23B insert: October 24th, 1917 Nagasaki: O Suwa Matsuri description

The Osuwa Matsuri - a famous festival three centuries old

Nagasaki's Great Annual Shinto Festival

The chief religious festival of the year in Nagasaki is that in honor of the “Kami” or what foreigners call the “Suwa Temple,” the principal Shinto shrine in the city. It is celebrated annually on the 7th, 8th and 9th of October.

The essential motive of the celebration is that common to the festivals of most large shrines devoted to the national religion, that is to say the patron deities are removed for a period to a temporary shrine specially erected for the occasion. Although the services and ceremonies connected with this festival extend over the first 13 days of the month it is only the proceedings upon the three days mentioned that attract much attention from the general public. On the first of these three days the symbols representing the deities journey in “Mikoshi” or sacred cars to their temporary quarters, remaining until the 9th when they return to the main shrine. On the 8th the Governor of the Prefecture pays a ceremonial visit to the temporary shrine and presents the customary offerings.

Originally designed as an offering to the deities, which does in fact remain their chief object, the festivals have, during the 285 years which have elapsed since they were first performed, developed into an entertainment constituting the yearly outing of thousands living in the neighborhood.

Anti-Christian Survivals

Circumstances have contributed to the association with this festival of a number of interesting old customs. Not long before the middle of the seventeenth century Christianity was rapidly spreading its influence in this district and the Shogunate was endeavoring to combat the tendency. The shrine was erected as a means to this end, and bearing this fact in mind it is not surprising to find that some of the customs still surviving were frankly anti-Christian. Though their original object has long ceased to exist they are carefully maintained and the historical traditions associated with them now offer as much interest to the foreign as to the Japanese spectator.

A favorite excursion for passengers on many liners which call at Nagasaki for a few hours is the Suwa shrine. (Although this name is the only one in regular use there are two other shrines adjoining, the Sumiyoshi and Morisaki Jinja, and this circumstance accounts for the presence of three palanquins in the sacred procession.) The bronze horses in the grounds attract attention, but the charming situation of the main buildings at the head of a long flight of steps, and the splendid view to be obtained, looking over the town down the beautiful harbor, are what repay one for the trip. However, unless one arrives on the scene by four a.m. on the morning of October 7 there is little chance of seeing much except a dense throng of spectators assembled in anticipation of the first dance.

Business and Pleasure

Religious festivals of themselves are not usually of a nature to excite more than casual curiosity among foreigners. What does provide more diverting entertainment is the preparations of the townspeople to celebrate the holiday, and, it must not be forgotten, to produce attractions which will draw visitors from the neighborhood, and then induce them to purchase anything from a pair of chopsticks to a winter outfit from the handsome array of goods displayed in the shopping centres.

The city of Nagasaki is divided into eighty “cho” or wards, and each year eleven or twelve of them are selected in turn to provide entertainment for the great festival - and to share the spoils. Those chosen are known as “odori-cho,” as of course a good deal of the entertainment consists of dancing.

The preparations commence on the first day of the month with a general cleaning up, after which the decorations are taken in hand. The “odori-cho” are embellished with drapings of blue and white cloth, stamped with a family crest, the streets are lined with rows of lanterns on tall standards, each provided with its own umbrella as a safeguard against inclement weather, and slender bamboo poles with the foliage still adhering to the upper branches are placed vertically at intervals of a foot or two along the fronts of the shops and houses. These upright poles are made secure by fastening the lower ends to others laid lengthwise along the ground. This style of decoration is very effective, and it had originally the additional merit of providing a convenient supply of weapons, as the poles were sharpened at the lower end in readiness to dispose of any Christian who might show indication to disturb the harmony of the proceedings.

Elaborate Preparations

The shops rise to the occasion splendidly. In addition to a new stock of autumn and winter goods the costumes to be worn by the dancing girls, and the miniature generals and admirals who man the “dreadnought” float, are displayed in their respective wards. The place of honor is given to the symbols and draping of the “kasaboko,” after which perhaps the most striking objects are highly colored reproductions in sugar of various subjects. The good priest Hotei with his rotund figure and merry face ranks first, but the “tai” in appropriate though scarcely lifelike surroundings is a good second.

Meanwhile the “odori-cho” have commenced in earnest the final rehearsals of the various dances, plays, etc., which will constitute their tribute to the “kami” and amuse the multitude on the three official days of the festival. At the beginning of June, on the occasion of a minor “koyairi” festival, delegates from the wards concerned had paid a visit to the shrine and undergone a ceremonial purification. Upon their return the participants in the dances were selected, and rehearsals taken in hand, continuing throughout the summer. Those chosen represent a strange medley of social grades but the intervals which elapse between the turns of the joint programme of the twelve wards at the various dancing places obviate the necessity of personal contact between the geisha representing one of the gay quarters and the daughters of prosperous citizens on whose behalf considerable premiums have been paid to score leading parts. Every evening from the third the streets are patrolled by something resembling the English fife and drum bands, though the tone of the “fue” used is shriller than that of their British counterpart, and a third instrument in the shape of a cymbal is introduced. The drum too differs in shape; the kind seen here is carried on the back of a small boy while his elder brother walks behind him and beats it. These bands also are peculiar to Nagasaki, and the presence of the “shagiri” or cymbal leads one to suspect a Chinese origin. Though the actual dances are accompanied on the samisen the regular music to which the floats make their rounds is provided by these bands.

A Pretty Scene

On the evening of October 3 the spectacle provided is that known as “niwa mise” or the showing of gardens. In effect what takes place is that the “shoji” in the front of the house and the “fusama” of the rooms intervening between them and the garden at the rear are removed so that one can see from the street into the garden. The object of this unique custom was to prove that the privacy of the garden did not contain anything in the nature of emblems of Christian worship, and as farther evidence shrines in honor of Inari, the patron deity of rice – the colloquial fox temple - are to be seen in many instances. Occasion is taken of the survival to present a very pretty scene. The interior of the house thus thrown open is decorated with screens, potted plants and dwarf trees placed on hardwood, while rows of candles in tall stands provide the necessary illumination. The garden itself is lit up from above, and the spectacle thus arranged is quite charming.

On the 7th rejoicings are widespread and clamorous. The initial ceremony consists of the transfer of the symbolic representations of the deities into their palanquins, and takes place at 3 a.m. Three hours later the floats from the twelve dancing wards begin their rounds. Each party consists of the following, arranged in the order indicated:

Lantern inscribed with the name of the ward, mounted on a long pole; “kasaboko”; dancing girls; the actual float; band; headman of ward; assistants; parents and relative of participants.

The “Kasaboko”

There are five recognised dancing places which are visited in turn, commencing with that at the Suwa shrine. When an exhibition has been given at each of these places the performers are at liberty to turn their energies to whatever part of the city meets their fancy. There is naturally great competition to provide the choicest entertainment, but what arouses most enthusiasm is the “kasaboko.” The term “umbrella-lance” may mean little to the reader, nor would he detect much resemblance to a lance in the appearance of the article itself. Although this weapon figures prominently in other festivals such as the “Gion Matsuri” at Kyoto, the form into which it has developed here is not to be found elsewhere in the country. It consists of a central pole about seven feet high passing through the centre of a round platform upon which is placed a design having some local signification or connection, as for instance two clams (hamaguri) for Hama-no-machi or Daikoku's mallet for Daikoku-machi. From the edge of the platform is suspended a draping of silk embroidery. Underneath the draping the pole has a crosspiece to rest on the shoulder of the man carrying it, with another crosspiece lower down for his hand to grasp, while the extremity is weighted with a string of cash as a counterpoise. One man carries the whole concern, and leads the procession from each ward. On reaching any of the dancing places he advances first to introduce his district, and then gives the “kasaboko” a series of twirls which must call for the exercise of no mean strength and agility, as the weight is very considerable, the draping prevents him from seeing for more than a few inches beyond his own feet, and he has to rely for his sense of direction upon one of his supporters walking immediately in front of him.

Dances and Plays

The other performers then give their turn. These do not vary greatly from year to year; in 1918 the twelve wards gave us a program consisting of five dances, three dramatic performances, and four models of boats, warships, etc. The lastnamed class consisted of reproductions of ornamental river boats or similar craft adhering faithfully to the main features of the originals, mounted on wheels for convenience in promenading the city as well as for manoeuvring at each of the dancing places. At the prow of each of these wheeled vessels a child of not more than three or four years was seated on a pile of gorgeous cushions. It is said that the privilege of occupying this seat of honor was unobtainable under a payment of four or five hundred yen.

During the remainder of the 7th and the 8th a comprehensive tour of the whole city is made. This must call for no little endurance on the part of those engaged. The “kasaboko” and “dashi” with their attendants start not later than 10 a.m. on the 8th in spite of their exertions on the previous day, and at 10 p.m. some of the floats had not given up. Meanwhile everyone is busy making the most of the general holiday. At the temporary shrine a stream of visitors continues until quite late at night, and the guardians of the shrine must reap a weighty harvest from the shower of coppers thrown by the devout. Enthusiasm is maintained by frequent beating of the sacred drums, alternating with dances given by youthful acolytes with their “kagura suzu.” From time to time a party of performers or attendants from one of the dancing wards appears upon the scene, or one of the bands of musicians hurries up; after a suitable exhibition has been given the participants are regaled with a cup of sake by one of the priests and off they go again.

The Side-Shows

There is no lack of more mundane diversion for the sightseers. In an open space on Deshima, the site of the old Dutch factories, are rows of side-shows, including even a circus with a score of trained horses which perform conventional feats under the guidance of ladies in tights - made of wool. Some of these entertainments may be rather gruesome but after all no one is compelled to pay the trifling sums charged for admission. Another feature invariably in evidence on these occasions is a long line of stalls, selling sweetmeats, toys, charms, almost anything in fact calculated to draw the coppers of a children-loving throng.

The 9th is the final day of rejoicing. The floats make another round of the dancing-places reversing both the order in which they visited them on the 7th and the order of their own procession, except that the leading ward is still that of the two gay quartets which is acting for the year. At one o'clock the divine symbols start on their return journey. The procession consists is the first place of the three “mikoshi” one for each of the three shrines, followed by three chief priests in imposing Shinto garb, riding on horseback. Even now the procession is said to deviate from the direct route at one spot from which an attack was made years ago by Portuguese traders. Incredible as such a survival may seem, it is thoroughly consistent with the strict adherence to ancient customs evident throughout the festival. On arrival at O Suwa the “mikoshi” are rushed up the steep steps amidst the wildest enthusiasm, which has not seldom resulted in accidents to those assisting.

(special article by J.A.)

The Legend of Ama-terasu, the Sun Godess.

After a violent quarrel with her brother, Susa-no-o, the Moon God, Ama-terasu, the Sun Godess, retired to a cavern, withdrawing the light of her presence from the world and the Heavens and plunging them into darkness.

The Moon God, jealous of his sister, broke a hole in the roof of Heaven and cast down among Ama-terasu and her maidens, who sat spinning sunbeams, “a piebald horse which he had flayed with a backward flaying” (from the tail to the head). This deadly insult so incensed the godess that she withdrew as above mentioned.

The remainder of the eight hundred deities, desiring light, made many ineffectual attempts to induce her to return and lighten up the world again. After many attempts, one of the Gods hit upon a device which proved successful.

“They gathered the cocks of the barnyard fowl and made them crow” as if to announce sunrise and on a bough of the sakaki tree, they hung a large metal mirror around which was strung a necklace of beautiful jewels. Word was conveyed to the Godess that another and more beautiful woman had been discovered and that light having come to the world again, she could remain in the cavern if she so wished.

“Then they caused the rituals to be recited and a dance performed outside the cavern and at a signal, all the assembled deities laughed aloud.” Astonished at the tumilt, the Godess peeped out and saw her own reflection in the mirror. Stirred by curiosity and pique, she advanced for a closer inspection of her supposed rival, when the opening of the cave was closed behind her, thus preventing her return.

Every New Year, each Japanese house or temple commemorates this event by suspending a small straw rope with tassels and paper gohei across the lintel of the door.

(article by Sam.)