19B: October 10th, 1917 Nagasaki: O Suwa Matsuri (continued)

The Big Torii of Suwa Shrine, Nagasaki

Well

Osuwa Koen (park)

Having left strict instructions for an early call, the Pilgrim was persuaded to rise somewhere about 4 a.m., the simple expedient adopted being the attachment of a small rope by means of which all the bed clothes were whisked off him. The morn being sharp, a lack of covering prompted an immediate rising, so behold him setting out at cockcrow for the Shrine of O Suwa.

Although it was quite dark, many other early birds were about, some bound in the same direction, while others were busied putting the final, finishing touches to the decorations and hanging out the national flag. No ricksha being available, a good, sharp walk assisted in dispelling the chill of early morn and the desire for more sleep.

A pearly light, peeping over the mountains to the eastward, betokened the advent of dawn, the changing lights mingling with the faint haze rising from the town producing a pretty, artistic effect. A ricksha was obtained in due course, enabling the remander of the journey to be completed in comfort.

Early as it was, the grand stand was well occupied, a fact which made the Pilgrim congratulate himself upon his early start. People were arriving in droves and it was evident that ere long progress would be difficult, if not impossible.

Deposited safely at the foot of the great bronze torii, - the gift of the Mitsui family to the temple - the usual “blarney” with kurumaya san began. But how different the discussion, re the amount of the fare, to that prevalent at Hankow, or in the primeval forests of Hongkew. Instead of grabbing his fare by the arm and raising a howl to the Heavens, this polite Claude Duval merely doffs his hat and bows, in response to the enquiry “How much?” He speaks English it appears; Bar room British, to be more correct and replies, canny bird, knowing that his fare is in a hurry to be gone; “I leave that to you.”

The “grand stand” appears to be a somewhat flimsy structure consisting of bamboo poles and straw rope, the seating accommodation provided being planks, covered with a coarse straw matting, upon which small cushions are placed. Bearing in mind the discomforts attendant upon an attempt at sitting, a la Japonaise, upon a small futon some two feet square by two inches thick, the Pilgrim procured a pile of these futons (hire six sen each) and so, arranging a seat more in accordance with Occidental ideas of comfort, sat down to take stock of his surroundings.

Kasaboko

Imakago-machi

Kanjia-machi

All Nagasaki and his wife, his sisters cousins and aunts, arrayed in brilliant holiday garb, seem to be crowding in. What a blaze of colour; what elaborate coiffures, ditto complexions, permanent and due to the application of O-shiroi, poudre de riz and other adjuncts to miladi's toilette table! Also, what a chance for the cinematographer, but beyond an odd stand camera or two the photograpic art is unrepresented.

But now a beating of drums and the music of fifes announces the approach of the first kasaboko. This, by right of precedence is that of the delegation from Maruyama-machi. Round the umbrella-like structure a draping of richly ornamented brocade hangs, encircled at the top by a large circular border of black velvet. On the “roof” appears a handsome cabinet-table, covering a basket of flowers while on the table itself is a circular mirror, nearly three feet in diameter on which the characters Maru Yama Machi are engraved.

Maruyama-machi Kasaboko

Moto-sh'ta-machi

Higashi-naka-machi

Vocifierous and sustained applause greets the advent of this kasaboko, a fact which testifies to the piety and popularity of the machi represented. After the “whirling and salting” previously described is concluded, a dance performed by eight pretty woodcutters follows, to the music of shamisens, drums, pipes etc., provided by the attendant geisha. The costumes defy description at the hand or pen of a mere man, - suffice it to state that in this Odori as throughout the whole proceedings, the national art of blending a riot of gorgeous and bizarre colours into an artistic colour harmony, was attended with the usual successful result.

Bungo-machi

Banzai-machi

Aburaya Machi provided the second “turn” the kasaboko following out the conventional order of construction the ornamental apex being a huge golden star, while the black velvet circular border at the top of the “hammer cloth” was replaced by a length of three-stranded hawser, made of straw and of 25 inches in circumference.

Hoka Oura-machi

Eight geisha contributed several pretty dances in the entertainment which followed. Ladies of some determination these, apparently, as ignoring the demand, “take away that mat” they sat or danced upon a spread of matting, much to their comfort and the protection of their rich and costly kimonos.

It is now 6 30 and the sun is just peeping over the crest of the mountain, casting his beams directly in the faces of the spectators on the western side of the grand stand. Up go a few umbrellas, their appearance being greated by cries of “Sa! sa! kasa!” from the irrepressible element already mentioned. Unable to endure the general “guying,” the “brollies” are soon removed. Late church-goers passing to their places, incline at least one early bird towards the belief that instead of getting the early worm, he is more apt to get it (some one's geta) where the chicken got the axe - in the neck, to be precise.

Shimo Chikugo-machi

Shimo Chikugo Machi's kasaboko exhibited a shooting outfit - a bow and sheaf of arrows, all surmounted by a large stuffed eagle.

Aburaya-machi

Odori

The Odori which followed was of a humorous variety. A procession of instrumentalists, headed by two youths in warrior garb with huge lune-shaped silver insignia on their helmets, was followed by a dragon and some small boy acroboats. The incidental music was truly Chinese, - shrill fifes, gongs and click-sticks predominating. In the performance which followed the dragon took the leading part; creating much amusement, as also did the efforts of some diminutive boy tumblers who had to be frequently assisted to their feet, they being too fat to rise unaided. An entirely unrehearsed effect was provided by the entry of a stray small dog and an apt rendition of the comedy “Dignity and impudence” ensued as the result of Junsa san's endeavours to evict it, without unbending too much in process of so doing.

Shimo Chikugo-machi

Maruyama Odori

Aburaya-machi Odori

Imakago Machi favoured with a representation in a small portable theater of a scene from the popular Japanese drama, “Ishikawa Goyemon” which was accorded a favourable reception.

Imakago-machi

In the entertainment provided by Kanjia Machi, the forward part of a large, practical boat, elaborately carved gilded and painted with red laqueur was employed. This was placed immediately in front of a small pavillion, giving the illusion of a pleasure boat. The dance was performed by the seven gods, Daikoku Sama, Ebisu Sama, Benten and Co., whose attributes are wealth, laughter, abundance etc. The appearel of the gods was a blaze of colour, the sunlight lighting up the gold and bullion embroideries with dazzling effect.

Kanjia-machi

It is now 8.30 and a cinematographer appears and sets up his camera. In the display provided by Nishi Naka Machi, a heavy float on solid wheels, loaded with a juvenile corps of drummers figured. In the course of the proceedings his car was whirled round and round and finally was sent trundling down the long flight of stone steps to the road below, the bumping and lack of springs, not appearing to upset the equanimity or reduce activities of its occupants, as they continued beating their drums unceasingly during this descente rapide.

Nishi Naka-machi

Higashi Naka Machi provided what possibly was the hit of the day, judged by the reception which this exhibition was accorded and the frequency of the demand for encores. After the Kasaboko and the usual procession of geisha had passed to their places, eight diminutive armoured warriors, samurai all, filed in, their gorgeous gold helmets and armour glistening in the sun. The dance performed by these mimic warriors was accompanied by a gentleman who was in exceptionaly good voice and who sang through a megaphone, rendering every word distinctly. As the song was an heroic measure and well known, the refrain was taken up by the crowd in a rousing style. Encore after encore was demanded and cheerfully responded to. A new musical instrument made its appearance in this turn. This was a huge conch, from which a deep and prolonged note issued, reminiscient of a liner's whistle in a fog.

Higashi Naka-machi

Bungo Machi presented a theatrical performance, the argument or details of which the Pilgrim is unfamiliar with.

Bungo-machi

Motosh’ta Machi presented a very pretty series of dances by six geisha whose kimonos were a combination of vivid blue and green with gold splashes. In this dance they bore on carrying poles, cages containing song birds which might be regarded as symbolic of these same human song birds who also live in gilded cages.

Motosh'ta-machi

Hoka Oura Machi presented another theatrical performance in the course of which, it seemed that one poor mortal was beset by two immortals one of the latter, a lady, emerging from a tree.

Hoka Oura-machi

(Miss Tatsuki Matsuo's fine performance)

The part of the sorely beset mortal was taken by Miss Tatsuki Matsuo, daughter of one of the residents in the machi. Miss Matsuo is a young lady of high dramatic ability, the possessor of a clear, vibrant and well modulated voice and a charming personality.

Towards the finale of the piece, the absorbed tension of the audience was apparent and in the climax, when with clear, ringing notes of defiance, she raised aloft a huge battle-axe, a furore of enthusiastic applause resulted.

Banzai Machi completed this series of interesting performances with a theatrical representation of the dance outside the cavern wherein the Sun Goddess has retired, leaving the world in darkness.

Banzai-machi

The Descent of O Suwa

Views of the Descent of O-Suwa Sama

It is now 11.10 and the Odori (plural unknown) being finished, many people are departing, not caring to wait for the descent of O Suwa Sama, which is not due until 1.00 p.m.

In former years serious accidents have accompanied this descent, as the gilded palanquins, borne upon the backs of many carriers, take the flights of stone steps at a run. Thus the appearance of a Red Cross flag floating over a temporary emergency hospital was readily explainable. However, today the procession takes the upper - the longest and most steep flight - slowly, the rush taking place at the lower flights, thus this year no accidents were reported.

Temporary Shrine at Ohata

In the descent, the order was at follows : -

Youthful retainers of the temple bearing banners. Priests ditto also with the vessels of the sanctuary and the offertory boxes, - large wood coffers with latticed tops.

Next, a fully caprisoned charge was led down the steps; some sure footed nag this who evidently recognised his importance for the day by the manner in which he proudly arched his neck.

Carriers bearing trees, foliage and emblems followed and then the temple drum, a huge ancient looking concern with a diaiayo crest emblazoned there on. The rear was brought up a number of priests in their vestments, with the Abbot and his immediate subordinate officers, all under crimson umbrellas. After a short interval, three distinct booms on the temple gong were heard and then down the steps came three very old, heavily gilded chairs the curtains of which were closely drawn - it was O Suwa Sama en route to Ohata. More priests with red umbrellas completed the procession.

Views of the Procession to Ohata

Handsful of coins were thrown by the multitude and it is understood that this money lying about the steps and in the street is collected and lodged in the coffers, no one apparently being so mean as to retain any for his own use however great his need.