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The material is central enough to Okinawan culture that a song called "[http://www.youtube.com/watch?v=6kImjKvDIko Bashôfu]" is among the most well-known and popular folk songs today. [[Taira Toshiko]], a weaver who collaborated with [[Yanagi Soetsu|Yanagi Sôetsu]] in the 1930s and was named a [[Living National Treasure]] in 2000, is the most prominent producer of ''bashôfu'' today, at her workshop in Kijoka. Ishigaki Akiko is another notable ''bashôfu'' weaver active today, though she has not received the same national and international attention as Taira.<ref name=francesco/>
The material is central enough to Okinawan culture that a song called "[http://www.youtube.com/watch?v=6kImjKvDIko Bashôfu]" is among the most well-known and popular folk songs today. [[Taira Toshiko]], a weaver who collaborated with [[Yanagi Soetsu|Yanagi Sôetsu]] in the 1930s and was named a [[Living National Treasure]] in 2000, is the most prominent producer of ''bashôfu'' today, at her workshop in Kijoka. Ishigaki Akiko is another notable ''bashôfu'' weaver active today, though she has not received the same national and international attention as Taira.<ref name=francesco/>
Though ''bashôfu'' was traditionally something available to all classes of people, since it cannot be woven or sewn by machine, it is an exceptionally expensive material today. A roll of ''bashôfu'' material can be worth tens of thousands of dollars.<ref>Nitta Setsuko, "Oppression of and Admiration for Okinawan Textiles: Commercial Items and Art Objects," Okinawan Art in its Regional Context symposium, University of East Anglia, Norwich, 10 Oct 2019.</ref>
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