Fight summer sleepiness with glowing warrior floats!

Cover photo: Nebuta lantern float depicting the mythical Chinese King Mulu (木鹿大王), created by artist Gako Oshiro (大白我鴻), representing the Prefectural Government Nebuta Executive Committee (県庁ねぶた実行委員会), Aomori, Japan (2024). Photo by Danny With Love.

Intro

AOMORI — Cold for much of the year, the world’s snowiest city roars to life in summer for Nebuta Matsuri. Nationally ranked as Japan’s most famous festival, this exciting event centers around a parade of giant lantern floats featuring mighty gods and warriors. There’s also music, dancing, and fireworks.

I have long wanted to see Nebuta Matsuri. I finally made it this year, and it was the highlight of my incredible summer! The lantern parade was as beautiful and mesmerizing as I had imagined. I’m so grateful to have enjoyed this experience. Please read on for more details about this popular event.

*Scene of the Nebuta Parade*, illustration, by Junzo Kon [今純三] (1928). Via Aomori Nebuta Matsuri and Google Arts & Culture.

History

Nebuta Matsuri is widely accepted to have evolved from the star festival of Tanabata, imported to Japan from China in the 8th century. On the final night of the event, lanterns are floated on water. This practice was combined with a similar local festival called Nemuri Nagashi (“Washing Away Sleepiness”), seeking to drive out the demons of summer fatigue.

Map of Nebuta/Neputa festivals across Aomori Prefecture (2001). Photo by Danny With Love (Tsugaru-han Neputa Village / Hirosaki).

I was surprised to learn that Aomori City’s Nebuta Matsuri is actually one of some 40 similar festivals across the prefecture — referred to as Nebuta or Neputa, depending on local accent.

Festivals feature floats in various shapes. The sculptural lanterns in Aomori City’s parade are called ningyo (“dolls”). The town of Goshogawara boasts towering floats known as Tachineputa (“Standing Neputa”) and the historic city of Hirosaki has a simple style of ogi (folding fans).

Hirosaki’s Neputa Matsuri is considered to be the oldest variation, recorded as early as 1722. The festival was also influenced by Kyoto, specifically the Yamaboko floats of Gion Matsuri and Kabuki (theater).

Aomori City’s Nebuta Matsuri took its current form after World War II, as part of a postwar revitalization effort. Since then, floats have grown larger in size, corresponding to the rising number of tourists. The festival was designated as an “Important Intangible Folk Cultural Property” in 1980.

Artistry

In Aomori City, the dashi-toro (“lantern floats”) are regulated at 9 meters (30 feet) in width, 7 meters (23 feet) in depth, and 5 meters (16 feet) in height. The floats are made of a wooden frame, covered in wire and washi (Japanese paper).

A single float is pulled by over a dozen people, as it weighs 4 tons (nearly 9,000 pounds). Inside are as many as a thousand lightbulbs, powered by a diesel generator. It takes about 23 kilowatts — twice the daily usage of a single household — to power one float for one night.

Destroyed after the festival, the floats are built anew every year. Until the 1970s, dashi-toro were made by volunteers, but they are now crafted by professional artists called Nebutashi.

Inspired by her father, Asako Kitamura (北村麻子) made her debut as the first-ever female Nebutashi in 2012. She says, “I think Nebuta is one of the largest craft arts and figurative works in the world.” She was awarded the grand prize this year, and her float will be displayed at Expo 2025 in Osaka.

Color is one of the most important elements of float design. Nebuta master Hiroo Takenami (竹浪比呂央) explains, “The trick is to make sure that the colors are at their best when they are lit up in the dark.” The paints are water-based, applied by brush and spray. Paraffin wax is also used to control transparency.

Nebutashi work from a single preliminary sketch. No detailed blueprints, computer models, or prototypes are used. The main stage of production takes three months, and involves teams of fifty people, working inside tents near the Aomori Prefecture Tourism Information Center (ASPAM). Artists start planning their next float as soon as the festival is finished.

Nebuta float model, showing the interior frame of wood, wire, and lightbulbs, on display at the Nebuta Museum Wa Rasse, Aomori, Japan (2024). Photo by Danny With Love.

Economics

According to 77 Research & Consulting, this year’s Nebuta Festival attracted 980,000 visitors, generating an economic impact of 30.6 billion yen (approx. 200 million USD).

The floats are sponsored by various organizations and companies, at a cost of 20 million yen (approx. 140,000 USD) each. 4 million (approx. 28,000 USD) is set aside for the artist’s salary — just above Japan’s median salary of 3.6 million (approx. 25,000 USD).

Nebuta work is seasonal, making it difficult to train apprentice artists who need a full-time career to sustain themselves. As a result, it takes a full decade to become a Nebuta artist. Master Hiromi Hayashi (林広海) explains, “There are many people who want to become Nebuta artists, but they often give up due to financial reasons.” This threatens the craft’s future longevity.

In 2010, Takenami founded Nebuken, the Nebuta Research Institute, a workshop to support new creators. He has also developed various products and merchandise that can be sold year-round. Takenami’s goal is to make Japanese lantern art a respected craft around the world, so that artists can enjoy a sustainable career that supports Aomori’s economy.

Click here to watch a video of Aomori’s Nebuta Festival

Experience

I arrived in Aomori on Monday, August 5th, from Tokyo. There must have been many people traveling for the festival, because I had to wait over an hour for the next available train. I finally arrived in Aomori City around 17:00 (5 PM).

Luckily, I found an open locker to store my luggage, I then rushed towards the parade route. Unfortunately, the majority of seating requires reservation, so I spent most of the evening on my feet.

Posing with a Nebuta float at the work tents, Aomori, Japan (2024).

The atmosphere was loud and boisterous, with the growing crowds drinking and shouting in anticipation. The smells of draft beer and fried festival food hung in the hot, humid air.

Everyone cheered as night fell and the parade began. The floats are preceeded by Hayashi — musicians playing drum, flute, and cymbals — as well as dancers called Haneto (“Jumping People”), who chant out “rassera” (“welcome”). In fact, anyone can join the dances if they wear the appropriate costume, available for rent or purchase around the city.

Considering their enormous size and heavy weight, the lantern floats move deceptively fast. I found myself running through the crowded streets to take more photos of my favorite dashi-toro.

With passionate fervor, excited spectators shout, “kocchi muite!” (“Look over here!”), so that floats will turn in their direction. If the screams are loud enough, they sometimes do!

The floats can be appreciated from all angles, but they look best from the front. The scale and detail is jaw-dropping. I was in total awe of their craftsmanship. They remind me of stained glass, with their skilled use of light. It is a truly beautiful artform, deserving of more international recognition.

After the hours-long parade, my face was oily and wet from diesel exhaust, so I was relieved to take a shower at my hotel in Hirosaki. I spent the following day here. As the historic political and economic center of Aomori Prefecture, it’s the likely origin of Neputa/Nebuta.

Posing with a fan-shaped Neputa float, Hirosaki, Aomori, Japan (2024).

Hirosaki’s Neputa Festival seems to be less popular with tourists, as there was more free space available for spectators. In contrast to Aomori, Hirosaki’s parade is said to be more somber and dignified. It also features more floats, around 80 of various sizes.

I bought myself a straw mat from Muji to reserve an early spot near my hotel. I also bought kaisendon (a seafood rice bowl) and a can of apple juice — a local specialty — to enjoy during the event.

While the fan-shaped floats are perhaps less visually impressive in comparison to Aomori’s doll floats, I enjoyed the calmer atmosphere. The floats also spin, and some have other moving elements. Generally, the front side features samurai, while the back depicts beautiful women.

I was one of few foreigners in attendance, so many people were interested in me. I was given a commemorative fan and even invited to lift one of the floats. It was so heavy! I don’t want to imagine pulling it for hours at a time.

August 7th is the final night of Aomori’s Nebuta Matsuri. In the tradition of Nemuri Nagashi, the award-winning floats are loaded onto barges for a marine procession — accompanied by 10,000 fireworks.

The next day, I was shocked to find the floats already destroyed at their tent-sites. Only award-winning floats will be preserved for display at the local Nebuta Museum Wa Rasse. It’s truly a rare experience to see these artworks in person and I wholeheartedly recommend it!