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Stories from Naru Island

Read features and notices filled with the appeal of Naru Island, seasonal topics, and everyday island life.
Explore local life, culture, seasonal scenery, and other stories that help you get to know Naru Island more deeply.
Features
2026-08-18 13:12
Tako-Tsubo fishing experience: What It’s Really Like to Catch Octopus the Traditional Way
ORIGINS OF THE TRADITION Furusu Kazuya is no ordinary fisherman. With four decades on the water, he has specialized in tako-tsubo, the traditional Japanese art of octopus pot fishing. "When I first started out," he says, a shadow of sadness crossing his face, "there were octopuses everywhere. But their numbers have dropped significantly since then." However, the tide seems to be turning for the better recently with numbers starting to rise over the last few years, and Furusu-san describes recent catches as rather promising. Tako-tsubo has been practiced in Japan since the Yayoi period, over 2,000 years ago. Even then, octopus fishermen took advantage of the creature's natural instinct to hide from predators inside dark, narrow crevices. In the past, tsubo—the pots used for octopus fishing—were made from unglazed clay. From the late 20th century onward, heavy, fragile earthenware gave way to specialized plastic pots—equipped with automatic trapdoors that snap shut once an octopus crawls inside. While the materials have evolved over time—from raw clay to modern plastics—the core technique of sinking an artificial shelter and waiting for the octopus to enter has remained unchanged for over two millennia. SPECIFICS OF TAKO-TSUBO FISHING In Narushima, Furusa-san was among the first fishermen to embrace modern plastic baskets for tako-tsubo fishing. The automatic trapdoors significantly boosted catch efficiency by preventing octopuses from escaping while the pots were being hauled aboard. Catch efficiency was basically the main driver for fishermen to adopt it instead of traditional clay pots. However, these self-closing pots introduced a new problem: trapped octopuses often began self-harming. Under extreme stress and confinement, an octopus can suffer a nervous system overload—a state so distressing that it may begin eating its own tentacles. Although this is not rare, such a behavior, in general, does not exceed 10% of the overall catch. Overall, tako-tsubo fishing is a labor-intensive and time-consuming craft. In terms of sheer volume, it is far less efficient than modern industrial methods like trawling or netting. So, this begs the obvious question: why does tako-tsubo fishing survive? The secret to its survival lies in Japan’s culinary culture, where ingredient quality is paramount. While industrial methods like net fishing and trawling yield high volumes, they come at a steep cost. Abrasive nets tear delicate suction cups, scar the skin, and bruise the meat under stress—ultimately degrading the quality of the octopus. A second key factor is the local topography, particularly around Goto. Because octopuses take shelter in the hard-to-reach crevices of its rugged, rocky seabed, industrial trawling nets are entirely ineffective. TRYING TAKO-TSUBO FOR THE FIRST TIME We accompanied Furusu-san on his daily sea run to check his octopus pots as part of tako-tsubo fishing tour. He occasionally runs these tours for visitors, though demand remains relatively small for now. We visited two fishing spots, each set with 250 pots connected by a single line that stretched across 300 meters. On the way out to the takotsubo grounds, we were treated to stunning coastal views—dotted with rocky islets, sweeping horizons, and dramatic shifts in the current. That natural beauty was matched by the raw excitement of hauling up the pots, coaxing the octopuses out, and moving them into the boat’s holding pool. Out of the 500 pots we pulled up that day, we caught 18 octopuses. We thought that was a impressive harvest, but Furusu-san set us straight: it was actually one of his lowest catches, well short of his personal record of 53 in a single trip. At the end of an exhausting yet exhilarating day, Furusu-san gifted us an octopus each before hosting us at his office for a warm, friendly chat. All in all, it was an unforgettable experience—one that left us with nice memories, deep appreciation, and a hands-on introduction to a traditional craft.
Features
2026-08-17 10:15
The Unusually Large Akoya Pearls of Narushima: One Man’s Lonely Quest
Mie Prefecture’s famous Ago Bay is the undisputed historic birthplace of the cultured akoya pearls. For generations, this was the center of the pearl universe. It was also home to Shimizu Tagao, a third-generation master artisan whose family had the art of pearl cultivation woven into their very DNA. But Shimizu did not want to just repeat the established traditions. He wanted to change them. In 2003, his quest took him hundreds of miles away to Narushima, a remote island tucked into the rugged embrace of Nagasaki’s Goto archipelago. Mesmerized by the wild, untamed beauty of the coastline, he realized he had found something extraordinary. Narushima wasn’t just beautiful – its deep, jagged bays and nutrient-rich currents offered the perfect sanctuary for a secret hidden just beneath the surface: a native strain of Akoya oysters unlike any found back home. For over two decades, as a lonely pioneer on this quiet island, Shimizu has defied the established standards of the industry. Traditional Akoya pearls past 11mm are virtually inexistent. Yet, out of Narushima’s waters, Shimizu-san routinely produces pearls exceeding 10mm, with some reaching an astonishing 13 to 14mm—nearly rivaling the massive, legendary South Sea pearls prized across the globe. The secret to this impossible size lies in a combination of Naru island’s natural conditions, Shimizu’s perfected techniques as well as his indomitable spirit to endure hours of hyper-precise, tedious labor. Shimizu relies entirely on wild, indigenous spats (baby oysters) sustainably gathered straight from Narushima's nearby bay. Because these native oysters grow larger than their mainland cousins, they possess the rare ability required to cradle and nurture bigger akoya pearls. ROOTS OF THE PEARL CRAFT Long before Japan taught the world how to cultivate pearls, a genuine pearl was one of the rarest phenomena. For ancient pearl hunters, the odds of finding a single, beautiful gem hidden within a wild shell were close to one in a thousand. This scarcity drove a relentless hunt. To find just a handful of pearls, hunters ravaged thousands of wild Akoya oysters, pushing the entire species to the brink of extinction. The man who turned things around was the legendary Mikimoto Kōkichi, the visionary founder of the global jewelry empire that still bears his name. He realized that the only way to save the industry, and the species, was to figure out how to grow pearls artificially instead of hunting for them in the wild. Mikimoto set up his trials on Ojima Island in Mie Prefecture. After years of failure, his initial breakthrough came in 1893 when he managed to cultivate the world’s first semi-spherical Akoya pearls. He didn't stop there; by 1905, he perfected the method to create the completely round, spherical pearls we see today. In recognition of this feat, Ojima Island was eventually renamed Mikimoto Pearl Island. This breakthrough in Ago Bay completely changed the global market. It kicked off what historians call the "democratization of the pearl," making a luxury item that was once reserved exclusively for royalty widely available and affordable for ordinary people. Yet, Mikimoto’s legacy was not only commercial. By understanding and leveraging the natural biology and habits of the oyster, this early framework can be considered one of the first successful traditional models of biotechnology application. ASSEMBLING YOUR OWN CUSTOMIZED PEARL BRACELET Shimizu’s studio is adjacent to his pearl farm. It sits right next to his pearl farm, tucked away in one of the quietest and most scenic corners of Narushima. The studio itself is simple, cozy, and filled with a relaxed, reflective atmosphere—a welcome contrast to the fast pace of modern travel. Inside the main hall, a display of Shimizu-san’s custom artwork showcases the incredibly diverse ways these large Akoya pearls can be used for design. Visitors have the freedom to sit down and assemble their own custom piece of jewelry using the island's unique Akoya pearls. If your travels bring you to Narushima, making time to visit the studio and adjacent farm is highly recommended. Getting to see the meticulous cultivation process with your own eyes, right alongside the artisan who dedicated his life to it, makes for an unforgettable connection to the island. ----------------------------------------