Kagura

[1] Once strictly a ceremonial art derived from kamigakari (神懸, "oracular divinification"), kagura has evolved in many directions over the span of more than a millennium.

Today, it is very much a living tradition, with rituals tied to the rhythms of the agricultural calendar, thriving primarily in parts of Shimane Prefecture, and urban centers such as Hiroshima.

During mai, the female shaman, surrounded by a group of priests, holds a gohei (a ceremonial wand used to cleanse or purify) as well as sound-producing instruments and engages with circling movement to summon deities.

Originally called kamukura/kamikura (神座), kagura began as sacred dances performed at the Imperial court by shrine maidens (miko) who were supposedly descendants of Ame-no-Uzume.

Mikagura (御神楽) is a ritual dance performed at the imperial court and at important Shinto shrines: Kamo-jinja and Iwashimizu Hachiman-gū.

[9] The kagura-uta is the sacred vocal repertoire of 26 songs (Niwabi, Achime, Sakaki, Karakami, Hayakarakami, Komomakura, Sazanami, Senzai, Hayauta, Hoshi, Asakura, Sonokoma, etc.)

[10] A number of traditions of folk kagura exist:[5] Around the time of the beginning of the Tokugawa shogunate (1603–1868), performances derived from this emerged in Edo as a major form of entertainment.

In connection with the celebrations surrounding the beginning of the shogunate, lion dances, acrobatics, juggling, and a great variety of other entertainments were performed on stages across the city, all nominally under the auspices of daikagura.