Stencils and indigo

Last Saturday we held the Katzome workshop with Tyler Peterson, textile artist. It was a cloudy overcast day which was a relief from the triple digit weather we have had over the past week.   After Tyler introduced himself he talked about how katazome (stencil resist ) is used in kimono and other clothing.  He showed us some photos of his work

We talked about making the resist paste with recipes and sources, and then we got to work hands on by helping him make a batch of paste.  The ingredients were mixed and formed into a doughnut shape and put in a steamer to cook.  While the paste was steaming, we took a look at some historical stencils, modern adaptations of stencils,  books of stencils and Japanese motifs. Tyler then gave us the opportunity to draw and then cut our own stencil designs using mylar and x-acto knives.  Everyone had a chance to show their creativity.  Big, bold, or cute or delicate, traditional or modern. While we were working on our designs and stencils, the paste was cooked and Tyler showed us how to add the other ingredients and and using the suribachi (Japanese mortar and pestle) to grind the paste and incorporate the ingredients and finally thin it to a good consistency.

When the paste was ready he showed us how to squeegee the paste through the stencil so that the patter came out on the cloth.

We hung the cloth to dry the paste.  Meanwhile, Tyler talked with us about indigo dyeing.  He had two vats, one natural indigo and synthetic. Keeping a vat going means feeding and caring for it.  Things that I did not know about is that indigo is the only natural vegetable source of blue color, and that the dye lays on top of the cloth, not penetrates into it.  So you can layer indigo through several dippings to get darker colors.  Also like blue jeans and denim the color can also flake off and run. 

When indigo comes out of the dye vat, it is this greenish color but  we dipped it in water to reduce the oxygen it turns that beautiful brilliant blue.  Subsequent dippings can make it darker and longer times in the vat you also can get ombré effects by how slowly you dip and take out the cloth. To dip the cloth without gloves, we used these thin bamboo sticks that have a needle in each end.  The bamboo is flexible so you can bend them and attach them with the needles to make handles to dip the cloth. Again, the cloth comes out green, but dip it in the water and it gradually turns blue.  Magic!

When the stenciled paste was dry we got to try our own hand at making handles, and dyeing.  Once the cloth is dry, you can soak it in hot water to remove the paste.  Here is my finished piece.  I wonder what I can make with it — a handbag?

Permanent link to this article: http://issoantea.com/stencils-and-indigo/

Katazome workshop

Please join us for an introduction to Katazome workshop with textile artist and instructor Tyler Peterson. Fee $35 covers materials. To sign up see Margie or use the paypal button on the right to reserve your spot.  Registration is very limited so sign up early.

Katazome is a surface design process used for centuries in Japanese textile decoration, especially with cloth destined to become kimonos. For centuries artisans created a resist paste made from a rice flour mixture and applied this paste to cloth through the use of elaborately hand carved stencils. Wherever this paste is applied will resist the dye, creating a pattern. Traditionally Katazome is paired with indigo to create the iconic white and dark blue of many Japanese textiles.

During this 3 hour crash course we will dive into the basics of katazome. We will cover the preparation of the fabric and the resist paste, the making of stencils, the application of the paste onto fabric, and the dyeing of the fabric in a natural indigo vat. Along with having access to vintage stencils from Japan we will also discuss advanced forms and non-traditional DIY methods that one can use at home.

Tyler Peterson is an artist and educator based in Portland, OR. He graduated with his MFA in Applied Craft + Design and was awarded the program’s 2015-2016 Fellowship position. He has shown work in Oregon, Colorado, and Tennessee and recently finished a residency with c3:initiative and Pulp & Deckle. Since 2014 he has been an instructor for WildCraft Studio School teaching classes on natural dyes and traditional Japanese textile processes. You can see examples of his work at the Jasmine Pearl Tea Shop, 724 NE 22nd Ave., Portland, OR 97232
http://www.surfacedesign.org/hybrid-transitions-a-modern-take-on-katazome-by-tyler-peterson/

 

Permanent link to this article: http://issoantea.com/katazome-workshop/

Gathering of the tribe

That is what my husband calls tea events, whether it is Hatsugama, an anniversary celebration, a koshukai, a convention or a large chakai, we get together with other chajin and enjoy tea, sweets and company of our kindred who understand “that we are the lucky ones whose hearts were stolen by tea.”

Recently, I had the good fortune to attend the Wakai 35th anninversary event here in Portland last month.  It was held in the famous and newly renovated Portland Japanese Garden.  Even though the temperatures soared, the garden was much cooler for the abundant shade trees and higher elevation above the city. I loved the toriawase in that some of the utensils were those I had studied with Minako sensei and had not seen since she passed away.

There were two seki,  Usucha and Koicha.  The Usucha seki was held in the large pavilion inside the garden and it was air conditioned.  This lovely pavilion overlooks the city of Portland in a picture postcard framing with Mt. Hood in the background. The Koicha seki was held in the lovely Kashintei tea house in the lower part of the garden. Kashintei was built in Japan in the 1960s, taken apart, shipped to the U.S. and reassembled on site. It uses traditional building techniques of joinery and wood pegs — no nails or screws.  It is a yojohan, 4 1/2 mats and built as a presentation space so it has an area for chairs for people to observe what is going on in the tatami mat space.

The new part of the garden, designed by Kengo Kuma and dedicated only this April, consists of a large open plaza, buildings housing offices, library, the Japanese Garden institute, gift shop and tea cafe.  There is also a bonsai terrace and soon to be a chabana garden. While the anniversary events were going on, the Behind the Shoji gift exhibition was going on featuring Japanese and Japanese inspired art and crafts.

After the Japanese Garden events, there was a banquet at the Chart house with a lovely view of Portland and the Willamette river. I especially appreciated that the organizers of the event had mixed the seating arrangements so that our table mates were from different places and we introduced ourselves to some people we had not met before.

I think it is wonderful that so many people get to travel to see other people to renew acquaintances, see old class mates, meet people in person who they have only met on online, and meet people for the very first time. We all share a love for the way of tea, and there is no explanation needed for how long it takes to study how to make tea, or why you want to dress up in silk to sit on your knees until your legs go numb. Indeed is a gathering of the tribe.

“In tea, there are no strangers.”

*Sorry for the blurry photos

 

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An evening with Margaret Chula

An Evening with Margaret Chula, Internationally recognized Haiku and Tanka poet

Please join us Monday July 24th, for an evening with Maggie Chula. She will discuss haiku, tanka, senryu, and haibun and also read from her own work. At the end she will encourage students to write their own poems. She will also have some of her books of poetry for sale. Tea and sweets will be served. Seating is limited. Please sign up with Margie, or go to: Issoantea.com

Margaret Chula lived in Japan for twelve years where she taught English and creative writing at universities in Kyoto. Her books include Grinding my ink (Haiku Society of America Book Award); This Moment; Shadow Lines (with Rich Youmans); Always Filling, Always Full; and The Smell of Rust. She has published poems in Prairie Schooner, Kyoto Journal, Poet Lore, America’s Review, and Runes, as well as in numerous haiku journals around the world. One of her haiku appears on Itoen tea bottles sold in stores and vending machines throughout Japan. Her one-woman performance of Japanese women poets (“Three Women Who Loved Love”), premiered in Krakow, Poland in 2003 and toured to Canada, Japan, and the U.S. From 2010 to 2013 she was Poet Laureate for Chamber Music NW.

Margaret lives in Portland, Oregon, where she continues to teach and give work- shops at universities, poetry societies and Zen centers. Grants from Oregon Literary Arts and the Regional Arts & Culture Council have supported collaborations with artists, musicians, photographers and dancers.
http://margaretchula.com/

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Making a good bowl of koicha

During koicha temae, the teishu asks the shokyaku “Ofukukagen wa ikaga desu ka?” How is the tea.  Of course out of politeness, it is always “Kekko desu, or Taihen kekko desu” It is good and sufficient.  But we need honest feedback in order to improve how we make koicha.  One of my students told me at class the other day, “Sensei, I am not sure I know what a good koicha is. Can you tell me how to make a good bowl of koicha?”

To answer this question, I looked at the Rikyu Hyakushu, 100 Rikyu poems* and found three that relate to this. I have included several of the translations I have come across:

濃茶には湯加減あつく服はなお泡なきようにかたまりもなく

Koicha ni was yukagen atsuku fuku wa nao awa naki you ni katamari mo naku

  • For koicha, have the water temperature hot, and make tea so that there is no foam nor any lumps.
  • When making koicha, the water should be hot, and no foam or lumps should form

So this is straightforward practical information.  We can control the temperature of the water if we can control the heating source (charcoal or electricity). We know that the water is the right temperature when we hear matsu kaze or the sound of the wind in the pine. To make tea without foam, the rhythm of the strokes of the chasen must not be too fast, and taking time to knead the tea well (not whisk) should eliminate the lumps. It also helps if the tea powder is sifted before putting it in the chaire.

とにかくに服加減を覚ゆるは濃茶たびたび点ててよく知れ

Tonikaku ni fukuno kagen wo oboyuru wa koicha tabitabi tatete yoku shire

  • To learn how to make good koicha, you must make it time and again and make a good sense of it.
  • The best way to learn how to make good koicha is to make it many times.
  • The best way to remember how make good koicha is simply to make it frequently. Experience is the key.

So okay, making koicha a lot will help you learn how to make good koicha.  I suppose if you make koicha a lot, say 100 times, and each time it is different, then you have an experience base of 100 different bowls of koicha to choose what is best. However, if you are not drinking the koicha you are making, how do you know what is the best koicha to choose.  It doesn’t help if your guest tells you each and every bowl of koicha you made is good and sufficient either.

濃茶には点前を一筋に服の加減と息をもらすな

Koicha ni wa temae o hitosuji ni fuku no kagen to iki o morasu na

  • For koicha, spare the temae and focus on tempering the tea and not letting your breath escape.
  • When making koicha, discard ceremony and pay attention to making good tea and regulate your breathing.
  • In serving koicha, forget the ceremony and keep your attention on making good tea. Do not lose the rhythm of your breathing.
  • When making koicha, discard all notions of temae and procedure. Proceed to prepare the portion straightforwardly, and without any breaks or pauses.

This poem is rather unhelpful in making good koicha as well.  Making good koicha is a goal, and to do it you don’t have to necessarily follow temae procedure or worry about mistakes, but pay attention to making it good and regulate breathing, without any breaks or pauses. Uh-huh. I want to make good koicha and I am paying attention to my breathing and making it without any breaks or pauses.  Guests still tell me it is good and sufficient, but how do I know?

One thing I have learned on how to make good koicha, is to drink a lot of koicha. Everyone will have his/her own preference of how they prefer to koicha. You have to drink a lot of koicha to compare how you like your koicha. It also is important to understand where you are in the order of drinking koicha in that the first guest’s tea will be different from the last guest’s tea. Different blends of koicha from the same tea company will taste different, and different tea companies will have a different flavor.  Also year to year, like wine, the same named tea will taste different.  Sometimes memory, location, humidity and any number of other things will influence how the tea tastes. For example, I had a tea named Hikari when I was in Kyoto, but when I found it and ordered it in the U.S., it didn’t taste anything like I remembered it.

So let me tell you a few things teachers have told me on how to make a good bowl of koicha:

Sensei says:

  • Of course you should use higher quality tea to make koicha.  Because the flavor of koicha is concentrated, if you use lower quality tea and it is bitter, the flavor of the koicha will be especially bitter.

So yes, I have tried to make koicha from lower quality matcha and yes, it is all the more concentrated than if I had made usucha with it.  Sometimes, too, the foam from usucha will make it creamier and may disguise bitterness.

  • When making koicha, pour in 80% of the water you need for the first kneading. Make sure all the lumps are gone, then put in the final 20% and quickly mix to the right consistency.

So here is some more practical advice.  Put in 80% of the water you need the first time around.  This will help in making sure you have sufficient water to knead the lumps out of the tea. If you do not have enough water, it will be so thick that it sticks to the chasen and the sides of the bowl and makes it difficult to knead. I know I have not put in enough water, and have developed the dreaded hard ball of tea in the center of the chasen. No matter how much you try to get it out or how much second water you use, it will just stick in there and get harder as you knead the tea.

  • To make good koicha, you must knead it at least 100 strokes

Sometimes it takes more than 100 strokes.  I went to an intensive one time and the instructor told us that we should take the time to knead the tea to bring out the true flavor of the koicha.  Quite often she said, we hurry through this part of making tea, and the tea doesn’t have time open up. I also have my own theory about taking time to knead the tea well.  Sometimes when I drink koicha it has a grainy texture to it.  But if the tea is kneaded well it is creamy and silky on the tongue. My theory is that by not taking the time to knead the tea, the dried matcha has not had time to hydrate and so remains grainy. But if it has the time to hydrate, it has a different texture.

So a few more tips of my own on making good koicha. You can experiment on your own to see if they are practical for you.

  • Pour enough water in the bowl so that the tea floats.

This is practical in that it doesn’t matter if you are making tea for 2 people of 5 people. Put enough water in the bowl so the tea just begins to float before you begin to knead. Some people knead in a parentheses manner ( ) to keep the tea in the bottom of the bowl without it crawling up the sides.  Other people knead in a W or M manner back and forth across the bowl. In either case, pay attention to the front of the bowl nearest you because that is where the tea likes to hang out and form lumps. Make sure your rhythm is slow enough so there is no foam. As you knead, it seems like the tea is getting thicker, because it is. The tea is cooling as you knead it.

  • When the tea is getting ready to serve, the texture will change, and the fragrance of it will come up into your face.

The texture will start to become smooth and shiny.  You can almost feel the difference in the resistance of the chasen as it changes if you are paying attention.  And suddenly, you will be able to smell the fragrance of the tea.  Now is the time to put the second water in the bowl and mix it quickly to the right consistency.  This is practical if you are making tea in a dark room in a black raku bowl and it is hard to see what is going on with the tea.

  • When you lift the chasen to add the second water, look at the consistency of the tea in the bowl, and how much is coating the tines of the chasen.

This is your chance to add hot water to warm up the tea again, and to adjust the consistency.  If you make koicha to the perfect consistency when you put it out for the shokayku, it is too thick. The tea will cool and get thicker for each subsequent guest until the last guest may not be able to drink it by the time it gets to him/her. Practically speaking, the tea must be thin enough for the last guest to be able to drink it, but not too thin.  The first guest will have a hotter, thinner bowl of tea than the last guest.

  • When the bowl returns to you, look at the coating inside the bowl as you bring it in.

This is for your own experience and information. If there is no tea sticking to the sides of the bowl, then probably the tea was too thin. If there is a thick pudding of tea left, then it was probably too thick.  I like koicha to come back with a coating of tea on the sides that looks like an interesting landscape.

I have recently asked students who are making koicha to make enough for one extra guest, and then join the guests to drink their own koicha as the last guest, so that they know what it is like for the last guest to drink their koicha. Some people prefer thicker tea, some thinner. Some students like to be the first to drink, some prefer to be the last. I think these preferences are all good, and it helps to know how your guests like their tea.

I hope this helps you make a better bowl of koicha. If you have further tips on making good koicha, please add them in the comments.

*For more on Rikyu’s 100 poems please see these posts:

June 10 2011
June 16, 2011
July 8, 2011
July 22, 2011
Sept. 9, 2011

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