Introduction
Photo: 高岡御車山祭 (Google Maps)
With cries of “Wasshoi! Wasshoi!”, a mikoshi (portable shrine) parades through the streets as the deep beat of taiko drums reverberates in your chest. Enormous fireworks bloom across the summer night sky, and the circle of Bon Odori dancers turns slowly under the lantern light. Japanese festivals, known as matsuri, create an extraordinary world apart from everyday life, connecting the hearts of people across centuries.
It is said that over 30,000 festivals are still held across Japan every year. From cherry blossom festivals in spring to mikoshi processions in summer, harvest festivals in autumn, and fire festivals in winter, colorful celebrations unfold throughout the country across all four seasons. Among them, the three festivals collectively known as “Japan’s Three Great Festivals” — the Gion Matsuri in Kyoto, the Tenjin Matsuri in Osaka, and the Kanda Matsuri in Tokyo — each boast over 1,000 years of history and attract hundreds of thousands of visitors from Japan and abroad every year.
However, festivals are far more than mere revelry. They originally began as sacred rituals to welcome the gods and pray for bountiful harvests and freedom from illness. When parishioners carry a mikoshi through the streets, they are transporting the deity to purify the community. The floats (dashi) and danjiri that process through the streets serve as offerings to the gods and a grand welcome. To understand Japanese festivals deeply is to understand the Japanese relationship with nature, faith, and community.
This article provides a comprehensive guide covering the history and origins of Japanese festivals, their various types, detailed looks at the Three Great Festivals, famous festivals from across the nation, and essential etiquette for when you attend one yourself. Whether you are encountering Japanese festivals for the first time or wish to deepen your existing knowledge, we hope this guide proves invaluable. Please enjoy these cultural treasures that have been passed down through generations across Japan.
Many festivals are centered around Shinto shrines. For proper shrine etiquette and worship customs, please also refer to our detailed guide on how to visit and pray at a Japanese shrine. Having the right knowledge before attending a festival will make for a much richer experience.
What Are Japanese Festivals?
The Japanese word “matsuri” derives from the verb “matsuru,” which means both “to enshrine” (祀る) and “to offer” (奉る). “To enshrine” means to worship the gods, while “to offer” means to present offerings to the gods — revealing that Japanese festivals were originally religious acts devoted to the divine.
At its core, a matsuri is a form of communication between gods (or ancestral spirits and nature spirits) and human beings. People invite the gods, entertain them, express gratitude, and pray for continued blessings in the year ahead — this cycle of devotion lies at the heart of every festival. Since ancient times, the Japanese have held that gods dwell in all things in nature — mountains, rivers, seas, wind, and thunder — a worldview known as “yaoyorozu no kami” (eight million gods). This polytheistic perspective gave rise to the remarkable diversity of Japanese festivals.
In modern times, Japanese festivals retain their religious significance while also serving to strengthen community bonds, pass down cultural traditions and performing arts to future generations, and promote tourism and regional revitalization. On festival days, food stalls line the streets, and crowds of people enjoy shopping and eating their way through the festivities. Local residents feel a powerful sense of unity through the festival, while visitors from elsewhere revel in the extraordinary atmosphere. Even today, festivals remain one of the most powerful cultural mechanisms for bringing people together.
Japanese festivals share several key characteristics:
- Sacred nature: Rooted in offerings and prayers to the gods, centered on shrines and temples
- Regional identity: Each festival takes a unique form shaped by the local history, industry, and faith of its area
- Cyclical recurrence: Festivals repeat at the same time each year, following the agricultural or religious calendar
- Community participation: The entire community comes together to prepare, manage, and participate
- Artistic expression: Festivals feature a rich variety of performing arts including music, dance, theater, and crafts
According to the Agency for Cultural Affairs, more than 300 festivals and rituals in Japan have been designated as Important Intangible Folk Cultural Properties, and countless others are independently preserved and promoted by prefectural and municipal governments. Several Japanese festivals and traditional performing arts are also registered as UNESCO Intangible Cultural Heritage, affirming their value on the international stage.
History and Origins of Festivals
Agricultural Rituals and Sacred Origins
The origins of Japanese festivals are said to date back as far as the Jomon period. The Jomon people lived in harmony with nature’s abundance, sensing supernatural power (reiI) in natural phenomena such as mountains, rivers, seas, the earth, and the sun, and worshipping them through animistic beliefs. Numerous clay figurines (dogu) and ritual stone arrangements have been discovered at Jomon archaeological sites, suggesting that the act of “praying to the gods” existed even in this early era.
During the Yayoi period (approximately 300 BCE to 300 CE), wet-rice agriculture was introduced from the Asian continent, dramatically transforming the Japanese way of life. Rice cultivation is highly dependent on the seasons, and the cycle of spring planting, summer growth, and autumn harvest came to define the rhythm of daily life. Agricultural rituals praying for bountiful harvests and giving thanks for the bounty flourished during this era. Offerings to Ta no Kami (the god of the rice paddies), rain-making rituals, and mushiokuri (rituals to drive away crop-destroying insects) — all prototypical forms of festivals directly tied to farming — emerged during this period.
At Yayoi-period sites such as the Toro ruins in Shizuoka Prefecture and the Karako-Kagi ruins in Nara Prefecture, numerous dotaku (bronze bells) believed to have been used in rituals have been excavated. The dotaku feature depictions of farming, fishing, and hunting scenes, demonstrating the close link between agricultural rituals and festivals.
During the Kofun period (late 3rd to 7th century), powerful regional chiefs (gozoku) emerged, and the practice of enshrining ancestral spirits and clan deities — known as ujigami worship — developed. These chieftains used festivals to demonstrate their authority and legitimize their rule. At the same time, farming communities began holding festivals centered on the local guardian shrine (chinju no yashiro), in which all villagers participated. These gatherings became the prototypes for the regional festivals we know today.
Court Ceremonies of the Nara and Heian Periods
When the ritsuryo (legal code) state was established in the 7th century, festivals became incorporated into the national institutional framework. The Taiho Code enacted in 701 included the Jingiryou (Regulations on Deities), which codified the types, procedures, and responsible government offices (Jingikan) for state rituals. Court ceremonies such as Toshigoi no Matsuri (Harvest Prayer Festival), Tsukinami no Matsuri (Monthly Festival), and Niiname-sai (Harvest Thanksgiving Festival) have continued to the present day and are still presided over by the Emperor as imperial court events.
During the Nara period (710–794), Kasuga Taisha was founded (768) as the guardian shrine of the capital, Heijo-kyo, and the Kasuga Festival began. The Kasuga Festival continues today as a chokusai (a festival conducted in the Emperor’s name), held twice a year (March and November), and remains a fixture of Nara’s annual calendar. Todai-ji Temple’s Omizutori (Shunie) ceremony also originated in the Nara period. Held continuously since 752 without a single interruption, it is known as the “Inextinguishable Ceremony.”
The Heian period (794–1185) was an era of tremendous development for festivals, centered on the capital, Kyoto. As aristocratic culture flourished, artistic elements such as gagaku (court music) and bugaku (court dance) were incorporated into festivals, and magnificent processions emerged that captivated all who witnessed them. The first Goryo-e, held in 863, was a ritual conducted to pacify angry spirits believed to be the cause of epidemics. This Goryo-e evolved into what would later become the Gion Matsuri. The people of the Heian period used festivals as a spiritual means of coping with threats such as natural disasters, epidemics, and political upheaval.
The Kamo Festival (Aoi Matsuri) also held great significance during the Heian period. Dedicated to both Kamigamo Shrine and Shimogamo Shrine, the Aoi Matsuri commanded such supreme authority that the word “matsuri” alone was understood to refer to this particular festival. It is even depicted in Murasaki Shikibu’s “The Tale of Genji.” Today, the Aoi Matsuri is held every May and continues to enchant visitors as an elegant procession of participants clad in Heian-period court attire passes through the streets of Kyoto.
Edo-Period Merchant Culture and the Popularization of Festivals
Through the Kamakura and Muromachi periods and into the Edo period (1603–1868), festivals underwent a major transformation. Under the stable governance of the Tokugawa shogunate, the economy flourished, and a vibrant “chonin” (townspeople) culture emerged among merchants and artisans. Whereas festivals had previously been primarily shrine rituals and court events that common people could only watch from a distance, during the Edo period, townspeople became active protagonists in festival celebrations.
Edo’s festival ceremonies served as displays of authority for the shogunate’s capital. The Kanda Matsuri and Sanno Matsuri, known as “Tenka Matsuri” (Festivals of the Realm), were special festivals whose processions were permitted to enter Edo Castle itself. With the shogunate’s prestige behind them, gorgeously decorated floats paraded through the streets of Edo. Each neighborhood competed to outdo the others in adorning their floats, and these “float competitions” became fierce contests of pride and honor among the spirited Edoites.
In Osaka and Kyoto, too, townspeople cultivated their own vibrant festival cultures. At Kyoto’s Gion Matsuri, the lavish decorations of the “yamahoko” floats were updated every year, with wealthy Nishijin silk merchants pouring their fortunes into competing for the most splendid adornments. The decorative culture of the yamahoko — often called “mobile museums of art” — was a true symbol of the economic power and cultural sophistication of Kyoto as a merchant city. In Osaka, festivals featuring heavy wooden floats called “danjiri” became popular throughout the region, and a powerful, dynamic festival culture took root befitting the mercantile spirit of Osaka.
The Edo period also saw summer traditions still beloved today — Bon Odori and fireworks festivals — take root as part of popular culture. “Ryogoku no Hanabi” (Ryogoku Fireworks) is said to have begun in 1732 as a memorial for the many victims of the Kyoho Famine and accompanying epidemics, and it became the forerunner of today’s Sumida River Fireworks Festival.
Modern Festivals (Tourism and Regional Revitalization)
The wave of modernization during the Meiji era (1868–1912) had a profound impact on festivals. The Meiji government issued the Shinbutsu Bunri Rei (Order to Separate Shinto and Buddhism) in 1868, separating two religions that had long been intertwined. Many shrines and temples were affected, and some festivals were abolished or scaled back. On the other hand, shrines that were reorganized with government encouragement served as community hubs that continued festival traditions, and regional festivals were restructured in modern forms. Understanding the historical relationship between Shinto and Buddhism helps provide deeper insight into the evolution of festivals.
During the rapid economic growth of the Showa era (approximately 1955–1973), rural-to-urban migration weakened local communities, and many festivals faced the threat of decline or extinction. However, from the 1980s onward, festivals were reevaluated as cultural assets that preserve regional identity, and collaborative efforts among local governments, residents, and the tourism industry to preserve and promote them gained momentum.
Today, Japan’s major festivals are important content for domestic tourism, and festival experiences are also highly popular for attracting international visitors (inbound tourism). In 2016, UNESCO registered 33 festivals nationwide collectively as Intangible Cultural Heritage under “Yama, Hoko, Yatai, float festivals,” affirming the global value of Japanese festival culture. Festivals play an increasingly important role as tools for regional revitalization and attracting new residents, with communities across the country — even those facing depopulation — working to draw people in by keeping their festivals alive.
Types of Japanese Festivals
Mikoshi Festivals (Carrying a Portable Shrine for the Deity)
A mikoshi is a vehicle used to transport the spirit of a deity during festivals. As the kanji characters suggest — “kami” (god) and “koshi” (palanquin) — it is literally a “divine palanquin” and is treated as a sacred object. Typically made of a wooden base with a roof, mikoshi are lavishly decorated with gold, silver, and lacquer, and many are crowned with a phoenix (houou) ornament at the top.
The history of the mikoshi dates back to the Nara period. In 749, when the deity of Usa Hachiman Shrine in Buzen Province (present-day Oita and eastern Fukuoka prefectures) traveled to Nara for the eye-opening ceremony of Todai-ji Temple’s Great Buddha, a palanquin was built to carry the divine spirit — and this is considered the origin of the mikoshi. The concept of temporarily relocating the place where a god resides spread throughout the country, and mikoshi were adopted into shrine festivals nationwide.
A defining feature of mikoshi processions is the bearers shaking the mikoshi while chanting calls like “Wasshoi!” and “Soiya!” The act of shaking is believed to “activate the deity’s power” and “bring joy to the god.” The mikoshi parades through the ujiko district (the area whose residents worship the shrine’s patron deity), purifying the land and using the deity’s power to drive away evil spirits.
Mikoshi come in all sizes, from small ones carried by children to massive ones weighing several tons that require dozens of bearers. At Asakusa Shrine’s Sanja Matsuri, three large mikoshi parading through the streets of Asakusa create a breathtaking spectacle, drawing over 500,000 spectators each year. For more details, see our article on Asakusa Shrine and the Sanja Matsuri.
Dashi and Danjiri Float Festivals
Dashi (also called yama) are large, elaborately decorated vehicles that are pulled or carried through the streets during festivals. While the mikoshi is a vehicle “for transporting the deity,” the dashi tends to function more as a “stage for entertaining and welcoming the god.” Dashi are often used for dedicating performing arts such as kagura (sacred music and dance) to the gods, with music, dance, and puppet performances staged on or around them.
The form of dashi varies greatly by region. The yamahoko floats featured in Kyoto’s Gion Matsuri are towering structures over 20 meters tall, adorned with magnificent textiles and nicknamed “mobile museums of art.” The karakuri dashi of Gifu’s Takayama Festival feature intricately mechanized puppets — masterpieces showcasing the pinnacle of Edo-period craftsmanship. At the Chichibu Night Festival in Saitama, the dramatic sight of floats being hauled up steep slopes is the main attraction.
The term “danjiri” is used primarily in the Kansai region, particularly in Osaka and Hyogo prefectures, referring to heavy wooden floats that young men haul through the streets with tremendous energy. The Kishiwada Danjiri Festival in Kishiwada City, Osaka is especially famous — the breathtaking “yarimawashi” technique, in which teams pull multi-ton danjiri around corners at full speed, is a sight that leaves spectators gasping. Held every September, the festival draws over 200,000 visitors and ranks among the Kansai region’s premier festivals.
Bon Odori and Awa Odori
Bon Odori is a dance tradition performed during Obon (around the 15th day of the seventh lunar month, now mainly August 13–16). Obon is the period when ancestral spirits are believed to return to the world of the living, and Bon Odori was originally performed to comfort and honor those spirits. Participants typically form a circle and dance to the rhythm of ondo (folk songs) and taiko drums — and the dance is welcoming enough that anyone can join in without special skills.
The origins of Bon Odori are traced to the “Nenbutsu Odori” (Buddhist chanting dance) of the Muromachi period. It is said to have begun when disciples of Honen, founder of the Jodo (Pure Land) sect, chanted the nenbutsu while dancing. This religious dance, linked to the Pure Land belief in salvation through the compassion of Amida Buddha, spread throughout the country. During the Edo period, it became established as a popular form of entertainment, and each region developed its own distinctive songs, dances, and costumes.
Awa Odori is a type of Bon Odori from Tokushima Prefecture (the former Awa Province), but it stands in a class of its own in terms of scale and distinctiveness. The “Tokushima Awa Odori,” held annually from August 12 to 15, is one of Japan’s largest dance festivals, drawing over 1.3 million participants and spectators combined. Groups called “ren” dance through the streets to the rhythm of shamisen, taiko, and flutes playing a melody known as “Yoshikono.” Reserved seats sell out quickly, and watching the dance from a premium viewing area is an exceptional experience.
Tokyo’s Koenji Awa Odori is the largest Awa Odori in the Kanto region, held annually in late August. Inheriting the style of the original Tokushima festival while developing its own unique character, the Koenji Awa Odori has a history of over 50 years and draws more than one million spectators.
Fireworks Festivals (Hanabi Taikai)
Fireworks festivals are one of the quintessential summer events in Japan. Held primarily in July and August at locations across the country, the colorful fireworks illuminating the night sky are an iconic symbol of the Japanese summer, known both domestically and internationally.
The history of Japanese fireworks dates back to the Edo period. In 1733 (Kyoho 18), the “Ryogoku Kawabiraki Hanabi” held on the Sumida River was launched to console the spirits of those who perished in the previous year’s Great Famine and epidemic, and to pray for the banishment of disease. Since then, fireworks festivals have been passed down as events carrying the deeper significance of “repose for the dead and prayer” beyond mere entertainment.
Japanese fireworks artisans are regarded as among the finest in the world. From warimono — large spherical fireworks that burst into perfect circles — to starmines (rapid-fire fireworks) and modern computer-controlled musically synchronized displays, the range of artistic expression is immense. Events like the Nagaoka Fireworks and the Omagari National Fireworks Competition are especially revered by fireworks enthusiasts as competitions that push the art form to its highest level.
The Three Great Fireworks Festivals of Japan are generally considered to be the National Fireworks Competition (Omagari no Hanabi) in Daisen City, Akita Prefecture; the Tsuchiura National Fireworks Competition in Tsuchiura City, Ibaraki Prefecture; and the Nagaoka Festival Grand Fireworks in Nagaoka City, Niigata Prefecture. All three are competitive fireworks events where pyrotechnicians from across the nation compete to showcase the pinnacle of their craft.
Japan’s Three Great Festivals
Gion Matsuri (Kyoto, Yasaka Shrine)
The Gion Matsuri is the festival of Yasaka Shrine in Higashiyama Ward, Kyoto, and takes place over the entire month of July, from the 1st through the 31st, making it one of Japan’s largest-scale festivals. It is frequently listed at the top of both “Japan’s Three Great Festivals” and “Kyoto’s Three Great Festivals” (alongside the Aoi Matsuri and Jidai Matsuri), and attracts enormous numbers of visitors from Japan and abroad. In 2016, it was registered as a UNESCO Intangible Cultural Heritage as part of the “Yama, Hoko, Yatai, float festivals.”
History and Origins
The origins of the Gion Matsuri date back to 869 (Jogan 11). At the time, epidemics were raging across the country, and people feared they were caused by the wrath of Gozu Tenno (the Ox-Head Heavenly King). In response, 66 hoko (halberds) — one for each province in Japan at the time — were erected, and prayers for relief from the pestilence were offered to the deity of Gion (Gozu Tenno, now identified as Susanoo no Mikoto). This event was called the “Gion Goryo-e” and became established as a major religious ceremony in Kyoto throughout the Heian period.
From 970 (Tenroku 1), it has been held every July, continuing for over 1,000 years with almost no interruption (it was suspended for about 33 years during the Onin War, 1467–1477). An urban festival with such a long continuous history is rare anywhere in the world, and this continuity is a key reason for its recognition as a World Heritage and Intangible Cultural Heritage site.
Yamahoko Procession
The highlight of the Gion Matsuri is the “Yamahoko Junko” (float procession) on July 17 and 24. On the 17th (Saki Matsuri, or preceding festival), 23 yamahoko floats parade through central Kyoto around the Shijo-Karasuma area; on the 24th (Ato Matsuri, or latter festival), 11 floats follow suit.
The yamahoko are broadly divided into “hoko” (halberd floats) and “yama” (mountain floats). Hoko are massive floats with towering halberd pillars reaching 20 to 25 meters in height, atop which live gagaku (court music) is performed. The most important among them is the Naginata Hoko, which leads the procession, with a chigo (sacred child) seated at the top holding a naginata (halberd). This chigo is treated as a divine messenger before the procession and is even forbidden from touching the ground.
The yamahoko decorations include “keso-hin” — exquisite textiles and craft works. Belgian and Indian tapestries, Chinese embroideries, and other treasures that tell the story of Kyoto’s historic trade with the world are still in use today, which is why these floats are called “mobile museums of art.”
The Festive Atmosphere of Yoiyama
On the evenings before the yamahoko procession — July 14–16 (Saki Matsuri Yoiyama) and July 21–23 (Ato Matsuri Yoiyama) — each yamahoko neighborhood displays its float and lights paper lanterns. These “Yoiyama” evenings, when Kyoto’s old town is illuminated by the enchanting glow of the yamahoko lanterns, are among the festival’s greatest highlights. The pedestrianized Shijo-dori and Karasuma-dori streets are lined with food stalls, and the scene of people strolling in yukata captures the quintessential summer landscape of Kyoto.
Shinko-sai and Kanko-sai
On July 17, three mikoshi from Yasaka Shrine are carried through the heart of the Gion Matsuri area in the Shinko-sai (Divine Procession). The mikoshi are then enshrined at an otabisho (temporary resting place), and on July 24, they are returned to Yasaka Shrine in the Kanko-sai (Return Procession). If the yamahoko procession represents the “spectacle” of the Gion Matsuri, the Shinko-sai and Kanko-sai embody the festival’s religious essence.
Tenjin Matsuri (Osaka, Osaka Tenmangu Shrine)
The Tenjin Matsuri is the summer festival of Osaka Tenmangu Shrine in Kita Ward, Osaka, held annually on July 24 and 25. Counted among Japan’s Three Great Festivals, it is also famous as one of Japan’s Three Great Boat Festivals (Funa-shinji). On July 25, the “Funatogyo” (boat procession) takes place on the Okawa River (formerly the Yodo River), with dozens of boats — including the goshinsen carrying the mikoshi — creating a spectacular scene on the water. Combined with the dedicatory fireworks launched from the boats, the festival captivates over one million spectators lining the riverbanks, making it Osaka’s grandest celebration.
Tenmangu and Sugawara no Michizane
The Tenjin Matsuri is deeply connected to the founding of Osaka Tenmangu Shrine, which is said to have been established in 951 (Tenryaku 5). The enshrined deity is Sugawara no Michizane, revered as the god of learning. Among the approximately 12,000 Tenmangu and Tenjin shrines across Japan, Osaka Tenmangu ranks among the most important, alongside Kitano Tenmangu in Kyoto, with exceptional prestige.
Sugawara no Michizane was a Heian-period politician and scholar who was exiled to Dazaifu (Fukuoka Prefecture) due to false accusations and died there in 903. After his death, a series of calamities in Kyoto — lightning strikes, epidemics, and the successive deaths of prominent political figures — were feared to be caused by Michizane’s vengeful spirit. His spirit was enshrined as “Tenman Daijizai Tenjin,” which became the origin of the Tenmangu shrines. Today, Michizane is widely worshipped as the “god of learning” by students preparing for entrance exams, but the shrine was originally founded to pacify a vengeful spirit.
Festival Program
The Tenjin Matsuri begins on July 24 with the “Yoimiya” (eve festival). Kagura (sacred music and dance) and moyooshi-daiko (ceremonial drum) performances are dedicated, and the shrine grounds bustle with worshippers. The climax comes on July 25, the “Honmiya” (main festival day), when the “Rikutogyo” (land procession) and “Funatogyo” (boat procession) take place in the afternoon.
The Rikutogyo is a grand procession of over 3,000 participants marching from Osaka Tenmangu toward the Hokonagashi Bridge. With gagaku music playing, the solemn procession of mikoshi, kasa-hoko (umbrella floats), shishi (lion dancers), and hakucho (attendants in white) evokes the elegance of a Heian-era picture scroll.
The Funatogyo is the ritual in which the procession, having reached the Hokonagashi Bridge during the land procession, crosses the Okawa River by boat to reach the otabisho. As evening falls, lanterns aboard the boats and along the riverbanks are lit one after another, creating a dreamlike scene. At the climax, dedicatory fireworks are launched into the sky, and the sight of enormous fireworks and lantern light reflected on the water’s surface is truly the supreme moment of Osaka’s summer.
Kanda Matsuri (Tokyo, Kanda Myojin Shrine)
The Kanda Matsuri is the festival of Kanda Myojin (Kanda Shrine) in Chiyoda Ward, Tokyo, held once every two years (in odd-numbered years in May). With a history of receiving the patronage of the Tokugawa shogunate as one of the Tenka Matsuri, the “hon-matsuri” (main festival) years feature a grand Shinko-sai procession of mikoshi, floats, and attendants passing before Edo Castle (now the Imperial Palace). Alongside the Sanno Matsuri, it is known as one of “Edo’s Two Great Festivals” and remains Tokyo’s largest festival, drawing over 500,000 visitors annually.
Kanda Myojin and Its Enshrined Deities
Kanda Myojin is an ancient shrine said to have been founded in 730 (Tenpyo 2), relocated to its current site in Chiyoda Ward’s Sotokanda in 1616 (Genna 2). Its three enshrined deities are Onamuchi no Mikoto (also known as Okuninushi, or Daikoku-sama), Sukunahikona no Mikoto (also known as Ebisu-sama), and Taira no Masakado no Mikoto. Notably, Taira no Masakado was a warrior who led a rebellion against the imperial court before the Edo period, and his spirit was enshrined at Kanda Myojin to be pacified. To this day, many believe that Masakado’s spirit “protects Tokyo,” and a wide area including Kanda, Akihabara, and Otemachi falls within Kanda Myojin’s parish.
History of the Kanda Matsuri
The origins of the Kanda Matsuri are debated, but one account holds that on the eve of the Battle of Sekigahara in 1600 (Keicho 5), Tokugawa Ieyasu prayed at Kanda Myojin and, in gratitude for his subsequent victory, held a grand festival — which became the basis for the festival’s current form. During the heyday of the Tokugawa shogunate, it was honored as a “Tenka Matsuri” with the privilege of being viewed by the shogun, and lavish floats were built with the shogunate’s financial support. The splendor of these floats was hailed as “the finest in the realm,” as each of Edo’s neighborhoods competed to create the most magnificent display.
The Modern Kanda Matsuri
Today, the main highlights of the Kanda Matsuri are the Shinko-sai and the Mikoshi Miyairi. During the Shinko-sai, the horen (imperial palanquins) and mikoshi carrying Kanda Myojin’s three deities parade through the shrine’s parish areas — Kanda, Nihonbashi, Akihabara, and Otemachi — over two days. Although the procession can no longer pass through Edo Castle, the sight of a mikoshi procession moving through Otemachi, the very heart of Japan’s business district, evokes the spirit of the Edo-era Tenka Matsuri.
On the Mikoshi Miyairi day, the spectacular sight of over 200 neighborhood mikoshi entering Kanda Myojin one after another can be witnessed. In some years, over 500 mikoshi are said to participate, making it an unparalleled mikoshi gathering by national standards. The image of mikoshi processing with Tokyo Skytree and high-rise buildings as a backdrop symbolizes the fusion of ancient Edo tradition with modern Tokyo.
Famous Festivals Across Japan
Nebuta Festival (Aomori)
With the distinctive chant of “Rassera! Rassera!”, enormous illuminated lantern floats called “nebuta” — depicting warriors, kabuki characters, and other dramatic figures — parade through the nighttime streets of Aomori. The Aomori Nebuta Festival, held annually from August 2 to 7, is one of the Tohoku Three Great Festivals and a signature event of the Tohoku summer festival season. Over the course of the event, more than three million people visit — far exceeding the population of Aomori City itself (approximately 270,000).
The origins of the nebuta are debated. Some say it evolved from “Nemuri Nagashi” — a custom of placing drowsiness and laziness from the busy farming season into effigies and floating them down rivers or into the sea. Others trace it to Nara-period Tanabata traditions (lantern floating). There is also a legend that Sakanoue no Tamuramaro used large figures to lure enemies during his military campaigns against the Emishi people.
Modern nebuta are massive float-type lanterns reaching up to 5 meters in height and 9 meters in width. Built on steel frames covered with Japanese washi paper and lit from within by electric bulbs, these fantastically glowing creations are made by craftsmen called “nebuta-shi” over the course of an entire year. Nebuta-shi are artists who combine traditional techniques with modern artistic sensibility, competing to showcase their skills annually. Around the nebuta, dancers called “haneto” leap and dance to the jingling of bells, energizing the crowds along the route. Anyone wearing the haneto costume can join in, allowing tourists to become part of the festival.
Sendai Tanabata Festival
The Sendai Tanabata Festival is held annually from August 6 to 8 in Sendai City, Miyagi Prefecture, and is Japan’s largest and most lavish Tanabata (Star Festival) celebration. Over 3,000 Tanabata streamers are hung throughout the city’s central shopping arcades, and the display is so magnificent that it has earned the title “Tohoku’s Greatest Tanabata.” Annual attendance exceeds two million visitors, and it is one of the Tohoku Three Great Festivals (alongside the Aomori Nebuta and the Akita Kanto).
The history of Sendai Tanabata dates back to the era of Date Masamune (1567–1636), founder of the Sendai domain, who is said to have encouraged his subjects to observe the Tanabata tradition. The lavish form of the decorations as we know them today took shape from the Meiji era onward, becoming increasingly elaborate from the Taisho through early Showa periods as part of shopping arcade promotions.
Sendai Tanabata decorations are composed of seven types of ornaments called “Nanatsu Kazari” (Seven Decorations), each carrying a specific meaning: tanzaku (strips for academic and calligraphic achievement), fukinagashi (streamers representing Orihime’s weaving thread, for artistic skill), orizuru (paper cranes for longevity and health), kinchaku (purses for prosperity and frugality), toami (fishing nets for safe seas and bountiful catches), kuzukago (waste baskets for cleanliness and purity of heart), and kamigoromo (paper kimonos for skill in sewing and weaving). All seven are hung from a single bamboo pole. The fukinagashi streamers are especially elaborate, with artisan-crafted decorations using generous amounts of washi paper and chirimen (crepe fabric) that are works of art in their own right.
Hakata Dontaku
The Hakata Dontaku Port Festival (commonly known as Hakata Dontaku) is held annually on May 3 and 4 in Fukuoka City, and boasts the highest spectator turnout of any festival in Japan. Over two million people attend over the two-day period, earning it the title of “Japan’s Number One Festival” in sheer attendance. The turnout exceeds the total population of Fukuoka City itself (approximately 1.63 million).
The name “Dontaku” is said to derive from the Dutch word “Zondag” (meaning Sunday or holiday), a word that entered Japan through Nagasaki during the Edo period and took root in Hakata. The festival’s history traces back to 1179 (Jisho 3), when Hakata merchants began a New Year’s Matsubayashi (pine music) procession. From the Meiji era onward, it became known as “Hakata Dontaku.” It was temporarily suspended during wartime but was revived in 1962 and has since become an indispensable herald of spring in Fukuoka.
The most distinctive features of Hakata Dontaku are the “Hana Jidosha” (flower cars) and the “Dontaku Parade.” Hana Jidosha are vehicles and floats lavishly decorated with artificial flowers, and the sight of these colorful creations driving through the city is an iconic Hakata Dontaku scene. In the Dontaku Parade, costumed dancers and musicians parade through a wide area of the city, enlivening the streets with performances on shamisen, taiko, and kane (hand bells).
How to Enjoy Festivals and Essential Etiquette
To truly enjoy Japanese festivals, it is important to familiarize yourself with some basic etiquette and customs. Remember that festivals are not merely tourist events but traditional celebrations rooted in the faith and daily lives of local communities.
What to Wear
For summer festivals, wearing a yukata (lightweight cotton kimono) is highly recommended. A yukata offers both summer comfort and an authentic Japanese feel, and can be easily rented from yukata rental shops near tourist areas. However, if you plan to carry a mikoshi, the standard attire is a happi coat, hachimaki (headband), momohiki (traditional leggings), and jikatabi (split-toed shoes), which you will need to arrange in advance through the local mikoshi preservation group or bearer association.
Etiquette Near Mikoshi and Floats
A mikoshi is a sacred vehicle that carries a deity. Touching it without permission — let alone climbing on it — is strictly forbidden. Avoid any behavior that could obstruct the bearers, such as suddenly running into the road. The same applies to dashi and danjiri floats: follow the instructions of marshals and watch from a safe distance. The danjiri “yarimawashi” technique in particular is thrilling but also carries real danger.
Photography Etiquette
Photography at festivals is generally permitted, but please follow the rules during solemn ritual moments (such as the enshrining of the deity’s spirit in the mikoshi or priestly prayers). Flash photography may be prohibited in certain situations. Also, avoid actions that inconvenience others, such as setting up a tripod without permission or pushing ahead of other spectators.
Food Stall Etiquette
Eating while strolling through festival food stalls is one of the great pleasures, but please be considerate of others in crowded areas. Always dispose of trash in designated bins or take it home with you. Public intoxication and rowdy behavior from drinking are, of course, unacceptable.
Dealing with Crowds
Major festivals like the Three Great Festivals and large fireworks events draw extremely heavy crowds. Check official websites in advance for venue information, transportation access, schedules, and traffic restrictions. Be vigilant about heatstroke, getting separated from companions, and accidents in dense crowds, and make sure you are in good physical condition before attending. Remember that local festivals are organized and run by community members, so approach as a guest with respect and humility.
To enjoy both the sacred and the entertaining aspects of festivals, we recommend learning shrine worship etiquette and customs in advance. Knowing proper customs — such as offering a prayer at the shrine where the mikoshi rests during its procession — often leads to warm interactions with local residents.
At festival venues lined with yokocho (alleyways) and food stalls, you can also experience the charm of Japan’s unique yokocho culture. Festivals and food culture are closely linked, and many festivals feature stalls serving the region’s signature dishes.
Conclusion
Japanese festivals are living cultural heritage, originating in the agricultural rituals of the Jomon and Yayoi periods, developing through the court ceremonies of the Nara and Heian periods, and popularized through the merchant culture of the Edo period — maintaining an unbroken legacy of over 1,000 years. At their core, they are spaces where gratitude and prayer to the gods nurture community bonds and bring together the very essence of Japanese culture — art, craftsmanship, music, and dance.
From Japan’s Three Great Festivals — the Gion Matsuri in Kyoto, the Tenjin Matsuri in Osaka, and the Kanda Matsuri in Tokyo — to the Aomori Nebuta, Sendai Tanabata, and Hakata Dontaku, festivals across the country embody the history and pride of their communities. We encourage you to visit in person and experience the passion and weight of tradition with all five senses. To know festivals is to know Japan and the heart of the Japanese people.
For those who wish to deepen their understanding of the connection between shrines and festivals, our article on the differences between Shinto and Buddhism is also a valuable resource. Understanding Japan’s religious landscape will make the meaning of festivals all the richer.
