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A game of Kemari at Tanzan Shrine

Kemari (蹴鞠) is an athletic game that was popular in Japan during the Heian (794–1185) and Kamakura period (1185–1333). It resembles a game of keepie uppie or hacky sack. The game was popular in Kyoto, the capital, and the surrounding Kinki (Kansai region), and over time it spread from the aristocracy to the samurai class and chōnin class. Nowadays, kemari is played as a seasonal event mainly at Shinto shrines in the Kansai region, and players play in a costume called kariginu (ja:狩衣), which was worn as everyday clothing by court nobles during the Heian period.[1]

History

[edit]
Woodblock print depicting Kemari expert Fujiwara no Narimichi (1097–1162) and three monkeys, guardian deities of the game
"Asukai Masanori Teaching Tokugawa Yoshimune to Play Kemari." Ukiyo-e printed by Tsukioka Yoshitoshi.

The earliest kemari was created under the influence of the Chinese sport cuju, which has the same kanji.[2] It is often said that the earliest evidence of kemari is the record of 644 CE in the Nihon Shoki,[3] but this theory is disputed. In 644, Prince Naka-no-Ōe and Nakatomi no Kamatari, who later initiated the Taika Reforms, became friends during a ball game described as "打鞠", but it may have been a hockey-like ball game using a cane instead of kemari. The earliest reliable documentary evidence of the word kemari (蹴鞠) is found in a record of an annual event called Honchō gatsuryo (ja:本朝月令) written in the middle of the Heian period. According to the records, a kemari games were played in May 701.[1]

Kemari became popular as a game for the nobility in the late Heian period (794–1185) in the 11th century, and in the 12th century, Fujiwara no Narimichi (ja:藤原成通) and Nanba Yorisuke (ja:難波頼輔) gained fame as masters of kemari. Fujiwara no Narimichi had made more than 50 visits to the Kumano Hongū Taisha to pray that his kemari skills would improve, and he had performed the kemari feat known as a ushiro mari (後ろ鞠, backward ball) in front of the shrine where Susanoo was enshrined. This technique is a keepie uppie performed on the heel.[1]

It reached its peak between the end of the 12th century and around the 13th century in the early Kamakura period (1185–1333), and kemari games were often played during the reign of Minamoto no Yoriie. This led to the establishment of a variety of new rules, equipment and techniques, and the completion of a structured art form called kemaridō (蹴鞠道). In the Kamakura period, kemari became popular among the samurai class, and in the Muromachi period (1336–1573), kemari, along with various other performing arts such as waka (Japanese poetry) and the Japanese tea ceremony, was regarded as one of the art forms that the samurai class was encouraged to master.[1][4]

Decorative kemari balls (Edo period), probably belonging to the Satake clan.

In the Sengoku period (1467–1615), sumo became popular and kemari declined, but in the Edo period (1683–1868) it became popular again as a game played by chōnin class in the Kinai (Kansai region).[1]

In the past, aristocrats living in Kyoto used to play kemari as an annual event on New Year's Day, January 4. Emperor Meiji feared that the rapid modernization of Japan would lead to the loss of various traditional Japanese cultures, and in 1903, an association was established to preserve kemari by contributing an imperial grant. Today, kemari is performed as a seasonal event in Shinto shrines around the Kansai region such as Shimogamo Shrine, Shiramine Jingū, Fujimori Shrine (ja:藤森神社), Tanzan Shrine, Hirano Shrine and Kotohira-gū. Seidaimyōjin (精大明神), enshrined as one of the sessha (auxiliary shrine) of Shiramine Shrine, is the kami of the mari (kemari ball) and is therefore respected by players of various ball games, mainly association football.[1]

George H. W. Bush played the game on one of his presidential visits to Japan.[5][6]

Description

[edit]
Kemari field at Kyoto Imperial Palace

It is a non-competitive sport.[7] The object of Kemari is to keep one ball in the air,[2] with all players cooperating to do so. Players may use any body part with the exception of arms and hands: their head, feet, knees, back, and depending on the rules, elbows to keep the ball aloft. The ball, known as a mari, is made of deerskin with the hair facing inside and the hide on the outside. The ball is stuffed with barley grains to give it shape. When the hide has set in this shape, the grains are removed from the ball, and it is then sewn together using the skin of a horse. The one who kicks the ball is called a mariashi. A good mariashi makes it easy for the receiver to control the mari, and serves it with a soft touch to make it easy to keep the mari in the air.

Kemari is played on a flat ground, about 6–7 meters squared.[3] The uniforms that the modern players wear are reminiscent of the clothes of the Heian period and include a crow hat. This type of clothing was called kariginu (ja:狩衣) and it was fashionable at that time.

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Kemari

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from Grokipedia
Kemari is a traditional Japanese non-competitive game in which a group of players cooperatively keep a deerskin airborne by kicking it or striking it with other parts of the body except the hands and arms, with the objective of preventing it from touching the ground. Originating in , kemari was introduced to around 1,400 years ago during the late Asuka to early (circa 644 CE), as recorded in the , and quickly became popular among court nobles in the Imperial Palace during the (794–1185). It later spread to classes in the and Muromachi periods (1185–1573), evolving into a refined courtly and activity that emphasized , etiquette, and skill rather than rivalry, with no winners or losers. The game is typically played by six to eight participants on a square field known as a shihon kakari, measuring about 15 meters (50 feet) on each side and marked by four trees—traditionally cherry, pine, willow, and maple—at the corners to symbolize the seasons. Players, dressed in ceremonial attire including mari-suikan robes, eboshi hats, hakama trousers, and leather kamo-kutsu shoes, perform in a ritualized sequence: a warm-up phase, individual displays of skill, and a cooperative finale called kazumari. The ball, or mari, is made of deerskin stuffed with deer hair, weighs around 130 grams, and measures about 8 inches in diameter; it is often blessed at a shrine before play, and players vocalize calls like "ari!" or "ou!" to coordinate passes. Kemari holds deep cultural and spiritual significance, particularly in traditions, where it is performed as a offering at shrines such as Kamomioya-jinja and Shiramine-jingu to honor deities like Sei-daimyojin, the guardian of the game. It declined after the in 1868 but was revived in 1903 through Emperor Meiji's edict establishing the Kemari Preservation Society, ensuring its survival as an . Today, it is demonstrated publicly during events like the Imperial Household Agency's seasonal exhibitions and New Year's rituals, preserving its emphasis on teamwork and grace.

History

Origins and Introduction to Japan

Kemari, a non-competitive ball-kicking game, traces its roots to the ancient Chinese sport of , which dates back to the (475–221 BCE) and involved keeping a ball airborne using the feet. Cuju was not only a form of entertainment but also served military training purposes, emphasizing agility and coordination. This game spread across through cultural and diplomatic exchanges, eventually reaching as part of broader Sino-Japanese interactions during the . The introduction of kemari to occurred in the 6th or CE, likely via the Korean Peninsula, where similar ball games were practiced, or directly through Chinese envoys and Buddhist missionaries. The traditional earliest documented reference appears in the (Chronicles of Japan), a historical text compiled in 720 CE, which records a ball-kicking activity in 644 CE at Hōkō-ji Temple (also known as ) in Asuka, ; though some scholars dispute whether this specifically describes kemari. In this event, Crown Prince Naka no Ōe (later ) and Nakatomi no Kamatari (a key political figure) engaged in the activity, using it to symbolize alliance and harmony during the Taika Reforms. This instance highlights kemari's initial role as a courtly pastime fostering social bonds among the elite. By the early 8th century, kemari had gained traction in imperial circles, with another entry noting its play on May 5, 701 CE, during the . The game was adapted to , emphasizing grace and cooperation over competition, and became integrated into aristocratic rituals. Its formalization as shukiku (kick-ball) reflected the influence of Chinese court culture, yet it evolved distinctly in as a symbol of refinement and .

Historical Development and Peak Popularity

Kemari evolved from its early introduction into a formalized courtly pursuit during the (794–1185), where it became a staple activity among nobles and was meticulously recorded in literary works such as . Professional practitioners emerged in the late Heian era, fostering the creation of specialized schools like the Nanba and Asukai lineages by the onset of the (1185–1333), which codified techniques and elevated the game to a disciplined art form emphasizing harmony and skill. The game's popularity surged in the as it transitioned from an aristocratic exclusive to a favored pastime among , with figures like actively participating and integrating it into warrior training alongside pursuits like poetry and archery. This era saw kemari's rules fully standardized by the 13th century, including ceremonial attire and structured play, allowing for extended sessions that highlighted endurance—such as the 520 consecutive kicks achieved in 953 during the , a benchmark of mastery. Kemari attained its zenith between the 10th and 16th centuries, permeating court life, military culture, and even inspiring theatre depictions during the (1336–1573), while enthusiasts like no Narimichi exemplified devotion by engaging in over 7,000 sessions, including 2,000 without pause, across social classes from emperors to commoners. By the (1603–1868), under the Asukai family's patronage, it had disseminated nationwide through representatives, blending ritualistic elements with public performances and solidifying its status as a symbol of refined .

Decline and Modern Revival

Kemari's prominence began to fade during the late and accelerated after the in 1868, as Japan's rapid modernization and embrace of Western influences supplanted traditional aristocratic pastimes with new forms of recreation and . The game's association with courtly and culture became increasingly anachronistic amid societal shifts toward industrialization and , leading to its near extinction by the early . Emperor Meiji, who reigned from 1867 to 1912 and actively promoted cultural preservation amid reforms, expressed displeasure at the game's decline and provided financial support for its revival through grants to dedicated groups. In 1903, volunteers established the Shukiku Hozonkai (Kemari Preservation Society), marking a formal effort to document rules, train practitioners, and stage demonstrations to sustain the tradition. In the and beyond, kemari experienced a cultural resurgence as an intangible heritage, with the Shukiku Hozonkai organizing annual performances to preserve the non-competitive spirit of the game and integrate it into modern cultural activities, ensuring its transmission to new generations.

Rules and Gameplay

Objective and Core Rules

The objective of kemari is to cooperatively keep a deerskin airborne by passing it among players without allowing it to touch the ground, emphasizing harmony, skill, and non-competitive rather than scoring or defeating opponents. There are no winners or losers in the traditional form; the focus is on sustaining play as long as possible through coordinated efforts. Typically, kemari is played by 6 to 8 participants, including 4 primary players positioned at the corners of the field and up to 4 assistants, though the number can range from 2 to 12 depending on the context. The game occurs on a flat, square earthen court (kikutsubo or mariniwa) measuring approximately 15 meters per side, often marked by four trees at the corners symbolizing the seasons—such as cherry, , pine, and . Players form a circle around the ball and maintain upright posture, kicking it gently to one another while advancing slowly if needed to receive passes. Core rules prohibit the use of arms or hands; players manipulate the solely with their feet, though other body parts like the head, back, knees, or chest may be used to stop, control, or direct it toward the foot before striking. A player may strike the multiple times for control but must then pass it to another, ideally lobbing it to the highest point for easy reception. Verbal cues enhance coordination: the kicker shouts "ariya!" to lift the , "ari!" to pass it, and the receiver calls "o!" at its peak. In ceremonial or modern variants, play may progress through stages—a warm-up phase involving kicks into surrounding trees, individual skill displays, and a central teamwork segment where consecutive kicks are counted (often silently up to 50, with announcements every tenth). Competitive exhibitions, less common in traditional practice, award victory to the team achieving the most kicks in a set trial, such as 120 or 360. The ball, known as mari, is lightweight (about 130 grams) and roughly 8 inches in diameter, crafted from deerskin stuffed with ; modern variants may weigh 100-110 grams.

Techniques and Player Roles

Kemari emphasizes cooperative play where participants use their feet, knees, head, chest, or other body parts—excluding hands and arms—to keep a airborne without letting it touch the ground. The core technique involves controlled kicks to propel the in a gentle arc toward another player, often preceded by multiple self-touches to assess the bounce and ensure precise passing. Players maintain an upright, graceful posture, particularly in aristocratic versions, avoiding deep knee bends to embody hin (elegant poise), while commoner variants allow more dynamic, acrobatic maneuvers such as overhead headers or thigh traps. Gameplay typically unfolds in three informal stages: a warm-up where players exchange the freely and test its trajectory by kicking it into surrounding trees, a demonstration phase showcasing individual control, and the main kazumari sequence focused on collective endurance, with kicks silently counted up to milestones like 50, 300, or even 1,000, announced every tenth touch for motivation. Vocal cues enhance coordination, including "Ariyaaa!" when lifting the , "Ari!" during passes, and "Ō!" upon receiving it at its apex, fostering rhythmic . The , stuffed with for a soft rebound, allows for subtle adjustments using the instep or sole, prioritizing harmony over competition. Typically involving 6 to 8 players, Kemari lacks rigid positional roles like those in modern , instead relying on fluid, circular arrangements around a square field marked by four corner trees (often cherry, , , and ). Four primary players, known as mariashi, station themselves near these trees to anchor the play, while up to four assistants position outside the central area to retrieve or redirect errant balls, ensuring uninterrupted flow. In ceremonial contexts, an edayaku (lead player) may initiate with a for prosperity during the tokimari , underscoring the game's non-competitive where all contribute equally to sustaining the rally. Though rare competitive variants pit teams of eight against each other to achieve the longest single rally, traditional play remains collaborative, with no designated offense or defense.

Equipment and Attire

The Ball and Field Setup

The Kemari ball, known as mari, is traditionally made from deerskin sewn together using strips of horsehide and stuffed with deer hair, resulting in a soft, lightweight sphere designed for controlled kicks. An example from the (18th-19th century) measures 17.5 cm in diameter, though modern recreations typically range from 18 to 20 cm in diameter and weigh approximately 120 to 130 grams to facilitate gentle play without bouncing excessively. The exterior is often coated with a white pigment for visibility, and the ball is ritually blessed at a before use, emphasizing its ceremonial role. The playing field, referred to as a kikutsubo or mari-niwa (ball garden), is a flat, square earthen area prepared with gravel or sand to ensure a smooth surface for footing. Historically, during the Heian and periods, it measured about 6 to 7 meters on each side, marked by four distinct trees at the corners—typically a , , cherry, and —symbolizing the seasons and providing natural boundaries as well as shade. In contemporary demonstrations, the field is often enlarged to 12 to 15 meters per side to accommodate up to eight players while maintaining the traditional square layout and tree markers. Ancillary setup includes a lacquered holder for the ball, decorated with motifs like chrysanthemums in gold and silver technique, used for storage and display during rituals.

Traditional Clothing and Accessories

In traditional Kemari, players don a distinctive ceremonial outfit known as the kariginu, a form of attire historically worn by Japanese nobility during the Heian and Muromachi periods for informal activities like and outings. This ensemble emphasizes elegance and ritual propriety, reflecting Kemari's roots in courtly entertainment rather than competitive sport. The kariginu consists of layered garments made from silk or natural fibers, designed for mobility while maintaining a formal that aligns with Shinto performances where the game is often played. The upper garment, called the mari-suikan or suikan, is a long-sleeved robe crafted from unrefined to promote an upright posture essential for precise control. It features an open front secured by chest cords (muna-himo) and decorative knots (kotsuyu), evolving from - and 14th-century designs that blended hitatare-style elements with ceremonial flair. Paired with this is the , specifically the mari-hakama or kuzu-bakama, pleated trousers woven from fiber for durability and a flowing drape that allows fluid leg movements during play. These trousers, often white or light-colored, fall to the ankles and are tied at the waist, symbolizing the game's aristocratic origins. Headwear completes the attire with the eboshi, a stiff, black-lacquered shaped like a soft , traditionally reserved for officials and denoting the players' noble status in contexts. Footwear consists of kamo-kutsu or kamogutsu, specialized shoes with ties that provide grip and protection for kicking the deerskin mari ball without damaging it. These elements are donned in Muromachi-style variations during modern revivals at sites like shrines, ensuring the attire's preservation as a tied to Kemari's historical performance at imperial events.

Cultural and Religious Significance

Role in Aristocratic and Court Life

Kemari emerged as a refined pastime among the Japanese aristocracy during the (794–1185), where it was integrated into court life as a non-competitive activity emphasizing grace, harmony, and social etiquette rather than rivalry. Introduced from in the around the 7th century, as recorded in the , the game gained formal structure in the Heian era, with established rules for techniques, attire, and playing fields known as mari-ba. It became a pursuit for court nobles, serving as a means to cultivate physical poise and interpersonal bonds within the imperial palace, where players cooperated to keep the deerskin ball aloft without hands. Emperors and high-ranking officials, such as (r. 1155–1158), participated directly, marking a shift toward active engagement by the elite in this elegant sport. In literary depictions of Heian court culture, kemari reflected the era's sophisticated yet sometimes boisterous aristocratic interactions. In chapter 34 of by (c. 1008), a kemari match among young courtiers is portrayed as a lively social event, observed covertly by a concubine, which sparks romantic intrigue and underscores the game's role in facilitating elite connections and subtle courtly drama. Similarly, in (c. 1002) critiqued kemari exhibitions as an "unpleasant spectacle," highlighting its visibility in public court performances despite perceptions of roughness among refined observers. These accounts illustrate how kemari transcended mere recreation, embodying the values of refinement and collective harmony central to aristocratic identity. Prominent nobles exemplified kemari's prestige; Fujiwara no Narimichi (966–1027), a high-ranking , was renowned as a master player, reportedly engaging in over 7,000 sessions, as noted in the Kokon Chomonjū (c. 1254). The game also extended to court women in later contexts, as described in The Confessions of Lady Nijō (c. 1307), where female attendants were compelled to participate with the emperor, revealing its occasional obligatory nature in imperial circles despite embarrassment for some participants. By fostering skills in balance and cooperation, kemari reinforced the hierarchical yet collaborative ethos of Heian aristocracy, distinguishing it from more combative pursuits and aligning it with the court's emphasis on aesthetic and ritualistic excellence.

Connections to Shinto Practices and Shrines

Kemari has been integrated into practices as a offering, symbolizing , grace, and the warding off of misfortune through communal play. Originating as a courtly pastime introduced from during the Asuka and early Nara periods, it evolved into a sacred activity performed at shrines to honor and invoke blessings for the new year or seasonal transitions. A prominent example is the Kemari Hajime, the inaugural match of the year, held annually on January 4 at Kamomioya-jinja Shrine (also known as Shimogamo-jinja) in . This event serves as a to pray for prosperity and peace, with participants dressed in traditional Heian-period attire kicking the ball in a square field outlined by pine branches, maintaining elegance to prevent it from touching the ground, which is seen as polluted space. Similar performances occur at Shiramine-jingu Shrine in on April 14 and July 7, conducted by the Kemari Preservation Society, emphasizing Kemari's role in shrine festivals that blend physical discipline with spiritual devotion. Central to these connections is Sei-daimyojin, the guardian deity of Kemari, enshrined in an auxiliary shrine at Shiramine-jingu. Originally the family of the Kamo clan, Sei-daimyojin is invoked for success in the game and protection, transforming Kemari from mere recreation into a divine rite akin to other offerings like or . This deity's cult underscores Kemari's ritual purity, as documented in ancient texts such as the and Honcho Gatsuryo, which record early instances of ball games at court and shrines. Kemari rituals extend to other shrines across , including Fujinomori-jinja in , Tanzan-jinja in Nara, Hirano-jinja in Shiga, and Kotohira-gu in Kagawa, where they are performed as seasonal events to foster community and spiritual harmony. The preservation of these practices was formalized by an 1903 edict from , establishing Kemari as an intangible cultural treasure tied to heritage and ensuring its continuity through dedicated societies.

Modern Practice

Contemporary Events and Locations

In contemporary , Kemari is actively preserved through organized events at historic shrines and palaces, where preservation societies perform the game in traditional attire to honor its . These demonstrations emphasize harmony and skill, attracting both locals and tourists, and are often tied to seasonal or national celebrations. Additionally, interactive experiences allow visitors to participate, fostering modern appreciation of the ancient pastime. A prominent annual event is Kemari Hajime, held at in on January 4, where 17 members of the Shukiku Hozonai Preservation Society don Heian-period costumes to perform coordinated kicks with a deerskin ball, starting at 1:30 PM. Similarly, the Kigen-sai Festival at nearby on February 11 features a Kemari demonstration at 11:00 AM by adults in Heian-style attire, as part of rituals commemorating Japan's founding, following martial arts displays. In spring, the Dedication Kemari takes place at Kotohira Shrine in on , with participants in colorful costumes praying before offering the ball to the deities and showcasing techniques in a . The Spring Kemari Festival at Tanzan Shrine in Nara follows on , involving processions, s, and a game by the Kemari Preservation Society to recall historical reforms. Autumn editions occur on at the same venue, beginning at 11:00 AM with society members in traditional garb. Nara's hosts the Manyo Kemari Banquet on October 5 from 1:30 PM to 3:00 PM, including a dedication in the Ringo Garden, a , and a competitive display in Tobihino meadow, weather permitting. At the , special openings like the Autumn 2025 Introduction to Court Culture from November 26 to 30 feature daily Kemari performances alongside music at 10:00 AM and 11:00 AM, recreating imperial traditions. Dedicated practice sites include Kemari-no-niwa, a white-gravel courtyard within the Kyoto Imperial Palace grounds, originally used for court games and now a symbolic space for occasional demonstrations. In Yamaguchi City, the Ōuchi Kemari experience at Odono Community Center offers hands-on sessions for up to 10 participants in Muromachi-style costumes, using a handmade ball, for ¥10,000 per person, highlighting the Ōuchi clan's historical patronage. These locations and events ensure Kemari's continuity, blending ritual, education, and recreation across Japan.

Influence on Japanese Culture and Media

The game's influence extends into Japanese arts and literature, where it frequently symbolizes refined leisure and social interaction. In Murasaki Shikibu's (early 11th century), kemari scenes illustrate courtly romance and intrigue, with courtiers playing the game as a backdrop to interpersonal dynamics, highlighting its integration into Heian-era narratives. During the (1603–1868), kemari appeared in and Kyogen theater, as well as popular novellas, portraying it as a communal pastime that bridged elite and commoner life; for instance, woodblock prints like Utagawa Sadafusa's Kemari (c. 1830–1844) capture players in traditional attire, emphasizing graceful movement. Artists such as Katsushika Hokusai depicted kemari in his (1814), evolving it into a motif for everyday elegance, while Ogata Kōrin's Hotei Playing Kemari (c. 1700) on folding screens infuses the game with whimsical, Rinpa-style artistry, influencing later decorative traditions. In modern media, kemari's legacy manifests more subtly, often through evocative references that nod to its historical charm. The 2016 anime (known in English as , literally "The Golden Furball of Udon Country") incorporates the term "kemari" in its title, referring to the tanuki spirit character (named Poco) as a "golden kemari" in a playful nod to , blending the game's ancient connotation with contemporary slice-of-life storytelling set in , thereby reviving cultural awareness among younger audiences. Similarly, the supernatural (2008–present) features a yokai named Kemari, drawing on the word's folkloric resonance to explore themes of tradition and otherworldliness. These representations, while not direct adaptations, underscore kemari's permeation into , linking historical ritual to modern narratives of heritage and community.

References

  1. https://www.kunaicho.go.jp/e-culture/kemari.html
  2. https://www.kokugakuin.ac.jp/en/article/53496
  3. https://www.fifamuseum.com/en/explore/fifamuseumplus/blog/origins-kemari
  4. https://sengokudaimyo.com/kemari
  5. https://www.ancient-origins.net/history-ancient-traditions/kemari-revival-7th-century-japanese-football-game-modern-times-005851
  6. https://heritageofjapan.wordpress.com/2011/10/04/kemari-the-earliest-form-of-football-played-in-ancient-japan/
  7. https://mainichi.jp/english/articles/20220105/p2a/00m/0na/015000c
  8. https://mainichi.jp/english/articles/20230105/p2a/00m/0li/005000c
  9. https://www.greenshinto.com/2013/01/04/kemari-game-of-the-gods-shimogamo/
  10. https://japan-4seasons.com/en/%25E4%25BA%25AC%25E9%2583%25BD-kyoto/14238.html
  11. https://www.topendsports.com/sport/list/kemari.htm
  12. https://www.howuniquejapan12.com/kemari-japanese-soccer/
  13. https://www.suntory.com/sma/collection/data/detail?lang=en&id=2894
  14. http://no-sword.jp/blog/2006/09/
  15. https://tradi-jp.com/exclusive-experience-of-water-and-noble-sports-of-kemari.html
  16. https://yamaguchi-city.jp/ouchi-tour/en/kemari.html
  17. https://www.japanpolicyforum.jp/culture/pt2024022816114213880.html
  18. https://asia.si.edu/explore-art-culture/collections/search/edanmdm:fsg_F2002.2a-h/
  19. https://jasumo.com/listing/kemari-hajime-in-kyoto/
  20. https://www.discoverkyoto.com/event-calendar/february/kigen-sai-kamigamo-shrine/
  21. https://www.i-pal.or.jp/profile/tourism/322-Kemari%20Offering.html
  22. https://japancheapo.com/events/kemari-festival/
  23. https://www.iwafu.com/en/events/1041463
  24. https://www.iwafu.com/en/events/1035564
  25. https://www.iwafu.com/en/events/1034237
  26. https://kyoto-gosho.kunaicho.go.jp/en/garden/2B8
  27. https://resources.metmuseum.org/resources/metpublications/pdf/The_Tale_of_Genji_A_Japanese_Classic_Illuminated.pdf
  28. https://honolulu.emuseum.com/objects/273/kemari
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