Okinawan Kōgei: Crafting Continuity and Change was held in Norwich from 29 October to 3 November 2025. The project presented a series of public events designed to introduce the diversity and dynamism of Okinawa’s contemporary crafts, along with the traditional knowledge and creativity that underpin them, to audiences. The programme included a four-day exhibition at the Crypt Gallery, hands-on workshops, and a public lecture titled Okinawan Craft: History and the Present by Professor Kobayashi Junko of Okinawa Prefectural University of Arts (OPUA) at Norwich University of the Arts (NUA). Together, these events highlighted the creative heritage embedded in Ryukyuan material culture while fostering constructive academic and cultural dialogue between Okinawa and the UK.
Norwich, historically a major centre of textile production from the medieval period onwards, provided a fitting yet distinctive context for presenting Okinawan craft traditions. For the organisers, it was particularly meaningful to host the first substantial exhibition and related events dedicated to Okinawan contemporary craft in the UK outside the usual metropolitan hubs, contributing to broader conversations around decentralisation in cultural programming.
Exhibition Overview
The exhibition at the Crypt Gallery ran from 29 October to 1 November 2025 and welcomed 388 visitors over four days. Free admission enabled a broad public to encounter contemporary Okinawan craft in a comprehensive way. The opening reception offered an opportunity for visitors to meet the artists in an informal setting, fostering lively conversations that continued throughout the exhibition period.
Eight artists and professors from OPUA presented works representing key fields of Okinawan craft: textiles, bingata dyeing, ceramics, and lacquerware. Exhibiting artists included Hanashiro Miyako and Kubota Hiroko (textiles); Nago Tomokazu and Ura Kyōko (bingata); Yamada Satoshi and Shimabukuro Katsushi (ceramics); and Tōma Shigeru and Matsuzaki Shimpei (lacquerware).
Through these works, visitors experienced both the enduring legacy and contemporary development of Ryukyuan craftsmanship. Many commented on the visual impact of the materials, colours, and textures, noting the balance of tradition and innovation within each artist’s practice. Several visitors emphasised the value of encountering Okinawan culture in the UK context and appreciated the opportunity to learn about a region of Japan that is less frequently represented in international exhibitions. The online e-catalogue Okinawan Kōgei: Crafting Continuity and Change, produced in collaboration with Durham University, provided further interpretive resources and broadened access to the exhibition’s themes.
Workshops
On 1 November, two free workshop sessions (10:00 and 14:30) were held at NUA, offering hands-on experiences in bingata dyeing, shuri weaving, and shīsā ceramic modelling. Participants included NUA students as well as artists and curators who travelled from outside the region, reflecting strong interest in Okinawan craft techniques. The workshops allowed participants to engage directly with visiting artists from Okinawa, enabling close observation of production processes, materials, and the island’s distinctive craft heritage.
Feedback consistently highlighted the value of learning through making. Participants reported that the workshops deepened their understanding of the cultural and technical contexts underpinning the works shown in the exhibition, and they appreciated the open and constructive exchange of ideas with the Okinawan artists.
Public Lecture
The free public lecture by Professor Kobayashi Junko was held on 3 November at the Duke Street Lecture Theatre (NUA). The event drew 158 registered participants (in person and online), with approximately 70 attending on site. Professor Kobayashi explored the historical and cultural significance of Okinawan craft and situated the exhibition’s works within broader discussions of identity, resilience, and contemporary artistic practice across the Ryukyu Islands.
Following the lecture, a reception was held at NUA, where students, researchers, and members of the public gathered in a relaxed and informal setting. This provided an additional space for conversations between the Okinawan artists, attendees, and members of the local community, strengthening the network-building aspect of the project.
Audience feedback indicated that the lecture enhanced understanding of Okinawa’s cultural position within Japan and underscored the relevance of craft studies within wider debates on regional histories and globalisation. Many attendees commented that the lecture provided valuable context that enriched their experience of the exhibition and workshops.
Impact and Significance
Overall, the project contributed meaningfully to increasing awareness of Okinawan arts in the UK. It offered an important platform for a region that remains underrepresented within Japanese studies, while enabling productive exchanges among academic institutions, students, and practitioners. Collaboration between the Centre for Japanese Studies, UEA, OPUA, the Sainsbury Institute for the Study of Japanese Arts and Cultures, and NUA was essential to the project’s success. Strong attendance across all events demonstrated considerable public interest in Okinawa’s material culture.
The project also established a foundation for future academic partnerships and cultural programming. Several participants—including artists and curators who travelled from outside Norwich—expressed interest in continued collaboration, suggesting that the exhibition has initiated an ongoing dialogue within the UK arts community about the techniques, histories, and contemporary relevance of Okinawan art and craft.
Acknowledgements
This project was made possible through the generous support of the Sainsbury Institute for the Study of Japanese Arts and Cultures, the Japan Foundation Endowment Committee, the Japan Foundation London, the Great Britain Sasakawa Foundation, and the Nomura Foundation. Their contributions enabled the realisation of this cultural event and facilitated deeper engagement with Okinawa’s rich art and craft traditions.
Eriko Tomizawa-Kay
Sainsbury Institute Associate Professor in Japanese Art History, and Director of the Centre for Japanese Studies, UEA