Yoshinori Kasai: Public History Surrounding Festivals

There is a wide range of things we imagine when we see or hear the word "matsuri" (festival). Often, we envision "matsuri" in terms of rituals or worship—acts with a ceremonial character for faith in or prayers to deities, Buddhas, or ancestors. These are frequently discussed alongside the word "tradition."

However, local events like summer festivals are also a type of festival in our minds, even if their religious or ritualistic character is not at the forefront and they do not necessarily have a long history. I personally feel no sense of incongruity when music festivals or Comiket (Comic Market) are referred to as festivals (saiten). On the other hand, politics—referred to as "matsurigoto" in Japanese—is likely not considered a festival in modern Japan.

In short, festivals are not necessarily limited to traditional or ritualistic things; the term generally seems to refer to events where people gather to enjoy or pray toward the same object.

Since the latter half of the 20th century, the decline of traditional events has constantly been viewed as a problem alongside the discourse of the "collapse of community."

One could also view the reappraisal of traditional events as a fundamental characteristic of modernization. For example, the term "reflexive modernity" is sometimes used in sociology. While arguments vary by theorist, if we take the position of Anthony Giddens as a representative example, it can be said that tradition is no longer an external social force that dictates norms to us, but has itself become an object of debate and change.

In other words, whereas tradition (and following it) previously guaranteed legitimacy, in reflexive modernity, questions arise as to why that tradition can guarantee legitimacy, or how tradition must change in order to guarantee some form of legitimacy.

In reality, however, the normativity of tradition is strong, and bringing about change involves responsibility and time, so not all traditions have been brought to the forefront for review. In that respect, the impact of the COVID-19 pandemic was significant. This is because the pandemic brought every form of social interaction involving the gathering of people and physical proximity onto the table for discussion without exception. Since even traditional events were not treated as sacred sanctuaries, all types of festivals mentioned earlier were exposed to debates over "how they should be" without exception.

Once it is decided that they are subjects for debate, the points of contention are not limited to physical distance. The important thing is that their status as "sacred sanctuaries" was revoked, and it was only natural that all sorts of topics—such as budgets, human rights, gender, and animal welfare—became points of contention.

By the way, while each festival has its own unique methods and prayers, they did not all emerge independently. When discussing festivals, we tend to lean toward the internal history of a specific festival. However, festivals also have the property of spreading horizontally.

Cases where imperial court rituals were transformed into folk events are well known, but even outside of that, it is natural to adopt methods from other cases if they are deemed good. In my research, "Sagicho" (Dondo) is an example that spread widely. Although not a festival itself, the existence of "Oshi" (low-ranking Shinto priests), who played a major role in the spread of "Ise-ko" (Ise pilgrimage associations), is also interesting. Even in modern examples like music festivals, they collectively create a sense of "music festival-ness" by mutually adopting good methods from one another.

Capturing this folk characteristic of imitating and modifying while cross-referencing other examples, I call it a "repertoire for a symbiotic society." Festivals also function as a repertoire for creating a space where many people can gather beyond their individual differences in values. This includes familiar modules such as "dashi" (floats), "hanabi" (fireworks), and "ennichi" (temple/shrine fairs).

Whether traditional or modern, the fact that the legitimacy of festivals has become a subject of debate can no longer be stopped. Because they are being debated, it is naturally possible for them to change or be cancelled. In such cases, it is certainly possible to frame the discussion around what should be protected, and it is undoubtedly important for experts to voice opinions from various standpoints.

However, as a researcher, I want to constantly ask what the festival means not just to experts, but to the stakeholders (local residents, enthusiasts, etc.) who are actually involved in that festival. Since festivals inherently possess a character that transcends individual values, how stakeholders position the festival also varies.

This year, I edited a book titled "Practicing Public History: Weaving Alternative and Polyphonic Histories" (Keio University Press, 2025). In the context of festivals, it is vital to go beyond expert criticism and discourse to listen to the polyphonic narratives of "what it actually meant to society" and to depict history accordingly.

While the disappearance of a festival itself can be a problem, it is a loss to society if the roles and functions that the festival has fulfilled are treated as if they never existed in history.