Rowing on Lake Biwa with Mt. Ibuki and Chikubushima in the background. (June 26, 2017)
June 2017 was the 100th anniversary of Biwako Shuko no Uta (琵琶湖周航の歌 aka Lake Biwa Rowing Song), Shiga’s most famous song and one of Japan’s best hometown songs.
To mark this milestone, a series of events were held in late June 2017 in Shiga. They included a four-day rowing excursion around Lake Biwa during June 24–27, a choir contest in Imazu on June 25, the unveiling of a new song monument in Nagahama on June 25, and a major concert at Biwako Hall in Otsu on June 30. I didn’t see everything, but I did get a glimpse of the major events.
The rowing excursion was named Nazori Shuko (なぞり周航) which means “Tracer Rowing Excursion.” It traces the rowing route the Kyoto college boys took in 1917 around Lake Biwa, going clockwise from Otsu and on to Omi-Maiko, Imazu, Chikubushima, Nagahama, Hikone, Omi-Hachiman, and back to Otsu. The rowers lodged in Omi-Maiko, Imazu, and Hikone. The rowing excursion was largely organized by Kyoto University Rowing Club’s alumni association (Noseikai 濃青会) with the cooperation of water sports organizations and fishing cooperatives in Shiga. About 120 rowing club alumni took turns rowing on three modern boats designed for long-distance rowing.
For four days, they rowed from around 5 a.m. until early afternoon. This is when the lake waters are most calm and air temperatures are cooler. The rowing excursion also had the participation of local people (住民参加). At times, the rowers were escorted by yachts, canoes/kayaks, and even standup paddleboarders. And at each major stop, the rowers were greeted by local folks including taiko drummers, dancers, and other well-wishers. The rowers also sang the song at each song monument around the lake.
The four-day rowing excursion started at Otsu on June 24, 2017. The rowers started out at the Kyoto Univ. Rowing Club boathouse on Seta River at 5 a.m. and stopped by here at Mihogasaki, in front of the rowing club’s original boathouse in 1917. They left Mihogasaki at around 7 a.m. as people cheered.
At Mihogasaki, Otsu Mayor Naomi Koshi (center) and former Shiga Governor Yukiko Kada (event committee chairperson) saw the rowers off. The man with the flag is an alumnus of the old No. 3 High School (university) (第三高等学校) that merged with Kyoto University. The old school’s logo with a cherry blossom and three stripes is on the flag and old boathouse.
Rowers sing “Biwako Shuko no Uta” on the white-sand beach at Omi-Maiko. This is where they lodged the first night.
Official T-shirts were also sold to the public. They came in white, dark blue, and green. Orange T-shirts were reserved only for the rowers. The back says “Ware wa Uminoko” (We’re children of the lake) and the front had a small 100th anniversary logo (insert).
On June 25, the second day, rowers leave Omi-Maiko and head for Imazu up north.
Rowers pay their respects at Shirahige Shrine in Takashima, famous for the torii in the water.
Rowers receive a warm welcome as they arrive at Imazu, the song’s birthplace. The large banner on shore reads, “Welcome to Imazu!” (ようこそ！今津へ)
Imazu’s annual Biwako Shuko no Uta choir contest was also held on June 25. After arriving at Imazu, the rowers went to the concert hall (Takashima Shimin Kaikan) and went on stage with singer Kato Tokiko and Kada Yukiko (in green) to sing the song as guest singers.
Kada Yukiko and singer Kato Tokiko at the center of the singing rowers swaying on stage.
Also attending the choir contest were these three alumni from the old No. 3 High School which merged with Kyoto University in 1949.
After singing at the choir contest, the rowers walked to Imazu Port and sang in front of the song monument. A busy day, but it wasn’t over yet.
Very nice to see yoshibue reed flute players from Takashima greeting visitors at Omi-Imazu Station during June 24–25, 2017. They continuously played only the rowing song. Their flutes are made of Lake Biwa reeds grown in Harie, Takashima. 針江よし笛
New song monument for Biwako Shuko no Uta Verse 3 unveiled in Nagahama on June 25, 2017. (長浜歌碑・除幕式)
Also on June 25, a new song monument in Nagahama was unveiled in Hokoen Park near the lake shore near Nagahama Castle (map here). In summer 2016, a group of Nagahama residents formed a nonprofit (長濱歌碑でつなぐ会) to plan, design, finance, and build this new monument. They solicited donations to help foot the cost of about ¥8 million. Although they weren’t able to get more than ¥4 million in public donations, they somehow managed to pay for the new monument in full.
Since Nagahama is a noted glass maker, they decided to make the new monument out of glass made in Nagahama. The new monument also functions as a park bench where you can sit and watch the sunset over the lake. It is perhaps Japan’s most expensive park bench. Seating four people, the glass bench is engraved with Verse 3 of Biwako Shuko no Uta where it mentions Nagahama. (“Today is Imazu or, Nagahama, huh.”)
The opening ceremony was held at around 5:30 p.m. for sunset, but it was too cloudy. The ceremony was attended by a substantial crowd who came to see singer Kato Tokiko, former Shiga Governor Kada Yukiko, Nagahama Mayor Fujii Yuji, and local singers Kitagawa Akihiro and Matsuura Yoko help unveil the new monument.
Earlier in the day in Nagahama, they held stage entertainment and boat cruises with local singers. (Couldn’t see any of it because I was in Imazu.)
June 25 (Sun.) was the busiest day because it was the closest weekend to the actual 100th anniversary on June 28. That night, I went back to Imazu and stayed at a hotel near the station.
While holding a copy of the concert program, singer Kato Tokiko gave a few words and mentioned the 1st Biwako Ongakusai music festival to be held on June 30 in Otsu. Holding the PR poster is Kitagawa Akihiro, ~Lefa~ vocalist.
Kitagawa Akihiro and Kato Tokiko sing behind the new song monument and later everyone released balloons.
Verse 3 of Biwako Shuko no Uta is engraved on the center segment of the glass bench. Bolted down in concrete and made of solid glass, it is a park bench shaped like a boat. The top is wavy like water, inspired by nami-makura (rolling with the waves) in the song.
The rowers prepare to depart Imazu at around 5 a.m.
On June 26, the third day of the rowing excursion, I checked out of my hotel near Omi-Imazu Station at 4:30 a.m. and joined the Kyoto University Rowing Club’s official photographers on a fishing boat. We followed the rowers from Imazu to Osaki, Chikubushima, Nagahama, and Hikone and kept our cameras busy.
Alumnus of the old No. 3 High School (第三高等学校) at Imazu to see off the rowers at around 5 a.m. He was also at Otsu. At the center of the cherry blossom is the kanji for “san” (three).
They first rowed from Imazu to Osaki where they would change rowers.
This boat is named “Uminoko” (Child of the Lake). The other two boats are named “Tomari-bi” (Light/Fire on Shore) and “Sazanami” (Lake Ripples). They are named after a key word or phrase found in the song.
The three boats they used belong to the Kyoto University Rowing Club. Thanks to donations from rowing club alumni, they were built in Shiga several years ago and designed especially for long-distance rowing around the lake. The boats have sliding seats and are quite stable in the water. They can also expel water automatically. It’s a far cry from the wooden, fixed-seat boats they used 100 years ago.
The boats are normally used by freshmen members of the Kyoto University Rowing Club to row around the lake every summer.
Rowing toward Chikubushima on a sparkling lake. Luckily, the weather was good during the four days.
On sacred Chikubushima island, non-rowing alumni sing the song in front of the Verse 4 monument while the three boats solemnly look on. This was around 8 a.m. I wish more people could have witnessed this most interesting and unusual scene, but it was well before the arrival time of tourist boats. Besides myself, only a handful of official and press photographers were here to see this. The Mainichi Shimbun reporter hired his own boat just to photograph this.
Our friendly boat captain knew well about lake currents and conditions. The waves got a little rough off Nagahama and slightly flooded the boats. Also on our fishing boat was the BBC (Biwako Broadcasting Co.) cameraman. The NHK TV crew also hired a fishing boat to film the rowers. In July, both BBC and NHK aired special TV programs about the rowing trip.
The song leader (大杉耕一) directs the singing, backed by many local dancers (日本3B体操協会 滋賀支部). The new park bench song monument is behind him.
Rowers pass by Hikone Castle.
In front of the Verse 5 monument at Hikone Port, former Shiga Governor Kada Yukiko (event committee chairperson) asserted that the “old castle” mentioned in the song must be Sawayama Castle (Ishida Mitsunari’s castle) instead of Hikone Castle since the latter was never attacked (“sharp arrows buried deeply”). She’s got a valid point, but I’ve always assumed that it included all the old castles in eastern Shiga (Hikone, Nagahama, Sawayama, and Azuchi). This is another thing I love about the song. We can all have our own interpretations of it.
After reaching Hikone Port in the early afternoon, the rowers sang in front of the Verse 5 song monument. They sang here again in the early evening with a local school band and lodged in Hikone.
I had fun following and photographing/filming the rowers on the lake, but I declined to follow them again on the next (last) day. (Too much sunburn.)
On June 27, the fourth and last day of rowing from Hikone to Otsu, they took a break at Omi-Hachiman (near the song monument at Horikiri Port) and even danced the Goshu Ondo (folk dance native to Shiga).
Rowers finally return to the Kyoto University Rowing Club boathouse on Seta River in Otsu at around 5 p.m. It was a long haul taking about 12 hours. They changed rowers four times.
In front of the Kyoto University Rowing Club boathouse (Seta Karahashi Bridge in the background), rowers sing the song after a safe and successful four-day rowing excursion. Congratulations to all! *Thanks to Tetsuo Oshiro for providing some of the photos on this page.
Major newspapers like Chunichi Shimbun covered the 100th anniversary events. (Click on image to enlarge.)
The rowing excursion was soon followed by the 1st Biwako Ongakusai (Music Festival) held on June 30, 2017 at Biwako Hall in Otsu. It was organized by a committee led by former Shiga Governor Kada Yukiko and produced by singer Kato Tokiko who made Biwako Shuko no Uta a national hit in 1971. Headlining the concert were top artists Miyazawa Kazufumi (Shima Uta was fantastic), Gospellers, the Tokiko Band (great musicians), and ~Lefa~ from Nagahama. The first half had local youth groups and choirs from Shiga, Kyoto, and Osaka. The second half featured the headlining artists and Kato Tokiko herself.
This is the first Biwako Music Festival and they plan to hold this concert annually around Lake Biwa in the places mentioned in the song. So next year in 2018, it will be held in Omi-Maiko at Biwako Seikei Sport College whose president is former Shiga Governor Kada Yukiko. Then in Imazu in 2019. Kato Tokiko will be the producer of the annual concerts. It will take several years before the concert is held in each place mentioned in the song.
One major objective of the Biwako Music Festival is to perpetuate Biwako Shuko no Uta to the younger generations since it is not really taught in schools in Shiga. That’s why you will see local youths performing as well.
At the 1st Biwako Ongakusai Music Festival, a short film about the rowing excursion was shown while concert goers entered the concert hall. It also mentioned the English version of the song and showed footage of our mini concert held in Imazu in April. The short film was shot and edited by Biwako Broadcasting Co.
The 45-page Ongakusai program booklet included this two-page article I wrote about Lake Biwa Rowing Song. I was honored to explain why and how I created the English version. (Click image to enlarge. Sorry, I don’t have it in English yet.)
The concert was held in Biwako Hall’s beautiful Large Hall seating about 1,800. This is ~Lefa~ performing in the audience area for their first number.
~Lefa~ vocalist Kitagawa Akihiro (北川 陽大) also sang “Lake Biwa Rowing Song” in English. His partner Kono Hiroyuki (河野 弘行) played keyboard. Performing at Biwako Hall was their biggest venue so far, a dream come true.
At the end for the finale, all the performers got on stage and sang Biwako Shuko no Uta. So nice to see so many young people singing the song. The audience also stood up and sang.
At the center are the former and current Shiga governors, Kato Tokiko, and other headlining artists all singing Biwako Shuko no Uta.
It was a wonderful concert showcasing a wide variety of music and artists, both amateur and famous. We look forward to the next concert next year in Omi-Maiko.
Otsukaresama and thank you to Kada Yukiko, Kato Tokiko, Kyoto University Rowing Club and their alumni association (濃青会), and everyone else who worked so hard to plan, coordinate, and execute these memorable events like never before. It got many local people involved and I was honored and happy to take part.
This hometown song must definitely be perpetuated to current and future generations. It’s an important part of Shiga’s history and cultural heritage and should be designated as an Important Intangible Cultural Property (重要無形文化財). I hope that local educators and parents will come around and realize how precious this song really is to Shiga. Showcasing not only pretty scenes in Shiga, but also life itself. And the melody is classic and timeless. The story behind the song and its creators is also most fascinating. At the same time, the song retains an aura of mystery and intrigue.
On April 16, 2017, we at shiga-ken.com also celebrated the song’s 100th anniversary by holding a Lake Biwa Rowing Song mini concert in English in Imazu. Jamie and Megan Thompson visited Shiga for this occasion and we also had Kikui Satoru and Kondo Yumiko play yoshibue reed flutes as a duo named “Lake Reed.” Here are two videos of our event:
Commemorative events in Shiga are largely over, but not in Kyoto. Kyoto University will be celebrating the song’s 100th anniversary on Nov. 25, 2017 with the unveiling of a song monument plaque on campus and a lecture (by song researcher Iida Tadayoshi) and concert during their autumn school festival. I will be attending as well and looking forward to meeting guests from Okaya, Nagano (songwriter Oguchi Taro‘s hometown) and Niigata (melody composer Yoshida Chiaki‘s hometown).
Update: Here’s my blog post and video of Kyoto University’s celebration of the song’s 100th anniversary on Nov. 25, 2017.
PR flyer for Kyoto University’s 100th anniversary song event on Nov. 25, 2017.
The Japan Post Office issued a sheet of stamps to mark the 100th anniversary of Biwako Shuko no Uta (Lake Biwa Rowing Song). Available while they last at post offices in Shiga.
All 13 Nagahama hikiyama floats appearing in 2017! YOISA!!
Held annually on several days centering on April 15 by Nagahama Hachimangu Shrine, Nagahama Hikiyama Matsuri (長浜曳山祭) is a major float festival in Nagahama in northern Shiga Prefecture. The main highlight is child kabuki actors (boys age 5 to 12) performing on four ornate wooden floats. On Dec. 1, 2016 (JST), Nagahama Hikiyama Matsuri was inscribed as a UNESCO Intangible Cultural Heritage of Humanity as one of the 33 “Yama, Hoko, and Yatai float festivals in Japan.” All festival events are within walking distance from JR Nagahama Station on the JR Hokuriku Line. Since there’s no detailed festival information and schedule in English from official sources, I provide this festival schedule in English based on official festival information and my recommendations. With a little knowledge of what’s what and what’s going on, I’m sure you’ll be able to enjoy this festival much more after reading this post.
There are 12 kabuki floats (called hikiyama) with a kabuki stage and one “guardian” float named Naginata-yama with no stage. Every year, only four of the kabuki floats perform kabuki at the festival. Three groups of four kabuki floats take turns appearing in the festival each year so each float group appears (performs kabuki) every three years. The same four floats appear together each time. Only the Naginata-yama guardian float appears in the festival every year, but does not perform kabuki.
To see all 12 kabuki floats, you normally would have to see the festival three years in a row. However, this year in 2017, to celebrate the UNESCO Intangible Cultural Heritage designation, all 12 kabuki floats will make an appearance in the festival on April 15, the main festival day. But only four floats (Kasuga-zan, Kanko-zan, Gekkyuden, and Seikai-zan in 2017) will perform kabuki. The remaining eight non-performing kabuki floats will only be pulled to the Otabisho for display.
Although April 15 is the main festival day (called Honbi 本日), there is a slew of festival events and kabuki performances before and after this day. If you can’t make it to Nagahama on April 15, you can still see kabuki performances on April 13 (evening), 14 (morning), and 16 (all day).
In 2016, I photographed most of the festival events held during April 12–16. The video embedded above shows all the major festival events during this period. A few ceremonies and rituals are closed to the public.
Another thing to know is that the four kabuki-performing floats draw lots to determine the order of their performances. Being Float No. 1 is most desirable since they get to perform first on April 15 (main festival day) and can end early and go home early. They also have the honor to host the Sanbaso prayer dancer who performs before their kabuki play.
In 2017, Float No. 1 is Kanko-zan (諫皷山), Float No. 2 is Kasuga-zan (春日山), Float No. 3 is Gekkyuden (月宮殿), and Float No. 4 is Seikai-zan (青海山).
Here is the schedule of Nagahama Hikiyama Festival events in 2017 (times are approximate, and delays may occur). Also see the festival map toward the end of this post. The photos are screenshots from my video embedded above. Click on the photo to see the respective video segment.
April 1, 2017: Float Replacement Event (曳山交替式) 9:00 a.m. to 3:00 p.m.: The hikiyama floats exhibited in the Nagahama Hikiyama Museum will be pulled out and taken back to their neighborhoods to prepare for the festival. Then the four floats appearing in next year’s festival will be brought into the museum to be displayed.
April 9: Senko-ban Visitation (線香番) Festival officials visit the four floats’ kabuki practice halls to watch a kabuki rehearsal and time the performance. Before clocks were invented, they used a burning incense stick (senko) to measure the kabuki play’s length. This is also when the parents see their sons perform for the first time. However, the actors do not wear the makeup and costumes yet. This ceremony is not open to the public since the practice hall will be filled with the boys’ parents and relatives.
April 9–12: Hadaka-mairi Shrine Worship(裸参り) From 8:00 p.m. every night on these four days, scantily-clad young men (wakashu 若衆) from the four floats gather at their respective kabuki practice hall and parade to Nagahama Hachimangu Shrine where they pray and purify themselves by running around a well and splashing themselves with the cold well water. They pray for a successful festival, healthy actors, and to draw a favorable lot on April 13 that determines the order of the floats’ performances. They all want to be Float No. 1 which performs first and goes home first on April 15 (main day).
From Nagahama Hachimangu Shrine, they march through Otemon-dori shopping arcade to Hokoku Shrine across town where they pray and splash in a well again. On their last worshipping day on April 12, Otemon-dori shopping arcade has festival musicians and representatives from non-performing floats (i.e. those not performing in the festival this year) to greet the wakashu men. They play festival music (called shagiri 囃子) and offer cups of sake (rice wine) to the wakashu leaders and Kujitori-nin. They shout “Yoisa! Yoisa!” the whole time and drink a lot of sake.
You will notice that they wear different colored headbands. The young man wearing a red headband is the Kujitori-nin (籤取り人) who will draw the lot at the lot-drawing ceremony on April 13. The men wearing a blue headband are the guards (警護) who direct the wakashu. The men with a white headband are the rank and file. When a float’s wakashu pass by another float’s wakashu, a scuffle may break out since they are rivals in drawing lots. Quite a spectacle at both shrines and in-between.
April 12: Portable Shrine Procession (Mikoshi togyo 神輿渡御)
From 6:30 pm, men carry a mikoshi portable shrine from Nagahama Hachimangu Shrine to the Otabisho rest place across town while shouting, “Yoisa!” They go through the Otemon-dori arcade and a few side streets. Along the way, festival musicians from other floats greet the portable shrine (no sake is served). Nagahama Hikiyama Matsuri’s festival music is called shagiri (しゃぎり) instead of hayashi (囃子). The portable shrine was made in 1676 by Fujioka Kanbe’e (藤岡甚兵衛) with donations from shrine parishioners. The Fujioka family was a renown woodcarver and Buddhist altar maker in Nagahama.
The portable shrine brings the deity closer to the people and chases away evil spirits. They occasionally raise the portable shrine to wish happiness and safety to the people around it. The portable shrine arrives at the Otabisho at about 7:30 pm. The Otabisho is a rest place for the god traveling in a portable shrine. The portable shrine remains in the Otabisho until April 15 evening.
April 10–12: Public Kabuki Practice(公開稽古) Only during these three days, each float’s kabuki practice hall is open to the public. You can watch the boys (mostly age 5 to 10) practice their kabuki play usually once in the morning, afternoon, and evening. The practice hall is typically a small community center in the float’s neighborhood. It has a large room with a makeshift kabuki stage in the same size as on the float. (For practice times and locations, see the official festival guide book in Japanese or ask the tourist information desk at Nagahama Station.)
Anybody can watch them practice without any reservation or admission fee, but they do not wear the kabuki makeup and costumes (no dress rehearsals). They have been practicing every day since March 20 (spring vacation), so by this time, they have mastered their roles quite well. They receive some fine-tuning during this time.
When you watch them practice so hard (sometimes they even break down and cry), you will come to appreciate how much work it takes to put on a kabuki play. You can also see what the boys really look like without the kabuki makeup. Then when you do see them in kabuki makeup (from April 13), you will be amazed at their transformation.
Before the kabuki makeup and costumes…
And after the kabuki makeup and costumes.
The kabuki play is directed by three instructors called San’yaku (三役): The choreographer, tayu narrator, and shamisen player. The choreographer casts the actors’ (yakusha) roles usually according to their physical attributes. The choreographer is usually an experienced kabuki actor and directs the actors’ movements and voice. The tayu narrates the story in a highly stylized manner like in kabuki. The shamisen player provides the only music played during the kabuki performance.
Since 1990, the Nagahama Hikiyama Cultural Association (長浜曳山文化協会) has been working to train local artists to become tayu narrators and shamisen players in the festival. In 2016, for the first time, all four floats had at least one locally-trained tayu narrator or shamisen player. Previously, they were all from outside Shiga.
Each performing float also publishes its own festival program booklet or brochure introducing the float and kabuki actors in Japanese. (If it has English, it’s usually not very good.) You can buy one for cheap at the practice hall.
*Tip: On April 12, you can see three different festival events: Kabuki practice during the day, the portable shrine procession from 6:30 pm, and the hadaka-mairi shrine worshippers from 8 pm.
April 13 The main events on this day are the lot-drawing ceremony and the first kabuki performances in full costume for the public held in the evening.
Taiko Drum Call (起し太鼓): Before dawn at all float neighborhoods, a small team walk around and beat a taiko drum as a wakeup call.
Sacred Staff Receiving Ceremony (御幣迎えの儀) 7:00 a.m.: Representatives (including the Sacred Staff Messenger age 5–7) from the four floats go to Nagahama Hachimangu to receive their sacred staff (zigzag paper streamers) to be mounted on their floats.
Lot-Drawing Ceremony(Kujitori-shiki 籤取り式の儀)
1:00 p.m.: At Nagahama Hachimangu Shrine, four unmarried lads representing the four floats wear a red headband (like they did at the Hadaka-mairi) and sit in front of the shrine priest inside the worship hall. They are the lot drawers (Kujitori-nin).
Four pieces of paper are written with float numbers one to four. Each piece of paper is crumpled into a ball and placed on a tray as a lot to be drawn. There is a tray for each lot, and each lot drawer selects and carries back a tray. While sitting together, they all open their paper lots at the same time to see who is Float No. 1, 2, 3, and 4.
Being Float No. 1 is most desirable since they will perform first on April 15 and can go home early. They also get to host the Sanbaso prayer dancer which is the festival’s opening performance and prayer for an abundant harvest. The Lot-drawing ceremony is not for the public since the shrine’s worship hall is too small to allow the public inside to see the ceremony. However, you can see them from outside celebrating (throwing the lot drawer into the air, etc.).
April 13 Kabuki Performance (十三日番) 6:00 p.m. to around 8:30 p.m.: The four floats hold their first public kabuki performances in full makeup and costume in their respective neighborhoods. (For exact performance times and locations, see the official festival guide book in Japanese or ask the tourist information desk at Nagahama Station.)
In case of rain, the float will be covered with a tarp or moved to the shopping arcade for shelter.
Sanbaso dancer (三番叟)
About the Sanbaso dancer
Float No. 1 receives the honor of hosting the Sanbaso dancer. The Sanbaso dances on Float No. 1 before the float’s kabuki play and he is the first performer on April 15 (main festival day) at the shrine. He holds a bell tree shaped like a ripe rice plant and performs prayer dances for a rich harvest.
The Sanbaso performs two short dance segments. The first segment is Momi-no-dan (stomping segment) where he waves his sleeves and stomps on the ground like he is preparing the ground for planting. He also does the “crow jump” (karasu-tobi) by jumping three consecutive times.
The second segment is Suzu-no-dan (bell segment) when the Sanbaso shakes his bell tree and mimes the planting and growing of rice. His costume has a crane design and his high cap has tiger stripes and a red sun on both sides.
The Sanbaso is a well-known dancer in Noh and kabuki. He comes from a Noh prayer dance called Okina (翁) dating from the 14th century as a religious ritual. Okina has three dancers praying for longevity, peace, endless joy, prosperity, and rich harvests. Sanbaso is the third dancer in Okina which is traditionally performed on auspicious and celebratory occasions like New Year’s and at the beginning of the day’s Noh or kabuki program. This is why he always appears first on the main festival day. The Sanbaso dances each time the float performs during the festival days. The boy playing the Sanbaso is recruited from the public in Nagahama and he is around age 10. He has his own choreographer, tayu narrator, and shamisen player. Ciick here to see the Sanbaso video clip.
The day before the main festival day is also a busy day. Lots to see/photograph.
Kabuki Performance in Local Neighborhoods (自町狂言) 9:00 a.m. to noon: Morning performances of kabuki plays are held by the four floats in their respective neighborhoods. The floats perform once or twice in the morning. For exact times and locations, see the official festival guide book in Japanese or ask the tourist information desk at Nagahama Station.
Floats Proceeding to Nagahama Hachimangu Shrine(Noboriyama 登り山) 12 noon onward: After they finish their morning kabuki performances, the four floats proceed from their neighborhoods to Nagahama Hachimangu Shrine. Float No. 4 arrives at the shrine first, followed by the others in reverse numerical order. All four floats arrive at the shrine by 4 p.m. It’s a spectacle to watch them pull the floats through the streets and the shopping arcade as they shout “Yoisa! Yoisa!” It’s a stop-and-go process. Meanwhile, the Naginata-yama float is pulled from its storehouse across town and arrives at the Otabisho rest place at 4 p.m. It is the only float that does not go to the shrine.
About the Naginata-yama “Long Sword Float” (長刀山／小舟町組)
This is the only float with no kabuki stage, an Imperial-style carriage with only three wheels. Carries banners and long swords. A ceremonial and “festival guardian” float appearing every year on April 14-15 only at the Otabisho. It does not go to Nagahama Hachimangu Shrine. Built in 1775 with Chinese lion sculptures on four sides. It’s a nice float, but does not attract the crowds. It’s a quiet float.
After the Sword Procession on April 15, red banners are hoisted on the float. Before Float No. 1 arrives at the Otabisho in the late afternoon, Naginata-yama’s red banners are replaced by white ones bearing the Minamoto Clan’s crest. The float’s caretaker is the Naginata-gumi association from the lakeside Kobuna-machi neighborhood (小舟町 now in Asahi-cho) where Minamoto Yoshiie landed for his victory march to Nagahama Hachimangu.
Evening Kabuki Procession(Yu-watari 夕渡り) 7:00 p.m.: Evening procession of all the child kabuki actors in full costume walking from Nagahama Hachimangu Shrine to Nagahama Hikiyama Museum through Otemon-dori shopping arcade. It starts with actors from Float No. 4, then No. 3, 2, and 1. Occasionally, the actor will stop and pose for photographers. Each actor is escorted by an adult relative (usually the father) holding a paper lantern and wooden placard indicating the actor’s name, age, and kabuki character. The procession includes festival musicians (no floats). A real crowd pleaser for locals and tourists alike.
All the kabuki actors (and stagehands) are treated like royalty during the festival. They receive gifts from relatives and friends and are very much pampered by their parents for undertaking such a difficult and rigorous task of kabuki acting. (A few of them even do it more than once.) The mothers have to make sure they don’t get sick or catch cold. This childhood experience stays with them for life and many of them come back to Nagahama to help out with the festival. In recent years, the floats have had difficulty recruiting kabuki actors (and musicians) since there are fewer kids in their neighborhoods.
April 15: Main festival day (Honbi 本日) The festival’s peak day with kabuki performances here and there in central Nagahama from 9:45 am to 8:15 pm. The four floats start at Nagahama Hachimangu Shrine where they perform in succession. Then they start moving toward the Otabisho and perform three more times at multiple locations (see map below). Before and after the kabuki performances, there are other processions and ceremonies. Note that the floats can be prone to be late (especially in the evening), so the time schedule is only approximate.
Before dawn: Taiko Drum Call (起し太鼓) at all float neighborhoods.
April 15 Events at Nagahama Hachimangu Shrine
7:00 a.m.:Spring Festival Ceremony (春季大祭). A religious ceremony, not really for tourists.
8:30 a.m.:Morning Kabuki Procession (Asa-watari 朝渡り) of child kabuki actors arrive at Nagahama Hachimangu Shrine. Colorful procession, but too early in the morning for spectators.
9:10 a.m.:Sword Procession (Tachi-watari 太刀渡り) of sword bearers arrives at Nagahama Hachimangu Shrine after going through Otemon-dori arcade. Led by a golden sacred staff, this procession reenacts the Hikiyama Matsuri’s original samurai procession before floats were added. Young men wear ceremonial aprons (similar to sumo wrestlers) and young boys wear samurai armor and a long naginata sword (2–3 meters long). They depict Minamoto no Yoshiie’s victory march to the shrine after he won the Gosannen War (1080s) in the Tohoku Region. Minamoto no Yoshiie was a famous samurai who founded Nagahama Hachimangu Shrine in 1069.
By the 16th century, Nagahama Hachimangu was ravaged by civil war, so Nagahama Castle Lord Toyotomi Hideyoshi moved and rebuilt the shrine at its present location further inland. He also used his own samurai retainers to restart the shrine’s annual festival procession dedicated to Minamoto no Yoshie.
The Sword Procession is conducted by the Naginata-gumi group which also pulls the Naginata-yama float. It has the Matajirohama beach (又次郎浜) where Minamoto no Yoshie landed for his victory march to the shrine.
After resting at the shrine for a short period, the Sword Procession goes to the Otabisho to mount their long swords on the Naginata-yama float.
9:25 a.m.: Okina Maneki (翁招き) is an opening ritual held in front of Float No. 1 to mark the start of kabuki performances. A long bamboo pole attached with a wooden placard is waved to the shrine and to Float No. 1 as a signal to start the festival and the festival music begins. Float No. 1 is then moved into position for the first kabuki performance (opening with the Sanbaso dancer).
9:45 a.m.–1:45 p.m.:Kabuki at the Shrine(Hono kyogen 奉納狂言) has the four floats perform kabuki at the shrine in succession starting with Float No. 1. These performances are dedicated to the shrine. Each play is about 40 min. long. After a float finishes a kabuki performance, it leaves the shrine and goes to the next performance location on the way to the Otabisho. The next float is then moved into position in the shrine to give its kabuki performance. So there is a break time between performances.
If you want to see all the kabuki plays on the four floats, one option is to stay at the shrine to see all of them. But it’s standing room only, so you may get tired standing for that long. There is paid seating, but they require advance tickets (costing a few thousand yen) sold in Feb. and usually sell out quickly. If you sit on the ground, you won’t be able to see the float since everyone is standing in front of you.
You can just watch one or two floats at the shrine, take a break, and watch the other floats at other locations and times. For kabuki performance times at the shrine and elsewhere, see the table below. All four floats will also perform at the Otabisho later in the afternoon and evening (also standing room only).
Each float has five to seven kabuki actors and one or two stagehands. There used to be more actors like 10 or more per float, but there are fewer kids now. It’s also quite expensive to rent the kabuki costumes. Since each kabuki float performs every three years, that’s how long they have to raise money for the festival.
Although watching the kabuki is impressive without even understanding it, you would enjoy it more if you knew the kabuki story. Most of the kabuki plays are well known and you may be able to find an English synopsis online if you know the kabuki play’s title in Japanese or English. Sometimes the kabuki play includes something about Nagahama.
*The order of the floats’ performances is decided on April 13 by the Kuji-tori ceremony (籤取り式の儀) where they draw lots to see which float is No. 1, 2, 3, or 4.
Performing at Kanaya Park.
After performing at the shrine, each float will move across town mainly along Otemon-dori road (shopping arcade, Kurokabe Square, etc.) to the Otabisho rest place. Along the way, they will stop and perform kabuki three more times with the last performance at the Otabisho by Float No. 4 held from 7:35 p.m. to 8:15 p.m. The map below has a red line indicating the float route on April 15 and the kabuki performance spots (1 to 7) along the way. To enlarge the map, click here.
2. Shrine path
3. Kanaya Park
4. Hikiyama Museum
5. Arcade intersection
6. Kurokabe Square
Float No. 1
Float No. 2
Float No. 3
Float No. 4
*Times are approximate. Location numbers correspond to the numbers in the map below.
April 15 Otabisho Events In 2017, to celebrate the festival’s designation as a UNESCO Intangible Cultural Heritage of Humanity, all 13 Nagahama Hikiyama floats will appear at the Otabisho by evening. The Otabisho (御旅所) is a small shrine building on a large parking lot near Hokoku Shrine (short walk from JR Nagahama Station). It is where the portable shrine rests during its journey away from Nagahama Hachimangu Shrine.
10 a.m. to 1 p.m.: The eight non-performing kabuki floats will arrive successively at the Otabisho parking lot to join the Naginata-yama guardian float (暇番山登り山). They will only be displayed and not perform any kabuki. It might be tricky to try and see these floats being pulled to the Otabisho while the four kabuki-performing floats are performing at the shrine and elsewhere at the same time. You won’t be able to see everything.
4:00–8:15 pm: Successive kabuki performances are held by the four floats as they arrive at the Otabisho one by one. Float No. 1 should arrive at 3:30 p.m. and start performing kabuki at 4 p.m. The last float (Float No. 4) is scheduled to finish its kabuki performance at 8:15 p.m. By 7:30 p.m. when Float No. 4 arrives, all 12 kabuki floats and the Naginata-yama guardian float will be on display at the Otabisho. A very rare occasion to see all the floats together. The last time they did this was in 2006 to celebrate the merger of Nagahama’s neighboring towns (Azai-cho and Biwa-cho). The kabuki actors are whisked home right after their performance. They don’t stick around for the latter events. They are exhausted and need to sleep and be ready for the next day.
9:00 p.m.: Portable Shrine Procession (Mikoshi togyo 神輿渡御)
After all the floats finish performing at the Otabisho, a short Shinto ceremony is held and the portable shrine that was brought to the Otabisho on April 12 is taken out and carried around the Otabisho a few times before it goes back to Nagahama Hachimangu Shrine. Note that it can get chilly this late in the evening, so dress warmly.
9:30 p.m.: Returning Floats (戻り山)
The floats start to leave the Otabisho to return to their neighborhoods. Naginata-yama is always the first float to leave, followed by Float No. 1 and the other three floats in order. The last Float No. 4 might leave as late as 11 pm. The floats go back to their neighborhoods. In 2017, since there will be 13 floats, it might take longer for all the floats to leave.
April 16: After-Festival Kabuki (Goen kyogen 後宴狂言) Morning (9:00 a.m.) to evening: Kabuki performances are given by the four floats in their respective neighborhoods in central Nagahama. They also perform on stage at the Nagahama Bunka Geijutsu Kaikan hall for a paying audience from 10:55 a.m. Each float’s final performance of the festival is called senshuraku (千秋楽). It starts between 7 p.m. and 8 p.m. (For exact times and locations, see the official festival guide book in Japanese or ask the tourist information desk at Nagahama Station.) Expect to see some tearful kids and relieved parents after the last show is over.
April 17: Sacred-Staff Returning Ceremony (御幣返しの儀) 8:00 am: Representatives (including the Sacred Staff Messenger around age 5–7) from the four floats go to Nagahama Hachimangu to return their sacred staffs (zigzag paper streamers) that were mounted on their floats. Not much for tourists.
For more information about the Nagahama Hikiyama Festival in English, including the festival’s origins, history, and all the floats, watch my YouTube video (embedded above). I don’t mean to brag, but it’s the world’s most comprehensive video about the festival in English. Being 91 min. long, it’s a long video, but you’ll learn a lot and enjoy the festival a lot more by knowing more about it and knowing what to expect.
Another rare and magnificent exhibition of Kannon statues from Nagahama is being held in Tokyo at The University Art Museum (東京藝術大学美術館), Tokyo University of the Arts (Geidai) from July 5 to Aug. 7, 2016 near Ueno Station. Kannon is also known as the Goddess of Mercy.
The exhibition is titled, Life and Prayer, Kannon Sculptures from Nagahama II (観音の里の祈りとくらし展 II－びわ湖・長浜のホトケたち). Organized by the Tokyo University of the Arts and the city of Nagahama, it is the followup to the first Nagahama Kannon exhibition held in 2014 at the same venue. This second Kannon exhibition has been greatly expanded with over 40 Kannon and Buddha statues from Nagahama, over twice the number shown in 2014.
I’ve never seen so many precious Kannon and Buddha statues in one place, except maybe at the Museum of Fine Arts in Boston, USA. There are two rooms filled with really old Kannon and Buddha statues dating from centuries ago or even 1,000+ years ago. There is a great variety with large and small, seated and standing statues. It also includes Buddha statues, so it is not entirely a Kannon exhibition. An amazing collection. Many people from Shiga, especially Nagahama, are traveling to Tokyo to see this exhibition. Too bad you can’t see a similar exhibition in Shiga itself.
After you pay the ¥1,200 admission, they give you a nice plastic file folder with a Kannon statue design. It contains Nagahama tourist pamphlets in Japanese (no English).
Main exhibition room.
Step into the exhibition room and you see long rows of Kannons and Buddhas along the walls with a few in the middle of the room. It feels like you’re joining a grand Nagahama Kannon Summit. I can imagine them talking (or chanting?) to each other after we humans leave. They must be congratulating each other on their longevity and good physical condition. If we could only hear all the wishes and prayers they have heard from worshippers over the centuries.
Second exhibition room with the Den-Senju Kannon.
Seeing so many peaceful-looking Kannons and Buddhas with half-closed eyes and serene faces is really pacifying and relaxing. You don’t need to be Buddhist nor a Buddhist art expert to appreciate these masterpieces either. Even a non-expert can notice the fineness and subtleties of the facial expressions, form, and shape. Look closely, and you can see how the similar-looking faces actually look different. A face may even be grinning at you. There are also fierce-looking ones and unusual ones with “a thousand arms/legs” or a horse’s head on the head. I can’t imagine how many days it would take to see all these statues in their original temples in Nagahama. So it’s a bargain to see this exhibition, although I do hope to see some of them in their original habitat someday.
My favorites at the exhibition (page numbers refer to the exhibition catalog and links show the sculpture’s official photo):
Den-Senju Kannon (伝千手観音立像) from Kuroda Kannon-ji temple in Kinomoto. Important Cultural Property of Japan, dating back to the Heian Period (794–1185). This masterpiece is definitely the exhibition’s centerpiece. A larger-than-life, 11-headed, 1000-armed Kannon that dominates the second exhibition room. All those arms (actually only 18 instead of 1,000) have a hand holding something interesting, even a small snake. The crown on the head has eleven little kannon heads. The face is very serene, mustache and all. The back view is also impressive. Spent a good 10-15 min. staring at this piece. (p.74)
Senju-Senzoku Kannon (千手千足観音立像) from Shomyoji temple (正妙寺) in Takatsuki. Small standing statue only 42 cm high with a whopping 1,000 hands AND 1,000 legs, PLUS 9 Kannon heads on the crown! Somebody ordered this statue with everything on it. Golden statue from the Edo Period. Very rare to have both “1,000” arms and legs. Imagine what you could do with all those arms and legs. (p.56)
Eleven-headed Sitting Kannon (十一面観音坐像) from Okamoto Shrine in Odani. Serene-looking Kannon with four pairs of arms/hands from the Heian Period. What struck me was the beautiful wood grain pattern radiating from the tip of the nose like tree rings across the rest of the face. Very aesthetic. (p.51)
Horse Head (Bato) Kannon (馬頭観音立像) from Tokuenji temple (徳圓寺) in Nishi-Azai. This standing, black statue with three scowling faces, four pairs of arms/hands, and a horse’s head on top was most bizarre-looking, but somehow impressive. The Kannon’s hairdo streaks upward like a madman. Farmers pray to Horse Head Kannon to protect their farm animals and appease the spirits of dead ones. (p.115)
Tamonten (多聞天立像) from Shakudoji temple (石道寺) in Kinomoto. Tamonten is also known as Bishamonten, one of the Four Heavenly Kings. It’s a large, fierce-looking statue with big glass eyes and its mouth open to breath in. It looks so realistic that when I looked at his face, I could’ve sworn that his chest also expanded. He looks alive. I guess my eyes are trained to see an expanding chest whenever I see a face breathing in through the mouth. A brilliant optical illusion perhaps. Important Cultural Property of Japan. (p.92)
A few photos of Nagahama’s temple neighborhoods also displayed.
There are many more great pieces. I can highly recommend seeing this show. Each statue has a Japanese description showing the name of the statue, the name of the temple it belongs to, the date, and other basic info. There is no English. Having such a high-profile exhibition makes me worry about temple burglaries in Shiga where there are so many temples and treasures. I hope they have adequate security at these temples.
Shiga has Japan’s highest number of Kannon statues designated as Important Cultural Properties (including a National Treasure). There are over 130 Kannon statues in Nagahama. It is not known for certain why northern Nagahama has so many beautiful Kannon statues. One theory says that it may be largely due to Mt. Kodakami-yama (己高山, 923 m) in Kinomoto that could be seen far and wide and became an object of worship (山岳信仰). Kodakami-yama’s main temple was a Kannon temple. Written records show that there were many temples dedicated to Kodakami-yama, and Kannon statues were made for them.
The museum also sells a small exhibition catalog/book for ¥1,500. The catalog for the previous exhibition is also available. The museum gift shop also sells a bunch of books about Nagahama Kannon statues published by local publishers in Shiga. Nothing in English though (except this article).
The lower floor has a room to view a short video about Nagahama’s Kannon. (もっと大きいなモニターが必要。)
The University Art Museum, Tokyo University of the Arts
Exhibition:Life and Prayer, Kannon Sculptures from Nagahama II (観音の里の祈りとくらし展 II－びわ湖・長浜のホトケたち) When: July 5 to Aug. 7, 2016 Hours: 10 am–5 pm (till 8 pm on Fri.) Closed: Mondays (open on July 18, and closed July 19) Where: The University Art Museum (東京藝術大学美術館), Tokyo University of the Arts (Geidai). The museum is a 10-min. walk from Ueno Station. Just walk through Ueno Park (map below). Tokyo University of the Arts (nicknamed Geidai) is one of Japan’s most venerated art universities. Nearest station: JR Ueno Station (Koen Exit) Admission: ¥1,200 for adults, ¥600 for high school and college students, and free for younger kids. Phone: 03-5777-8600 (in Japanese only) Website (in Japanese only): http://www.geidai.ac.jp/museum/exhibit/2016/nagahama2/nagahama2_ja.htm Map link:https://goo.gl/maps/eua8Qo4572r
The city of Nagahama boldly opened a little museum in Ueno, Tokyo called “Biwako Nagahama Kannon House” (びわ湖長浜 KANNON HOUSE) on March 21, 2016. It exhibits one precious kannon Buddha statue (Goddess of Mercy) brought over from Nagahama, Shiga Prefecture. The exhibit changes every two months so Tokyoites can see six different kannon statues from Nagahama every year.
The museum is small, but nice. It has only one medium-size room divided into the kannon exhibition space and a mini theater showing a video about Nagahama. The small exhibition space is enclosed by a wooden, temple-like fence modeled after a Kannon-do (観音堂) or small kannon worship hall. The wood is hinoki cypress from Nagahama. At the center of the enclosure is a kannon statue in a glass case. You can see it up close and take pictures.
Kannon statue from Sonju-in temple.
When I visited this month in June 2016, the kannon exhibit had just changed so I saw the second kannon statue to be exhibited at the museum. It was from Sonju-in temple (尊住院) in Nagahama’s Kawamichi-cho district. It is wooden, 53 cm tall, and very old, like from the 12th century (Heian Period). The first kannon statue they exhibited during March to May 2016 came from Hogonji temple on Chikubushima island in Lake Biwa.
The museum is staffed by two or three women at a small reception desk when you enter the door. They also have Nagahama tourist brochures.
Biwako Nagahama Kannon House is near JR Ueno Station and Keisei Ueno Station. The museum is on the 1st floor in an office building on the fringe of Shinobazu Pond and Ueno Park. It’s close to the train/subway stations, but it’s on a back street of Ueno Park and you need to know where it is to find it. (See map below.)
Why did they decide to be near Shinobazu Pond? It’s because Shinobazu Pond has a Nagahama connection via the tiny Bentenjima island and the Benten-do temple dedicated to the goddess Benzaiten or Benten. When the renown Tendai Buddhist priest Tenkai (1536–1643) was out to build a mighty Tendai Buddhist temple headquarters called Kan’eiji in the Ueno area of Tokyo similar to Enryakuji in Shiga, he saw Shinobazu Pond as Lake Biwa and built a small island modeled after Chikubushima and built the Benten-do temple on it. The island today is connected to land so it doesn’t seem like an island, but the rebuilt Benten-do temple is there. Hogonji temple on Chikubushima island in Nagahama is dedicated to Benzaiten and one of Japan’s Big Three Benzaiten temples.
Look for the black square logo.
Shinobazu Pond is a popular tourist spot with cherry blossoms, lotus, Benten-do, monuments for kitchen knives and eyeglasses, and swan boats. But the Kannon House does not face Shinobazu Pond nor any major road, so it’s not very visible. Which means they can’t expect many off-the-street visitors. There’s nothing much next to the museum either, except for a small hotel.
A museum like this should be closer to another museum or major kannon temple (Asakusa would be good) for better synergy. Too bad it can’t be next to the Shitamachi Museum that faces Shinobazu Pond. The museum should also have more space for a tourist information office and/or Shiga gift shop. Right now, it’s basically a standalone facility. The upcoming kannon exhibition at Geidai might give it a publicity boost, but the museum is limited to showing only one kannon statue at a time.
Shiga has Japan’s highest number of Kannon statues designated as National Important Cultural Properties (including a National Treasure). There are over 130 Kannon statues in Nagahama. It is not known for certain why northern Nagahama has so many beautiful Kannon statues. One theory says that it may be largely due to Mt. Kodakami-yama (己高山, 923 m) in Kinomoto that could be seen far and wide and became an object of worship (山岳信仰). Kodakami-yama’s main temple was a Kannon temple. Written records show that there were many temples dedicated to Kodakami-yama, and Kannon statues were made for them.
Well, let’s see how it goes. I’ll try to visit whenever I’m in Ueno. Concept-wise, I think it’s great for a Shiga city to have a presence in Tokyo. But location and synergy are very important. I hope this is the first step toward having a more substantial space in Tokyo to showcase Shiga’s best things. An exhibition space showing arts and crafts, gift shop for food and crafts, eatery to taste funza-zushi, and tourist information desk, all in one, right on the main drag somewhere.
Inconspicuous museum sign not at eye level.
Biwako Nagahama Kannon House
Hours: 10 am–6 pm Closed: Mondays (open if a national holiday and closed on Tue. instead), Dec. 29–Jan. 3, and during exhibition changes Admission: Free Nearest station: JR Ueno Station (Shinobazu Exit) and Keisei Ueno Station
Address: Ueno-no-Mori First Building 1st floor, Ueno 2-14-27, Taito-ku, Tokyo
東京都台東区上野2丁目14番27号 上野の森ファーストビル1階 Phone: 03-6806-0103 Website (in Japanese only): http://www.nagahama-kannon-house.jp/
The Nagahama Hikiyama Matsuri is a major float festival held in mid-April in Nagahama in northern Shiga Prefecture. The highlight is child kabuki actors performing on four ornate floats. On Dec. 1, 2016 (JST), it was inscribed as a UNESCO Intangible Cultural Heritage of Humanity as one of 33 “Yama, Hoko, and Yatai float festivals in Japan.” The festival is held near JR Nagahama Station on the JR Hokuriku Line.
Here is a schedule of major festival events in 2016 (times are approximate):
6:00 p.m. to around 8:30 p.m.: April 13 evening performance of child kabuki plays on four floats in their respective neighborhoods. This is their first public performance in full makeup and costume. In case of rain, certain floats might seek shelter inside the shopping arcade or in the Nagahama Hikiyama Museum’s extra storehouse for their performances. (十三日番)
10 a.m. to noon: Morning performance of child kabuki plays on four floats in their respective neighborhoods. (自町狂言)
Noon: The four floats are pulled (and pushed) from their neighborhoods to Nagahama Hachimangu Shrine (Noboriyama 登り山).
4:00 p.m.: The Naginata float arrives at the Otabisho rest place.
7:00 p.m.: Evening procession of child kabuki actors walking from Nagahama Hachimangu Shrine to Nagahama Hikiyama Museum through Otemon-dori shopping arcade. (Yu-watari 夕渡り)
April 15 (Main day)
8:30 a.m.: Arrival of child kabuki actors at Nagahama Hachimangu Shrine. (Asa-watari 朝渡り)
9:20 a.m.: Arrival of sword bearers at Nagahama Hachimangu Shrine. (Tachi-watari 太刀渡り)
9:35 a.m.: Opening ritual to mark the start of kabuki performances. (Okina-maneki 翁招き)
9:55 a.m.–10:40 a.m.: Performance of a child kabuki play on the first of four floats at Nagahama Hachimangu Shrine. 40 min. long. (Hono kyogen 奉納狂言)
11:10 a.m.–11:50 a.m.: Performance of child kabuki play on the second float at Nagahama Hachimangu Shrine.
12:20 a.m.–1:00 p.m.: Performance of child kabuki play on the third float at Nagahama Hachimangu Shrine.
1:30 p.m.–2:10 p.m.: Performance of child kabuki play on the fourth float at Nagahama Hachimangu Shrine.
*The order of the floats’ performances is decided on April 13 via the Kuji-tori ceremony (籤取り式の儀) where they draw lots to see which float is No. 1, 2, 3, or 4.
After performing at the shrine, each float will move across town along Otemon-dori road (shopping arcade, Kurokabe Square, etc.) to the Otabisho rest place. Along the way, they will stop and perform kabuki three more times with the last performance at the Otabisho starting at 7:40 p.m. Each float performs the same kabuki play each time.
9:30 p.m.: At the Otabisho rest place after all the floats finish performing, a short Shinto ceremony is held and the portable shrine in the Otabisho is taken out and carried back to Nagahama Hachimangu Shrine.
9:30 p.m.: The four floats start to leave the Otabisho to return to their neighborhoods.
Morning to evening: After-festival kabuki performances are given by the four floats once each in the morning, afternoon, and evening in their respective neighborhoods in central Nagahama. Each float’s final performance of the festival is called senshuraku (千秋楽). Expect to see some tearful kids and parents after the last show is over. (Goen kyogen 後宴狂言)