Danjiri
Sakai Danjiri even parades at night!
We explore the appeal of the cornering and the carvings!
© Takanori Umino
Danjiri involve the parading of incredibly intricate floats, decorated with close to 100 carvings and pulled by a team of people to pray at regional shrines for a bountiful harvest of crops and fish. This traditional event has been long held across western Japan, from the Seto Inland Sea coast to Kyushu, and centered in Osaka and Kansai.
Once October arrives in Sakai, each regional shrine plays host to bold, thrilling Danjiri parades as a part of their fall festivals.
Danjiri is pulled entirely by manpower
© Takanori Umino
The greatest appeal of the Danjiri festivals is to see these massive floats being pulled along at an incredible pace.
One of the most thrilling moments is when a float, still traveling at high speed, performs an incredible feat of “Yarimawashi”. Seeing the floats race along without pause is simply breathtaking.
The floats don’t have engines or a steering wheel. They are powered and controlled purely by manpower. Getting these 4-ton behemoths to race along the streets involves close cooperation of the entire team, including roles such as rope pullers, instruction callers, and steerers.
The roles involved with Danjiri
© 深井連合地車運営委員会
© Takanori Umino
- 1 Tsuna (rope puller)
- The rope pullers out in front, which is also the source of power for the float. Broadly divided into “Tsuna-saki” (rope tip pullers), “Tsuna-naka” (middle rope pullers), and “Tsuna-moto” (rope base pullers). Those at the “Tsuna-moto,” closest to the float, are particularly important in creating the turning action for “Yarimawashi,” and the most trustworthy of rope pullers are generally placed in this position.
- 2 Narimono (noise makers)
- The drums and flutes used to excite the crowd and enhance the parade are played from here.
- 3 Mae-teko (front lever operators)
- Acting as steerers, they insert levers into the front wheels to control the direction of movement. They are a key part of creating the turning motion for “Yarimawashi”.
© Takanori Umino
- 4 Daikugata (carpenters)
- The carpenters ride on the “Ooyane” (main roof of the float), dancing to work up the crowd while also operating as instruction callers to confirm the direction of movement. Instructions from the “Ooyane” pass through 5 the “Koyane” (smaller roofs) on the left and right sides to reach the “Ushiro-teko” (rear lever operators).
- 6 Ushiro-teko (rear lever operator)
- Use the long poles (“Kajitori-teko”: steering levers) attached to the rear of the float to change its heading. They can’t see the road in front of the float, meaning they must rely on the instructions from the “daikugata”.
The flow of “Yarimawashi"
When starting one of these impressive 90-degree turns, first the “Mae-teko” members insert their levers into the “Koma” (wheels). At the same time, the “Ushiro-teko” members get their instructions from the “Koyane” and start to use means such as ropes (“Donsu”) attached to the “Kajitori-teko” (steering levers) to push with their bodyweight in the desired direction of travel.
When a float traveling at high speed performs a turn, extreme forces are placed on the “Ushiro-teko” and the “Tsuna-moto”. Sometimes the “Ushiro-teko” members are unable to withstand the centrifugal forces and simply snap off. Meanwhile, those at “Tsuna-moto” have the float itself directly behind them, meaning they must not let get off the rope even if they stumble or fall. That’s the reason why only the most experienced rope pullers are placed in the “tsuna-moto” position.
“Yarimawashi” is an incredibly dangerous feat. However, the very fact that people working together allows for such control at such speed is why it appears so beautiful and has such an impact on all who witness it.
Interview
Passing down the techniques for pulling these delicate Danjiri forms bonds in the community
© Minoru Matsuura
Otori Float Federation, President
Masaki Imamichi
Moving one of these Danjiri is not as simple as it might look.
The forces exerted on the Danjiri when turning can easily flip them over. They are difficult to control even when simply wanting to move in a straight line. You have the “Daikugata” on top of this delicate contraption, dancing as we go, while the “Teko” (lever operators) members have to desperately time their use of the levers. When it comes to performing “Yarimawashi”, there’s incredible tension that extends all the team members from the “Tsuna-moto” to the last of “Ushiro-teko”. That’s why they feel such a sense of incredible achievement when they successfully rush past a massive crowd of people.
In our town, each role—divided into rope puller and carpenter—undergoes specific training, learning techniques passed down from our ancestor, such as how to steer and how to give commands to the “Teko” members. While our primary intent from all this training is for the festival to be a success, the bonds it helps to forge between people of varying generations also help to make the region stronger.
The “Hokushin ippatsu,” is a race through a narrow shopping arcade. Sakai Danjiri won’t stop at night!
© Takanori Umino
Another big characteristic of Sakai Danjiri is that it doesn’t stop at night.
Places like Kishiwada have night parades, but Sakai’s Danjiri is outstanding because the Danjiri maintains its frenetic pace even at night.
In particular, the nighttime parades in Otori through the Otori Main Shopping Street attract a lot of attention every year. This shopping arcade is so narrow, the slightest error with the direction of travel will mean contact with the shop shutters. The run is known as “hokushin ippatsu”(one shot north) and has to be seen to be believed! However, it is far too dangerous to watch from inside the arcade itself; spectators should observe from the vicinity of JR Otori Station or one of the branch roads feeding into the arcade.
Sakai Danjiri festivals can be found throughout October. They are packed with varied forms of appeal, including the incredible “yarimawashi ,” flashy night parades, and artistic carvings on the floats themselves. There are all sorts of ways to enjoy Sakai Danjiri—don’t miss out!
Danjiri are works of art on wheels! Observe the craftsmanship that creates these floats!
© Minoru Matsuura
The other most appealing thing about Danjiri is their carvings. A single float can be decorated with hundreds of them, with some people even calling them “works of art on wheels.” One of the most important pieces is “Doromaku,” located on the front of the float, at the very bottom of the carvings.
This piece is often anything from three to five layers deep. It can depict legends and myths from across Japan, historical battles like the Genpei Gassen, or famous historical figures from the warring states period in the 15th and 16th centuries (such as Oda Nobunaga and Toyotomi Hideyoshi). As the design is completely different for each Danjiri, each “doromaku” can be enjoyed like its own piece of intricately carved historical picture scroll.
The quality of this specific carving is said to determine the value of the entire float. When newly created, the town and its craftspeople work tirelessly to ensure that it will be a piece the region can be proud of for the next 100 years.
Danjiri carvers require artistic sensibilities and craftsmanship
Making “Doromaku” begins with the selection of what to depict.
The internet allows for access to all sorts of materials, meaning the carvings can be more realistic than ever before, right down to details like the correct helmets for the correct period or even individual battles.
Once the story has been selected, the carver draws the desired image onto the piece of wood. This is the stage where the carver must consider in detail the thickness of the wood, the use of space, and how to carve the desired image.
The difficulty varies depending on each story. Sometimes the carver will stare down the board for two or three whole days to call up an image. This is where their skills as an artist shine.
© Minoru Matsuura
The carving itself requires their skills as a crafter. The unnecessary wood is removed, revealing the piece that lies concealed in the plank. While it depends on the number of layers, it can take around three months to complete. Every single board is completely handmade with a great deal of time and effort.
The carvings on the Danjiri are overflowing with the artistry and craftsmanship of masters of their craft. The Danjiri festivals also help to keep Japanese culture and traditional techniques alive.
Interview
Danjiri is a highlight of international tourism
© Minoru Matsuura
Kibori Maeda Kobo Ltd., Representative Director
Akihiko Maeda
I often meet people who think Danjiri is a dangerous or scary festival, with the potential for serious accidents.
As a carver, I proceed to explain that the floats have all these wonderful carvings on them. None of them are the same, and they are proud of everyone in their town. People tend to become more interested once they hear its artistic perspective, and it’s moments like that which make me think that Danjiri is a wonderful target for tourism.
The creation of Danjiri uses all sorts of different techniques, including transom sections and openwork, and it is said that making a single float covers the complete skill set of a Japanese carver. We choose from 130 different tools, creating something from nothing. There is both artistry and technical skill crammed into these floats. If you have a chance to visit a festival, please take a look at them up close. The best time to take a look is when there is a break from being pulled along. All the members of the team gathered around the danjiri, making you feel like you aren’t allowed to go near, but that isn’t the case. The team wants to share the pride of their town with people as well.
As someone born and raised in Sakai, and who continues to be involved with Sakai Danjiri as a carver myself, I want as many people as possible to experience the appeal of Sakai Danjiri.
The origins of Sakai Danjiri at Sumiyoshi-Taisha
© Takanori Umino
The exact details of the origins of Sakai Danjiri are unknown, but one theory indicates the involvement of the summer purification ritual held at Sumiyoshi-taisha, the head shrine of the 2,300 Sumiyoshi shrines found across Japan.
There are strong connections between Sakai and Sumiyoshi-taisha. The city was once the territory of the shrine, and Aguchi-jinja is thought to have been the inner sanctuary of Sumiyoshi-Taisha. During the Edo period (1603 – 1867) the summer purification ritual at Sumiyoshi-Taisha grew into a major event. In 1688, the Minamikoji (wooden float) was created by parishioners from Aguchi-jinja, and the Danjiri are said to have appeared at almost the same time.
Sakai during the Edo Period(1603-1867) was known as a manufacturing town, with many skilled workers living and working in the city, including blacksmiths and carpenters. Given this historical background, it might only be natural that Danjiri and all the highly technical skills they require to create originated in Sakai.
Interview
Changes in form and format but not in feeling
© Minoru Matsuura
Fukai Union Danjiri Committee, Annual Advisor
Hiroshi Nakano
Sakai Danjiri has changed with the times.
In the past, the “Kami-danjiri” style was prevalent. This style can itself be classified into more than ten different varieties, including Sakai, Osaka, Sumiyoshi, and Kobe styles. It is characterized by “Shishigami” (a glaring lion) carving on the roof of the float and larger carvings overall. Currently, however, we have seen an increase in the “Shimo-danjiri” style, from Kishiwada, with the floats emphasizing the ease of “Yarimawashi”. The fact that floats themselves are overall larger than they were in the past is also a Kishiwada influence.
There are probably varying opinions on these changes, but I think it’s fine to find a way to enjoy the festival and that also suits the current times. I feel the same way about Futon Daiko(a float that contains taiko drums). It isn’t a case of “which is better” but rather “both are great!” Everyone has the same mentality of giving thanks to the gods and enjoying the festival.
The reason I feel this way is because, when I was a child, I recall a time that Danjiri vanished from our town. My friends who attended the same school but from different areas still had their Danjiri racing through the streets. I remember being very jealous of that. Once I became an adult, we reformed our youth group and brought back the Danjiri. I will never forget how happy I felt at that achievement.
Danjiri has also become about tourism and is turning into a festival that we share with outsiders. That’s great too! The most important thing is to continue those feelings of worship. I want these festivals to be something that we can enjoy, along with all the people who come to see them, for a long time to come.
By Tomohiro Kondo.
Photographs by
Minoru Matsuura, Takanori Umino