My Life as a Kimekomi Doll Maker
Akiko Keene
Gago - Master / Professor
How wonderful it is to be able to share my story and this Japanese tradition with individuals from other cultures. Dolls have been important to the Japanese culture for centuries. They reflect the history of Japan from prehistoric to modern times. Some dolls were thought to have religious meaning or mystical powers, while others such as kimekomi dolls were appreciated for their beauty.
My first kimekomi doll-making experience was in 1963. On a sunny spring Saturday afternoon, my college friends and I decided to participate in a free hands-on special beginner's class on kimekomi doll making being taught by the late Mr. Komatsu, a National Living Treasure of Japan. The class was held in a department store in Tokyo. The only reason I started making kimekomi dolls was because sewing was not required. The more I made these dolls, the more enjoyable it became. Of the five girls who originally signed up for the class, I am the only one who continues to make dolls. Since that first doll-making class, kimekomi dolls have been important to me. In fact, according to one of my friends, one day when we were out shoe shopping, I said, "Well, if I don't buy those yellow shoes, I can buy more doll kits."
Later, through Mr. Komatsu, I met Mr. Hasebe, who was already a "doll creator," someone who designs his own dolls. Then, Mr. Hasebe introduced me to Ms. Izumi, who was to become my doll-making teacher at the Tokyo Doll School. After three years, I graduated from the doll school with a teaching certificate.
By 1974 I was living in Maryland and many of my first students were ladies I had been teaching informally in my home. These ladies enjoyed kimekomi doll making and encouraged me to open a kimekomi doll-making school. Because of their encouragement and with my husband's support, I opened The Washington Kimekomi Doll School. But in 1976 my husband was reassigned to Japan. As a result, I closed the school and we moved to Okinawa. While there, I taught kimekomi doll making at the United Services Organization (U.S.O.) and at KadenaAir Force Base's Officer Club and the Morale and Welfare Recreation's Arts and Crafts Center. I also had the good fortune to appear on Japanese television to talk about my dolls. A short time later, I attended the Kyoto Kimono School and received a Third Certificate. I had felt that I needed to learn more about kimonos if I was to adapt the techniques of making kimonos for people to making kimonos for dolls. This was very important if I was to include information on kimonos in my school's curriculum.
The following year, 1978, I received the Koshi (Associate Professor) degree from the Hyakakai (Japan Doll Teacher's Association.) This degree made it possible for me to award certificates to my students. In 1979, we returned to Maryland, and I reopened my doll school. While I was operating my school, I continued my dollmaking training. Then in 1982, the Hyakakai awarded me the Kyoju (Professor) degree, and in 1989, the title of Gaga (Master Professor). The title of Gaga is the highest degree awarded by the Hyakakai for doll making. Those with the title of Gaga, also receive an "artistic name." Mine is Tosuika.
I feel that doll making is an art that takes continuous training and learning because there are always ways to improve one's doll-making techniques, and there are always new methods to learn. I continue my studies in Japanese doll making by going to Japan annually to learn about new dolls and new and advanced doll-making techniques, as well as other traditional Japanese crafts. As a result of my continuing studies, I am able to conduct workshops and give demonstrations on many doll-related subjects for my students. For each traditional doll, I attempt to convey to my students as much information about the doll, its history, and related stories. Thus, I collect folk stories about the dolls so I may relay them to my students. It seems to add to the charm and interest of the dolls and to the art of Japanese doll making.
In 1996 I changed the name of my school from The Washington Kimekomi Doll School to The Japanese Doll Making and Crafts School. I felt that the change was necessary in order to reflect the increased activities of my school. Though kimekomi doll making will always be an important activity of my school, I have ventured into teaching how to make other types of traditional Japanese dolls such as oyama dolls, hagoita dolls, doyo dolls, and sakura dolls; and crafts such as oshie, washi paper crafts, jewelry, and more.
There are three active branches of my school. The teachers are Mrs. Mio Lawrence of Upper Marlboro, Maryland; Mrs. Lily Okura of Bethesda, Maryland; and Mrs. Tokuko Shimizu of Baltimore, Maryland. Each teacher is very qualified and conducts classes in their workshops. We meet whenever necessary to exchange information and to help and support each other.
In addition to my classes, I am active in the community teaching, lecturing, and giving demonstrations on doll making and other Japanese crafts for the U.S. Government, and at festivals, cultural and ethnic celebrations, schools, community centers, exhibitions, conventions, clubs, and so forth, throughout the United States and in Japan. I also am a consultant on Japanese dolls to the Smithsonian Institution in Washington, D.c.; the Embassy of Japan in Washington, D.c.; the Japan America Society; and retail stores in the Washington, D.c. metropolitan area. Also I restore Japanese dolls for these institutions and stores, as well as for private individuals.
I have made television appearances in the United States and Japan to discuss my dolls. I have appeared on Virginia Public Television, Channel 10. The program was taped in my workshop and featured my dolls and included some of my students. In 1998, I appeared on two Japanese television programs that featured my dolls. The programs were on Fiji Broadcasting Network (April 1998) and Nippon Hoso Kyokui (December 1998,)
The Japanese Doll Making and Crafts School has sponsored various exhibitions. Normally, my students and I plan a major exhibition about every five or six years. The most recent one was in 1996 at the Embassy of Japan's Information and Cultural Center in Washington, D.C. It was a one-month exhibition, and my students and my branch teachers and their students all participated. We were so fortunate to have Mr. Hasebe, Mr. Kameda, and 22 doll teachers from Japan attend our exhibition. Since our first meeting over 30 years ago, Mr. Hasebe has become a nominee as a National Living Treasure of Japan. Mr. Kameda is the president of the Nomura Company, LTD.
In 1995, I lectured and gave a kimekomi doll-making workshop at the University of Maryland's Japan Club in College Park, Maryland. In 1996, we had an exhibition at the Mazza Galleria in Washington, D.C. In addition, I gave a lecture and demonstration on kimekomi doll making at the Meridian House, Washington International Center's exhibition on dolls. Some of my dolls, as well as some of my student's dolls were included in the exhibition. The Meridian Center is located in Washington, D.c.
I also submit my dolls to the Dento Kogeikai and Hitokata Kogeikai in Japan. These are invitation-only traditional Japanese arts and crafts competitions that are held every two years.
Some of the other places that I have exhibited my dolls and given doll-making demonstrations include the Cathedral of St. Peter and St. Paul (also known as the National Cathedral) in Washington, D.c.; the Louisville International Cultural Center in Louisville, Kentucky, the Japan America Society of Rhode Island in Newport, Rhode Island, the G Street Fabric Doll Club in Rockville, Maryland and retail stores such as Neiman Marcus and Bloomingdale's.
Through the years I have organized and led doll tours to Japan. My purpose is to give my students an opportunity to visit Japan and the various doll schools in order to meet with the doll creators and other doll teachers so my students and others can gain a better understanding of the art of doll making and of the Japanese culture. At the same time it gives the Japanese doll schools an opportunity to meet with doll makers from the United States. I usually plan a doll tour every three to four years. Currently, I am plan ning a doll tour to Japan in October
2000. For this tour, I plan to include visits to some doll schools and a doll conference. I also hope to meet with Mr. Maeda to discuss a potential visit to the United States and to my doll school to conduct a special class on kimekomi dolls. Mr. Maeda is a master doll creator and a nominee as a National Living Treasure of Japan.
Making kimekomi dolls is unlike making other types of traditional dolls. A kimekomi doll will always keep its shape because the body is made of wood. They are unique in that they come in many sizes and types. They can be restyled easily, yet will maintain their charm and elegance.
Through three decades of doll making and teaching, I have met so many wonderful people and I have learned so much from my students. It is only through my husband's support and my student's help that I have been able to continue to teach traditional Japanese doll making these many years.
There have been several articles about my dolls and me in various newspapers and magazines:
All Japan Doll Art Institution.
Nissa News. Numbers 273, 274, and 282. (The Nissa News is a quarterly newsletter of the All Japan Doll Art Institution.)
Blake, Allison. "Lifetimes in Art." Capital News, 27 January 1991, p. El.
Cox, Elizabeth. "Japanese Doll Art in the u.s. Capitol." Doll World, April 1998, pp. 44-45.
Del Sesto, Christina. "The Art of Japanese Doll Making." The Washington Post, 19 May 1988, Home Section, p. 38.
The Dolls of J avan and the World, 1985.
"Sekai ga Butai (The World's the Stage)." The Yomiuri Shimbun, 30 November 1996. (This is a Japanese language newspaper.)
