What is Shinto Music?
Kagura (神楽) or ‘entertainment of the gods’ includes music, dance and poetry and comprises mi-kagura of the court, o-kagura of major shrines such as Ise Jingū, and village sato-kagura.
Music plays a very important role in the kagura performance. Everything from the setup of the instruments to the most subtle sounds and the arrangement of the music is crucial to encouraging the kami to come down and dance. The songs are used as magical devices to summon the gods and as prayers for blessings. Rhythm patterns of five and seven are common, possibly relating to the Shinto belief of the twelve generations of heavenly and earthly deities. There is also vocal accompaniment called kami uta in which the drummer sings sacred songs to the gods. Often the vocal accompaniment is overshadowed by the drumming and instruments, reinforcing that the vocal aspect of the music is more for incantation rather than aesthetics.
“Azuma“,Kagura(dance performed by shrine maiden)：神楽「吾妻」
In both ancient Japanese collections, the Nihongi and Kojiki, Ame-no-uzeme’s dance is described as asobi, which in old Japanese language means a ceremony that is designed to appease the spirits of the departed, and which was conducted at funeral ceremonies. Therefore, kagura is a rite of tama shizume, of pacifying the spirits of the departed. In the Heian period (8th–12th centuries) this was one of the important rites at the Imperial Court and had found its fixed place in the tama shizume festival in the eleventh month. At this festival people sing as accompaniment to the dance: “Depart! Depart! Be cleansed and go! Be purified and leave!” This rite of purification is also known as chinkon. It was used for securing and strengthening the soul of a dying person. It was closely related to the ritual of tama furi (shaking the spirit), to call back the departed soul of the dead or to energize a weakened spirit. Spirit pacification and rejuvenation were usually achieved by songs and dances, also called asobi. The ritual of chinkon continued to be performed on the emperors of Japan, thought to be descendents of Amaterasu. It is possible that this ritual is connected with the ritual to revive the sun goddess during the low point of the winter solstice.
There is a division between the kagura that is performed at the Imperial palace and the shrines related to it, and the kagura that is performed in the countryside. Folk kagura, or kagura from the countryside is divided according to region. The following descriptions relate to sato kagura, kagura that is from the countryside. The main types are: miko kagura, Ise kagura, Izumo kagura, and shishi kagura.
Ise kagura is a collective name for rituals that are based upon the yudate (boiling water rites of Shugendō origin) ritual. It includes miko dances as well as dancing of the torimono type. The kami are believed to be present in the pot of boiling water, so the dancers dip their torimono in the water and sprinkle it in the four directions and on the observers for purification and blessing.
Izumo kagura is centered in the Sada shrine of Izumo, Shimane prefecture. It has two types: torimono ma, unmasked dances that include held objects, and shinno (sacred No), dramatic masked dances based on myths. Izumo kagura appears to be the most popular type of kagura.
Shishi kagura also known as the Shugen-No tradition, uses the dance of a shishi (lion or mountain animal) mask as the image and presence of the deity. It includes the Ise daikagura group and the yamabushi kagura and bangakugroups of the Tohoku area (Northeastern Japan). Ise daikagura employs a large red Chinese type of lion head which can move its ears. The lion head of the yamabushi kagura schools is black and can click its teeth. Unlike other kagura types in which the kami appear only temporarily, during the shishi kagura the kami is constantly present in the shishi head mask. During the Edo period, the lion dances became showy and acrobatic losing its touch with spirituality. However, the yamabushi kagura tradition has retained its ritualistic and religious nature.
Originally, the practice of kagura involved authentic possession by the kami invoked. In modern-day Japan it appears to be difficult to find authentic ritual possession, called kamigakari, in kagura dance. However, it is common to see choreographed possession in the dances. Actual possession is not taking place but elements of possession such as losing control and high jumps are applied in the dance.
The repertoire includes eight forms that may be traced back to the eighth century: kagura-uta (kagura songs), azuma asobi (eastern entertainment), kume-uta (palace guard songs) ō-uta (big songs), onaibi-uta (night duty songs), ruika (funeral songs), ta-uta (field songs), and yamato-uta (Yamato songs).
Instruments include the wagon (和琴), kagura-bue (神楽笛), hichiriki (篳篥), suzu (鈴), tsuzumi (鼓), and shakubyōshi (笏拍子) clappers. In local festivals the kane (鉦), binzasara (編木), and taiko (太鼓) may also be found.
Adapted from Wikipedia, the free encyclopedia