@AboutWorkshopQ and AContactColumn
Questions and answer
Here are the questions and answers about the workshops to create earthenware pieces for "The Field of Nusa." If you have other questions about "The Field of Nusa," please contact nusa@p3.org

Q What is the workshop like?
Q What kind of people participate in the workshop?
Q How can I take a part in the workshop?
Q How can I hold a workshop?
Q What do I make?
Q Why did you choose clay pieces?
Q Why are pieces hand-held size?
Q Why did you choose white earthenware?
Q Can I get the piece I created back to me?
Q Why do you collect so many of them?
Q Why did you choose to put them in the nature?

Q What is the workshop like?
It approximately takes between 90 minutes to two hours. Each person makes two or three pieces of clay art. Then, we will dry the pieces for a monthAbake them, paint the lacquer on their surface and do the final baking process to finish. To the top>>

Q What kind of people participate in the workshop?
All kinds of people from elementary school to elderly participate in the workshop. We don't use special tool. So anyone can join. To the top>>

Q How can I take a part in a workshop?
We will put information about the workshops on our homepage. Please check the "schedule." Also, if you subscribe to our mail news (Japanese) service, we will send you update news. To subscribe. To the top>>

Q How can I hold a workshop?
We are constantly looking for organizations or individuals to hold a workshop. We especially appreciate participation of those who have either baker or tools to finish baking process. For further information, please contact nusa@p3.org. To the top>>

Q What do I make?
It depends on what you decide to make. You can choose from something that's close to you, something you like, something you want to pass on to the future, or something in your imaginary world. It can be anything. Please make a hand-held size piece of art using clay. To the top>>

Q Why did you choose clay pieces?
Please feel the clay. When you work with it, you feel its warmth. It unique sense of touch soothes you and makes you relaxed. It also stimulates your sense. In addition, through the production, you can enjoy conversation with not only your friends but also people you first meet at the workshop.
The clay made into earthenware can endure long time of harsh climate like strong winds or heavy snowfalls. The pieces will be left in the future with only little change of destruction. Also, because clay is a natural resource, it doesn't destroy the environment, nor the environment destroy the pieces. To the top>>

Q Why are pieces hand-held size?
Because it is a size you can make without help of others. Also, because it is supposed to be a gift to koropokkur, mythological dwarfs believed to be existed by the Tokachi Ainu tribe. Make what's inside of you into a shape. To the top>>

Q Why did you choose white earthenware?
Because it is the basic color of clay. It cannot be any paler. On the other hand, white is the color that can absorb the change in the environment and the time. To the top>>

Q Can I get the piece I created back to me?
"The Field of Nusa" is to be placed in THE "Tokachi Millennium Forest" forever. What you have created will get a new life in the forest. Along with pieces other people around Japan have created, your work will be presented to the people in the future. To the top>>

Q Why do you collect so many of them?
Each person's thoughts or dreams bring stronger synergy effect when collected in a visible way. Something that cannot be easily expressed in words, or something a certain community has, will be made visible in the the "Tokachi Millennium Forest."
Also, when you see "The Field oF Nusa," you realize there are so many clay pieces that are all different. You realize that they are not the same with the mass produced goods. It also makes you understand that our world is made of different lives. To the top>>

Q Why did you choose to put them in the nature?

I can put the reason in the following ways.

To make the field a place to connect ancestors who valued mother nature and our children in the future.
To make the experiences and memories of each and every one of us who live in the present return to the mother nature.
To make a imaginary historical site for archeologists in the future.
To aim for the paradox where the work will be mixed in the nature yet it will be left in the future for the very reason it is in the nature.
To make the work as a guardian or measure to observe the the recovery of the woods in the Tokachi Millennium Forest.

These are my wishes. To the top>>