2020年は薬剤耐性問題への投資家行動元年

<2020年:薬剤耐性問題への投資家行動元年>

 各国の若者を中心に起きていた気候変動に対する運動、Extinction Rebellionと同等な動きが薬剤耐性(Anti-microbial Resistance – AMR)課題においても必要だ。昨年、当時イングランドの最高医療責任者だったSally Davies氏は、政府関係者としては異例な呼びかけを行った。

 Davies氏は現在、英国におけるAMR特使に任命されており、2020年をAMRに関する投資家行動元年として、活動を立ち上げた

欧州委員会では、このAMR課題によるヘルスケア業界への負担は15億米国ドル相当と概算している。また、世銀は2016年時点で既に2008年の金融危機よりも大きな経済的ダメージを与え得る課題として、2050年までに世界のGDPの3.8%をも減少させるものと概算している。

 こうした状況にDavies氏と同様の危機感を持った団体や投資家による活動が、少しずつだが活発化している。

途上国での公平な製薬へのアクセスを促すことで知られるAccess to Medicine財団は、今年初めて製薬会社におけるAMRベンチマークの実施とレポートの発行を行っている

 また、兼ねてより畜産業での集約型農業がもたらすリスクに投資家と共に警鐘を鳴らしてきたFAIRRは、昨年9月にColler-FAIRR Indexを公表している。

つづきはこちら:

https://www.responsible-investor.com/articles/arisa-kishigami-7

ブルー(海洋)エコノミーの恵みと闇との付き合い方

2019年1月20日、Responsible Investorとクレディ・スイス社が協力して実施した、ブルー・エコノミーのリスクと機会に関する投資家の意識調査とそれを取り巻く実態の報告書が開示された(以下IBE)。

世界の海洋資産は、GDP比で世界7番目の経済大国に匹敵する24兆米国ドルの価値があると概算されている。約2.5兆米国ドルの直接的な経済効果をもたらし、直接・間接的なものを合わせると世界の10~12%の雇用に関連しているとされている。魚介類の消費額は2016年時点で3,620億米国ドル相当に匹敵し、これは次ぐ鶏肉の1,820億米国ドルを大きく上回るものであり、その消費量は鶏肉の30%増、牛肉の2倍と概算されている。

海洋から受けている恩恵はそれだけではない。地球規模での対策が急務とされている気候変動だが、現時点では人為的な活動によって増加している二酸化炭素による温室効果の93%を海が吸収してくれている。特に塩性湿地に存在するマングローブの森においては、陸上の森に比べて4倍の二酸化炭素を貯蔵する機能があり、かつ40倍の速度で吸収可能だと言う。

これだけ見れば、夏休みの海水浴や花火大会を楽しむ場としてだけではなく、海とそれを取り巻く活動が、私たちの地球環境、経済活動、雇用、食生活など、日々意識している以上に多大なる貢献をしていることが伝わるだろう。

しかし、これらの経済効果と地球環境への貢献は、「健全なる海洋資源の扱い」が行われることが大前提としてある。第1回目のコラムで取り上げた海洋プラスチックなど廃棄物の大量流出による深刻な汚染、魚介類の乱獲、深海でのガス・石油の探索・採掘による汚染、これらの影響による観光資源の減少、不透明で劣悪な海上での雇用環境・現代奴隷・人身売買など、海上の不都合な真実がこの資産と共に存在しているのも事実である。(これらの不都合な真実の詳細は、The Ocean Outlawをご参照頂きたい。

続きはこちら:

https://www.responsible-investor.com/articles/arisa-kishigami-column6

Photo by Jonny Swales

Daisuke Ito

~ Giving a voice to music ~

Just like everyone else, as a young girl I used to be filled with many future dreams. One of which was to become a musical performer.

However, the glitz and the glamour, the aggressive self-promotion and luring sexuality, the smoke and the booze never attracted me, so whilst I still loved listening to music, I put a lid to my own performing days as I graduated from student life.

Or so I thought.

An unexpected prolonged stay in Tokyo introduced me to the world of Jazz fusion, and the wonderful musicians who performed day in day out.

The more busy and eventful my non-music life became, the more I treasured the magical moments in hidden venues across the city, where music and musicians transferred me to another world.

They gave me refuge, respite, laughter, rejuvenation, relaxation, and an intimate connection with music that I thought I would never experience again.

I could hear and sympathise with the pain, the worry and the uncertainty that was embedded into the souls of the composers and the players. But equally, I heard the droplets of laughter singing down the river, the hope, the warmth, the encouragement.

This was never more so than when Daisuke Ito opened his mouth to sing.

Or should I say placing music in the air, ever so gently, ever so lightly, but also with meticulous precision and quiet strength that every word that was spoken waded through the thick of your skin and seeped into the core of your body.

It is hard not to notice his love for the world around him, through the warm and intricate words he has carefully chosen for his original pieces. Many an audience have become blurry eyed as the words help open and heal the sores of their hearts, carried with a vibrating yet soothing voice.

And it is also not hard to notice the love his fellow musicians have for him in return. In the countless musical units he performs, his companions – be it a pianist, a melodica or bass player – are quick to provide him with a delicious bowl of home-cooked nutrition as they travel Japan from head to toe. Some have even dedicated a song to him, to encourage a little “me time” amongst his busy musical adventures.

And, it is of course no wonder that the audience love him, as he gives it his all for every single performance he makes, no matter how big or small. Already a musical magician the first time I saw him perform, he never fails to surprise with another trick up his sleeve as the days, months, and years go by, and as each new unit matures as the tours increase.

Perhaps he will never belt out like Pavarotti, and others may have the upper hand in mimicking the every sounds of the world. However, to me, he represents the birth of music in its simplest form, waiting to be heard, waiting to be played with, and waiting to be shared.

Each and every instrumental combination that he performs with is unique and unmissable in their own ways, but one group you certainly don’t want to miss is of Daisuke Ito himself – and only himself. The multi-year project to perfect the art of using one voice to produce an orchestra, a choir, a band, or a chant in the forest right in front of your eyes is definitely a performance to watch.

If you thought his out of the league performance was going to build an ocean between you, you thought wrong. His voice is as enticing as it is a pleasure to listen to, and has gently nudged the backs of wannabe singers, including mine.

He may constantly be running hundreds of miles ahead (and so he should be!), but no matter how little or big of a part music plays in my life, he will always be the musical pied piper who lured out the voice from within me, and no doubt for many, many more.

Are you ready to be showered by his magical words, or try resisting the temptation to let your own music out?

If yes, please visit his website to find the many shows he may be performing with across the country and beyond:

http://smoky.raindrop.jp/daisuke-ito/category/schedule/

And to pick out some of his many steady bands, see below:

“Ibuki Sarasa” – Vocal & Melodica duet: https://ibusara.wixsite.com/ibukisarasa

“Hutarioke (“Two-man orchestra)” – Vocal & Bass (+) duet: https://hutarioke.thebase.in/

“Hamojin” – Four vocalists A Capella: http://hamojin.wixsite.com/hamojin

ひと月の記事から読み解くESGトレンド2019

たとえESGやサステナビリティの専属担当者であったとしても、日々の業務とのバランスの中、毎日欠かさずに情報を読み解くことが難しい時もあるだろう。実際、私もこれまで十数年の間、度々その一人となってきた。

2019年最後となる今回のコラムでは、そんな方のために、Responsible Investorが11月に掲載した約80の記事全てから見た、過去一ヶ月、そして2019年の傾向を紹介しています。

どの企業のサプライチェーンにも必ず存在する奴隷問題、 肥満対策としての飲食品ラベル、 気候変動対策に関する中央銀行の役割など、 現実社会の課題と、それに取り組む企業・金融・規制当局の是非などをカバーしています。

詳しくは以下のリンクでご確認ください:

https://www.responsible-investor.com/articles/arisa-kishigami-column5

ピンチをチャンスに:なぜ今日から気候変動に取り組むべきか

第4回目となるRIコラム投稿です:

「昨今の日本でのESGを考慮した投資家の投資行動が原因で、今までにない株価の動きがみられる。」「(一方、)気候変動は数百年後に起きるかどうかも分からない事象なので、扱いが難しい。」

昨年、ある取材を受ける中、取材者にこのように言われ、内心苦笑した。多くの水害を引き起こした西日本台風が訪れた直後だったので尚更だ。

「ESG投資」という中には気候変動も含まれているはずだが、ESGを構成する実態のある個別要素ではなく、今この瞬間の数字として表れる情報のみを信じることに慣れてしまっている、或いはそれが役割だと信じているために出てくる発言だろう。これは一例に過ぎないが、運用、証券、企業IR、銀行、年金基金、経済記者など、金融に関わる全ての人々が直面している現実のジレンマの表れだろう。

しかし、今この瞬間に株価に反映されていないから、複雑で分かりづらいから、という理由で気候変動を軽視して良いのだろうか。

続きはこちら↓ ↓ ↓

https://www.responsible-investor.com/home/article/arisa_kishigami_column4/

George Nagata

~ 歌声愛するピアニストが繰り広げる感情の旅 ~

ある寒い大晦日の夜、温かな雰囲気漂う会場でジャズを聴きに足を運んだ。

ピアニスト、永田ジョージさんの音色に初めて出会った晩だった。彼の音の何かが私を惹きつけ、一つ、また一つと東京の街でのジャズが吹き込まれたその演奏の旅を続ける初めの一歩となった。

ピアノから弾き出される音との感情の繋がりは、唯一無二のものと言えるだろう。その繋がりに惹きつけられ、ライブに何度も足を運んでしまう人も少なくないだろう。

そんなジョージさんにはもう一つ、素敵な才能が備わっている。粗削りの音の宝石を見つけ、その奏でる本人が未だ知らない可能性を引き出し、時には自分をも追い越す勢いで音の道案内をする才能だ。そんな時、彼らの声、楽器の音とピアノが絡み合い、情熱的かつ柔らかな音の世界を創り上げていく。

この能力はライブパフォーマンスに留まらない。

目の前で瞬間的に創られる音の高揚感や雰囲気に勝るものはないだろう。しかし、優れたエンジニアのサポートに恵まれているためか、その時々にぴったりなスタジオを選んでいるためか、その魔法はこうしたアーティストと制作したいくつものアルバムにも及んでいる。身近に感じるアーティストによるアルバムの中で、ついつい聴きたくなるアルバムの多くの制作に関わっているのは隠せない事実だ。

もう一つ公然の秘密は、ジョージさんの歌声にかける愛情だ。その愛は、現在30回を数え、100回を目指している「Vocal Crossing」シリーズに込められている。シンガーの伊藤大輔さんと共同企画し、毎回新たに2人のゲストシンガーを呼んで届けられるこのシリーズは、彼のプロデュース力を腕試しする場となっている。

そんなジョージさんのピアノは日々進化し、演奏の度に自由度が増していく。それに加え、時折のコーラス、ボイスパーカッション、そして稀に見るラップも、時にはその手で奏でられるメロディーをも超える存在感で届けられてくる。

演奏される和音からは、繊細で甘い音が聞こえてくるが、仲間とのコメディアンのようなやり取りは、同時に笑いのツボを擽ってくれる。これには、国内外の観客を楽しませてきた、ピアノにジョージさん、ギターに鈴木直人さん、そして盟友であるボーカリスト伊藤大輔さんから構成された「Triple Standards」を体験するのが一番だろう。

アメリカ西海岸でその音の土台を蓄積し、各大陸との音楽的な繋がりを持つジョージさん。次はどの土地、どの人との音が紡がれるのだろう。

永田ジョージさんのサイト:https://www.groovepockets.com/

YouTubeリンク:https://www.youtube.com/user/gnagata

George Nagata

~ A journey of emotions with a song loving pianist~

On a cold New Year’s Eve, I ventured out on a rare excursion to listen to some jazz in a cosy venue.

That was the night I met with the sound of George Nagata’s piano, playing along to the voice of a singer that I knew. Something in his music caught my attention, which led me to continue the journey with one, yet another of his jazz infused performances across the city of Tokyo.

What makes his piano special is the emotional connection in his music like no other, which becomes an addiction for many in the audience.

Yet he is also a genius in finding musical gems in the rough, guiding them on a road that may even supersede him. His hands are if they hold a magical wand, teasing out what his co-performers themselves may not know they have within. His piano intertwines with their voices, their instruments, creating a dramatic, yet warm sounding environment.

And this ability doesn’t stop with live performances.

It can be hard to top the excitement and atmosphere of music being created right in front of your eyes. But whether it is because he is blessed with the support of great technical engineers, or has chosen the perfect recording studios, his magic also seems to touch the many albums he has produced with these up and coming artists. They are indeed, some of the most played albums that I hold of artists close by.

His love for vocal miracles is not a hidden secret, given his quarterly “Vocal Crossing” series, counting over thirty, aiming for one hundred. His production skills are put to the test in these series, which he co-produces with singer Daisuke Ito, inviting two exciting guest singers each time.

As for his piano, it has been evolving day by day, the freedom increasing by each performance. Not to mention the occasional chorus, voice percussion, and very rarely, rap (!) that seems to develop and in some cases even take centre place over the melody played by his hands.

Though sensitive, sweet music can be heard from the chords he plays, his comedic interaction with his musical partners can take you on an additional laughing spree. For this, there is nothing better than experiencing the world-class trio “Triple Standards” including George, guitarist Naoto Suzuki and his trusted vocal companion Daisuke Ito.

Have I intrigued you?  Trained in the West Coasts with musical connections across the continents, who knows which corner he may turn up in next.

George Nagata’s website: https://www.groovepockets.com/

Videos uploaded by George Nagata: https://www.youtube.com/user/gnagata

Kay Hirai

~ Tapping into the world of Kay Hirai ~

In short, Kay Hirai is a talented drummer.

But it would be naïve to leave it at that.

First, he is a creator of worlds. That may sound like an overstatement, but anyone who has listened to his original pieces in a live performance would probably agree.

Whether its watching the adventures unravel before the old clock tower, a travel through time to ancient battlefields, the swirl of water around the rocky landscapes in nature’s hidden beauty, or soaring through the sky to the rhythm of animals marching past below, Kay manages to capture these and take you to a new world which he has created. His originals are both meticulously planned yet also leaving room for creative flexibility.

Instinct tells me his music is composed in a way that only percussionists could achieve – meaning that in addition to the melodious tunes that are essential to the piece, there is care and attention to how the individual scrape of the cymbal, a thud from the bass drum, or a chirp from the saxophone can build the world we listen to.

His compositional creativity is not limited to his own lead band. As a producer, he nurtures the landscapes and stories hidden within other budding musicians and helps bring them to light – both through artistic direction and instrumental contribution. This includes Shinshu Jazz, featuring pianist Sayuri Isatsu, who puts the love for her home region Shinshu into the images and melodies of her music.

Eagar to share his joy for music, Kay is also not shy to take opportunities to perform in schools and host jamming sessions to help music new comers experience the wonders of musical communication.

But after all this talented multi-tasking, the most recommended experience is to hear his live drum performance. Not only is it a pleasure to listen to, but to see him effortlessly dance through the drum set is a joy to watch as well. His carefully prepared musical tools will take you through sun and rain, from east to west, south to east, and travel through the beats of swing, samba, bolero, and traditional Japanese Taiko drums. If you are lucky, you may also feel the presence of the souls of those that have inspired the creation of some of his songs dancing and laughing along with you.

So much more could be said, but better let his music speak for itself.

Kay Hirai’s Official Website: http://www.kayhirai.com/

Videos uploaded by Kay’s record label, Bright Sun’s Record: https://www.youtube.com/user/Brightsunsrecord/videos

アマゾンの原生林伐採問題から思考するESG投資の役割

世界が必要とする酸素の10~20%の供給に貢献しているとされているブラジルのアマゾン林が、大規模な火災によって急速に破壊されていることは、各種メディア媒体から既に耳にしている人も多いだろう。

世界のESG投資の動きを代表するPRI(責任投資原則)ではこの問題を受けて、機関投資家の声を代表する共同声明文をドラフトし、賛同機関を募った。

アマゾン林と共存しながら、現地の営みを支えるようなビジネス・チャンスはあるのか。「サステナブル移行」を謳った新たな資金調達を行った企業が、その目標通りの行動を取っているのか。今回焦点があたっているブラジルのアマゾン林以外にも、似たような現状、改善に寄与できる投資行動はあるのか。

一カ国でも、一企業でも、一投資家にも収まらない一つのESG課題への思考を、良ければ下記を読みながらご一緒ください。

https://www.responsible-investor.com/home/article/arisa_kishigami_column3/

Personal thoughts on the “Third Way”

“Third Way”, is the title of a recent publication by Eriko Yamaguchi, Founder, Chief Designer, and CEO of MOTHERHOUSE.

For most of you living outside of Japan/Asia, you may know the big multi-national brands such as “Toyota”, but you probably wouldn’t have heard of the brand, “Motherhouse”.

And when you do, you may think it’s a baby/maternity clothes brand, or a charity, perhaps linked to Mother Theresa.

However, it is neither.

It is a completely for-profit company which sources from 6 Asian countries, with 38 directly operated stores and 600 employees across 9 countries, and growing strong.

Yet you would be forgiven for mistaking it for a charity, because the founder, Eriko Yamaguchi, did indeed go to Bangladesh initially, after searching for the “poorest country in Asia”.

But instead of creating a charity, Eriko believed in the power of business, and the potential in the jute fabric, which, at that time in 2006, was seen as little more than cheap strong fabric useful for making big coffee sacks. So she convinced a local factory to make 160 Jute bags which she brought back to Japan in her “hand luggage”, with no idea of how to sell these other than that she would.

13 years on, Motherhouse is now in the midst of building a new factory in Bangladesh which will house up to 1,000 employees. It has worked to find the “best of the country” products in each country they have expanded, which now includes jute and leather goods from Bangladesh, jewelry from Indonesia, Myanmar and Indonesia, silk scarves from Nepal, and fine cotton garments from India for their new brand, “e.”.

Too often, the reason for expanding into emerging markets has been for two main reasons. One, to exploit the rich natural resources they have, or two, to exploit the cheap labour.

Motherhouse’s vision is to “create a globally acceptable brand” that is delivered directly from “developing markets”.

What makes them unique is the fact that whilst most companies may choose to outsource the factory work, or do the value-adding in Japan, at Motherhouse the local fabrics/materials are turned into end products by local craft workers, in company-owned local factories, managed and QC-ed by local management in each of the respective countries.

It is Eriko, the Chief designer and CEO, who does the travelling, and spends up to half of the year within these countries and designs each of the products with her craft workers locally.

Maybe we should call it a “fair trade” company as it has the producers at the heart of their business.

Maybe we should call Eriko a “social entrepreneur”, for the value adding production she has been leading in a number of the poorest countries in Asia.

But what I see really, is what any company should be doing as part of normal good business – creating quality products for consumers that the employees from design, to production, to promotion to sales, and management are all proud about.

Is it a perfect company? I’m sure it isn’t. And Eriko openly shares some of her struggles and mistakes in her new book, as well as in her routine updates.

But whether you are a company trying to go beyond on-the-surface “CSR”activities, or an (ESG) investor struggling to see how to engage with such companies in a meaningful way, or just an individual frustrated in the bipolarised movements across the world now, Eriko’s new book “Third Way” may give you some food for thought.

Hmm… But since the book is only available in Japanese for now, let me give you a little hint, which seems so simple and obvious, but hear me out.

Social purpose or Business? Design or Management? For the individual or for the organisation? Mass production or individual craftsmanship? Global or local?

These are the potentially polarised concepts Eriko tackles in her book. Instead of choosing one against the other, she talks of finding a way to get the most out of both sides – the third way.

Yes, it sounds simple. And the “third way” concept may be more common outside of Japan. But putting it into practice may be another thing, which Eriko explains very nicely in the book, or even better in her own words when you get the opportunity to hear from her directly.

What left the biggest impression on me was her talk at the recent Thanks Event for Motherhouse customers. Yes, there can be tensions within or between the regions where Motherhouse produces or operates. Yet within Motherhouse, they are healthy rivals in the production lines, but also part of one big family that unite in front of their global customers.

Sounds idealistic? Yes, but an ideal that I wouldn’t mind supporting.

If you are intrigued by their brand or their book, do venture onto their website, or visit their stores to decide for yourself. Perhaps its time to look for alternative brands springing out from Japan, which brings with it many other voices from the region.

https://www.mother-house.jp/

Note: the link above is to their Japanese site which has more information, but you can then go to “en” link above for some information in English.