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Well… some took my “question (wondering)” as “questioning (criticizing)” them. It happens when they read what they think I would write. I pulled a trigger for something they suffer so that they start firing at me – it won’t shut me up though. 

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Being a Japanese will not secure any “qualification” to be a Sashiko teacher. That is why I keep wondering if I am a good teacher regardless of my experience. I ask my students/friends to learn from others as well – what I teach is just a beginning (but an essence of Sashiko – like “how to use a knife in cooking”). I am teaching for 2 reasons (1) people want to learn the way (2) the essence was about to be lost. I wasn’t teaching before 2017 because I thought I didn’t need to speak up. My “qualification” to teach is my stories & experience, which I share some here and there. People who want to learn more & accurately come to my class, and I have received many good feedback.

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I believe there are “different levels & types” of Sashiko teachers in Japan. It is our (learners) choice who we want to learn from. There are no “certifications” secured by the nation. To be honest, I believe Sashiko wasn’t something to be taught. Sashiko is “that” ordinary. Therefore, I came to the original question – what are the criterias to trust a teacher?

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As I always say, there is no Right and Wrong in Sashiko. However, there is Right and Wrong in appreciating/appropriating the culture.

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ここ数週間ほど、強制的にお休みを多く取るようにしています。イケイケドンドンでこの数年来ました。今、後押しする流れがこれほどにないほど強いからこそ、一度足元を見直そうと思っています。数年じゃなく、20年先を見ていたいので。（イケイケドンドンは古いか……）。

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Our brain is amazing. You may know this interesting paragraph below:

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“Aoccdrnig to a rscheearch at Hravrad Uinervtisy, it dseno’t mtaetr in waht oerdr the ltteres in a wrod are, the olny iproamtnt tihng is taht the frsit and lsat ltteer be in the rghit pclae. The rset can be a taotl mses and you can sitll raed it whotuit a pboerlm. Tihs is bcuseae the huamn mnid deos not raed ervey lteter by istlef, but the wrod as a wlohe.”

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Our brain “fulfills” something missing by itself based on our “current knowledge”.You could understand the paragraph above, right? (I am sorry if I didn’t introduce this paragraph well. It was a long time ago and I wrote it from my memory. I believe this is not an official research, just a meme on the Internet).

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So, when you read my story with a strange rhythm, you may assume what I write with your own comfortable rhythm – your brain fulfills it with what you think it should be written. There is nothing wrong with it. However, what if I “intentionally” write an imperfect story to share the culture you don’t know? 99% of angry comments I receive come from their “misunderstanding” of what I write. Yes, it is my responsibility to write a clear story. However, an easy clear story sometimes does not carry the essence. (Therefore, I write both & I ask you to be mindful).

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Many people who understand my “challenge” advise me it is “impossible” to do. Yes, it is extremely difficult. However, in order to pass down Sashiko, it is inevitable. Not many are committed to both Sashiko & Language like I am. It is my job to introduce missing pieces. I am tired of those who think they are experts in Sashiko & Japanese.

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脳とは面白いもので、「未知のもの」と遭遇すると、なんとか理解の範疇に収めようと想像するようで。このとんでもない能力、使い方を間違えると「再構築」となってしまいます。「知らないから知ってるものに置き換えちゃえ」と。それは自由なんかじゃない。

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Please read what I write with your best mindful status (not quick scanning). I love analogies & I try my best. However, it may filter something important. One important essence of Japanese culture is to read between the lines. Getting a message from what is NOT written. Since it is critical for me to share what Japanese culture is like to pass down the Sashiko we practice, I spend a great amount of time & energy to write something with Japanese spirit in English.

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Here is one example. I did NOT write anywhere, “a teacher who teaches Sashiko has to be fluent in Japanese”. Since some misunderstood, I made a supplemental post after that. I expect “a teacher of Japanese culture” to be fluent in Japanese language. If one calls themselves an “expert” in Japanese topics (like Sashiko), then they have to teach about the Japanese culture. Culture is hugely influenced by language… so I believe it is natural to expect that. 

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Little more detais. I don’t mind when a school teacher or an art teacher for the community teaches Sashiko as a part of their guiding. Navigation is a beautiful & respectful work. They know their role as a navigator & they won’t consider them as a Sashiko expert. Some share “my existence” as an active Sashiko Artisan for references. The reason I keep sharing strong statements here is, an art teacher with good intentions “can/may” be a part of destroying a cultural practice because of the “experts without language”. In Sashiko, in English, the image, definition, description, teaching methods, rules, stories can be “insufficient”. Therefore, if you share the information, I want you to be mindful – make sure to get materials from “trusted resource” – hopefully from “someone native with good experience”, or at least someone who know Japanese culture & language very well – not someone who is good at marketing.

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I have a Patreon page where I share more details. Please listen to the voice from the origin – not from just a comfortable/convenient place.

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米国を語り、英語圏の文化として何かを教え、専門家として報酬を得ている人が英語話せなかったら、「なんでやねんっ」ってツッコミが入りそうなものだけど、これが逆になるとそうでもない不思議。

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I share many stories. I want you to read every post before “Reacting:, but here is a roughly condensed message: Sashiko introduced in English is NOT wrong but insufficient. I feel fear of someone non-Japanese making the “insufficient description of Sashiko” as a whole culture by ignoring/filtering voices from Japan(ese).  

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Here is an extreme analogy from my own experience. My wife (back then girlfriend), from Israel, introduced me to a great Middle Eastern dish, “Hummus”. I did not know about Hummus until I met her. I love Hummus. Although my understanding is limited, I wanted to introduce this dish to my family in Japan. So I got a recipe. In Japan, unfortunately, I couldn’t get “Tahini”. I “googled”. Then, I found a recipe using Yogurt instead of Tahini. I made “Hummus without Tahini” for my family. It didn’t taste like the hummus I enjoyed, but for my family, what I made was the whole picture of hummus they could know.

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The story ends without any harm because my family wouldn’t teach how to make hummus to others. Their “encounter” to the hummus ends at the dinner I offered. What if… though, if my family who think Tahini is optional to make “all the hummus” decided to open a Middle Eastern Restaurant in Japan – and they are very good at marketing to the extent that many Japanese start believing Tahini is an optional ingredient for Hummus…? Isn’t the culture of hummus repainted by them? Hummus without tahini is not Wrong, but insufficient when one teaches about the Hummus.

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Please replace “hummus” with the word you feel attached to. It is Sashiko for me. I understand each culture has their own hummus: a Japanese ruling that “Tahini is optional” can be very dangerous in changing the culture. If I were to teach about Hummus as an expert, I would need to learn their language as well. Otherwise, I will filter the Culture ignoring voices in their language. Talking about Hummus as a part of “Food in the word” doesn’t require the language itself, but if one promotes themselves as an expert, then the profit comes with a responsibility. 

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引き続き長文すみません。日本だと常識だろ思うことが、やっぱり常識では内容で。また配信で話しまします。

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Thank you very much for all the comments you have made to my previous question (post). I am learning a lot, and appreciate your view. I am sorry that I cannot reply all, but I read them all. Here is supplemental information.

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I am NOT saying all the teachers who teach a topic related to Japanese culture have to be fluent in Japanese. The point is, “Are they sure what they teach is valid? Isn’t it filtered by someone who benefits from the modification?”. Without the language ability, it can be difficult to “confirm” the validity because the resource will be limited.

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The same goes to me. How do you know what I teach is “real”? Being Japanese itself will not validate anything that I teach in Sashiko. How do they know I am “valid”? Therefore, I share as many stories as possible (stories require experience). Therefore, I share my “real-time” stitching so no faking the stitches. Therefore, I ask my Japanese friends to check what I say periodically (mainly in Live). I know I am sharing “my truth” – but I would like to make sure that I do not minimize the other Sashiko artisans in Japan. 

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When we can trust the resource, then language isn’t the priority. For example, if you have a Japanese parent, and they force you to follow some Japanese culture (I am sorry for that), then your understanding of Japanese culture is sufficient even without language. 

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Today, The Internet can offer you various valid answers – we can choose the answer from both extremes. We can modify the answer based on our preference. Therefore, my question arises. I believe (hope) most of the information available is valid (not Wrong). However, when one teaches the Sashiko as “a whole”, then how do they validate they are teaching the whole practice without the language ability? Teaching comes with responsibility, especially when the teacher focuses on specific cultural topics associated with names.

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久々長文です。どっかで一人語り配信します。

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This is a question for non-Japanese people out of my curiosity. What is your “standard” to trust a teacher or a master? 

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The work pieces, the publications, and the title (like Ph.D) are good benchmarks. However, wouldn’t you expect a master of Japanese culture to be able to speak (fluent) Japanese…? At least, I would expect a master of Western culture in Japan to be able to speak English… When I meet an authentic Italian chef, I expect them to learn from a master in Italy while living in Italy. For some reasons, in crafting, anyone seems to be a “teacher” or a “lecturer” without proper understanding of the culture. Is this because the “masters in crafting” underestimate the audience/students? I don’t understand how & why.

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I do not consider myself a master/artist. I am learning how to teach & what is Art. At the same time, being Japanese does not qualify me to be a teacher/lecturer by itself. Therefore, I share stories here. Therefore, I share my “unedit version” of stitching in Live Streaming (Youtube) so that people can expect what they can learn from me. ALL of my western friends who are in a profession of Japanese Culture can speak fluent Japanese – and they all say their Japanese is nonproficient & their understanding of the culture is insufficient. I am not saying one needs to master Japanese language to enjoy Sashiko. I just don’t understand how “one” is chosen, for what qualification, to teach something they don’t know fully.

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This leads to another question as well: do we all have to learn English to protect the culture from Cultural Appropriation? 

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刺し子を伝える際に時々頭に思い浮かぶのが、昔のテレビ番組「マネーの虎」の一節です。「カナダを伝えるビジネスをしたい」という志願者に、「カナダには何回行ったことがあるの？」という質問に、「行ったことがありません」というやりとり。子供ながらに疑問に思ったのを覚えています。刺し子をする為に日本語を学べとは言いません（そりゃ学んでほしいですが）。ただ、日本文化としての刺し子や襤褸を教えるのであれば、そりゃ日本語で議論できるくらいにはなるべきだと思うんです。英語ができない西洋文化の専門家とかわけわからんやん。

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I guess the biggest misunderstanding in Sashiko is that people think Sashiko is a mending technique. Although “mending” is a very important part of Sashiko practice, the mending itself is NOT a principle. “Making Fabric Stronger/Warmer (in harsh conditions with limited resources)” is the principle of Sashiko – therefore, Sashiko thread matters – therefore, we use geometric patterns – therefore, we take “process” seriously. Sashiko was(is) a piece of wisdom (practice in the ordinary) to make fabric last long from the ordinary wear and tear. Therefore, although mending is a part of Sashiko, damaging fabric for mending purposes is completely opposite of Sashiko’s philosophy. One is trying to prolong the fabric life. One is intentionally damaging the fabric. I hope you see how “twisted/filtered” the culture is introduced. If one claims they know about Japanese culture, then they should speak up (not knowing is okay, but some intentionally do not for their convenience). – *before reacting, read the previous posts – I am not criticizing the value of “distressed fabric”. 

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違うSNSでふと呟いたのですが、40年生きてきて、僕は「解を出すこと」が苦手だなぁと思うのです。雑に表現すると、”頭が悪い”。記憶も分析もできます。引き出しが多いから頭の回転が早いような印象は与えられます。でも、実際は頭が回転しているわけじゃなく、上手に整理整頓ができているだけ。「答えを導き出すこと」が本当に下手だなぁと思うのです。（引き出しが多いのも一つの長所ではあるのですが）。

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昔から答えを導き出すことが苦手だったようなので、きっと「答えがない状態」を気持ち悪いと思わないのです。正解がない状況でも苦しくない。高校までは成績も良かったので、「俺は理系人間だ」と思っていたのですが、最近この事実に気がついて、いろいろ納得することも増えてきました。プログラミングが苦手なのもこれが理由だし、何よりリーダーになりきれないのはこれが理由。解を出して引っ張り導くリーダーではなく、大切な仲間の背中を支えて、何か忘れ物がないかを確認し続ける副担任の先生みたいな感じが一番能力が出るみたいです。（なんの話やねん）

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Thank you for all the comments about “Kintsugi”. I now learn that some people practice “Kintsugi” by breaking the pottery pieces on-purpose. 

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I am not criticizing those who break pieces on purpose at all. Crashing ceramics for creating something new can be a beautiful way to express one’s artistry. Although I do not prefer distressed denim, there is nothing wrong with damaging the fabric on purpose. It is fashion. It is their way to enjoy(enrich) life. I do respect their choices and creations.

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The pain (C/A) occurs when they mix their choice with foreign words(culture) with (intentional) ignorance. Breaking/damaging items for the purpose of practicing the culture (Kintsugi or Sashiko) is also fine. Teaching(profiting from) others the culture as if they know the whole picture while ignoring their lack of understanding is the problem. “Cherry Picking” is a very serious cultural concern. This isn’t even picking a good part of the culture – it is just repainting the culture to the color they like (or probably this is the cherry picking in the cultural discussion?)

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「自ら器を壊して修復する金継ぎは侘び寂びではないよね？」とコメントを頂いて少し考えてみました。ぶっちゃけ、「現代に置いて、自分で壊して修復する作業」なんか一周回って侘び寂びを感じます（笑）多分、同意してくれるもいるんじゃないかな。これが侘び寂びを言葉にできず翻訳できない理由です。一周回るから、定義が真反対になることもあって。

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（無理に言葉にすると）たぶん本来の金継ぎは、「修復されたもの」に向けての侘び寂び。今感じた侘び寂びは、「幻想を押し付け合う精神的な部分」を対象とした気持ちだと思います。上手に言葉にできなくて歯がゆいのですが、でも、答えがないってそういうことなんですよね。

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Do you know a Japanese culture(practice) called “Kintsugi”? It is a practice to repair(mend) broken pottery pieces with lacquer. It is introduced as a metaphoric symbol of embracing imperfection. Sashiko/Boro are in the same category. However, I haven’t seen an artist who breaks a pottery piece with a hammer, and repairs it then calls it “Art”, yet I can see numbers of photos damaging the good new fabric with files/sand-paper, then mending it for their “Art”. What is the difference? Do people break pottery piece on purpose to mend with Kintsugi in Western society (It may be just me who do not know). 

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Extracting an idea from foreign language is very attractive. There are so many Japanese words which are “condensed” with filtering. “Wabi-Sabi”, “Mottainai”, “Ikigai”, they are probably more than what you know – so is Sashiko.

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「侘び寂び」だの「勿体ない」だの「生き甲斐」だの、様々な言葉が外国語になる過程で独り歩きしているのが現状です。僕は昔は、「（日本人がしっかりしてれば）別に海外でどう言葉が使われたって良いんじゃね？」と思っていたのですが、いざ国外に移住してみると、日本語話者じゃない人には、その独り歩きした言葉が文化として伝わってしまっていて、怖いなぁと思うのです。英語が母国語の娘に歪んで伝わるのが一番怖い。

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「金継ぎ」という修復文化は、不思議とそれほど歪曲せずに伝わっているような気がします。数年前は一大ブームでしたし。とはいえ素人なので、専門家の方からみれば歪んで伝わってしまっているのかもしれません。ただ、「壊れた器を美しく修復する」というのはわかりやすいんだろうなと思います。刺し子も襤褸も一緒だと思うんです。「破れた布を補修する」。不思議なのは、金継ぎでは器をトンカチで壊して修復して「KINTSUGI」と呼ぶのは変だと感じるのに、刺し子や襤褸になると、布をヤスリでぼろぼろにするのがアートの一部とされていること。確かに器の修復は趣もあるし、なぜか優雅さも加わって侘び寂びを感じるから……なのか？まだまだ勉強は続きます。

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I would like to consider myself a story-teller rather than an activist for Sashiko. I thought, as a story-teller, my mission is to share a series of “new” stories. Therefore, I try to write something new in every post. However, I may have to change my view. If I am asking for a change to those with (intentional) ignorance, then what I do is more like an activist. It’s the matter of definition, but I learned the importance of sharing the “Same” stories over and over again.

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I do not still consider myself an activist yet. I am NOT here to change anyone’s view. I just want to “leave” my voice so that someone (like you) will understand what `”Sashiko”would be ” when our Sashiko is wiped away by populism & commercialism. I summarized important information into videos. Please check them on our Youtube. There are NO rules in Sashiko – just respect to an origin (No rules doesn’t mean whatever is good).

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愚直に想いを言葉にして3年ちょい。継続はいつかは形になるもので、お陰様で「仕事」と呼べる課題が山積みの毎日です。量的に言うと、一人ではどうにもならない感じ。昔10人の頭で踏ん反り返っていた頃に比べると、とんでもない業務量です。昔は本当に恵まれてたなぁ。

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一人でどうにもならないなら「人を雇えばいい」とアドバイスを頂きます。うん。正解。でも微妙にずれているのです。仕事の目的が業務拡大且つ利益であれば、人を雇うのが正解です。僕の今の仕事にもその側面は勿論あるのですが、でも問題は「利益よりも重視する想いがある」ということ。人様の人生を背負うと、これができなくなります。だって普通、お金の方がいいもの。

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今の刺し子の現状は商業主義の一つの結果です。決して否定している訳じゃないんです。そもそも僕は刺し子の商業化の中で育ってますし、日本国内だけだったらここまで僕は苦しんでいない（悩みはしただろうけれど）。商業主義と西洋文化が交わる事で、とんでもない発展が、しかも日本人が理解できない（文化的にも言語的にも）所で発展してるのが本当に嫌で怖いんです。大袈裟ですかね？でもね、もう手遅れかもしれません。でも手遅れでも黙ることはできません。だからこその動画です。英語圏での刺し子の懸念が第一なので、英語ばかりの動画で恐縮なのですが、想いが伝われば幸いです。

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