Page 24 - BSAM 2015 Q1

presence in the US and around the world, and to show that there need not be a trade-off between knowledge and having a good time doing what we all love. We all initially begin bonsai because it’s fun and brings a certain level of joy to our lives—I hope to continue to share in this collective experience with those in the larger bonsai community around the world.
When will you accept apprentices or will this model work in the US?
I think the traditional Japanese apprenticeship model will translate very well to the US, with a few modifica- tions of course to adjust for cultural differences. But in general, the principle of a 5-year formal appren- ticeship will translate well in the US. I am currently finishing up work on my side-project PhD in Business at Osaka University, so once that is complete I plan to return to the US—most likely in the Southeast— to open a bonsai school and nursery, at which time I would like to accept an apprentice or two. While there isn’t an overarching certifying institution like the Japanese Bonsai Association in the US, I think individual nurseries can operate in the US to provide formal, long-term education to apprentices who wish to undertake such a task. In my opinion, this type of formal education is one of the best ways to truly pro- mote professionalism in bonsai art and to increase the quality level of western bonsai.
A gallery of Bjorn’s work follows.
Top; Kouka-en apprentices preparing the exhibit space at Taikan-ten under Keiichi’s supervision. Middle; after the show is closed to the public, all exhibits are moved to one or four photography
stations by an army of volunteer apprentices where formal photos of the show catalogue are taken.
Bottom; After the Taikan-ten exhibition is over, Keiichi treats the apprentices to a road trip to the Adachi Museum of Art in Yasugi to view and explore the magnificent gardens and exhibits.
24 | BCI | January/February/March 2015