Ogatsu Hōin Kagura at Spring Grand Festival at Isuzu Shrine (Kumazawa, Ogatsu Town, Ishinomaki City, Miyagi Prefecture) April 13, 2025 (Sunday)
Dedication of Ogatsu Hōin Kagura
April 13, 2025 (Sunday)
Recording:
0:00 Ritual prayers & Yudate (hot water purification rite)
11:37 Shoya (First Arrow)
31:39 Shiten (Four Heavenly Directions)
53:38 Iwatobiraki (Opening of the Rock Cave)
1:33:07 Goya (Five Arrows)
2:03:19 Maō Taiji (Defeating the Demon King)
2:29:02 Shomōwake (Division of the Seasons)
3:07:22 Hiruko
Unfortunately, I wasn't able to stay for the final performance of the day, Yamato Takeru, due to a scheduling conflict...
A few days before the event, the weather forecast started to look a bit shaky, so I prayed that the festival could take place under clear skies this year. Thankfully, it held out—though it was freezing cold.
During the Shomōwake segment, it began to rain fairly hard, causing a brief pause while a blue tarp was stretched over the kagura stage to protect it from the rain. After that, the performance resumed.
When it came time for Hiruko, the rain had stopped, and the tarp was removed. I had originally planned to leave at that point, but I knew that Yoshirō-san—a kagura performer I've admired since I first started playing the shinobue flute—would be dancing this piece for the first time in a while. I just had to stay and see it. After some quick calculations, I figured I could just make it in time for my next destination, so I decided to watch.
Originally, 12 performances were scheduled for the day, but due to the weather, only 8 were completed. When it finally came time for Yamato Takeru, I had no choice but to pull myself away and leave for the next location, though it was hard to walk away.
Where was I heading? To the Sakura Festival at Tenshōchi Park in Kitakami, Iwate Prefecture. That evening, there was supposed to be a performance by the Kōnai Onikenbai Preservation Society. I made it all the way to the Ichinoseki area, only to receive word that the event was canceled due to rain… So I turned around and returned to Ishinomaki with a heavy heart.
I hope next year brings clear skies to both the Kumazawa Spring Festival and Tenshōchi.
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Performance Descriptions:
Shoya
Based on the myths of creation found in the Kojiki and Nihon Shoki, this kagura portrays a time when the earth was still unsettled and chaotic. In the heavenly realm of Takamagahara, a deity named Amenominakanushi-no-Mikoto was born. Considered the spiritual core of the Earth, this deity is said to have brought forth the life force of all things. The dance depicts the creation of this vital energy and the origins of all life.
Shiten
Also based on the creation myths, this dance features the deities Izanagi and Izanami, who gave birth to Japan and the gods who would govern it. They defined the year as 360 days and set the seasons and cardinal directions: Spring in the East (90 days, ruled by Ameaino-mikoto), Summer in the South (90 days, ruled by Amenomishimo-no-Mikoto), Autumn in the West (90 days, ruled by Amenoyaohi-no-Mikoto), and Winter in the North (90 days, ruled by Amenoyashimo-no-Mikoto). These four deities maintain balance and ensure prosperity for Japan.
Iwatobiraki
This is one of the most important and essential performances. Without it, the sacred portable shrine (mikoshi) cannot return to the shrine. The yudate ritual is derived from the story of Iwatobiraki, considered the origin of kagura in Ogatsu. The performance teaches us how to overcome adversity. Due to the reckless acts of her brother Susanoo-no-Mikoto, Amaterasu-Ōmikami, the sun goddess, withdrew into a cave, plunging the world into darkness. The gods held a meeting to restore light to the world. Through deep thought (as seen in the deity Omohikane), persuasive speech (Ame-no-Koyane), bold action (Ame-no-Uzume), and sheer strength (Ame-no-Tajikarao), the gods worked together to bring light back. This kagura teaches the importance of unity and working together for a harmonious society.
Goya
After being banished from the heavens for his misdeeds, Susanoo-no-Mikoto wandered the land in repentance. One evening, hungry and weary, he came across two houses—one wealthy (Kyotan) and one poor (Somin). Kyotan turned him away, but Somin and his wife warmly welcomed him, offering a simple meal and a place to rest. Deeply moved, Susanoo blessed them with wisdom. Over time, Somin’s household prospered, while Kyotan’s fell into ruin. This kagura imparts the timeless lesson: “Kindness is never wasted.”
Maō Taiji
Susanoo-no-Mikoto, having repented, journeys through the lands and finds people suffering due to the interference of demons. He fights and subdues these evil forces, bringing peace and safety to the region.
Shomōwake
Izanagi and Izanami create the Japanese land and establish the 360-day year, assigning each season to a deity. However, the Earth deity Yaso-yorozu-tama-no-Mikoto is left without a domain, leading to poor harvests. The Earth deity requests inclusion, but is initially refused, causing conflict. Then, Amenominakanushi-no-Mikoto appears and mediates, recognizing the legitimacy of the Earth deity’s plea. The solution: each of the other deities shares 18 days of their 90-day domains, giving the Earth deity a rightful place in the cycle of the seasons. This dance emphasizes balance, inclusion, and the importance of the Earth's vitality.
Hiruko (Ebisu)
This dance depicts Hiruko-no-Mikoto, the deity enshrined at Nishinomiya Shrine. According to myth, the divine couple Izanagi and Izanami gave birth to many deities who would govern the land of Japan. First came Amaterasu, the sun goddess; then Tsukuyomi, the moon deity; and finally Hiruko. However, in the Kojiki, it is said that Hiruko was born when the female deity spoke first during the ritual, and thus he was cast away to sea and not counted among the proper divine children. Even by the age of three, Hiruko could not stand on his own feet. Feeling pity, the gods set him afloat on a boat made of heavenly cypress, called Ame-no-Iwakusabune. Eventually, Hiruko became the deity of Nishinomiya, revered as a guardian of the sea and fisheries. This kagura dance celebrates him as Ebisu, a benevolent god of wealth and maritime fortune, still beloved by fishing and merchant communities throughout Japan.
Yamato Takeru-no-Mikoto
This kagura is based on the legend of Prince Ōusu, son of Emperor Keikō, the 12th emperor of Japan, who later came to be known as Yamato Takeru-no-Mikoto. The tale begins with the god Susanoo slaying the eight-headed serpent Yamata-no-Orochi in the land of Izumo. From the serpent’s tail, he drew forth a sacred sword and named it Ame-no-Murakumo ("Heavenly Cloud Cluster"), which was later enshrined at Atsuta Shrine.
However, a sorceress bearing a grudge against Yamato Takeru stole this sword by disguising herself as Iwanaga-hime, daughter of the mountain god Ōyamatsumi. Her aim was to frame the prince. Upon discovering the theft, Yamato Takeru confronts and defeats the sorceress, recovering the sword and returning it to Atsuta Shrine. This heroic dance dramatizes his courage and the divine trials he overcame.
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Original article(JP)
https://note.com/coupieyukki/n/n58f515d2e6c2
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