Kikan Kochi
Think & Action Magazine, Kochi. Summer 2016 No.62

Special Features : Wagashi Stores of Kochi

The Seasons createdby the Hands of Artisans.

Giant Interview
Illustrator and Picture Book Author

Keiko Shibata

Ken-chan’s fanciful photo diary No.45

I am dreaming of a fish
This is the English Version of KIKAN KOCHI.
It is revised in order to shorten its length.
We do hope many people will readthis free online magazine.

CONTENTS
02

Ken-chan’s fanciful photo diary: Kenzo Nakajima

04

DOKU-SO-GAN : Hidemi Taike

05

Features
Wagashi Stores of Kochi
The Seasons created by the Hands of Artisans.

38

Giant Interview
Illustrator and Picture Book Author
Keiko Shibata

46

Designing Your Way of Thinking /a message from a man living in
the 47th prefecture : Makoto Umebara

50

Extra by Yukinori Dehara : Yukinori Dehara

52

Kochi Central City Map

Photo taken: September 2016, Mouth of Monobe River, Konan City

Kenzo Nakajima
Born in 1959 in Kochi City.
Lives and works from Misono Town in Kochi City.
He is a Photographer for
Tourism Posters and Various
Advertisements. He lectures a
Photography course and conducts overseas photography
seminars. He is a graduate of
the Photography Departmentof Osaka University of Arts.
A member of the JapaneseAdvertising Photographer’s
Association (APA) and The
Japanese Society for Arts andHistory of Photography.
http://blogs.yahoo.co.jp/
japan_kenzo

2

Typhoon, Tosa Bay,・Billow,

STA FF

Perhaps the Surfer Cameraman inside me

STAFF

Is the only one to use those words together and feel excited.

Publisher

However, as typhoon No. 13 passes by the Tosa Bay heading east,
It isn't the billow I yearn to capture.
It is a scene with a school of fish, cast through the clear crest of a wave as

Junichi Kusunoki / Koubun
Advertising

Takayuki Mimoto / Koubun

Editor in Chief

Yoshihiro Nonami / Cricket

Editor

Sachihiko Oouchi / Cricket
Midori Ueta / Cricket

they pass by, that I once saw.
It is that I yearn to capture; that phantasmal moment.

Yoshihiro Nonami / Cricket

Ttranslation Advisor Jeremy Edward Tan
Proofreader

Matthew Lester

DesignYumi Ito / Cricket

Cover

Hiroshi Kawauchi / Plane

The waves are lower than expectations,

Cover Art

Keiko Shibata

Although together, we made our afternoon an image of success.

Photographer

Mikiya Kadota

Tens of years have passed since, And still, not yet a single moment captured.

I meet with a surfer looking for the ‘big waves’.

3[ Appetite ][ Sports ][ Reading a book ]匠伝
創Th is isa Nashi pear

The Seasons createdby the Hands of Artisans.

Th is isa Chestnut.
Yep

Wagashi Stores of Kochi

継Kochi's Jyou-namagashi, Wagashi masterpieces stimulating
the 5 senses, are hand-made by Artisans and Maestros.
We look into the secrets of their hands and seasons,"Artisan・Tradition・Creation・Succession"*Wagashi: Japanese Confectionary

Just eat it
already.

45

匠

Chapter 1 : Artisan
御菓子司

福留菊水堂

Onkashitsukasa Fukudome Kikusui-dou
Akio Fukudome

Persistence and Strength born from Trial and Error"Wagashi is definitively Japanese food. Wagashi expresses the traditional themes of natural beauty in Japanese aesthetics through the charm of each passing season. The four
seasons are an extremely important part of Wagashi, and Wagashi is nothing without
the seasons," mentions Akio Fukudome of Fukudome Kikusui-dou. Akio was awarded

Kochi's first recognised "Tosa-no-Takumi"

the [Tosa-no-Takumi] in 2015 for Wagashi making for the first time. [Tosa-no-Takumi]

in wagashi production.

is a distinguished award for skilled craftsmen from the Kochi prefectural government.

The wagashi legend was born and raised through refinement
and sensitivity by the teachers of Art of Tea.
6

We listen in on Akio Fukudome's philosophy on his path for Wagashi making.
Akio is a second-generation Wagashi artisan. After graduating from high school hestudied under the tutelage of his father for 1 year before heading out to study at a Jap7

anese confectionary school for a further year.
Completing his studies, he then moved on towork and study at well-established confectioners in Kyoto for 3 years. Returning after thistraining, he would continue to make the stores
popular Asanama-gashi (confectionary madefor same day consumption), Yaki-gashi (dried
confectionary), Youkan (sweet bean jelly) andmany others. Fresh with many ideas, with his
delicate touch for each piece, he would expand
the range focused around Tea Ceremony withcolourful, well-designed, seasonal and delectaFukudome Kikusui-dou, established in
1951. Jyou-namagashi, Tea Ceremony
con fectionar y, Kochi con fectionar ymade with [Yamamomo], Youkan andmany others, are served with a smile.

ble Jyou-namagashi.
Akio recollects on how and when was able toobtain opportunities to polish and learn new
skills. It was thanks to the advice and guidanceof his Sado Teachers or Tea Ceremony Artisans.
"I would receive requests from these teachers
such as, 'during my visits to the other tea ceremonies, this was a particularly interesting Wagashi. Please re-create that for me.' I would use
these opportunities and through trial and error
succeed. This is how I practiced and gained
skill."
Popular with the public through the tea ceremony community, there are people who leave
all the decisions of how to make the sweets up
to Akio. In those situations, he creates samples
to show and uses them as springboard to becreative. "I've certainly had occasions that acustomer would visit and say; 'please make mea Wagashi that I have never seen before' or they

We requested for 12 Wagashi representing theseasons and months. (Front page for the feature
on page 5)
睦月January: [花びら餅 Hana-bira-Mochi] a confectionary inspired by the mochi presented to
the Imperial Court.
如月February: [ 紅梅 Kou-bai] inspired by theplum blossoms and plums in the season.
弥生 March: [三千歳 Michitose] inspired by the
Hina-matsuri, and the display of dolls during
the Girl's Festival in March.
卯月April: [花衣 Hanagoromo] inspired by the
spring blossoms blooming in this season.
皐月May: [落し文 Otoshibumi] inspired by theleaves that the fauna, birds, and insects use tobuild their nests
水無月June: [紫陽花 Ajisai] inspired by the Hydrangeas that start blooming and the soft windthat blows at that time.
文月July: [ 笹飾りSasakazari] inspired by the
Tanabata festival, and the wishes placed onbamboo.
葉月August: [夏衣 Natsu-goromo] inspiring thewish to spread the summer breeze.
長月 September: [着せ綿 Kise-wata] a celebratory Wagashi inspired by the seasonal festivalof the Chrysanthemum on the 9th.
神無月October: [まさり草 Masari-kusa] inspiredby the late blooming and other types of Chrysanthemum.
霜月 November: [唐綿 Tou-wata] inspired by
the wonderful red colour of the Autumn leaves.
師走 December: [里の冬 Sato-no-Fuyu] inspiredby the winter and Jyouyo-Manyjuu.
Each Wagashi delicately made with craftsmanship and art beautifully representing each season is a seasonal reminder.

would bring a picture, 'please make me a Wagashi exactly like this picture.' These teachersand customers' requests were the best part of8

9polishing my sensitivity to art and skill. " For Akio, a difficult part of making Wagashi
would be the colours or hues. Maintaining the right balance to ensure that it isn't too
thick or dark, on the other hand not holding back too much so the colour isn't too thinor light. Akio mentions, "In regards to the flavours, I am confident that they are pleasing. But, I am more than grateful if I can get advice and discussion, especially with thestrong tendency to Japanese colour and styling."
Confectionar y production from the Edo Period

Akio also has a deep emotional attachment to [Tosa Confectionary]. "Once, I received
a request from Yamauchi Kaikan, of the Tosa Yamauchi Family. I recreated several
Jyou-namagashi whilst following the "Namagashi-zuanshuu" a reference book from theTosa Yamauchi Family treasury. "I then received a phone call from a television station
asking if I was able to recreate it. I was able to make the [Ki-asahi-mochi.] Followingthat Yamauchi Kaikan requested an exhibition and a Wagashi for the event. I was honoured to make such a sweet. The difficulty was primarily because the reference book
did not specify the amounts and measurements. All that was written was the process
and ingredients. I also doubted myself at times when the colours came out too thick;because I am sure they only had natural colouring sources in the past. It was a constantbattle of trial and error."(top) Akio, working with finesse
separating the freshly made paste
into separate portions and transferring to their respective trays. A
true artisan at work.

As Wagashi is a snack that must encompass all 5 senses, the shape and colour are of(left) Akio's daughter; Yamawaki
and 3rd generation artisan to Fukudome Kikusui-dou. In their hands,
the prospective 4th generation.

ant, the Azuki red bean paste, the taro or sweet potato, and nuts like chestnuts andutmost importance. It has to entice the person to consider it delicious. When the person lifts it and eats it, there is an expectation that the Wagashi must not disappoint intaste. It is at that moment that the flavour of the ingredients becomes equally importmany others.
"The most commonly used filling is our red bean paste," mentions Akio, "It is generally
the same across all confectioners, yet it is interesting that the flavour of each store isdifferent. It is vital to ensure the paste has heat through it. First you start off with ahigh flame. We keep cooking the bean paste till it starts bubbling hot. With the heatthrough it, I have to mix it smoothly and quickly but ensure that the moisture from thepot does not steam away. It isn't easy but I can hear the difference in sound from the
pot and get the timing right.
"His daughter, the 3rd generation; Yamawaki, also shares, "Depending on the season,

1011

Tools of the trade, A Japanese Confectiona r y A r tisa n's tools, eachwooden tool with its specific shapeand mould. Each Wagashi is madeby hand or with a spatula, to adeptly
mould the ingredients into the lovely and delicate Wagashi.

the temperature and humidity changes. We have to adapt our red bean paste process

The most important thing is that they

with the season. The softness of the paste when it is freshly cooked and when it hasenjoyed it and that they feel like coming

cooled down can be completely different. We must boil and cook whilst calculating theback to our store. It is also important thatsoftness. Without experience it is extremely difficult. I want to continue these skills,

when we see customers we smile natural-

all of them, including this crucial skill in making our bean paste."ly. In this job, you cannot make confectionary without a great smile. Also, if you

Great Confectionar y cannot be made without a smile

dislike confectionary it would be hard to

During the interview, perhaps the 4th generation (?!), his grandson was helping with

"We are really touched by Akio's two

Onkashitsukasa
Fukudome Kikusui-dou

the red bean paste preparation. There seems to be confidence that the future of Fuku-

sides, his loving expression when talking

http://www.kikusuidou.com/

dome Kikusui-dou is not to be worried about. We asked Akio about his vision for the fu-

about customers and family and his aus-

ture from now on, and he replied as he looked towards to the front door, "We're locatedtere, intense face when discussing about

in such a discreet neighbourhood. There is no guarantee that customers will come in

his Wagashi as an Artisan. A truly reward-

vast numbers. Yet, with each customer passing through those doors, buying our Wa-

ing moment in our interviewing experi-

gashi, tasting our Wagashi, we want them to enjoy each and every delicious Wagashi.

ence.

continue with this line of work.

122-13-3 Atago-machi, Kochi City
TEL.088-872-4574
Opening Hours: 9:00 AM to 7:00 PM(till 6:00 PM on public holidays)
Closed on Sundays

13

Chapter 2 : Tradition
御菓子司

新月

Onkashitsukasa SHINGETSU
3rd Generation, Daisuke Nishimura

Because it is a privately owned store,
it should be utilised as an asset.

Every New Moon, the store opens up for sweet-making experiences,

Established in 1953, the unique [Shingetsu] is located in the Tenjinbashi-dori Shoten-with its own workshop and a space to grill your own Mitarashi-dango.

gai around Ohashi-dori Minami of Kochi City. Inside this store, you will find a place

This is the story of a young 3rd generation Artisan
with energy to share and grow Wagashi fans.

to grill your own Mitarashi-dango and space to taste and enjoy different Wagashi anddrinks. Additionally, each month, the store operates a workshop to help educate andgrow the number of people who enjoy Wagashi. We discover joys of Wagashi from Daisuke Nishimura as he shares the meaning of his method and the direction where Shin-

14

15

getsu is heading.
When he was young Daisuke loved eating food more than anything, so when he first started working at a Japanese Restaurant he already had the thought of becoming a Wagashi artisan. During his
3rd year of high school, his father had to have surgery to remove a cataract. It was at this time that
he realised that he would have to take over the business in the future. After graduating, he went totrain at a Wagashi store in Chiba. Originally he had expected to go for around 5 years, but thanks
to enjoying his experience he extended his training to 8 years. Even now, Daisuke still has a great
connection with that Wagashi store. Daisuke smiles and laughs as he explains his methods, "I do mybest to continue and protect the flavour of the Shingetsu that my predecessors have created, whilst
at times trying to utilise and develop the great things I learnt from my training." He also explains
his dreams and expectations. "I think the strength and essence of Wagashi is creating something
tasty, designing something beautiful and protecting tradition. In addition, there is a benefit and asset in running a privately owned store. I continue to think about what can I do that franchised storescannot. For example, one idea I thought about was communicating with my customers in a motherly
fashion and teaching them the joys of wagashi and so increasing its fan base. I also think that education is a benefit when trying to increase the interest in Wagashi making. I wish for my customers
to develop a yearning and change their thinking from, 'Ah, I should buy that dango at a convenience
store' to a positive seasonal and educated thought, 'Ah, in this season I should go to the Wagashi
store to buy a seasonal confectionary.'

Shingetsu's Nerikiri.

Daisuke has such a strong belief toward increasing and growing the spread of Wagashi culture that,since February 2016, he has started opening his store once a month to workshops. Each month theywork on a different theme when making the sweets.
In September the theme was Moon-viewing. Additionally on the 9th of September the Chrysanthemum Festival is celebrated, a festival wishing for perpetual youth and longevity. Daisuke, alongwith the 4 afternoon workshop participants, challenge themselves to create Wagashi such as [Tsuki-usagi, (moon rabbit)] and [Kise-wata (Chrysanthemum flower)]. [Tsuki-usagi] is designed around
Written along the walls inside the shop is
Shingetu's story. Also hanging are the wooden
moulds and tools used by previous generations,interesting even for people unfamiliar with theworld of Wagashi.

a white bean paste made from Japanese yam. Next they slowly wrap the paste with Nerikiri beanpaste to eventually make the body. They attach a small round tail, and the red round eyes. Finallythey coat the Wagashi with pink little ears to complete a cute rabbit.
The [Kise-wata] is folded in with white and pink Nerikiri and blended until pale pink. Following
that, using a soft spatula, they slowly and gently create flower petals using the triangular wooden

1617

mould. Lastly, they gently place the flower onto a base of a short toothpick paddedwith some Nerikiri run through a strainer, to complete the flower.
*Nerikiri is a form of Wagashi based on a sweeter white bean paste that is kneaded inwith sweet potatoes and mochi or rice flour.
We asked the opinions of the one of the first time participants of the workshop, "I
found out about Shingetsu from an event that they participated in. I’d had very few opportunities to taste Wagashi before that. I find that Wagashi isn’t too sweet, and has adelicate and refined taste, so its level of sweetness is perfect for me. During that event,I received a flyer about the workshop, so I decided to attend." The participants reallyenjoyed the experience to taste their own completed Wagashi whilst drinking Matchatea.
At the workshop there were some important and strong supporters lending assistanceto the participants. Daisuke's wife and his sisters were there to help with basic advice
and provide different perspectives to the complete beginners. The workshop also has
The workshops are conductedeven with small groups, allowing consistent peacef ul andharmonious learning. Daisuketeaches each student with attention given to each student.

an extra benefit. There was a lot to discuss such as 'would a young person think thisWagashi is cute?' as well as other pressing questions. By talking with the younger sisters, the participants got to try out different styles of packaging, as well as matching
the sweets to the Halloween season allowing them to be creative with other new typesof Wagashi such as Pumpkin flavoured confectionary or Manjyuu shaped like ghosts.
Within the store is space to grill your own dango, [Dango-ya-san] and the relaxing atmosphere to drink Matcha tea on the side. The tradition and the joy of Wagashi is thenspread and passed along through experience to each person. The store's stance towards
sharing the joys of Wagashi is clearly welcoming.
The gladiator Wagashi ar tisan.

You can find an expansive selection of Wagashi at Shingetsu, starting with their
Jyou-namagashi, Tea Ceremony confectionary, Asa-namagashi, Sauce-based confectionary, grilled and baked confectionary and many others. Just looking at the seasonal
Wagashi from the workshop. The Nerikiri is made by folding the sweetened
white paste in with sweet potato andJapanese confection sugar. Then softly
steamed for 3 hours. Once complete,you blend your own colours with thepaste as a base. The hue, colour andshape is an important part of Wagshi
making.

18

rakugan, or starch-based dry confection, Warabi-mochi, Kuzu-mochi, all lined up in thedisplay case makes our team drool. Daisuke is now in charge of the Jyou-namagashi.
With the delicate colouring and styling, he continues to positively amalgamate thestrict teachings of his teacher, his father and the experiences from his days in training.
We ask Daisuke about what he plans for the future of Shingetsu. "I will do my best with19

Picture left: You can make and mix
your own Matcha tea inside the store.
This extra space opens up the worldof Japanese culture for many to experience Japanese Confectionary and the
Tea Ceremony.

Picture right: Matcha tea andconfectionary from the workshop. It is also a relaxing cafe
space to enjoy and taste thegreat Matcha tea and Wagashi.

the job in front of me," Daisuke answers plainly.
Daisukes’ mother adds to the conversation, "In
this day and age, when you can find fruit andvegetables always available at supermarkets, at
any time of year, the only place where you cantruly feel the season is at a confectioners. We use
seasonal ingredients to pass on the importantmessage of the seasons. Our tea ceremony teachers and customers always say so."Onkashitsukasa SHINGETSU
Facebook
https://www.facebook.com/wagashi.shingetu/

Shingetsu is ideally located, has a well designed
interior and atmosphere and, crucially, theirskill is guaranteed. But most importantly of all,
we truly feel their strong and positive spirit tospread the charm of Wagashi to as many people
You can be your own "Dango-yasan" and grill your own dango instore using the traditional charcoal
brazier, always ready in store.
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3-4-8 Honmachi, Kochi City
TEL.088-872-5419
Opening Hours: Monday to Saturday 9:30 AM to 6:30 PM
Sundays and Public Holidays 10:00 AM to 3:00 PM
Holiday dates: Undefinedas they can. Standing strong like a Wagashi artisan gladiator sharing Wagashi with the world andthe next generation.

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Chapter 3 : Creation
菓処

桜いろKadokoro Sakura-Iro
Noriyasu Yokoyama
Sakura (Cherry Blossoms) will bloom
Noriyasu Yokoyama named his store, [Sakura Iro]
Because he loves the soft pink of the blooming
Sakura petals.
Inside the store, the sublime balance between thewestern music and the eastern Wagashi is clear for
all to enjoy.
A confectionary store to inspire creativity.

創
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23

The kind and delicate Wagashi of Sakura Iro.

Spending two years at a Confectionary school in Tokyo, and a further year in training
at a confectionary store in Okayama, he continued his training with his family busi-

24

You will find [Sakura-Iro] nestled between stores on the eastern side of Kochi City's

ness for another 10 years. At the age of 31, with his training under his belt, he opened

South Breeze Hotel in Nounin-machi. With a lovely line of Sakura Trees right in front[Sakura-Iro] in 2005, nearby to his family home.

of the shop, it is a perfect name for a perfect spot. The owner is Noriyasu Yokoyama,"I simply wanted to make Sakura coloured Wagashi. I make a variety of Wagashi.

a great confectioner with hands of the most delicate art and skill. His sense of style is

Jyou-namagashi made with our Nerikiri, Daifuku and Asa-namagashi, and baked or

all around the store; the interior, the showcase, each Wagashi package, you can feelcooked wagashi like Dora-yaki. I had learned from my master in Okayama, whose spe-the beauty. Thanks to that, a majority of his patrons are women, ranging from the very

ciality is turning custard cream and bananas into Japanese style Daifuku. He put cre-young to the elderly. Of course, at times, you also see men purchasing their own Wa-

ativity into his Wagashi. Since starting my own store, I aim to be as creative in my own

gashi delights for their own self-indulgence. We ask Noriyasu about his taste and style

style and ideas. The development of new Wagashi enriches me to think about a varietyof east meets west, the selective trait of his Wagashi, and his philosophy towards hisof methods, such as mixing cream with Wagashi red bean paste or placing red beancreations.

paste inside almond jelly. Lately, I've been focusing on using fruits. Last year, I tried

Noriyasu's family are wholesalers of Wagashi and Mochi to supermarkets within theblending grapes and Nashi pears into some Wagashi, but it wasn't great. However,prefecture. After graduating high school he had intentions to go into another industry,

through my testing, I found that European pears worked a treat. I am continuing with

yet at the last moment he changed his mind and went on to study Wagashi making.

my application of trial and error to develop my products."
25

Right: Packaging wonderfully and fashionably designed and illustrated by Chiharu. Specifically detailingeach Wagashi's special feature.

Morning Harvested Strawberries

When asked about what Noriyasu thinks is the most important thing to Wagashi mak-dient in Sakura-Iro’s Anko is using water from Muroto's deep ocean water in its prepa-

ing he says to; "The taste and ingredients. I will only sell what I feel and think is good."

ration. Even with a recent trend towards unsweetened red bean paste, Sakura-Iro's red

During Strawberry season, Noriyasu's wife will visit their trusted farmers and suppliersbean paste is softly sweet. Although Noriyasu has a sweet tooth, he also loves his al-

to pick-up fresh morning strawberries. They also receive specially selected strawber-cohol. The interview fired up as the chief editor excitedly proclaimed, "I want to makeries from their fruit shop supplier. For their Chestnuts and Sweet potatoes, Sakura-Iro

Wagashi that uses red bean paste that you can eat whilst drinking a great cup of Sake.

receives them directly from a long time friend and producer. Their citrus fruits all come

It is really something I put a lot of thought into. I'm certain if I make it, men like mefrom around Kochi Prefecture, such as Kitagawa Village's Yuzu, and prefectural Ponk-

will also enjoy it!"an and Pomelo. "Our Ichigo Daifuku taste incredible thanks to the juiciest and mostdelicious strawberries" says Noriyasu. Also catering to the Elderly, Sakura-Iro always

Passion through Packaging

prepares freshly cooked Ohagi rice every morning which is then folded inside the its

26

wonderful red bean paste. They also sell a variety of Manjyuu.

Inside the store, a big wonderful art piece is displayed and western music can be heard.

The soul and key ingredient in Wagashi is the Anko, or red bean paste. One key ingre-

Through the large glass windows you can see out onto the beautiful courtyard. Inside27

there is subliminal balance between the counter and the centre table and shelves, all ofwhich help to accentuate the Wagashi on display. Each Wagashi is beautifully displayedwith its own uniquely written guide and name plate. Each Wagashi package is carefully
thought through by Noriyasu and his wife Chiharu is the artist behind all the designs
and illustrations. The natural balance is what attracts the customers to each product.
"I actually wanted a professional designer for the packaging, but there were a few reasons not to. The money saved is an obvious one, but also my wife loves to draw andpaint. *laugh* Best of all, because she's here, I can ask her to re-draw anything at anytime," laughs Noriyasu.
"The reason I run the store might be simple, I find happiness when customers come tovisit. It doesn't matter whether my Wagashi is new or has a wonderful flavour, there is
no reason if it doesn't sell. I find it most pleasing when they come to visit, fall in lovewith the Wagashi, come around to purchase for souvenirs, and when they become aregular customer."This is Noriyasu's soft, sensitive, and kind Sakura coloured (Sakura-Iro) world of Wagashi making. It blossoms in the challenges of creativity, display and packaging. We
believe this is a splendid place for every young person to visit.

Kadokoro Sakura-Iro
Check out Sakura-Iro「桜いろ」on Facebook.
5-22 Nounin-machi, Kochi City
TEL.088-803-8787
Hand-written signs explain the important information about each Wagashi.

Operating Hours: 10:00 AM to 7:00 PM(Tuesdays till 6:00 PM)
Closed on New Year's Day

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継
Chapter 4 : Succession
北代菓子店

Kitadai-Kashiten
Kouichi Kitadai
A confectionary with Over 100 years of history,
Established in 1910.
An abrupt start to the succession of the 4th Generation,
From the passing of the 3rd generation.
Those who support his transition from a different industry,
Grandmother, Mother, Wife, Friends and Community.
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31

The fruits of continuous failure"This store wasn't planned for two generations to making a living from. When my father was healthy and working, I gave no thought to continuing with in the confectionary business. Instead, I focused a lot of my energy into architecture, which I was moreinterested in. What shocked me the most was the day after my wedding ceremony, myfather suddenly passed away. It was a lonesome ordeal for the local Usa residents who
were regular customers, when our family store suddenly closed its doors. I took it uponmyself to reopen the store, yet I was a complete beginner to the world of Wagashi. My
grandmother and mother who helped my father told me of the work and I even listened
to our suppliers tell me about his business with them. I tried to collect as many opinions from our customers as I could. For many days after was just failure after failure
with each try I made to make Wagashi."Japanese Confectioner [Kitadai-Kashiten] was established in Usa-cho of Tosa City in
1910. The 4th Generation owner, Kouichi Kitadai came to succeed the store in August
2007. He was only 27 years old at the time of his succession. He had no knowledge of
the Japanese Confectionary world, yet alone how to make Wagashi. There was a time
when he first re-opened the store and the only Wagashi displayed was, Shinjyu-monaka, a wafer cake filled with bean jam. The only memory of Wagashi he had from his
youth was when he helped to cook the Anko (red-bean paste).
He set his mind, "I will ask if I don't know." Using his father's recipe he would makethe wagashi, yet he had to keep trying and failing until he got the same flavour. He
would have his grandmother and mother taste the Wagashi and give advice. Until the
sweets reached a presentable level of taste he would not arrange them for sale. He kept
repeating this process until he had his current selection of Wagashi in his store. With abittersweet smile Kouichi mentions, "Our Kitadai signature Anko is lightly sweetened.
The locals have always approved of it and said it is delicious. This Anko and its taste iswhat has been passed on since the beginning, I don't intend to change it. I have only
operated this store for 9 years; I am still far away to reaching my father’s skill. Thereis just too much I do not know." Even with the same ingredients in the mixture for the

Kitadai-Kashiten's famous Wagashi, the [Tosa Shinjyu] (Shinjyu-monaka). A highlight of thetaste is the Pearl-like Gyuuhi
carefully placed into a lovingly
packed Tsubu-an inside the Wagashi. The Gyuuhi, made withsteaming powdered mochi riceand sugar, which doesn't fully
harden even when cold, brings
an excitement to the texture of
the Wagashi.

Anko, the hardness, softness and stickiness and texture can completely change depending on the humidity, heat and temperature. One can only remember and master itthrough experience.

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33

The value in making each Wagashi by hand

"In the mornings, the weather is dry and cool, but there are days when the temperaturesuddenly rises. I've become able to see the condition of the Anko and make a decision.
But, if I don't pay attention on such days, the Anko would soften or become hard. Whencooking the Anko, I also have to pay delicate attention to calculate the changing heat,temperature and the strength of the fire."
Kitadai-Kashiten's main Wagashi is the [Meika・Tosa Shinjyu (Shinjyu-Monaka)]. The
2nd Generation owner, to reflect the rich and growing culture of farming pearls in the
Uranouchi Bay in the 1950s, created this Wagashi. Made with Tsubu-an (coarse Anko)by slowly cooking Japanese Azuki beans for 3 days and placing hand-made Gyuuhi *1
inside; similar to a pearl. We had the honour to take pictures of the process of making
this famous Wagashi. Inside the soft Monaka, he moulded in the Tsubu-an. He would
make two matching sides. Making sure each side is correct; he then placed the Gyuuhi
right in the middle. Then carefully placing one on the other, he would beautifully prepare the Wagashi and make sure the Tsubu-an did not spill. Each Monaka is handmade
and thanks to his skill each one comes out beautifully in just a few moments. Then
Kitadai-Kashiten has Wagashi can also befound at a variety of places, Sunny Mart Takaoka, Sun Plaza - Tosa Shopping, and eventhrough the Kochi Prefectural Co-op. Definitely drop by their lovely store in Usa Town,
Tosa City.

carefully placing one on the other, he would beautifully prepare the Wagashi and makesure the Tsubu-an did not spill. Each Monaka is handmade and thanks to his skill each
one comes out beautifully in just a few moments. We were given a few to taste. The
mildly sweetened Tsubu-an delicately spreads through and is delicious. A perfect confection to accompany a cup of tea or coffee.
The Pride of Usa Town's Wagashi

For 3 years after taking over the store, Kouichi did not take a single day off and spent
his time making Wagashi. Up until 2 to 3 years ago, the store was open seven days a
week.

34

35

"Recently we have been taking Sunday's off.
Even then the phone will still ring, and wewill hear voices from the other side of the
shutters. We are truly thankful to all our customers, because without them we wouldn't
exist. *smile* Our best customers are thebeautiful and kind old ladies of Usa Town.
They always come to buy treats when they
visit their relatives or friends, or buy offerings for the Obon*2 and Higan*3 festivals andcelebrations. We also have a lot of customers
purchasing during the New Year period. We
open at 6 am for customers during the Higan
week," mentions Kouchi's wife, Maiko, whomanages the storefront and talks to the customers.
It has been 9 years since Kouchi has takenover the store and one can only imagine how
the future will unfold. "If I can pass the flame
to the next generation, I think I would be
proud," comments Kouichi bashfully. There ishope to see a great story for this young manof 36 years, the 4th generation owner, and agreat Japanese confectioners with over 100
years of history.

Kitadai-kashiten
http://kitadaikashiten.com/*1

Kouichi, a unique and good-looking gentleman. He is the 4th Generation owner of[Kitada-Kashiten] established in 1910.

36(求肥)Gyuuhi or (求肥飴) Gyuuhi Ame is a type of soft Japanese

confectionery made with rice flour (somewhat similar to Turkish delight)*2(お盆) Obon: O-Bon; Bon Festival is a period in the summer of Japan

where the Japanese respect those who have passed away.
*3(お彼岸) O-higan: Buddhist services during the equinoctial week

1742-3 Usa, Usa-Cho, Tosa City, Kochi
TEL.088-856-0157
Opening Hours: 9:00 AM to 7:00 PM
Closed on Sundays

37

Illustrator and Picture Book Author

Keiko
Shibat a
A talented artist and great contributor,
A resident of Kochi prefecture and whose works often
appear on the cover of our very own Kikan Kochi, herachievements are abundant.
An amazing woman with illustrations commissioned bymajor corporations, [Soto-Koto] Magazine's cover pageillustrator and for the Parco Theatre’s recent play, [Kimoto Nara] with her work featuring on posters and pam-

Giant Interview 0045
38

phlets and much more.
Recently, she published her own picture book [MEGANEKO]. So enjoy the read as we listen to her story.

39

The Girl & the love of the children’s art exhibition
Ms. Keiko Shibata, how old were you when you starting drawing?

"I have loved drawing pictures ever since I was a child. I have memories from the middle
class to my final years of nursery school. When I started elementary school, I remember
submitting work to the [Kodomo-Ken-Ten] prefectural children’s art exhibition. I won anaward and it made drawing even more exciting." *laugh*
So continuing on that feeling, is that why you followed on through to study at the Nara College of Arts?

"I was part of the Art club when I was in Junior and Senior High School. I was not particularly focused on art; I even took part as the manager for the baseball club. (laugh) During
High School, I originally thought I would continue on to Graphic Design. I aspired to, andwas inspired by, the cool posters and promotional materials that I collected and saw fromvarious graphic designers. I chose Nara College of Arts because I was influenced by those
designs."
What did you do after graduating?

on to work as a freelance illustrator. Her"I went on to work as an operator for a printing company. I thought I would be given
graphic design work, yet I was mainly polishing off already designed products. *wry smile*
I started to feel that it was different from my expectations. I worked there for about a year
and half before I moved on to a design studio. There I created and designed posters, flyers,and printed material, and at the same time I was given opportunities to draw and illustrate. I enjoyed my time there and stayed for about 4 years. Yet, the company’s organisation
management changed and that was the moment I decided to be an illustrator. I didn't eventhink about joining other companies."

terial, printed material, web illustrations

So you started as a freelance illustrator in the July of 2002?

PROFILE: Keiko Shibata
Born in Kochi City and currently residing
there, Keiko Shibata graduated from the

Nara College of Arts, Visual Faculty. Af-

ter working for a design studio, she went
works can be found in promotional maand many others. She has several personal

exhibitions each year. Her recent works

have turned Tosa-washi paper into 3D objects and general paper based goods.

"During that time I was still working on design projects. I received an introductory job froma company in Osaka, where illustrators from all around the country register. I also brought
in my portfolio of work to a large design studio in Kochi. Adding to that, I was also sent
work to sell to a design studio in Tokyo. I was desperate. *laugh* I think, 'I sure did a goodjob' looking back at that time. It took me about 3 years before completing the transition
to a full time illustrator. I did not receive requests as soon as I became one. Since I started,
there were times when I was only e-mailing clients, and other people. It took time before
my work was known."
Did you notice anything when receiving requests or during the progress of your work?

"Most of my requests come by e-mail. Particularly because most of my work comes from40

41

outside of Kochi, most of my briefs would also come through e-mail. Generally, I start bysending a sketch. If the client approves, I start the colouring process. If the client allows me
to select the colour, there are times that I would re-do it after submitting. *strained-laughter*
It's a bit difficult when they designate their own colours yet after submitting they would
ask me to re-do it. Over time and multiple similar issues with similar clients, I finally grasped
their likes and preferences. Requests from designers are much easier to understand, butwhen I receive requests from company PR representatives, I ensure I make a phone call tolisten carefully and fully understand what they want."

How does one keep the client entertained?
You receive requests from a variety of media?

"When I received requests for illustrations that go along with text, they are mostly specific[please draw with X theme] or [Please draw Y]. When I receive poster requests, [this will
go along with this content] or [It will be for this train line] are more common, and I only
receive keywords and the remainder is left to my decision. During these situations, I readpicture books, look through other illustrations and find hints. After finding my hints, I single
out my choices of what I want to draw and then, start to draw."
Throughout your life experiences, getting married, having a child, raising a child, has your personal lifechanged or affected your work?

ple could enjoy taking pictures with faces withglasses, or design and create glasses for the faces. It was creative and enjoyable.Those specificpieces weren't particularly for profit, but morethan anything when guests comment, 'that was
fun!' I think everything was worth the timeand effort. *laugh*"In the past few years, we have heard you are doing
great things across the country. We were most impressed with your work for the 2014 play [Kimi-tonara], with your posters, pamphlets and exhibitions.
It is not easy to receive an offer, especially from Kouki
Mitani, to participate in his works. Further more youwere able to answer to his requirements.

Keiko checking on the main picture for her[Oishisou-na-Shirokuma] picture book; Herarray of art tools laid out on her production
table.

"To be honest, I thought it was just a standard
poster request. It wasn’t until I heard the nameKouki Mitani that I became aware of what it
was and I was startled to be working on such a
big project. *laugh*
Was it a request from Parco Theatre?

"I believe so. Lately, I believe I draw purely and with unmixed feelings of what I want todraw. *laugh* It could be that I don't allow as much thinking as before. My earlier works had
a stiffness and feel of [I must draw this for this] and felt restrained."*Smile* So this was the beginnings of your progress to become an author?

"To be honest, I am not sure. For certain, when I have an exhibition or event, my focus
and thoughts have changed to become [take a look at the guests, are they enjoying themselves?]. Previously, it was quite self-centred and I thought if it pleased me it was fine. I've
certainly changed to start thinking on how my exhibitions are displayed and how will thecustomer enjoy and be entertained."
When did you start to see this change?

"Roughly about 4 years ago. It was during a time that I participated in many exhibitions
and events. The chances for me to see my guests and fans also increased. It dawned uponme that if I displayed things the same way, the impression would be quite boring. *laugh* I
would hate that. This year's event in August, the theme was [Megane-san (Japanese for people who wear glasses) and it was in Tokyo. Apart from the obvious pieces with glasses, there
were also sculptures. Particularly there were faces everywhere between pieces where peo42"I was given the recommendation by a designer who always designs posters for the Parco
Theatre, so the approval came through them.
It was a tough and challenging time as well as
being highly educational, although it is now inthe past."*laugh*
In what way was it highly educational?

"It was a lifting experience. I was called to thestudio where the cast were practicing. Generally, an illustrator is sub-contracted by a designer
and that is that, but I felt that I was put into
the team. The cameraman, stylist, make-up, castand everyone felt unified to make this play a
success.The realisation and co-operation added
to the pressure but helped my concentration."*laugh*43

[Oishisou-na-Shirokuma], publishing in December 2016
Keiko Shibata-san, you have been offered many opportunities from large publishers and companies nationwide. Does meeting new people affect your work?

"Of course it does. Kitajima-san from Tegamisha is one meeting that I particularly remember.
I had the great opportunity to illustrate for the [Ji-kyuu-Ji-soku] magazine after receiving arequest from their editorial team. Kitajima-san was the editor at the time and when he had
the opportunity to come to Kochi we got to know each other. Since then, we have beenconnected through exhibitions, including Kochi's [Kami-mono-Matsuri] as well as manyothers. I am here thanks to all the opportunities I’ve had to meet many great people and I
am indebted to them all. I am not particularly amazing or incredible, it is thanks to them I
am able to do what I do today."You recently released and published a picture book [Meganeko] in August 2016. Did you also create andauthor it?

"I had consultation letter from a company in Tokyo. I asked them, 'Which publisher should
I ask to help with my picture book?' and in autumn 2015, they gave me the answer, 'We'll
publish your work' and that's how it started. In the beginning, I had the theme of glasses
and the setting was in an elementary school. I then had a comment, 'Shibata-san, I think you
should draw animals instead of people.' So, with that in mind, I changed it and started to
draw animals. I finally decided on the story in April, and from May till June, we worked tofinish it for publishing. I had to decline any requests that weren't part of my regular work
during that period, so I was able to be focused on the book and it was completed in a very
short period time." *laugh*current work style, but I would like to increase
my picture book writing. I don't want to stop withjust this. *laugh* I do want to have more work
published."
With distinguished published work, is there always something to discuss when meeting with new clients now?

"I will be publishing another picture book titled[Oishisou-na-Shirokuma] with PHP publishinglater in December this year. In truth, I started out
with 2 stories with Tegamisha.The other story was
about the Shirokuma (polar bear). Whilst I was
moving on with the glasses story, PHP publishingapproached me and offered to publish my work.
When I handed over my Shirokuma story, they
replied, 'Let's go ahead with this story' and that, in
itself, is another story."
Seems like you are getting busier. We hope you can still illustrate for our magazine. *smiles* Lastly; do you have any
words for those living in Kochi that would like to become
an illustrator just as yourself?

"I have written as much as I can on the Obi of my book. (Obi: In Japan, newly printed books
have a paper wrapper or belt with catchphrases and messages.) I want my readers to feelthat glasses are not ugly and un-cool. Above that, not just to accept the glasses but to learn
to accept one's self.

"Applications for personal exhibitions, groupexhibitions, and competitions, all are the same.
Be pro-active, I think it is a really important aim
to show people your work. Even if you aren’t
successful right away, there are encounters andchances to meet people. That is the future. I am
sure it will connect somewhere. Keep holding on
and motivating yourself, just do it. The only one
holding you back is yourself. All in all, it's about
you and your self, if you have the will to do it you
can draw it into a visible illustration. I am personally always learning, there is not much advice or
any specific methods in arranging your work or
skills that I can teach, as I am still learning a lot
myself."What is next for you on your journey?

Thank you so much today!

Wow, that is impressive. Finishing and publish a picture book in less than a year.

"I had made a decision to publish my picture book and have it out in time for the openingof an exhibition. I had a hard deadline to meet with very few days. *laugh* It was gruelling,but I smiled and was emotional the moment I saw the finished picture book."
Do you have a philosophy behind this picture book? Would you like to it share with your readers?

"Hmm.... let's see. I would like to continue on as usual for now, I touch a lot of genres in myThis interview was conducted on the 6th of September at Keiko Shibata's Atelier.

44

45

A Message from a Man Living in the 47th prefecture

Designing Your Way of Thinking

Makoto Umebara

DesignerMusashino Art University, Visiting Lecturer

Episode 16:

The [tsumikusa blend tea] Project

Niyodo Wildflowers

ing them to create his own original herbal teas.
Renting an unused cottage in Agawa Skypark, he turned this into his production

Around the time of the Project 84 meeting, I saw a bald man sat on the podium ofbase. He packs the harvested and processed herbs at a kindergarten at the foot of

Chikurinji Temple.

the hills.

This is how I met Mr. Tarou Takeuchi. It was 4 years ago and he was working

He spent an enormous part of his money in a year and a half of starting his re-for a company in Kyoto that was responsible for producing top of the range foodsearch into his harvested herbs. I never heard from him at all during that time.

products, one of which was the famous “Gontaro Nabe.” “Gontaro Nabe” is a set

Finally, he came to me discuss his plans for the future after he was ready with aof dishes made for customers to enjoy nabe or hot pot. Each and every ingredient

blend of tea he was happy with.

and condiment is polished and refined to provide the best taste possible.
It has ingredients such as, Namafu (A wheat starch product high in protein and[Jinwari Detox] from the Japanese galley

often a replacement of meat in old Kyoto cuisine), Skewered Ginko Nuts, Scallops

46

and many others. Thanks to the Kyoto cuisine culture for refined dashi (Japanese

He was able to do everything by himself thanks in part to his experience working insoup stock made from fish and kelp), their stock is extremely delicious. “Gontaro

Kyoto. From online shopping, sales, complaint handling, management, and market-

Nabe” is a premium product that is worthy of its high price. I have even bought iting, all these skills and experiences proved vital for honing his skills and abilities in

at times as gifts for people to whom I am indebted.

setting up his business.

Due to certain circumstances, he had a difference of opinion with the company’s

He even names his own products.For example, [Jinwari Detox],[Kekkou Megu-

president and resigned. Following that, for some reason, he moved to Niyodoga-ru], [Nuku Hoka Ginger] and many others. Each and every item had an interesting

wa Town. Up in the mountains at around 750 meters above sea level, and living

name, I was speechless. (laughs)

alone, he began harvesting his own home-grown herbs, before drying and blend-Also, he had discussed the tea blend with a famous head chef in Kyoto. The chef had
47some comments for using the tea as a palate cleanser for his Kaiseki cooking.
The discussion on the phone was quite interesting with sentences such as, “Holdback on the acidity for Jinwari Detox” or “re-arrange the Kekkou Meguru.”
After these discussions, the result was to re-think the names. We talked about it,
and he thought about it. After a while he just yelled, “Let’s stop with these complicated names! I’ll have a think.” One product had Yuzu in it, so it became [yellow](the colour of yuzu). The other had ginger, so it became [gingin]. There were 8
products, and with these easier names we restarted the project.
Items without the Tosa gene won’t sell.

I went to Tokyo in November 2015 for the NPO River event. There I met with theChief Editor for the [Hobo Nikkan Itoi Shinbun] website. (I’d been meaning to meet
him for ages)
While we were talking he said something interesting; “When Tokyo designers try
and think locally with their designs the results are a little weird."
A very popular designer would design something for a local business and it wouldn't
sell. He mentioned that items without the “Tosa gene” wouldn’t sell.
The staff at [HoBo Nikkan Itoi Shinbun] would continue to collect data on a productfrom its production until completion. After that they would spread its charm andbeauty alongside the message from the Chief Editor. Then the item would sell.
From October, [tsumikusa blend tea] will be one of the products covered by [Ho Bo
Ni]. It was due to chance that the product was passed on from the staff to the Chief
Editor to write about. Somehow the tea was given to his wife (a popular celebrity) todrink, instead of the editor who dislikes herbs. She was astounded, "What wonderful tea!" and that was how it started.
Of course there was no guarantee that the item would sell. But, thinking normallyfor everything is bad. Everything starts with an unexpected surprise.
On the back of all [tsumikusa blend tea], you can find the [84] (Hachi-yon) logo. It
started as part of a chance meeting for the 84 projects. It’s because they’re madeusing herbs, plants, and ingredients harvested from the 84 forest.
A project that shines from the deep dark [Hachiyon~](a local dialect referring to thedark forests) woods, and spreads from person to person quickly.

48

49

Extra by Yukinori Dehara

第九回

Episode 9. [ Drink with whose money? ]With whose money would you drink with? With your own, of course. That's common sense. But
there are times when that isn't true. In other words, when drinks are bought for you by another. For example, drinks at a reception, when a colleague buys you one, drinks when someone
asks a favour from you, and of course drinks given with thanks. Alcohol is great in many situations and circumstances. Even in situations when the alcohol is also handing over financial
benefits. With just one sentence, "Today's drinks are on me" the hall fills with harmony andpeace, a time of great appreciation flows. I've had my fair share of free drinks in my life, but you
just can't beat a smooth gentleman skilfully shouting people drinks. It requires just the rightability to get it right. In a place of alcohol, just making one mistake when pulling out the cash
or payment can be the difference between heaven or hell. Here's a little story. It was when I
went drinking with an old classmate who was working for a foreign insurance firm in Tokyo. Hiscolleague met up with us later in the night, but as we were heading out, he said, "Dehara, you
don't have to pay as it must be hard on your finances." It was an awful feeling and I could clearly inference 'you're a freelance artist so you must be poor' from that sentence. On the other
hand, I cried from my heart as when I first started off as an artist I was clearly poor. After a small
exhibition, a junior colleague and I went for a drink together. I had not made much that day
and was about to pay when he simply said "pay me back after you are famous" and took thebill and paid. I cried with gratitude that day.
Idealistically speaking, there is no reason that the person treating should be any more distinguished than the person receiving in any way. There is no fun drinking with those people who
expect, 'I'll pay for your drink so now you have to listen to anything I want to say to you.' My
beloved seniors have always said the following, "Jyunguri-yaki (It's taking turns)." It holds a
deep and heartfelt meaning, 'don't worry, just remember about all these drinks we bought foryou and, when it is your turn, buy your juniors their drinks.' Next would be to pass the favour
along... I suppose in other words, 'Pay it forward' as they say in English.
For myself, I'm in the age group and stage in my life where I have to start paying it forward. I
wonder if I am properly doing my part in 'Jyunguri'...?
50© DEHARA YUKINORI

Yukinori Dehara
Born in 1974 eating bonitos in Kochi and raised with beer.
Yearly consumption of beer = 300 Liters. Designed「きの山さん」(Kinoyama-san) of popular Japanese candy,「きのこの山」(Kinoko-no-yama), as well as various others for Nike, NEC, Tower
Records Asics Europe etc. Creates about 300 figurines a year andis a Tourism Ambassador for Kochi Prefecture.

51

How to use it$¥

Requirements
1. Over 18 years old
2. Japanese Driver's License or
3. International Driving Permit (IDP)

1. access “DoSPOT-FREE” on device
2. open browser
Kind of a currency
3. accept “use policy”
4. input your mail-address
handling
5. receive a message
Shikoku Bank : USD, CAD, GBP, HHF, AUD, 6. input “authentication code”
NZD, HKD, DKK, NOK,
7. it’ s available !
Kochi Bank :Ehime Bank :Mizuho Bank :Kochi Prefectural
PoliceHeadquarters

In japan, there’re more than 26,000
Japan Post Bank ATMs available inlocal Post Office, shopping center andstation. You can draw Japanese Yen
in cash by a card published abroad.

http://www.jp-bank.japanpost.jp/access/access_atmcd.html(link at Japan bank instituion of partnership POST BANK)

NoticeSome Maestro cards with IC chips
are temporarily unable to makewithdrawals at all ATMs locatedin Japan.

52

Kochi Eki-mae
Tram Stop

Kochi Castle

Kochi
Police Station
Toyota Rent a Car

Marunouchi
High School

OtemaePark

HiromeMarketHasuikemachi-doriTram Stop

Obiyamachi Street

Kochi International
Association

Police Box

Obiyamachi Park
Kochi Honmachi

Chuo Park
Kencho-mae
Tram Stop

Nippon Rent a Car

Otesuji Street
Kochi
Daijingu
shrineATM

Kochibashi
Tram Stop
Times Car Rental

Joto Park

OtemaeHigh School

Kochi
Prefectural
Library

Kochi
Prefectural
Government

Kochi City Hall

Orix Rent a Car
Nissan Rent a Car

Kochi
Literary
Museumhttp://www.jp-bank.japanpost.jp/en/ias/en_ias_index.html(link at International ATM Service-JAPAN POST BANK)You can also use any of several Japanbank cards which have partnerships
with Japan Post Bank.

Kochi
Station15 min / once, 4th / day
Network: IEEE 802.11 a/b/g/n

Josei ParkJapan
Post Bankank
can usevarious cards“VISA, VISAELECTRON, PLUS,
MasterCard, Maestro, Cirrus,
American Express, Diners Club, JCB,
China Unionpay , DISCOVER”

can be made by credit card or
sometimes by cash

Notice

SEK, SGD, EUR, KRW

USD
USD
USD, CAD, GBP, AUD,
EUR,SGD, HKD

Payment

Kochijo-mae
Tram Stop

Ohashi-doriTram Stop

Horizume
Tram Stop

Daimaru
Department
Store
East Bld.

Kochi Harimaya
Harimayabashi
Elementary
SchoolHarimayabashi
Harimayabashi
Tram Stop
Dentetsu Terminal
Bld. Tram Stop53