REKIHAKU

No.172 A Witness to History

Toward the Construction of New Gallery 4
Artificial Baits for Skipjack Pole-and-Line Fishing

From this issue of Rekihaku, the materials to be exhibited in Gallery 4 (Folklore) that is to be opened with a new look in March 2013 (Heisei 25) will be introduced in six issues. In the new exhibition, the research achievements accumulated from the opening of the former Gallery 4 in 1985 (Showa 60) until today will be exhibited through many new materials. Here, some of them are introduced ahead of the new exhibition.

Photo 1: Skipjack pole-and-line fishing Photo courtesy of Tosa-no-katsuo-gyogyo-shi Editorial Office (Nakatosa-cho, Kochi)	Photo 2: Skipjack tuna Skipjack tuna landed at Kure fishing port in Nakatosa-cho, Kochi
Photo 3: Anchovy Photo courtesy of Tosa-no-katsuo-gyogyo-shi Editorial Office (Nakatosa-cho, Kochi)	Photo 4: Tsuno made with Japanese serow horn This was made in Oshima, Kesennuma, and is called Bake by local people. Photo courtesy of Kawashima Shuichi

The words “skipjack pole-and-line fishing” conjure up a dynamic fishing scene with many fishermen catching skipjack tuna one after another on a boat in surging waves in the middle of the ocean (Photo1). Skipjack pole-and-line fishing is physically very demanding because skipjack tuna (Photo 2) that weigh many kilos are caught one by one with a pole. On the other hand, such fishing also demands a certain finesse for skillfully handling the tools made with ingenuity based on a vast knowledge of nature.

As “A Witness to History” this time, I would like to introduce artificial bait, which is one of the tools that encapsulates the knowledge and experience of skipjack pole-and-line fishermen. Artificial bait is a hook for fishing which looks like bait. Fishing with artificial bait is one of the most effective fishing methods because it does not require procurement and replacement of bait, but artificial bait itself must be made through close observation of the habits of fish. The artificial baits shown in the photos were donated by fishermen in Kure, Nakatosa-cho, Takaoka-gun, Kochi.

In skipjack pole-and-line fishing, either live bait or artificial bait is used depending on the skipjack’s appetite. Because real sardines, anchovies (Photo 3), etc. are mainly used for live bait, artificial bait imitates such fish. In today’s fishing, live bait is used when the skipjack’s appetite needs to be stimulated at the beginning of fishing, when the skipjack’s bite is not good, when skipjack lose their appetite in the final phase of fishing, etc., while artificial bait is used when skipjack have a good appetite. There are various artificial baits available depending on the shape, the material, etc. and they have various names. Artificial bait is generally called kabura, bake, bakashi, etc., but those names indicate different ranges and targets depending on the region and the time. Therefore, in this article, all artificial bait is called “artificial bait” and then classified into three types: tsuno, shabiki, and kabura according to the shape and the material.

First, I would like to introduce tsuno (Photo 4) which is artificial bait made from animal horn and bone. It is not clear how long tsuno has been used for skipjack fishing. Based on the archaeological materials, it is understood that fishing with animal bones was prevalent from a long time ago, but the first record of skipjack fishing appears in Honchoshokkan published in 1695 (Genroku 8). This book describes artificial baits made by chipping bull horns and whale teeth. The subsequent books also describe examples of the use of various materials such as horse hooves, Japanese deer and serow horn, pine, bamboo, glass, etc. for artificial bait. However, tsuno is now less available because it has become less frequently used in the early stage.

Photo 5: Shabiki The white part of the body is the feather shaft.	Fig. Layout for skipjack pole-and-line fishing

On the other hand, shabiki and kabura are available even today, and it is also possible to hear the stories of people with experience in manufacturing and using them.

Shabiki (Photo 5) is artificial bait made of feather shaft. The use of the feather shafts of eagle, kite, stork, albatross, etc. is recommended. Red, white, and brown feathers are wrapped around a weight with a hook cast, and the hard portion of the feather shaft is placed on it. Shabiki is used by moving it on the water surface in a crawling fashion while shifting the pole in wide movements. On a skipjack fishing boat from Tosa, which works mainly at the portside (left-hand side), nakahenori and omokajihenori who occupy the bow and its starboard side (right-hand side), and an expert fisherman called tomoroshi who occupies the corner of the portside of tomo (tail of boat) are able to make use of their wide spaces for manipulating shabiki (Fig.). During the research, I heard that because of its fragile body, shabiki is used only when the fish bite is not good and live bait may be required, and skipjack caught are held under the arm one by one to remove the hook, but it appears that some fishermen also use shabiki when the fish bite is good.

Photo 6: Tataki-kabura The red and white feathers are wrapped in sanpotehage skin.	Photo 7: Materials for kabura Red and white feathers and boar hair
Photo 8: Sanpotehage  skin It glows under water like sardines.	Photo 9: Tataki-kabura made with vinyl tape Feathers and boar hair are wrapped with vinyl tape.

Finally, I would like to introduce kabura. Kabura has two types: udaki-kabura and tataki-kabura (Photo 6). In the case of udaki-kabura, the fish caught are held under the arm to remove the hook, while in the case of tataki-kabura, the hook is removed in the air without holding the fish. For both types, the hook is barbless, but the curve of the hook of udaki-kabura is tight while that of tataki-kabura is gentle so that fish can be removed easily. Therefore, the scene of skipjack pole-and-line fishing with a number of skipjack tuna dancing in the air on a boat is observed at the time of fishing with tataki-kabura. Most artificial baits used by today’s fishermen are tataki-kabura.

Kabura is made with red and white feathers, boar hair, etc. (Photo 7) wrapped around a weight with a hook cast, and the skin (Photo 8) of fish such as sanpotehage (unicorn leatherjacket), yellowtail amberjack, flathead mullet, etc. or cat skin called shami is placed on it. Such skin is called eba. Boar hair is mixed to reinforce the feathers. In recent years, transparent vinyl tape is often used in place of eba for tataki-kabura (Photo 9). This is because it is made easily, the color is nice, and even when the tape becomes damaged and discolored after catching a number of skipjack, the color can be restored to its former state by removing a few layers of the tape. In the past, the foot bones of bird or cat were used in the body of kabura, and shell, cat bone, nandina tree, etc. were put into the mold (Photo 10) to be cast in the lead body (Photo 11) in some cases.

Photo 10: Mold for body of kabura Molten lead is poured into the mold.	Photo 11: Kabura for albacore Animal horn is fit inside.

The making of such artificial baits was changed gradually to one that uses commercially available materials according to a set pattern, and today, ready-made kabura is often purchased. Nakajo Toshiharu (born in 1941 [Showa 16]), one of the fishermen who donated the materials, talked about the making of kabura which he learned and to which he also added his original ideas. He said “It will lure skipjack with its resemblance to a sardine to some extent, the similar color, glow, etc. So, I take the time to chip shells and put them in it (the mold).” But he also said “When I just became a fisherman, I made them in such a way. But as the boats became larger, and they began to head out to sea for fishing, I found this (ready-made product) has the longest life and is tough”.

These words are very important. We tend to develop strong feelings for items made with all of the traditional skills. However, the practical skills associated with livelihood are always waiting for opportunities of innovation because they will have a direct influence on the wealth of life. From “A Witness to History,” we would also like to think about the change of people’s sensitivity for life and livelihood that lies between the old and the new.

[References]
- Kawashima Shuichi. (2005). Katsuo-ryo (Mono-to-ningen-no-bunkashi 127). Hosei University Press.
- Kochi Prefectural Museum of History. (2008). Katsuo --- Katsuo-to-tosajin --- Tenji-kaisetsu-zuroku.
- Tosa-no-katsuo-gyogyo-shi Editorial Office (ed.). (2001). Tosa-no-katsuo-gyogyo-shi. Nakatosa-cho, Kochi.
- Tosa-no-katsuo-gyogyo-shi Editorial Office (ed.). (2001). Katsuo-hito-umi (Supplementary volume of Tosa-no-katsuo-gyogyo-shi). Nakatosa-cho, Kochi.
- Ministry of Agriculture and Commerce (ed.). (1929). Nihon-suisan-hosai-shi All. Suisansha.
- Nihon Gakushiin Nihon Kagakushi Kankokai. (1982) Meiji-zen Nihon gyogyo gijutsushi. Newly-revised edition. Noma Research Archives for Science and Medicine.
- Hitomi Hitsudai. (1980). Honchoshokkan. Rinkaibu-no-san. (Honchoshokkan 4). Heibonsha.

 

Matsuda Mutsuhiko (Folklore Studies, Research Department)