3.c Unwrapping and wrapping the deity: the power of gifts in attracting the deity into social life

When all the buildings have been wrapped and the gifts received, the sodai will stay inside the Shrine and wait for the kannushi. The kannushi, like the deity, is treated very generously but ultimately controlled by gifts. He or she is introduced into the community, offered prestations, has his or her auspicious aspects extracted (the kannushi gives talismans to sodai), and departs again. kannushi are not usually from the village or town and, although some kannushi are women, in the different festivals on which the following description is based the kannushi was always a man.

On arrival, the kannushi washes his hands and mouth, makes a initial prayer to the deity, and the toya bow to him from inside the temple. The kannushi enters and sits in the upper right hand side of the room, with the sodai sitting opposite him. He speaks a few congratulatory words and sets to check on the disposition of trays and the number of sake bottles. He also check the set of cords that ‘wrap’ and separates the stairs from the reception area where gifts are lined up. Cords made of straw signify the sacrality of an area, and in that sense they ‘wrap’ (create a layer) between one area and the next. A mat of dried rice is layered out on the stairs for him. He then unwraps his ritual wear and hat and proceeds to dress up, while the sodai patiently wait. The dress is white and blue (or orange, depending on the Shrine and occasion) and layered in a succession of robes. Ritual tools, such as tablets with sacred words, are kept within these layers. Once he is properly dressed, he begins the process of cutting gohai, or several strips of white paper for purification purposes, and a multicoloured auspicious flag. When that is finished, he makes a small prayer in the direction of the deity and altar, then he turns around, congratulates everybody with a bow, and states the date and the name of the village. Thereafter he makes a first prayer, and the first action of purification, cleansing the sodai. He then leaves the Shrine and purifies the danjiri, while the toya follows him with salt and sakaki, sprinkling water to purify the way. Inside, the danjiri men await in a formal bow, looking at the floor, until the kannushi returns to the Shrine. With his actions, he has wrapped the danjiri into the Shrine. From that moment the danjiri men will play arduously and strongly to attract the deity and please it.

Back inside, the kannushi starts his ritual chants, musical sounds, and purification (he bangs the taiko drum or plays a recording of the chants). Later he unwraps the sake and water, which will be offered as shinsen and naorai to the deity. He also makes several actions of unwrapping the way up the deity to return back to the prestations. In the meantime, mikoshi carriers bring the mikoshi to the entrance, and the kannushi ‘blesses’ the mikoshi. The kannushi then moves towards the top, and the toya form a human chain to move the prestations up to where the deity is hidden. The food is placed directly in front of the deity, wrapped and separated only by a single curtain and box. The deity is supposed to enhance the qualities of the food received, which is taken down again. Finally, the kannushi provides a symbolic offer of sakaki leaf. The giving of sakaki, which is reproduced in weddings and all Shinto ceremonies, even death memorials, is a symbol of the unity of the worshipper with the deity. It is an expression of ‘humble’ giving. All the guests go on to offer one leaf, which is ritually turned face-down before being given. The first stage of offering or shinsen and naorai is completed.

After shinsen, the kannushi proceeds to remove the sakaki and the gifts, and ascends again to unwrap the different layers towards the deity. He pulls the curtain that hides it and breaks the seal. He then cleanses, offers more words and purifies the space. The deity is now visible. Villagers are forbidden to look at the deity, and bow their heads on their knees. The deity is a bare strip of paper attached to a piece of wood. The ‘core deity’, wrapped and sealed by so many layers, is now unwrapped. The ritual specialist (the kanushi), who can only touch it with gloves and must wear a face mask, is the only one who can see this inner form. Hendry and others argue that unwrapping is not a process of reaching a core. However, the process of unwrapping the deity is done to reach the core, not in order to exhibit. Although it is now wrapped, the action of wrapping the Shrine acquires meaning. The specialist re-wraps the deity again, to protect it from view, with golden brocades. He then wraps it once more within the layers of clothes of his dress. Inside his dress, the kannushi transports the deity to the portable Shrine. The kannushi makes a humming sound, representing the sound of the deity. Everybody averts their eyes from it and the kannushi places it in the mikoshi.