Traditional Wooden Spinning Tops: Hakata Koma

10 Dec 2007 Category: Craftwork, Japan, Tradition

Traditional Wooden Spinning Tops: Hakata Koma

Good old familiar wooden spinning tops. There is an artisan who is meeting the challenge of creating traditional Hakata koma spinning tops head on. The art of the Hakata koma, which has over 450 years of history behind it, is being preserved by this woman. Let’s take a look at how this manufacturer, performer, and folklorist makes it all happen.

Interviewed by Takafumi Suzuki
Translated by Claire Tanaka


The Hakata Koma was the first top in Japan to use a metal shaft


Shuraku Chikushi, absorbed in her performance

How long has the Hakata koma been around?

The Hakata koma came from China over 1300 years ago. The current form, with a wooden body and a metal central pin was created in the 17th century. The Hakata koma is a registered National Intangible Cultural Asset. I’m the “soke” so that means I have to do make the tops, preserve the history, and perform as well.

Those are three totally different things. It must be difficult for you.

I’m a female top master. They say the last time there was a female Hakata koma top master was 160 years ago, so that’s pretty rare. It wasn’t an easy road to get where I am today. If you study, you can somehow learn the performance and historical aspects, but it’s not so easy to learn how to make the tops.

The holy trinity of performance, production, and protecting the tradition

Why is it so hard to make the tops?

My father was a top master. When he passed on, I decided to continue the tradition in his place. So I was never actually taught by my father. I learned how to make tops by watching his apprentices. When my father was still alive, he wouldn’t let me make tops for stage use. To make a top, you first have to make a chisel. I mean, you have to go to the blacksmith and make a chisel at their shop. It took a long time for me to get that right.

But, why do performers make their own tops?

It’s because everyone’s hands are a different shape and size. It’s only natural that a performer would want just the right top so they can do their best performance. You can’t get that from one made by someone else. I’m the only one, not just in Japan, but in the whole world, who can do the acrobatics as well as make stage-worthy Hakata koma and the accompanying props. I spend about 100 days out of the year making them, and 150 days per year performing.

The most important thing when making a top, is to make one that fits in the hand of the performer

I’m sure the entire process is very difficult, but what is the toughest part about making the tops?

The most basic part about making them is choosing the wood. If the wood is wrong, the grain and the density is wrong. Tops aren’t made from expensive wood, they’re made from scrub. Oak, cherry, camellia, and other trees like that are what I use. If you want to make a nice, big, good-looking top, you use light wood that isn’t so dense. If you want one that will spin well, you need to use denser wood. I choose the wood while it’s still standing, so I have to go into the mountains to get it. But of course, you can’t just go into the woods alone. It’s too dangerous for someone who doesn’t know what they’re doing. You’d get lost right away.

So, do you get someone who knows the mountains well to show you the way?

You definitely need the help of a mountain man. But, the man who had always helped the top makers up until my father’s generation, when I told him I was taking over the tradition, at first, he said “This is the end of the Hakata koma tradition. This is no work for a woman.” When I heard that, I felt really let-down, but when I think about it now, I don’t think he meant to be cruel when he said that. You have to go into the woods early in the morning and walk around for about twelve hours, so from a physical standpoint, it’s very difficult for a woman to do. But I didn’t give up and now I go up to the mountains quite often. At first, he wouldn’t even talk to me, but now the mountain man has me over to his family’s house to spend the night, we drink together, and I’ve gotten closer to his whole family. Over time, he’s taught me a lot about the mountains as well.


Wood chosen with the help of a mountain man

If the wood is wrong, the grain and the density is wrong

Wow! You have to go through all that just to go into the mountains! Is mountain-walking really that tough?

It would be totally impossible for an average person. The amazing thing about the mountain men, is they can look at the mountain and remember the mountain trails. If it’s just me, I get this “I feel like I’ve seen this before but I can’t be sure” feeling and I get lost really fast. That’s why it was important for me to get the mountain man to understand me, so I could get his cooperation in guiding me through the mountains. Now, I can just casually say “I’m looking for this kind of tree, do you know a place?” and he’ll help me. It’s taken twelve years to build up this kind of relationship. Now, it costs over a million yen to cut down one tree, so the information I get from the mountain man is really important.

So in a way, making tops is a life-threatening activity, isn’t it!

I’ve raised a daughter and a son, and I’d say the job of making a top is just like raising a child. Look for the right tree, carve the top, make it into a performance; I have really begun to think it’s the same as raising a child. You’ve got to take life from a tree to make a top, so I want to somehow breathe some life into my creations. So even though you can buy a small top for 500 or 1000 yen, I don’t like to skimp on effort.


Spinning a huge top with ease

Shuraku fixes her eyes on the spinning top

Those tops, which you’ve breathed life into, you must be sensitive about the audience reaction when you perform with them on stage.

Of course when I perform in Japan, but also when I spin my tops overseas, everyone is really surprised. Right after I succeeded my father’s position, I spent a year spinning tops at the Japan Pavillion at Epcot in Disney World.

At Disney World! What a unique experience. Did you have any revelations about your work while you were overseas?

Stubbornly protecting the old traditions is in itself something new. There is no need to arrange the performance in a modern way. By visiting the old, you can know the new. Alternatively, my son’s generation, they seem like they are able to just gobble up new things and make new culture from that. My son is a taiko drummer, but he usually listens to jazz.


Making toy tops

Sanding the wood while it spins on a lathe

So you must be concerned about the younger generation, when it comes to preserving traditions?

The media likes to show the NEET generation in a bad light, but I don’t think they’re so bad. They’ll come around when the baby boomer generation is out of the picture and things will start to get better. Personally, I plan to retire when I’ve still got 30 or 40 percent of my energy left so that I can spend lots of time training my successor. Oh, now that I think of it, you know, last year I went with my son who plays the taiko and performed at the White House. I never thought I’d be spinning tops in front of President Bush.

So, do you plan on taking it easy after you retire?

In my case, my son the taiko player is going to take over for me, so I’m thinking I’ll stay involved, but just retire from the business side of things. It’ll be more like volunteer work. I’ll perform at events when I feel like it, on my own time.

Hakata Spinning Top
Musashi3-6-10, Chikushino-city, Fukuoka-prefecture

Shuraku Chikushi
Born in Fukuoka Prefecture in 1953. Hakata koma Master.

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