Japan's Yanmar sets sights on Africa, starting with rice harvesters
OSAKA -- Farm equipment maker Yanmar Holdings will start selling rice harvesters in 16 countries in Africa, a region the Japanese company has positioned as a key growth driver.
Subsidiary Yanmar Agribusiness has partnered with ATC Comafrique, an Ivory Coast-based distributor, on a preliminary agreement this month. Yanmar previously collaborated with ATC in 2021 through a development assistance program.
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Fujinuma Noboru: Transforming Everyday Bamboo Craftwork into Globally Appreciated Art
More than 90% of Fujinuma Noboru's bamboo creations are snapped up by collectors from around the world. Along with his exhibitions, so many collectors visit his studio in person that it limits the ability to see his work in Japan. What is it about Fujinuma's work that attracts such high regard from overseas? The starting point was in 1997 when Lloyd Cotsen, an art collector and former president of the major cosmetics company Neutrogena, visited a solo exhibition Fujinuma was holding at Nihonbashi Mitsukoshi Department Store in Tokyo and purchased one of his works. When Cotsen later introduced Fujinuma's work at an exhibition of his art collection in New York, it prompted other overseas collectors to start trying to acquire his pieces too. That first piece Cotsen had purchased was a bamboo flower basket titled Spring Tide . To create it, Fujinuma used nemagaridake , or nemagari bamboo, so-called because it is significantly 'bent at the roots' due to heavy snow over the winter months, weaving it together with significant strength using the free-style ara-ami rough plaiting technique to convey a vivid expression of the bamboo's energy. Spring Tide , a nemagari bamboo flower basket (2024). (© Yokozeki Kazuhiro) ' Nemagaridake is such a tough material that I didn't know how to work with it at first,' recalls Fujimuna. 'It was too strong to weave, even with the help of others, and it took three years of attempts to succeed.' Fujinuma has a particularly deep connection with his work Spring Tide and continues to this day to develop it as a series. 'When I was 41, I won an award at the Japan Traditional Kōgei, or Art Crafts, Exhibition, but after that I fell into a rut. It was then I became aware of the importance of ki , because losing that inner energy caused my slump. Ever since then I have used ki as a theme in my work. Spring Tide was one of the first works I made during that time.' From the Kitchen to the Tokonoma The city of Ōtawara in Tochigi Prefecture, where Fujinuma is based, is a well-known bamboo production area with a long history of the local bamboo being used to make various household items. This made the fast-growing grass something that was always near at hand and deeply familiar to him. Fujinuma explains: 'I was good at making crafts, and as a child I made bamboo stilts and fishing rods. My father was a carpenter so I could use his tools, like saws and the traditional nata hatchet, whenever I wanted. I never thought about becoming a bamboo artisan, though.' Fujinuma in interview. (© Yokozeki Kazuhiro) As Japan was in a period of rapid economic growth and industrialization, he chose to go to a technical high school. After that, he took on a position at a machine manufacturer. When he was 27, though, he took a trip to France that triggered a major turn in his life. 'There were so many Japanese people at the Louvre and along the Champs-Élysées, and I wondered why they had come all the way to Paris. I thought about it really seriously and the answer I came to was 'the power of culture.'' Despite having felt no kind of connection before, this was when he first became clearly aware of 'culture' as a concept. He immediately became caught up in exploring his own country's culture. This didn't mean though that he knew straight away what he wanted to do. He explored a number of fields like lacquerware, pottery, calligraphy, and tea ceremony, and it was during this time, while taking a culture class to study bamboo craftwork, that he came across a posthumously published collection of works by Shōno Shōunsai, designated as the first Living National Treasure for bamboo art in 1967. It was this photo book that helped him decide his path. Fujinuma's copy of the posthumously published collection of Shōno Shōunsai's works. (© Yokozeki Kazuhiro) 'I was shocked to see how much could be achieved with bamboo. It was something usually found in the kitchen, but here it had been transformed into display pieces for the tokonoma ornamental alcove. The moment I realized the possibilities, I decided I would quit working at my company. I thought if I could become as skilled as Shōno-sensei, I could do this too.' He waited until his thirtieth birthday in 1975 and then started becoming involved with bamboo crafts. Learning for Yourself Fujinuma studied basic techniques under Yagisawa Keizō, who was dedicated to training successors in the art. However, after just 18 months, Yagisawa told Fujinuma 'I have nothing more to teach you,' and so he became independent. Following that, accompanied by his copy of Shōno's photo collection, he built up his own skills. 'Thinking back,' says Fujinuma, 'I'm glad I didn't have to study long. After all, the only way to make the most of bamboo as a material is to work with it yourself and learn its 'character.' Plus, if you are taught, all you can do is imitate. When you produce something using only the traditional techniques you have learned, the designs and other elements will just end up resembling past works, and nothing new or original can be created.' Fujinuma at work. (© Yokozeki Kazuhiro) In 1992, Fujinuma created a truly unique technique. While making a piece using the traditional tabane-ami bundled plaiting technique, he accidentally twisted the bundles of bamboo strips. This twisting had a surprising effect. 'The traditional technique produces a basket rim that is straight', he explained. 'But by adding this technique of twisting, the rim can be formed into a wave.' One of his recent works that uses this unique technique is Gogyō , a tabane-ami flower basket. He created it by weaving finely split dyed bamboo strips into a two-layer structure. He used the traditional openwork technique ajiro-ami (herringbone weave) for the inner layer to convey the delicateness of the bamboo and his unique weaving technique of twisting the bundles for the outer layer to express the bamboo's strength. The unique shape, not seen in traditional flower baskets, further accentuates the organic beauty of the bamboo. Gogyō bamboo flower basket (2021). (© Yokozeki Kazuhiro) A close-up of the bamboo work on Gogyō (2021). (© Yokozeki Kazuhiro) Works Intended to Inspire the Next Generation Fujinuma's works, created with his own unique techniques and sense of aesthetics, have a distinctive charm. Ever since he began displaying them in the showcase of a friend's watch shop, there has been no shortage of buyers. His reputation continued to grow steadily and led to him holding an exhibition in Tokyo. From around 2000, he began exhibiting his works at overseas art shows, and in 2011 he held a solo exhibition at the Art Institute of Chicago, one of the largest and most historic art museums in the United States. Then in 2012, at the age of 67, Fujinuma was designated a Living National Treasure. At the time of this recognition, he was praised for 'using traditional techniques while adding his own ingenuity through making use of the neat spaces and the intricate sensuji patterns created by the minutely fine ajiro-ami technique and the delicate tabane-ami technique, along with his free style ara-ami technique. His works, inspired by the concept of ki (energy), are highly regarded for their elegant and creative beauty, with generous forms that encompass an expansive space and incorporate powerful design compositions.' Says Fujinuma: 'I think I am where I am today because I came across Shōno-sensei's photo collection. That's why I want to leave works that will inspire the next generation to 'want to try making things.' To achieve that, I think it's important to focus purely on incorporating my own thoughts into my work, rather than worrying about how people will regard it.' Fujinuma himself admits that once he starts work on a piece, he becomes so preoccupied with it that he doesn't even spare time for sleep. During this creative process, he says that designs and ideas for pieces flow one after another. Fujinuma's designs pinned on the wall. (© Yokozeki Kazuhiro) In 2028, he is planning to hold a solo exhibition at TAI Modern, an art gallery dedicated to Japanese bamboo crafts and contemporary American art in Sante Fe, New Mexico. The theme will be 'strength.' Today, as every day, Fujinuma continues to work toward creating pieces in pursuit of that expression. A closer look at Fujinuma at work. (© Yokozeki Kazuhiro) (Originally published in Japanese. Interview and text by Sugihara Yuka and Power News. Banner photo: Fujinuma with one of his completed pieces. © Yokozeki Kazuhiro.)
2 hours ago
Japan to Call China Biggest Strategic Challenge
News from Japan Society Jun 4, 2025 22:31 (JST) Tokyo, June 4 (Jiji Press)--The Japanese government, in its upcoming basic economic and fiscal policy guidelines, will position China as the biggest strategic challenge to efforts to strengthen the international order based on the rule of law, it was learned Wednesday. It is unusual for the annual economic and fiscal policy guidelines to criticize China for its coercive behavior toward neighboring countries. A draft of the guidelines points out that China is using economic coercion, including through trade, and that the spread of yuan-based settlements through its Belt and Road initiative could impact the role of the dollar. The draft also expresses strong concern about China's attempts to unilaterally change the status quo by force in the East China Sea and the South China Sea, as well as its actions against peace and stability in the Taiwan Strait. Regarding U.S. President Donald Trump's tariffs, the draft states that the government will patiently continue negotiations to urge the Trump administration to reconsider the tariffs. [Copyright The Jiji Press, Ltd.] Jiji Press
The Mainichi
6 hours ago
- The Mainichi
Japan enacts revised law to curb customer abuse, protect workers
TOKYO (Kyodo) -- Japan on Wednesday enacted a revised law requiring all companies to adopt protective measures against overbearing or abusive behavior by customers, as such conduct has reportedly caused mental health issues and distress among workers. The legislation, set to take effect by the end of 2026, calls on companies, along with local governments, to establish clear rules to counter abuse and create consultation systems for victims. The specific details will be outlined in forthcoming guidelines. Companies that do not meet the criteria will receive administrative guidance and recommendations. If they fail to comply, their names will be publicly disclosed. The revised law follows a rise in cases of workers quitting or falling ill due to "kasu-hara," a Japanese slang term for customer harassment. Some pundits say that the phrase "the customer is God" and a culture of excessive hospitality have fueled arrogant behavior in Japan. The legislation defines customer harassment as "words and actions that are not acceptable in general and disturb the working environment of employees." In the field of gender empowerment, the revised legislation also aims to address health-related challenges in the workplace, while urging companies to institute policies against the sexual harassment of students interviewing for graduate jobs.
