Shinto and Sexuality: A gift of life

With the recent ban on adult content on Tumblr, it has given way to a lot of discussion about adult content online and what is or isn’t acceptable. Legitimate issues were brought up in how violence is more normalized than intimacy and sexuality, and how the bans would affect sex workers and nsfw artists greatly – Tumblr, one of the last safe mainstream social media platforms that could ensure an income and audience base is now also being ripped out from under them. I feel this is not right and even a dangerous and irresponsible decision to make. Instead of relying on bots and algorithms to moderate between adult content and all-ages content, they should hire a dedicated moderation team, and proper safety features into the site to protect minors, but also while not censoring adult content creators and their adult consumers. There were ways that worked before that do not require a site-wide ban.

Unfortunately, this issue branches from a much larger issue of bans across the internet based on how society views these topics. In many modern societies today, and even in the past, sexuality is often viewed as something very taboo or forbidden. It is something only for the minds of adults, and even then, only married adults in a strict setting with only certain positions being “acceptable”. In this, there is a high sense of rigidity, shame, and hiding in sexuality.

I do not agree with this and feel this viewpoint is very wrong. Nudity and sexuality itself should not be viewed as shameful or wrong, because there is nothing inherently wrong about them. We are all born naked, and the action of sex itself is what creates life. Why can we show and talk about gory murders in detail with a degree of normalcy, but when there is a non-explicit sex scene, it is somehow more scandalous, forbidden, and dirty? I feel strongly instead it should be something understood as beautiful, and definitely should not be seen as a taboo action, especially comparing to a gruesome murder.
Learning about sexuality, and being comfortable about nudity is something I feel should be more open to explore for people of all ages, and work to remove the stigma surrounding sex and nudity.

That being said, I do strongly feel minors should be protected from eroticism, that is, something inherently intended to be erotic and presented in an erotic nature. I feel that eroticism is a more advanced area of sexuality that should be kept in adult spheres only and explored by adults only. It’s important to let kids be kids and understand about their sexuality in a healthy and educational way, but leave erotic content for 18 and older. That isn’t to say eroticism is what is taboo, wrong, dirty and should be hidden, but should be explored in an open, healthy, and safe way only once someone matures into an adult.

In relation to that, on the topic of showing a “female-presenting nipple” as Tumblr called it in their guidelines, such as a topless woman just lounging as a topless man would in a non-erotic way, or a breastfeeding woman, is not erotic nor should be seen as such. I personally feel non-erotic nudity and sexual educational content should not be censored at all, and erotic content can be accessed by adults-only without banning it entirely. The fact there is no understanding between these differences in content, nor any care to understand between them, and just labeling anything relating to sexuality as wrong, dirty, taboo, and forbidden to be banned – leads to many issues and shame surrounding our bodies and our understanding of sex, sexual attraction, and sexual desire.

This is such a harmful and unhealthy view in our society that is being enforced by this censorship online, and in addition has very real detriments to people’s livelihood. It affects sex workers, and erotic nsfw (not safe for work) artists livelihood and ability to survive; and removes access to a safe community. In extreme cases, it is pushing sex workers into dangerous communities where their lives can be at danger either by trafficking or murder. Censorship, banning, lack of education, and hiding these topics away also leads to other broader issues that harm people greatly. Such as sexual abuse, transmission of STI’s (Sexually Transmitted Infections), unexpected pregnancies, body image issues, self-esteem issues, and more. I feel strongly we must work toward being more open to educate about sex, sexuality, and our nude bodies with no shame. And for the adult sphere, adults also need to understand exploring eroticism, and erotic content in itself, is not taboo, shameful, or wrong. Understanding that those who are sex workers or nsfw artists are not inherently deviant perverts or bad people – after all, there are plenty of clients who request their services. This isn’t something wrong or dirty. It’s a part of the human experience, and again, nothing is inherently wrong, bad, or evil about it.

This is a large part of why I practice and why I love Konkokyo Shinto – sex and our bodies is not seen as something wrong, bad, or shameful. It’s a part of nature, it is an action that is one way to bring pleasure, to express love deeply, as well as the action that creates life itself. It is something that brings love, pleasure, joy, and life. Exploring our own bodies and sexuality consensually with others helps us to understand ourselves better and helps us to learn to love and treat ourselves and each other well. Within Shinto as a whole, this is expressed in various myths and other shrine traditions too.

I’ll start from one of the oldest myths, the first and most direct example of this belief and view – the creation of the islands of Japan, and the myriads of kami which populate the world. The traditional myth goes that after the first generations of kami were born from the divine universe’s energy, the last generation born this way was Izanagi Okami and Izanami Okami, who were also the very first kami who got married.

A famous line in this myth is when Izanagi Okami points out he has something “extra” but Izanami Okami has something “less”, so he suggests something good may happen if the extra part he had would compliment the part she did not have. And thus, the two kami are said to have discovered sex.

Because of this discovery, the two kami were able to create many children, which were both the islands of Japan, and the millions of kami that inhabit the islands. In this sense, sex is viewed in an extremely respected and positive light. Without that action, nothing would exist. And indeed, even for us as humans, without the action of sex, we could never continue on in our survival as a species. It is viewed as a highly sacred, but also very natural and beautiful action. There are even sacred Kagura dances that recreate this event via an implied (not erotic or explicit, as it is a public dance where minors also attend) way between Izanagi Okami and Izanami Okami, and it is not seen as wrong or perverted.

 

Izanagi Okami and Izanami Okami

Source

Next, the following myths are famous ones, wherein a “female-presenting nipple” (a pair of them) in fact saved the world, twice.

In the first myth, in summary, the sun goddess Amaterasu Omikami had hidden in the cave Ama no Iwato due to immense grief. Because of her isolation and neglect of her responsibilities – providing sunlight and management of Earth’s cycles – the world began to spiral into decay and chaos. The other kami came together to come up with a plan to entice her out. Prayers were chanted, divinations were done, beautiful treasures were offered, but nothing worked until Ame no Uzume no Mikoto, a goddess of the dawn, dance, femininity, womanhood, and more, danced and danced.
The atmosphere remained gloomy, but Ame no Uzume no Mikoto remained cheerful, and eventually, exposed her breasts freely. Because she unashamedly, happily exposed her breasts for all of the kami to see, they burst out in joy and even laughter at seeing Ame no Uzume no Mikoto’s ecstasy and freedom amidst the gloomy atmosphere. It was because of the joy, happiness, and pleasure the exposure of her breasts brought, that Amaterasu Omikami finally peeked out of the cave, which led to her being pulled out and restoring light to the world. All thanks to Ame no Uzume no Mikoto’s breasts, and, “female-presenting nipples”

Hardly something to consider shameful, bad, or wrong. In fact, if she had kept them hidden, according to the myth, we may not have the Earth as we know it today, or even survived at all.

The second myth is when, in summary, the Heavenly kami (Amatsukami) were going down to the Earthly realm to rule. In some myths, Sarutahiko Okami came out to greet them, and then married Ame no Uzume no Mikoto upon seeing her beauty, thus joining the Heavenly kami and Earhtly kami (Kunitsukami) as one clan of kami. However, there is another, more critical version of the myth. Where Sarutahiko Okami came to stop the Amatsukami from coming to Earth. No other Amatsukami could defeat him, and they were stuck on what to do in their desire to come toward the Earth. So, they began to consider a war against the Kunitsukami. That is, until Ame no Uzume no Mikoto again took the stage, and approached Sarutahiko Okami by herself, and bravely, unashamedly…exposed her breasts to him.

Needless to say, all thoughts of war dropped from anyone’s head, and the only thought left for Sarutahiko Okami was to ask Ame no Uzume no Mikoto to be his wife, to which she happily accepted, and united the Amatsukami and Kunitsukami kami. In this sense, she saved the world once again, from a world-breaking war between the Amatsukami and Kunitsukami, instead, uniting them.

In this sense, the form of breasts are what once again, restored balance, and protected all life. Ame no Uzume no Mikoto freely showing the beautiful natural form of her naked body is what brought these blessings of joy, life, protection, restoration, happiness, and peace. I feel like we should learn from her and these myths, that when we feel comfortable and confident, and not ashamed of our natural selves, there can be much more happiness spread.

 

800px-Uzume_Sarutahiko_ningyo_kuniyoshi

Ame no Uzume no Mikoto and Sarutahiko Okami

Source

Of course, not ignoring the modern sensibilities, I understand the importance of modesty in the general sense of being in public – however when there is the double standard of shirtless “male-presenting nipples” being fine, but shirtless (non-erotic) images of “female-presenting nipples” are somehow seen as taboo or inherently wrong to be banned or even illegal in some cases, this should be re-examined.

Especially when one considers breastfeeding, and a non-erotic context as a general whole. Tumblr’s rule of “no female-presenting nipples” was one of the most ridiculous sentences I’ve ever read in my life. What makes a “female-presenting” nipple wrong and banned, but a “male-presenting” nipple alright? Why is a natural feature of a nude body with extra fat tissue to be banned, but one without isn’t? I know the reason, of course, I know society’s general viewpoint. However what I am saying is – we should sincerely reconsider this, and re-examine our values and beliefs on this particular matter strongly, as this sense of shame and restriction can be very harmful and feed into a larger problem of an unhealthy and skewed view toward sexuality, nudity, and eroticism.

In relation to Ame no Uzume no Mikoto, in the ancient era, miko (female shamans), who Ame no Uzume no Mikoto is the protective goddess of, used to practice sacred sex work in the ancient era. There were even intimate rituals between a miko and her kami. Miko never needed to be virgins, and while even in the modern era the sexual practices of miko are no longer, and the role is only one of a shrine attendant and offering sacred dance to kami, they still do not need to be virgins. The concept of virginity has no real significance or even importance in Shinto.

The next example that is quite famous in Shinto is Kanamara Matsuri. The matsuri (festival) has a big reputation overseas for it’s images of large penises, penis shaped candy, and imagery everywhere. Many foreigners believe this to be a part of the “weird, perverted, wacky” side of Japan – but it’s not. All matsuri are inherently fun and joyful – it’s a festival after all! But there is a very real sincerity behind it. This festival is to pray and celebrate fertility, life, sexual health, and the prevention and curing of STI’s. It’s not just a “wacky penis festival” but something very important for both sexual health and reproduction for couples, as well as general sex between consenting adults and safe practices. In addition, the shrine that hosts the festival, Kanayama Shrine, was famous in the past as frequented by sex workers to protect against STI’s in their field of work, and that carries on into the modern day too. Kanamara Matsuri isn’t the only festival to feature penis imagery, and usually the ones that do always have the same themes: fertility, sexual health, sexual virility, safety, curing and protection of STI’s and so forth. There are other shrines with similar themes too, for example, some Inari shrines in Kyoto with similar imagery, and are also prayed to by sex workers for their protection and healing of STI’s.

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Kanamara Matsuri parade
source

In the same manner as the above, in my tradition, Konkokyo Shinto, sex workers pray to Tenchi Kane no Kami-sama for protection and healing, and sex is not viewed negatively. There are many sex-positive teachings, and how nature and even faith itself reflects it. For example, how the sky is viewed like a father kami and the earth is like a mother kami, where the rain that falls from the sky fertilizes the earth to create life – implying in the same imagery as with humans. And that to practice faith single-heartedly evokes the same feeling as when one has sex with their partner, especially if they want to conceive. They are totally focused in the moment, and don’t think of anything else but single-heartedness and love to their partner. I also know of priests who used to be sex workers, and of course many if not the majority of priests and priestesses are sex-positive, and are married with children of their own.

 

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the sky and the earth
Source

Unfortunately, this beauty of Shinto and it’s healthy relationship with nudity, sexuality and sex positivity as a natural and beautiful thing is covered with a dark cloud from modern Japanese society, beginning with the Meiji reformations in 1868 and getting worse over time. Sex as a shameful, hidden, taboo thing has trickled and spread deep into the mainstream society here.

In pre-Meiji era, nudity, sexuality, and eroticism were much more open. Shunga art is the most popular example of this pre-Meiji era openness, and some of this is still seen today in the cases of onsen, or hot springs, where one bathes naked in a public sphere with strangers. However, the positive and healthy views were unfortunately lost. In particular, a whole esteemed and open culture of sex workers was completely destroyed by the Meiji reformation. What was once a highly respected, legal, safe line of work, with a whole esteemed culture surrounding it, was completely decimated. Oiran, who were entertainers of the arts and sex workers, and yuujo, who focused on sex work, were held in high regard. An especially respected and professional oiran or yuujo were named as “tayuu”, a rank which means “best in their art” and were treated very well.

Unfortunately, all that had gone away, and it is now very dangerous for sex workers in Japan, with a lot of challenges. Especially for Japanese professionals in community-based fields, such as being a priestess like myself, society as a whole views any mention of openness about sex or sexual relations, especially in the context of work, as extremely negative and even something to be publicly shamed about.

One doesn’t need to look any further than common news of celebrities or public figures sex life being exposed as a scandal, as if it’s something they should never be let known. It is even more dangerous for sex workers, especially since the anti-prostitution law from 1956. Horrifically, the law states that being a sex worker is a crime, but those who seek their services are not committing a crime. There are loopholes and ways for sex workers to work relatively safely, such as working in an intimacy job that does not promise intercourse, but eventually can lead to it. Thereby being legal by receiving payment for intimacy; whereas receiving payment for intercourse itself would be illegal.

However, while there are ways around it, it’s still a hostile environment, with workers having to not stay at once place for too long. In addition, much more so as Japanese society is very much about saving face and having an external image, knowledge one is a sex worker can make them the target of extreme bullying, harassment, violence, and losing their non sex work source of livelihood /line of work, despite there being many consumers of erotic content and even gravure books openly on shelves in convenience stores. It is quite cruel and hypocritical.

If, for example, I chose to be a sex worker and a priestess at the same time, I would have to keep it completely hidden and private due to the stigma in Japanese society. While there would be absolutely no issue in Konkokyo Shinto as a shrine tradition if I was open about being a sex worker at the same time as being a priestess; there would be a massive issue from the viewpoint of society as a whole, with hostility, mistrust, harassment, and even threats against me and even the shrine itself – in some cases even on grounds of being threatening or dangerous to children, minors, and families who visit the shrine. It is really a difficult and upsetting situation. Not even only for my line of work, but often the same with teachers and educators and any line of work that would involve interaction with families and minors.

I can only wish that Japan returns to it’s roots and view of nudity, sexuality, and eroticism in alignment with Shinto. That it is not seen as something wrong, bad, or dirty – but something to be celebrated, to be honored, to be prayed to the kami for assistance with – and most of all, something normal. Something a part of life. Acknowledgment that without it, we would not be here.

And, most of all, I hope Shinto can teach this around the world. That we don’t need to view these topics in such a negative light. That it can be open, it can be healthy and moderated, and explored in a positive way. This recent decision of social media sites sets us back that much further. And feeds into that negative stigma which harms so many. But I think it’s important to keep pushing back, to educate, and to remove stigma.

 

Total Solar Eclipse and Ama no Iwato

As the Total Solar Eclipse was a great event taking place across North America, I thought it would be the perfect time to write about the solar eclipse, and what it means in Shinto traditions – especially in regard to the famous Ama no Iwato myth. While it is unknown the true event associated with Ama no Iwato, it is said popularily it represents a solar eclipse – however when one studies further, a more significant connection would be to the Winter Solstice. However, indeed, solar eclipses would have most likely been significant as well, especially in relation to a recall of Ama no Iwato.

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https://www.theguardian.com/science/video/2012/nov/14/solar-eclipse-australia-video

(Solar eclipse)

The myth of Ama no Iwato is centered around the Amatsukami – Heavenly kami – originally worshiped by the Yayoi people. The era in which their culture flourished and was most active is traditionally dated about 300 BC to 300 AD, called the Yayoi era (Yayoi Jidai ćŒ„ç”Ÿæ™‚ä»Ł). It is from this time the Yayoi people and culture shared and practiced an early type of Amatsukami worship, the spiritual tales they told immortalized today in the Kojiki. While the Kojiki was written much later, in 712 AD, there is archaeological evidence and oral tradition that these myths are much older, dating to the Yayoi, who had no writing system. So, to understand fully about this spiritual story of Ama no Iwato, and the significance an eclipse would be to them, we must talk a bit about them first.

The Yayoi people were the first to bring worship of Amatsukami to the land what we now call as Japan.
An easiest example to show the connection, as pictured below, one can clearly see the connection even in the modern era – the architecture of Ise Kotaijinguu, Amaterasu Omikami’s primary shrine in the country, still retains the ancient architecture of the Yayoi people, and Yayoi settlements. (See below for comparison)

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https://japanandworld.net/archives/2267
(Yayoi Settlement)

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https://tapluan.wordpress.com/category/kien-truc/
(Aerial view of Ise Kotaijinguu – Naiku)

The primary Amatsukami – Amaterasu Omikami (the Sun), Tsukuyomi no Mikoto (the Moon), and Susanoo no Mikoto (storms – as well as wind, ocean, and also connected to stars). Were and are considered the Three Precious Children (Mihashira no Uzu no Miko 侉èȎ歐).

The importance of the Sun, Moon, stars, rain, ocean, and wind – and their spirits/souls, the kami, played an important part of Yayoi worship. Amaterasu Omikami being the most important to them – as she was said to be the kami who gave them life, warmth, growth, and livelihood, as well giving leadership guidance to the Yayoi leaders ( considered royalty, and were also oracles/shamans), who were usually women as well.

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http://image1.shopserve.jp/manai.co.jp/pic-labo/llimg/p_sankishi.jpg
(Three precious children modern depiction)

Now with all this in mind, many of the Yayoi’s traditions line up to the Kojiki stories of the Amatsukami. The Yayoi held the symbols of the mirror, sword, and magatama jewel in utmost respect as symbols of Amaterasu Omikami – a tradition still held today.

Common Yayoi practices, such as divination using the shoulder bone of a deer (Futomani), silk weaving, rice farming, channeling the divine via dance (miko), and so on, can all be seen reflected in the myths – especially in the Ama no Iwato myth, all these elements appear. This is why, it is important to understand the background and context of the Yayoi, to catch the nuances and importance of this myth.

I’ll retell an excerpt of Ama no Iwato below, with some parts cut out in order of relevance

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http://yoshitakaabe.blogspot.jp/2017/04/blog-post_72.html
(Depiction of Ama no Iwato myth)

Susanoo no Mikoto, having neglected his duties as a kami due to sadness over Izanami Okami’s death, was banished from Takamagahara (realm of the Heavenly kami, Amatsukami). Distraught, he went directly to Amaterasu Omikami’s palace, in order to (seemingly) seek guidance to his elder sister.

(Story of the Divine Oath)
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However, while it seemed Susanoo no Mikoto had a good and pure heart, while he stayed in the palace, he committed very rude acts. In his anger and sadness, he decimated the sacred rice paddy, the farmland, and threw excrement all over the palace. The other Amatsukami were enraged and asked Amaterasu Omikami for an explanation.

She tried to defend him, saying that he was suffering through a lot of difficult emotions, and the Amatsukami begrudgingly accepted her words. She spoke to Susanoo no Mikoto afterwards, and while it was quiet for a time, he seemed to have planned and even bigger transgression.

In Amaterasu Omikami’s palace, her younger sister, Wakahirume no Mikoto, was the leader of the weaving maiden kamis. She is said to be a kami of the dawn, or dusk, as well as weaving, silk production, clothing making, and related aspects. (Enshrined at Ikuta Jinja in Kobe).

As Wakahirume no Mikoto was weaving silk, Susanoo no Mikoto hid on the roof of the weaving palace. He held a skinned divine pony, and threw it harshly, crashing through the wooden/delicate roof, and landing on top of Wakahirume no Mikoto. The impact had her fall directly onto her loom with such force, that pieces of it pierced her pelvis, and she is said to have died right away. (However, later her spirit is said to have revived).

The other weaving maidens, and now Amaterasu Omikami, who had rushed in hearing the screams and crashed, saw horrific things – a skinned divine pony (said to may have been Amaterasu Omikami’s own pony, which is why a white sacred horse is still presented to Naiku/Inner Shrine at Ise), ruined silk and looms (considered sacred to Amaterasu Omikami, and still offered to her at Ise Kotaijinguu), and most critically, seeing her younger sister dead.

Completely numbed and in shock, she broke down and ran with adrenaline to a cave, which we now call as the sacred Ama no Iwato, and shut herself inside.

Of course, with this, the light also disappeared, and the other Amatsukami were thrown into a panic. The weaving maidens quickly told them about the incident, and, after swiftly punishing Susanoo no Mikoto by pulling out his nails, cutting his hair and beard, and exiling him to the land of Kunitsukami, Izumo no Kuni, they began to work how to get her out of the cave.

They consulted Omoikane no Mikoto, a kami of knowledge and wisdom, to see what to do. As they made camp by the Yasu River near Ama no Iwato, he came up with a plan to call sacred and pure energy so she would want to come out, and delegated tasks to the other Amatsukami.

To Ame no Uzume no Mikoto, he suggested she do a divine dance, to call sacred energy.

To Ame no Koyane, he suggested that he write a norito prayer

To Ame no Futodama, he suggested to do the the Futomani divination with the shoulder bone of a deer (a sacred animal to Yayoi) to find out if the plan will be successful or not.

To Ishikoridome no Mikoto, he suggested she make a large mirror (now known as Yata no Kagami) so she can see her own reflection

To Tamanoya no Mikoto, he suggested they make many magatama (now known as Yasakani no magatama) to hang on the sakaki branch alongside the mirror. 


Amaterasu Omikami is said to have been fond of magatama ever since the magatama necklace, Mikuratana no Kami, was given by her Father, Izanagi Okami, as a symbol to be the ruler of Takamagahara. 

They also collected divine roosters, hoping their call would call her out (as roosters caw when the sun rises).


After Ame no Futodama confirmed the plan would succeed through divination, the kami began to implement everything.

It seemed to be going well, but despite the chanting of norito, and Ame no Uzume preparing a divine dance, there still seemed to be no sign of it working. All the Amatsukami were nervous.

Then, Ame no Uzume no Mikoto, the goddess of the sunrise, began to do something different. She overturned a washtub laying by the river, took sakaki and other branches and flowers in her hair and hands, and exposed her breasts. Instead of a solemn ritual to call down divine energy, she began to cheerfully and excitedly dance, and laugh, and make lots of noise stepping on the washtub and shaking the leaves.

The Amatsukami, all suddenly shocked by her actions, couldn’t help but release from their tension in laughter. Once they began laughing, they couldn’t stop, and Ame no Uzume no Mikoto was encouraged and began to do more and more exciting things, making the Amatsukami more and more cheerful and laughing.

At the same time, the roosters began to call, and Ame no Koyane began chanting the norito more loudly.

Amaterasu Omikami, surprised at all the sounds and noises, was shocked out of her sadness and depression for a moment. She peeked a little from the cave, and called out, “What is happening?” and Ame no Uzume no Mikoto cheerfully replied, “There’s a new goddess here! And she’s way better than you!” Amaterasu Omikami, shocked and confused, peeked more, whereupon she saw her reflection in Yata no Kagami.

While she was dazzled having never seen her reflection, her depression had come back, “Oh, it seems it’s true, she is much better”. In this moment of remorse however, was the Amatsukami’s chance. Omoikane no Mikoto called Ame no Tajikarao, the strongest of the Amatsukami, to quickly grab her out from the cave. As he did, Ame no Futodama quickly sealed the cave,said to be with shimenawa, so she could not enter again.

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https://commons.wikimedia.org/wiki/File:AmanoiwatoCave.jpg

Thus, light was restored, and cheerfully the peace among the Amatsukami and Takamagahara was restored.

(What happened to Susanoo no Mikoto? He has a happy ending too, but for next time!)

From this myth, we can see important elements of Yayoi culture, such as rice paddies, farms, horses, silk weaving, and most importantly, life – all decimated. All these things would be considered very harsh transgressions against the head kami of the Yayoi people, and the people themselves. The traditional spiritual practices to commune with the kami at the time, such as Futomani, and divine dance, were credited to restoring peace, sunlight, and order. It can be gleaned that whenever transgressions against the kami happened, people reconnected to them via the leader’s and their court spiritual communication with the kami to restore peace and balance.

The Ama no Iwato myth itself, as mentioned, is more associated with the Winter Solstice, especially if one considers the torii leading to Uji Bridge (Ujibashi) at Ise Kotaijinguu. This torii is the very first one that is seen before entering the sacred realm of the Inner shrine (Naiku). The way the torii is built aligns to the sun rising directly inside the torii on the Winter Solstice day. As Ise Kotaijinguu was founded by Yamatohime no Mikoto, from the Yayoi/Yamato Kingdom, and still retains Yayoi traditions throughout thousands of years, there is a connection the Winter Solstice time was a more significant event to the Yayoi (longest night of the year).

However, despite this, the time of solar eclipses relates to this myth as well albeit in a more abstract manner.  The Yayoi most likely also made the connection between Ama no Iwato, the Winter solstice, and eclipses – all times when the sun’s light is less, or in the case of an eclipse, slowly taken away and completely blotted out for a few minutes.

Remembering that Ama no Iwato happened due to severe transgressions – even by the divine – private rituals by the leaders, public ceremonies with the people, and extra food offerings were most likely done in order to keep the sun’s light shining – to keep balance, peace, and harmony among their deities and their people.

While Ama no Iwato itself may not have been an eclipse story – the eclipse would have certainly reminded them of the myth, and to be humble and continue a proper way of living. It would have had a strong impact on them, just as it still does on us as humanity as a whole, even after thousands of years and scientific knowledge, we are still in awe at the power of great nature, and the power of the sun.

What Are Konkokyo and Shinto?

You might be wondering – what is Kami? Konkokyo? Shinto?

These terms are all a part of the spiritual traditions I practice, which originate in Japan. Please allow me to introduce you to and talk about the Way of Kami in this blog.


Kami (焞) (lit. Deity) is the term for the deities of Japan in it’s simplest form. However, kami is a term I feel is truly unable to be translated into English. It is a term that is not only for deities – but also the universe itself, ancestral spirits, the natural forces of the world, and even people, who can also be kami. What truly defines the word kami is “an essence that has powerful qualities, which evokes awe and reverence.”

In both Shinto and Konkokyo, to practice these two traditions means to live the “Way of Kami” – in other words – in harmony, respect, and awe to the universe, with nature, with all that is around us, and all that one lives in and interacts with, including one’s own self. Everything, even inanimate things, are seen all as being alive, and in profound interconnection with each other. For those who practice both or either traditions, they must respect and uphold this deep interconnection.

Now you may be wondering – if they have the same core of living the Way of Kami, then why is it both Shinto and Konkokyo, and not just only Shinto or only Konkokyo?

The answer to this question lies at the Meiji Restoration of Japan in 1868. Japan before that time only practiced one form of spirituality called Shinbutsu Shugo. It was a syncretic
and mixed practice of the ancient Japanese spiritual worship, which in the Asuka period was defined as Shinto (焞道(lit. “Way of the Kami”) to distinguish it from Buddhism, the arriving new religion of that time and the other component of Shinbutsu Shugo. Overtime, Shinto and Buddhism went hand-in-hand, hence the phrase Shinbutsu Shugo (lit. “Syncretism of Kami and Buddhas”).

In that practice, many different kami and buddhas were revered, and many local kami or new kami which were known by oracles, or through other spiritual rituals, were worshiped. Konkokyo’s origins are from this time. In this sense, Konkokyo retained the original concepts of Shinto in the broad and ancient sense as a way of day to day living with kami as described above. The deity of Konkokyo practice, Tenchi Kane no Kami, was one such deity found by spiritual practices and experiences. The deity by this name has no formal recording in the Kojiki (one of the chief scriptures of Shinto), though it should be noted there are interpretations which compared Tenchi Kane no Kami with Ame no Minakanushi no Kami, as they are both kami which are identified with the essence of the universe, universal energy, and the laws of nature.

Despite this, unfortunately at the time of the Meiji Reformation, strict laws were imposed on the spirituality of Japan. Shinto and Buddhism were strictly separated and clearly defined. And what was
once an ancient spiritual practice – Shinto, became a state religion, known as State Shinto.

With the arrival of this State Shinto, Amaterasu Omikami, who is known as the solar kami and ruler of the celestial heavens, was required to be worshiped as the highest ranked deity. As well, only the kami in the Kojiki were allowed to be worshiped – not even Buddhism could be practiced as freely as before. As a result, Buddhist temples began to be shut down and be separated from shrines.

For Konkokyo, since Tenchi Kane no Kami was not a deity formally in the Kojiki, the faith had to be classified as “Sectarian Shinto” to survive, and received the legal name and descriptor for the sect – Konko-kyo (é‡‘ć…‰æ•™) meaning “The teaching of the golden light” (Based off the character 金Kane, meaning gold, in Tenchi Kane no Kami’s name ïŒˆć€©ćœ°é‡‘äčƒç„žïŒ‰, or “Golden Kami of the Universe”).1

After World War II, State Shinto reformed into Jinja (“Shrine”) Shinto. Most Shinto shrines today are led by Jinja Honcho, or the Association of Shinto Shrines, which manages the precepts and traditions of Jinja Shinto. It mixes ancient traditions and rituals with concepts from more modern understandings and guidelines.

When the term “Shinto” is used in the English speaking world, it is usually referring to Jinja Shinto specifically – not the true sense of “Way of Kami”, which encompasses a broader spiritual way of
living, more so than a religion or set of beliefs.

Konkokyo, as a result of having the same Shinto roots and traditions, follows very similar rituals to Jinja Shinto. However, Konkokyo keeps its name and status as Sectarian Shinto (as well as its independence too), for Jinja Shinto still heavily stresses to followers the importance of honoring and revering Amaterasu Omikami as the highest deity, and obtaining Jingutaima, a vessel which is used so Amaterasu Omikami is able to be worshiped at home shrines.

In Konkokyo, there is a focus on Tenchi Kane no Kami especially, but the founder of Konkokyo—in other words the one who began worship of Tenchi Kane no Kami—taught one should be free to honor the deity closest to them with a sincere and single heart – the ranking of kami as highest or lowest is not believed in – instead, it is believed all kami are all a part of great nature and the universe equally. One cannot exist without the other, everything must live in harmony and balance.

There is also no unlucky/lucky directions, ages, or pure/impure spaces like in Jinja Shinto practice, because it is believed everything in the universe is sacred and pure.

There is no distinction between pure or impure spaces or a direction one goes, as everywhere is part of the universe, unlucky age is seen more as the age one will have to contribute more to society, or a great spiritual change. There are sacred spaces, which means areas with particular high sacred energy, or a place where many kami dwell. But it is not that non-sacred spaces are impure, either.

Konkokyo also has a unique practice called Toritsugi which means mediation. In Konkokyo, Toritsugi is a spiritual practice for people to establish a communication link between themselves and Tenchi Kane no Kami.

It can be a request to resolve a problem, or a word of thanks. In Toritsugi, after the visitor says everything they have wanted to say, the minister relays the visitor’s words to Tenchi Kane No Kami. Tenchi Kane no Kami then replies their message to the minister, who will then relay it back to the person. By understanding the message of Tenchi Kane No Kami’s teachings and advice, the visitor can receive guidance to their issues, or feel relieved from anxieties knowing the deity has heard their words.

Toritsugi can help the person put a problem into perspective and find solutions from within their own hearts. Tenchi Kane No Kami asks people to understand their teachings, thus to make people become aware of their relationship with the universe and the ways of the universe. When they meet people who are suffering, the Konkokyo way is to listen to their problems, support them, and pray for their well-being and happiness.

In essence, those are the main areas in why there is a difference between Konkokyo and Shinto, or more accurately, Jinja Shinto. Konkokyo is Shinto in the sense of “Way of Kami” – but not Shinto as the term for Jinja Shinto beliefs and concepts.

However, with all this being said, one does not need to choose between the two. Nor is there any much thought given to the distinction in day to day living. One can be both Konkokyo and Jinja Shinto at the same time. One can follow or worship Tenchi Kane no Kami, while also believe in an unlucky age or participate in other shrines’ ceremonies. It’s not so strict, with only a few differences in views and interpretations, and ultimately there is not a segregation.

Sometimes Konkokyo priests assist in Jinja Shinto ceremonies, and vice versa. Therefore, the best thing about Japanese spirituality is how open and broad it is. One does not need to choose or force themselves only one way. I find it very welcoming and beautiful.

And so, with this introduction, I hope you have gained some insight into Shinto and Konkokyo. Please look forward to future posts explaining more in detail, as well as special articles about hidden nuances of Shinto, it’s history, and about sacred items and garments you may see! Thank you very much! I’ll strive to do my best.


1To show more clearly –

  • Konkokyo ïŒˆé‡‘ć…‰æ•™ïŒ‰:
    • Kon 金 – Gold; the usual pronunciation is kane
    • Ko ïŒˆć…‰ïŒ‰ – Light
    • Kyo 教 – Teaching; kyo is a suffix meaning “teaching”. Another example is the Japanese word for Buddhism Bu-kyo 仏 — 教 (lit. “Teaching of the Buddha”)
  • Tenchi (or “heaven and earth,” “the universe”) ïŒˆć€©ćœ°ïŒ‰:
    • Ten ïŒˆć€©ïŒ‰ – Heaven
    • Chi ïŒˆćœ°ïŒ‰ – Earth
  • No äčƒïŒ‰ – formal form of ïŒˆăźïŒ‰, meaning “of”
  • Kami 焞 – Spirit/Deity

Tamagushi: What is it, and how to offer it

Here is a short and simple article explaining tamagushi. There is more theories to their origins, and etmology theories to the word, however, what I wanted to explain here is the essence of tamagushi and it’s present meaning.

Tamagushi (玉äžČ, translated as jewel skewer is an ancient offering to Kami-sama, it is usually a sakaki tree branch, or at times when there is no sakaki availible, an evergreen branch such as cedar, and shide (zigzag strip of white rice paper) on top attached to  the leaves. There can be larger and more elaborate tamagushi, with red and white cloth, and asa (sacred hemp fibres) tied in a ribbon on the top as well alongisde two shide.

 

image

Tamagushi

What is the meaning and symbolism of tamagushi?

Tamagushi represents our sincere hearts and spirits, which we offer to Kami-sama. The evergreen (traditionally sakaki) represents the eternal nature of our spirits and hearts, and our connection to nature/the natural world, the physical world. Sakaki, and other evergreen trees (commonly cedar, cypress – especially hinoki) is also seen as a purifying tree. The shide itself represents energy and spirit, the spiritual side of our world. Shide is commonly understood to look like lightning, which is like energy/connection to Kami-sama. Thus, it is also reflective of our own divine sparks, our spirits and connection to the spiritual world.  The white of the paper as well also represents purify. 

If Asa (sacred hemp fibre) and red and white cloth are also tied onto the tamagushi, they represent dressing our hearts and spirits formally to be offered sincerely to Kami-sama. Asa is commonly used to tie offerings together, and offered as sacred fibre as well. Cloth is also seen as sacred, and a precious material from the blessings of both the heavens (sun, rain, moon) and Earth (soil, growth, seasons, etc.)

 

image

Tamagushi with asa fiber ribbon and dual shide

So we have both physical and spiritual, together as a symbol of our hearts and spirits in tamagushi. 

The action of offering as well is important, 

When we offer tamagushi, we hold the sakaki branch with the leaves resting on our left palm, and pinching the stem in our right hand. We walk up to the offering area, and bow, raising the tamagushi to our foreheads forward.

Going back upright, we turn the tamagushi stem to our hearts, and leaves to Kami-sama. Then we turn the branch once more to the left,  and then forward, so the stem will face Kami-sama, and the leaves face us. Then, we place the tamagushi on the hassouku/an/offering table, bow once more, do hairei (clap to Kami-sama) and then bow deeply again. We return to our seats after offering.

What does this action mean? It’s the symbolic action of turning the tamagushi to our hearts and spirit energy, then directing it to Kami-sama to offer. The hairei clapping is to call Kami-sama’s attention towards our offering and heart. 

If you ever have a chance to offer tamagushi during ceremony, now you know the meaning! 

image

Sacred Items Series: Kagura suzu

In Japanese spiritual practices, such as Shinto, Jinja Shinto, Konkokyo, Onmyoudou, and more – there are various sacred and ritual items used.
You may have seen photos of them, or if you are lucky, have been able to see them in person at a shrine, temple, or other place of worship.

Have you ever wondered what the meanings, or origins of them were? Or their purpose? Well, look no further! With these series of articles, I hope to help educate all about these sacred items.

So let’s get started! The first entry I will do is about Kagura suzu


 

Item name: Kagura Suzu
English translation: Deity Entertainment (Kagura) Bells (Suzu)
Japanese original: 焞愜鈎  
Â ç„žæ„œïŒˆă‘ăă‚‰, Kagura, Deity-Entertainment鈎 Â ïŒˆă™ăš, Suzu, Bells

 


This is Kagura suzu. They are a special ritual tool. They are not used in home worship, or at the kamidana. Usually, they are being used by a priest during ceremony – especially shrines which enshrine Ame no Uzume no Mikoto, or most commonly, by miko Original: ć·«ć„ł English: shrine maidens) during offering the Kagura ritual dance. Hence, why they are “Kagura bells”.

Kagura, Kagura suzu, and miko are all very deeply connected to Ame no Uzume no Mikoto, which is why as mentioned they are often used in ceremony at her shrines dedicated to her, or shrines that enshrine her as a secondary kami.

 

Taki Katei
Ame no Uzume
Japan (1866)

Source

 


Origin of Kagura Suzu: The Myth 

For the spiritual origin of the bells, we have to go back to the myths. 
In the Kojiki, there is a myth that the sun kami/goddess, Amaterasu Omikami, hid in the cave Ama no Iwato and by doing so brought darkness to the world, after her brother Susanoo no Mikoto did many horrible things to her. The other kami were stuck as to what they should do. Eventually, a plan was hatched and Ame no Uzume no Mikoto was called to the task to cheer up all the other kami who were despairing from the incident.

So what did she do? Ame no Uzume no Mikoto overturned a washtub, got on top of it, then took a branch of the sakaki tree in one hand, and began to dance ecstatically, even famously revealing herself to the amusement of the other kami. With all the cheering and laughing, Amaterasu Omikami was too curious as to why they were celebrating without her. When she peeked, another deity of strength, Ame no Tajikarao, pulled her out from the cave, restoring light to the world. It was all thanks to Ame no Uzume no Mikoto’s cheerful dance and the happiness she brought.

 

Source

 


Key aspects: the branch and the dance

This dance Ame no Uzume no Mikoto did is the origin of the Kagura dance, as well as the role of miko,  the women who perform this offering dance at shrines to this day. It should be noted she is also the guardian deity of miko.

As well, her taking the branch in her hand during the dance is the original, ancient form of the bells, now used in Kagura.

It is said the reason why Ame no Uzume no Mikoto took a branch was influence from Jomon era rituals in Japan.

In the Early to Late Jomon era (4000 BCE to 300 BCE), the Jomon shamans were also said to use sakaki branches, or sometimes juniper branches (which are still used in some Shinto ceremonies to this day), in rituals to call to the deities. 

If we look at the shape of the Kagura suzu, it is modeled after a branch – the bells being the leaves, or seeds on the branch.

 


But why change it to bells? Why not keep the branch?

Well, the sound a branch would make with it’s leaves, it becomes enhanced sound as bells. As well, in Shinto tradition, bells also have a long history as an item which calls to the kami – such as the bell one can ring to pray in front of a shrine before clapping.

 In this sense, the Kagura suzu  fulfill the role of the item it was originally based off of to call the kami, in an enhanced way, and as well becomes a ritual instrument for the kagura offering dance.

 

Source

 




Anatomy of Kagura Suzu


The basic shape and size of Kagura suzu is explained by the branch of sakaki or juniper, but how about the colors, and other aspects?

15 Bells: 3 at the top, 5 in the middle, 7 at the bottom

Every Kagura suzu has 15 bells, no matter it’s size. It always has 3 bells at the top, 5 in the middle, and 7 in the bottom. These numbers may seem familiar, if one knows about Shichigosan, or 7-5-3 ceremony for children. These numbers for Shichigosan, as well as Kagura suzu, come from influence of East Asian numerology, which states odd numbers, especially 3, 5, and 7, are very auspicious/lucky numbers.

 Gold was a precious material and color used for an important or beautiful item, and red for the handle is a color that brings good health, and wards off illnesses and other negative energy – giving the image of vibrancy and energy.

 

The crest: Hanabishi and Kiku

It may be hard to tell in the above photo, but at the base is various flower designs – most notably at the very center a Kiku (Chrysanthemum) and Hanabishi crest.

In Japan, crests, emblems or “mon”  (箋) have been used to identify clan and families since the ancient era to this day. Both the Kiku crest (Chysanthemum), and  Hanabishi crest, are associated with the Imperial line, and thus, Amaterasu Omikami. The Kiku crest is relatively more modern (from the 13th century) and not always used for Amaterasu Omikami –  but the Hanabishi is more ancient, and deeply connected to her since then, and her shrines.

The Hanabishi originated from Empress Jingu –  it was first present on her tatenashi armor (tatenashi means “shieldless”. On a normal armor, there was a tiny shield to cover the heart and front shoulder, but her tatenashi armor didn’t have it). The Hanabishi on her armor is the oldest example and origin of the crest, so it has been associated with the Imperial line, and subsequently, Amaterasu Omikami since then. 

If you are familiar with the Takeda clan most famously from the Sengoku period, they used the Hanabishi, and their famous diamond crest was based off of the Hanabishi as well. This is because the Tatenashi armor was passed down to the clan from Minamoto no Yoshimitsu (descendant of Emperor Seiwa), the progenitor of the Takeda clan.

 

Left to right: Hanabishi, Takeda, Imperial Chrysanthemum (Kiku)

But – this begs the question: why is a crest so close to  Amaterasu Omikami on bells that are so tied to Ame no Uzume no Mikoto?

Usually, every shrine has their own crest, tied to the kami enshrined, or the family who established the shrine. However, in Jinja Shinto, all shrines are under the jurisdiction of The Association of Shinto Shrines (Jinja Honcho). 

They are required to offer Jingutaima (An Ofuda, or vessel in which the kami can alight during prayer, for Amaterasu Omikami) for a suggested donation, in which parishioners can recieve to worship Amaterasu Omikami at home. By this, all Jinja Shinto shrines are inherently connected to Amaterasu Omikami, and must pay the highest respects and reverence to her. 

Because of this connection, and because it would be difficult to custom order Kagura suzu with a specific shrine’s crest, all modern Kagura suzu have the two crests associated with Amaterasu Omikami, and her main shrine, Ise Jingu, so they can be usable across all Jinja Shinto shrines and ceremonies.

 

 


The Silk Ribbons: Purple, White, Red, Yellow, and Green

Attached to Kagura suzu, you will see a colourful stream following elegantly behind. Why is this attached – and what do these colours mean?

Always made from silk ( a precious material ), these are the Five Sacred Colours in Shinto. You will see these colours appear many times in sacred items in Shinto and other Japanese spiritual practices. They represent:

  • The Five Aspects of the Soul
  • The Five Directions

In other words, it symbolically represents that the power of these Kagura suzu touches all aspects of our soul, and resounds throughout the Universe.

But – which color and meaning is which?

Purple: North Direction. It corresponds to Aramitama, the rough or violent, aggressive aspect of our souls.

White: West Direction. It corresponds to the Nigimitama, the kind, gentle, goodness of our souls.

Red: South Direction. It corresponds to the Sachimitama, one of the two  aspects of the soul that gives blessings. (the other is Kushimitama)

Yellow: Solar Center (think of solar system). Origin of Life. It corresponds to the core, our soul in and of itself. 

Green: East Direction. It corresponds to Kushimitama,  one of the two aspects of the soul that gives blessings. (the other is Sachimitama)

 

 


And there you have it! I hope you have enjoyed reading and learning about Kagura suzu. Please look forward to more information about sacred items in the future! And if you have any questions, please feel free to email livingwithkami@gmail.com