My Bon Dance Memories: 1950’s
Tsuki ga deta deta tsuki ga deta
Uchi no oyama no ueni deta
Anmari entotsu ga takai node
Sazoya otsukisama kemutakaro
Sano yoi yoi
Anata ga sonoki de yuno nara
Omoi kiri masu wakare masu
Moto no musume no juhachi ni
Kaeshite kure tara wakare masu
Sano yoi yoi
Osatsu o makura ni neru yori mo
Tsuki ga sashikomu barak ku de
Nushi no kaina ni honnorito
Watasha dakare te kurashitai
Sano yoi yoi
(Fukuoka Coal Miner’s song)
The refrain of the drums, shamisen, and flute, the lively music of Tanko Bushi, Naniwa Bushi, and Hole Hole Bushi, blasting from the speakers, signalling to the dancers that the Bon dance had started. This night was what my sister, my cousin Kari and I have been anticipating all year long. Three cousins in our yukata with simple obi made out of silk, in our hair are kanzashi (hair ornaments), and we are wearing our Japanese slippers. We have fans for the dances and the Obon towel. Our aunt sits by us, and we are sitting on wooden benches and metal folding chairs that came from the temple social hall. We listen to the announcements; the caller calls the first song, “Tanko Bushi”, “Tsukiga deta deta, tsukiga deta” The moon is out, out, the moon is here. As a child, I did not know that “Tanko Bushi” was sung throughout Japan with different lyrics depending on whichever prefecture you are were in. Likewise, “Hole Hole” Bushi also has differing songs as the brides came to Hawaii from other areas like Okinawa, Yamaguchi, and Hiroshima.
The food, barbecue sticks, corn on the cob, Huli-Huli chicken, inari sushi, shave ice, malasadas, bara sushi, hot dogs are a treat for us. We could choose different items and share them. Until today, I remember the charred barbecue meat and the smell of the sauce full of spicy fresh ginger. For this special Bon Odori night, this was our dinner.
On top of the Yagura (central tower platform) the musicians, taiko, shamisen, and bamboo flute, the caller who also made announcements throughout the night was our uncle. Before we went to the Bon dance, we were admonished to behave since he was an important man atop the yagura.
Round and round the yagura, push hands, walk forward, walk back, hands in the air, clap right, clap left, step right, step left, spin around, dig the ground with your imaginary hoe. These were the motions for “Hole Hole” Bushi, a song written about a picture bride who came to Hawaii, the disappointment she felt, how hard her life was, the harshness of life on the plantation. All of these emotions are present, but I am too young to understand indeed. The three cousins only enjoy the dance movements, not realizing that every motion was meaningful, showing the bride’s conflicting feelings. Only as an adult do I learn of the true meaning of the words of this Bushi (song).
The musical styles at the Bon dance reflect all different musical genres. The traditional Enka style of the older Bushi, Jazz, Swing music, and the Rhumba were used in the 50” s although as a child, I did not know musical styles but just enjoyed the lively music.
As each song is announced, everyone is jostling to be close to the advanced, expert dancers. Follow, follow; all the people follow the experts. What is lost to most people is the religious nature of Bon Odori. Later as an adult, I realize that Bon Odori (dance) is a homage to the story of Mogdallana and his mother. Mogdallana was a disciple of Shakyamuni Buddha, who was given the gift of distance viewing. He was able to search through all the hells to find his mother had become a “hungry ghost.” No matter how much she ate, as soon as the food entered her mouth, it would turn to hot, burning coals.
Seeing his mother’s pain, Mogdallana asked the Buddha how he could relieve her suffering. The Buddha told him to prepare a feast for his fellow monks and to provide robes for each monk. After fulfilling Buddha’s recommendations, Mogdallana used his sight to see that his mother was free from hell and had entered into the pure land. He danced for joy, exuberantly, which became the basis for Bon Odori. Bon Festival in Japan is based on Ullabon from India and the Ghost Festival of China, where the Spirits are directed home by lanterns lit at each house. This summer festival clearly illustrates the “Shoshinge” passage where Shinran Shonin states, “Indo saiten shi ronge.” The masters from India and China. He was teaching us the lineage transmission between India, China, and Japan through the Seven Masters.
Obon is a time for reflection and remembering our deceased loved ones and dances at each temple. This time of introspection and remembrance was even more critical last year during the COVID Pandemic as large gatherings like the Bon Dances were canceled as the State shut down to prevent the spread of the disease. You don’t realize the importance of something until it is gone, taking for granted that things and situations are fluid and constantly changing. Lessons learned throughout the year leading up to Obon seem to illustrate the whole essence of the Obon season. This year we can celebrate Obon again with our dances, festivals, and food. Let us once again have the beautiful cacophony fill our temple grounds!
By Charlene Kihara
