Shinto Religion Rituals - Essay Example

Shinto Religion Rituals Introduction Shinto like any other creed globally among its adherents plays a significant role in Japan. This is in terms of rituals, which up to date one can notice some of the practices and rituals embraced in the governing of Japanese (Ravitch 505). In Japan, this is quite evident in the way Shinto through embracing its varied practices ended up being a state of one religion before emerging of other minor creeds like Christianity (Ravitch 505). This is despite Ravitch (505) claiming initial and modern Shinto differs significantly, as the latter has somehow presently embraced globalization. For instance, the aspect of globalization is quite evident in the way Kagura dance now characterizes diverse and numerous rituals in Japan to the extent of becoming an interlude during tourist entertainments (Sōhei 105). Hence, form an essential part of the governance, which the majority ought to observe to the point of those visiting the state as often obliged to do so, for instance, Misogi. This is especially if visitors while undertaking their individual pursuits ought to mingle with the natives whereby having no alternative ought to exhibit complete adherence to what their friends adore. Since, they (visitors, most of them business people) usually avoid perceived as despising the hosts because they profess Shintoism. Studies so far conducted have shown that Shintoism is one of the creeds that has numerous adherents (at least forming 40% of the entire population) in Japan though this significantly varies across the entire state. Since, there are others like Buddhism besides Christianity and eastern creeds. Shinto’s dominance in Japan has made Oh-Harai, Kagura and Shinzen Kekkon rituals become extremely reputed commemorations in the entire country to the extent smaller creeds not having any meaningful influence. Wedding Traditions in Japan Several days and months, after the civil marriage procedures are over, commencement of preparing religious and a traditional wedding (Shinzen Kekkon) follows shortly afterwards (Lindsey 18). As much as the traditional wedding requires minimal formalities, some Japanese couples choose to get married in line with the rites contained in Shinto shrines. Before the inception of this ritual, studies so far conducted state; its existence in Japanese culture is particularly arguable. This is because its existence and origin seem to have emerged with the start of Christianity but to instil it in the Japanese culture people saw it was better performed before the “Kami” in the shrines (Lindsey 18). Hence, the name “Shinzen” that implies before “kami” (Lindsey 18). This is because shrines besides valued by numerous people in Japan, they are very essential while commemorating Japanese rituals leave alone wedding. According to these rites, an array of physical preparations is normally put in place for the bride. The bride usually wears a white long-sleeved kimono and sandals referred to as zori. In addition, white makeup is usually applied on both the face and neck to an extent the bride appears to have a pale face. They believe the white makeup and sleeves present her as a maiden, a status almost equal to that of gods. On top of it all, the bride puts on a headpiece that has having many jewels and ornaments almost similar to the Christianity weddings (Karan 72). The latter is especially common currently whereby due to increased globalization, Japanese seem to be embracing foreign cultures brought by minority creeds in their region. According to the customs, that would bring happiness to the family of the new couple. In contrast with the bride, the groom is usually disguised in dark colours. Kami with the help of assistants (mostly dressed in red and white attires) is the key celebrant in all shrine weddings. Families of the bride and groom sit facing each other as the couple exchange their vows. The families drink together to enhance their bonding. However, due to increased borrowing of some aspects from the Christianity, Japanese couples may choose to either stick to the traditional practices only or mix them with western practices. One common ritual that most Japanese still follow even in their western marriages is the stake. The couples usually take the stake as they make their vows. The parents of the groom followed by those of the bride are also offered the same. The stake enhances bonding between the families, and it is not only the oldest ritual but also the heart of it all. Present impact of Westernization on Japanese culture is quite evident despite there earlier natives thought to embrace some new aspects as more of a fashion to them (Crane et al. 77). This is evident in the way most of the Japanese currently prefer white gowns over kimono, which is their traditional cloth solely, made for weddings. Places like churches are currently evident in Japan irrespective of their adherents being very few. The traditional practices have been constantly fading since the end of the 1990s, and the younger generations’ practices are similar to the western ones. Oh-harai/harae This is the most observed ritual whereby adherents communally and across the entire state perform it twice a year (Lee 46). Its core purpose encompasses purification of people and other varied items, which the population as per its core practices, deem is essential. The ritual has existed for ages taking place on 30Th June as well as on 31St December (Lee 47) at all respective shrines and the Imperial House of Japan (Lee 47). Grand purification Ceremony as presently referred in Japan its core purpose is to purify citizens from the sins they have committed during throughout the year. Hence, manage to appease their gods who according to their beliefs cannot hear their requests if they have not performed purification. According to Lee (46), adherents while celebrating this ritual ought to walk through large interwoven rings that make up entrance of the shrine, which symbolizes a person’s internal purification. Since, this is what will make gods accept their prayers when Kami offers them as people’s intermediary. Besides people, other items that require purification as per Japanese culture include houses. In the shrine, while performing this ritual, the emperor or the main celebrant normally wears a white cloth that signifies a “shabby figure” (Lee 47). “Shabby figure” symbolizes a sinful society but remorseful to confess and ready to abandon them in order to appease gods. This is quite evident in the way after the ritual priests place this “shabby figure” in a small boat before allowed to flow down the river as people watch it disappear from their sight (Lee 47). The act of putting shattered clothes in a small boat and letting it go down the river symbolize disposing of people’ sins as the water carries them away. Hence, appease gods who will then be willing to hearken and respond positively to their requests through Kami. During all this duration, adherents as they watch keep on chanting prayers as they mention descending from heaven of the Imperial family of Japan, who will rule their blessed nation (Lee 47). This ritual is more of restoring and strengthening people’s relationship with gods for the latter to continue blessing their land. It is for this reason that besides the Grand Purification Ceremony, other smaller cleansing rites meant for the nation have assumed the form of writing sins on papers. The papers then make up an image of man, which later Kami dispose let it flow down the river as a mode of cleansing the adherents. Consequently, this aroused people’s desire to be atoning their sins throughout year besides participating in the Grand Celebration of (Oh-harai) normally officiated by Kami twice a year (Lee 47). Kagura (ritual dance) This is a “dance of the gods” commonly referred to as “ceremonial ritual dance” which from its prehistoric inception to date has assumed varied identities as well as practices (Hiltunen 13). Hence, this implies the dance characterizes varied rituals including shamanistic ritual and blessing of the entire Japanese produce, which in real sense is a dedication of what natives have so far obtained (Hiltunen 13). Similar to oh-harai ritual, this celebration does not only take place in certain designated dates. Mostly, it is part of celebration of numerous rituals though the kinds differ significantly with what people in that period decided to celebrate. According to Hiltunen (13), Kagura to date assume varying versions based on which ritual Japanese plan to use especially during prayer events. In this context, this ritualistic dance, its core intention, encompasses soliciting for revitalization as well as prolonging of life whereby realization of these two is via “Good Harvest” (Hiltunen 13). “Good Harvest” in this case implies being productive not only in terms of agriculture but also in people’s lives, which humanity values. Studies so far conducted, state; Kagura versions to date are more than 100 versions based on ritualistic functions, performances and contexts which adherents may prefer to use this dance. Active participation in this spiritual dance entails its performers to use masks as well as other costumes, but the former is the most outstanding (Horiuchi & Mari 58). This is because each gender must wear them whereby masks for men have a frowning appearance and having beards contrary to those of females. The essence of dancers wearing these masks encompasses resembling the featured gods because in doing so a person feel like them, which is more of an ecstasy. Mostly, these characters comprise the famed Shintoism deities whom they are dancing and performing certain functions for in order to acquire varied favours. This practice has not only led to the immense thrill among its people but also other global citizens who normally come and enjoy it. Hence, currently turning to be a tourist attraction though evolving with time compared to when it was strictly for religious purpose. Hence, open up remote areas like Takachiho as stated in Horiuchi and Mari’s article (61) study. Extensive featuring of Kagura integrated by other aspects that constitutes current artistry is to ensure the ritualistic traditions of Japanese do not fade away due to the impending state of globalization. Conclusion Oh-Harai, Kagura, and Shinzen Kekkon rituals bear a significant role in constituting Japanese culture. This is quite evident in the way almost all people have embraced these rituals, hence assuming an essential part of their lives except among the minority Christians. Among Japanese, Oh-Harai is the most adored feast whose core intention encompasses purifying masses of sins they have so far done and held twice a year. Conversely, the latter two rituals including Kagura and Shinzen Kekkon do not have specific dates but as celebration of a given event demands. Kagura unlike other rituals characterizes numerous events including wedding (Shinzen Kekkon) though the latter bears numerous aspects borrowed from Christianity, only that its undertaking is in the shrines. Work Cited Crane, Lauren Shapiro, et al. "Blending Buddhism, Shinto, And The Secular: Japanese Conceptualizations Of The Divine." Journal Of Ethnographic & Qualitative Research 6.2 (2012): 76-89. Web. 16 Nov. 2014. Hiltunen, Sirkku M. S. Masks and Rituals: Sohkido Pathways Iii and Iv of the Seven Pathways of Transpersonal Creativity. S.l.: Two Harbors Press, 2013. Print. Horiuchi, Shiro & Mari, Morino. "How Local Cultures Contribute to Local Communities? Case Studies of Japanese Spirits Dance "Kagura"." International Journal of Social Science and Humanity 5.1 (2015): 58-62. ProQuest. 16 Nov. 2014. Karan, Pradyumna. Japan in the 21st Century: Environment, Economy, and Society. Lexington: University Press of Kentucky, 2010. Print. Lee, Samuel. Rediscovering Japan, Reintroducing Christendom: Two Thousand Years of Christian History in Japan. Lanham: Hamilton Books, 2010. Print. Ravitch, Frank S. "The Shinto Cases: Religion, Culture, Or Both--The Japanese Supreme Court And Establishment Of Religion Jurisprudence." Brigham Young University Law Review 2013.3 (2013): 505-520. Web. 16 Nov. 2014. Sōhei, Nagasawa. "The Deity And The Mountain." Asian Ethnology 70.1 (2011): 105-118. Web. 17 Nov. 2014. . Read More