Historical Background
Setsubun (節分) is a traditional Japanese festival marking the day before the beginning of spring according to the old lunar calendar. The name Setsubun literally means "seasonal division," signifying the transition from winter to spring. Although the term historically referred to the day before each of the four major seasonal changes, it is now primarily associated with the day before Risshun (立春), the first day of spring, which usually falls on February 3rd. The observance of Setsubun is part of the Spring Festival (Haru matsuri (春祭)), and involves a variety of customs and rituals aimed at warding off evil spirits and ensuring good fortune for the coming year .
The origins of Setsubun can be traced back to an ancient Chinese custom known as tsuina (追儺), introduced to Japan in the 8th century. This custom was originally a ceremonial practice conducted at the imperial court to expel evil spirits at the end of the lunar year. According to the historical text *Shoku Nihongi*, the first recorded tsuina in Japan took place in 706. The ritual involved decorating palace gates with clay figures and using peach branches and walking sticks to drive away malevolent spirits believed to cause misfortune and disease .
The contemporary form of Setsubun began to take shape during the Muromachi period (1336–1573). During this era, the aristocracy and samurai classes developed the custom of mame-maki, or bean-throwing. This practice is rooted in a legend from the 10th century, during the reign of Emperor Uda, in which a monk from Mt. Kurama used roasted beans to blind oni (demons) and thus avoid misfortune. The Japanese word for bean, mame (豆), phonetically resembles "devil's eye" (魔目) and "to destroy the devil" (mametsu, 魔滅), symbolizing the act of repelling evil .
By the Edo period (1603–1867), the customs associated with Setsubun had become widespread across Japan. Bean-throwing ceremonies were conducted not only in homes but also at Shinto shrines and Buddhist temples. Additionally, a practice emerged of decorating house gates with roasted sardine heads tied to holly sprigs, believed to repel oni with the sharp thorns of the holly and the strong odor of the sardines. This tradition has roots in the Heian period (794–1185) as described in the *Tosa Nikki*, a diary from 934, which details the use of sacred ropes (shimenawa) and fish heads in purification rituals .
Another significant custom associated with Setsubun is the consumption of ehōmaki (恵方巻), a special sushi roll eaten while facing the year’s most auspicious direction to ensure prosperity and happiness. This tradition, originating from the geisha districts between the Edo and Meiji periods, involves eating the entire uncut roll in silence. The practice gained widespread popularity in 1989 when a convenience store chain rebranded and marketed the sushi roll as ehōmaki, bringing it into mainstream Japanese culture.
Detail of a Japanese print showing an oni being chased away by scattered beans. © Amcaja via Wikipedia
Themes and Symbols in Setsubun
Setsubun is rich with themes and symbols that reflect its deep cultural significance and historical roots. The festival's primary objective is to cleanse the home of evil spirits and bring in good fortune for the coming year, symbolized through various customs and rituals.
Mamemaki: Scattering Beans: The central ritual of Setsubun is mamemaki (豆撒き), or bean scattering. This practice involves throwing roasted soybeans, known as fukumame (福豆, "fortune beans"), either out the front door or at a family member wearing an oni (demon or ogre) mask. Participants shout, "Devils out! Fortune in!" (鬼は外! 福は内!, Oni wa soto! Fuku wa uchi!), and then slam the door shut. This act symbolizes the purification of the home by expelling evil spirits and welcoming good luck. It is also customary to eat the same number of roasted soybeans as one’s age, plus one extra for good luck in the coming year. The tradition of mamemaki originated in the Muromachi period (1336–1573). Typically, the ritual is performed by the toshiotoko (年男), a man of the household born in the corresponding zodiac year, or by the male head of the household. There is a unique belief associated with the Watanabe family lineage, which traces back to Watanabe no Tsuna, a legendary demon-slayer from the Heian period. Due to his exploits, families with the surname Watanabe traditionally do not practice mamemaki, as it is believed oni fear their name. In contemporary Japan, while many families still practice mamemaki at home, it is also common to attend ceremonies at shrines or temples. These events often feature public bean-throwing, with participants including priests, invited guests, and even celebrities and sumo wrestlers. In Kyoto, for example, apprentice geishas perform a dance before throwing packets of roasted soybeans to the crowd. Larger venues, like Sensō-ji in Tokyo, attract massive crowds and host grand celebrations.
Sardine Heads and Holly Leaves: Another symbolic practice involves placing sardine heads and holly leaves (柊鰯, hiiragi iwashi) at the entrance of homes. The thorns of the holly leaves and the smell of the sardines are believed to repel evil spirits. This custom underscores the festival's emphasis on protection and purification.
Sardine head talisman on house entrance to keep bad spirits away, © Tonusamuel via Wikipedia
Ehōmaki: Lucky Direction Rolls: A regional practice from the Kansai area that has gained nationwide popularity is eating ehōmaki (恵方巻, "lucky direction rolls"). These uncut makizushi rolls are consumed in silence while facing the auspicious direction determined by the year’s zodiac symbol. The practice originated in Osaka and spread throughout Japan, largely due to marketing efforts by grocery and convenience stores.
Regional Foods and Drinks: Different regions in Japan have their own special foods and drinks associated with Setsubun. Common items include shōgazake (生姜酒), a ginger-infused sake. Regional variations in food include peanuts in Hokkaido and Tōhoku, kenchin-jiru and shimotsukare in the Kanto region, and various other local delicacies. Each of these foods is thought to bring good luck and fortune.
Historical Practices: Historically, Setsubun was seen as a time when the spirit world was closest to the physical world, necessitating rituals to protect against wandering spirits. Customs included bringing tools inside to prevent spiritual interference and balancing rice cakes on lintels and windowsills. Setsubun was also marked by role-reversal traditions, such as girls wearing the hairstyles of older women, wearing disguises, and cross-dressing—customs that continue among geishas today. Traveling entertainers, usually shunned as vagrants, were welcomed during Setsubun to perform morality plays. Their transient nature was believed to help carry away evil spirits.
Regional Variations: Different regions have unique variations of the mamemaki chant and practices. In Tōhoku, the head of the household prays at the family shrine before tossing beans. In some places, peanuts are used instead of soybeans. The chant "Oni wa soto, fuku wa uchi!" can vary, such as in Aizuwakamatsu where people shout, "Blind the demons' eyes!" (鬼の目玉ぶっつぶせ！, Oni no medama buttsubuse!).
In Contemporary Art
Setsubun has inspired a wide array of creative expressions that blend traditional themes with modern interpretations. Artists explore the symbolic aspects of the festival, such as the expulsion of evil spirits and the invocation of good fortune. The vibrant imagery of mamemaki, with its dynamic act of bean-throwing, and the striking visual of oni masks, provide rich material for artistic exploration.
Marie Laure Hamard, Setsubun, 2022
Marie Laure Hamard's 2022 painting Setsubun, rendered in acrylic and collage on canvas, vividly captures the essence of the Japanese festival that marks the transition from winter to spring. The artwork, described as an explosion of flowers, symbolizes the purifying and rejuvenating aspects of Setsubun, aligning with the festival's themes of driving away evil spirits and welcoming good fortune. The figurative and floral style of the painting reflects the celebration of Risshun, the first day of spring, embodying the renewal and vibrant life that follows winter. This artistic representation connects to traditional practices like mamemaki and the symbolic use of natural elements, underscoring the festival’s cultural significance in heralding a new beginning.
Bohdan Samsonov, The Devil from Movie Astral, or the Oni Mask, 2023
Bohdan Samsonov's 2023 painting, The Devil from Movie Astral, or the Oni Mask, executed in oil and acrylic on canvas, delves into the symbolic imagery central to the Setsubun festival. Drawing from oriental art styles, the painting prominently features an oni mask, a traditional representation of the demons driven away during Setsubun's mamemaki ritual. This work captures the festival's core theme of expelling evil spirits to purify the home and welcome good fortune. By focusing on the oni mask, Samsonov’s artwork emphasizes the dramatic and cultural significance of this age-old practice, linking it to the broader context of the festival and its rituals.
Setsubun is a vibrant and culturally rich festival that marks the transition from winter to spring in Japan, rooted in ancient customs aimed at warding off evil spirits and inviting good fortune. From its origins in the 8th century as a Chinese-influenced imperial court ritual, to its contemporary celebrations involving bean-throwing, symbolic decorations, and the consumption of special foods like ehōmaki, Setsubun encapsulates a blend of historical tradition and modern practice. The festival’s themes of purification and renewal are vividly portrayed in contemporary art reflecting the enduring significance of this cultural event.
Selena Mattei