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 assume something with a ritualistic character for faith or prayer toward deities, Buddhas, or ancestors—represented by terms like saishi or hosai. These are frequently discussed alongside the word "tradition."

However, local events like summer festivals, while not necessarily having a long history or a prominent religious/ritual character, are also a type of festival in our minds. Music festivals and Comiket (Comic Market) also cause no sense of incongruity for the author when referred to as festivals (matsuri). On the other hand, politics—referred to as "matsurigoto" in archaic 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 re-evaluation 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 providing us with norms, but has itself become an object of debate and change.

In other words, while 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 openly challenged and reviewed. In that regard, the impact of the COVID-19 pandemic was significant. This is because the pandemic brought every form of social interaction involving gatherings 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 extend beyond physical distance. What is important is that their status as "sacred sanctuaries" was revoked, making it natural for all sorts of topics—such as budgets, human rights, gender, and animal welfare—to become points of dispute.

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 possess the quality of spreading horizontally.

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

Capturing this folk characteristic of imitating and modifying while cross-referencing other examples, the author calls this a "repertoire for a symbiotic society." Festivals also function as a repertoire for creating spaces where many people can gather beyond individual differences in values. This includes familiar modules such as "dashi" (floats), "fireworks," and "ennichi" (temple/shrine fair days).

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 argument around what should be protected, and it is undoubtedly important for experts to voice opinions from various standpoints.

However, the author wishes to constantly question the meaning that festivals hold, not just for experts, but for the stakeholders (local residents, enthusiasts, etc.) who are actually involved in those festivals. 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 descriptions to listen to the polyphonic narratives of "what it actually meant for society" and to depict history accordingly.

While the disappearance of a festival itself can be a problem, it is a loss for society if the roles and functions that the festival has fulfilled are erased from history.