
The Shinto religion is native to the islands of the Japan. The followers of Shinto worship the myriad of kami that dwell in shrines and nature, in many different ways. Kami is the name for spirit-souls that are unseen and have sacred as well as awe-inspiring effects. I will be explaining the basis for sumo sport and the symbolic meanings connecting it to the Shino religion: to which it has original associations. When training for sumo tournaments, in the stables wrestlers prepare themselves mentally and spiritually by private meditation, but there are a variety of approaches to pay respects to deities. There is no correct or proper manner in which to perform kashiwade, for example, a hand-clapping gesture made before a bout being brief and simple or long a dramatic. The tournaments are taken place in a ritualistic manner (purifying the stadium is essential) carried out by priests, with strict religious reverence. Although Shinto can be traced back to a close association with Buddhism at the institutional, ritual, doctrinal, and philosophical levels (McMullin), there are Buddhist statues, but no lasting or profound traditions picturing images of kami in human form. Japanese people see no need to represent the divine into human form in order to recognize the presence. By playing the sport of sumo some symbols of Shinto are presented instead, and signs of personal worship are revealed.
The most central aspect to the Shinto religion is its physical and spiritual connection with Japan’s surrounding ocean. Misogi, purification process using water, and harai, cleansing with earth (sand) and salt, separate the elements that make up salt water that is essential for bodily balance. Meditation is one of four ways to achieve inner (seimei) and outer (seichoku) balance and purity. Shinto believers assert that seawater has the greatest purifying power; probably because of the vitality water and salt provide people for their survival (Yamakage 88-9). Undressing in order to bathe, in which the body is purified by water, keeps thoughts clean and breaks contact with unclean spirits. The divine nature of bathing goes back to ancient times when deities bathed, subsequently giving birth to other kami. For example, after Izanagi no mikoto (a primary deity, part of the Shinto creation story) removed cloth from his upper body, Wazurainoushi no kami was born—the term means the “center of worries.” (Yamakage 95). The naked upper body represents release from worries. After rinsing, Yasomagatsuhi no kami (Kami who Causes many Disasters) and omagatsuhi no kami (Kami causing Great Disasters) were born. (Yamakage 97). These are unclean Kami, and their emergence symbolizes the expulsion of dirt from the body through washing.
Similarly to socially desired behaviour at a public Sinto shrine, wrestlers must demonstrate a certain ritual propriety before entering the ring. The water is used to cleanse hands (symbolizing deeds and actions) and mouth (words) before they proceed. (Nelson 38). The first sumo matches were a form of ritual dedicated to the gods with prayers for a bountiful harvest and were performed together with sacred dancing and dramas within the precincts of the shrines. For purification, priests enter the sumo ring (dohyo) and perform an initiative ceremony called dohyo-iri. The dohyo becomes sacred afterwards, much to the extent of any other Shinto shrine (jinja—dwelling place for kami) or torii (gateway for kami). Once the ring has been purified, only wrestlers and referees (gyogi) are allowed to enter because kami are now present in the arena. (Picken 68).
The ring is surrounded in shimenawa, a plaited straw rope, to protect the newly endowed “shrine” and covered in a canopy that resembles a torii (specifically in the churen style). (Picken 44, 68). The churen style hangs the “sacred rope,” marking the area of a sacred area’s border.
In the dohyo, sumo wrestlers wear attire and conduct practices that are of religious significance, identifying them with the audience and unseen kami that they are of certain divine consequence. They ‘sport’ an outfit, most noticeably a tsuna (heavy white rope) with hakuhei (symbolic paper offerings to kami) attached and hanging from the rope. These paper offerings also hang under torii or in front of shrines to absorb evil spirits, after which a certain time they are replaced. The audience is shown a multitude of signs during and between bouts. The process “sight sacralization,” whereby signs and markers serve not only to identify significance but frame and elevate specific attributes in a way that “enshrines” their importance, comes in the form of noisy gestures that are symbolically connected to the Shinto story of deities enticing the Sun Goddess (Amaterasu) from her cave, bringing light back onto the world. (MacCannell). The dohyo shrine inspires ritual because wrestlers feel the kami is present, because their sense of ritual propriety requires it. A handful of salt is thrown up by the wrestlers before a bout, in either a small or extravagant amount, depending on their personal beliefs. Sumo wrestlers then clap hands (kashiwade) to gain the attention of kami, extend arms upward to reveal that they have no weapons, and, planting feet wide apart and stomping, drive out evil spirits that might be in the ring. (Shikiri). The wresting itself is a tribute to kami, the most skilled having a centered body and mind (tandra—center of our true selves). Yokozona, Grand Champion and highest rank in sumo, is achieved by winning, being able to remain standing, symbolizing his seimei as very pure and not affected by bad “spirit” vibes during bouts.
The sport of sumo displays the primary elements of the Shinto religion. The physical and spiritual connection of its believers to ocean water explains the significance to purification with salt and water and its significance of being thrown in the dohyo. The ring and outfit of the sumo wrestlers is derived from shrine and torii architecture, further tying aspects of the sacred with the arena. Although kami are not represented in images, the symbols, such as shimenawa twisted rope and hakuhei paper offerings are recognitions that their divine presence in the sport of sumo.Here is a video by National Geographic about Sumo, showing footage of sumo wrestling:
Works Cited
“Shikiri,” Beginners Guide of Sumo. Nihon Sumo Kyokai, 2009. http://sumo.goo.ne.jp/eng/ozumo_joho_kyoku/shiru/kiso_chishiki/beginners_guide/shikiri.html.
MacCannell, Dean. The Tourist: A New Theory of the Leisure Class. New York: Shocken Books, 1997.
McMullin, N. “Historical and Historiographical Issues in the Study of Pre-Modern Japanese Reigions,” Japanese Journal of Religious Studies. 16.1: 3-40.
Nelson, John K. “Enduring Identities: The Guise of Shinto in Contemporary Japan.” Honolulu, HI: University of Hawai’i Press, 2000.
Picken, D. B. Shinto: Japan’s Spiritual Roots. Tokyo: Kodansha International, 1980.
Yamakage, Motohisa. The Essence of Shinto: Japan’s Spiritual Heart. Tokyo: Kodansha International, 2006.



