The Gion Festival, one of the three major festivals in Japan, is one of the most colorful summer festivals in Kyoto, and its history dates back to the Heian period (794-1192). The Gion Festival is held for one month from July 1 to July 31. Within this month-long period, there is a period called Mae-matsuri (the first festival) and Goto-matsuri (the second festival). In particular, the Yamaboko Junko (float procession) held on July 17 (Mae-matsuri) and July 24 (Goto-matsuri) continues to attract many people as the highlight of the festival. However, behind this spectacular festival, there are many mysteries that have emerged over the long history of the festival. In this issue, we will look into four mysteries surrounding the Gion Matsuri Yamaboko Junko.
The Mystery of the Gion Matsuri Yamaboko Junko (float procession) (1) Mystery of the origin and history of the festival
The origin of the Gion Festival dates back to 869 (Jougan 11). It is said that the festival began in 869, when a Goryoe was held in Shinsen-en Garden to quell a plague that had struck the capital of Kyoto at that time. However, looking at the Gion Festival today, especially the Yamaboko procession, it is hard to believe that it was a festival to pray for the elimination of a plague, as it stands out for its extravagance and splendor. Behind this transformation lies the rise of Kyoto merchants from the Muromachi period to the Azuchi-Momoyama period. They saw the festival as an opportunity to show off their power and wealth, and competed to spend money on the decoration of the floats. In particular, they demonstrated their economic power and international connections by decorating their floats with expensive textiles and works of art obtained through trade with other countries. In the Edo period (1603-1867), the political power of merchants was restricted under the control of the shogunate, but the cultural aspect of the festival became more emphatically expressed. Yamaboko became more than just a festival float; it became a “moving museum” expressing the pride and aesthetic sense of the townspeople.
Mystery of the Gion Festival Yamaboko procession (2) “The Mystery of the ‘Tsujiwari’ Technique
One of the most fascinating moments of the Yamaboko procession is the “Tsuji-wari,” or turning of the streets. This technique, in which a giant float weighing up to 12 tons is rotated 90 degrees by human power alone, is a powerful and overwhelming sight to behold. This advanced technique has been handed down without interruption for more than 1,000 years. There are several factors involved in the transmission of the Tsujikawashi technique. First, the technique has been passed down orally among the townspeople involved in the festival. In particular, people called “Kurumakata,” who are in charge of each Yamahoko-cho, have passed on detailed tips and precautions to the next generation. In addition, tsujikawashi is not a mere forceful technique, but a skillful technique based on physical principles. Wisdom derived from empirical rules, such as the placement of the wheels of the float and the shifting of the center of gravity during the rotation, has been accumulated. This knowledge was refined and made more sophisticated through year after year of practice and reflection.
The Mystery of the Gion Matsuri Yamaboko Junko (3) “The Mystery of the ‘Mihoko-junko’ used for Decoration
Among the decorations that adorn the floats, the most eye-catching are the “mihokoro” decorations on the back of the floats. This ornament, made of luxurious embroidery and textiles, serves to delight the eyes of people after the float has passed by. There are various theories as to the origin of the mihokos. One theory says that it originally started as a simple piece of cloth to protect the people pulling the float from the sun. Another theory says that it served to prevent evil spirits and disasters from possessing the floats by adorning the “back” of the floats. It is interesting to note that the design and subject matter of the festival’s farewells reflect the culture and fashions of the time. For example, during the Edo period, designs based on Chinese legends and folklore were favored, and after the Meiji period, Western-influenced designs were also seen.
Mystery 4: The Number and Order of Yamaboko Floats in the Gion Festival
The number of floats in the Yamaboko procession at the Gion Festival is 34, including 23 floats for the Mae Festival and 11 floats for the Goto Festival. This number has fluctuated over the long history of the festival. For example, there is a record that as many as 66 floats existed in the late Muromachi period (1333-1573), but there were periods when the number decreased due to warfare, fires, and economic reasons. In particular, the Great Genji Fire of 1864 destroyed many of the floats, and for a time the number of floats was greatly reduced. In 2014, the Yamaboko procession of the Later Festival was revived for the first time in about half a century, bringing the number of floats to its current level of 34. The scale and content of the Gion Festival have continued to change gradually over time. It is also interesting to note the changes in the order of the procession of the floats. The order of the procession of the floats is not a mere coincidence, but reflects the power relationships and historical background of each town. For example, during the Edo period, floats from towns with close ties to the shogunate tended to be placed at the top of the list. In addition, since the Meiji period (1868-1912), the route and order of the Yamaboko procession has been changed several times to accommodate changes in urban planning and traffic conditions.
By unraveling the four mysteries behind the Gion Festival Yamaboko Junko, we can see that this festival is not just a traditional event, but a living cultural heritage closely linked to Kyoto’s history, culture, and people’s lives. The history of the festival, which began as a prayer to ward off plague and grew in splendor with the times, the transmission of advanced techniques, decoration as the crystallization of an aesthetic sense, and flexible responses to changes in society. All of these factors tell us the depth of the Gion Festival, which has a history of more than 1,000 years.
