Tanteidan Magazine 164

TANTEIDAN

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The Historical Significance of KOZUKA (a small knife attached to a Japanese sword) with a Pattern of Origami Cranes and Japanese Pine Tree

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Hatori Koshiro

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Taiyaki (A Japanese Fish-Shaped Cake)

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The 23rd Origami Tanteidan Convention Coming Soon!!

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E^ffiffi+á (roAS) aUUá The Purpose of Japan Origami Academic Society

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Article

Name and Purpose

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Name

This society is to be called Nihon Origami Gakkai in Japanese. 2. This society is to be called Japan Origami Academic Society in English. 3. The abbreviated name of this society is JOAS. 1.

Article 2: Purpose l.

The purpose of JOAS is to promote studies of origami, diffusion of origami, and both domestic and international association of all origami-lovers.

2.

The studies of origami mentioned above includes designing, designing techniques, criticism, mathematical studies, educational studies, history, bibliography, studies of the intellectual property rights, studies of industrial and commercial design, and so on.

3.

The diffusion of origami mentioned above includes widening appreciation of origami, expansion of the community of origami-lovers, scouting and rearing the origami talent, and

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From the Bookshelves of the JOAS Library

The Historical Significance of KOZUK,A (a small knife attached to a Japanese sword) w¡th a Pattern of Origami Cranes and Japanese Pine

Hatori Koshiro

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Naqayama Kaito

TANTETDAN

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An lnsicle Story of the Drama Series "The Square Days =EÉof Dr. Orizuru and Witch of Orioarni." Birri

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Paper Folders on File

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Kawahata Fum¡aki

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Marcio Noguchi

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Taiyaki (A Japanese Fish-slraped Cake)

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Orisuzi ("Folci-Creases")

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Origami-Zanmai (This Origami and That)

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Origami Photo Gallery

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32. HeaO goes to the front (and points up), ears follow the rotation.

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N The Origami Tanteidan Digest The objective of the OrigamiTanteídan Digest is

to share the articles on Origami Tantéidan

magazine and provide an English summary of

most (but not all) text. The numbers indicated as

"Page xx" refer to the page numbers of the original articles in the magazine. While not all content is translated, it should give you an idea about what the article is about. We hope you will enjoy. Let us know if there is anything we can do to improve or any further comments. Please

F

Origami Tanteidan Digest Volume 28-!ssue 164 July 2017

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Table of contents (Page 7)Origamiand lts Neighbors (Page 13) Close-up (Page 16) From the Bookshelves of the JOAS Library (Page 18) Here We Are, THE ORRRIGAMI TANTEIDAN (Page 36)Orisuzi ( "Fold Creases" ) (Page 37) Origami-Zanmai (This Origami and That) (Page 39) Paper Folders on File (Page 40) Rabbit Ear lnformation

Translated by Marcio Noguchi

contact our edítorial department at: [email protected]

(Page 7) Origamiand lts Neighbors #83 - Mulberry fruit ByTomoko Fuse Around the summer solstice, the Japanese "sasa" lilies bloom, the Japanese honeysuékles smell strongly, and the "theclini" buttérflies begin to flutter. As I try tasting some raspberries while walking, I felt that summer will come. The other day a female copper pheasant jumped out and dragged her feathers and walked wildly in front of my eyes. We continue walking withóut ch.angi¡g the pace, "Yes, yes, break up, break up." When the chick is nearby, the female pheasant moves like that. I learned on a book that it will try to distract any threats to their chicks. A few years ago,l remember seeing a similar behavior of a female copper pheasant at this same location. This season really stimulates allthe senses... There are things to pick up for each season on the way of some of walking routes. Wild vegetables in spring, wild strawberries in early summer, "akebi" chocolate vines and mushrooms in autumn. ln addition to raspberries, it ís possible to taste mulberry fruits during the summer solstice. However, the mulberry tree on the walking route was cut down since it was in the property of the exhibition hall of a Russian artist of Northern Alps Art Festival. The trees that were not cut down have their branches prun-ed, so the fruits only grow in the upper part of the trees, way above the reach of my hands. I look up, and tñink "l want to taste the fruits." Oh well, this year I must bear not tast¡ng the mulberry fruits at this location. Let me enjoy things at other places. thought that it would have been better if people who came to see the art festival had been able to taste the mulberry fruits. Quite a large crowd come to the art festival on Saturdays and Sundays, surprising the local inhabitants. Above and beyond the art works, I

you can also enjoy the scenery of the "Satoyama" mountains and the fresh air too. That is part of the concept. Maybe due to fact that it is hosted locally, there are many opportunities to give interviews. After the end ofa workshop the otherday, I had an interview with several prefectural néws organizations. I was surprised to hear comments

with a puzzled face: "What? Did you create these models?" "They are all my own creations unless speciñcal ly ment¡on otherwise." "Did you create by yourself those models in the exhibition?' I

"Sure!" I am completely exhausted when I return home. But I think that the understanding of origami is improving step by step. I hope one day the understanding of modern origami will expand even further.

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Recently, I make origami using a lot of physical strength.lt is big and a large number. Even using machines where possible, the human hands are needed at the end. Eat well, sleep well, lwill continue folding while I can, motivated by the world that the origami shows me.

(Page 13)Close-up Significance in origami history of "Origami Crane and Pine Pattern Kozuka(*)" By Koshiro Hatori (*) Note: A "kozuka" is a decorative handle fitting for the "kogatana" , a short blade fit into a pocket on the "saya" scabbard ofa Japanese Katana sword. Mr. Yukihiko Nakanishi, board member of the Ja pa nese sword preservation associatio n, severa years ago received a sword fittíng that a collector was about to send to a museum abroad. Among it, there was a "origami crane and pine tree I

pattern" kozuka shown in Figure 1. Mr. Nakanishi contacted Mr. Masao Okamura, an advisor of Nippon Origami Association, makinq it possible for this kozuka to be known to the o?igámi world (see "Monthly Origami" magazine issué +6t). While seeing this kozuka, I got an opportunity to talk about interestinq storiés by Mr. Nakanishi and Mr. Okamura. This kozuka was also been recently featured in newspaper articles and television programs, but I would like to present ¡t in detail here. The kozuka -- i.4 cm long and 9J cm wide with three origami cranes engraved - is an extremely important historical mater¡al for the studies of the hístory of origami. lts significance can be summarized into three points. First, according to expert opinion this kozuka was made at the end of the 16th century by Eizo Goto (1577-1617), a metalworker who served Toyotomi Hideyoshi (daimyó warrior, general, samurai, and politician of the Sengoku period). The history of the earliest Japanesé play origami known before was the end óf the 1 lth tentúry, so the history of play origami dates now goes almost a century back. (There is a theory that there was origami in the Heian period or even before, howeier there are no aétual evidences

for that.) ln addition, the Goto family served generals from the Muromachi to the Edo periods, ánd only the general or the Daimyo or related can possess the Goto's sword fittings. The fact that origami c.ranes appear in one of them strongly suggests that Japanese play origami was indéed bórn in a samuraiclass society. Furthermore, based on the natural association of the kozuka carved pine trees on th¡s craft with a crane pattern, we can realize that the origami cranes were early on recognized as cranes. On the other hand, there is a mystery in this kozuka. ln the first place, why did Eizo Goto carve an origamicrane instead of a regular crane? What is the meaning of "origami crané and pine" rather than "crane and pine tree?" I would like to drill down on these points in this article. A kozuka is the handle of a small sword that is inserted on the back of the Japanese katana sword sheath. Originally it was a practical ¡tem, but elaborate carvings for decoration were also made. ln addition to being used for the decoration of the sword, it was sometimes

appreciated independently from the sword, along with the Menuki .. developed for fixing the blade in the handle - to fit in the front of saya

sheath (Mukuni). The actual condition of the crane and pine pattern kozuka has no linear scratches that would had been created when inserting in and pulling it out of the sheath. Although this kozuka has no inscription, it is possible to conclude from the features detailed

below that we are talking about an extremely superior work of Eizo Goto, a member of the 6th

generation Goto family. ln addition, it was usual that there were no inscriptions on the sword fittings of that age. First, the origamicranes were made with a technique called "Uttori lroe" (gracious color painting) which is performed by covering a thin plate of gold on the metal and fixing it with caulking. This technique is also calldd "Fukuro-gise" (bagging), and since the first generation Goto fa m ly, Y uzo Goto ( 1 440- 1 51 2), it was a technique often used by the Goto house during the Muromachi period. The bare metal was red copper, but it exhibits a jet-black color due to the Goto secret processing. Even in the Goto family, we will begin to see a bluish color metal in subsequent yéars. The pattern of the earth ¡s a series of small circles, called "Nanakoji" . That was also a technique used by the Goto family. Gold diagonals can be seen at the back (Fig. 2). This design called "sogítsugi" was created by Eijo. The sogitsugi of this kozuka ís consistent with another kozuka with inscription by Eijo. Figure 3 shows a portrait of Ekijo Goto (1642-1707)-, great nephew of the Eijo. But, we can notice that not only the design of the "Junishi pattern" (12 signs of the Chinese zodiac) kozuka but also the technique of bonding the gold are different. Eijo was born in Kyoto in 1577 and succeeded his family in his young teens. He will serve Hideyoshi after his grandfather 4th generation Hojo (1529-1620) and the 5th generation Tokujo (1 550-1631 ). But since he served the Western Army at Sekigahara battle, leyasu Tokugawa is dissatisfied with him. He is allowed to revive the house later, in 1616, when he will serve Hidetada, 2nd generation shogun, but he passed away in the following year. From the above, it is considered that this small pattern was created under the Hideyoshi administration in the '1590s. The historical records of the Japanese play origami which was known before this include the illustrated model book of 1699 (kimono design collection), and "Kóshoku lchidaiOtoko" (The Life of an Amorous Man), by lhara Saikaku (1682) in the literature form being the oldest. Therefore, with this little pattern, the history of play origami goes back to nearly a hundred years. There may be some people who willfind this one century gap suspicious, but I think that this gap is the key to unraveling the history of origami. Which I will explain next. Goto served as a sword swordsmith to the Ashikaga shogunate from the first generation Yujo to the third-generation Joshin Goto (1512 1562).There were also.from a samurai family and they were a staff at Omi Sakamoto house. i

However, in 1562, Yunimasa Asai attacked, and Joshin died in the war. ln response to that, Kojo, the child of the Joshin, moves to Bungo, but in 1571 he returned to Kyoto to serve Nobunaga Oda. ln addition to the

sword fittings, he received large-scale production orde-rs by Nobunaga in 1581 ahd by Hideyoshi the following year. Since then, the Goto family undertook the

Toyotomi administration and the Tokugawa shogunate with large casting and brush writing, weight casting and examination of weights, ant in the era of Eijo, Goto together with thé Chaya and the Suminokura families represented the chief merchant families in the city in this period in Kyoto. Aside from that, the Goto family issued "origami" certificates expert opinion, beginning with ihe appraisal of sword fittings by Tokujo. Origami certificates of Goto famiiies are believed to be credible alongside origami certificates of swords by the famous Hon' ami family. When the Edo period turned to Genroku, and the town people began to have financial resources, the metalworkers in began to chisel sword fitt!ngs for town people too. They were usually called "Koshimoto-bori" (Chamber maid carvi ng) or "Machi-bori" (town carving). ln comparison, the sword fittings of the Goto family kept the dignity as tool of the Shogun or Daimyo, and it was called "lebori" (house carving). Also in the pine tree and origami crane kozuka, the style of a house carving is clear. I do not know the history of this kozuka, but it was supposed to be Hideyoshior someone near him who would be allowed to possess it at that time. Most of the old hístorical records of Japanese play origami, which was previously known, appeared in the town culture of the Edo period. Meanwhile, origamioriginated in a samurai society in the Muromachi period, and it leaked to town people in the Edo period. For that reason, although the origami of Japanese play origami has been thought to be origami of the samurai's reputation, I did not know when the play orígami originated. However, based on this kozuka, before samurai spread the certificate origamito town people, it turned out that there was a play origami in the samurai society. As a result, it was almost certain that Japan's origami originated in the samurai society during the Muromachiera. Most probably, during the Muromachiand Edo periods, the distinction between the certificate origami and the play origami was not separate as we image lt to be today. So, it seems that the certificate origami and play origami initiated in the samurai society and then they were transmitted to the town people as one. As such, the one century that it took from the kozuka to the draft book and the Ukiyo-zóshi Edo literature could be the time it took for the origami of the samurai society to spread to the town culture. By the way, origami crane carved in a pine tree pattern kozuka does not necessarily resemble a crane if you look only to its shape. Since this origami is described as "Orizuru" origami crane in a book from 1700, and it was already recognized

it makes us wonder before then? In fact, there are example of cases in which the origami meaning changed with the time. The origami model now known as "Yakko", was called "a Priest" in half folded form in the Edo era.ln addition, the model called "Paku-paku" or "Pakuncho" was considered to resemble a salt-shaker of the 19th century Europe. Origami cranes can also resemble as a heron or stork. lndeed, in the Hokusai comic illustration often seen in origami books, a blank paper thrown in the air turns into a heron. (Note that this picture depicts one of the party stunts, and not an Onmyóji sorcerer technique. I can understand origami in terms of playing with paper and what it may resemble, but lt does not relate any further than origami.) Here, attention is drawn to this small engraved origami with pine. lt is a crane from that time, so it can be understood by this kozuka that an origamicrane was already recognized as a crane in the Momoyama period. However, we do not know whether it was called "Orizuru" Origami Crane from that time. Regardless, out of the three origami cranes carved in this small pattern, the two on the left and right have interesting shapes. lt looks like a warrior with a hood with its back protruding behind (Figure 4). Even within the Goto family, which is characterized by precise carvings, Eijo is part the categories of master, so we can' t think he did not have the technique to carve. Were the origami cranes from that time shaped Iike that? Or, were the wings twisted so as to show the upper surface to máke it look good as a crane in Genroku era,

from the front? I tried it a bit, but I could not reproduce this shape using simple folding methods. Rather than that, it seems that Eijo and people around him did not know how to fold an or.igami crane, and could not get hold of a model of an elegant origami crane. Since the central crane is carved relatively accurately, there is a possibility that the sides were imagined based only on the reference of the front view. lf that was the case, and considering that Eijo was himself near the center of the samurai society even though his status was not as a samurai, perhaps it was early on since the creation of origami crane. And so, there is a possibility that its folding was not sufficiently spread among the samurai society. ln any case, Eijo could would not have carved an origami crane forcibly. There should be a reason for that. lf you just want to engrave the "Pine and Crane" design, you can..carve a crane ¡nstead of an ongamrcrane. ln addition, while there is a tendency for specific subjects carved repeatedly in the sculpture house of the Goto family, only this one is known for origami crane or any origami model. From that, we can imagine that there was a special

circumstance that Eijo had to carve origami cranes, and not cranes. Okamura has an interesting hypothesis about its

circumstances. There is no other than Hidevoshi that can ask the creation of a small pattern'in the first place. Hideyoshiwas finally blessed with a long-awaited heir at the age of 53, and who he named Sute, then Sutemaru and finally Tsurumatsu (Crane Pine). However, Tsurumatsu was only two years old when he departs to the

"other" world, lf this Kozuka was made at the time of the death of Tsurumatsu, it is thought that the crane was an auspicious bird, so it was not suitable for a memorial service and it was necessary to change to an origami crane. lt also matches with the fact that the pine carved as a wakamatsu (young pine). ln add¡tion, there are many suggestions in the historical materials of the Edo per'rod that origami cranes were regarded as a tool for purification, so I am also intrigued about the relationship with that fact. Then, it is possible for us to assume that this

(Page 16) From the Bookshelves of the Library Book #56i ""Kono aoi sora de kimi wo tsutsumou" (Let's hold you in this blue sky)"

JOAS

HideakiSena Article by Seiji Nishikawa Seiji Nishikawa is the board chair of Japan Origami Academic Society (.,OAS), mainly responsible for the library, instructors' administration, intellectual property (lP) rig hts research. Currently exploring themes for the next 10 years. Last year, Sena Hideaki 's publication of "Kono aoi sora de kimi wo tsutsumou" (Let's hold you in this blue sky) is a unique origami novel. For the Origami Tanteidan magazine readers the current state of "regular" origami may be a very

myster¡ous world for ordinary people. This Sena Hideaki's news coverage is a substantial one. We also got a copy for the JOAS library which collects origami related books. So, without further ado, let me introduce it to you.

This time, I will introduce you "Kono aoi sora de

kimiwo tsutsumou" (Let's hold you in this blue the latest 2016 title by the famous Sensei

sky),

Hideaki after the debut of "Parasite Eve" (1995). There are many prior novels, manga, movies on which origami was used. But this novel is amazing with the use of "origami ", I am sorry for the poor statistics, but the words related to origamiappears roughly in600/o of all pages.l

think that it is the first time that I found the word "origami diagram" in this novel which is about a boy who loves Origami. Brain cells that are responsible for my cognitive functions - which

kozuka was made just after the summer of 1591 when Tsurumatsu died. Even though the ride is still in the early teens, after that I will be succeeding to the family, so it is not amusing to carve such a fine petite as much. Eijo is still iñ the early teens then, and succeeded the family, so it is not odd that he carved just such a fine kozuka. The OrigamiCrane and Pine kozuka gives us a new light on the history of origamicrane in addition to the history of origami. I would like to thank Mr. Yukihiko Nákanishlfor showing me this small kozuka which is also valuable as a work of art as well as for providing photos. Figure 1: "Origami Crane and Pine" kozuka created by Eizo Goto. The color picture is available on Origami Gaku by Seiji Nishikawa. Figure 2: Back side of "OrigamiCrane and Pine" kozuka Figure 3: "12 Chinese Zodiac Signs" created by Etsujo Goto Figure 4: Leftmost origami crane of "Origami Crane and Pine" kozuka

to respond somewhat in a hypertensive way to origami and related words ignite continuously and I need to be mindful not to overreact to follow the story.

are constructed

-

Hideaki Sena's debut "Parasite Eve" (1995) was

awarded the same year's Japan Horror Novel Award, making the words "parasite" (used in the title) and "mitochondria" (note 1) become popular. Many readers may remember these terms from biology, creating a boom also with video games. At that time, Hideaki Sena himself was a doctoral student at the University of Pharmaceutical Sciences and I think that science studies and student authors spurred a boom as well. I remember that I did read "Parasite Eve" a few years after the boom. But I did read with excitement in my school days the research themed bacterial genetic analysis, The Selfish Gene by Richard Dawkins as well as Lynn Margulis's theory of symbiotic evolution of eukaryotic cells (note 3). I symphonize well with the lmagination and excitement of young researchers who instantly leap and build up entertainment, incorporating into the story "awe" or "sense of wonder" extracted from abundant and sound scientific insights. After that, I spent a considerable amount of time researching bacteria belonging to alpha proteobacteria (note 4), a candidate for the origin of mitochondria, and amused with "Power, Sex, Suicide: Mitochondria and the Meaning of Life" by Nick Lane (2007, translation by Saito Ryuu, Misuzu Shobo), at the same'time, Hideakí Sena's book revisited the theme in "Mitochondria no Chikara" (2007, Shinchosha Bunko) co-authored with

Mitsuo Ota.

Last year, I heard about this novel for the first time from Miyako Yamaguchi. Makoto Yamaguchi 's wife, and owner of the washi paper store Masutake in Shizuoka. Now, this novei would not be practical without the washi paper store Masutake, because the model for the Japanese paper shop -- home of the high school student Sakiko, the main character - is the washi paper store Masutake from Gofukucho, Shizuoka. The story begins with the depiction of traditional origami "Namazu" Cat Fish. "Namazu" is rarely mentioned among the traditional creations. A few years ago, the songwriter Akimoto Yasuto presented as a "Fugu" Puffer Fish in a unique origami book "Shitsuren Origami" (Broken Heart Origami) 2005, Kodansha, and that thought is stated in this novel. Origami creations are mentioned throughout the book - including the Curlicue by Assia Brill which is an action model that allow very ¡nteresting swirl movement, Monkey postcard origami, Five-petal Cherry Blossoms, Black Kite bird of prey, etc. The origami enthusiasts should enjoy reading the book just by imagining the origami models: "ls that that one? Which one is that?" ln addition, there are parts of the book that provides details about various creative styles of the origamidesigners, so it is well worth a reading. Although not directly related to origami, it is surprising that Miho's Tokai University Oceanography Museum appears as an important scene. I do not know if Hideaki Seno is aware or whether he had participated in one of the Origami Ta nteidan Shizuoka convention unforgettable banquet dinner party. Since Hideaki Sena is from Shizuoka Prefecture, it is possible that he may have been familiar with this aquarium from a young age.ln this novel, the "blue sky" in the title is also an important keyword. As I read the book I imagined the view from the Miho training hall (the Shizuoka convent¡on venue) ín the immediate vicinity of the aquarium, a blue sky visible from the front door, and a figure of an elegant soaring Black Kite bird of prey.

Currently, Hideaki Sena is developing ín collaboration with Origami House a plan to

publish on lnternet the origami insructions of the models which appears in the novel. Also, thanks to this book, we will have the pleasure of a special lecture on the second day (Saturday, August 12,2017)of the Summer Origami Tanteidan Convention at Tokyo University. Well, what did Hldeaki Sena discoúer with orioámi? am very much looking forward to ít. I

The origami world of Hideaki Sena "Kono aoi sora de kimiwo tsutsumou" (Let's hold you in this b ue sky) http://www.sena h idea ki.éom/ori ga mi/ Note 1 Mitochondria: lt is an organelle of a I

eukaryotic cell (a cell that has a nucleus that stores genes) and carries out complex chemical reactions that use oxygen to extract the energy necessary for vital activ¡t¡es for an organic matter. Some people explain that cells that have become able to acquire energy efficiently in coexistence with mitochondria have become multicellular a nd d ra matica ly accelerated their evol utio na ry pace. ln textbooks, there are many illustrations in the form of"azuki" red beans. Note 2 The selfish gene: What the organism leaves to the descendants is not the individuality of the individual organism but the gene itself. The organism individual is only a vehicle of the gene. lt is a shock that despite anthropomorphic expressions and paradoxical ideas about what an organism is, the objective of the gene is selfish -simply to remain a gene. Note 3 Symbiotic evolution theory: Chloroplasts responsible for photosynthesis in mitochondria and of plant cells are known to have unique genes apart from the nucleus. lt is an accepted story that Eukaryotic cells are more primitive cells that was born and evolved by incorporating other bacteria and coexisting. Note 4 Alpha Proteobacteria: E. coli (Escherichia coli) and other lactic acid bacteria as well as other I

n uclea r-free si n g le-cel led orga n isms are bacteria in general. But bacteria can be divided into several groups. A Proteobacteria is the group that includes photosynthetic bacteria that do not generate oxygen. I ncidental ly, cyanobacteria,

which

is a

group of photosynthesizing type that

generates oxygen, is known to be chloroplast. Photos:

Photo 1 Book cover Photo 2 Curlicue Photo 3 Postcard folding Monkey Photo 4 Shizuoka convention banquet dinner at Toyo University Maritime Museum

(Page 18) Here We Are, THE ORRRIGAMI TANTEIDAN

Drana "Origami no Majo to Hakase no Sikakui Jikan" (Square Days of Origami Witch and Doctor Orizuru) By Kaito Nagaya Kaito Nagaya - Born in 1997 in Shimane prefecture. Third year at Tokyo University Engineering department. Vice President of origami group Orist in 2016 and president in

2017. Trivia

1: Dr.

Orizuru (Mr. Takito) practiced origami

without rest during the shooting period. Trivia 2:The total time required to shoot 4 episodes and

t

hour of drama was 5 days.

ln March of this year, the drama "Square Days of OrigamiWitch and Doctor " on the theme of origami at NHK Educational TV was aired. lt is a

series of 15 minutes divided into 4 stories of Dr. Orizuru uses the power of origamiwho helps people troubled by the miscl-riefs caused by the witch of origami. Ás I hear about such a description, I imagine it as just a drama for children, but it is quite amazing when I watched it. "Oh, the origami by the origami witch, it is not c.omplex enough?" "Wow,l think I have recognize this origami Papillon Dog from somewhere..." "Ooh, there are lots of models that I believe I can recognize lined up in the Doctor' s room...? " It is no wonder, the face of the witch (Photo 1 ) is a model created by Takafumi Matsuo who is act¡ve in a wide range of fields such as designer of talent and face folding, the Papillon is a familiar creation by Jun Maekawa, and most of the models lined up in the room with are models of Toshikazu Kawasaki and Jun Maekawa (l also

contributed with a few models of my own too). Yes, many origami creators had been involved in the production of this program! "Todome" is an information section in the middle of the program. Mr. Maekawa himself appeared suddenly. Moreover, he does talk about design theory! "Ori Witch" is not just a drama for kidi, " Adults and Children can enjoy" "Understanding Modern Origami is Deepened" And furthermore, "convincing for the origami maniacs too," it is a dense and fully utilizing 15 minutes framework origamidrama. Well, this time, I was also honored to be involved with th¡s program in the role of "origami coach". The job responsibilities include being present at the location of the shooting and advising origami models folded in the program by Kenichl Takito acting Dr. Orizuru, display methods of models lined up in the doctor's room and clear board Crease Patterns, checking the correct mathematical expression, etc. Because Mr. Takito is a doctor of origami, we expect him to be able to fold origami skillfully and beautifully. I was worried about what wóuld happen, but after meeting him I realized that it was a needless anxie§. Mr. Takito always carries a pack with the origami, allowing him to practice every moment that he has free time when the camera is not recording. Surprisingly, even when the shooting is in progress, he practices over a hidden desk or on the knee that does not appear in the camera, making it possible to practice for 30 seconds on an origami he was partially working on. Even after going back home it seems like he was practicing by teaching his wife or child. The improvement of his folding skills was very apparent, and he memorized how to fold quickly, so he taught on the spot the other cast performers. I read on the lnternet an impression of the various people of this program, "it was wonderful to see the cast performers enioying folding origami together"'are wonderfui! ' Although I saw this actual scene, I believe it is a gift of Mr. Takito's efforts to master the origami

skill at a "doctoral" level in a short period of time (Photo 2, 3. At the end ofthe shooting, I asked M¡. Taki to fold a Papillon by Maekawa, which he

folded up beautifully, so lexchanged with my Chameleon). As I talked to the staff later, Mr. Takito is well-known for being extremely enthusiastic when playing a role. Also, I was impressed by the wisdom of Kozumi Tsunoyoshiwho played the role of a young boy called Noboru. During his act, he understood exactly what was beiñg asked of him, and during the break time he talked about his elementary school and what he thinks about it. I could ndt imagine that such an intelligent boy was just a first grader. The shooting location was a log house in the suburb of Tokyo in mid-February. On the first day, I was cold as I was not careful to check what kind of place it was and did not wear properly. However, it was a location full of nature, so with a camera in hand, I had a very fulfilling time going for a walk in the nearby trees. Total of 4 episodes of 1 5 minutes each for a total for an hour which was compressed from 5 days that it took to shoot the various scenes! Considering the opening and ending, it t
checking the homepage. Well, lastly, I would like to announce the decision for the sequel of "Origami no Majo to Hakase no sikakuijikan" (Square Days of origami witch and doctor). Details are expected to be posted on the homepage as the date approaches, but it should be scheduled the Saturday of the last week week of the month at 10:45 PM, from September to March, to be broadcasted at NHK Education W. Also, it looks like a mini project of about 5 minutes will be scheduled just before the start of the broadcast. Please check it! So, next time, what kind of models will be included? What kind of characters are going to appear and what kind of drama will unfold? I am also very excited because I have not seen it yet. Finally, for those who missed it, episode 4 will be rebroadcasted on July 29 (Sat) 10:45 PM, so please check it up too.

Photo 1: Home page Photo 2:Dr.Orizuru' s room, decorated with models by Maekawa and Kawasaki Photo 3: The Origami Witch (creation and folded by Matsuo Takashi). Mr. Onoe Kikunosuke, kabuki actor, voice artist Photo 4: Dr. Orizuru (Mr. Kenichi Taki)

(Page 36) Orisuzi

( "Fold Creases"

)

Viewpoints on Origami and Geometrical lhapes Changed through Folding By Junichi Miyoshi

I like geometric figures and I like repeating patterns. I am one of the organizers of the puzzle association. Although my main busíness is a manager of a maker, I am also a "weekend"

mathematician doing mathematics as a hobby, and so I go around announcing various events. I've been participating in the origamiscience, mathematics and education research group

meeting almost continuously since around 2013. During the 20th research group meet¡ng,l presented "Calculation of the center of gravity of origami." I like graphics, so when I look and draw graphics, time goes by too quickly. Occasionally, the familiar graphics may look different from before, and in such case a new pattern or puzzle may be born. ln rare cases, an origami may look like a figure or the figure may look like origami. There is á geometric pattern that is known as Penrose tile

(Pagq 37) Origami-Zanmai (This Origami and That) #86 "Origami-gaku and Library" By Seiji Nishikawa, JOAS board chair This time, I received a request to put together a

book called "Origami-gaku" by a group who mainly handles books for primary schools and public libraries. Originally, there was a consultation to Makoto Yamaguchi, who based on the content of the planning, did ask to work on it and encouraged me "to do my best". The project was about a creating a new title for the "xxx-gaku" (xxx Studies) series, following titles líke "Ayatori-gaku" (Cat's Cradle Studies), "Nazonzao-gaku" (Riddle Studies). That resu lted in one year of challenge was to determine what topics to be included or excluded, considering the vast wide of origami. At this point it is obvious to find out what was included by looking the content of the final book. However, in the eyes of the OrigamiTanteidan magazine readers, you might be intrigued by some missing topics. However, to identifu active origami artists in the world, for example, the Japan Origami Academic

which is made of two types of diamonds. Playing with it by dividing into isosceles triangles, thé pattern suddenly appeared to be an orígami crease pattern. lt meets the conditions of the Kawasaki theorem. Although at first glance, it appears like it would not lie flat, but as I folded, it became something like a Starfish. This had been my only creative work, which generated interest by some people. ln addition, the Connected Cranes posted by NamiNami on Twitter reminded of a Penrose tile pattern.lthink many people was very surprised, that I requested for, and NamiNami did indeed fold a Penrose tile connected cranes. I have the Cross "Shuriken" quadrature problem in my holding as my trademark routine. Sometimes ¡t ¡s easy to calculate the area by dividing the shape conveniently. But when I saw the division line that Houkitate suggested on Twitter, it did look like an origami work. lt did look promising. When I folded the orígami, the auxiliary line appeared. lt is like a dimension where a puzzle is solved without understanding it. Mr. Kawashima, I understand now when you say that it is actually easy to fold with the hálp of NamiNami and Saku. I presented on Sundiiy at the Mathemat¡cs Soc¡ety, which was very popular. The mechanism that a puzzle can be resolved with origami may be applicable to other subjects too. People wants to talk about anyth¡ng in case there is something interesting about it. From now on I would like to pursue unique routes. Society UOAS)had invited over 100 origami artists and researchers to conventions over the past two decades, or with regards to origam¡ history, looking at the richness of origami materials in Japan by opening one of the important reference material, the catalog of Tatsuno History and Culture Museum "Oru Kokoro" (Folding Heart), it was a "high quality problem" to be undecided about what to be written in the initial 2 to 4 introductory pages. However, I am very happy to know that there are many people knowledge enough and experts in various subject who will be in the pos¡tion to complement and introduce some of the missing topics to new origami enthusiasts. Many reference materials are mentioned in this book. And all the reference materials are available in the JOAS library. I hope you find it helpful ro check out the materials at the JOAS library and help us spread supplementing the information. During the compilation of this book, we received a lot of photos from the origami artists and researchers, and along with the materials, providing us a lot of encouragement. I thank you all from the bottom of my heart.

(Page 39) Paper Folders on File File #69 - Mark Bolitho lnterviewed by Marcio Noguchi Mark Bolitho started origami at young age, become member of Brirish Origami sóciéty (BOS) in 1979 and continues to be active. From 2012 and 2016, served as chairman. Currently part of the organizing committee of the next OSME meeting in Oxford in the United Kingdom in 201 8.

When and how did you get started with origami? I was introduced to origamiat qu¡te a young age (around 8 years old) following a chance findin§ of an origámi book at a localibrary. They stocked Robert Harbin' s "Secrets of Origami" and Kunihiko Kasahara' s "Creative Origami" . ln the 1970s there were very few origami books around and I soon started to develop my own models.ljoined the British Origami society (BOS) in 1979 and have been a member ever since (for more than 30 years). I now work full time as an Origami artist through my company

Creaselightning Limited. What are your objectives in creating origami? Much of ríy wor(now is based aroúnd áeliverinq Origami coinmissions for clients so much of this work has been driven by client requests. However, I have been fortunate to work with publishers to produce instructional books and kits. I see an origami modelas having various qualities, the ñnal look, and the folding process required to make it. A completed model should look good, but also be fun and interesting to fold. My main interest is the technical folding process,

although more recently I have started to explore using diflerent papers to achieve a better final model. The models I am most pleased with have an elegant folding process and have a final clean streamlined look. Can you describe your history with BOS? I became a member of the British Origami Society in 1979, so have been a member of the Society for more than 30 years. For about ten years helped run the Society, first as a general member, then secretary, and finally spent four years as I

Chairman of the society between 2012and2016. |n2004,1 helped coordinate the British Oriqami Society exhibition at the Embassy of Japan in the UK. Then later as Chairman I helped to build a team to run the Society. Outside the day to day running of the Society, I organized a pan European project, aimed at enhancing collaboration amongst the European Origami Societies. This came together with the publication of the book "Origami Europe" . I remain an active member of the Society and still help to coordinate the activities of members at London events. How do you describe your contributions to Origami, over the years? For the last twelve years I have worked full time as an Origami artist. This has involved creating models for marketing and advertising. However, in addition to this I have been fortunate to work on books and kits, and I have published more than 20 Origami books, along with around 20 gift sets, mainly designed as themed collections. Between 2013 and 2016|worked with Hewlett Packard to produce a weekly origami instruct¡on that HP customers could subscribe to. To do this I developed an ¡nstruction procedure that combined standard step by step instructions, a crease pattern and an associated video. The aim was to make origami instructions more accessible. lt was one of the most successful subscription services and has now been replaced by a mobile app that I published in 2015. I am currently part of the organizing comm¡ttee of the next OSME meeting in Oxford in the United Kingdom in 2018. What are your thoughts of your role for the future of Origami. Although the BOS is 50 years old, it does seem to have a declining membership, especially amongst younger folders. However, I would hope that there will always be an interest in conventions. The BOS is changing to align with the lnternet age and the Society now has a You Tube channel and supports other social media. However, the challenge remains to convert the army of lnternet fans to paying a subscription to a society or attending an event.

(Page 40) Rabbit Ear lnformat¡on

Letter from readers

.

Unfortunately, I was only able to watch the last episode of Oúgami drama on NHK. I wish I knew about it prior, as I would have wanted to watch it all. (K. Y.) Editor: Because there are possibilities that the drama might be rebroadcasted, we suggest that you check their official website from time to time: http://www4.n h k.orj p/ori ga m i/ . Motivated by the "Origami Sampo" article I looked around my neighborhood to see if I could find something origami related... So far,l

am yet to find anything. However, I enjoy much better my walks as I for seek origami related items around the city. (M. T.) lt was fun folding "Sakana lll" and play

.

with ¡ts action! (H.Y.)

11th Nagoya Or¡gami Tanteidan convent¡on The dates for the 1 1th Nagoya Origami Tanteidan convention was defined. Details and application form will be distributed in the next issué. Dates: November 18 (Sat) - 19 (Sun), 2017 Location:Nagoya University of the Arts

23rd Origami Tanteidan Convention (Last announcement) The schedule for the three days of the convention is as follows (note that this schedule is still subject of changes). Friday, August 11 Special lecture (free)

13:30

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17:00

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August 12 (Saturday) Origami classes . banquet dinner 09:00 - Registration begins 10:00 - Class ticketing begins 10: 30 - General Assembly, Hideaki Sena Special

.

Makoto Yamaguchi reGognized at

Lecture 12: 00 - 13: 10 Lunch-break 13: 10 17: 00 Origami classes 18: 00 - 21: 00 Banquet Dinner (Applicants only) August 13 (Sunday) 09: 00 - Registration begins, class ticketing begins 10: 40 - Origami classes 12:30 1 3: 50 Lunch-break

OrigamiUSA for the 3rd time On Saturday, June 23rd, 2017, Makoto Yamaguchi was recognized at the annual meet¡ng held at the OrigamiUSA (OUSA) Convention Center. This is the third recognition, in addition to the ones in 2004, when he was awarded Life Membership for his contribution to the OrigamiUSA activities, as well in 2014 when he was honored for the 21 consecutive partic¡pations at the convent¡on. Everyyear, at the end of the annual meeting, the awards ceremony takes place recognizing those who contributed to the spread the joy of origami and OUSA act¡vities. This year, at the end of the announcements of the award, the name of Makoto Yamaguchiwas called, and I was asked

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3: 50 16: 30

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16: 20 Origami classes

- General. Assembly

.

Presentation of

contest results Origami Auction Call for Origami class teachers We are looking for teachers for Origami classes. Registration for teachers will be accepted until August 3 (Thursday), so if you wish, please apply by sending us a form or via email. The form can be downloaded from the Convention Site:

http://ori

ga m i.g r.j

p/Convention/23 rdli ndex.htm

To apply by sn-mail, fill in necessary information

Rules:

. Size: 2.5 x 3.5 inches (64 x 89 mm). . lt must contain at least one origami element . Since standard mailing will be used, the thickness should be limited to 8 mm or less. . Theme: None (free) . On the back of the card, write the title of the card, name of the creator of the card, name of origami models used, creators or the origami models or reference to pu blications. lf possr-ble, you should also include the creation date, serial number, concept. Application method: Create 3 Origami ATC cards (one set, limit: 3 sets), enclose a self-addressed envelope with 82-yen stamp (domestic fare in Japan), and address it to Origami House. For the reply envelope (one per set), use a "Nagagata" envelope no. 3 (1 20 x 235 mm) or equivalent.

Scheduled speakers: Beth Johnson (lssei Yoshino lssei Fund special guest), Mark Bolitho (lssei Yoshino lssei Fund special guest) X Registration will start after the end of the lecture

1

ATC cards should submit it in exchange of the title card at the reception located on the main auditorium (planned to be set in the front row of the auditorium). The exchange is scheduled to be held on the 12th. For participation via Mail, please see details on P.25 of this issue. Here is an extract of P.25: Next Origami ATC exchange meeting: Saturday, August 12,2017. Participation via snail mail must arrive before or on Thursday, August 3.

I

(full name, model name, creator, time required, complexity level, etc.) in the application form and send it to [email protected] together with a photograph of the model. Origami ATC exhibition and Exchange Origami ATC card exhibition and Exchange is also plañned for this year. No theme was defiñed, so it is free. Those who wish to display the Origami

for a speech. Because he was not prepared, Makoto Yamaguchi' s speech was not as fluent. But he

talked how significant was the participation at the OrigamiUSA conventions, while choosing the words one by one to deliver a speech to the conference participants. At the end, a hug clapping was heard, first the board members of OrigamiUSA who were s¡tting in front, followed by the audience who stood up one after another, making it a standing ovation. Then, the CEO/president Wendy Zeichner presented a

plaque which read "OrigamiUSA offers its sincere

equipment borrowed from JOAS, we also broadcasted the class over the lnternet. We hope to continue introducing new programs although some aspe
gratitude to Makoto Yamaguchi" together with a big gift box. The box contalned a hat and jacket embroidered with the OrigamiUSA logo mark, and had a card with comments by cloie friends, and board members. The journey to NY with a time difference of 13 hours and a one-way flight time of 12 hours is never easy, and even more for Makoto Yamaguchiwho is now 73-years-old. During his speech, he mentioned that "coming to the convention next year may be difñcult", to which many of the friends immediately shouted "Please, do come again!" Makoto Yamaguchi replied that

willtry his best. (Note from the editor: related photos on page 22) Photo: Wendy Zeichner presents the plaque to

he

Makoto Yamaguchiduring the standing ovation

7th Kyushu Origami Tanteidan convent¡on report By Miyuki Kawamura The 7th Kyushu OrigamiTanteidan convention of this year took place from May 27th (Saturday) to 28th (Sunday)for 2 days, and the venue was at Saga University education department as previous year. The lecture by Chris Palmer (USA), the overseas special guest, talked about dyeing finished items'of teséllated origami madé of cloth, and the technique t¡e-dyéing. Several items such as shawls and scarves were exhibited demonstrating the results. Also, a class was given based on the actual procedures ofthese techniques. We also saw a cardstock thick paper on which a regular polygon would be drawn and a hole punched at the intersection points, which was popular each time. A total of 22 Koreans, including children, participated, giving 8 hours of classes, which were also very popular.-

Orist May Festival Exhibition Report Younq Creator Studv Grouo On Ma-y 20th and 21st,'the Oriljami Group Orist of the Tokyo University of held the "Origami Art Museum '17 in Hongo" at the May Festival, Tokyo University Hongo campus. This is a report of that event. Three volunteers attended the tour before the study meeting on the 21st. There was time allocated around noon, when we have a long queue going all the way to the outside of the building. lt was a great success so some people took about 20 minutes to enter the room. W news also came to record the event. The exhibition room was slightly smaller than the usual, about half of it was an exhibition space, the rest was arranged as a class space. ln the class space, club members taught visitors models from origami books. There were many children too. The exhibition featured not only complex models but also categories such as tessellations. There was also an exhibition space for the "Horse" theme, on which a large "Horse 1.1" by Satoshi Kamiya folded from a 4m x 4m square was exhibited. Orist is also planning an exhibit at Komaba in November. I curious to see what changes will be added to the exhibition after six months.

During the annual OrigamiATC exchange meetin§, 25 people - which was the limit of participants participated with the theme "House". We got together before lunch time of the second day, we took a group photo after each one introduced their cards. For the free theme exchange, there were a total of 54 entries, the largest number ever, and ATC cards were also exchanged independently around the venue. 92 people participated at the dinner banquet at hotel Chiyoda-kan. This year, additional liquor was available for a fee. There was no big confusion during the event and cheers could be heard each time participants and staffwere introduced, making it was a fun time with a lot of laughter and applause. The Kyushu "Tomonokai" friend' s association, which was established in March 2008, has just celebrated 100 meetings in May. During this convention, we conducted a general class at the large lecture hall on Sunday morning as a celebration of that achievement. Usihg the

:

Photos: Right-Top: "Helicoprion" by Nishio Kíkuchi Right-Center: "Saddle curve inside cube" by Nishio Kikuchi Right-Bottom: "Dankle Osteus" by Higashi Katsukawa Left: Over-sized "Horse 1.1" by Satoshi Kamiya Middle: "Hippocampos" by Koji Takiguchi 10

Tanteidan Magazine 164

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