"I saw hope in the preservation of cultural heritage."
-Maika Sato
1 Kiyoharai
2 Torimai
3 Sanbasou
4 Himemai
5 Ogimai
6 Sogakyoudai
7 Tsurugimai
8 Bushimai
9 Igamai
10 Hashihiki
Kurokawa Bangaku is performed as a shrine’s festival, or an event to pray for villagers’ peace and longevity, abundant harvest and sometimes rain. According to “Kyusekiko” by Isikawa Rikinosuke (1901), it became established in the current Kanaashi Kurokawa, Akita city, in the middle Edo period. Following the massive oil gusher at the Kurokawa Oil Field in 1914, the population of the small mountain village, then under 300 people, swelled to over ten times its original size. During the Taisho and Showa eras that followed, Kurokawa Bangaku underwent a shift towards becoming more of an entertainment and a martial art, and was performed with great vigor.
There are four legends about Kurokawa Bangaku.
About 130 years ago, a great fire raged in Kurokawa, but the wind suddenly shifted, and the Bangaku masks miraculously escaped the flames. At that time, the masks were sweating.
From the neighboring village across the mountain, the masks would arrive without anyone noticing.
During one festival, after performing a rain-praying dance, a sudden downpour began.
People who were often ill and unable to work learned the dance and took to the stage, and they naturally regained their health.
There are three purposes of performing Kurokawa Bangaku in this era.
(1)pray for the region's peace,
(2)pray for the performers' health, and
(3)establish the region's brand and contribute to regional development.
To perform all programs, you need to practice 5 Ogimai first because it is a basic dance. Then you learn applied dance, 7 Tsurugimai and 4 Himemai. Lastly, you can learn developed programs.
Kiyoharai, Igamai & Sanbasou
(Japanese only)
Kiyoharai & Sanbasou
(Performance only)
Kiyoharai, Igamai, Sanbasou & Sogakyodai
(Japanese only)
Regular Performances in late July (city center) & mid-August (Kurokawa)
Direct Voice from Maika
Although I unfortunately did not have the opportunity to witness it in person, researching Kurokawa Bangaku, I saw hope in the preservation of cultural heritage. I was deeply moved by the fact that this tradition, which dates back hundreds of years, was once discontinued yet later revived and continues to be practiced today. The existence of regular performance opportunities and the active use of social media to share and promote the tradition further demonstrate its vitality. I was especially impressed by how the performers themselves are consciously committed to preserving Kurokawa Bangaku with the goal of revitalizing their local community. The dances, performed alongside traditional instruments and distinctive costumes, are both powerful and beautiful. I sincerely hope that Kurokawa Bangaku will continue to be preserved for many years to come.
Akita City (n.d.). Akita shi no Minzoku Geinou ni tsuite [Folk Performing Arts of Akita City]. https://www.city.akita.lg.jp/kanko/kanrenshisetsu/1003644/1018030.html
Akita Minzoku Geinou Archives. (n.d.). Kurokawa Bangaku. https://www.akita-minzoku-geino.jp/archives/ja/about
Kurokawa Bangaku Hozonkai [Kurokawa Bangaku Preservation Society]. (n.d.). Home [Facebook page]. Facebook. Retrieved December 30, 2025, from https://www.facebook.com/people/%E9%BB%92%E5%B7%9D%E7%95%AA%E6%A5%BD%E4%BF%9D%E5%AD%98%E4%BC%9A-%E7%A7%8B%E7%94%B0%E5%B8%82%E9%87%91%E8%B6%B3%E9%BB%92%E5%B7%9D/100071213465879/?locale=el_GR
By Maika Sato