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.

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

For the last three days Nagasaki has been en fete, celebrating the O Suwa matsuri. Practically all work has been suspended and the people have been out to enjoy themselves in which they appear to have been successful. The weather conditions have been ideal throughout, although towards noon on the opening day, old Sol came out strong, a fact which made the donning of heavier clothes somewhat of a regrettible incident.

O-Suwa-Jisha

The theme of the matsuri is the celebration of the annual airing taken by O Suwa Sama, who on this day leaves his shrine and journeys to Chata, resting there for two days and receiving the homage of his devotees, after which he is escorted back home, where he remains for another year.

Originally the Saint resided at Shimabara but, becoming dissatisfied with the locality, made the trip to Nagasaki in one jump over the intervening mountain; landing at Chata, which is the reason for his annual visitation of the place. O Suwa's progress through the streets, - which are decorated for the occasion, the humblest house hanging out the national flag, paper lanterns and a coloured streamer or two - follows upon the conclusion of a series of odori (dances) and exhibitions of a more-or-less religious character.

These dances, in which rich and rare silks, brocades and exquisite embroideries are exhibited, are given on the stones at the head of the first long flight of steps leading to the O Suwa shrine. Each machi of the eleven which exhibit every year, vies with its competitors in the elaborate or costly nature of its display, the residents of the machi in question contributing money and kind towards their representative delegation.

On these three days the Geisha are out in full force, their ranks being called upon to ensure the success of each display. All the musical and most of the instrumental portion of the proceedings are in their hands while those who neither sing nor play some instrument, stand around and look pretty in their rich and costly dresses - an art in which they are invariably eminently successful.

As the proceedings at the shrine commence shortly after daybreak, an early start has to be made by the would-be sightseer if he desires to gain access to his reserved seat on the “grand stand.” Within half an hour after sunrise, the stands are packed a la sardine, the sole remaining method of access to one's vacant lot being over the heads of the earlier arrivals who, although in a thoroughly festive mood, would certainly object to this means of progress - the ladies with such elaborate coiffures, in particular.

On the first day the order of the proceedings was as follows ;—

A huge, umbrella-like structure (kasaboko) the heavy, central carrying pole borne upright, across the shoulder of a sturdy representative of the exhibiting machi, advanced slowly towards the foot of the upper flight of stone steps. Obeisance was made to the shrine far above, after which, “good joss” was secured for the machi by people in the vicinity throwing salt over the kasaboko.

Retreating a few paces, the bearer circles round and round, finishing a giddy whirl, the heavy structure making the keeping of a sure footing a matter of extreme difficulty. His dexterity receives the plaudits of the crowd, who invariably demand repeated encores, which are always accorded, after which the kasaboko remains at the rear during the ensuing odori, at the completion of which, it heads the procession of the performers, attendants etc., down the steps to the street below, where it proceeds towards Chata to await the coming of O Suwa Sama.

A spirit of hilarity and devil-may-care seemed prevalent among the youthful occupants of the free seats - the upper flight of stone steps, in particular - who had evidently come out for a good time and intended to have it. Many were the good humoured vocal liberties or criticisms, taken or passed upon the exhibitors, some of the sallies creating much amusement and laughter. For example; Custom forbids the opening of an umbrella or sunshade, be the Sun however so hot or his beams so dazzling and the fair one ever so desirous of the preservation of her complexion. Whoever opens and raises aloft her “brolly” is at once greeted with cries of “Sa! Sa! kasa ! (Look, look, umbrella,) an embarrassing fact which leads to the prompt furling of the “brolly.”

Again with regard to the geisha. Most of these ladies are wearing extremely rich and costly kimonos, however, at the outset of their performance, at the least indication of the spreading of a mat, or other protection, whereon they may sit and so save their silks from contact with the bare stones, a roar goes up, “Take away, take away !” and willy-nilly, Miss Geisha resigns herself to sitting upon the cold, hard stones and the possibility of soiling her gown. It is only once a year and it is all in a good cause.

Maruyama Machi, the Local YMCA

After the presentation and whirl of the kasaboko, a dance, with songs and theatrical displays are given, the plays produced generally dealing with some semi-religio-mythologic subject, the details of which are well known to the spectators, they being founded upon ancient Japanese legend.

On this occasion eleven machi exhibited, this being the number represented every year, none of which, with the exception of Maruyama-Yoriyaimachi, the districts wherein the Y.M.C.A. is so strongly represented, will appear next year, their places being taken by exhibitions from another ten machi. The regular, annual appearance at, and the precedence held by this M.-Y. district, is due to the interesting fact that it was the residents thereof who were the first to recognise the saintly attributes of O Suwa Sama on his arrival from Shimabara.