Tokyo Animals andToshiki Yashiro
NoStraightPath:HowOneDesignerFoundHerWayinto Japan’sFashionScene
ATasteofHomeIsJustAroundtheCorner
HowTwoLocalNaraSchoolsEncourageEachOther ThroughEnglishExchange
UisceCoffee:TheHokkaidoCafeWhereWaterMeets Coffee
70 ToTravelinInterestingTimes 75 OldTraditions,NewHeights:Saitama’sRecord-Breaking HinaDollPyramid
HEAD EDITOR
Mike Taylor
Punch a whale. Their smug aura mocks me.
ASSISTANT HEAD EDITOR
Brooklyn Vander Wel
Go to the South Pole and see OG penguins in the wild!!
ADMIN ASSISTANT
Dianne Yett
Best bucket list item I can come up with is seeing all of my favorite jay species. I’m onto you, Steller’s Jay.
HEAD DESIGNER
Renee Stinson
Noto is one of the few places left in Japan with an unpolluted view of the night sky. I want to go up there one day just to see the Milky Way as it was meant to be seen!
ASSISTANT HEAD DESIGNER
Taylor Sanders
I have a whole goal list but one on my bucket list in the future is to make my own rave clothing, plushies and sticker collection!
SECTION EDITORS
Maritza De La Peña
As a self-proclaimed 乗り鉄 (train-riding enthusiast), I dream of someday doing a longdistance 6-7 day train trip.
Kianna Shore
Allegra McCormack
Visit Hokkaido and see an ezo momonga in person.
Úna O’Shea
Someday, I will get around the climbing the three holy mountains (三霊山). Ideally soon as I live between two of them.
Sophia Maas
Ride the Shimanami Kaido on a bicycle before I leave Japan!
Tori Bender
I’ve wanted to visit the UK since I was a kid. I would love to stay there for a while and do some painting in the countryside.
Chantal Gervais
Visit Yakushima! RIP Jomonsugi.
Sabrina Greene
Visit the Alphonse Mucha museum in Prague. Also get a tattoo – I want to Become The Art.
Kalista Pattison
Visiting all Seven Wonders of the World is high up on my bucket list and hopefully something I can make happen in my lifetime!
Joseph Hodgkinson
I would love to try omakase (chef’s choice) sushi!
Jón Solmundson
I’d love to get a novel published one day. Just have to actually finish writing one first!
ARTS EDITOR
Sophia Maas
Ride the Shimanami Kaido on a bicycle before I leave Japan!
ARTS DESIGNER
Indy Inoue
I’ve always wanted to freelance or start my own business.
ARTS COPY EDITOR
Aidan Koch
Hike in the Himalayas.
CULTURE EDITOR
Joseph Hodgkinson I would love to try omakase (chef’s choice) sushi!
CULTURE DESIGNER
Taylor Sanders I have a whole goal list but one on my bucket list in the future is to make my own rave clothing, plushies and sticker collection!
CULTURE COPY EDITOR
Zoë Vincent Visit Yakushima.
or 30 years, Esteban Martinez has 書道 (shodou), Japanese calligraphy.
“The aesthetic: how the characters look. The energetic feel of the characters. The strength. The fluidity. [Shodou] is an art of words,” he says. “We are writing something that means something. It’s not abstract. ‘This says this.’
Almost every child in Japan studies the fundamentals of calligraphy in elementary school. There, they learn the eight basic brush strokes, proper ways of sitting and moving the brush, and the specific order kanji must be written in.
As a young teen in Puerto Rico, Esteban learned none of these things. On a summer training camp to Chicago to study the Japanese martial artAikido, the master gifted him some calligraphy. “The moment I saw it, I thought ‘This is really cool. I have to learn how to do this,’” Esteban recalled.At a small Japanese souvenir shop nearby, he bought some basic supplies and a kanji book, then spent ten years self-studying and trying to replicate his teacher’s work. In that time, his family moved to Rhode Island.
He says, “eventually, one day, I just realised that the things I was writing weren’t very
good. I’m looking at what I’m doing, looking at other examples. . . By this point, things were more available online. I was able to buy some English books about calligraphy but it just never translated into what I was doing. So I set out to find somebody who would teach me the basics.” In the end, he was able to meet a local Japanese woman who helped him learn.
“She just taught me the basics: how to hold the brush, the different types of strokes, how to put things into a ‘grid.’ All things I’d never heard before. That’s when things really shifted. I was able to add all the practicing and self-studying to what I was learning, so now I was getting actual technique to go with it.”
Shodou has been practiced for more than 3,000 years, originating in China as pictographs. The art as it’s known today arrived in Japan alongside Buddhism in the sixth century.At the time, Japan didn’t have a writing system, so Chinese characters called kanji were adopted. Over centuries, the phonetic hiragana and katakana systems were invented domestically and new kanji were added. Shodou has had a consistent connection with Buddhism through its history, being seen as an essential element in understanding Buddhist teachings, in 'centering” oneself, and as a form of mental discipline.
At his school, Goshitsu Shodo, Esteban says he prefers teaching his students a more relaxed and expressive approach to calligraphy compared to the schools most would find in Japan. There, he says, they value technical skills—how well the work of historic calligraphers is emulated, the precision and correct angles of brush strokes, and the appropriate proportions of the characters.
But Esteban says the ability to express is what draws people to calligraphy, “I don’t focus on [technical skill]. I focus on things through the lens of art—it’s subjective. When you do art, you have to find the line where you can still say ‘That doesn’t look good because it’s lacking technique’but, at the same time, it’s also expressive. When Japanese people say it looks very free, that’s your own expression and your own personality coming through.”
One of the most important elements of shodou is that the piece is completed in only a few short moments. The characters are a snapshot of a moment in time, completely unique. Esteban says “I could take months on a painting, but calligraphy is one-and-done in that moment. It can get frustrating because you don’t get to fix it when it goes wrong. You only get better by doing the same [composition] over and over, then working on the flow of the brush and, at the same time, understanding the expressive nature of [what you’re writing].”
From top to bottom, block style (kaisho); semi-cursive, (gyousho); and cursive (sousho).
Background Image by efe_madrid on Freepik
Shodou has three main styles of writing: block style (kaisho); semicursive, (gyousho); and cursive (sousho), the most visually striking and hardest to read. It’s also the one everyone wants to do.
“It’s kind of funny because, in classes I teach, we have to almost hold people back. In Japan, the emphasis on technique is almost academic. [Westerners] want to go crazy with a brush. They want to do cursive. Japanese teachers don’t really care about cursive. They want you to do specific block script as perfectly as possible. You have to find a happy medium. I get why people want to do cursive. It looks cool. It’s pretty and it has the most energy, but you can’t do it unless you learn the block script first.”
To those starting out, the equipment that comes in a basic calligraphy “set” can appear quite intimidating. Usually, there are a number of brushes called fude in various sizes. Special paper, hanshin, sometimes called rice paper, is placed on a felt mat. This mat stops the ink from bleeding through to the table surface. While writing, the paper is held down with blocks, typically made of wood or metal.Aspecial type of ink called sumi is kept on an ink stone. Professional calligraphers will grind their own block of ink into powder and mix it with water but, for beginners, Esteban says you only really need two things.
“The only two tools which are really indispensable are the brush and the ink. You cannot do calligraphy without those two. Besides that, you can use newspaper, regular paper, whatever. The ink won’t take the same, but that doesn’t matter. You’re just making dots and lines. You’re not going to make a masterpiece yet. Start with learning the strokes. Everybody wants to write a character straight away but you need to learn the strokes. From there, things can move on.”
Finally, Esteban says that it’s always important to remember and respect the rich history and traditions of shodou. He says, “My goal has always been to promote the art. I’ve always been very aware that it’s important to respect the origin and culture and what it means, then try to bring that to a different set of eyes. I’m just trying, to the best of my ability, to teach it in an honest way. It’s maybe not traditional, but it’s honest.”
Mike Taylor is a JET alumnus based in Kanazawa, Ishikawa. Originally from Scotland, he spends most of his time longing for Irn Bru, Tunnock’s tea cakes, and a good breakfast with plenty of baked beans.
By Sophia Maas (Saga)
When asked what to consider before starting koto, Ruriko said, “In my opinion, I don’t think you need anything. You might really dislike that answer, but I really think it to be true. Why I think so is because I had that experience when I discovered koto. Not knowing anything will help prevent the development of fixed ideas that might get in your way. While it can be fine to research it on your own, just jumping in and trying it is sometimes the best option.”
However, there are definitely some things that make starting koto highly dependent on location and resources. Depending on the location, the price of learning with an instructor can either be negligible or prohibitive. In a smaller prefecture like Saga, it can cost around 10,000 yen a month, for an average of three lessons, and around 5,000 yen a month to rent the koto itself. In general, the price can vary greatly, from 7,000 every month to 10,000 per lesson.
So, unfortunately, sometimes it is not as simple as jumping into learning a new instrument, but for many people the experience is well worth the price. Ruriko pointed out that, “Anyone can learn how to play music, even on their own nowadays,” but she felt that parts of the koto experience are lost if not learning from an instructor—a connection to the heart of the art form.
Joseph Hodgkinson (Hyogo)
Japan’s haunted locations are steeped in history and folklore, luring the curious and the brave alike. But how did these places gain their ghostly reputations? What stories cling to their shadows, and what awaits those who wander into them?
Disclaimer: This article is for informational and entertainment purposes only. We do not encourage or endorse trespassing, vandalism, or any illegal activity related to visiting these locations.
Imagine you’re deep in an ancient forest, with towering cedar trees shrouded in a cold, swirling mist. Each step takes you along a moss-covered stone path, flanked by weathered gravestones blanketed in green. Samurai, monks, and longforgotten souls rest here, their stories etched in stone and time. Then, a faint whisper cuts through the silence, sending a chill racing down your spine. You stop,
holding your breath, unsure if it’s the wind—or something else. Nestled in the mountains of Wakayama, Okunoin (奥の院) is Japan’s largest cemetery, home to over 200,000 graves, including that of Kobo Daishi, the founder of Shingon Buddhism. Legend has it he remains in eternal meditation, awaiting the arrival of Miroku, the Buddha of the future.
Visitors report strange occurrences: flickering lights, sudden chills, and an eerie sensation of being watched
Guided night tours through Okunoin offer an unforgettable glimpse into this mystical and haunted site.
The Inunaki Tunnel (犬鳴トン ネル) is an abandoned passage located deep within the Inunaki Pass. Built in 1949 to connect the cities of Fukuoka and Nogata, it was abandoned after the construction of the New Inunaki Tunnel in 1975. Over time, the old tunnel has become a nexus of paranormal activity. Some say it is haunted by workers who died during its construction, their restless spirits lingering in its walls. More chillingly, it was the site of a brutal murder in 1988, where a young man was killed following a failed car theft.
Beyond the tunnel is said to lie the Inunaki Village, a place where outsiders who enter rarely return.
Visitors to the tunnel have reported hearing disembodied voices, seeing shadowy apparitions, and feeling an oppressive chill. According to legend, signs at the village entrance warn, “The laws of Japan do not apply here.” However, there is no evidence that the village has ever existed. Today, the tunnel is sealed off, but its sinister reputation continues to attract thrill-seekers and ghost hunters alike.
Tucked away in the rural outskirts of Bibai City, Hokkaido, lies the abandoned Round Schoolhouse (円形 校 舎, Enkei Gakusha). This circular structure once served as a primary school but has since fallen into disrepair. Its unique architecture and desolate location have made it a magnet for ghost stories and urban legends. One legend involves a teacher who, during the school’s active years, mysteriously vanished leaving behind all her belongings.
While stories speculate about abduction or suicide, her supposed disappearance remains a mystery. Visitors report hearing the faint sound of children laughing, the distant notes of a piano, and disembodied footsteps echoing through the deserted halls. Paranormal investigators have described overwhelming feelings of dread, unexplained cold spots, and malfunctioning equipment. Officially offlimits due to safety concerns, the schoolhouse continues to draw those fascinated by its dark tales and haunting atmosphere.
folklore speaks of yurei— restless spirits bound to the forest, unable to move on.
At the base of Mount Fuji lies Aokigahara (青 木ヶ 原), a forest as beautiful as it is haunting. Aokigahara was formed over 1,000 years ago when Mount Fuji erupted, covering the area with lava. Over time, the hardened volcanic rock provided a foundation for dense vegetation to take root. Known as the “Suicide Forest,” its reputation is steeped in sorrow. Signs at its entrance implore visitors to seek help and reconsider taking their lives, but many have tragically chosen the forest as their final resting place.
Visitors describe an oppressive atmosphere, marked by an unsettling silence. Some claim to hear whispers carried on the wind or sense a spectral presence watching from the shadows. For those who visit, the forest offers unique hiking trails, stunning lava caves, and breathtaking views of Mount Fuji. However, due to its dense and challenging terrain, it is essential to stay on marked paths to avoid getting lost. Travellers should approach the area with respect, appreciating its natural beauty while being aware of the history that surrounds it.
Heights are unnerving enough without the weight of past atrocities and tormented souls. Courtesan’s Abyss, or Oiran Buchi (花魁淵), is a gorge located in Yamanashi Prefecture. During the Sengoku period (1467–1615), the Takeda clan operated gold mines in the area, employing courtesans, known as oiran, to entertain workers. After a devastating defeat, the Takeda abandoned the mines but feared the courtesans would reveal their location. To ensure their silence, the men staged a lavish party, inviting all 55 women to celebrate. Unaware of their fate, they danced on a deliberately weakened platform, which suddenly collapsed, sending them plunging into the gorge below.
Though historical records are scarce, the story has persisted as a local legend. Today, a bridge spans the gorge, offering stunning views of its rugged beauty. However, locals believe the spirits of the courtesans linger in the area, and many report hearing cries, screams, or singing near the gorge. Some also claim to feel an inexplicable chill when near the site.
Situated within the grounds of Himeji Castle is Okiku’s Well (お菊井戸, Okiku Ido), the setting of the famous ghost story The Dish Mansion (番町皿屋 敷, Bancho Sarayashiki). The tale tells of Okiku, a loyal servant tasked with caring for ten treasured plates. After rejecting the advances of the samurai Aoyama, he devised a cruel scheme to force her compliance. He stole one of the plates and accused her of losing it, demanding that she become his lover to avoid punishment.
When she refused, he flew into a rage and had her thrown into the well. Okiku’s restless spirit is said to rise from the well each night, stalking the halls of the castle and counting the plates. When she reaches nine, she lets out a heart- wrenching scream as she realises the tenth plate is still missing. Visitors claim to hear her anguished cries and feel an inexplicable sorrow when
From the moss-covered graves of Okunoin to the chilling depths of Aokigahara, Japan’s haunted locations provide a window into the nation’s rich history, culture, and folklore. Whether you believe in the supernatural or simply wish to uncover the mysteries of the past, these sites invite you to walk the line between the seen and unseen. Would you dare to visit?
Originally from London, UK, Joseph is a second-year ALT in Hyogo Prefecture who loves exploring Japan and immersing himself in its rich culture and history. Aside from writing, his interests include playing the guitar, volleyball, coffee, and retro gaming.
Okunoin.jpg
Inunaki Old Tunnel.jpg - Image by Pontafon (CC BY- SA 4.0)
Numahigashi Elementary School Building.jpg - Image by Sicemaster (CC BY-SA 4.0) Aokigahara Suicide Forest.jpg
Eye illustration: Png tree
Oiranbuchi.jpg - Image by mapplefan8 (CC BY-SA 3.0)
Okiku’s Well.jpg - Image by knhiraoka (CC BY-SA 2.0)
One of the most widely observed traditions is hatsumode, the first shrine visit of the New Year. Families and individuals pray for good fortune, health, and happiness in the coming year.
Another important custom is Shichi-Go-San, a festival in November for children aged three, five, and seven, where parents bring their children to shrines to receive blessings for their growth and well-being.
These rituals illustrate Shinto’s enduring role in marking life milestones and providing spiritual reassurance.
Purification is another fundamental aspect of Shinto practice, aimed at removing spiritual impurities. Dr. Okuyama shared her personal experience of participating in misogi (water purification), where she and other women chanted under a waterfall. “The power of the water was so strong, I thought it would break my neck,” she recalls. “You have to stand still and believe in what you are doing—if you hesitate, you might injure yourself.”
Unlike many Western religions, Shinto is not exclusive, and most Japanese people participate in multiple religious traditions. “To them, religion is something pragmatic, something ritualistic, and something non-exclusive,” Dr. Okuyama explains. It is common for a single family to hold a Buddhist funeral, have a Christian wedding, and visit a Shinto shrine for
a baby blessing—all without conflict.
This pragmatic approach stems partly from historical trauma. The history of enforced State Shinto has contributed to a general wariness of religious exclusivity in Japan. Today, Japanese people continue to observe rituals without necessarily adhering to rigid theological beliefs.
Toshiki Yashiro, or “Tosh” as he introduces himself, is a filmmaker searching for a way to communicate in his own unique language. “What is that thing we use? Words?” Toshiki Yashiro smiles and leans forward, his face framed by long, streaming palm leaves. “Language is the limit of my world.” He reflects, “The limit of my language is the limit of my world. Words are there to express what you want to truly express, but it’ll never be enough for what you’re trying to say.”
Born in Kichijoji, Tokyo, Tosh moved to America with his family when he was in elementary school. He grew up in Boston, Massachusetts where he was far removed from the world he first knew. Each summer he would return to Japan, reuniting with family in the sweltering Tokyo heat. Eventually in 2020, he
moved back to Tokyo from New York. “I had set a goal for myself where I wanted to do three short films before I did my first feature.”After completing his grad school thesis film and award winning independent short film, Tosh set his sights on making his second short film in Tokyo. This would turn out to be his award-winning short film, Tokyo Animals.
Clocking in a run time of under eight minutes, Tokyo Animals is a story about brief moments and fleeting connections. Throughout the piece, viewers are introduced to several characters but two main sets thread the narrative together: two high school girls and a group of robbers. Their stories begin separately but eventually overlap and intertwine. Tokyo Animals conveys a feeling of forgotten memories being shaken loose by a mundane event.
Between Tosh’s works, he retains recognizable elements like a play between genres. This is evident in both his first film EMME as well as Tokyo Animals. EMME walks the line between experimental poetry and neo-noir, where it examines how to reclaim agency after being taken advantage of on a physical level. Tokyo Animals is a compilation of five vignettes, interweaving a story through seemingly unconnected segments. The format was specifically chosen to make fun of commercials.
“It would be moments that I just witnessed.” Instead, the director utilized the notes app on his phone and recorded moments and vignettes in paragraphs.
The two short films are worlds apart, yet both are strikingly his works. Two major principles are featured: never move the camera unless absolutely necessary, and remain steadfast on a limited color palette. Five colors to be exact. Tosh states, “[I] never let any more colors into the frame.” Within these guidelines, whatever happens next should do so only to benefit the story and project. While EMME was written in script format, Tokyo Animals took a different approach. “I never wrote a script,” he said, almost offhand.
Through Tokyo Animals Tosh asks the question, “When we strip away all the elegance from elegant society, what does that look like?” He found an answer while making this short film—a love letter to his hometown laced with sarcastic cynicism and sealed with a deeper optimism. Since returning to Tokyo, the filmmaker has taken note of the societal ailment that runs deep there. Wanting to discuss the unspoken rules, conformity, and unchecked consumerism of the city, he does so without words. Tosh explains, “Language becomes this thing that dominates everything creatively. The way people think, the societies, collective consciousness.” Instead, Tokyo Animals uses humor and moments of liminality to poke fun at a city that oftentimes takes itself too seriously. “There’s something about masking hard truths with comedy that feels disingenuous but honest at the same time.”
““Words are there to express what you want to truly express, but it’ll never be enough for what you’re trying to say.”
“No. 2 Lunch Break” is the shortest of the five stories told in Tokyo Animals. For Tosh this short story holds a special significance. He recalls a time when the driver caught his eye while he was sitting in the back of a taxi. The older man, maybe in his 50s, was listening to ‘90s hiphop—something Tosh is very much into. “When I was listening to him, ‘I was like, I should ask this guy about this song.’” But he held off, his reservations telling him no. This driver was too old to know the song and it must have been a coincidence.Yet when he thought about it, the ‘90s were 30 years ago. The driver was in his prime then, and also happened to be the target audience. Tosh admits, “I forget that people grow old.”
Specific points in time like this is what inspires Tosh creatively. “I like bizarre moments that evoke primal
emotions.” Sitting in that moment, he grappled with the dichotomy before him. On one hand, “listening to hip-hop is all about gaining control and agency and taking on the world.”Yet, he acknowledged that the driver is like a modern-day slave, existing in a world of service; driving a taxi in a literal cage. “The only moment of freedom he has is when he’s eating by himself, when he doesn’t have customers.” Where the two diverging thoughts meet is what he strives to capture. It’s what he wants to talk about without words.
In a cross between the styles of Wes Anderson and the Coen brothers, Tosh creates a space for the viewer to enjoy and reflect. “I’m interested in the absurdity of life and all the questions that might come with it.” Not all questions have answers and there is beauty in that ambiguity.
You can find more about Tosh and his works EMME and Tokyo Animals on his website here.
“I’minterestedintheabsurdityof lifeandallthequestionsthatmight comewithit.”
Chantal is the Entertainment Editor of CONNECT Magazine. She is constantly accused of walking too fast but remains steadfast that everyone else doesn’t walk fast enough.
Asspringbeginsandwesay goodbyetolayersofsnow,put haphazardlyawayourwintercoats,andshoveoursnowshovel backintothejunkcorner,it’stimeto startthinkingaboutoursummer plans.
Oneoftenoverlookedideaistogoto one(ormore)ofJapan'smanymusic festivals.Theretrulyissomethingfor everyone,whetheryou’reallinfor tentsandbugs,orifyoupreferaday tripfromthecity.Withsomany differentoptions,thedecisionis difficult.Forthatreasonwehave producedthisheavilyresearched, highlyreliable*testtohelpyou choosewhichJapanesemusic festivalisrightforyou.
Whatkindofmusic doyoulistento?
a.Whatkindofmusic DON’TIlistento?
b.Ilikepopbangers,I knowwhat'sbigandI’m partofthereasonitis big.
c.K-pophastakenover mylife.
Whatisyourideal party?
a.Goodpeopleand goodvibes,Ijustgo withtheflow.
b.Iwanttodance,I mywanttosingalongto favouritesongs.
I’mc.IfIhaveawatergun, havingfun.
d.Ineedspaceto mosh.
How do you feel about festival camping?
a. I like being in nature and waking up to the sun.
b. It is by far the worst part of festivals. I want the festival experience but I detest tents.
c. If I have a bed, why would I sleep on the floor? I deserve better.
d.Ilikeitloud.
d. Tents take too much time, I keep a blanket in my car.
Doyoulikewalking?
a. Of course!
b. I do what I need to do,IgowhereIneedto go.
c. I’m more for shortburstsofspeed.
d.Ipendulumbetween stoicstandingandwild thrashing.
b.a.Yes(andIliketrees) Yes(andIlikecities) Yesc.No(andIloveK-pop)or (butIloveK-pop) care)d.No,orYes(butIdon’t Go to the next page for results! 4 5 6 7 8 9
Doyouhaveanydietary requirements?
How do you feel about direct sunlight?
a. With the sun on my skin, and the wind in my hair, I’m reconnecting with the world.
b. I can survive anything to get barrier at a concert.
c. Love it at a pool party.
d. I’m partially nocturnal and spend most of my time indoors, so I wouldn’t know.
How do you cope with summer in Japan?
a. I escape to the countryside as often as I can.
b. I have every product or gadget imaginable to fight the heat.
c. Nothing better to cool down than a water fight!
d. I’m dedicated to the goth lifestyle and I won’t let something like humidity stop me from wearing my black t-shirts.
Doyouhavealotof money?a.No,butit’sbecauseI liketotravel.b.No,butit'sbecauseI spenditonconcerts. c.No,butit’sbecauseI keepbuyingK-pop albums.d.No,butit'sbecauseI don’tbelieveinmoney.
Do you like K-pop?
a. Sure.
b. If it’s a bop, it's a bop (and it usually bops).
c. Beomgyu is my son and I will die for him.
d. If it's loud and I can headbang to it, I’m in.
Sabrina Greene
Visit the Alphonse Mucha museum in Prague. Also get a tattoo – I want to Become The Art.
DESIGNER
Taylor Sanders
I have a whole goal list but one on my bucket list in the future is to make my own rave clothing, plushies and sticker collection!
FASHION COPY EDITOR
Katherine Winkleman
I want to have a somewhat unconventional pet, like a goat or a snake, when I settle down
Amery Castro (Yamagata)
Have you ever dreamed of working in fashion but couldn’t figure out how? Breaking into the industry is rarely straightforward, and for Aislinn, a Chinese-Canadian fashion designer based in Tokyo, the path was anything but traditional. She first moved to Japan as a JET Program Assistant Language Teacher (ALT) before transitioning into Tokyo’s fashion scene. From navigating international opportunities, unpaid internships, and visa complexities, her story highlights the unpredictable but rewarding nature of chasing a dream.
Like many designers, Aislinn knew from a young age that she wanted to pursue fashion. Her interests in Japan and fashion design blossomed in junior high school, when she attended her first anime convention. “I always knew I wanted to do something creative because I was really good with my hands,” she reflects. “Then, I watched this anime called Paradise Kiss. It’s about a high school student who becomes the model for fashion design students doing their own collection.”
However, life’s practical realities— financial constraints and parental expectations—had her take a detour. Instead of attending a conventional fashion school, she majored in Clothing and Textiles and minored in Design and Product Development at her hometown university. While atypical, it provided a foundation that ultimately proved valuable. “I think that a lot of fashion design students come out [of college] being able to draw well but not really understanding the overall business. The environment of fashion today isn’t the same as it was before. So, I think having that overarching view was better for me in the long run,” she says.
After university, Aislinn knew she needed more hands-on experience, so she sought out internships and small studio positions. Eventually, she took a leap and joined an intensive four-month program in London to refine her design skills. Though she considered pursuing a master’s degree at London College of Fashion, the high cost and uncertain job prospects deterred her. Instead, a conversation with a friend led her to an unexpected decision: moving to Japan through the JET Program. Aislinn explains, “I wanted to understand why my favorite Japanese designers inspired me so much.”
Sustainability also plays a role in Aislinn’s work. “At my current company, we have sample designs. You choose the design you want, and we make it to order, which I find really nice. We don’t have a set amount of inventory we’re trying to sell.” This method, which reduces waste, aligns with her interests in upcycling and repurposing materials. “I worked with a lady who upcycles kimono, so I think kimono fabric is really exciting because of how it’s made and how you can take it apart.” With the challenging and unpredictable trajectory of a fashion career, she took a flexible approach, exploring opportunities as they arose. This approach opened doors to a new side of the industry—one that focuses on craftsmanship, made-to-order clothing, and the hands-on work behind creating garments.
For those hoping to enter the fashion industry, Aislinn’s advice is simple but powerful: “Don’t be afraid to apply or reach out.” Whether it’s a job, an internship, or a networking opportunity, the worst that one can get is radio silence. But with persistence, even a handful of responses can lead to life-changing opportunities. “I got this job because I personally emailed [my boss] after finding him on Instagram. I think it doesn’t hurt to try. The most helpful thing you can try when looking for a job after JET is to reach out to as many people as you can,” Aislinn explains. “Because out of the hundreds [of emails] that you [send], you’ll get like 20 responses back.” Aislinn’s journey into fashion wasn’t conventional, but it’s proof that there’s no single path to success. By staying adaptable, seizing unexpected opportunities, and embracing the learning process, she has carved out a unique place for herself in Japan’s ever-evolving fashion landscape.
Amery Castro is an ALT in Yamagata Prefecture. She’s a Filipina American from a sunny southern California town who fell in love with the snow of Yamagata. She is an enthusiast for martial arts and (now) snowboarding. She enjoys fashion for enhancing natural features while also making herself feel and appear more powerful and fierce. Her core style is influenced by fantasy TV and video games.
By Sabrina Greene (Chiba)
Stepping into Around the Corner, you’d think the intimate burger joint was another world. Just outside is an unmistakably Japanese city: Choshi. Its aging streets whisper of more prosperous times gone by, and the sprawling Tone River offers a peek into Ibaraki Prefecture next door. But inside the shop, its proprietor Satoshi waits behind the grill with a twinkle in his eye and a ballcap on his head. Strewn throughout the shop are pieces of
Americana that seem out of place so far from home, like a bronze bust of John F. Kennedy and a massive tin gas station board advertising “Regular” at just $2.79 a gallon. Despite its specificity, Americana’s folk ruggedness and vintage aesthetic has an appeal that crosses borders.
“When I was 14, I went to LA for the first time,” says Satoshi. “I thought, wow. I’ve loved America since then, and I wanted to do a job that expressed this love. So, I opened Around the Corner.” His carefully developed menu features hard-to-find American staples: sixteen kinds of burgers, buffalo wings, buttermilk pancakes and waffles, a pastrami sandwich, and even a tuna melt. Satoshi never adds anything to the menu before he tries it in the States, aiming for the most authentic flavor. “Before the pandemic, I used to visit LA every year to get ideas. I spent most of my time there eating. Breakfast, breakfast, breakfast . . . lunch, lunch, lunch . . .”
But amidst his culinary adventures, Satoshi noticed something else at the restaurants he visited—the retro-style clothes. Everything from the souvenir corner to the staff members’ uniforms inspired him. So, he began to develop his own line of tee shirts, hoodies, and ball caps reminiscent of what he saw. Most of his designs feature Around the Corner’s flowing, thick-lettered logo incorporated with vintage Americana diner motifs—picture Route 66 highway signs, cartoonish burger mascots, and earthy primary colors. In others, he uses a cursive font to achieve a beachy freshness, perhaps inspired by ATC’s proximity to the Pacific Ocean. Not one to neglect the details, he swaps out the washing instructions on the tags for some sage advice: “Give it to your mom, she knows how to do it.”
Satoshi is far from alone in his appreciation for retro American style. As W. David Marx explores in his book Ametora: How Japan Saved American , the fashion connection between the US and Japan has gone through many stages of metamorphosis since the postwar years. It all started with Kensuke Ishizu, the father of fashion innovation in Japan. By the 1950s, his suit brand, VAN, had broken into the mainstream media with its high-quality garments. But to achieve true
success in the Japanese market, he had to do two things: convince a tailoring-obsessed public that ready-made clothing was desirable and find a way to appeal to youth. For this, “American Ivy” style, the East Coast version of Americana, proved to be the answer. Elite young people on the campuses of Princeton and Yale modeled just how suave a ready-made blazer, chino, and loafer could look. ¹,²
As a result, American Ivy took off amongst rebellious teens, especially young men who wanted to experiment with style. But imported American goods were expensive and exclusive to only the most privileged of fashionistas.
I wanted to make a place for burger-loving people to talk, exchange ideas, and become friends regardless of what gender, nationality, or religion they are, says Satoshi. I wanted ATC to be a happy place.
”
Just as Japanese Americana goods are now appreciated in the circles that inspired them, Satoshi also uses clothing to recall ATC’s roots in LA. Just days after his most recent visit in January of 2025, devastating wildfires razed large swaths of his beloved city. “My friend lives in Pasadena, right near the area that was evacuated,” he explains. “My friend’s house was fine, but the pizza shops we used to go to in Altadena are all burned.”
He knew he had to do something to help. To raise money for rebuilding, Satoshi created a special “donation tee,” the proceeds of which he is donating to his friend in LA. For this project, Satoshi stuck to somber black and white. The design is simple, circular, and clean. It echoes the grief that LA residents have felt. But it’s the phrase printed beneath that best sums up the hopeful sentiment: “No one can keep us apart.”
In the future, Satoshi hopes to continue this tradition of exchange. He envisions a “made-in-Choshi” fusion burger that uses local ingredients. He also hopes the area’s English teachers continue to have their Halloween and birthday parties at ATC. “During the events, I sometimes wonder, where am I right now? Is this Japan?” he chuckles. With its retro aesthetic, Around the Corner does occupy a peculiar place in space and time. Located in the middle of an economically depressed former trade hub, it uses the power of nostalgia for another country’s “glory days” to reinvigorate its own community. And it seems to be working. Satoshi is connected with scores of small business owners in the area, and he welcomes visitors from Tokyo, America, and beyond.
Around the Corner is an establishment with staying power, and Satoshi knows it will live on. “One day after I’m gone and just the ATC menu remains, I hope people will remember, ‘Oh yeah, there was that weird old man who ran that restaurant, and because of him, we can still eat burgers in Choshi!’”
Sabrina Greene is a 4th year JET ALT in Chiba prefecture and the Fashion Editor at CONNECT Magazine. American diners have been her jam recently— there’s just something about those black and white tile floors, red booths, and endless coffee! She recommends the jalapeño cheddar burger at ATC (which pairs well with a once-in-a-blue-moon coke.)
1) Ametora: How Japan Saved American Style https://books.google.com/books/about/ Ametora.html?id=CJxZrgEACAAJ&source=kp_ book_description&redir_esc=y
2) Esquire: https://www.esquire.com/style/ mens-fashion/a22804481/japan-tokyo-ametra-american-traditionalist-style-fashion/
LANGUAGE EDITOR
Kalista Pattison
Visiting all Seven Wonders of the World is high up on my bucket list and hopefully something I can make happen in my lifetime!
LANGUAGE DESIGNER
Jessica Barton
Two complete opposites but to go snorkeling in Okinawa and to go to the snow festival in Sapporo
LANGUAGE COPY EDITOR
Aidan Koch
Hike in the Himalayas.
The first is a general knowledge test which encompasses all school subjects like social studies, math, and history. For those located in Hokkaido, this test takes place in June across the prefecture. However, the second test, focused on one’s subject specialty, is in August and can only be taken in major cities like Sapporo, Asahikawa, and Hakodate. If all goes well, a list of people who passed will be published in September, and around February notifications of school placements will be released! Conversely, if someone fails they are allowed to retake these tests, but they will have to wait until the next year to try again. Hence, it’s important to start test preparation early, usually in one’s third year of schooling.
She recommends Nayoro-Piyashiri as a great destination for those wanting to witness Hokkaido’s renowned powder snow without the crowds.
However, nature wasn’t the only thing that made up her childhood. “I grew up surrounded by American television, music, and fashion. Spongebob and the Powerpuff Girls were especially my favorite growing up,” she says with a grin.
“From a young age, I just loved American culture. I still do. It’s probably what motivated me to learn English.”
On the topic of Western culture, Mayu happily names her favorite Anglophone artists. “I love classic rock like Queen, Deep Purple, and Bon Jovi, but I really enjoy Avril Lavigne, Bruno Mars, and Pharrell Williams too.” As for Mayu’s recommendation, she
suggests the Japanese rock band Back Number.
When asked what her favorite part of learning English is, Mayu’s eyes light up. “Wooly mammoths! I saw a life-sized model of one at a museum in Vancouver. They’re so big! I had no idea.” She explains it’s been really fun to learn about topics using English resources, as they offer different perspectives to information she finds in Japanese.
The life of an English teacher may be challenging, but Mayu doesn’t regret it. What’s more, she gets to live in beautiful Hokkaido with her friends and family— all with English playing in the background as the soundtrack to her life.
Brooklyn Vander Wel is not a licensed teacher but maybe in another life they would be! Education-wise, they like to watch documentaries for fun. Just recently they saw one about komodo dragons and didn’t know that the debate over whether a komodo dragon’s spit is poisonous or not is very contentious. They are in the it’s-probably-poisonous camp.
Maritza De La Peña (Nara)
When it comes to experiential learning, English-language exchange programs come with many benefits. They give real-life incentive to motivate students, excite them about learning, and teach them how to communicate and connect with other cultures. However, they also come with their own set of challenges.
Meg is a senior high school English teacher in Nara Prefecture who co-developed a partnership with a local junior high school. In regards to organizing an international exchange she explained, “We have to pay a lot of money to do that and it’s hard to coordinate that kind of relationship overseas.”
As a result, two neighboring schools have come together to create an annual program between seventh and tenth grade students. With support from the city mayor and Board of Education, the two schools are the first municipal and prefectural schools in Nara Prefecture to enact such an exchange.
Meg mentioned that between schools in Japan, it’s easier to find a matching school and planning can be less stressful for both parties.
“We are both Japanese schools, but can share some experiences using English as a tool.”
This entails learning about the different school cultures, navigating their diverse English knowledge levels, and developing social-emotional skills through empathy and self-reflection.
For their second year, they expanded the program from one to two days.
Before the official presentation date, fifteen senior high school students volunteered to visit a local junior high school. These students were paired up and tasked with teaching the younger students how to use communication strategies. This included eye contact, emoting, enunciation and projection, using gestures, visual aids, and keeping their English short and simple so that everyone could understand.
They also observed the younger students’ rehearsals and gave direct advice. Using this feedback, the seventh graders could focus on areas of improvement.
These sessions were completely led by the senior high school students. It challenged their leadership skills and gave them a chance to think about how much they’ve learned in English class.
Regarding their decision to include a feedback session this year, Meg said, “We would like to give [the students] more chances to meet each other and interact with each other. Presentation [day] is an official event so individually they couldn’t talk a lot. But if beforehand the senior high school students visit the junior high school students and they can give some hints to improve their presentation or how their presentation will be more interesting or attractive, that would be very useful.”
2: Presentation Day
On the second day, a hundred junior high school students filled eight different classrooms at the senior high school.
Some of the tenth graders led introductions as the Masters of Ceremonies and then called the junior high school students to the front. Their presentations were about famous sightseeing spots in the local city where they displayed a map marked with different places to talk about. The students practiced the skills they learned from the first day, and after all thirteen students presented it was the senior high school students’ turn.
The tenth graders, in groups of four, showed their slides addressing different problems that exist within towns all over Nara prefecture and proposed solutions. They explained complex issues such as depopulation, lack of infrastructure or transportation, and a need for economic support. In spite of the challenging subject matter, the seventh-grade students listened attentively and actively participated in answering questions that the older students asked.
Mami, a junior high school English teacher, shared some of the feedback from the previous year. “At first the seventh graders were afraid, but they felt more confident after the high schoolers listened attentively. They can’t understand all of the speeches, but they can enjoy them because the high school students showed slides and explained [using] very easy English. If some of the presentations they can understand but some they don’t, it’s okay.”
The senior high school students had to simplify their English in a way that was comprehensible and engaging for the younger students. By doing this, the focus shifted away from memorizing a speech filled with complex language to honing in on simple but effective communication strategies. They learn how to express information employing their own knowledge and previous classroom knowledge.
Ultimately, it’s most important for everyone to feel confident using English. The students encouraged each other and bonded through English. This is evident in the messages the high schoolers left after the feedback session, encouraging the seventh graders that English can be fun, to do their best, and to enjoy the learning process.
If you are interested in organizing an exchange at your school but lack the resources or time to coordinate something abroad, programming a local language exchange could be the solution for your own school. As a teacher of English, there are ample opportunities to help and learn from one another even in our own neighborhoods.
COMMUNITY EDITOR
Tori Bender
I’ve wanted to visit the UK since I was a kid. I would love to stay there for a while and do some painting in the countryside.
COMMUNITY DESIGNER
Vaughn McDougall
I'd love to attempt the 四国遍路 88 temple pilgrimage in Shikoku!
COMMUNITY COPY EDITOR
Aidan Koch
Hike in the Himalayas.
TRAVEL EDITOR
Jon Solmundson
I’d love to get a novel published one day. Just have to actually finish writing one first!
TRAVEL DESIGNER
Jessica Barton
Two complete opposites but to go snorkeling in Okinawa and to go to the snow festival in Sapporo.
TRAVEL COPY EDITOR
Kaitlin Stanton
Even though I’ve been living in Japan for over three years, I still have yet to see Mount Fuji. I need to make sure I see it at least once in my life!
Steven is the man behind the magic, constantly pulling fresh pizza out of the oven. Originally from New Jersey, USA, he opened Bruno’s Pizza in 2023.
“I always say, when you cross that doorway, we are not in Japan. So, I might throw the menu at you,” he laughs, sharing how the restaurant serves as a casual introduction to his own culture. “I am not going to use keigo or make you feel like the king. You’re just somebody coming to enjoy pizza.”
Steven decided to open his shop after encouragement from his neighbors. Although he originally hadn’t thought of himself as a pizza maker, he began making the dish when he couldn’t find any New York-style pizza restaurants nearby.
Having moved from Tokyo to a quiet town in Nara, he found himself with more space and time. After about a year of cooking for himself and his neighbors, he opened Bruno’s Pizza.
The shop itself looks like a 1950s American diner. Red and white vinyl chairs sit next to laminated tables. Vintage signs and decor line the walls while old toys and collectables sit atop the countertop and shelves.
Steven explains, “My idea is if you’re going to open an American-style restaurant in Japan, it should really look American. So, for me, I was like, ‘well, what do I like?’ I like the 1950s, 60s, diner-era feel so I definitely need this type of furniture. Like, I have to get vintage or retro style furniture. There is no way I could have it any other way.”
In a way, the restaurant is an extension of his personality. Everything, from the decor to the references to his family help the customers get a better picture of Steven.
I have to get vintage or retro style furniture. There is no way I could have it any other way.
Even the name of his restaurant has to do with family. “For me, when I had to come up with a name, it had to be my father. He was always very supportive and when we would go out, we would go to many different pizzerias and try their pizzas. So it was one of the things we bonded over.”
Over on the countertop sits a framed photo of the two. The back of the menu also displays photos of Steven with his father, grandmother, and wife. Steven adds, “[My dad] had a hard work ethic, he had good values, so I thought it’s a good way to honor him by naming my pizzeria after him.”
The phrase ”From our family to yours” is written on the menu and seen on the welcome mat. To Steven, this phrase highlights the importance of creating a shared experience for those who enter his shop.
This is the difference between an Italian-style pizza, where one pie is meant to be eaten individually, and a New York-style pizza, which is meant to be shared amongst everyone.
He compared it to the Japanese dish nabe. “Everyone eating together from the pot, or stew, it’s like that feeling. You’re eating the same thing. It’s not different dishes, eating together. You’re all taking from the same place or fighting over the last slice.”
“You have to know what your success is. You cannot compare your success with other people,” Steven advises to anyone interested in serving their own home country’s food in Japan.
Bruno's Pizza is a small restaurant in rural Nara, so his customer base is perhaps less than if he were in a bigger area, like Osaka or Tokyo. However, that’s a sacrifice of moving away from the hustle and bustle of city life. He notes, “You have to resist the urge to compare and feel like a failure that you’re not getting the same results as somebody else is.”
You’re all taking from the same place or fighting over the last slice.
Steven emphasizes the need to stick to what’s important for you. He isn’t afraid to experiment with new flavors and ideas that wouldn’t necessarily appear in a New York pizzeria, such as corn and mayonnaise toppings.
Despite this, Steven still honors his core values—the pizzas are served on paper plates you’d find in a New York pizzeria, toppings are offered that he himself enjoys, and you may even find a personalized drawing on your takeout box.
This is Steven’s take on running a restaurant: “You have to be true to yourself and what you’re doing and where you are and where you want to go. Yeah, if you’re capitulating and flip-flopping all the time, you don’t have that core, then nothing works.”
For example, he only offers toppings he enjoys and knows he can prepare well. He explains, “I don’t sell any seafood pizza because I don’t eat seafood. And I don’t sell huge meat pizzas because I am not a huge meat eater. I don’t make huge triplemeat pizzas and stuff like that. How I define success and what my goal is, I work in those parameters. I just do what I do.”
When talking with Steven, it’s easy to see that he is interested in getting to know his customers. He enjoys connecting through small gestures: approaching them after meals to know if they enjoyed the food, asking for names and hometowns, or even offering to draw on their takeout boxes.
He makes it clear that it’s all about connecting with people. “I don’t want to be stuck in the back slinging pizzas and I never see anybody. It doesn't feel good to me,” he says adamantly.
So, when visiting Bruno’s Pizza, strike up a conversation with Steven and experience the wonderfully unique atmosphere of a New York pizzeria in Japan.
Maritza De La Peña currently lives in Nara Prefecture, where she often goes on walks to admire the archeological sites and rice fields near her home. You might also find her with a book in hand or excitedly staring out train windows.
Visit Bruno’s Pizza on Instagram
Brooklyn Vander Wel (Hokkaido)
Interpreted by Kimberly Payne (Hokkaido)
What does the Classical Gaelic word for water—uisce—have to do with Wakkanai, the most northern city in Japan? To Reina Mori, it represents a dream fulfilled: opening up her very own coffee shop.
In April 2024, Coffee) finally made its debut. As a whisky appreciator who owns four black cats, the naming of Reina’s cafe was a natural fit.
After all, in Japanese the pronunciation of ウィスカ whiskey ( スカー). There’s also the fact that the word whisky is literally called beatha in Scots Gaelic and beatha in Gaelic, both translating to “water of life.” The meaning is quite fitting for coffee as well, since over 98% of it is water!
stores.”
Reina’s kind and easygoing demeanor
Although Wakkanai happens to be her hometown, Reina spent ten years in Hokkaido’s capital, Sapporo, as a wedding photographer. While living there, she spent countless hours cafe hopping and learning more about coffee.
demeanor also lights up her British tea room-inspired cafe— complete with antique British chairs and elegant William
introduced to an Ethiopian roast that was very fruity and flavorful. Reina still explains, “I was mainly used to drinking blends or dark roasts, so I didn’t even know coffee could be so fruity! I got addicted and wanted to try even more interesting varieties.”
Determined to start her own cafe, Reina continued to self-study through books, videos, and online seminars from established Tokyo cafes. She also had fun gaining inspiration not only domestically but abroad as well. In the Kingdom every year to enjoy its various
She says excitedly, “As a big fan of British literature like Jane Austen, it was thrilling to rent a car and visit places I had only read about in books!” So when it came time to renovate the first floor of her house, it just made sense to combine her love of coffee and the cultures of the British Isles into
True to form, Uisce Coffee’s many bookshelves are lined with British titles. In fact, many of her regulars are bookworms themselves and love to
One fun fact about coffee is that beans change flavor and scent over time. She reveals, “While it’s perfectly ok to use the beans right after opening, I’ve found that using them ten to twelve days later is my favorite way to open up their flavor.”
When it comes to coffee beans, Reina regularly sources them from Hokkaido towns like Tomakomai. With these monthly orders, she likes to get beans from all over the world and makes it her mission to introduce a variety of coffee to people.
One fun fact about coffee is that beans change flavor and scent over time. She reveals, “While it’s perfectly ok to use the beans right after opening, I’ve found that using them ten to twelve days later is my favorite way to open up their flavor.”
For Reina’s baked goods selection, she creates her menu based on the season and what pairs well with coffee. For example, this past winter she incorporated lemon and strawberry flavors into her cheesecakes, chiffon cakes, and cream cheese pastries.
Scotland’s influence also makes an appearance through her clotted cream scones. As baker-in-chief, her menu is subject to constant rotation as she experiments daily with different recipes for the freshest quality possible.
Just reaching the shop’s one year anniversary, Reina wants to focus on growing her customer base. However, in the future she hopes to use her space for community events and collaborations with local artists like musicians and poets.
She reflects, “As the only employee I’m so busy focusing on running my store it’s hard to think of anything else at the moment, but one day it would be nice to do those kinds of things with my space.”
Although a great conversationalist, Reina admits she still gets nervous around coffee aficionados from big cities like Sapporo and Tokyo, as they sometimes ask for specific bean varieties or a detailed rundown on her coffee making process. She smiles, “It’s really fun to be around others so knowledgeable about coffee, but intimidating at the same time. I guess I’ll have to study some more.”
When asked about what advice she has for people who also want to become cafe owners, her voice takes on a cautionary but hopeful tone.
“Be prepared because it'll take longer than you think it will. In reality, running a cafe doesn’t make a lot of money, so it’s important to save up and consider if it’s realistic to sustain a coffee shop. But most importantly, ask yourself— will you be happy?”
Luckily for Reina, her answer is loud and clear. She flashes a grin, “I hope to continue Uisce Coffee for many, many years to come. I don’t necessarily have a motto for my life, but it’s true that I try my best every day. I hope it shows through.”
“Be prepared because it'll take longer than you think it will. In reality, running a cafe doesn’t make a lot of money, so it’s important to save up and consider if it’s realistic to sustain a coffee shop. But most importantly, ask yourself—will you be happy?”
Brooklyn Vander Wel also loves to cafe hop with a good book in tow. Recently they’ve been reading Thinking, Fast and Slow by psychologist Daniel Kahneman. It begs the question, do they use System 1 or System 2 more, or is that the wrong sentiment altogether? If these systems sound intriguing, give the book a shot!
Uisce Coffee’s Instagram Uisce Coffee Location
With travel between prefectures heavily discouraged, and public transit best avoided to maintain social distancing, one of the better ways to clear out the cabin fever accumulated over months of lockdown was to hit the highways. Even as the lockdown lifted, and with all precautions taken, there was a heavy stigma attached to travelling, especially for foreigners.
“I took a solo road trip around my local region, but I still hesitated leaving my car, so I slept in there instead of finding hotels. This wasn’t something I would’ve imagined doing pre-COVID,” says June Ha Kim, who arrived before the pandemic lockdown.
“Before COVID, travelling was a simple matter of telling my school and supervisor, getting approval, and nothing more. During COVID, I was asked not to leave my city if possible. While I didn’t have to report to my contracting organisation regularly, I knew others in neighboring prefectures who did.”
June says travelling in the pandemic “had its ups and downs”, though compared to now it was “hard to say which was overall better”. Tokyo, in particular, was a stark contrast when he returned in 2024.
“I enjoyed it less than I did before, possibly because I could enjoy the smaller crowds. I also found I enjoyed being on the trains less and walking around areas like Shibuya and Shinjuku more bothersome.”
During my own post-lockdown road trip I discovered that while there certainly was a broad anti-foreigner stigma at that time, some folks were very enthusiastic to find out how a newcomer had stumbled into their town.
I remember pulling up to the Shibetsu Roadside Station, Hokkaido, to quietly collect their adorable sheep-themed icon, when a man sitting at one of the empty restaurant’s tables shot up from his seat, declared himself the proprietor, and insisted he would give me a great discount on lunch if I told him where I was from and why I’d come to Shibetsu. We had a great chat, and some delicious lamb.
Melanie Layugan arrived in November of 2020, when Japan was still exchanging limited numbers of travellers with countries which still had the pandemic contained. Stricter lockdowns soon took effect, preventing much travel, but as restrictions eased Melanie made a trip to Ise in December of 2021, which she remembers fondly.
“When I visited the Mikimoto Pearl Museum, it felt like a ghost town. Heading to the shrines around Ise it was busier—but not the same crowds as it is now when travelling.”
To avoid the busy central stations and shinkansen, Melanie travelled only along the regional JR lines, using the Seishu 18 Kippu (Youth 18 Ticket).
“That took longer than usual, but it was nice to see the scenery between stations.”
The special rail ticket is still available, although it must now be used on consecutive days, which makes it less idealfortravellerswhowanta leisurely, scenic tour through the countryside.
Melanie says these routes do require a bit of research to make all your connections work out, and the constant travel can lead to some long days which aren’t for the faint of heart, but by taking these regional trains travellers can access a wealth of destinations that are far less crowded than the hotspots. She recommends a five-day tour starting in Nippori, with stops in Atami, Shizuoka, Hamamatsu, Toyohashi, Nagoya, Ise, and Shima.
While there are more travellers on the rail now than during the quiet years, Melanie does point out that multilingual signage and translation help has much improved, making travel more accessible than before.
Jasmine Lim also arrived in 2020, eager to travel, only to have the local board of education employing her advise against leaving the prefecture.
“As much as I love complaining about being restricted to travelling only within my prefecture in my first year, I realized that without those limitations, I might never have explored my own prefecture so deeply . . . and I wouldn’t trade that experience for anything,” Jasmine says, adding that hiking the mountains in Tottori was “one of the best memories I’ve made here.”
“Because of the isolation during COVID, hiking quickly became my hobby. It was a great way to avoid the crowds as the trails were practically empty. I truly enjoyed the peaceful and deep connection with nature that hiking provided.”
Similar to others, she has felt the changes in recent years, in particular she no longer has to bring along a vaccination certificate to present when checking in at every hotel.
“While I appreciated that, I couldn’t help but realize that the crowds, hotel prices, and waiting lines for everything have increased dramatically.”
Even in the mountains, those crowds can build up to the point Jasmine likens it to Disneyland, recalling climbing Gozaisho-dake in Mie last Golden Week and witnessing long queues at particularly packed spots along the mountain trail.
“The pros of having more people on trails include making new friends and having others to look out for you. The cons include getting intimidated by possible bear attacks on a quiet trail,” she says with a laugh, adding that she is “a bit timid”.
For those seeking a way to avoid crowds now, she recommends less-visited prefectures, and tours with local guides, which she did on a recent trip to the Tottori Sand Dunes.
“The sand dunes can get pretty busy, but if you join a local snowshoe tour, the guide brings you to another part of the sand dunes that is basically empty!”
Saitama’s RecordBreaking Hina Doll Pyramid
Japan is full of ancient shrines and iconic vistas that are well established and rightly celebrated. However, Elumi Mall in Konosu, Saitama is not one of these. Instead, it is a place where tradition has intertwined with modern life to create something new.
Located in Central Saitama, Konosu is easily accessible by train, just under an hour from Tokyo Station via the Takasaki Line. The town is a great starting point to visit several nearby scenic routes and parks, such as Arakawa River and Sakitama Green Road; a 4.5 km tree-lined promenade that runs from Kita-Konosu Station to Kofun Park, which features some of the oldest burial mounds in the Kanto Region.
For the majority of the year Elumi Mall is comfortingly unremarkable. It offers the standard fare common to regional Japanese malls: a foodcourt, bookshop, and McDonalds. It’s nice, but not a place on anyone’s must-see list, except for a few weeks in late February and early March when something a little surprising happens.
On February 19th, the Konosu Bikkuri Hinamatsuri (Konosu Surprise Hina-doll Festival) begins. Hinamatsuri isanannualfestivalonMarch 3, also known as Girl’s Day, during which families celebrate girls and pray for their continued health and wellbeing. A large hinadan (platform) adorned with dolls emerges on the first floor, flanked by a Baskin Robbins and a supermarket. The elaborate structure draws crowds from the surrounding areas to witness this recordbreaking site.
The history of hinamatsuri goes back to the Edo period, when hina dolls were common in noble households as toys for young girls. Thanks to special local techniques developed back then, Konosu became one of the historic “Three Great Doll Markets of Kanto”.
Gradually, these toys transitioned into decorative items intended for display. The 20th century rise of the Japanese middle class allowed more families to purchase hina dolls, and household displays became more common across Japanese society.
Household hinadan are traditionally made up of 15 figures placed on seven tiers. The Emperor and Empress sit on the highest tier, with three ladies-in-waiting on the tier below. Beneath them sit five musicians. Underneath the musicians are the Minister to the Right and Minister to the Left. Finally, three servants are placed carrying items that vary across Japan’s regions. In the Kanto region, the servants carry an umbrella, a shoe box, and a hat box.
On March 9, the hinadan are disassembled. While the festival will continue to take place each year, the fragile hina dolls do not last forever. When a doll can no longer be displayed they are not thrown away. On November 14, damaged dolls are brought to Shoganji Temple in Konosu. Theremonksensurethedolls are memorialised and burned in an event known as “Doll Thanksgiving.” The service is a final farewell for the dolls and a way to show gratitude for their role; as a cherished family memento, as a display of craftsmanship, or as decorations that can turn even a regional mall into a historicculturalsite,ifonlyfor a few weeks.
AllegraMcCormackisasecondyear JET based in Saitama Prefecture. She loves a good coffee, a good mystery novel, andisafrequentpatronofElumi Mall.
CONNECT is a magazine for the English-speaking community in Japan, by that very community. Everyone is welcome to write, no matter your experience or style! If you have an idea you want to see in these pages, please reach out to our Head Editor, or any of the amazing Section Editors. We'll work with you to make it the best it can be and share it with our audience of thousands. Whether it's an essay, an interview, infographics, great photo spreads, or even just your favourite recipe— reach out to us!
Contact the Head Editor of CONNECT, Mike Taylor, at connect.editor@ajet.net, with your submissions, comments and questions.
Write about something you're doing, something you love, or even just a cool piece of history that you're interested in. Tell us a story.
Tell us about someone in your community who is doing something neat and noteworthy. Cooks, collectors, calligraphers— we want to hear about the inspiring people around you!
If you're an aspiring photographer and want your work published, please get in touch with our Head Designer, Renee Stinson at visualmedia.connect@ajet.net
Let us know what you think. Interact with us on Facebook, Twitter and issuu.com
Have an article you want to share? Join our Contributors Page on Facebook to stay connected with the team so you can share your adventures whenever story strikes!
Interested in contributing to CONNECT?Want to stay up-to-date on interview opportunities, photo requests, and CONNECT announcements?Get involved with CONNECT by contacting our current CONNECT staff and reading about the possible positions here.
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