Sunday, May 24, 2026

"Japan’s izakaya pubs closing at record pace, failing to attract foreign tourists"

Photo and text from SoraNews24 via Japan Today, 5/24/26.

Izakaya are a unique part of Japanese food culture. Their closest analogy would be pubs, since izakaya serve a wide variety of alcoholic drinks and food meant to be paired with such beverages. Their menus are much more extensive than just basic bar munchies, though, with things such as yakitori chicken skewers, grilled onigiri rice balls, and plates of sliced sashimi being long-standing favorites. As a matter of fact, unlike with a pub, the expectation is that izakaya customers will always order some kind of food too, though there’s still a greater focus on drinks than at a regular restaurant.

However, izakaya are in a tough spot in Japan these days, and since the start of the year have been going bankrupt at a faster rate than at any time in nearly the past 40 years, according to a new study.

Data from Tokyo Shoko Research, a commerce and industry research organization, shows that between January and April of 2026, 88 izakaya have declared bankruptcy with debts of 10 million yen or more. That’s 54.3 percent more than for the same period last year, and the highest number Tokyo Shoko Research has observed for the first quarter of the year since it began tracking such statistics in 1989, significantly more than the previous high of 59 in 2024.

So what’s causing the closures? A mix of factors, but one of the biggest is rising prices. Japan is experiencing by far its worst inflation in a generation, and costs for not just ingredients, but also for utilities, are hitting izakaya hard. Many are responding by reducing portion sizes, reworking recipes to make use of cheaper ingredients, or raising the prices they charge their own customers to make up the increased expenses. There are limits to how much of those tactics diners will put up with, though.

Facing rising costs for their own necessities such as rent, groceries, transportation, and home utilities, many consumers are becoming much more sensitive to the value they’re getting with the reduced amount of money they have left over for discretionary spending, and izakaya are looking a lot less appealing to many people than they used to. In particular, Tokyo Shoko Research points out that izakaya offers that include a full meal’s worth of food plus unlimited drinks for a period of time (usually 90 or 120 minutes), traditionally some of their most attractive deals, have gotten more expensive and now often cost more than 5,000 yen, a price point that many diners are balking at.

The study also highlights recent changes in dining/drinking patterns in Japan. Traditionally, izakaya have gotten much of their business from groups of coworkers coming in together, either as part of a pre-planned event such as a welcome party for new employees or an end-of-the-year celebration, or as spontaneous excursions to grab a drink after clocking out, sometimes after doing overtime and being too hungry/thirsty to wait until they can commute back home. However, those gatherings largely went away during the pandemic, and while many izakaya weathered that economic storm due to financial support from the government, the custom of coworkers going to drink together hasn’t rebounded to its previous level.

Part of that is due to more people working from home, something that was extremely rare in Japan prior to the pandemic. Many jobs now offer at least some telecommuting flexibility, meaning fewer people in the office, and so fewer people to go grab a cold Asahi with on the way to the station at the end of the day. There’s also been a gradual increase in desire for a more even work/life balance in Japanese society. Even many in management positions are now more aware that constant overtime chips away at morale and the company’s ability to retain workers, and have come to accept that many employees feel that, when overtime does have to be done, having to go drinking with your boss afterward doesn’t make up for it, but actually makes the situation even worse.

So when you combine higher prices, freedom from the obligation to go to izakaya with coworkers, and the possibility of already being at home when you clock out from work, having a drink in the comfort of your living room, and one you purchased at the supermarket for half of what an izakaya would have charged you, becomes a very compelling alternative.

Ah, but what about inbound foreign tourists? Japanese cuisine is one of the top reasons travelers from overseas come to Japan, and with the yen remaining so weak, many visitors still feel like dining out here is a bargain compared to their home countries. Tokyo Shoko Research, though, says that izakaya aren’t drawing in foreign tourists to the same extent that other restaurants in Japan are.

The report doesn’t offer any theories as to why this is, but it likely has something to do with international foodies’ passion for Japanese food being strongly focused on specific dishes, such as ramen, sushi, or curry rice. While many izakaya do have tasty food, their broader menu makes them a little less likely to hook a traveler’s attention than, for instance, a restaurant whose storefront is plastered with signage featuring photo after photo of steaming hot bowls of ramen. Ordering at izakaya is also a little trickier to navigate. There aren’t any vending machines at the entrance to purchase a meal ticket from, and it can be hard for newbies to estimate how many plates of food to order for a filling spread. There’s also the whole otoshi custom of unasked-for appetizers that you still have to pay for, but aren’t told the price of in advance, which can be an unpleasant bit of culinary culture shock.

Izakaya, like all pubs, are about more than just base sustenance. In a sense, they’re a form of entertainment, and much like certain genres of music or movies fluctuate in popularity, there’s a chance that izakaya will bounce back. For now, though, the situation isn’t very rosy, so if you see one that looks intriguing, they’d probably really appreciate it if you came in for a drink and a bite to eat.

Source: https://japantoday.com/category/business/japan%E2%80%99s-izakaya-pubs-closing-at-record-pace-failing-to-attract-foreign-tourists

Be sure to checkout the reader comments as well.

Saturday, May 23, 2026

The Department of East Asian Studies - Japanese Studies at the University of Vienna - u:japan lectures - Greg Poole: "In the Shadow of a Mountain: A Community School Coordinator and the Politics of Survival in Rural Japan"

I am very happy to pass on this announcement about a lecture by my friend and colleague, Greg Poole, from Doshisha University:
CLICK on the photos to get a clear image to read.
| Date & Time |

u:japan lecture | s12e08
Thursday 2026-05-28, 18:00~19:30 (CET, UTC +1h)
***This is 1:00 - 2:30 AM on Friday, 2026-05-29 in Japan***

| Place |

LIVE @ Campus of the University of Vienna 18:00~19:30 (CET, UTC +1h)
Department of East Asian Studies, Japanese Studies
Seminarraum JAP 1, 2K-EG-21, Ground floor to the left
Spitalgasse 2, Hof 2.4 (Campus), 1090 Vienna, Austria

| Platform & Link |

https://univienna.zoom.us/j/65583867108?pwd=rydxHuWoGcGIV6FFJdrLghDwpucRHd.1
Meeting-ID: 655 8386 7108 | Passcode: 794196
This lecture will not be recorded.


For more information: https://japanologie.univie.ac.at/startseite/einzelnews/news/in-the-shadow-of-a-mountain-a-community-school-coordinator-and-the-politics-of-survival-in-rural-ja/

Wednesday, May 13, 2026

"The Iran War Is Taking the Color Out of Japan’s Best-Known Snack Bags"

Text and photo from The New York Times online, 5/13/26.
The food giant Calbee said shortages of naphtha, a crude-oil derivative used in inks, were forcing it to switch to black-and-white packaging for its salty products.

The Iran war has wreaked havoc on global supply chains, caused a spike in oil prices and scrambled international trade.

Now it is coming for potato chips.

The Japanese food giant Calbee said on Tuesday that it would temporarily abandon its brightly colored plastic snack bags in favor of black-and-white wrapping because of “instability affecting certain raw materials amid ongoing tensions in the Middle East.”

The company said in a statement that the measure was meant to “help maintain a stable supply of products,” adding that it would not affect the quality of the snacks.


Read the whole story: https://www.nytimes.com/2026/05/12/world/asia/calbee-japan-bags-iran-war.html

Wednesday, April 29, 2026

Thursday, April 23, 2026

"Kyotographie's Daido Moriyama retrospective resonates in an age of endless images"

Caption: A sprawling retrospective on Moriyama, a giant of Japanese street photography, is on view at the Kyoto City Kyocera Museum of Art, as part of annual international photo festival Kyotographie.

Daido Moriyama is one of my favorite photographers. You can check out his work in Kyoto now.

Selected text (Thu-Huong Ha) and photos (JOHAN BROOKS) from The Japan Times, April 23, 2026.

Daido Moriyama isn’t precious with his photos; he shoots endlessly, automatically. As a new exhibition suggests, we shouldn’t be precious either.

A large-scale retrospective of the giant of Japanese street photography opened April 18 at Kyoto City Kyocera Museum of Art, as part of annual international photo festival Kyotographie. After premiering in 2023 at Instituto Moreira Salles in Sao Paulo and making its way across Europe, the exhibit is showing in Japan for the first time.

“Daido Moriyama: A Retrospective” is massive in scale as well as in scope, covering decades of Moriyama’s work from the 1960s to the present. A discerning viewer will need hours of energy and focused attention to take everything in, not only on the walls, which feature nearly 200 images and 250 printed pages, but on tables that stretch along the galleries. There are another 150 magazines collected, with around 40 books for people to browse, from Moriyama’s acclaimed 2002 photobook “Shinjuku” to his recent “Pretty Woman,” and even a guidebook to Tokyo. The effect is a dizzying, at times overwhelming tunnel of blurred faces and body parts in black and white.

Moriyama, 87, born in 1938 in Osaka Prefecture, is often praised for the way he captured postwar Japan reeling from defeat and pushing quickly toward Westernization. But this characterization only captures a relatively small and early portion of Moriyama’s work, which began in 1965 with his first important series, “Pantomime,” set in an obstetrics and gynecology hospital in Kanagawa Prefecture. Though he initially followed rules of classical photography with sharp and focused composition lines, by the late 1960s Moriyama had already begun to break away, capturing subcultures, experimental theater performers and working class life in Japan.

“He shifted to build a less pretentious look at society,” says exhibition curator Thyago Nogueira, head of the contemporary art department at Instituto Moreira Salles Brazil, during a media preview. “He started to document that expression of culture in society, and to build a different eye that was formulating a certain kind of photography that was more introspective and more subjective, a little tilted, dark.”

Moriyama was focused on examining how photos were used by mass media to mediate reality. He photographed images of major events, like the assassination of Robert F. Kennedy as shown on TV and in newspapers, as a commentary on visual culture at the time.

“It was important to me to show how Moriyama was part of a generation of people working in an industry of image-making,” Nogueira tells The Japan Times. “They were not only changing the industry, but also changing the vocabulary and the language of photography in a very clever and self-conscious way.”

Moriyama was anti-elite and favored printed materials that could be cheaply produced and circulated easily. (Although decades later production and distribution would become essentially free, and paper would start to seem like a luxury.)

“He was always saying, ‘I'm not interested in dogmatism, I'm not interested in the fetishization of photography. I'm interested in shared conversations,’” Nogueira says. “The deep, philosophical questions he’s asking about photography were being asked in fanzines, in a very cheap Xerox.”

Moriyama, who is still actively working, is ultimately interested in what a photo is for; but throughout his career he has maintained a skeptical stance not just toward the value of photos as art, but the promise of photojournalism.

“That naivety to think you could try and create masterpieces, that naive humanism to try and help people through your art — that is just too optimistic for me,” Moriyama said in 1971. “I am already struggling just to keep grasp of my own existence.”


Source: https://www.japantimes.co.jp/culture/2026/04/23/art/daido-moriyama-retrospective-kyotographie/

There's a whole lot going on at the annual international photo festival Kyotographie. Check out thier website.

https://www.kyotographie.jp/en/programs/2026/