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Folk performing artsare dances associated with Shinto shrines.
There have been 43 designations, all under Criteria 1, unless otherwise indicated.
| Name | Date | Remarks | Location | Image | | Matsumae Kagura | 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. | | — | | Noh Dance of Shimokita | 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. | | — | | Unotori Dance | 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. | | — | | Kuromori Kagura | 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. | | — | | Hayachine Kagura | , August 1; also on February 2, latter part of April, middle of September, third Sunday in December ; January 3, December 17 | 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. | | — | | Ogatsu hōin Kagura | 18th day of the second month ; 15th–16th day of the third month ; 19th day of the third month ; 8th day of the fourth month, once every three or four years ; 29th day of the fourth month, once every three or four years | 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. | | — | | Nekko Bangaku | , 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. | | — | | Horōsan no Shimotsuki Kagura | , 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. | | — | | Honkai-bangaku Lion dance | 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 | — | | Sugisawa Hiyama | , also on August 6, 20 | 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. | | — | | Tamashiki Shrine Kagura | | | Kisai, Saitama | | | Washinomiya Saibara Kagura | | | Washimiya, Saitama | | | Edo no Sato Kagura or | Various times throughout the year | Theatrical mime performed by shrines around Tokyo consisting of four groups:,,, and . 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, of modern legends, Noh and. | | — | | Yutate Lion dance | , March 27 and May 5 | | | — | | Chigo no Mai of Kawaguchi | 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. | | — | | Tōyama Shimotsuki Matsuri | –23 | A form of consisting of various dances and dramas. | | | | Tenryū Shimotsuki Kagura | | | Tenryū, Nagano | | | Yudate Kagura of Numata and Ōsaka | The day before the last Sunday in October ; first Sunday after July 26 | | | — | | Hana Matsuri | | | Kitashitara District, Aichi | | | Ise Daikagura | | A tradition of predominantly lion dances with some theatrical pieces and acrobatics added. They are used as purification ritual and to pacify spirits. | | | | Okashira Shinji | 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. | | — | | Sada Jinja | –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. | | — | | Ōmoto Kagura | 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. | | — | | Ōdochi Kagura | 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. | | — | | Bitchu Kagura | Various times throughout the year | Predominantly theatrical including sword dances that are possibly an influence by. | | — | | Hiba Kōjin Kagura | 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. | | — | | Sacred dance of Yukaba Iwakuni | Second Saturday in October | This 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. | | — | | Mitsukuri Kagura | 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. | | — | | Iyo Kagura | 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. | | — | | Tosa Kagura | | 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. | | — | | Northern foot of Mount Chōkai Lion dance | | | | — | | Buzen Province | 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. | | — | | Iki Kagura | –14 | Theatrical with a history of at least 600 years, preceded and interspersed by unmasked dances. | | — | | Hirado Kagura | | Ritual dances and theatrical influenced by from the west of Japan and created during the Genroku era by a vassal of daimyō Tenshōkō Shigenobu. | | — | | Gotō Kagura | 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. | | — | | Kuma Kagura | 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 | — | | Ondake Kagura< | | | Bungo-ōno, Ōita | | | Takaharu Kanme | First weekend in December, second weekend in December | 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. | | — | | Takachiho Night Kagura | 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 Kagura | | | Shiiba, Miyazaki | | | Mera Kagura | –15 | Theatrical starting at night and consisting of 33 ritual dances and masked dramas. | | — | | Takanabe kagura | December to February | Outdoor kagura performance. | | — | | Morotsuka kagura | Late January to early February | Night kagura performance retaining syncretism of Buddhism and Shinto. | | — |
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 | | Hachinohe Emburi | –19 | Ritual rice planting dance as a prayer for abundant crops. Participants clutching an and wearing large golden colored horse-shaped hats dance through the streets of the city. | | | | Yamaya Taue Odori | 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. | | — | | Akiu Taue Odori | –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. | | — | | Gohōden Chigo Dengaku and Customs | and August 1 | Combination of children and as part of the shrine's Kumano festival. | | — | | Ishii Seven Lucky Gods and Taue Odori | 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. | | — | | Tsutsukowake Shrine Otaue | 6th day of the first month | Dramatic representation of various stages of rice planting. | | — | | Itabashi Taasobi | , February 13 | Theatrical enactments of the rice planting process as a prayer for abundant crops. | | — | | Mizuumi Dengaku and Nōmai | | with rattle accompaniment followed by Noh dance with typical drum assemblage. | | | | Rituals of the Mutsuki | , 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. | | — | | Gero Ta-no-Kami Festival | | 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. | | — | | Nishiure Dengaku | 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. | | — | | Fujimori Taasobi | | Dramatic imitation of various stages of rice planting given by unmarried youths, with the highlight being the monkey . | | — | | Hirugaya Taasobi | | 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. | | — | | Hattasan Taasobi | | Kyōgen style theatrical enactments with a drum of the rice planting process as a prayer for abundant crops. | | - | | Mikawa Dengaku | , February 11 | Theatrical farming dances with elements of and. | | — | | Isobe sacred field dance | | 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. | | | | Tawara Onda | | 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. | | — | | Sumiyoshi Rice planting | | Ritual rice planting accompanied by dances and processions from heavily made-up 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. | | | | Hanazono field dance | 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. | | — | | Suginohara field dance | | Twenty theatrical dance pieces depicting the various stages of farming and a group dance of men in loincloths accompanied by song and drums. | | — | | Nachi Dengaku | | with accompaniment performed as part of the shrine's Nachi no Hi Fire Festival, or grand festival. | | — | | Oki Dengaku and Niwa no Mai | in odd-numbered years | tradition and dance, the latter consisting of and a lion dance. | | — | | Aki Hayashida | 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. | | — | | Shiohara Daisen Puja | 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. | | — | | Kiragawa Onta Festival | | 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 . | | — | | Shirahige Shrine Dengaku | –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 44 designations, all designated under Criteria 1 unless otherwise indicated.
| Name | Date | Remarks | Location | Image | | Nagai Great Nenbutsu Sword Dance | | Highly decorated sword dances with dancers wearing large-brimmed hats decorated with flowers. | | — | | Devil's Sword Dance | | 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. | | | | Nishimonai Bon Festival#Bon Odori | –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. | | — | | Kemanai Bon Festival#Bon Odori | –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. | | | | Shimohirai Fenghuang | Weekend nearest to | | | | | Ogōchi Kashima Dance or Gion odori | 2nd Sunday in September | Group dance of men in female costumes with flower decorated headwear. | | — | | Niijima Great Dance | –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 | | | Ayako Dance | Second Sunday in September | Female group dances interspersed with performances. | | — | | Dai no Saka | –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. | | — | | Mushōno Great Nenbutsu | 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. | | | | Niino Bon Festival#Bon Odori | –16, 24 | dance without instrumental accompaniment, where dancers move around a on which five or six singers sit. | | — | | Atobe Dancing Nenbutsu | First Sunday in April | Dance in which a small group of women circle two raised drums, singing the and striking small bells. | | — | | Wagō Nenbutsu Odori | –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. | | — | | Gujō Odori | 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. | | | | Shirotori haiden dance | July to September | Dance performed under kiriko lanterns to the sound of clapping geta without any instruments. | | | | Kake Odori | and 9 | | | | | Tokuyama Bon Festival#Bon Odori | | 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 | | | | Utōgi Bon Festival#Bon Odori | –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. | | — | | Night Nenbutsu and Bon Festival#Bon Odori | | Religious ritual procession with the singing of Buddhist texts and chants to the Shinto. | | — | | Ritual dance of Katte Shrine | Second Sunday in October | A drum dance of 20 people also known as Kanko dance performed as part of the shrine's autumn festival. Some dancers carry tree-like structures decorated with paper flowers on their back. | | — | | Ōmi Konan Sanyare Dance | 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. | | — | | Ōmi Kenketo Festival Naginata Dance | to early May | Religious festival including a boys' dance with longswords and the jumping over poles. | | — | | Ama Fūryū Odori and Kōdori dances | 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. | | — | | Yasuraibana | 2nd Sunday in April, May 15 | 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. | | — | | Kuta Hanagasa Dance | , August 24 | Dance performed as a prayer for abundant crops and as an expression of thanks for the ripening of the crops. The main feature is a decorated garden lantern, known as hanagasa. | | — | | Kyoto Rokusai Nenbutsu | , 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. | | — | | Totsukawa Great Dance | –15 | Three bon odori dances: Ohara ō-odori, Musashi ō-odori and Nishikawa ō-odori, 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. | | — | | Heron dance of Tsuwano Yasaka Shrine | , 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. | | — | | Ōmiya Dance | 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. | | — | | Shiraishi Dance | –15 | Old form of bon odori or nenbutsu odori accompanied by kudoki | | — | | Nishiiya God Dance | 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. | | — | | Ayako Dance | Sunday between end of August and beginning of September | A rain dance performed by two groups of six men dressed in female costumes. | | | | Takimiya Nenbutsu Dance | | 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. | | — | | Kannōgaku | every other year, May 1 | Drum dance of Ōtomi Shrine praying for a good harvest. | | — | | Takeo Araodori | | 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. | | — | | Ōmura Three Dances | 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. | | — | | Hirado Jangara | –18 | Variously described as a type of nenbutsu odori or taiko odori, 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 is an onomatopoeic representation of the sounds of the bells and drums. | | — | | Tsushima Izuhara Bon odori | | | | — | | | Designated under criteria 2 and 3. | | — | | Yoshihirogaku | 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. | | — | | Gokase Araodori | , September 30 | Dance of around sixty men impersonating various roles such as warriors and demons. | | — | | Ichiki Tanabata Dance | | 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. | | |
Storytelling6 designations. All were designated under Criteria 1 except for the Hakata Matsubayashi which was designated under 2 and 3.
| Name | Remarks | Location | Image | | Echizen Manzai | 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. | | — | | Mikawa Manzai< | 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. | | | | Owari Manzai | A type of manzai claimed to have originated in Chōbo-ji temple in Owari, during the Shōō era from a comical play contrived by the monk Mujū Kokushi to make the teachings of the Lotus Sutra understandable for villagers. | | — | | Daimokutate | Originally a rite of passage to adulthood performed by 17 year old youths, 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. | | — | | Kōwakamai | Dance narrative of military tales performed by three dancers and a backstage solo drummer, performed on January 20 at Õe Tenman Shrine. | | — | | Hakata Matsubayashi | 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. The parade is part of the Hakata Dontaku festival. | | — |
Ennen and OkonaiEnnen are Buddhist temple entertainments performed at the end of Buddhist services and believed to extend the listeners' lifespans.Okonai 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 | | Mōtsūji Ennen | , 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. | | — | | Obasama Ennen | 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. | | — | | Kotaki Choukrairo Dance | 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. | | — | | Nechiyamadera Ennen | , 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. | | — | | Nagataki Ennen | | Dances and dramas from the Kamakura and Muromachi Period typically consisting of unmasked dances of two men accompanied by hayashi music. | | — | | Tōtōmi Hiyondori and Okunai | , January 4 | 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 torches are presented as offerings, followed by more dancing, singing and a taasobi event. | | — | | Oki Kokubunji Lotus Dance | | Rural bugaku performance with masks and costumes suggesting a Heian period origin. | | — |
Entertainment from abroad and performance arts41 designations. All were designated under criteria 1 unless otherwise indicated.
| Name | Date | Remarks | Location | Image | | Ōshika Kabuki | and third Sunday of October | 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. | | | | Dainichidō Bugaku | | 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. | | | | Kurokawa Noh | 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. | | | | Hayashi Family Bugaku | and September 14–15 | 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. | | | | Rope fire | 23rd day of the 7th month and August 24 | Puppet play of dolls attached to ropes that are above ground. Tsunabi fireworks are attached to the puppets which are then shot along the ropes. | | — | | Lantern dolls of Annaka Nakajuku | 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. | | — | | Kiraigō | | 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. | | — | | Kawano Kuruma Ningyo | First Saturday or Sunday in March | | | — | | Hachioji Kuruma Ningyo | | | | — | | Sagami Province | Sunday nearest February 18 | Bunraku tradition with roots in the tradition of the narrator Takemoto Gidayū and playwright Chikamatsu Monzaemon. | | — | | Sado Ningyō Shibai | 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. | | — | | Itoigawa Noh Bugaku | April 10–11, April 24 | Two traditions of predominantly children bugaku performed by boys with heavy white make-up and small crown-like hats adorned with flower. Occasionally masks are used. | | — | | Yahiko Shrine Lantern Carrying and Bugaku | , also on April 18, and in January/February | Parade of lanterns and mikoshi to the shrine where kami uta are intoned. Performance of bugaku dances with a connection to kagura. | | — | | Etchū Province | Third Sunday in April, August 25, September 4 | Three traditions of children bugaku performed by boys aged 10 to 14 accompanied by hayashi music of ōdaiko and flutes. | | — | | Oguchi Dekumawashi | mid-February | One of five surviving bunya-ningyō traditions. Here a single person operates the puppets. | | — | | Itozaki Buddha Dance | , 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. | | — | | Tenzushi Mai Dance | Sunday nearest April 10 | Parade and puppet performance of dengaku and dramatic pieces using almost life-size karakuri dolls on poles. | | | | Makuwa Bunraku | | Ningyō Jōruri puppetry from the Genroku era dedicated to Fukuda Minamoto Shichirō who brought irrigation to Makuwa. | | — | | Nōgō Noh and Kyōgen | | 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 and of the Izumi school of kyōgen but also older dramatic elements predating these schools. | | — | | Tōtōmi Mori Bugaku | First Saturday in April, Saturday, Sunday in mid-April, Saturday, Sunday in mid-July | 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. | | — | | Shizuoka Sengen Shrine Hatsukakae Festival Chigo Bugaku | | | | — | | Chiryū Float Festival Bunraku and Karakuri puppet | May 2–3 | 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. | | | | Anori Ningyō Shibai | –16 | A 400 year old puppetry tradition that originated as part of the Anori Shrine's festival. | | | | Lanterns of Saeki village | | Joint festival of four shrines as part of the o-bon celebrations praying for abundant crops. Five large straw torches 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 | | — | | Saga Dainenbutsu Kyōgen | , 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 who used such dramas to proselytize and in teaching of Buddhist concepts. | | — | | Matsunoo-dera Buddha Dance | | 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. | | — | | Mibu Kyōgen | April 21–27 | A pantomime form of kyōgen, also known as Mibu Nenbutsu Kyōgen, originally devised by the Kamakura Period monk Engaku Shōnin 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. | | | | Shōryōe Bugaku | | Bugaku dance performance as part of a commemorative Buddhist service for Prince Shōtoku, the founder of the temple. | | — | | Kuruma Ōtoshi Shrine Okina Dance | | An okina dance performance with senzai, okina, sanbasō and chichi no jō thought to reach back to the Muromachi Period. | | | | Awaji Bunraku | Various times | 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. | | — | | Narazuhiko Shrine Okina Dance | | 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 | | | Awa Bunraku | 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. | | — | | Shōdoshima rural Kabuki | and second Sunday of October | A form of rural Kabuki where all the roles are performed by local residents. Designated under criteria 2, 3. | | — | | Lantern Dolls of Yame Fukushima | –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. | | — | | Hachiman Kohyō Shrine Kugutsushi Dance and Sumo | August 12–14, every four years | A pre-bunraku tradition of puppetry known as kugutsushi or kairaishi in which a dance piece is followed by a sumō bout between puppets. | | — | | Matsubayashi of Kikuchi | | 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. | | — | | Koyō Shrine Kugutsushi Dance and Sumo | , every 3 years | Performance of kugutsushi puppets consisting of a dance followed by a sumō bout. | | — | | Yamanokuchi tradition of Bunya Ningyō | Four times a year | One of five surviving bunya-ningyō traditions. The Yamanokuchi tradition is thought to date back to the early Edo period and is today preserved in a purpose-built museum. | | — | | Shodon Shibaya | 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. | | — | | Tōgō tradition of Bunya-bushi Bunraku | 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. | | — | | Yoron full moon dance | 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. | | — |
Other18 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 | | Ainu Ancient Dances | Various times | Twelve types of traditional Ainu dances and nine songs including ritual dances performed during festivals, imitative dances, dances for entertainment only. Many of these are circular dances and accompanied by song. | Hokkaido | — | | Ritual Entertainments of Ame no Miya Shrine | , 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. | | — | | Snow Festival | | | Anan, Nagano | | | Ritual entertainments of Nangū Shrine | –5 | Ritual entertainments including ritual rice planting, mikoshi carrying and ritual dances that serve as a prayer for abundant crops. | | — | | Kamikamogawa Sumiyoshi Shrine Shinji Dance | 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. | | — | | Ritual Entertainments of Kasuga Wakamiya On matsuri | –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. | | | | Inaba and Tajima Qilin | 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. | | — | | Daiko of the Kokura Gion Festival | 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. | | — | | Takezaki Kanzeonji Temple's Shujōe Oni | –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. | | — | | Nagasaki Kunchi Hono-Odori | 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, lion dance, kujira no shiofuki, kokkodesho, aranda manzai. | | | | Shujō Oni Festival | 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. | | — | | Ada Shinugu | , 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. | | — | | Iejima Village Dance | Mid November | Various dances, including a portrayal of the Chūshingura story. | | — | | Kohamajima Bon, Kitsugan, and Taneduri Festivals | –16, September/October, October/November | | Kohamajima, Okinawa | | | Iriomote Shichi Festival | 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. | | — | | Tarama Hōnensai Festival | 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. | | — | | Taketomi Tanadui Festival | 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. | | — | | Yonaguni Festival Arts | Unfixed dates | Ritual entertainment of harvest thanksgiving including a narrative prayer, dances, lion dances, and group dances interspersed with kyōgen performances. | | — |
Folk techniquesManufacturing and production17 designations.
| Name | Criteria | Remarks | Location | Image | | Manufacture technology of Japanese-style ships in the Tsugaru Strait and surrounding area | 2, 3 | | | — | | Manufacture technology of Itaya winnowing baskets in Akita | 3 | | | — | | Manufacture technology of Kōnosu Akamono | 3 | | | — | | Excavation technology of Kazusa | 3 | | | — | | Manufacture technology of Kizumi wisteria winnowing baskets | 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. | | — | | Manufacture technology of Tarai Bune tub boats in Ogi | 3 | Construction technique of sized tub boats used for spear fishing and seaweed collection since the late Edo period. | | | | Manufacture technology of Ronden Kumanashi winnowing baskets | 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. | | — | | Salt-making technology of the agehamashiki method on the Noto Peninsula | 2, 3 | | | — | | Cormorant fishing on the Nagara River craft | 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. | | | | Ama | 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. | | | | Manufacture technology of Yoshino barrel-staves | 3 | | | — | | Ama | 3 | | | — | | Ishizuchi Kurocha Production Technique | 3 | Manufacture technology of ishizuchi kurocha, a type of fermented tea from Shikoku | | — | | Awa-tafu Mulberry Cloth Production Technique | 3 | | | — | | Awabancha production technology | 3 | Manufacture technology of awabancha, a type of fermented tea from the Shikoku Mountains. | | — | | Goishicha production technology | 3 | Manufacture technology of goishicha, a type of fermented tea from the Shikoku Mountains. | | — | | Manufacture technology of hot-springs mineral deposits of Myōban Onsen in Beppu | 3 | | | |
Necessities of life3 designations, all under criteria 3.
| Name | Remarks | Location | Image | | Manufacture techniques of Etchū Province | 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. | | — | | Manufacture techniques of Enako Bandori | 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. | | — | | Yoronjima Musa basjoo | Harvesting and processing of the Japanese fibre banana for the production of textiles by weaving on Yoronjima island. | | — |
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