicken ) , ramen and kaiten-zushi ( belt –conveyor sushi ) very much. Pictures of them appeared on his facebook profile.

The downtown area of Osaka has become really clean, and for foreigners it is a safe place to be able to go. I informed him Osaka’s heyday is left to me.

It was such a guided trip but I was satisfied very much because Keita was pleased.


         外国人が日本で楽しみたいこととは?

 

 甥の池田圭太がアメリカ、バージニアから久しぶりにやって来た。東京聖路加病院での医学の学会に参加するためであったが、久しぶりに日本の親戚に会うのももう一つの目的だったようだ。10月2日からの学会では聖路加病院の日野原重明医師と会えるのも楽しみであった。日野原先生はお父上の日野原善輔牧師は私たちの教会、神戸栄光教会の牧師をされていたが、阪神大震災で倒れる前の赤れんがの教会堂を建てられた方だ。日野原さんは牧師館に住み、関西学院の中学で学び、京都大学で医学を修められたが、彼も熱心なクリスチャンだが、圭太も熱心なクリスチャンだ。

 928日月曜日に新幹線のジャパンレイルパスを使って関西に来て、先ず私の家に6年ぶりでやって来た。すっかりわが家へ来る道を忘れていたので新神戸駅まで私が迎えに出た。家への道で、夕食にご馳走するしゃぶしゃぶの肉が用意していた量以上に彼が食べそうな雰囲気なので、買い足すために神戸そごうデパートへ立ち寄った。肉屋のあるデパ地下ではケーキ屋やパン屋の多さに圭太は驚いていたが、それは彼を大阪に案内してデパートに立ち寄った時も同じ驚きぶりだった。

 その日神戸肉のしゃぶしゃぶに堪能した圭太を、翌日は朝から大阪に案内した。神戸の名所は今までにかなり経験しているので、もっと違った観光がしたいとの彼の希望で、JRで天王寺まで出て、アベノハルカス地上300メートル日本一のビルで大阪の街を見渡し、下に下りて日本一のデパ地下近鉄百貨店でケーキ店の多さに驚き、そこを出て新世界に出て有名な串カツ屋「だるま」で串カツを食べ、通天閣や新世界の街を歩き、そこから西成のドヤ街に出て労働者の日雇い労働あっせん所や簡易宿泊所などを見てから神戸に帰り、私の知り合いの自動車修理店に寄って、ご主人と日本車の話に話に熱中し、そうしたことを大いに楽しんで我が家へと帰った。 

 どれもが今どきやって来る外国人が楽しむ日本観光の一つのパターンのようだが、ある調査によると関西に来る外国人に人気の7スポット(私のブログの2015.4.7に載せているが)を聞いてみると

 甲子園球場(西宮の高校野球のメッカ)と海遊館(港区天保山の日本一の水族館)

 しまなみ海道(愛媛県と広島県を結ぶ自転車道)

 梅田スカイビル(世界の建物トップ20に入った大阪キタの高層ビル)

 日本橋のフィギュア店(アニメのフィギュアを売る大阪ミナミの店)

 焼き肉店M(大阪ミナミ、法善寺)

 本宮温泉郷(和歌山県田辺市にある秘境の温泉)

 

 だそうだが、圭太は日本で生まれ7歳でアメリカに渡り、教育をあちらで受けて今までアメリカで生活しているので、すっかりアメリカ人と同じようなもの、彼にとっての日本は異国で、興味も外国人と同じようなものだった。大阪の親類の家へ我が家の次に訪問し、焼き鳥やラーメン、回転寿司の店を案内されて大いに楽しんだことが彼のFacebookに載っている。

 私が案内した大阪の下町もすっかり綺麗になっていて、外国人も行ける安全な町に代わっていたが、私には昔が懐かしく感じられた、そうした旅の一日だった。圭太君が喜んでくれたので私も嬉しかった。

Heart of the matter: Ice cream-filled mochi is making an appearance at restaurants outside Japan. | COURTESY OF PALM PR

                         Mochi is making a sweet turn outside Japan

                                             Bloomberg Article history

Mochi is made by steaming and pounding rice flour until it has a chewy, glutinous texture like a gummy bear or even — at a stretch — soft toffee, only with a more complex flavor that doesn’t depend on sweetness. It is an essential part of the Japanese New Year’s holiday menu, but also eaten year-round in sweet and savory soups, or on its own with a red-bean filling. And since the early 1980s, local company Lotte has produced an ice cream-filled version known as Yukimi Daifuku.

Vivien is a chartered accountant who spent four years working in financial analysis at Barclays Capital, after three years at Baker Tilly. Howard was an analyst at JPMorgan Cazenove.

He first tried the ice-cream version of mochi on a visit to the U.S. and thought it might be an business opportunity.

“We both wanted to start our own company,” Vivien says. “I wanted to be more in control of my own time and to be able to create something tangible.”

They formed V&H Ltd. in May 2008 and spent two years developing the products before they began trading in 2010. They offered their two product lines — Little Moons frozen mochi ice-cream and Tsuki Mochi truffles — initially to local restaurants.

Success came surprisingly quickly. Vivien met two key industry figures at the 2010 Restaurant Show in Olympia: Mike Lewis, executive chef at the Yo Sushi restaurant chain, and Regis Cursan, executive pastry chef at Nobu in London.

“Yo Sushi wanted our chocolate mochi immediately,” Howard says. “We got our first order for a pallet, which, at the time, was huge. It was like: ‘Does anyone have a forklift we can borrow?’ ”

Another early supporter was Emma Reynolds, co-owner of the Tonkotsu ramen restaurants. Customers now include the French chain Sushi Shop, which has an outlet in London.

“Going into restaurants was a strategic decision because at the time we didn’t have enough money to invest in a brand,” Howard says. “Even if we’d been able to get into stores, we knew maybe fewer than 1 in 100 people at the time had heard of mochi. Selling through restaurants was a way of getting the product out to people while testing the market.”

The U.K. company announced in June that it was branching out into retail, with an agreement to sell Little Moons mochi in Whole Foods, while Selfridges stocks Tsuki Mochi.

At the time, Vivien and Howard’s company was already supplying 15,000 individual mochi a day to restaurants, including Wagamama. At Yo Sushi, the mochi are the best-selling dessert, with eight ordered every minute. Nobu serves a bespoke range.

V&H aims to have retail make up 50 percent of revenue in five years.

Sales are now on track to reach $1.5 million this year, Vivien says.

 

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      Sekihan: a recipe for magic beans and good luck

                                by   Special To The Japan Times Sep 25, 2015  Article history        

The quintessential festive dish in Japan is sekihan (literally, “red rice”), which is served on special days throughout the year. The dish is made with short-grain or sweet mochi (sticky or glutinous) rice and red adzuki beans — the cooking liquid from the beans is what gives the dish its reddish hue.

Historically the color red was thought to have magical powers in Japan; it heralded good fortune and warded off evil. But these days sekihan is mostly eaten for good luck.

The tradition of serving sekihan on festive occasions has its roots in old Shinto rituals, when naturally red rice (probably closely related to what’s known today as Camargue red rice) was offered to the gods — with humans partaking of the leftovers. As time passed, short and medium grain rice varieties became more popular in Japan and long-grain red rice was no longer widely cultivated. By the late Muromachi Period (1333-1578) it had virtually disappeared, although it’s still grown in some regions where naturally red rice continues to be used in Shinto rituals. The custom of cooking adzuki beans with rice in a kayu (porridge) began in the Imperial court in the mid-Heian Period (794-1185), but as with many Japanese traditions serving sekihan on auspicious occasions was established during the Edo Period (1603-1868).

While adzuki beans were typically used to make sekihan, some regions — especially around Edo (present-day Tokyo) — used sasage beans (red cowpeas) instead. Adzuki beans have thin skins so they fall apart quite easily, which makes them ideal for mashing, as seen in the an bean paste that’s used in traditional sweets. Making sekihan with split beans was considered unlucky, especially by samurai. Sasage beans have a tougher skin and stay intact even if overcooked. These days both types of sekihan are served, depending on the household.

Sekihan has recently become popular as a healthier alternative to regular white rice. Adzuki beans are nutritional powerhouse: they’re great sources of fiber, B-vitamins, protein, minerals and polyphenols. You can find sekihan rice balls at convenience stores and supermarkets offer vacuum-packed servings of the red rice dish.

Sekihan is especially important on days that mark the growth of a child. It’s served on obi-iwai, a ritual during the fifth month of pregnancy to wish for a safe and easy childbirth; okuizome, a baby’s symbolic first meal when it is 100 days old; and shichi-go-san, a ritual for children aged 7, 5 and 3, who are blessed at a Shinto shrine.

Sekihan is traditionally cooked in a large cloth-lined steamer, but it’s much easier to make in a regular rice cooker.

By combining short-grain mochi rice with regular medium-grain rice you can achieve a sticky, glutinous quality without it becoming too gummy.

Adding a drop or two of vinegar makes the cooking liquid slightly acidic, which helps bring out the red color. The vinegar doesn’t affect the flavor in any way.

If you prefer the rice to be more muted in color, just leave the vinegar out and stir up the cooking liquid to expose it to the air, which will oxidize it a little and make it more colorful.

But, most importantly, pay close attention as you cook the beans — you don’t want any bad luck if they split.

 

Recipe: sekihan (red rice with beans)

  • 2 cups (360 ml) short grain mochi rice
  • 1 cup (180 ml) medium grain white rice
  • 1 cup (180 ml, about 80 grams) adzuki beans
  • Water for cooking
  • 2 teaspoons sugar
  • ½ teaspoon salt
  • 2-3 drops vinegar (optional)
  • Gomashio (sesame salt) to taste

 

                 Whisky rebel: Chef Kenichi Hashimoto wanted to 'break the rules' of traditional kaiseki. | COURTESY OF THE RITZ-CARLTON |

      The future for aged Japanese whisky and traditional kaiseki

                                                                                                                                                         by  Special To The Japan Times   Article history


“The foam is also made of whisky, but the recipe is top secret,” he says, before breaking into a smile and hitting me with a round of untranslatable Japanese puns (many of which were cringe-worthy but endearing nonetheless).

Hashimoto traveled to Tokyo last week — along with his arsenal of dad jokes — to prepare a special kaiseki dinner with Japanese whisky pairing at The Ritz-Carlton’s Hinokizaka restaurant. The meal was part of the 4th Annual Asia-Pacific Food and Wine Festival, a spectacular five-day series of events hosted by The Ritz-Carlton. Held for the first time in Tokyo, this year’s festival featured 11 top chefs and artisans from France, Peru, Spain, Singapore and Japan — including Paco Perez, whose three restaurants in Spain have garnered a total of five Michelin stars, and Peru’s Virgilio Martinez, of Central Restaurante, which was recently named No. 1 in the S. Pellegrino list of Latin America’s 50 best restaurants. Each event features a different winery, brewery, or distillery.

The point of the festival, says food and beverage director Ranim Ben Romdhane, is to “give people new experiences and perspectives on food pairing.”

Although pairing whisky with kaiseki, which is characterized by delicacy, sounded like an awkward juxtaposition, the dinner with Hashimoto was eye opening. The chef didn’t merely serve the whisky straight; he manipulated the spirit in subtle ways, playing with temperature and flavor accents to complement his cuisine. An elegant matsutake mushroom broth with hamo (conger eel), prawns, and gingko nuts, echoed the complexity of Suntory’s Hibiki 17 Year Old Whisky, which was served over cubes of ice flecked with yuzu (Japanese citrus) zest. A warm drink of Suntory’s Yamazaki 12 Year Old Whisky, mixed with water and dashi broth highlighted the sweet and smoky flavors of Hashimoto’s Japanese-style lobster bouillabaisse. The most striking combination, however, was the light aspic of vinegared crab, garnished with fresh figs and chrysanthemum petals, which Hashimoto paired with a fresh cocktail made from Suntory’s Kakubin whisky and smoked lemon sorbet. The fruity sweetness of the sorbet and the umami undertones of the whisky harmonized the elements of the dish beautifully.

Hashimoto, who is also a sommelier, first came up with the concept for his “whisky kaiseki” tasting menu in 2012. The versatility of Japanese whisky had inspired him to start playing with pairings. Although a handful of restaurants abroad — most notably at Hong Kong’s modern Japanese restaurant Ronin — have started introducing whisky to accompany a meal, few offer the precise pairings that can be found at Hashimoto’s Ryozanpaku restaurant.

A self-taught chef with a penchant for whimsy, Hashimoto says that he wanted “to break the rules of kaiseki.” He is constantly playing with new pairings, and working with the liquor also gave him the freedom to create experimental cocktails.

“With wine and sake, you have to serve it as it is, but with whisky there are no rules,” he says. It makes sense. Whisky, after all, has always been the drink of choice for rebels.


           Odd couple: Roasted pear, sorbet and cheesecake served with Aramasa Amaneko junmai-shu sake. | TIRPSE

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Desserts and paired sake at Tokyo’s Tirpse

                                                                                                                                  by   Special To The Japan Times 

“We wanted to try something completely new at lunchtime,” Ohashi says, explaining that the dessert tasting menu — available only during lunch service — would run until summer 2016. An avid sake fan, he thought that experimenting with unorthodox pairings would be a way to “have fun and learn more about sake at the same time.” Ohashi visited small producers around the country to seek out unusual brews that work with sweets.

The menu changes seasonally and showcases the talent of pastry chef Kiriko Nakamura. This autumn, the meal opened with a shot of fresh cucumber juice accented with sudachi (a lime-like Japanese citrus) and ginger gelee followed by a dish of yogurt panna cotta and Kyoho grape sorbet, which was topped with sliced Asian pear and three kinds of grapes, and drizzled with olive oil and balsamic vinegar. The sake it was paired with was Aramasa Lapis 2014, a slightly fizzy junmai daiginjo from Akita Prefecture. The panna cotta course demonstrated Nakamura’s knack for counterpoint: The tartness of the vinegar and the astringency of the fruity olive oil cut the creaminess of the pudding and balanced the sweetness of the sorbet. The fruity character of the sake, which was tinged with softly bitter notes from Miyama Nishiki rice it was made with, underscored the flavor of the Kyoho grapes, rounding out the course nicely.

The meal is structured as a full tasting menu — with an amuse-bouche, starters and a main dish — so that diners feel that they’ve had a satisfying lunch, rather than a series of sugary desserts. Though sweet, Nakamura’s dishes are never cloying. As the courses progressed, the chef incorporated salty and umami-rich elements to add substance and variety. Crispy rye wafers concealed a cloud of cream cheese mousse and port-marinated figs nestled against a disc of deliciously savory Gorgonzola cheesecake. It was a terrific match for the Masuizumi brewery’s barrel-aged kijōshu, an intensely sweet sake with hints of dried fig and vanilla.

The most exciting match came with the main dish: a dense chocolate cake — still warm from the oven — and salted peanut crumble with milk chocolate ice cream. Rather than serving a rich sake such as a kijōshu, Ohashi chose sparkling Shichihonyari Ibuki, a lively low-alcohol brew from Shiga Prefecture. Low-alcohol varieties often fail to impress, but the Ibuki had a fantastic balance of sweetness and acidity, with yeasty notes that accentuated the chocolate and nutty flavors of the dessert.

Earlier this month, Tirpse introduced Nakamura’s winter menu, and I’ve already booked a reservation. I may have been born without a sweet tooth, but under the right circumstances, I am sure I could develop one.

Tirpse is located at 5-4-7 Shirokanedai, Minato-ku, Tokyo. For more information, visit kirikonakamura.com.

 

Koganesawa Yamahai Junmaishu from Miyagi Prefecture | MELINDA JOE |

             The art of pairing wild game and sake

                                                                                                            by Special To The Japan Times Article history          

I’ve lived in Japan for a long time but have only eaten bear once before. It had arrived unexpectedly as part of the tasting menu at Miyamasou, a kaiseki (Japanese haute cuisine) restaurant located in the mountains north of Kyoto. The chunks of meat had been slow-cooked until meltingly tender and served in a slightly sweet soy broth with wild greens. Far from gamey, the flavor was akin to a cross between beef and venison, with a denser texture. But what makes bear truly remarkable is the thick, creamy-white layer of fat that blankets the musculature and imparts an indescribable richness to the meat.

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“It’s not just the fat, it’s the collagen,” Kanako corrected, as she carried a bubbling pot of bear sukiyaki to the table. She had used a rib cut from a young female bear and simmered the gelatin-rich slices with tofu, onions and burdock root in soy sauce and mirin (sweet rice liquor). Because the animal had eaten only nuts in the forest, the meat tasted earthy but clean, with buttery nuances that echoed hazelnuts and walnuts.

Soon, the conversation turned to the question of pairing. Choosing the best accompaniment for food can be tricky — especially when the dish involves unusual ingredients.

“Considering the wild habitat, game meats should go well with wine made from yama-budo (a species of wild grape known as Vitis Coignetiae),” one of the diners mused.

As if on cue, Kanako rushed to her liquor closet and pulled out a bottle of Hillzen Rose from Okayama Prefecture. I had never tried a wine made with Vitis Coignetiae before, but I found it incredibly approachable. Deep ruby in color, it had cassis on the nose and fresh, berry-like flavors on the palate. It was soft and slightly sweet — a light, amicable counterpoint to the intensity of the bear.

Another diner — one who tends to prefer sake to wine — was less convinced. Having anticipated the pairing dilemma, she’d asked for a recommendation at the Hasegawa Saketen shop in Omotesando Hills and picked up a bottle of Koganesawa Yamahai Junmaishu from Miyagi Prefecture. At room temperature, it was pleasantly smooth, and the sake’s umami undertones and nutty flavors worked well with the bear. When warmed, however, the sake blossomed, becoming rounder and fuller, with greater depth of complexity. It was more than a good match — it was the flavor of winter.

 

                                  Foreboding facade: Sobaya Nicolas, a buckwheat noodle restaurant, prohibits diners from taking photographs during their meal. | J.J. O'DONOGHUE    |

Sobaya Nicolas: Michelin-starred soba that belongs in your memory, not your camera’s

                                                                   by   Special To The Japan Time Article history          

At Sobaya Nicolas, a portentous Michelin-starred soba (buckwheat noodle) restaurant in the north of Kyoto, it’s impossible not to notice the signs — written in Japanese and English — forbidding photography. Unfortunately, this creates an atmosphere not unlike that of a museum, and to even glance at your phone may evince latent desires to take a picture. Perhaps it’s just better to put your phone away altogether and concentrate on the food, which is presumably what the husband-and-wife team who run Nicolas intended with their no-photo signs.

The a la carte menu here is so comprehensive and inventive that you could actually forego trying the soba Nicolas is known for. Or you could kill two birds with one stone and try the sobazushi, vinegary soba studded with maitake mushrooms and omelette, and wrapped in seaweed. I ordered it more for the novelty than anything else, but as with each dish that preceded it, it was well executed, delicious and, of course, picturesque.

One way to navigate the a la carte menu is to opt for the shunsai selection (¥2,260), available on weekdays during lunch, which is a tapas-style serving of three side dishes and a choice of tempura — on a recent visit the options were anago (saltwater eel) or vegetables. The trio of side dishes included: togan (winter melon), an almost tasteless vegetable, which was simmered and enlivened with a ponzu (citrus soy sauce); delicate strips of chicken coated in parsley sauce and topped with finely grated fresh Parmesan; and sashimi cuts of flounder served over kaburamushi (mashed turnip), which was a well-measured change from the typical wasabi or mustard.

Elsewhere on the a la carte menu there are some innovative dishes, with an emphasis on seasonal fare, such as matsutake mushrooms served with duck, and figs served with a spicy sesame sauce. Between the starter selection and the saltwater eel tempura I also tried a sweet sake from the centuries-old Sogen Sake brewery in Ishikawa Prefecture. Nicolas’ sake menu features some of Japan’s heavyweights including Dassai from Yamaguchi Prefecture.

The tempura batter on the anago was almost light enough to defy gravity and float off the eel meat. I am glad it didn’t, the combination was delicious, especially with a pinch of salt. Rounding out my lunch, I had a bowl of cold soba with slices of dried roe, bright as carrot wedges, dotted around a beautiful red bowl, with a slice of yuzu (Japanese citrus) to offset the saltiness of the roe.

Incidentally, Nicolas is named after abstract painter Nicolas de Stael, a hero to chef and owner Koichi Numata. Both men carry the torch of invention and experimentation in their own way, but there is nothing abstract about Numata’s exquisite cooking.

69-3 Itsutsujicho, Chiekoin-dori Itsutsuji Agaru, Kamigyo-ku, Kyoto; 075-431-7567; nearest stations, Imadegawa and Kitanohakubaicho; open 11:30 a.m.- 2 p.m. (LO) and 5:30-8:30 p.m. (LO), closed Wed.; lunch set from around ¥4,000; no smoking; no photos; Japanese menu; Japanese spoken. For more information, visit www.sobaya-nicolas.com.

 

                                              From market: Kaisendon seafood rice bowl with fresh catches. | J.J. O'DONOGHUE |

              Totoya: Fresh seafood donburi beside Kyoto’s fish market

                                                                                                                                                         by  Special To The Japan Time Article history

The restaurant is simple, unfussy and serves quality food at — thankfully — reasonable prices. A kaisendon (seafood rice bowl) served with soup is only ¥1,000. The space is shared with a fishmonger out front and as an added bonus, on Wednesday and Friday evenings Totoya turns into a tachinomiya (standing bar).

But back to the food. The lineup is split evenly between kaisendon sets — a staple of the Japanese lunch — as well as some sushi sets. Most lunch sets are priced around ¥1,000. The kaisendon came with raw tuna, prawns, flounder and carp roe. Individually, each egg was about the size of a full stop, but taken together they were a crunchy mouthful. One word of warning: the wasabi paste packs a massive punch — use sparingly and with caution. The accompanying bowl of akadashi (red miso soup) made for a wholesome and utterly satisfying lunch.

64 Sujako Kitanokuchi, Shimogyo-ku, Kyoto; 075-315-1921; nearest station, Tambaguchi; open 11 a.m.- 3 p.m., closed Sun.; lunch sets about ¥1,000; no smoking; Japanese menu; Japanese spoken. For more information, visit totoya-maguro.com.

 

| © GSC 2015

     Sushi is evolving but Japan still wears the crown

                                                                                                                    by Special To The Japan Times Article history

“Seriously, I spent my first year as a sushi chef in Japan doing nothing but cleaning,” he said, presenting his immaculate palms as evidence. “In the sushi world, hygiene is everything.”

 

Hygiene was the word of the day at the inaugural Global Sushi Challenge, which took place in Tokyo on Nov. 25. In a brightly lit room inside of the Tokyo Marriot Hotel, contestants from 14 regions in Asia, Europe and North America vied for the title of champion as judges from the World Sushi Skills Institute (WSSI) rated them on cleanliness, organization and technique. Lapses of hygiene, such as cutting a finger or failing to wipe work surfaces, were penalized severely. The contest, sponsored by the WSSI and the Norwegian Seafood Council, was established to increase the knowledge and skills of sushi chefs around the world. According to the event organizers, the number of sushi restaurants abroad has risen to an estimated 20,000, but most are run by staff with insufficient training in food safety and sushi basics.

In the first round, participants had 10 minutes to produce plates of traditional edomae-style sushi. The challenge was designed to test speed and mastery of sushi fundamentals. The second round, however, gave chefs the chance to let their creativity shine.

The innovative sushi challenge required each contender to create 20 original pieces of sushi in 60 minutes. Jun Jibiki, the contestant from Japan, displayed great flair with a series of architectural presentations, substituting a fillet of grilled eel in one of his rolls for the nori (seaweed) normally used as wrapping. The representative from the U.K., Jia Tian Xia, used crispy salmon skin as the base for his nigiri (sliced fish on balls of rice). On the other side of the room, Han Dae-won from Korea demonstrated a knack for making kazari-zushi (decorative rolls) with ornate, fan-like compositions.

Each chef was allowed to bring their own arsenal of ingredients to add an individual touch to their sushi. Yoshi Yanome, the contestant from Spain, finished his gunkan-maki (battleship roll) with cured ham. Swedish chef Magnus Wallin garnished his signature salmon roll with smoked mayonnaise and dill, while Poland’s representative, Kasper Krajewski, incorporated smoked fish, peeled apples and pickled beets into his pieces.

“I wanted to bring a few things from my country to show a bit about our culture,” he said.

Although some purists may balk at the idea of apples and beets in their sushi, Michael Booth, contest judge and author of the book “Sushi and Beyond: What the Japanese Know about Cooking,” points out that sushi has been evolving ever since it was first introduced to Japan from China around the 8th century. The version of raw fish on rice we know today is a far cry from the original incarnation: a fermented dish made from salted freshwater fish stuffed with uncooked rice. After several months, the rice would be discarded and the fish, which had developed a pungent, tart flavor, would be eaten on its own.

The first evolution of sushi in Japan occurred around the 15th century, when people began to eat the dish after only a few weeks of fermentation, so that the sour fish and rice could be consumed together.

In the Edo Period (1603-1868), merchants in Edo (modern-day Tokyo), began mixing vinegar into the rice, thus speeding up the acidification process and leading to the most transformative innovation in sushi history. This modification allowed sushi vendors in Edo to reap the bounty of the bay, and gave rise to the edomae (literally, “in front of Edo”) nigiri sushi that remains popular today. Instead of waiting weeks for the fish to ferment, chefs served the seafood fresh, pressed onto bite-sized pieces of vinegared rice.

Sushi leapt onto the international culinary scene in the 1960s, when restaurants began offering it to Japanese businessmen who were visiting the United States. Since then, its popularity has spread around the globe, with new styles developing constantly.

The judges at the Global Sushi Challenge evaluated entries on criteria such as overall balance of flavor, tightness of the rice and neatness of cuts. WSSI Chairman and head judge Masayoshi Kazato remarked that the final scores were extremely close and noted that “basic knowledge and skills on hygiene management became the point of differentiation for this competition.”

In the end, Japan’s Jun Jibiki emerged as the champion, with Damien King Meng Tan from Singapore placing second, and Takatoshi Toshi from the U.S. coming third.

“I won’t have to enter a swimsuit contest, will I?” the winner joked as he accepted the award.

The competition had provided Jibiki with the first opportunity in his 27-year career as a sushi chef to try his hand at making creative pieces, as well as the chance to ex

change ideas with an international group of his peers.

“After seeing the finalists from the other countries and seeing how they work, I realized we have a shared vision, and feel that there are infinite possibilities for sushi,” he said.

 

                                             Controversial cuisine: A plate of whale meat sashimi sits in front of diners at a restaurant in Ebisu. | AFP-JIJI

Ebisu eats : Chef Eiichi Tuchiya seaves dishes of whale meat carpaccio and whale meaat salad at is restaurant in Tokyo for the Ebis whale meat festival AFP JIJI

     Tokyo district tries to reel in   

        tourists with whale meat

                                                           by  AFP-JIJI Article history

But one Tokyo district is hoping to reel in outsiders with one of the country’s more controversial traditional foods — whale meat.

Ebisu, a chichi gastronomic hub close to Tokyo’s frenetic Shibuya shopping district, is hosting an annual food festival aimed at introducing people to the culinary delights of whale meat.

“With so many foreign tourists visiting Japan now, we would like to show how we really feel” about eating the animal, Takashi Furui, head of the event’s executive committee, said at a press conference declaring the festival open last week.

A record 13.4 million foreigners visited Japan in 2014, up from 10.4 million the previous year. The figure has already reached 12.9 million by August this year — with many regions jostling for ways to stand out as the 2020 Olympics approaches. Around 30 restaurants in Ebisu are offering whale dishes throughout the festival, which closes on Oct. 18.

But few tourists visiting the district this week seemed willing to tuck into the dark meat, which fans say has a gamey quality, similar to venison. “I don’t believe I would do that unless I was absolutely starving and there was nothing else to eat,” Canadian visitor Betty Lidington said near Ebisu Station. Her husband Bill agreed: “I don’t really want to, and I won’t miss it if I don’t taste a whale.”

French tourist Agathe Lavielle said she was more open to the idea, though. “It doesn’t shock me to eat different kinds of food and meat,” she said. “I could try some … provided that the animal did not suffer.” A seafaring nation, Japan has hunted whales for hundreds of years but the industry only really took off after World War II to help feed a hungry country. In recent decades it has used a legal loophole in the international ban on whale hunting that allows it to continue catching the animals in order to gather scientific data. But it has never made a secret of the fact that the whale meat from these hunts often ends up on dining tables — even though consumption has fallen sharply in recent years. The country’s influential Japan Whaling Association has given the festival its blessing. “If foreign visitors actually see the food being served at restaurants, I hope they understand and say it may be alright to use it as resources as long as the animals are not endangered,” said chairman Kazuo Yamamura, who attended the festival opening. Festival organizers say Ebisu’s name is deeply entwined with fishing, whales and foreign visitors.

Ebisu is a fishing god and one of the Seven Deities of Good Fortune — popularly venerated throughout Japan as the tutelary gods of one’s occupation. The word can also refer to a whale, in a deified form, and was once used as a term to describe foreigners, relating to the belief that the gods of fortune come from faraway places. Seattle tourist Eric Johnnson said the festival put him off the district entirely.

“It would make me not want to come to Ebisu if I knew I was one of their main targets,” Johnnson said.

“Based on the principle of it, I would not even want to try it even if it tastes amazing and wonderful.”

Photo: Ebisu eats : Chef Eiichi Tsuchiya serves dises of whale meat carpacio and whale meat salad at his restaurant in Tokyo for the Ebisu whale meat festival.      AFP]・・・JIJI )

A diner enters a Yoshinoya restaurant in Toyko's Shibaura district on Friday. | YOSHIAKI MIURA

                 Yoshinoya says study proves ‘gyudon’ is healthy

                                                                                                                                    by Staff Writer Article history

Gyudon chain giant Yoshinoya Holdings Co. is trying to allay concerns about the nutritional value of its dishes, on Wednesday releasing the findings of a study of people who ate gyudon once a day for an extended period.

Commissioned by Yoshinoya, the experiment found that eating gyudon beef daily for three months did not raise the risk of developing lifestyle diseases.

“We’re pleased to announce that consuming our beef for 12 weeks in a row did not cause our subjects to show any symptoms of heightened health risks,” the company said in a statement.

In the experiment, the 24 male and female subjects aged 20 to 65 were asked to consume the firm’s beef once a day for three months while going about their daily lives. Not all the subjects were in the best of health to begin with: Some had high blood sugar levels.

At the end of the period, Tokyo-based Chiyoda Paramedical Care Clinic put the subjects through a range of tests, from assessing changes in their weight, fat level and pulse to inspecting their blood and urine.

The tests revealed no significant increase in weight, fat percentage or pulse rate. The level of their cholesterol and blood glucose — organic molecules closely linked to problems such as metabolic syndrome — showed no worrying change, either.

Japan has witnessed a spike in people with metabolic syndrome as it shifts toward an Americanized, meat-oriented dietary culture, so a negative image has long permeated its gyudon bowls, Yoshinoya said.

It added, it hoped this study would “dispel” distrust of its products.

However, one medical expert was unconvinced. Yoshio Ikeda, a doctor who serves as chairman of Japan Preventive Association of Life-style Related Diseases, said the experiment’s methodology managed to meet only a “minimum” level of credibility.

Although describing the study’s findings as trustworthy, Ikeda cautioned that gyudon bowls served in Yoshinoya parlors were not necessarily harmless. The gyudon beef provided for the subjects weighed only about 65 grams each — about the same volume they would normally consume as a main or side dish.

“So all the subjects did is eat gyudon beef once a day in place of other types of meat” that they would have eaten anyway, Ikeda said.

It was “no wonder” that no significant change befell their body conditions, he said.

“People shouldn’t take the results as meaning that they are free to eat whatever size they want at Yoshinoya parlors,” he said. “The fact remains that devouring supersize gyudon on a daily basis will make you fatter.”

Yoshinoya said its findings did not vouch for the quality of all gyudon beef in the market — they apply exclusively to beef cooked in the proprietary broth prepared according to Yoshinoya’s own nutritional standards.

 

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                         An ice cream ‘donut’ with a hole lot of almond chocolate

                                                                                                                                                 by  Special To The Japan story

Flavor distribution proves to be a challenge here, as the almond chocolate center with caramel sauce is surrounded by too much vanilla ice cream. But when you reach that sweet middle, you’ll be thankful

Akagi didn’t put a hole in its “doughnut.”

                                                  Taro served both pickled and in plum sauce, with autumn vegetables | J.J. O'DONOGHUE

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Hashinaga: Delicious and relaxed kaiseki cooked by a formidable chef

                                                                                                                        by   Special To The Japan Time     
I am almost certain that I wouldn’t survive a day working under chef Noriyuki Hashinaga. I am, however, certain that I could eat his food every day.

He is an exacting boss. On a recent lunchtime visit, Hashinaga was joined at his eponymous restaurant by one other staff member, who occupied pretty much every role imaginable in the kitchen and restaurant — apart from head chef. The poor soul never stopped going, and when he did pause, Hashinaga wasn’t long in lighting a fire under him.

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This is a modestly sized restaurant, which is lucky for the server, who more than likely covers a half marathon in the course of a day’s work. It is dominated by a counter with seating for eight and two tables at the back. And it was a full house when I dined there. Hashinaga’s addition to the Michelin food bible notwithstanding, I imagine he’s not short of patrons as he offers one of the most affordable, delicious and unstuffy kaiseki (traditional multi-course meals) lunch courses in Kyoto.

Whereas many kaiseki restaurants serve up an atmosphere of monastic silence, Hashinaga’s was chatty — the jazz piano soundtrack helped. For lunch, there are two prix-fixe menus (¥2,000 and ¥3,500), with more options at dinner (¥4,000, ¥5,500 and ¥8,000).

Lunch opened with hassun, a serving of seven autumnal appetizers. You can, if you wish, do a blind taste testing here and be left with no doubt of the season. The dish contained a sweet broiled chestnut, satoimo (taro), served pickled and also cubed and topped with a zesty plum dressing. Maitake mushrooms, sesame flavored tofu, a dashi-infused skinless cherry tomato and broiled sardines were the other appetizers.

Staying with the seasonal motif, the tonyu (soy milk) soup was topped with kamaboko (broiled fish cake) in the shape of maple leaves. The velvety surface of the soup was studded with yuzu (Japanese citrus), making it the best-looking dish, and despite the citrus it had a delicate, sweet flavor.

Hashinaga excels at giving his dishes a taste somewhere between sweet and pickled. This was especially true in the yakimono (a grilled dish, usually midcourse in kaiseki cuisine) serving that included a seasonal mix of sugar- and soy-coated delights. The chestnut was glazed in a teriyaki-style sauce, as was the herring. Then another reprise, the taro, this time fried until it had a crisp golden shell. A single bite of satoimo, slightly pickled, helped to anchor the sweetness of a dish that otherwise disregarded subtlety in favor of sweet tones that you’ll want to savor.

As lunch drew to a close, Hashinaga climbed down from the preceding honey-tones. The nimono, or simmered course, was Chinese cabbage and sea bream simmered in a broth that was too liberal with ginger, giving it a medicinal quality perhaps more suited to winter. The meal ended with a simple desert of chestnut cake, a segment of orange and sencha green tea.

For an introduction to kaiseki, or even a continuation, Hashinaga is worth seeking out.

323 Sensojicho Takoyakushidori Takakura Nishiiru, Nakagyo-ku, Kyoto; 075-212-3303; nearest stations, Karasumaoike, Shijo; lunch 11:30 a.m.-1 p.m. except Tues, dinner 5:30 p.m.-8 p.m.; lunch from ¥2,000; dinner from ¥4,000; no smoking; Japanese menu, Japanese spoken. For more information, visit kyoto-hashinaga.com.

Layered crustacean: One of the highlights was kegani (horsehair crab) meat glazed with yuzu (Japanese citrus) jelly and served on its carapace. | ROBBIE SWINNERTON

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      Kohaku: Horsehair crab, turtle and caviar at this tradition-bending kaiseki restaurant

                                                                                                                                                     by Article history

The outer wall of dark, tightly packed bamboo, the recessed doorway, the concealed lighting; all are modern but unmistakably Japanese. Ditto the spacious, open-plan main dining area, with its high ceiling and tables set comfortably apart. And the impeccable contemporary kaiseki (multicourse) cuisine of Kohaku’s talented young chef, Koji Koizumi.

In the five years since opening, Koizumi has developed his own take on the kaiseki tradition of leisurely, multicourse meals. He has also forged an identity that is distinct from his longtime mentor, Hideki Ishikawa, whose eponymous restaurant was at this address before moving to its current location around the corner.

Koizumi worked under Ishikawa for more than 12 years, and that influence is apparent in the younger chef’s clear flavors, quality ingredients and refreshing lack of formality — even though both boast well deserved Michelin stars (two for Kohaku, a full three for Ishikawa).

Of these sister restaurants, it is Kohaku that has the reputation for pushing the envelope and incorporating influences from outside the established washoku (traditional Japanese cuisine) canon. But only archtraditionalists would raise an eyebrow at the idea of using caviar as a garnish or gelatin in place of kanten (gelling agent derived from seaweed).

His entry-level omakase (leave it up to the chef) menu makes an ideal introduction for anyone new to kaiseki. For those who already know the territory, he offers more sophisticated menus featuring a greater selection of dishes made with premium produce.

These were some highlights from his late October menu: The meal opened with kegani (horsehair crab) meat glazed with a viscous drape of yuzu (Japanese citrus) jelly and served on its speckled carapace. Then came pieces of unagi (eel) that were grilled over charcoal, steamed and deep-fried in a light dusting of umami-rich konbu (kelp) and aromatic star anise.

Next came a rich porridge of sticky mochi rice cooked with suppon (softshell turtle) meat, burdock, ginger and garlic. These are strong flavors for Japanese cuisine, but wonderfully invigorating as the weather cools.

Instead of simple sashimi, Koizumi carefully sliced up autumn mackerel that he had marinated with vinegar for four days and lightly smoked over burning rice straw. He followed this up with nodoguro (blackthroat seaperch) grilled expertly over charcoal, and served with a cube of pureed burdock root. And, as the crescendo of the meal, slivers of beef were accompanied by a poached quail’s egg, scattered with a konbu tapenade and then further elevated with slivers of Alba white truffle.

Beautifully composed and unfailingly delicious, meals at Kohaku strike that perfect sweet spot between gourmet complexity and seasonal simplicity. Inevitably this means the restaurant is very popular, with places at Koizumi’s six-seat counter especially at a premium. Book well in advance or be prepared to wait for seats to free up late in the evening.

3-4 Kagurazaka, Shinjuku-ku, Tokyo; 03-5225-0807; Open 5:30-10:30 p.m. (LO); closed Sun and hols.; set menus ¥15,000, ¥17,000 and ¥19,000; nearest stations, Ushigome-kagurazaka, Iidabashi; no smoking; major credit cards accepted; English menu; some English spoken. For more information, visit bit.ly/1GO2jPw. Robbie Swinnerton blogs at www.tokyofoodfile.com.

 

                 Fresh harvest: A worker on Shodoshima gathers olives that will be used to produce the award-winning Olive no Mori variety of olive oil.                                                                                                                                                          SHODOSHIMA HEALTHY LAND CO., LTD.

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                                The island making Japan’s best olive oil

                                                                                                                                    by Special To The Japan Time  Article history         

One spring day I found myself home alone fixing a solitary dinner. I harvested a few heads of the gorgeous red oak leaf lettuce I had planted from seed, mashed some garlic in a mortar with a few pinches of Japanese sea salt, added some ground Tellicherry black pepper and splashed in my homemade red wine vinegar. What olive oil did I reach for to finish it? The high-end Italian.

Using such an oil on a beautiful salad is not hard to grasp for any of us who care about what we are eating. However, using a pricey oil on everything — including sauteed foods — is more of a stretch for most. The expense adds up. Nonetheless, I found that the tastes of our simple field vegetables were greatly elevated once sauteed in the better oil (with Japanese sea salt).

Olive oil is not the first thing that comes to mind when talking about Japanese ingredients. Yet Shodoshima, an island in the Seto Inland Sea is home to thousands of olive trees. “Olive island,” as it is known, has been producing Japanese olive oil since 1908.

While I did buy some of Shodoshima’s olive oil at a food event 15 years ago, Japanese olive oil slipped off of my radar in the intervening years. But recently I have found myself traveling to Shodoshima to explore its strikingly delicious native olive oils such as Olive no Mori produced by Shodoshima Healthy Land and Takao Olive Farm’s Takao Nouen no Olive Hatake. Admittedly expensive, these oils have been garnering gold medals in prestigious competitions such as the Los Angeles County Fair (Olive no Mori) and the New York International Olive Oil Competition (Takao Nouen no Olive Hatake).

What sets these oils apart is the small scale of their production, their location on Shodoshima, the care that goes into the trees themselves and, of course, the blending of the olives after pressing.

Touching the bark of Olive no Mori’s 1,000-year-old olive tree that overlooks the Seto Inland Sea, I felt the power of the ages. Although the president of Healthy Land transplanted the tree here in 2011 from Spain, the tree symbolizes the deep historical roots that lie behind the ancient food culture of olive oil. We stand under its spreading branches while Atsuhiko Utsumi, an olive tree expert, gently shakes the branches to dislodge residual flowers that did not become tiny olive buds. This operation relieves the tree from the job of trying to extricate them itself, akin to deadheading rose bushes. The tree can thus focus its energy on growing flavorful olives rather than sloughing off unneeded dead flowers.

“Things that grow in the field become happy if you touch them,” says Utsumi.

While I did not visit Takao Olive Farms, I spoke with its owner, Toyohiro Takao, at an olive oil dinner in Tokyo. A slight man, he has a gentle demeanor that comes through in his olive oil. I was also taken with what he says about his trees.

“Each tree has a different personality and when I walk among them I compliment them, ask them how they are feeling, bid them good morning,” he says. Again, the personal touch here is key. Nonetheless, sold in precious 64-gram bottles for about ¥2,000, the Takao Nouen no Olive Hatake olive oil is not for everyday use — or for everybody.

As a writer of Japanese cookbooks, I have always recommended using rapeseed (canola) oil for most dishes, but since visiting Shodoshima during the past six months, I have begun using olive oil often when preparing dishes for Japanese food events. The fruity, sometimes spicy character of the oil lends character to the kind of farm food that I tend to serve. A good olive oil holds up to the strong flavors of soy sauce and fish sauce and enhances those two seasonings. However, I would not pair it with miso, which has an unctuous flavor profile like olive oil, but one at the opposite end of the spectrum.

So what exactly constitutes a “good” olive oil? It goes without saying that extra virgin olive oil is the oil of choice. Extra virgin means an oil has been produced by pressing whole olives to extract the oil without heat or chemicals. Otherwise, good olive oil should be clear, bright and, well, drinkable.

On two different visits to Shodoshima we made our way to Shimayado Mari, an inn that successfully infuses traditional living with modern comforts. Dinner there culminates with a pot of olive rice cooked in an Igayaki donabe earthenware pot, which yields the coveted crunchy rice at the bottom of the pot called okoge. The olive rice is served with a drizzle of Takao Nouen no Olive Hatake or Olive no Mori olive oil and a pinch of local salt. It’s heavenly.

Shodoshima Healthy Land’s Olive no Mori, 0120-11-7677. For more information, visit www.healthyolive.com. Takao Olive Farms’ Takao Nouen no Olive Hatake, 050-3673-9320. For more information, visit www.takao-olives.com.

 

One of the most common received truths about Japan is that it lacks natural resources, which is why it relies so much on imports. Lack of resources was one of the reasons Japan invaded Asia in the last century. But there is one resource that is plentiful, and which is becoming scarce in other regions: water.In fact, there has been talk that Japan could export fresh water as a form of “security.” Japan currently buys a lot of coal from Australia, which is delivered by ship. Those vessels return to Australia empty, and usually have to fill up with sea water for ballast, a risky solution since the water could contain living things that might upset marine ecology systems back in Australia. But the ships could also fill up with fresh water — not necessarily drinking water, but water that could be used in the mining of the coal being sent to Japan. Coal mining requires a lot of water, and Australia doesn’t always have enough.It’s estimated that 900 million people in the world do not have ready access to safe drinking water, so Japan should count itself lucky. However, in recent years water supply agencies nationwide have been raising fees or proposing to raise fees on tap water.

The reason has to do with Japan’s population decline. The infrastructure that processes water and delivers it to homes is superannuated in many places in Japan, but since revenues are dropping due to loss of users, local water supply agents don’t have enough money to repair and maintain these facilities.

An article in the Asahi Shimbun on Sept. 7 looked at the town of Bibai in Hokkaido, which has announced that it is raising water-use fees by 30 percent this month, the first time it has done so in 33 years. If a household uses 10 cu. meters of water a month, it now pays ¥2,547. That fee will increase by ¥567. Before the war, the town was very prosperous because of a coal mine, and population peaked in 1956 at 92,000. Now it is down to 24,000, and the pipe network that moves water through the town is desperately in need of repair.

Residential users may not feel as much pain, but business users are quite worried about the increase. One restaurant owner in Bibai told the paper that he now spends almost ¥600,000 a year for water, and with the fee increase he expects his bill to go up by more than ¥100,000.

Bibai’s situation is typical of many towns and smaller cities throughout Japan. Because water supply agents cover specific areas, their revenue is limited by the number of users in that area. If there are many users, then costs for repair and maintenance can be spread more diffusely, but if the number of users is small, each one will have to bear more of the cost.

A recent feature in the weekly magazine Shukan Josei reports that reservoir repair and maintenance costs for Tokyo’s water supply are the highest in Japan, but fees are among the lowest because of the number of users — about 10,000 per kilometer of pipe. Residents of Sendai and Sapporo, on the other hand, pay significantly higher fees for water because of the much smaller population density — in some neighborhoods as low as 100 users per kilometer of pipe. Bibai is now trying to consolidate its water supply agents with those in nearby towns, so that a larger pool of users can be tapped for revenues, thus reducing the per-user cost of repairs and maintenance.

Another reason for the difference in fees is geology. The most expensive water, according to the Japan arm of accounting firm Ernst & Young Global Ltd., is in the town of Fukaura in Aomori Prefecture, where the average household is expected to pay more than ¥17,000 a month by 2040. Population decline is one reason, but the town is also very hilly, so the waterworks system needs lots of pumps to deliver water to a relatively small number of households.

Of course, water abundance is also a factor. Kagawa, on the island of Shikoku, is one of the few prefectures that regularly suffers water shortages. Farmers on Shikoku traditionally grew wheat rather than rice, since rice requires so much water. The prefecture is now working on unifying the water supply agents of at least six cities so that they can reduce personnel and facilities expenses and thus not have to raise fees as much.

The central government is also getting involved by identifying some 8,000 “simple water supply” (kan’i suidō) agents. Simple water supply agents are those who serve a user base that is not larger than 5,000 households. By identifying such agents, the government hopes to move them toward consolidating with neighboring agents, since the central government is required to subsidize waterworks in order to guarantee delivery of water.

This happened in Shimane Prefecture, where smaller municipalities needed ¥2.1 billion a year for waterworks maintenance. Fees, however, only covered 30 percent of the maintenance expenses, so the government had to come up with the rest. Now, seven of these municipalities will merge their water networks with that of the capital, Matsue, with the help of the central government.

Nevertheless, some municipalities are shrinking so fast that soon they will not be able to afford waterworks at all. Some agents may not be able to stay in business, regardless of how much they raise fees. That means the few households in their jurisdictions will have to actually transport water themselves, by vehicle.

Another solution to the fee problem is conservation. Though Japan has abundant fresh water, the Japan Water Works Association is encouraging users to save water as much as possible. This will not only reduce their water bills, but ease the stress on the system, since there is less need for purifying chemicals and other treatments.

The average person in Japan uses 250 liters a day. One of the reasons people here use such a large amount is that they tend to take daily baths, sometimes more than once. Switching to showers and changing toilet valves would help save water.

To understand how lucky Japan is, all you have to do is look at a place like California, which, due to geology and climate-related developments, may never again have enough water for all its residents, no matter how wealthy they are. If higher fees are necessary to keep Japan’s water supply clean and plentiful, then that’s just the way it is.


Tochi Ueyama, author of the 'Cooking Papa' manga series, holds dishes of onigirazu in Tokyo on Monday as the Gurunavi Research Institute chose the innovative take on the traditional onigiri rice ball as the dish of the year for 2015. | KYODO

‘Onigirazu,’ sandwich-like rice dish, chosen as 2015’s top dish

                                                                                                                                                                            Kyodo Article history

Tochi Ueyama, author of the long-running “Cooking Papa” manga series, attended a press event Monday held by the Tokyo food research company. He coined the name onigirazu in the manga series in 1991. “I saw my wife throwing the dish together in a rush when our kid was small, and I drew them in manga and named them onigirazu,” Ueyama said. Onigirazu is easier and faster to make than a rice ball. It is made by spreading layers of rice and filling over a sheet of seaweed, folding the seaweed into a square to wrap the contents and cutting it with a knife. To make a regular onigiri, one has to stuff filling into the rice before using both hands to compress and shape it into a ball or a triangle and then wrapping it with seaweed. Onigirazu came into the spotlight in recent years after it was picked up by Internet users, including people visiting cooking websites in search of recipes. In addition to being easy to make, people find onigirazu more visually appealing as the colorful fillings, sandwiched by white rice and covered with black seaweed, are all visible as layers. This year, the popularity of the dish led to many restaurants adding it to their menus and the publication of recipe books explaining how to make it.

 

Denmark is in the building: Chef Rene Redzepi (right) prepares dishes for Noma Japan, his restaurant's residency at the Mandarin Oriental, Tokyo. | ROBBIE SWINNERTON |

                      Tokyo’s best eating experiences in 2015

                                                                                                  by Special To The Japan Times Article history         

Noma Japan

Without question, the most memorable meal of 2015 was one of the very first. Noma Japan’s groundbreaking residency at the Mandarin Oriental, Tokyo opened in early January to great anticipation and excitement. Chef Rene Redzepi set numerous precedents, not just by bringing his entire team (60-plus people, including children) over from Denmark for a month, but also by creating a new menu from scratch.

 

It was breathtaking to see how ingredients sourced within the long and fertile boundaries of this country could be reinterpreted in a way so radically different to traditional Japanese cuisine. But the ultimate mark of Noma Japan’s success is that it is still being talked about, not just in Copenhagen but also here in Tokyo.

Openings

If a measure of a city’s dining scene is the number of new restaurants appearing each year, then Tokyo is vibrantly healthy. Among the stand-outs in this bumper year was Abysse (4-9-9, Minami-Aoyama, Minato-ku, Tokyo; 03-6804-3846; http://abysse.jp), which netted a Michelin star for Kotaro Meguro’s confident seafood-based French cooking within 10 months. Yujiro Takahashi took even less time to get his star. Since launching Le Sputnik (7-9-9 Roppongi, Minato-ku, Tokyo; 03-6434-7080; le-sputnik.jp) in July, his eclectic modern-French cuisine has continued to soar.

One arrival that flew under many people’s radar was Celaravird (2-8-1 Uehara, Shibuya-ku, Tokyo; 03-3465-8471; www.celaravird.com). Koichi Hashimoto’s multicourse modernist cuisine reflects influences from his stints with Noma and the legendary El Bulli in Spain, as well as the Tapas Molecular Bar here in Tokyo. The backstreet location may be far from the bright lights, but it didn’t take long for the word to spread.

Reopenings

Until this summer, you had to seek out Hidetoshi Nishioka’s discreet, one-counter restaurant in a shabby corner of Shinjuku if you wanted to taste his precise Japanese-inflected Shanghai delicacies. Now he has not only moved to the mainstream, he has raised Renge (Ginza 745 Bldg. 9F, 7-4-5 Ginza, Chuo-ku, Tokyo; 03-6228-5551; no website) to a whole new level. Book well ahead of time if you want to try his extended tasting menus.

Another chef who has decamped into central Tokyo is Koji Kobayashi. Having closed Antica Trattoria Nostaligica in Meguro (and his exclusive, one-table dining club in Nagano Prefecture), he is now serving some of the finest Italian cuisine in Ginza at his new Ristorante Feffe (Velvia-kan 8F, 2-4-6 Chuo-ku, Tokyo; 03-6228-6206; www.fogliolinadellaportafortuna.com).

Meanwhile, Florilege (Seizan Gaien Bldg. B1, 2-5-4 Jingumae, Shibuya-ku, Tokyo; 03-6440-0878; www.aoyama-florilege.jp) emerged like a butterfly from a chrysalis, with its new stunning, spacious location boasting counter seating and a massive open kitchen that perfectly highlights Hiroyasu Kawate’s inventive, theatrical cuisine.

Collaborations

The idea of kitchen collaborations reached critical mass this year, notably at the ever-excellent Bulgari il Ristorante (2-7-12, Ginza, Chuo-ku, Tokyo; 03-6362-0555; bulgarihotels.com). Resident chef Luca Fantin was joined by some of Italy’s finest stars of the kitchen, among them the superbly innovative Massimo Bottura from Osteria Francescana in Modena. This series, called In Cibo Veritas (“In food, truth”), will continue next year with guest chefs already booked from as far afield as Spain, Chile and Australia.

Collaborations are often a way for restaurants to provide an extra, deluxe perk for their most loyal customers. But they also act as a laboratory for fermenting and cross-fertilizing culinary ideas — especially when the chefs in question are Zaiyu Hasegawa (from Jimbocho Den), Susumu Shimizu (Anis, in Hatsudai) and Hiroyasu Kawate (Florilege). These close friends put together three dream-team tie-ups this year, two of them at the new Florilege. For the lucky few who attended, these were among the meals of 2015.

Best beef

New meat-centric restaurants have been cropping up all over town. In terms of media hype and length of waiting lines, the opening of the year had to be the much-anticipated arrival of Shake Shack (2-1-15 Kita-Aoyama, Minato-ku, Tokyo; 03-6455-5409; www.shakeshack.jp). During the opening days there were waits of up to three hours for the U.S. chain’s trademark burgers. In Ebisu, Hugo Desnoyer (3-4-16 Ebisu-Minami, Shibuya-ku, Tokyo; 03-6303-0429; hugodesnoyer.jp) flew the flag for French beef, with considerable panache.

But for sheer flavor and inventiveness, Henry’s Burger (1-36-6 Ebisu-Nishi, Shibuya-ku, Tokyo; 03-3461-0530; www.henrysburger.com) may be hard to beat. This offshoot of Sumibiyakiniku Nakahara (www.sumibiyakinikunakahara.com) arrived in December, serving patties made with 100 percent wagyu beef — no filler or additives. Premium burgers are everywhere these days, but Henry’s are a cut above.

 


We've got it covered: Samples of different styles of tatami on display at a home improvement center in northern Chiba Prefecture. | PHILIP BRASOR

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                        Don’t be green about the charm of tatami

                                                                                                                                                        by and Masako Tsubuku  Article history 

One of our non-negotiable conditions for owning a home was real wood floors, but they tend to be rare in Japan, mainly because they are considered expensive and difficult to maintain, which isn’t necessarily true. Softer imported timber, like pine, is as inexpensive as the most conventional laminate flooring, and since Japanese people don’t wear shoes in the home softer wood isn’t as much of a problem as it would be in the West.

As far as maintaining real wood floors, it does take a little work, but the advantage is that everyday use of uncoated or lightly finished wood gives it a natural patina that obviates the need for special care, whereas the thin laminate of common flooring tends to crack and look cheap over time, even when it’s coated. Of course, you get what you pay for and the more expensive the material the better it looks and the longer it lasts.

Old wood has character, but traditionally in Japan wood floors were for public buildings. In homes, they were reserved for rōka (exterior hallways). All the other rooms had tatami, which is unique to Japan. Other Asian societies used woven fiber for floor covering — only Japan codified such technology into a kind of flooring system. Tatami mats are uniformly integrated units that fit into pre-measured floor spaces and are composed of three parts: the omote surface made of woven soft rush fiber called igusa, a doko supporting core made of rice straw and a fuchi wooden frame to hold it all together. Tatami mats, which have been in common usage for about 1,000 years, all adhere to the same size ratio — 2:1 — though depending on the region they are made, they range in length from 1.75 meters to a little more than 1.9 meters. And as anyone who has rented an apartment in Japan knows, room sizes are still described in terms of , meaning tatami mats, even if the apartment contains none. For that matter, layouts of apartments and houses are still based on standard design patterns that use 90-cm units, or about half the length of a tatami, as a base. And when you buy land in Japan you deal with tsubo — area units the size of two tatami mats, or about 3.3 sq. meters.

What’s ironic about using these measurement standards is that for years now the use of tatami has been fading. An article that appeared in the Sankei Shimbun about a year ago reported that the demand for igusa, most of which is grown in Kyushu, has declined by two-thirds over the past 20 years. Some of the slack has been taken up by imported tatami from China. In fact 80 percent of the new tatami installed in homes in 2013 was from China, but even imports are dropping.

That’s because in the late 1970s more families started getting up. Until after World War II, Japanese people invariably sat on the floor, which is why tatami was developed, but with industrialization came a desire for elevation, resulting in the purchase of tables, beds and chairs, which tend to damage tatami mats. If you look at a traditional Japanese home, there is usually no furniture at all.

More families demanded harder flooring when they looked for new homes. For a long time, there was always at least one washitsu (Japanese-style room) in a new home — usually for guests — but young families would contradict the Japaneseness of these rooms by covering the tatami with rugs or “wood carpets,” a popular hard furnishing in the ’80s and ’90s that made a washitsu look like a room with flooring. Such compromises, however, trapped moisture, generating mold and creating perfect climates for mites. It’s important to remember that traditional Japanese houses were designed for hot, humid summers, which is why there was ample space between floors and the ground and lots of sliding doors to increase air circulation. Tatami were made for this environment, but nowadays homes are built to be airtight. Tatami makers have responded by replacing some of the doko layers of straw with styrofoam, which not only retains the mat’s resilience but keeps it drier.

The tatami industry is attempting a revival by pointing out the environmental advantages of woven mat flooring, since no chemicals are used in their manufacture. Lately, there has been much concern in the United States about laminate flooring made in China, which uses carcinogenic formaldehyde as a bonding material. Tatami is a natural product that, if cared for properly, can last years, but such care can be bothersome and expensive.

It’s recommended that you change the omote every four or five years, and the entire mat every 10 to 15 years. Prices for new omote start at about ¥2,000 per mat, while entire mats start at about ¥7,500. Other disadvantages include the fact that sunlight makes them age more quickly, turning them brown, and any liquids that are spilled on them seep deep into the doko. Some makers recommend removing tatami every six months and airing them outdoors, but few homeowners would want to embark on such a difficult and inconvenient task. In addition, tatami cannot be used with most floor-heating systems.

As the old sexist proverb goes, “Tatami and wives are best when new,” and the Japanese love affair with woven mats is based mainly on their pale green or yellow hue and fresh straw aroma; though, as one elderly tatami maker in Kyoto recently lamented to Sankei Shimbun, even this quality seems to be lost on younger people. He installed tatami in a new condominium and a little girl, passing by his truck, remarked on the scent of new straw mats. “It stinks,” she said. How times have changed.

                                                          Philip Brasor and Masako Tsubuku blog about Japanese housing at www.catforehead.wordpress.com.

           Takashi Niigaki, musician, His Father' Talk 新垣 隆、作曲家
           Takashi Niigaki, musician, His Father' Talk 新垣 隆、作曲家
   Takarazuka Revue's  "New Tale of the Genji", Shin Genji Monogatari
   Takarazuka Revue's "New Tale of the Genji", Shin Genji Monogatari
            Repair the Nikko Toshogu's Yomei-mon Gate
            Repair the Nikko Toshogu's Yomei-mon Gate
                百寿を迎えた百獣の王 難波橋のライオン 10/7/2015 朝日新聞
                百寿を迎えた百獣の王 難波橋のライオン 10/7/2015 朝日新聞

                                        Lion Bridge Naniwa-bashi meets 100 Anivesary

          Rinpa School 400 Years Exhibition, Tawaraya Sotatsu, Ogata Korin, Hoitsu Sakai and Others
          Rinpa School 400 Years Exhibition, Tawaraya Sotatsu, Ogata Korin, Hoitsu Sakai and Others

宗達筆の国宝「風神雷神図屛風」(建仁寺所蔵)は金地に風神と雷神が対峙(たいじ)する。これを約100年後に光琳が模写(国重要文化財東京国立博物館所蔵)し、さらに約100年後に光琳の作品を抱一が模写(出光美術館所蔵)した。同じ図柄の3組の屛風は直接の師弟関係にない絵師らに継承された琳派の流れを端的に示している。

 特別展は琳派の祖、本阿弥光悦が1615年に京都・鷹峯(たかがみね)の土地を徳川家康から拝領してから400年となるのを記念した、京都での初の大規模な琳派展。国宝5件、重文36件を含む琳派の名品約175件を展示する。11月23日まで。問い合わせは博物館テレホンサービス(075・525・2473)へ。(久保智祥)


 'Wind God and Thunder God' (17th century), a National Treasure by Tawaraya Sotatsu | NINNA-JI TEMPLE, KYOTO

   Kyoto’s Rinpa school is moving in many ways

                                by Special To The Japan Times Article history

This special exhibition, celebrating the school’s 400th anniversary, showcases a selection of historically significant paintings and objects including lacquerware, ceramics and textiles.

The “Wind God” and “Thunder God” screens are seminal paintings that reveal how the Rinpa aesthetic was passed down from its beginnings through to the Edo Period (1603-1868). The first, a designated National Treasure, is attributed to Tawaraya Sotatsu (active in the early 1600s). About a century later, Ogata Korin (1658-1716) replicated and reworked Sotatsu’s piece, creating a screen that is now an Important Cultural Property. Korin’s version was also replicated by Sakai Hoitsu (1761-1828) another 100 years later. Since there was no official master and pupil relationship in the Rinpa school, these three sets of screens, painted years apart, reveal how copying the work of previous generations functioned as a way to pass down and teach Rinpa style and painting practice.

What is immediately conspicuous in these works, and is characteristic of the Rinpa tradition, is an underlying sense of movement. In the Sotatsu version, a large unadorned expanse of gold leaf separates the deities and reinforces a feeling of motion by suggesting that the two are speeding toward each other from spaces outside the screens.

Another wonderful expression of movement can be seen in a collaborative work from the early Rinpa period, “Poems by the Thirty-Six Immortal Poets Over Painting of Cranes” by the progenitor of the Rinpa school, Hon’ami Koetsu (1558-1637), and Sotatsu. This 13.56-meter-long hand-scroll, also an Important Cultural Property, depicts a flock of cranes in silhouette, rhythmically flying across the vast horizontal space of the scroll, the rest of which is bare save for Koetsu’s calligraphy. The synchronous movements of the cranes are captured in a repeating and harmonious pattern that resembles frames of cine film or notes on a musical score, but in gentle, precise brush strokes.

In the ceramic “Flared bowl with openwork Tatsuta River design,” Ogata Kenzan (1663-1743), Korin’s younger brother, similarly expresses rhythm and movement, capturing the forever changing flow of a river dotted with autumn maple leaves on to a functional bowl.

As well as its overview of the history of the Rinpa school, this exhibition — which also shows off the spacious new museum building that opened last year — offers visitors dazzling little surprises, especially in the diverse depictions of nature. It’s a visually rich show worth the time to peruse carefully.

“Rinpa: The Aesthetics of the Capital” at the Heisei Chishinkan (Kyoto National Museum) runs until Nov. 23; 9:30 a.m.- 6 p.m. (Fri. until 8 p.m.). ¥1,500. Closed Mon. www.kyohaku.go.jp/eng/special

 

                 12 God Exhibition of Toji, Kyoto
                 12 God Exhibition of Toji, Kyoto

                             PAUL KLEE

 Paul Klee パウル・クレー 彼女は吠え、僕らは遊ぶ 1928年作:若い頃の私たち家族、母を思い出す画
 Paul Klee パウル・クレー 彼女は吠え、僕らは遊ぶ 1928年作:若い頃の私たち家族、母を思い出す画

        Paul Klee : "She bellows, we play"...as if my Family..... Long Long Time Ago... 

 

                       <Praise of the pear> 1939 Zentrum Paul Klee (Bern)



Hyogo Prefectural Museum of Art

Paul Klee: This is Just Between Ourselves                        from Kansai scene: Nov 2015 issue 186

Restrospectiveof 110 works by the late Swiss painter paul Klee, known for his unique blend of expressionism and surrealism. Klee's skill shows in this broad repertoire of his work; from early black-and-white needlepoint etchings, to abstract and colorful paintings and watercolors, to pen lithographs, sampling of which are on display alongside a category deemed "special class" by Klee himself - 40 pieces including  personal memorials and works that marked a turning point in his career. Works are organized by a common theme and style - hidden images and secrets are left for you to decode.

Comprehensive collection of early 20th century Swiss expressionist/surrealist painter Paul Klee・Open 10am-6pm, 10am-8pm on Fri and Sat・Closed Mon (Except Nov 23) ・Admission \1,400・Access: Hanshin Iwaya Stn・artmpref.hyogo.jp/eng/exhibition)         

                    Paul Klee

              兵庫県立美術館 Hyogo Prefectural Museum of Art

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