1. The True Nature of Festivals in Japan
Festivals in Japan are far more than just entertainment or tourist attractions. At their core, they are deeply layered cultural phenomena that combine three key elements: religious rituals rooted in Shinto and Buddhism, traditional seasonal events of agricultural life, and a reaffirmation of community bonds.
Since ancient times, people have offered prayers to deities to express gratitude for nature’s blessings or to seek protection from disasters and epidemics. A festival is a collective expression of these prayers—brought to life through sights, sounds, and physical movement.
Formal ceremonies held at shrines, known as shinji (sacred rites), follow strict protocols and are led by Shinto priests who recite sacred prayers. Yet, festivals also have a lively, secular side involving local people—featuring mikoshi (portable shrines), food stalls, traditional dances, games, and fireworks. These elements not only bring people together but also serve as the cultural heartbeat of the community.
2. Iconic Forms of Festivals and Their Meanings
Mikoshi – Portable Shrines
A mikoshi is essentially a mobile shrine, temporarily housing the spirit of a deity from a local shrine. During the central rituals of a festival—such as the Shinkōsai (divine procession) or Togyo (ceremonial parade)—the mikoshi is carried through the streets, allowing the presence of the deity to be shared with the entire community. It is believed that this act brings divine protection to the whole town.
The structure of a mikoshi is an ornate, box-shaped palanquin, often lavishly decorated with gold leaf, lacquerwork, and a phoenix figure on top. Carried on the shoulders of multiple bearers, the mikoshi is vigorously shaken, bounced, and paraded through the streets to the rhythmic shouts of “Wasshoi!” or “Seiya!” This vigorous movement is believed to drive away evil spirits, and in some beliefs, it "awakens" or energises the deity within.
Since the Edo period, mikoshi processions have also come to symbolise energy, style (iki), and masculine spirit, serving as both a display of strength and a ritual of solidarity. In modern times, these events have become more inclusive, with women and even international visitors taking part enthusiastically.
Festival Floats – Dashi, Yatai, Hikiyama
Dashi are mobile stages designed for performances offered to the local gods. While the mikoshi “carries the gods,” dashi are platforms upon which people perform for the gods. These grand structures are built and decorated by skilled local artisans—carpenters, lacquer artists, painters, and metalworkers—making each one a masterpiece of traditional Japanese craftsmanship.
The designs of dashi vary greatly by region, but they all showcase exquisite artistry, including wood carvings, metal fittings, and textiles. On top of these floats, traditional performances such as Noh theatre, Kabuki dances, festival music (hayashi), and puppet shows may take place.
Some floats can reach over 10 metres in height and are even designed to be collapsible to avoid overhead wires—an example of how tradition adapts to modern city life. A notable example is the yamaboko floats of Kyoto’s Gion Festival, which are highly ornate and serve as a symbol of the town residents’ pride and wealth. These floats undergo careful maintenance and elaborate decoration every year.
Pulling a float is far more than a ceremonial task—it reflects the region’s social hierarchy, artisan traditions, and the intergenerational passing down of culture. It is a living, collective expression of heritage.
Dance Festivals
Dance-Centred Festivals
Some of Japan’s most vibrant festivals revolve around dance, including the Awa Odori (Tokushima), Yosakoi (Kōchi), Gujo Odori (Gifu), and Eisa (Okinawa). Many of these traditions trace their roots back to Bon Odori—a type of dance performed during Obon, a Buddhist event for honouring the spirits of ancestors.
Awa Odori, for instance, features distinct roles for men and women, with dancers grouped into troupes known as ren. These troupes move in coordinated formations, with rhythmic repetition of steps and music creating an uplifting atmosphere that often captivates not only spectators but also the dancers themselves, drawing them into a trance-like state.
Eisa, performed in Okinawa, involves drumming and the traditional three-stringed sanshin instrument. Originally a ritual to send off ancestral spirits, Eisa has gradually evolved into a dynamic public performance, especially as tourism has increased.
Dance-based festivals do more than simply entertain—they strengthen local identity and community bonds. Through coordinated movement, participants and audiences alike can share emotions that transcend time and place, creating a truly unique form of cultural expression.
3. Costumes and Attire: Symbols of Place Worn on the Body
When carrying mikoshi or pulling festival floats, participants traditionally wear distinctive outfits: happi coats, sashes (obi), split-toe socks (tabi), fitted trousers (momohiki), and headbands (hachimaki). These are not merely decorative—they are important cultural symbols that express a sense of belonging and the bonds of community.
Each happi coat is typically emblazoned with the name of the local group or neighbourhood association, family crests, or bold characters such as 「祭」(matsuri, festival) or 「勇」(yū, bravery). The colours and patterns vary by area, functioning like emblems of a clan. For spectators, these outfits serve as visual guides—like a living map of the festival’s story.
Uniform dress helps to highlight the group over the individual, temporarily setting aside distinctions of age or social status. Whether student, shop owner, or elderly resident, all become equals when wearing the same happi and lifting the mikoshi together. In this shared moment, solidarity and equality take precedence.
There are also a wide variety of costumes for women and children, making it possible for entire families—sometimes across three generations—to take part in the same group. This sight is itself a powerful symbol of cultural continuity and the intergenerational transmission of community spirit.
4. Festival Stalls and Fairground Culture: The Transformation of Urban Space and the Ritualisation of Consumption
No Japanese festival would be complete without the bustling demise (festival stalls) and ennichi yatai (night market booths). These lively setups trace their origins to the open-air markets and temple grounds of the Edo period, and they’ve evolved hand-in-hand with shrine festivals to become a cherished part of urban folk culture.
These stalls can be roughly grouped into three categories:
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Food stalls offering treats like takoyaki (octopus balls), yakisoba (fried noodles), kakigōri (shaved ice), candy floss, jacket potatoes with butter, and candy apples.
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Game stalls, where children try their luck at kingyo sukui (goldfish scooping), cork gun shooting, or yōyō tsuri (water balloon fishing).
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Goods stalls, selling masks, glowing toys, and lucky charms.
Together, these booths transform the festival space into a temporary, otherworldly marketplace. Even shrine grounds—which normally prohibit commercial activity—become filled with noise, lights, and the scent of food during the festival. This fleeting change in the environment offers a refreshing “pause” in everyday urban life, a kind of sacred exception that brings joy and surprise.
For many children, these stalls are their first encounter with a festival, sparking lasting memories and a sense of connection to their hometown. In this way, the festival market isn’t just about fun—it also nurtures emotional ties and a feeling of belonging within the community.
5. Fireworks and the Spirit of Summer Festivals
In modern Japan, firework displays are considered a quintessential part of summer. However, their origins lie in memorial rituals and the warding off of misfortune.
In 1733, the shogun Tokugawa Yoshimune held a firework display over the Sumida River to mourn the victims of famine and disease—an event known as the Ryōgoku River Opening Fireworks. It is considered the prototype of today’s summer firework festivals.
In Japanese culture, the Obon season in August is a time to welcome ancestral spirits. The act of lighting fires has long been believed to guide the dead. In this context, fireworks—through their bright light and loud sounds—serve as symbolic bridges between the world of the living and the spirit realm.
Summer is also an ideal time for fireworks in practical terms: the weather is warm, winds are generally stable, and agricultural work has paused, allowing communities to gather.
While today’s firework displays are often commercialised and heavily supported by corporate sponsors and tourism, their spiritual core still remains—rooted in remembrance, reverence, and gratitude.
6. A Global Comparison: Why Are Fireworks a Summer Tradition in Japan?
The cultural meaning of fireworks varies greatly across countries. In the UK, for instance, fireworks are most closely associated with Guy Fawkes Night on November 5th. This event commemorates the failed Gunpowder Plot of 1605 and serves as a historical and political remembrance.
In contrast, Japanese fireworks are less about political memory and more about spiritual connection—with nature, the deceased, and the divine. This difference reflects broader cultural attitudes toward fire and sound, as well as divergent religious and historical frameworks.
7. Local Identity and Cultural Continuity: Why Are There So Many Festivals in Japan?
Japan is home to around 80,000 Shinto shrines, each of which typically holds at least one annual festival. As a result, it’s often said that somewhere in Japan, a festival is happening every single day.
This abundance of festivals is closely tied to the country’s history of small, local communities. Japanese festivals are usually centred around local shrines or temples and are supported by neighbourhood associations, youth groups, and local businesses. Held at the same time each year, these events weave a shared rhythm of time and space into the life of the community.
However, with urbanisation and a declining birth rate, many festivals now face challenges such as a lack of participants and funding. On the other hand, there is a growing movement to re-evaluate festivals as valuable cultural tourism resources. This has led to increased involvement from international visitors and new forms of participation.
Some municipalities are working to preserve their traditions by registering festivals as Intangible Folk Cultural Properties or creating digital archives to ensure they are passed on to future generations.
Why Do We Return to the Festival Each Year?
Japanese festivals are circuits of memory that link past and present, offering people a moment to reconnect with their roots and their community.
The swaying of the mikoshi, the intricate carvings of the floats, the bold calligraphy on festival garments, the sweet smells from food stalls, and the thunderous boom of fireworks—all these elements embody the invisible bonds between individuals and the places they call home.
A festival is a time when we can forget the everyday, just for a moment—and yet feel more deeply connected to something greater than ourselves. That fleeting sense of unity, belonging, and continuity is what carries festivals forward into the future, passed from one generation to the next.