The Mikagura-uta (みかぐらうた or 御神楽歌, The Songs for the Service) is one of the three Tenrikyo scriptures, along with the Ofudesaki and the Osashizu. It was composed by the foundress of Tenrikyo, Miki Nakayama, from 1866 to 1875, and revised to its current version in 1882.Tenrikyo Overseas Department, trans. 2010. A Glossary of Tenrikyo Terms, p. 209. Note: This work presents an abridged translation of the Kaitei Tenrikyo jiten 改訂天理教事典, compiled by the Oyasato Institute for the Study of Religion and published in 1997 by Tenrikyo Doyusha Publishing Company.
The Mikagura-uta is the liturgical book of the Service (otsutome), a religious ritual that has a central place in Tenrikyo.The importance of the Service to Tenrikyo followers can be appreciated if one understands that the main theme of the Ofudesaki, the most important of the three Tenrikyo scriptures, has been described as "a development toward the perfection of Tsutome, the Service, through which, alone, human salvation can be realized." See Inoue and Enyon, A Study of the Ofudesaki, xix. During the Service, the text to the Mikagura-uta is sung together with dance movements and musical accompaniment.
The Mikagura-uta is also used in most Tenrikyo-derived religions, including Honmichi, Honbushin, Kami Ichijokyo, among others.
Etymology and meaning "Mikagura-uta" can be subdivided into three sections. Mi is an honorific prefix. The word kagura is a generic term for any performance for a deity or deities in Japan. Although kagura are usually associated with Shinto shrines, there is also historical evidence of their association with ShugendōAverbuch, Irit. 2003. "Dancing the doctrine: honji suijaku thought in kagura." In Buddhas and kami in Japan: honji suijaku as a combinatory paradigm, pp. 313–332. and Buddhist schools such as Shingon.Ambros, Barbara. 2008. Emplacing a pilgrimage: the Ōyama cult and regional religion in early modern Japan, p. 93. The word uta (歌 or うた) simply means "song" or "songs."
It is unknown when “Mikagura-uta” became the standardized title.天理教道友社編 Tenrikyo Doyusha, ed. 『みかぐらうたの世界をたずねて』 Mikagura-uta no sekai o tazunete (MNST), p. 38. During the years from 1867 and 1887, a variety of titles were used, with the most common being "Juni-kudari o-tsutome (no) uta" (十二下りおつとめ[の]歌, the Twelve Songs of the Service).MNST, pp. 34–35. The earliest evidence of the current title dates to October 1888, when the songs was first formally published by Tenrikyo as "御かぐら歌."中山正善 Nakayama Shozen. 『続 ひとことはなし その二』 Zoku Hitokotohanashi sono ni (ZHSN), p. 89. However, since the kanji character 御 could potentially be read either as "O" and "On" in addition to "Mi," it still cannot be said with absolute certainty when “Mikagura-uta” became the standard title (in the past it was referred to sometimes as "Okagura-uta").
The original manuscript of the Mikagura-uta is lost; it was either confiscated by the authorities or it was connected to persecution and interference.Matsumura, Kazuo. "The Koki Story and the Femininity of the Foundress of Tenrikyo." from Mythical Thinkings: What Can We Learn from Comparative Mythology? Countershock Press, Frankston, Australia. 2014. p. 82.
The first time the title of the Mikagura-uta took its current written form (only in hiragana) was in 1928, when the scripture was distributed to all churches to commemorate Shozen Nakayama’s marriage.MNST, p. 39.
Tenrikyo Church Headquarters published an English initial draft translation of the Mikagura-uta in 1967. The English official first edition of the Mikagura-uta was published in 1972.
Content and style The Mikagura-uta is a scripture that is meant to be sung, danced with hand and feet movements, and accompanied by nine musical instruments. The scripture is sung in the style of a Japanese popular traditional song. The fifth section of the Mikagura-uta, the Twelve Songs, takes the form of a counting song, each song starting from one to ten. Nakayama Miki has been said to describe the nature of the counting song as "like children playing shuttlecock during the New Year's season, singing 'One, Two.'"Tenrikyo Church Headquarters. Anecdotes of Oyasama. Tenri, 1976. p.14. The scripture was originally written in Japanese cursive syllabary (kana).Prayer as Interaction, p.269.
Composition Songs for the Kagura Service
According to Tenrikyo followers, the Kagura Service (kagura-zutome かぐらづとめ) "reenacts God's creation of humankind" around the spot humankind was conceived (called the Jiba), located at Tenrikyo Church Headquarters in Tenri, Nara.A Glossary of Tenrikyo Terms, p. 376. Therefore, the Kagura Service can only be performed in one place. However, the songs are also sung during the Seated Service, which substitutes for the Kagura Service at all other church ceremonies, and which also can be performed individually or in a group. At the worship hall of the Tenrikyo Church Headquarters' Main Sanctuary, which surrounds the Jiba, the songs are constantly sung by seated worshippers performing the hand movements.
Section One In the autumn of 1866, Nakayama taught section one, which was originally worded, あしきはらいたすけたまい / てんりわうのみこと Ashiki harai, tasuke tamae, / Tenri-Ō-no-Mikoto. Sweep away evils and save us, / Tenri-Ō-no-Mikoto. In 1882, Nakayama altered the wording to the text used today: あしきをはらうてたすけたまえ / てんりわうのみこと Ashiki o harōte tasuke tamae, / Tenri-Ō-no-Mikoto. Sweeping away evils, please save us, / Tenri-Ō-no-Mikoto.
The revised 1882 version of Section One is the most commonly sung verse in Tenrikyo.
Section Two Four years later, in 1870, Nakayama taught section two:
ちよとはなしかみのいふこときいてくれChoto hanashi Kami no yū koto kiite kureJust a word: Listen to what God says.あしきのことはいはんでなAshiki no koto wa iwan denaI never tell you anything wrong.このよのぢいとてんとをかたどりてKono yō no ji to ten to o katadoriteRepresenting heaven and earthふうふをこしらへきたるでなFūfu o koshirae kitaru denaI have created husband and wife.これハこのよのはじめだしKore wa kono yo no hajime dashiThis is the beginning of the world.(なむてんりわうのみこと よし よし)(Namu Tenri-Ō-no-Mikoto. Yoshi yoshi)
Section Three Then in 1875, Nakayama taught section three, which was originally worded, あしきはらいたすけたまい / いちれつすますかんろふだい Ashiki harai, tasuke tamae, Ichiretsu sumasu Kanrodai. In 1882, she altered the wording to the text used today: あしきをはらうてたすけせきこむ / いちれつすましてかんろだい Ashiki o harōte, tasuke sekikomu / Ichiretsu sumashite Kanrodai. Sweeping away evils, hasten to save us. / All humankind equally purified, / The Kanrodai.
Songs for the Dance with Hand Movements Section Four In 1870, Nakayama taught section four, the "Eight Verses of the Yorozuyo" (よろづよ八首), in 1870. This was the last section to be composed.
Section Five This section, known as the "Twelve Songs," was composed between January and August 1867. From 1867 to 1870, Nakayama taught her adherents the melodies and movements to accompany her texts.A Glossary of Tenrikyo Terms, p. 209-210.
Tenrikyo scholar Ueda Yoshinaru (上田嘉成) has suggested themes for each song:
Song Theme Song 1 (一下り目) harvest上田嘉成 Ueda Yoshinaru. 『おかぐらうた』 Okagurauta, p. 162. Song 2 (二下り目) joy of faith, health, peace Song 3 (三下り目) Song on faith containing God's direct revelations and fundamental teachingsOkagurauta, p. 214. Song 4 (四下り目) spiritual maturityOkagurauta, p. 312. Song 5 (五下り目) world salvation, purification of the mind,Okagurauta, p. 382. missionary workOkagurauta, p. 437. Song 6 (六下り目) faith Song 7 (七下り目) fields, sowing seedsOkagurauta, p. 465. Song 8 (八下り目) assembling followers for the purpose of constructionOkagurauta, p. 509. Song 9 (九下り目) missionary workOkagurauta, p. 543. Song 10 (十下り目) the mindOkagurauta, p. 564. Song 11 (十一下り目) hinokishinOkagurauta, p. 581. Song 12 (十二下り目) beginning of the spiritual constructionOkagurauta, p. 614.
History One of the first recorded instances of performing the Mikagura-uta in public can be found in Shinmei Ashizu no Michi (真明芦津の道, "The History of Shinmei Ashizu Fellowship"):
"Some 30 to 50 followers gathered to do the Service of the Twelve Songs, the Teodori, every night at the fellowship in Honden (Osaka). They danced enthusiastically by beating the taiko, whose drumhead was worn out within three months. It was so lively that they sometimes had neighbors complaining. So they practiced the Teodori in vacant lots or on the Kunitsu Bridge near the fellowship. They made strenuous efforts in holding lessons until dawn...When members went to the house of a sick person to pray, they gathered with the musical instruments for the service. Before performing the service, they purified themselves with water ablutions. And they danced the Mikagura-uta softly beside the sick so as not to stir the slightest vibration on the tatami mat. They danced three times in the morning, three times in the afternoon, and three times in the evening. In this way the pouring of water and dancing were repeated."Horiuchi, Midori. "Prayer and Scripture: On the Mikagura-uta in Tenrikyo." From Prayer as Interaction. Tenri University Press. Tenri, 2007. p.265-6.
Another account by Masui Rin, who attended to Nakayama Miki towards the end of her life, goes:
"We made a 'three-day and three-night prayer' to God to save a person. There were six followers for the Otefuri, two singers (jikata), eight or nine people in total visited the sick person and danced the Mikagura-uta. Saving a person through the Mikagura-uta was very popular and common."Prayer as Interaction. p.266-7.
Translations The Mikagura-uta has been translated into English, Russian, Spanish, Portuguese, French, Italian, German, Bengali, Hindi, Nepali, Tagalog, Indonesian, Thai, Chinese (traditional), Korean, Vietnamese, Mongolian, and Kikongo. (in French and Kikongo; no date, but contains a 1986 library stamp) The traditional Chinese translation uses poetic seven-character (七言) lines.
Some translations published by the Tenrikyo Church Headquarters as paperback books are:
Language Title Year Edition 1st edition year English Mikagura-uta: The songs for the Service 1999 7 1972 Chinese 神樂歌 2008 4 1976 Korean 신악가 2014 7 1974 Portuguese Mikagura-uta: Hinos sagrados 2011 4 1975 Spanish Mikagura-uta: Himnos sagrados 2003 3 1976 French Mikagura-uta: Hymnes pour le Service 1999 2 1980 German Mikagura-uta: Die Lieder zum Gottesdienst 1975 1 1975 Italian Micagura-uta: Inni sacri 1983 1 1983 Indonesian Mikagura-uta: Nyanian kebaktian 1973 1 1973 Tagalog Mikagura-uta: Ang mga awit para sa Paglilingkod 1988 1 1988 Nepali मिकागुरा-उता: उपासना का गीतहरु 1996 1 1996 Mongolian Микагүра Үта: Мөргөлийн дуу 2023 1 2023 Vietnamese Mikagura-uta: Bài hát Kagura 2023 1 2023 Thai มิคะงุระ-อุตะ: บทเพลงสำหรับจึโตะเมะ 2018 4 1980
Songs for the Kagura Below are the official translations of the , consisting of Sections 1–3, in various languages. The Japanese original, in hiragana and romaji, is also given for reference.
+ Japanese (hiragana)Japanese (romaji)
+ EnglishGerman
+ PortugueseSpanish
+ FrenchItalian
+ ChineseVietnamese
+ KoreanMongolian
+ IndonesianTagalog
+ ThaiNepali
The Kongo version, translated for the Tenrikyo church in Brazzaville, is given below. The current French version is provided on the right for reference, since the Kongo version was based on an earlier French translation.
+ KongoFrench
Variants in Tenrikyo-derived religions Some Tenrikyo-derived religions use variants of the Mikagura-uta in their rituals and worship services. For example, Kami no uta (神のうた), which is nearly identical to the Mikagura-uta but with some variations, is used by , which was founded by in 1866. , founded by in 1881, uses the Twelve-part Kagura-uta (十二段神楽歌). (1863–1947), founder of the in Miki, Hyōgo, utilized the Nisei Mikagura-uta (二世御かぐら歌) ().
References Citations
Bibliography
Further reading Horiuchi, Midori. "Mikagura-uta and Tenrikyo." Tenri Journal of Religion 34, pp. 1–12. Kaneko, Tadashi. "The Ethical Meaning of Mikagura-uta." Tenri Journal of Religion 10, pp. 26–36. Tenrikyo Overseas Department. The Otefuri Guide.