This is a list of 333 Important Intangible Folk Cultural Properties of Japan.
9 designations. All were designated under Criteria 1.
Name | Date | Remarks | Location | Image | |
---|---|---|---|---|---|
[1] | July 2[2] (Keitokumachi) and July 12 (Takada) | Rice planting festival as a prayer for abundant harvest held at Inari Shrine, Keitokumachi and at Isasumi Shrine. | |||
Snake festival in which a 15m (49feet) long snake made of straw, fern and wisteria is paraded by children through the district. The event is a prayer for abundant harvest and good health. | |||||
[3] | Spring hoe festival including theatrical performances of various stages of the farming process. Seen as a prayer for abundant crops, the festival's earliest record is from 1798. | ||||
[4] | Using a crude model boat of (green bamboo), within the shrine precincts, bonito fishermen are simulating all stages of their work from departure, over fishing to return to the port. This is seen as a prayer for a good catch. | ||||
[5] | end of May | Seedlings are planted in a circular fashion by three or four workers while singing. | |||
[6] | and December 5 | Agricultural festival of rice farmers on the Noto Peninsula in which the deity of the rice field is invited to the house and entertained. The December event is to express gratitude for the harvest, while the event in February is meant to ensure an abundant harvest. The ritual has been inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. | |||
[7] | first Sunday in June | Rice-planting ritual starting with a performance of musicians welcoming the of the fields and decorated cows being led into the field. A phalanx of planting girls then carries out the actual planting accompanied by songs, large and small drums, gongs and flutes. The event has been inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. | |||
13th day of first month and 25th day of 9th month (Aso Shrine); 16th day of first month and 23rd, 24th days of 9th month (Kuninomiyako Shrine) | A series of agricultural festivals associated with the four seasons and enacted as a prayer for abundant crops and as a thanks for the harvest, among these: rice field festival, making the field, fire swinging ritual,, rite, fire rite, and the festival. | ||||
[8] | Ritual rice planting event accompanied by song and drums as a prayer for an abundant harvest. |
6 designations. All were designated under Criteria 1.
Name | Date | Description/Remarks | Location | Image | |
---|---|---|---|---|---|
[9] | An event in which young children between the age of 7 and 9 from the village of Izumiyama climb Mt. Nakui to worship at mountain shrines. | ||||
[10] | 15th and 16th day of 8th month | An event in which 7-year-old boys climb nearby Hanedayama to pray for their healthy growth. | |||
[11] | First Sunday in December | An event, first attended by males around the age of 18, in which a procession of parishioners carrying colorful banners climb Kohatayama to worship at Okitsushima and Hayama shrines. | |||
[12] | A traditional coming of age ceremony for 20-year-old males with roots in the late Edo period. | ||||
[13] | Sunday near (Kagiage) and every second year on the day before Respect for the Aged Day (Sasakubo) | A traditional sumo ring entrance ceremony performed by young boys as a prayer for the healthy growth of the children. No actual wrestling takes place. | |||
[14] [15] | One day before the Coming of Age Day | A series of events held for men and women who became married in the previous year. It concludes with a, burning of old . |
11 designations, all under criterion 1.
Name | Date | Remarks | Location | Image | ||
---|---|---|---|---|---|---|
[16] | Tug of war between two parts of Kariwano town featuring a giant straw rope, 80cm (30inches) diameter and over 200m (700feet) long, held to pray for a rich harvest. | |||||
[17] | Horseriding festival with riders clad in samurai armour of the Sengoku period, organized by Ōta Shrine, Odaka Shrine (Minamisōma) and Sōma Nakamura Shrine (Sōma). | |||||
[18] | Second Sunday in October | Shooting of homemade rockets from a scaffold structure, which when fired are meant to resemble dragons ascending to the heavens. The even is performed as appreciation for bountiful harvest. | ||||
[19] | Ancient bull fighting event and only of its kind on Honshu. | |||||
[20] | Tug of war between two teams representing Daikoku and Ebisu. The year is said to bring a good harvest if Daikoku wins, and a good catch if Ebisu wins. | |||||
[21] | Tug of war between an adult and children group using a rope made of Japanese mugwort and sweet flag. If the adult group wins the 7th and final pull, it is said to become a good harvest. This is one of the five seasonal festivals . | |||||
[22] | Children tug of war with a rope made of sweet flag, Japanese mugwort and Japanese torreya. This is one of the five seasonal festivals . | |||||
[23] | Tug of war between the western and eastern parts of the district using a more than 80m (260feet), 4t rope. A win of the east is said to be a good harvest, if the west wins business is going to prosper. This is one of the five seasonal festivals . | |||||
[24] [25] | Archery festival with origins in the early 10th century held in the precincts of Sanboko Shrine, in order to pray for an abundant harvest, bountiful fishing and to keep evil away. | |||||
Tug of war between a "hill" and "beach" team using a 400m (1,300feet) long and 15cm (06inches) wide rope. If the beach team wins it is said to be bountiful fishing in this year, if the hill team wins, the year is said to produce abundant crops. | ||||||
Tug of war with a 365 metres long, 40 centimetre diameter, 7 tons rope that is preceded by the weaving of the rope by all the residents. |
2 designations, all under criterion 1
Name | Date | Remarks | Location | |
---|---|---|---|---|
[26] [27] | Tea guessing event, where local residents welcome the gods, drink tea together, read the tea and predict the bounty in their lives. | |||
[28] | A ceremony held at the Yakushi Hall of Kichijō-ji involving the recitation of the Heart Sutra (known as) and the protocol permitting three-year-old children to the village. |
34 designations, all under criterion 1
Name | Date | Remarks | Location | Image | |
---|---|---|---|---|---|
[29] | A person called "Suneka", representing a and dressed in a strange mask and a straw raincoat, visits each house in a given district to punish lazy or crying children; related to the Namahage tradition of Akita Prefecture; handed down in Yoshihama district, Sanriku, Ōfunato, Iwate. Type: Visiting kami | ||||
[30] | –16 | Bird chasing procession involving children; traditionally a festival to pray for abundant harvest and good health; handed down in Tsukihama district, Miyato, Higashimatsushima, Miyagi. Type: Harvest/fertility | |||
[31] | Event to ward off fire; young men and men of a critical age (42 years of age) dress in straw raincoats and headdresses their faces painted with soot; after a shrine visit they return to town and throw water on the houses; home owners try to extract from the participants' costumes straws which are then considered charms against fire. Type: Protection | ||||
[32] | "Little New Year" event celebrated by children involving the burning of a hut of Sae-no-kami and a bird chasing procession with singing. | ||||
[33] [34] | –January 16 | Young men dressed in traditional straw garments and wearing large masks representing the Namahage deity visit houses of new community members urging them to work and study hard; after receiving sake and mochi they leave blessing the house. Type: Visiting kami | |||
[35] | –15 | Events welcoming, deities of the year, and praying for an abundant harvest and health. The festival includes the decoration of large bamboo poles, the construction of snow huts, and a battle with bamboo poles. | |||
[36] | , 3 and 6[37] | A person called "Amahage", representing a dressed in a straw coat and covered with a red or blue ogre mask visits each family distributing mochi; also includes a bird chasing event with drums and singing; the straw coats are burned together with and in an event known as Honte-yaki (Honte burning). Type: Visiting kami | |||
[38] | ca. January 15 | Fire festival praying for abundant harvest, sound health and escape from evil; an artificial structure (Sai-no-kami) made of a sacred tree and new year's decoration is burned | |||
[39] | Construction of 108 mounds[40] and lighting of as many lights; said to originate in a ritual to console the spirits of Inomata Koheirokunoritsuna. Type: Bon Festival | ||||
Bon Festival event in which the spirits of the deceased are sent off by constructing a 5m (16feet) decorated straw ship and having children swim it out to the sea. | |||||
[41] | Third Saturday of January | New Year fire festival in which nine large decorated temporary shelters in the form of bonfires on the beach are set on fire. are grilled in the fire and the event also includes a tug-of war. | |||
[42] [43] | New Year Event in which two groups of mostly men in make-up fight using two 13m–14mm (43feet–46feetm) long bamboo poles. The fights are followed by the burning of New Year decorations, praying for good health, abundant crops and a good haul. | ||||
[44] [45] | Sunday before January 15 (or January 15 if it is a Sunday) | New Year fire festival praying for health, an abundant harvest and ceremonial cleansing. Children go from house to house singing the Sai no kami song, carrying wooden male and female dollsand collecting New Year decorations that are later burned on a bonfire. | |||
[46] [47] | January 2 (Monzen), January 14 and 20 (Wajima), February 3 (Uchiura) | Visiting kami event similar to Mensama and Namahage in which masked figures wearing straw raincoats enter the house unannounced to purify it. | |||
[48] [49] [50] | New Year fire festival in which a large wooden shrine is endowed with a and set on fire by an offensive team, while men of "unlucky age" (25 and 42 years old) sitting on to p of the are trying to stop them. The event is seen as a celebration of birth of the first child, to dispel evil spirits and as a prayer for a happy marriage. | ||||
[51] | 2nd Sunday in February | New Year event in which two giant (5m (16feet), 2t) torches made of Japanese pampas grass and known as are lit. Men compete to take out holy tress that have been placed in the and to offer them at a shrine. The outcome is used to predict the year's weather and harvest. | |||
–15 | |||||
Demon ritual dance of two ogres, a red and a blue one, carry torches and halberds perform a dance in the temple grounds as a prayer for abundant harvest and purification ritual. The event also includes a theatrical display of rice planting. | |||||
[52] [53] | A women's rope from Ichikishima Shrine, Ōnishi meats a male rope at Susanoo Shrine, Etsutsumi where the two ropes are joined, hung on a tree and ceremonies commence. The event also includes a mud wrestling competition and features a prayer for abundant harvest and child-giving. | ||||
[54] [55] | New Year fire festival in which three ogres (father, mother, child) carrying giant lit torches run around the hall getting rid of evil and bringing good luck. | ||||
[56] [57] | Weekend closest to January 15 | Japanese New Year event in which a large, cone-shaped structure is constructed on the beach out of straw and bamboo and later burnt as a prayer for health and a good catch. The event also includes a ritual purification of the houses performed by young boys. | |||
[58] [59] | –15 | New Year event in which a 10m (30feet) diameter temporary house is built of bamboo to greet the of the year . The event is seen as a prayer for health and a good catch and the temporary structure is eventually burnt together with the New Year's decorations. | |||
[60] [61] | New Year fire festival in which youth erect two 20m (70feet) tall, objects of worship decroated with and, on the beach. Various rituals and dances are performed at these, which are eventually burned. The event is seen as a prayer for a godo harvest and the protection from disaster and diseases. | ||||
[62] | (Soo Nakamura), 19 (Soo Yamada), 23 (Soo Ochiai) | Construction and lighting of 20m (70feet) tall pillar torches . The event originates from a ritual to comfort the spirit and remove disaster when horses and cows were affected by a contagious disease. | |||
[63] [64] [65] | New Year event in which children visit houses, place a straw horse in a bowl in front of the entrance, call out and hide. The family of the house exchange the straw horse for a bag of mochi and sweets which is then picked up by the children. The event is seen as a prayer for in-home safety and disease-free life. | ||||
[66] | New Year fire festival in which a "devil fire" that has been guarded for seven days is transferred to six 13m (43feet) long torches which are carried around the shrine grounds by men in loinclothes. It is a ritual to drive away evil spirits. | ||||
[67] [68] [69] | 2nd Saturday in February | Lunar New Year event and a form of "visiting gods" in which unmarried men dressed in straw raincoats and bamboo hats represent deities bringing blessings to each home. | |||
[70] | Third Sunday in January | New Year event praying for an abundant harvest, a good catch and disaster relief. It includes various rituals such as sumo,,,[71] a tug of war and the carrying of a giant, 3m (10feet), 358kg (789lb) straw sandal. | |||
[72] [73] [74] | Visiting deity event at New Year's Eve in which two to five men representing the deity dress in straw raincoats decorated with leaves and masks with long pointed noses and demonic horns. Visiting the houses they scold the children and preach good behaviour. At the end they place a large rice cake on the children's back who carry it in this way to their parents. The ritual has been inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. | ||||
[75] | 1st day of hei of 8th month | An event welcoming Inadama, the spirit of rice, and thanking for this year's good harvest and praying for next year's harvest. The ritual involves singing and dancing and the ceremony in which men and children sit on the roof of a temporary shed, singing songs, playing drums and eventually breaking the shed and dancing on its remains. | |||
[76] [77] | 15th day of 8th month | Full moon event centered around a group of boys, including the making of a more than 100m (300feet) long rope, sumo, a tug-of-war and dancing. | |||
[78] | 16th day of 7th month | Three men dress in giant headdress masks and palm leaves representing the Boze deity who cleanses people of evil. Appearing during the Bon dance, the Boze chase onlookers with a phallic cane to which red mud is attached. | |||
[79] [80] [81] | 1st and 2nd day of 8th month | Mendon, a deity thought to cleanse people of evil appears during the interfering with the dancers and doing other mischiefs. The god is represented by men in straw coats wearing large grotesque red and black masks. | |||
[82] [83] [84] | First third of the 9th month (Shimajiri), last day of the ox in 12th month (Nobara) | Men dress up as a masked grass clad supernatural being spreading sacred mud and cleansing the village of calamities. |
71 designations. All were designated under Criteria 1. This includes all but one[85] of the 33 festivals in the UNESCO Intangible cultural heritage Yama, Hoko, Yatai, float festivals in Japan.[86] [87]
Name | Date | Remarks | Location | Image |
---|---|---|---|---|
[88] | End of the 7th month – 15th day of 8th month | Collective climbing of Mount Iwaki by local people praying for safety and in gratitude of the harvest. | ||
[89] | August 1–7 | Parade of fan-shaped paper floats decorated with historical or legendary figures and accompanied by flutes and . | ||
are dances associated with Shinto shrines.
There have been 40 designations, all under Criteria 1, unless otherwise indicated.
Name | Date | Remarks | Location | Image | |
---|---|---|---|---|---|
[134] [135] | Various times | Originally performed at Matsumae Castle, chief residence of the Matsumae clan, the dance subsequently spread to other parts of Hokkaido where it picked up regional straits. | |||
From third day of New Year | Theatrical consisting of ritual dances, military dances of battles between humans and demons and a lion dance. This is preceded by a group of local youths moving from house to house carrying a lion's head representing . | ||||
[136] [137] [138] | Various times, from to April | Theatrical performed as a travelling tour through various villages and towns along the Sanriku Coast, from Kuji in the north to Kamaishi in the south. The dance has been designated under Criteria 2, 3. | |||
[139] | Third Sunday in July | Theatrical centered around lion dances and also including ritual and masked dances. The dances are accompanied by small hourglass-shaped drums, flutes and bronze cymbals and distinct bird-style hats are used in some of them. | |||
[140] | , August 1; also on February 2, latter part of April, middle of September, third Sunday in December (Ōtsuganai); January 3, December 17 (Take) | A variety of masked dance including ritual, theatrical and wild pieces, comic dialogue and at the end a lion dance characteristic of the tradition of northeast Japan. The is represented by two groups, Ōtsuganai and Take, with more or less identical performances. The one notable difference is that the masked used for the mountain are referred to as in Ōtsuganai and as in the Take tradition, forming the syllables that feature in various Buddhist and Shinto contexts. | |||
18th day of the second month (Funatama Shrine); 15th–16th day of the third month (Isuzu Shrine); 19th day of the third month (Shirogane Shrine); 8th day of the fourth month, once every three or four years (Ishi Shrine); 29th day of the fourth month, once every three or four years (Shiogama Shrine) | Theatrical including the Amano-Iwato story which is characteristic of of western Japan. It is accompanied by two large drums and is first mentioned in a document from 1739. | ||||
, second Sunday in September | A form of performed as part of the Bon festival in August and as part of Yama Shrine's festival in September. Locally it is referred to as, or and is accompanied by large hourglass-type drum, flute and cymbals. | ||||
[141] | , 8 | A form of including 33 rituals performed over one night including a dance in ancient manner. It is seen as a prayer for abundant crops and thanks for the harvest. | |||
[142] | Various times of the year, at the start of the year in January, July–September, November, December | Intense lion dance performed by two people, one carrying a lion head the other under a sheet. Besides the lion dance there are other ceremonial and ritual dances, samurai dances and women dances. The designation has been designated under Criteria 2, 3. | Akita Prefecture | ||
(main), also on August 6 (preparation), 20 (sending off) | A type of that belongs to the tradition of Aomori, Iwate, Akita and Yamagata Prefecture and consists of a series of masked dramas and ritual dances. | ||||
Kisai, Saitama | |||||
Washimiya, Saitama | |||||
or | Various times throughout the year | Theatrical mime performed by shrines around Tokyo consisting of four groups: (Taitō), (Shinagawa), (Arakawa), and (Inagi). The tradition is derived from the of Saitama and was introduced during the Enpō era. It received a revamping during the Meiji period resulting in a mix of classical relating ancient myths, modern portraying medieval stories (e.g. Rashōmon), of modern legends (e.g. Momotarō), Noh and . | |||
(Miyagino), March 27 and May 5 (Sengokuhara) | |||||
[143] | and July 28 | Dance of about 10 young girls accompanied by drums, hourglass-shaped drums, and flutes considered as a type of . The dance has been designated under Criteria 2, 3. | |||
–23 | A form of consisting of various dances and dramas. | ||||
Tenryū, Nagano | |||||
The day before the last Sunday in October (Numata); first Sunday after July 26 (Ōsaka) | |||||
Kitashitara District, Aichi | |||||
A tradition of predominantly lion dances with some theatrical pieces and acrobatics added. They are used as purification ritual and to pacify spirits. | |||||
[144] | February | Lion dance of a male and female lion by two men bearing torches, originally performed as purification ritual to cure the villagers of disease. | |||
–25 | Sacred Noh with dramatic pieces on the first day preceded by unmasked known as . The theatrical pieces portray myths from the Kojiki and Nihon shoki as well as local stories from Izumo Province. | ||||
November, once every four to seven years | Theatrical of among others myths from the and . The climax is a spirit possession ritual in which a person in trance relates the words of the deity, specifically the nature of future crops and the future safety of the village. Ōmoto is a local deity with links to Kōjin. The oldest record of this dates to 1615. | ||||
Saturday and Sunday nearest to November 24–25 | Part of the Izumo tradition, it consists of ritual dances and 12 dramatic pieces with the earliest records dating to 1754. and drums are used with the drumming of the latter thought to have been influenced by Noh via Sada Shrine. | ||||
Various times throughout the year | Predominantly theatrical including sword dances that are possibly an influence by . | ||||
Third Saturday in November | Theatrical similar to performed for the Kōjin deity. is noted for the dance of the deity Sarudahiko depicted through a grotesque long-nose mask and acrobatic movements. Rarely spirit possessions take place. | ||||
Second Saturday in October | This (a local name for) consists of unmasked dances and theatrical pieces with the highlight a solo acrobatics on the top of an almost tall pine column and on a rope running from the top of the column to the roof of the place of performances. | ||||
21st–23rd day of the eleventh month, once every seven years | 23 pieces of theatrical and ritual dances accompanied by and flute with the highlight being the when a dancer climbs up a cloth rope attached to the ceiling. The oldest record of in its present form is from 1764. | ||||
March, April | Mix of ritual unmasked dances and theatrical pieces seen as purification ritual to drive away evil spirits and as thanksgiving for the harvest. | ||||
Theatrical consisting of unmasked dances and masked drama including the Amano-Iwato story, in which the sun goddess Amaterasu was drawn out of her place of hiding, and the dispute between the deities of the four seasons. | |||||
[145] [146] | Early September to May | Ritualistic purification and pieces related to the myths of Izumo. While most pieces are in the Izumo style, the highlight is an Ise-style . | |||
–14 | Theatrical with a history of at least 600 years, preceded and interspersed by unmasked dances. | ||||
Ritual dances and theatrical influenced by from the west of Japan and created during the Genroku era by a vassal of daimyō Tenshōkō Shigenobu. | |||||
[147] | Various times | Rural performed on a narrow space at various shrine festivals on the islands and accompanied by drums, flutes and occasionally bells. The earliest records of a sword dance go back to the 17th century. | |||
[148] | About two month starting on | Unmasked dances with performers carrying bells, swords and other implements, performed at various shrines in Hitoyoshi and in Kuma District starting at Aoi Aso Shrine. The dance has been designated under Criteria 2, 3. | Kumamoto Prefecture | ||
< | Bungo-ōno, Ōita | ||||
[149] | First weekend in December (Sano), second weekend in December (Haraigawa) | tradition handed down in two districts, Sano and Haraigawa, that are situated to the east of Mount Takachiho, which has been a center of local worship, resulting in the development of ritual dances. Unmasked and masked dances are performed on a stage surrounded by three and next to three tall pillars. The dance has been designated under Criteria 2, 3. | |||
November to mid-January | A theatrical form of taking place at the beginning of the year at specially prepared people's homes. The most significant piece performed in this context is the Amano-Iwato story, in which the sun goddess Amaterasu was drawn out of her place of hiding. | ||||
Shiiba, Miyazaki | |||||
–15 | Theatrical starting at night and consisting of 33 ritual dances and masked dramas. |
are musical presentations/dances related to rice planting.
There have been 26 designations, all under Criteria 1 unless otherwise indicated.
Name | Date | Remarks | Location | Image | |
---|---|---|---|---|---|
–19 | Ritual rice planting dance as a prayer for abundant crops. Participants clutching an [150] and wearing large golden colored horse-shaped hats dance through the streets of the city. | ||||
15th day of the first month | Indoor theatrical presentation of farming as a prayer for abundant crops. Many of the pieces performed are comical in nature. | ||||
–29 Ōtaki Fudōdō, Baba; 15th day of fourth month Yakushidō, Yumoto; August 14–16 Nagabukuro shinmeisha shrine | Performances of a series of displaying a variety of farming activities, the dances of young girls with decorated hats, and small boys shaking bells. These events are seen as prayer for abundant crops and dedication to the kami of rice fields. | ||||
and August 1 | Combination of children and as part of the shrine's Kumano festival. | ||||
14th–15th day of the first month | Two distinct traditions: in the the seven lucky gods' appearance is followed by a comic duo imitating various farming activities and after this the ritual rice planting ensues. In it women wearing decorated hats imitate the stages of farming and visit houses in the village. The event is seen as a prayer for abundant crops and the raising of silkworms. | ||||
6th day of the first month | Dramatic representation of various stages of rice planting. | ||||
(Tokumaru Shrine), February 13 (Akatsukasuwa Shrine) | Theatrical enactments of the rice planting process as a prayer for abundant crops. | ||||
with rattle accompaniment followed by Noh dance with typical drum assemblage. | |||||
, every four years | Various entertainments such as lion dances, by young children, and imitations of agricultural activities . The event is seen as prayer for peace and abundant harvest. | ||||
A lion dance followed by four dancers wearing hats decorated with red, yellow and white paper performing a flower umbrella dance. At the end there series of performances imitating the stages of rice farming. | |||||
18th–19th day of the second month | and other rice field plays followed by a number of masked dramas known as that retain contents from urban Noh. | ||||
Dramatic imitation of various stages of rice planting given by unmarried youths, with the highlight being the monkey . | |||||
[151] | As a prayer for abundant harvest, prosperity of the children, imitate the work done in rice cultivation in front of a large bonfire. The event is not accompanied by music, only dance and speech is used. This designation has been selected under Criteria 2, 3. | ||||
[152] | Kyōgen style theatrical enactments with a drum of the rice planting process as a prayer for abundant crops. | ||||
(Hōraiji), February 11 (Kōshō-ji) | Theatrical farming dances with elements of and . | ||||
Ritual rice planting accompanied by songs and drumming which is seen as a praise of the field . The highlight of the festival is the, the ritual addition of the dances. This is one of the three major rice planting festivals. | |||||
Theatrical representation of rice planting by two comic characters as a prayer for abundant crops. Their performance is accompanied by four girls dressed as rice planters and by a boy dressed as a cow. | |||||
Ritual rice planting accompanied by dances and processions from heavily made-up girls (geisha and rice planting girls) that take place on a raised platform amidst the rice field that is connected by a wooden bridge. One of the three major rice planting festivals. | |||||
8th day of the first month | Theatrical dances and display of farming accompanied by drum and flute and given as dedication to the and as prayer for an abundant harvest. | ||||
Twenty theatrical dance pieces depicting the various stages of farming and a group dance of men in loincloths accompanied by song and drums. | |||||
with accompaniment performed as part of the shrine's Nachi no Hi Fire Festival, or grand festival. | |||||
in odd-numbered years | tradition and dance, the latter consisting of and a lion dance. | ||||
last Sunday in May | ritual rice planting accompanied by drum and flute in which songs are sung by the planting girls in a call-and-response format. | ||||
every fourth year | Parade of musicians and planting girls. This is followed by the actual rice planting ritual in the fields accompanied by drummers and song and initiated by a masked comic character. | ||||
Various entertainments as a prayer for abundant harvests, including stage performances of rice planting and harvesting, and an old-style Noh, with the climax the in which a divine child represented by a straw doll is taken by a woman who cannot bear children. This has led to the alternative name of the festival . | |||||
–19 | Children accompanied by flutes with performers wearing characteristic dresses: four boys with large-brimmed straw-hats from which long are hanging down; two boys with a drum hanging in front of them; a boy with a staff and a fan and another with a golden hat carrying a drum and a fan. |
are traditional folk dances often consisting of large processions of participants typically wearing colorful costumes and accompanied by props. Another form represented below is and the syncretic . In these dances, dancing is accompanied by Buddhist chanting and hymns.
The most common surviving example of these dances is the .
There have been 43 designations, all designated under Criteria 1 unless otherwise indicated.
Name | Date | Remarks | Location | Image | |
---|---|---|---|---|---|
Highly decorated sword dances with dancers wearing large-brimmed hats decorated with flowers. | |||||
Sword dance originating in of Yamagata Prefecture where it was used to drive away evil spirits. The dances, accompanied by drums, cymbals and flutes are performed by eight men or women wearing demon masks topped by horsehair. The masks in red, white, blue, and black represent the four seasons and four directions from where spirits are driven away and are also thought to represent an alternative form of the Buddha. | |||||
–18 | One of the three main in Akita Prefecture, performed by women wearing hats that virtually conceal their faces. The dance and handwaving is accompanied by musicians located on a high roofed platform behind the dancers. The dance is seen as a prayer for a fruitful year and as an obon service. | ||||
–23 | One of the three main in Akita Prefecture with participants dancing around bonfires and women dancers wearing scarves that conceal the lower part of their face. | ||||
Weekend nearest to | |||||
or Gion odori | 2nd Sunday in September | Group dance of men in female costumes with flower decorated headwear. | |||
–15 | dances distinguished by participants wearing red hats on the first and purple hats on the second day. | ||||
Miura, Kanagawa | |||||
The term refers to practitioners of setting off on pilgrimages. The Yamakita area was a center of such practitioners in the 19th century. | Yamakita, Kanagawa | ||||
Second Sunday in September | Female group dances (and) interspersed with performances. | ||||
–16 | A gentle somewhat informal dance preserving an older style of dance and songs. Participants dance around a central tall in which musicians play flutes, drums and sing. | ||||
[153] | 16th day of the first month, August 16 | Several dances performed in a small room decorated with long strips of ornamental white paper and including the chanting of Buddhist texts and to the accompaniment of large barrel-shaped drums and a purification dance with long halberds. | |||
–16, 24 | dance without instrumental accompaniment, where dancers move around a on which five or six singers sit. | ||||
First Sunday in April | Dance in which a small group of women circle two raised drums, singing the and striking small bells. | ||||
[154] | –16 | Dance accompanied by drums in with the participants wear hats decorated with white paper strips. On July 14, 15 it is performed as a Buddhist prayer and has been designated under Criteria 2 and 3. | |||
July to September | One of the three great of Japan, is characterised by circular movements of the dancers around a small temporary building in which the musicians are located. | ||||
and 9 | |||||
consisting of three pieces: performed by farmers wearing deer masks to drive away evil spirits and pray for an abundant harvest; dance by young girls holding fans and decorated staffs; and a short old style of | |||||
–15 | Dances of men and women groups around a central figure supporting a decorated tall lantern. The dances are accompanied by drum, paper-strip idiophones and song only. | ||||
[155] | Religious ritual procession with the singing of Buddhist texts and chants to the Shinto . | ||||
Second Sunday in October | A drum dance of 20 people also known as performed as part of the shrine's autumn festival. Some dancers carry tree-like structures decorated with paper flowers on their back. | ||||
[156] | and 5 | Traditional dance performed by boys and youths in Shinto shrines and seven locations. The dancers carry instruments such as drums, flutes, small gongs,, and . | |||
to early May | Religious festival including a boys' dance with longswords and the jumping over poles. | ||||
[157] | Sunday nearest to September 15 | Two types of dances: danced in two rows employing fans to the accompaniment of song,, and, with lyrics originating in the Muromachi and early Edo period; kōdori danced in a single row by about 8 dancers with lyrics after the Genroku era and with a lighter tone. Originally a prayer for rain, the dances are now performed as part of the shrine's autumn festival. The dance has been designated under criteria 2, 3. | |||
2nd Sunday in April (Imamiya Shrine, Kawakami Dai-jingū, Genbu Shrine), May 15 (Kamigamo Shrine) | Ritual dance at four shrines with dancers representing demons by wearing red or black long-haired wigs are processing through the streetsmeant accompanied by drums and bells. People standing under a large red umbrella, which is carried in this procession, are said to be protected against illnesses. The dance is also seen as a prayer for abundant crops. | ||||
, August 24 (or the nearest Sunday) | Dance performed as a prayer for abundant crops (May 5) and as an expression of thanks for the ripening of the crops (August 24). The main feature is a decorated garden lantern, known as hanagasa. | ||||
, 14, 15, 23, 29, 30 | A variety of entertainments, from nenbutsu odori to later acrobatic, kabuki like theatre, lion dances and drum performances. Rokusai refers to the six designated days of the month which were traditionally used for nenbutsu dances and for proselytizing the people. Dancers carry small double-faced barrel drums. | ||||
–15 | Three bon odori dances: Ohara ō-odori (Aug 13), Musashi ō-odori (Aug 14) and Nishikawa ō-odori (Aug 15), with the main event being the final dance where men with drums, women with fans and a third group with lanterns attached to bamboo poles participate. | ||||
, 24, 27 | Two men dressed as herons dance accompanied by song and drums through the streets of Tsuwano. This sagi dance originates from Kyoto, where its tradition has been lost since. | ||||
August 13–19 | Informal bon odori in shrines and temples in northern Okayama Prefecture with the main event at Fukuda Shrine on August 15. The highlight is a dance called tenko where instead of the usual yukata, the participants wearing various disguises. | ||||
–15 | Old form of bon odori or nenbutsu odori accompanied by kudoki[158] | ||||
25th day of the sixth month | Literally the age of the gods dance, it is a group dance accompanied by large drums and seen as a prayer for abundant harvests and the absence of diseases or natural disasters. It is also performed as a prayer for rain, with the sound of the drums resembling thunder, and serves as entertainment for the villagers. This performance is preceded by lion dances and the appearance of a tengu demon. | ||||
Sunday between end of August and beginning of September | A rain dance performed by two groups of six men dressed in female costumes. | ||||
Thought to originate from an expression of thanks to Sugawara no Michizane, who in 888 is said to have prayed for seven days and nights for rain, there are two performances: at Taki no Miya and at Taki no Miya Tenman-gū. Dancers wear large round hats decorated with strips of paper, wear fans and intone the nenbutsu phrase accompanied by drums and bells. | |||||
every other year, May 1 | Drum dance of Ōtomi Shrine praying for a good harvest. | ||||
Literally the Takeo Wild dance, originates from the 1530 victory celebration of the Lord of Takeo over Arima, lord of Shimahara. The one in Nakano is characterised by elegant waving of the hands, while those in Kōze and Utode are more rough and military-like in their movements. | |||||
[159] [160] | At the Ōmura autumn festival | Three fūryū dance entertainments transmitted in Suko, Okita and Kuromaru district of Ōmura city. They originate from a celebration of Lord Sumikore Ōmura regaining control of the land in 1480 after losing the battle of Nakataka in 1474 to Arima. The dances have been designated under criteria 2, 3. | |||
–18 | Variously described as a type of nenbutsu odori or taiko odori (drum dance), the dance is a prayer for abundant harvests and to console the spirits of the deceased. The dances is characteristic for its use of various types of ornamental headwear topped with flowers and colored paper decorations. Flutes, bells and small barrel-shaped drums carried by the performers are used as accompaniment. The name jangara (jangura) is an onomatopoeic representation of the sounds of the bells and drums. | ||||
Designated under criteria 2 and 3. | |||||
fourth Sunday in July | Male group drum dance with participants wearing straw skirts and various types of headwear. They are seen as a prayer for the ripening of the harvest, driving away insects and for general well-being. | ||||
(Sangasho Shrine), September 30 (Nakanobura Shrine) | Dance of around sixty men impersonating various roles such as warriors and demons. | ||||
Drum dances performed by around 20 people. In addition, large papier-mâché animals are paraded and used in mock hunts that are seen as prayer for abundant harvest and thanks to the gods. The dance originates in a celebration for the home-coming of Shimazu Yoshihiro from the Korean peninsula. |
6 designations. All were designated under Criteria 1 except for the Hakata Matsubayashi which was designated under 2 and 3.
Name | Remarks | Location | Image | |
---|---|---|---|---|
A type of manzai performed by two people: a tayū who dances, waves a fan, and speaks words of felications; and a saizō who accompanies no a drum. | ||||
A type of manzai traditionally performed as a comic and narritave dialogue between two people, known as tayū and saizō. The tayū dances wearing an eboshi hat and carrying a fan, while the saizō wears a black zukin hat and plays kotsuzumi drums. | ||||
A type of manzai claimed to have originated in Chōbo-ji temple in Owari (now Nagoya), during the Shōō era (1288–1293) from a comical play contrived by the monk Mujū Kokushi to make the teachings of the Lotus Sutra understandable for villagers.[161] | ||||
[162] | Originally a rite of passage to adulthood performed by 17 year old youths,[163] the Daimokutate is a semi-dramatic entertainment performed annually on October 12. The participants dressed in samurai clothes with eboshi hats narrate tales of the conflict between the Heike and Genji. Daimokutate has been inscribed by UNESCO as Intangible cultural heritage. | |||
Dance narrative of military tales performed by three dancers and a backstage solo drummer, performed on January 20 at Õe Tenman Shrine. | ||||
Parade on May 3 and 4 centered around three of the Seven Gods of Fortune: Ebisu, Daikokuten and Fukurokuju who are represented by separate groups of people. The groups move from door to door and receive gifts in exchange for a recitation of benevolence (idate). The parade is part of the Hakata Dontaku festival. |
(lit. "extend the years") are Buddhist temple entertainments performed at the end of Buddhist services and believed to extend the listeners' lifespans. (lit. "deeds") are Buddhist New Year celebrations in which the evils of the past year are driven away.
There have been 7 designations, all under Criteria 1.
Name | Date | Remarks | Location | Image | |
---|---|---|---|---|---|
(main event), May 3, November 3 | Masked dances with elements of noh and bugaku occasionally to the accompaniment of song, performed after Buddhist rituals as part of the Madarashin Festival. | ||||
First Sunday in April | Series of masked and unmasked dramas accompanied by flutes and drums, including dengaku dance. They are seen a prayer for abundant crops. | ||||
Second Saturday in June | A type of ennen elaborate dance performed by young boys wearing highly decorated broad-brimmed straw hats. It derives from Shugendō and is seen as a form of worship of Zaō Gongen. | ||||
, September 1 | Masked dramas and dances such as lion dances, kagura, manzai and — the highlight of the performances — oteteko mai, performed by a group of young girls whose heads are decorated with flowers. They are seen as prayer for abundant harvest. | ||||
Dances and dramas from the Kamakura and Muromachi Period typically consisting of unmasked dances of two men accompanied by hayashi music. | |||||
(Hōzō-ji), January 4 (Fukuman-ji) | Fire dance, where a group of youths, after purifying themselves in the river, is trying to prevent another group carrying fire torches from entering the temple building. Eventually the toches are presented as offerings, followed by more dancing, singing and a taasobi event. | ||||
Rural bugaku performance with masks and costumes suggesting a Heian period origin. |
41 designations. All were designated under criteria 1 unless otherwise indicated.
Name | Date | Remarks | Location | Image | |
---|---|---|---|---|---|
[164] [165] | (Taiseki Shrine) and third Sunday of October (Ichiba Shrine) | Rural Kabuki from the early Edo period that originated from travelling Kabuki troupes. During the prohibition of amateur kabuki performances in the Edo to Taishō period, performances were held in shrines and temples of Ōshika as a tribute to the gods. | |||
[166] [167] | Nine sacred masked and unmasked dances as a prayer for happiness in the New Year. The Dainichidō Bugaku tradition has an early eighth century Nara period origin, but has considerably evolved since then, picking up local features. The dances have been inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. | ||||
February 1–2, March 23, May 3, November 11 | Ancient form of ritual noh with a history of more than 500 years performed by local people. It is particularly valuable as it preserves elements of noh drama that have disappeared in its urban counterparts. | ||||
(Jion-ji) and September 14–15 (Yachi Hachimangū) | Rural bugaku tradition from the 9th century originating from Shitennō-ji and handed down in the Hayashi family of shinto priests of Yachi Hachimangū. Performed at the autumn festival of Yachi Hachimangū and the spring festival of Jion-ji. | ||||
[168] [169] | 23rd day of the 7th month (Takaoka style) and August 24 (Obari Matsushita style) | Puppet play of dolls attached to ropes that are 5m-8mm (16feet-26feetm) above ground. Tsunabi fireworks[170] are attached to the puppets which are then shot along the ropes. | |||
not fixed | A puppetry tradition using string-operated dolls with lanterns inserted into their papier-mâché bodies giving a translucent effect to the dolls' faces. | ||||
Buddhist drama or masked kyōgen performed as part of o-bon and depicting a bodhisattva saving a group of people from falling into hell. The play was devised in the Kamakura period by the monk Sekioku to teach the local people the local people the nature of cause-and-effect and the virtues of the Buddha. | |||||
[171] | First Saturday or Sunday in March | ||||
[172] | |||||
Sunday nearest February 18 | Bunraku tradition with roots in the tradition of the narrator Takemoto Gidayū and playwright Chikamatsu Monzaemon. | ||||
various times, typically around May, June and July | Three puppet traditions: noruma ningyō, where simple dolls enact humorous dramas incorporating improvised texts between the puppeteers; bunya and sekkyō ningyō with spoken narrative accompanied by shamisen play. | ||||
April 10–11 (Amatsu Shrine), April 24 (Nō Hakusan Shrine) | Two traditions of predominantly children bugaku[173] performed by boys with heavy white make-up and small crown-like hats adorned with flower. Occasionally masks are used. | ||||
(main event), also on April 18 (daidai kagura), and in January/February (shōkagura) | Parade of lanterns and mikoshi to the shrine where kami uta (god songs) are intoned. Performance of bugaku dances with a connection to kagura. | ||||
Third Sunday in April (Hōfuku-ji), August 25 (Kumano Shrine), September 4 (Kamo Shrine) | Three traditions of children bugaku performed by boys aged 10 to 14 accompanied by hayashi music of ōdaiko and flutes. | ||||
mid-February | One of five surviving bunya-ningyō traditions. Here a single person operates the puppets. | ||||
, every other year | Buddhist dance of 10 dancers wearing golden masks representing the Buddha and two people wearing white masks of children to the accompaniment of drums, bells and song. The performance is seen as a prayer for abundant harvest and for the spirits of the deceased. | ||||
Sunday nearest April 10 | Parade and puppet performance of dengaku and dramatic pieces using almost life-size karakuri dolls on poles. | ||||
Ningyō Jōruri puppetry from the Genroku era (1688–1703) dedicated to Fukuda Minamoto Shichirō who brought irrigation to Makuwa. | |||||
Ritual performance of noh and kyōgen by members of 16 households as prayer for abundant crops and safety at home. The performances represent elements of the Kanze school of noh (founded by Kan'ami in the 14th century) and of the Izumi school of kyōgen (from 1614) but also older dramatic elements predating these schools. | |||||
First Saturday in April (Ama no Miya Shrine), Saturday, Sunday in mid-April (Oguni Shrine), Saturday, Sunday in mid-July (Yamana Shrine) | Three traditions of bugaku dance with a history going back to the early 8th century. The dances as a whole are seen as a prayer for abundant harvest and to drive away diseases; at Oguni Shrine also as a prayer for peace and prosperity of the ujiko. In all three traditions, lion dances and other entertainments are included beyond the bugaku elements. | ||||
[174] | May 2–3[175] | Performance of bunraku on a small stage in front and of karakuri puppets on the top-tier of a festival float. This is the only performance of ningyō jōruri on a dashi float in Japan. | |||
–16 | A 400 year old puppetry tradition that originated as part of the Anori Shrine's festival. | ||||
Joint festival of four shrines (Hiedano, Goryō, Kawakuma, Wakamiya) as part of the o-bon celebrations praying for abundant crops. Five large straw torches (tōrō) and mikoshi are paraded through town, with the highlight being a clash between the mikoshi and large drums. Parallel to these events are ningyō jōruri puppetry performances | |||||
, the 1st Sunday, 2nd Saturday and Sunday in April | A pantomime form of kyōgen realized through the actions and costumes of the actors. This tradition dates to the Kamakura Period and was devised by the monk Engaku Shōnin (1223–1311) who used such dramas to proselytize and in teaching of Buddhist concepts. | ||||
Buddhist dance of six dancers wearing one of three types of golden masks respectively representing Dainichi Nyorai, Shaka Nyorai and Amida Nyorai. The dances are accompanied by the gagaku piece Etenraku. | |||||
April 21–27 (main performance) | A pantomime form of kyōgen, also known as Mibu Nenbutsu Kyōgen, originally devised by the Kamakura Period monk Engaku Shōnin (1223–1311) in order to convey Buddhist teachings, the plays have over the years included other narratives as well. Actors are always masked and accompanied by hayashi music. | ||||
Bugaku dance performance as part of a commemorative Buddhist service for Prince Shōtoku, the founder of the temple. | |||||
An okina dance performance with senzai, okina, sanbasō and chichi no jō thought to reach back to the Muromachi Period.[176] | |||||
Various times[177] | Old bunraku tradition that claims a 500-year history starting with the legendary puppeteer Hyaku-dayū and originated as a ritual to Ebisu and other deities protecting the land and fishermen. The Osaka tradition of bunraku play drew its inspiration from that of Awaji and nowadays both are virtually identical. | ||||
Part of the autumn festival, this okina dance is a prayer for peace, safety of the land, prosperity and abundant harvests. This performance is characterized by the appearance of an unmasked senzai, masked sanbasō and a white masked tayū actor instead of the usual okina. Two adjuncts, known as waki accompany the okina and the trio's appearance is followed by a question and answer dialogue between senzai and sanbasō. | , Nara, Nara | ||||
[178] | Various times and locations | A bunraku tradition influenced by that of nearby Awaji Island from where the supporting Hachisuka clan summoned puppet groups. The oldest record of this tradition dates to 1887. | |||
(Hitoyama) and second Sunday of October (Nakayama) | A form of rural Kabuki where all the roles are performed by local residents. Designated under criteria 2, 3. | ||||
[179] | –24 | String-and-pole-manipulated karakuri puppet tradition where the dolls are operated by six men from beside or beneath a temporary yatai stage. The event goes back to 1744 when lanterns were offered to the shrine. | |||
August 12–14, every four years | A pre-bunraku tradition of puppetry known as kugutsushi or kairaishi in which a dance piece (kuwashi o no mai) is followed by a sumō bout between puppets. | ||||
Rural noh-like performances of matsubayashi nō, kyōgen and shimai accompanied by ōtsuzumi, kotsuzumi, taiko and yōkyoku on a nō stage from 1796. The origins of this entertainment date to the 14th century, when Kikuchi Takemitsu, lord of Higo, welcomed Kamenaga Shinnō, a son of Emperor Go-Daigo. | |||||
, every 3 years | Performance of kugutsushi[180] puppets consisting of a dance (kugutsu mai) followed by a sumō bout. | ||||
Four times a year | One of five surviving bunya-ningyō traditions.[181] | is named after puppeteer Okamoto Bunya (1633–1694) and is characterised by high-pitched grief-stricken vocal delivery. The Yamanokuchi tradition is thought to date back to the early Edo period and is today preserved in a purpose-built museum. | |||
[182] | 15th day of the eighth month | A local form of kabuki also known as jikyōgen, performed by men wearing conical jingasa war hats made of paper. The character known as sanbato is wearing a bowler hat and carries a baton. The program includes dances, kyōgen and puppet entertainment. | |||
Various times | A narrative type of bunya-ningyō puppetry accompanied by shamisen only and originating in the bunraku tradition of Kansai. Designated under criteria 2, 3. | ||||
[183] | 15th day of the third, eighth and tenth month | A performance alternating between kyōgen and fūryū. The dances are seen as prayer for peace on the island, for abundant crops and also as a thanks for the harvest. |
18 designations. All were designated under Criteria 1 except for the Daiko of the Kokura Gion Festival and the Inaba and Tajima Kirin Lion dance which were designated under criteria 2 and 3.
Name | Date | Remarks | Location | Image | |
---|---|---|---|---|---|
Various times | Twelve types of traditional Ainu dances and nine songs including ritual dances performed during festivals,[184] imitative dances,[185] dances for entertainment only. Many of these are circular dances and accompanied by song. | Hokkaido | |||
, every 3 years | Elegant dances with hayashi flutes and drums aimed at driving away diseases and evil spirits from the fields and praying for abundant crops. The highlight is the piece Hashigagari in which four large lion heads are paraded in front of the shrine. | ||||
Anan, Nagano | |||||
–5 | Ritual entertainments including ritual rice planting (otaue), mikoshi carrying and ritual dances that serve as a prayer for abundant crops. | ||||
[186] | First weekend in October | Various forms of entertainment as part of the shrine's festival, such as: dengaku, noh, sword dances, lion dances, fan dances, and sarugaku. | |||
–18 | Various entertainments including a presentation of horsemanship skills, kagura, dengaku, bugaku, yamato mai and sarugaku, a form of noh. The festival was initiated by Fujiwara no Tadamichi to welcome and appease the kami in response to a series of floods, famines and disease during the chōshō era. | ||||
Various dates | A form of lion dance with slow elegant movements, where the lion is composed of two people one of them wearing a head mask of a kirin. It has been designated under criteria 2 and 3. | ||||
Friday, Saturday, Sunday around the third Saturday of July | Grand festival of Kokura Yasaka shrine characterised by large drums with drums pulled along on floats. | ||||
[187] | –3 | A Hadaka Matsuri where men in loinclothes try to stop an oni in a red kimono carrying a box. The event also includes a masked dance of two boys. | |||
October 7–9 | Part of the Suwa Shrine festival, these are a set of ceremonial dedicatory dances with distinct foreign influences from China, Holland and Portugal: jaodori (dragon dance), lion dance, kujira no shiofuki (blowing of the whale), kokkodesho (drum dance), aranda manzai. | ||||
[188] | 7th day of the first month | New Year fire festival of Rokugo Manzan praying for a good harvest and health. The event features a fight between two ogres brandishing torches. | |||
[189] | , Two days starting with the day of the boar in the 7th month | Ritual praying for a good harvest and health in which men climb a mountain, cover themselves in plants, taking the role of deities for one day. | |||
[190] [191] | Mid November | Various dances, including a portrayal of the Chūshingura story. | |||
–16, September/October, October/November | Kohamajima, Okinawa | ||||
Tenth month | Thanksgiving ritual for the harvest in which men row out in boats to meet the deity of abundant crops while women perform dedicatory dances to Maitreya Buddha. | ||||
8th day of the 8th month | Variety of dances and drama performed over three days as a thanksgiving prayer for abundant crops. The performances include lion dances, bō-odori, nisai odori and kyōgen. | ||||
[192] | 27th and 28th day of the 9th month | Festival with a variety of performing arts including dances by women or girls and kyōgen in dedication to the gods for purifying the ground and starting the sowing of seeds. | |||
Unfixed dates | Ritual entertainment of harvest thanksgiving including a narrative prayer, dances, lion dances, and group dances interspersed with kyōgen performances. |
16 designations.
Name | Criteria | Remarks | Location | Image | |
---|---|---|---|---|---|
2, 3 | |||||
[193] | 3 | ||||
3 | |||||
3 | |||||
[194] [195] | 3 | Technique of making Winnowing baskets out of wisteria, moso and other types of bamboo for use in agriculture and tea cultivation. The technology goes back to the mid-Edo period. | |||
[196] [197] [198] | 3 | Construction technique of 150x sized tub boats used for spear fishing and seaweed collection since the late Edo period. | |||
[199] [200] | 3 | Winnowing basket making technique transmitted in two communities since the mid-Edo period and sold in the Hokuriku region. Wisteria, bamboo, black locust and sometimes are used in the production process. In addition to the basket making, the designated property includes the collection and processing of raw materials. | |||
2, 3 | |||||
[201] | 2, 3 | Cormorant fishing for ayu sweetfish on the middle Nagara River using wooden boats that hold three people: the fishing master, a helper and the pilot and that feature an iron basket holding a large fire at the front of the boat. | |||
[202] | 3 | A traditional form of woman freediving for fishing already mentioned in the Engishiki and Man'yōshū. The goal are Turbo sazae, Sulculus diversicolor supertexta, Iwagaki oysters, Japanese spiny lobster, Sea urchin, Sea cucumber, arame, hijiki and Gelidiaceae. | |||
3 | |||||
3 | |||||
3 | Manufacture technology of ishizuchi kurocha (dark tea), a type of fermented tea from Shikoku | ||||
3 | |||||
3 | Manufacture technology of awabancha, a type of fermented tea from the Shikoku Mountains. | ||||
3 |
3 designations, all under criteria 3.
Name | Remarks | Location | Image | |
---|---|---|---|---|
[203] [204] | Sedge hat making technique for use in agriculture, festivals and traditional events, that is characterised by a division of labor. In the process men are assembling thin-sliced bamboo sticks into a cone shaped frame, while women sew the sedge onto it. The craft has an unchanged history of more than 400 years and flourished in the early Edo period (17th century). | |||
[205] [206] | Manufacturing technique of rain coats used in agricultura, that has been a winter farmer side-job in Enako and goes back to the Edo period. The designation includes all process necessary for the production of Enako straw rain coats, from harvest to the final touches on the product. Bandori is a local word for the Japanese giant flying squirrel to which wearers of these raincoats are said to resemble. | |||
Harvesting and processing of the Japanese fibre banana for the production of textiles by weaving on Yoronjima island. |