In the far south of Japan, the tea fields’ proximity to active volcanoes means the leaves have to be treated in a special way. Several times a year, the volcanoes spew out ash that is deposited on the surrounding land. So once the leaves have been harvested, they are rinsed before the first stage in processing: steaming. The rinsing in cold water lasts for 30 minutes and no longer, to minimise the loss of aromatic compounds.
If you want to get to know Japan, I recommend, as well as “The Empire of Signs” by Roland Barthes, “In Praise of Shadows” by Junichiro Tanizaki. I brought it with me to read here, in Japan. It talks about the relationship we have with light in the West and East: diffuse light versus direct light; a love of shiny things compared with a preference for matt. In the West, we want total light; elsewhere, like in Japan, more of a half-light. Tanizaki also talks about lacquerware, darkness, and Japanese cuisine, which go with shade. He says, about this cuisine, both the food itself and the dishes in which it’s served: “In the glare of harsh light, its aesthetic virtues would disappear in a flash.” He also says something I really like: “We Orientals make things beautiful by creating shadows in places that in themselves are insignificant.”
Many people think I only visit the plantations at harvest time. This couldn’t be further from the truth. I like to meet a planter or farmer when he has time for me, and nothing to sell. When he’s not constantly preoccupied by the quality of the tea he’s making at that moment. In Japan, if I visit the tea fields during the first half of May, when the country’s finest teas are being produced, the farmer will have very little time to spare. He’ll look after me, of course, but he’ll be stressed, because from sunrise to sunset he’ll be dashing between fields and factory, and trying his best to be in both places at once. On the other hand, now, at the beginning of January, here in Japan, farmers have time to spare. We can sit down together and taste plenty of teas, we can walk along the rows of tea plants, and inspect every tool and machine. I can understand the farmer’s challenges and ask plenty of questions. Then we can go and have lunch together in a traditional hostelry and sing the praises of the local specialities, enjoy the way the room looks out over a small pond, admire the beautiful carp, talk about everything and nothing. That’s how you learn. I’ve learnt an enormous amount about tea and how it’s grown in this way, by taking my time. Much more than I would by coming in the harvest season and hurriedly tasting and buying what I need. In life, and particularly in Japan, nothing beats taking your time, not worrying about wasting it. There is nothing to lose by doing things slowly. This is how I do things in every tea-producing country. Sometimes I visit in the harvest season, but I know that I also need to be there to listen, to understand. Above all, it’s important not to imagine that nothing happens outside the harvests. And it’s important to value slowness, especially in Asia. Here, it’s best to avoid rushing, efficiency, yields. Instead, we can enjoy the experience of a detour.
To accompany my New Year’s greetings to you, I’ve chosen this photo of a bridge. I love bridges, great and small. I love anything that spans a chasm and connects people. Some people build walls, others build bridges. There are people who shut themselves off, who want to surround themselves with barriers. Others throw down ropes or ladders into the void; they aren’t put off by precipices or obstacles or difficulties of any kind. They overcome them. Some people are fearful, some people are trusting. I wish you a Happy New Year full of bridges, challenges, daring. I hope you are able to follow your heart.
Naturally, I have emotions. I never return from my travels unmoved. Yes, in the strictest sense my job consists of visiting tea fields, talking with producers, tasting, and understanding how the tea is made. But in practice my work doesn’t stop there. It’s not just about tea leaves, plants, machines, flavours. Most of all, tea is about people. Men and women. Smiles, surprises, joy, pain, laughter, fear, curiosity, anxiety, fun, desires, challenges, suffering, pride, hopes and dreams… The people I meet up in the mountains give me all this. So as soon as I see a familiar landscape, I feel moved. I think back to the time I was there before, to the people. I remember what I learnt about life in those places. I remember my feelings. I don’t wear armour when I travel. A journey is like a shipwreck, and people whose boat has not sunk will never know the sea, wrote Nicolas Bouvier, a writer I love. So, sometimes I sink. I return a different person from when I set out; I’m not exactly the same on my return. And sometimes I don’t want to come back. I want to lose myself. People’s lives touch me, their emotions touch me. I have this incredible opportunity to meet people who are different from me, different in every respect – in their culture, religion, language, ethnicity. Different, but the same in that we are all human. And often, when I come back down from a mountain after spending several days up there, I need to rest. To take a break before I reach the valley. I need to sit at the roadside or at the edge of a field before going back to the city, before forgetting, forgetting why I left this place I already loved. When I come back down from my mountains, I need to stop, take a breath, not let things go too quickly. I need to dream, to cry, sometimes, to be aware of what I’m leaving, to not be in a rush. I simply need to breathe, to fill my lungs one last time with blue air; to live.
Identifying tea and food pairings is a serious business. By this I mean identifying a tea to accompany a dish so that you create a happy combination for both protagonists. And that’s where it gets difficult. For example, if I pair a Genmaicha with a hazelnut financier, it only works if the tea’s vegetal, toasted notes enhance the cake, and also if, having consumed a morsel of the financier, the Japanese green tea is revealed in a new light, to its advantage. A few weeks ago I spent a solid six hours in the company of chef Michel Lentz, at the Baccarat Crystal Room in Moscow, tasting with him a profusion of bouchées, tartlets, crèmes, madeleines, financiers, meringues, ice creams and sorbets, made by him, accompanied by an equal number of teas, so that together we could find many happy combinations. I would particularly like to mention the crème caramel, with memories of childhood, which we enjoyed with a Dan Cong for the top part, while the liquid at the bottom of the ramekin was the most successful pairing with a Jin Zhen, with warm notes of stewed fruit, wax and honey.
Some tea plantations have rather ordinary origins, and the Kuwapani plantation is one of them. A few years ago there was a rundown angora rabbit farm in Kuwapani that was only just limping along. I’m talking about the farm but I’m sure the same could have been said for the poor rabbits, bred for their fur alone. The owner saw a tea plantation being established on the hill opposite, followed by another. He observed the harvesting and processing of the leaves. He developed a taste for what his neighbours, Jun Chiyabari and Guranse, produced, and he witnessed their growing success. Then, one day, he decided to change his business, radically. He opened up the hutches, installed machines in his main building to process the tea leaves (rollers, dryers and so on), planted his land with tea, recruited an experienced, talented man to oversee the work, and a few years later the Kuwapani plantation had made its name in the world of tea. I heard this story while I was staying at Kuwapani and asked the owner about an object that had been intriguing me. On the mantelpiece in the living room sits a magnificent porcelain rabbit.
This photo may seem odd, and rightly so: these aren’t tea leaves, but mint. However, this photo perfectly illustrates an aspect of my work. Many small producers around the world grow tea, harvesting and selling the fresh leaves to a co-operative, a farmer bigger than they are, or a company, who then processes the leaves. These small producers can sometimes have strong economic power, when demand for leaves is higher than supply. But more often than not they’re dependent on the buyer. So it’s always better if a small producer makes only part of their income from tea, and grows other crops alongside it such as potatoes, ginger, fruit and so on. This protects them from fluctuations in the price of tea, and gives them greater peace of mind.
I was incredibly fortunate, when I woke yesterday without knowing exactly where I was, to discover this sublime view from my bed. I’d arrived in Ella late the night before, from Ratnapura, and without the moon I couldn’t get a sense of the landscape. I was woken at 5am by the birds singing, as well as the shrill cries of the squirrels, who were celebrating daybreak in their own way. I went out onto the terrace to enjoy the sight, and I stayed there, taking it all in. This mountain is called Little Adam’s Peak.
I hadn’t been to this beautiful country for a year, and I’m happy to see that in the mountains in the centre of the island, a few factories that used to make teas industrially with a rotorvane machine, which is very rough on the leaves, are now at least trying to make teas the orthodox way, a method that is more respectful of the leaves. They are just attempts, I know, but it’s a promising sign and it’s a pleasure to see that tea planters want to try out new methods, make better teas; that they are curious, and want to improve their quality.
Blue and green are my favourite colours. Blue, because the sea has been very important to me, and the island in Brittany where I spent all my childhood summers taught me a lot about life. The blue that comes and goes with the tides, a blue that turns green then brown when the tide goes out, the blue of the swollen sea, the blue of Brittany’s skies (though there are those who love its drizzly rain too)…
Blue and then green, the green of tea fields, the green of camellias, a dark green or a yellowish green, depending on the variety. A glossy green or matt green leaf, depending on whether you look at it from above or below. The green of the rice fields that meet the slopes covered with tea plants, the green of forests, so essential to keeping our climate balanced, the dark green of cryptomeria japonica, that spindly, rather bare tree that I love, found from Kyoto to Darjeeling, whose needles hold the mist so well. The green of the forest school I attended, the green of the countryside, of my little piece of nature where I’m so happy, the different greens of all the herbs I use to season my food, the green of young shoots, the green of springtime, the green of nature awakening; green, the symbol of life.
