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Miko

Miko

French film director
Miko
The basics

Quick Facts

Intro French film director
Is Film director Radio personality
From France
Type Film, TV, Stage & Radio
Gender male
Birth 4 May 1976, Paris
Age 44 years
Peoplepill ID miko-1
Miko
The details

Biography

In Shinto, a miko (巫女) is a shrine (jinja) maiden or a supplementary priestess. Miko were once likely seen as a shaman but are understood in modern Japanese culture to be an institutionalized role in daily shrine life, trained to perform tasks, ranging from sacred cleansing to performing the sacred Kagura dance.

Physical description

The traditional attire of a miko would be a pair of red hakama (long, divided trousers) or a long, red, slightly pleated skirt tied with a bow, a white haori (kimono jacket), and some white or red hair ribbons. In Shintoism, the color white symbolizes purity.

Traditional Miko tools include azusayumi (梓弓 or “catalpa bow”) the tamagushi (玉串 or “offertory sakaki-tree branches”) and the gehōbako (外法箱 or the “supernatural box that contains dolls, animal and human skulls ... [and] Shinto prayer beads”).

The miko also use bells, drums, candles, and bowls of rice in ceremonies.

Definition

The Japanese words miko and fujo ("female shaman" and "shrine maiden" respectively) are usually written 巫女 as a compound of the kanji ("shaman"), and ("woman"). Miko was archaically written 神子 (literally "kami" or "god" + "child") and 巫子 ("shaman child").

Miko once performed spirit possession and takusen as vocational functions in their service to shrines. As time passed, they left the shrines and began working independently in secular society. Miko at shrines today do no more than sit at reception counters and perform kagura dance. In addition to a medium or a miko (or a Geki, which is a male shaman), the site of a takusen may occasionally also be attended by a sayaniwa who interprets the words of the possessed person to make them comprehensible to other people present. Kamigakari and takusen may be passive, when a person speaks after suddenly becoming involuntarily possessed or has a dream revelation; they can also be active, when spirit possession is induced in a specific person to ascertain the divine will or gain a divine revelation.

Miko are known by many names; Fairchild lists 26 terms for "shrine-attached Miko" and 43 for "non-shrine-attached Miko". Other names are ichiko (巫子, "shaman child", or 市子, "market/town child", both likely instances of ateji) meaning "female medium; fortuneteller", and reibai (霊媒) meaning "spirit go-between, medium").

In English, the word is often translated as "shrine maiden", though freer renderings often simply use the phrase "female shaman" (shamanka) or, as Lafcadio Hearn translated it, "Divineress".

Some scholars prefer the transliteration, contrasting the Japanese Mikoism with other Asian terms for female shamans. As Fairchild explains:

Women played an important role in a region stretching from Manchuria, China, Korea and Japan to the Ryukyu Islands. In Japan these women were priests, soothsayers, magicians, prophets and shamans in the folk religion, and they were the chief performers in organized Shintoism. These women were called Miko, and the author calls the complex "Mikoism" for lack of a suitable English word.

Mikoism

History

Miko traditions date back to the prehistoric Jōmon era of Japan, when female shamans who would go into “trances and convey the words of the gods” (the kami), an act comparable with “the pythia or sibyl in Ancient Greece.”

The earliest record of anything resembling the term "miko", is of the Chinese reference to Himiko, Japan's earliest substantiated historical reference (not legendary), however it is completely unknown whether Himiko was a miko, or even if miko existed in those days.

The early Miko was an important social figure who was “associated with the ruling class.” “In addition to her ritual performances of ecstatic trance,” writes Kuly, “[the Miko] performed a variety of religious and political functions.” One traditional school of Miko, Kuly adds, “claimed to descend from the Goddess Uzume.”

During the Nara period (710–794) and Heian period (794–1185), government officials tried to control Miko practices. As Fairchild notes:

In 780 A.D. and in 807 A.D. official bulls against the practice of ecstasy outside of the authority of the shrines were published. These bulls were not only aimed at ecstasy, but were aimed at magicians, priests, sorcerers, etc. It was an attempt to gain complete control, while at the same time it aimed at eradicating abuses which were occurring.

During the feudal Kamakura period (1185–1333) when Japan was controlled by warring shogun states:

The Miko was forced into a state of mendicancy as the shrines and temples that provided her with a livelihood fell into bankruptcy. Disassociated from a religious context, her performance moved further away from a religious milieu and more toward one of a non-ecclesiastical nature. The travelling Miko, known as the aruki Miko, became associated with prostitution.

During in the Edo period (1603–1868), writes Groemer, “the organizational structures and arts practiced by female shamans in eastern Japan underwent significant transformations.” Though in the Meiji period (1868–1912), many shamanistic practices were outlawed:

After 1867 the Meiji government's desire to create a form of state Shinto headed by the emperor—the shaman-in-chief of the nation—meant that Shinto needed to be segregated from both Buddhism and folk-religious beliefs. As a result, official discourse increasingly repeated negative views of Miko and their institutions.

There was an edict called Miko Kindanrei (巫女禁断令) enforced by security forces loyal to Imperial forces, forbidding all spiritual practices by miko, issued in 1873, by the Religious Affairs Department (教部).

The Shinto kagura dance ceremony, which originated with “ritual dancing to convey divine oracles,” has been transformed in the 20th century into a popular ceremonial dance called Miko-mai (巫女舞) or Miko-kagura (巫女神楽).

Traditional training

The position of a shaman passed from generation to generation, but sometimes someone not directly descended from a shaman went voluntary into training or was appointed by the village chieftains. To achieve this, such a person had to have some potential. Several characteristics could be seen as a sign a person was called towards shamanism: neurosis, hallucinations, unusual behavior and hysteria. These conditions are still referred to as ‘shamanistic sicknesses’.

To become a shaman, the girl (still at a young age, mostly after the start of the menstruation cycle) had to undergo very intensive training specific to the kuchiyose miko. An acknowledged elder shaman, who could be a family member (like an aunt) of a member of the tribe, would teach the girl in training the techniques required to be in control of her trance state. This would be done by rituals including washings with cold water, regular purifying, abstinence and the observation of the common taboos like death, illness and blood. She would also study how to communicate with kami and spirits of the deceased, as a medium, by being possessed by those spirits. This was achieved by chanting and dancing, thus therefore the girl was taught melodies and intonations that were used in songs, prayers and magical formulas, supported by drum and rattlers.

Other attributes used for rituals were mirrors (to attract the kami) and swords (katana). She also needed the knowledge of the several names of the kami that were important for her village, as well as their function. Finally she learned a secret language, only known by insiders (other shamans of the tribe) and so discovered the secrets of fortune-telling and magical formulas. After the training, which could take three to seven years, the girl would get her initiation rite to become a real shaman. This mystic ceremony was witnessed by her mentor, other elders and fellow shamans. The girl wore a white shroud as a symbol for the end of her previous life. The elders began chanting and after a while the girl started to shiver. Next, her mentor would ask the girl which kami had possessed her and therefore she would serve. As soon as she answered, the mentor would throw a rice cake into her face, causing the girl to faint. The elders would bring the girl to a warm bed and keep her warm until she woke up. When the whole ordeal was over and the girl had woken up, she was permitted to wear a beautifully coloured wedding dress and perform the corresponding tradition of the wedding toast.

The resemblance of a wedding ceremony as the initiation rite suggests that the trainee, still a virgin, had become the bride of the kami she served (this is called a Tamayori Hime 玉依姫). During her trance, said kami had requested the girl to his shrine. In some areas of Japan she had to bring a pot filled with rice (meshibitsu) and a pan. An old, since long forsaken, practice was the sexual intercourse with a shintô priest who would represent the kami. As a result of this intercourse, the shaman would have the kami’s baby (mikogami 御子神 ).

In some cases the girls or women were visited at night by a travelling spirit (marebito 稀人). After this visit the woman made her new position of being possessed by a kami known to the rest of her village by placing a white, feathered arrow on the roof of her house.

Contemporary miko

Miko at the Ikuta Shrine

Modern miko are often seen at Shinto shrines, where they assist with shrine functions, perform ceremonial dances, offer omikuji fortune telling, and sell souvenirs. Kuly describes the contemporary miko: "A far distant relative of her premodern shamanic sister, she is most probably a university student collecting a modest wage in this part-time position."

The ethnologist Kunio Yanagita (1875–1962), who first studied Japanese female shamans, differentiated them into jinja miko (神社巫女 or "shrine shamans") who dance with bells and participate in yudate (湯立て or "boiling water") rituals, kuchiyose miko (口寄せ巫女 or "spirit medium shamans") who speak on behalf of the deceased, and kami uba (神姥 or "god women") who engage in cult worship and invocations (for instance, the Tenrikyo founder Nakayama Miki).

Researchers have further categorized contemporary miko in terms of their diverse traditions and practices. Such categorizations include blind itako (concentrated in north and east Japan), mostly blind okamin (north and east Japan), blind waka or owaka (northeastern Japan), moriko (north and east of Tokyo), nono (central Japan), blind zatokaka (northwest Japan), sasa hataki who tap sasa ("bamboo grass") on their faces (northeast of Tokyo), plus family and village organizations. Others have divided miko or fujo by blindness between blind ogamiya (尾上屋 or "invocation specialist") or ogamisama who perform kuchiyose and spirit mediumship and sighted miko' or kamisama who perform divination and invocations.

In the eclectic Shugendō religion, male priests who practiced ecstasy often married miko. Many scholars identify shamanic miko characteristics in Shinshūkyō ("New Religions") such as Sukyo Mahikari, Oomoto, and Shinmeiaishinkai.

In popular culture

  • In Zeami Motokiyo's 15th-century Noh drama Aoi no Ue, a miko named Teruhi performs an exorcism to remove the spirit of Lady Rokujo from the body of Lady Aoi.
  • In the 1985 bestselling historical fantasy novel Teito Monogatari (Hiroshi Aramata), the heroine Keiko Tatsumiya is a miko who serves the guardian spirit of Taira no Masakado. She channels the power of the bodhisattva Kwannon to contend with harmful spirits who threaten her family and Tokyo.
  • Manga and anime typically portray a miko as a heroine who fights evil spirits or demons. Miko are frequently ascribed with magical or supernatural powers, especially divination, and are skilled in the Japanese martial arts.
  • In Capcom's 2010 game Ōkamiden, one of the main character's companions, Kagu, trains to become a miko.
  • In eastern role-playing games, miko sometimes correspond with clerics or white witches. Some romantic bishōjo video games and visual novels portray miko as attractive, prim girls. Fictional kuro miko (黒巫女 "Black/dark miko") are an evil counterpart to traditional miko; for instance, the manga Shrine of the Morning Mist depicts kuro miko as proficient in demonology and black magic.
  • There have been some Miko in anime and manga series.
    • The character Rei Hino from Sailor Moon is a miko in her civilian form and is shown to use Shintoist shamanistic abilities such as dispelling evil forces with an ofuda and divining the future.
    • In Kanazuki no Miko, the characters Chikane Himemiya and Himeko Kurusugawa are reincarnations of the lunar and solar miko.
    • In Fushigi Yûgi, the characters Miaka Yūki and Yui Hongo are The Priestess of Suzaku (Suzaku no Miko) and The Priestess of Seriyu (Seriyu no Miko) from The Universe of the Four Gods.
    • In the anime and manga Inuyasha, the character Kikyo is a miko.
    • Furude Rika from Higurashi no naku koro ni is also the miko from the Oyashiro-sama Temple.
    • In Lucky Star, the Hiiragi sisters work as miko in the anime.
    • In Kuma Miko: Girl Meets Bear, the main protagonist Machi Amayadori, works as a miko at a mountain shrine in a remote village.
  • In the Ninja Gaiden series, Kureha and Momiji are said to be Shrine maidens. In the storyline, Kureha dies during an attack and Momiji starts training under main protagonist of the series, Ryu Hayabusa.
  • The second book of the Ninja series by Eric Van Lustbader is called The Miko, which features a female assassin with mystical powers who targets Nicholas Linnear in her quest for revenge.
  • In the videogame series KiKi KaiKai (also known as Pocky and Rocky in international territories) the main character known as Sayo-chan (referred to in English as Pocky) is a shinto shrine maiden who defends her shrine from mischievous yokai using ofuda (paper charms).
  • Reimu Hakurei, arguably the main character of the Touhou Project series of dōjin soft games, is a miko.
  • Mitsuha Miyamizu, the main character of Your Name movie is a miko.
  • Waley, 183.
  • The Miko, Eric Van Lustbader

The contents of this page are sourced from Wikipedia article. The contents are available under the CC BY-SA 4.0 license.
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