SANJA FESTIVAL—
IREZUMI PRIDE IN THE HEART OF TOKYO
BY MAKI WITH PHOTOS BY MARTIN HLADIK

Japanese matsuri, or festivals, are provincial gatherings held on certain days of the month, usually relating to Shinto or Buddhist days of significance. Entire towns turn into epicenters of chaos, with the often religiously ambivalent townsfolk celebrating with a rarely seen fervor that can go until the early hours of the morning. Matsuris are the best place to see and experience modern Japanese culture intermingling seamlessly with the traditional legacies. Events where the usually reserved townsfolk drop their inhibitions, dancing, cheering and drinking in their best summer yukata kimonos and traditional "happi" coats. If nothing else, there are huge parties accompanied by the primordial beat of the taiko drum. Some of the more unique festivals involve monks and locals in a trance, walking over coals in fire-walking rites, as well as rampant penis worshipping with wooden phallus effigies at fertility festivals.

The Sanja festival is the third largest festival in Tokyo, and possibly the most exciting, taking place in a downtown area called Asakusa that is lauded for its traditional vibe. In reality, however, the locals are usually tucked away from sight in the many tea and craft shops. The weekend of the 18th, 19th and 20th of May 2008, however, saw the Sanja matsuri bring out the fierce parochial pride of this area with a gusto that represents the true character of downtown Japan.

Historically a red-light district that flourished in the 1700s, the Yoshiwara is an area that now houses artisans, craftsmen, carpenters, firemen and the yakuza, who have inhabited the area for centuries. Home to traditional tattoo artists such as masters Karakusagonta and Itchimatsu, the neighborhood unites lovers of irezumi with a sense of celebration. Over the three days, there are geisha performances, drums, street stalls, plenty of drinking and, on the third day, a climax with mikoshi (portable shrine) parades and hundreds of locals and visitors gathering around cheering.

It is one of the rare occasions that people with traditional Japanese tattoos can be seen in their full glory, as many irezumi masters operate in innocuous, little apartments in the area. Quite simply, to actually display one's tattoos is illegal. As Japan's top tattoo magazine Tattoo BURST editor, Ms. Kawasaki, tells me: "To show irezumi in public is kind of seen in the same vein as taking a piss in public?it's an offense to public sensibility." However, Sanja seems to be one of the very few occasions where locals are given pardon from this idiotic, draconian censorship. Walking around are many locals in their traditional festival garb, with the legs heavily adorned and often basically naked, aside from their fundoshi loincloths, baring full coverage by artists such as Horikazu, Horiyoshi III, Horikazuwaka, Horibun II, Bonten II, Horicho, Horiyasu, Horimyo and others, all flaunting the typical motifs of Buddhist gods, goddesses, characters from Suikoden, koi, tigers, dragons, etc. There is not a single Western-style tattoo in sight. This is definitely an old-school, historic event, and popular, fashionable street styles are not to be seen here.
In fact, the Sanja is the very best place to see top-tier traditional work in a non-studio environment. As Horitoku tells me, "If you want to study traditional Japanese tattoos, you need to have a sophisticated understanding of Japanese culture and aesthetics in order to replicate the art successfully. Visiting places such as sumo wrestling matches, kabuki theater shows and festivals such as the Sanja is the best way to experience these things."
Moreover, artists such as Horiyasu, who has a studio in the middle of Asakusa, tells me, "I could have set up a studio anywhere, but as a horishi, Asakusa is seen as a kind of top spot, with its historical context and concentration of top talent. I felt I had to set up there."

The festival itself is of Shinto background, beginning with a religious ceremony, performed by the head priest of the Senjoji temple. It is an homage to fisherman who found a statue of goddess Bohisattva Kannon in their nets in 628 A.D. The main temple at Senjoji, in the center of Asakusa, houses this statue. The climax of the event is the displaying of mikoshis, handcrafted with meticulous care, featuring carvings of dragons and effigies covered in gold leaf. Since it is believed that these shrines temporarily house spirits, the parading of the mikoshi is essentially giving these spirits a tour of the vicinity.

Last year, several tattooed folk, including a traditional tattoo artist and his clients, rode on the top of the mikoshi in true festival spirit, apparently damaging it. They subsequently got arrested and spent several weeks in jail; unbelievable considering the pettiness of the offense. As a result, the 2008 festival was quite subdued, as the police made their presence known to the degree that the atmosphere was quite stifling. However, sitting in a park in Asakusa at the festival was quite fun, what with the heavily inked locals picnicking, many from the T-Gumi, Yamaguchi and various yakuza groups (although many tattooed folk are not gangsters, but rather sushi chefs, fruit sellers and craftsmen). One client, Yoshida-san, an incredibly likable chap, had the most incredible body suit that I have ever seen. His tattoo is a result of ten years of dedicated visits, and is mapped out with such sophisticated planning that while the density is incredible and the detailing beyond anything I have ever seen, all the motifs ranging from the seven luck gods on his stomach to Songoku (a monkey-tailed boy from the Dragon Ball universe) are balanced out almost perfectly, like an immaculately mapped out Mandela.

Many of the clients in the vicinity have received work, either full body or touch-ups, by Horikazu, who strides around with an almost demigod-like charisma. He's a true Asakusa denizen who walks the streets in a kimono and geta (wooden clogs). With a studio in the heart of the downtown district, Horikazu's work is of incredible density, immaculately detailed but always elegant, displaying a sophisticated understanding of harmony. He points out that "the colors are perfectly subdued, true to Japanese traditional sensibilities," and seeing his work in the flesh is nothing short of breathtaking. It is worth making the trip out to Sanja just to see his work. His sense of overall balance is unparalleled. Although, he says half-jokingly, "If you want to see my best work, go make a jail visit."

Many of the festival goers are obviously from the underworld, as yakuza traditionally get irezumi as an initiation rite and to prove their bond to the group. Horikazuwaka recalls, "I have some clients, they are not wanting to get a tattoo at all. They are being basically ordered to get one by their superior." However, we talk to clients of Horimyo, and Horiyasu, who are interested in traditional Japanese tattooing, for reasons such as protection, spirituality, personal strength and beautification. They are definitely not yakuza. For example, Horimyo's client told me, "I want to see the irezumi and meet the artists, but I'm kind of scared of the yakuza. I just want to observe from a distance."

Visiting the studios of artists like Horikazuwaka, who displays an old-world Japanese charm that is in stark contrast to much of modern Japan, is a glimpse into a real Japan that seems lost in a sea of technology and rush-hour culture. The studios are modest setups in apartments that give no hint to their success, and are pretty much like any cramped living space, where tattooing takes place on an elevated tatami platform. Asides from the odd copies of tattoo magazines lying around, there is no hint of modern life in these studios. The references are dog-eared ukiyo-e art books, the rooms is decorated with old woodblock art and wooden sculptures. The table is piled with gifts brought by grateful customers who present their local delicacies upon receiving a tattoo. On Horikazuwaka's shelf is Marco Bratt's book, with a cover photo of Horikazuwaka as a kid riding a mikoshi at the Sanja festival.
His background as a horishi is interesting: His father, one of the top horishi, didn't actually teach him tattooing, but provided an environment in which he could observe and learn. He lays out some of the illustrations he did as a junior high school student, and they are magnificent. It's hard to believe that a child did them. Apparently, when Horikazuwaka graduated from primary school, the kids wrote down their future dreams. He bluntly wrote, "I want to be a traditional Japanese tattoo artist."

While Japan offers many stellar tattoo events throughout the year, peaking in summer, most of the tattoo events are somewhat home party in vibe with lots of Western-style tattoos. Sanja is simply the top place for authentic atmosphere, top-tier old-school work and a glimpse into Japan's real artisan world. Schedule a trip, and you will view the most spectacular tattoos that Japan can provide.