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“The Nishishiogo Revolving Stage” Revived After Half a Century—Now in Danger of Disappearing Again!?

The “Nishishiogo Revolving Stage” (a Tangible Folk Cultural Property designated by Ibaraki Prefecture) is the oldest existing “assembly-type rural kabuki stage” in Japan, passed down for over 200 years in the small rural area of Nishi-Shiogo District, Hitachiomiya City, Ibaraki Prefecture. Equipped with a “revolving stage,” it is a large-scale yet demountable structure. Remarkably, after each performance, the stage is completely dismantled and returned to an empty field.

Since 1945, this stage tradition was no longer continued, and numerous valuable tools were stored away in a warehouse, nearly forgotten. However, in 1997, through the extraordinary efforts of the local residents, the stage was restored for the first time in half a century. Since then, at a pace of once every three years, the stage has been assembled and Jishibai (Local Kabuki) performances held 9 times by 2019. We are very grateful that many groups and organizations have offered their recognition and praise.

However, the number of households in Nishi-Shiogo District, which was about 70 when the stage was revived, has decreased to around 50. The local elementary school has also been merged, and the declining birthrate and aging population situation is becoming serious. Year by year, preservation and succession solely within the Nishi-Shiogo District have become extremely difficult, and the continuation of this tradition is increasingly facing a crisis.

We strongly wish to pass on the wonderful “Waku-Waku” (excitement) that we have managed to revive to the future by all means! To achieve this, cooperation from everyone is absolutely indispensable. We would greatly appreciate your participation, cooperation, and support.

Building a Legacy of Joy, Hand in Hand.

200 Years Ago, Nishishiogo Had a Rock Festival.

The people who kicked off this revolving stage in the Edo period had a brilliantly simple vibe. They saw that "Kabuki" was the rock 'n' roll of their time—an art form that men and women, young and old, were absolutely wild about. Their thought was, "Why not bring that epic show to our own village and have a blast?" You could call it the original countryside rock festival. This year, we're channeling that same spirit. We're diving deep into the passion and drive of our ancestors to enjoy this stage to its absolute fullest, right from the first moment of putting it all together. While we are dedicated to preserving this tradition, we are also here to create something new—Reiwa era culture, both ancient and cutting-edge, born right here. From the preparation and stage production to the Program, we're full of exciting new challenges. We would be thrilled to have your participation, cooperation, and support
Woven with Rope: A Stage Built from 300 Mountain Bamboos.

The design of "The Nishishiogo Revolving Stage" was remarkably practical and sustainable.

The people of the region only stored the essential parts year-round: the flooring for the stage, including the Hanamichi (stage walkway or runway), and the stage props. The massive amount of timber and bamboo required for the pillars and roof was freshly cut from the mountains as needed. After the festival, it was sold off to help cover the expenses.

The roof's framework is a lattice of giant Madake (a species of bamboo) poles—some stretching 9 to 13 meters (5-7 ken) in length—all tied together with rope and covered with woven straw mats called Komo (woven straw mats).

For the fan-shaped seating area, the roof creates a natural, gentle arch, born from the beautiful flex of the bamboo as it's set in place.

The villagers called the foremost curve of this arch the "Kagami" (a term for the beautiful curve of the roof), and they judged the quality of that year's entire performance by its stunning beauty.
The Grand Curtain and Stage Décor, Forged by Local Masters.

The stage props for "The Nishishiogo Revolving Stage," some of which date back to the Edo period, were not simply purchased from a town market. They were bespoke creations.

The surrounding villages were home to master artisans with the sophisticated skills to design, paint, dye, and carve these magnificent pieces.

The Omaku (Grand Curtain), a massive canvas, showcases the brilliant work of Mr. Nagayama, a master dyer from Shimokose village. The carvings on the Honyuka¹ were crafted by Kobayashi Heiemon of Torinoko village, a man celebrated as a master of festival float sculpture. The name Nozawa Hakka, a Japanese-style painter from Tatsunokuchi village, has been passed down as the creator of the stage backdrops. All of these artisans were active in the area we now call Hitachiomiya City.

The Nishishiogo Revolving Stage is a testament to the incredible height of culture and technical skill that existed in these rural regions at the time.

¹Honyuka: The decorated Gidayu-bushi platform, set to the right of the stage, where the chanter performs.
Built Only to Vanish. By Late Autumn, Not a Trace Remains.

Originally, "The Nishishiogo Revolving Stage" was erected in the fields, in the window of time after the autumn harvest and before the wheat was sown.

Since its revival after a half-century absence in 1997, it has been assembled on the grounds of the Shiota District Center. The process begins in late August with a Jichinsai (ground-breaking ceremony) and the cutting of bamboo, taking nearly two months to complete.

Anyone with an interest is welcome to join this grand DIY project.

Working alongside the cheerful men of Nishishiogo, savoring the delicious meals prepared by the local mothers, and anxiously tracking the paths of typhoons—the day of the performance finally arrives, and it's over in what feels like a dream.

Shortly after, the stage vanishes in a single day of deconstruction. The leveled ground quietly greets the winter, as if nothing ever happened.
The Stage is Spun by a Merry, Tipsy Crew Below.

True to its name, "The Nishishiogo Revolving Stage" features a section of its elevated floor that actually rotates.

The current revolving mechanism, rebuilt after the stage's revival in the Heisei era, is centered on a solid, beveled oak beam with poles running through it.

Down in the dim space beneath the stage, the Naraku (trap room or understage area), four men wait for their signal. With perfect timing and unified breath, they push with a collective "heave-ho!"—not too hard, not too soft—to turn it.

When the stage rotates at the perfect dramatic moment, the audience erupts in thunderous applause. But the four men below can't see the show. They just wait in the dark for that rare cue.

Perhaps that's why the air down here is often thick with the smell of sake.

"Hey, it's a festival! You can't do this job without a drink," one might say with a grin.

*Sobriety may vary.

Many Ways to Support. Get Involved!

Address	Shiota Chiku Center 2163 Shiota Hitachi-Oomiya City Ibaraki Pref.
Representive	Takao Ohnuki
URL	https://mwari-butai.jpn.org
WEB	https://osakada.net