Monthly Archives: February 2016

Awanouta. Part 4.  Amemiwoya and The Nine Stars of Motoake

kohosi big

The Motoake chart is shown once again here. It represents hidden laws and the history of Universe. This time we emphasize its aspect of Kohosi, the Nine Stars. The Nine Stars refers to  Amemiwoya, the Origin, in the center surrounded by a circle of eight Akuta celestial bodies. Creative energy works through sound and establishes people’s bodies. Although Amemiwoya is not concerned with individual people, nevertheless action always takes place for creation of life. And Awanouta is its song of creation.

Creation of Islands

The Motoake chart represents the birth of life (a baby) as well as the birth of a country (kuni). Kuni today usually means country or nation. In olden days it meant area or land as well as country. This has led to some confusion. The kuni-umi of mythology in the Kojiki has it that Isanagi and Isanami created solid land, more specifically the eight islands of Japan, while standing on the “Bridge of Heaven”. 

Ōyasima is a beautiful old name for the Japanese archipelago. It means the eight great islands, In traditional Japanese culture, the number eight represents all. Thus Ōyasima means all the islands of Japan. Yatami (ya-tami, eight peoples) means all the people of Japan.

One of the country’s sacred treasures is the mirror Yata no Kagami. It is commonly believed that it is an eight-sided mirror. However, in our interpretation, its deeper meaning is the mirror for all the people, the mirror that sees all and discerns ka and ga, the good and the bad.


To summarize, the Awanouta is a song of creation. As such, it contains all the sounds of the Motoake creation kami. Just as Amemiwoya gives birth to Universe and all that’s in it, the Awanouta gives birth to a country (kuni-umi) and unifies the people. Singing and reciting Awanouta is a way for everyone to connect with the kami of creation.



Awanouta. Part 3. Awa no Kuni

Verse 660 Wosiyure ha

Verse 660 is shown here in Wosite and in romaji in this chart by S. Sakata. It tells how the Awanouta clarified the speech of the people and the area was named Awa no Kuni.

wosiyure ha 630- (1) NEW


wosiyu /  teach.  nekoye /  vocal sound.  totonoyi te / correct and clear (words).

Interpretation of Verse 660

The verse is saying:

Teaching     the vocal sound of the song

opens the way.     The speech of the people

clears.     The name of the area

becomes Awa no kuni.

This verse stresses that singing together is important and it unifies the minds of the people. This was key to the community method of growing rice. The Awanouta, with its long and distinct syllables, clarifies speech and language. It therefore helps people of the area to communicate better with each other. In such a way, a country is born.

The two kami went throughout the land and sang together the Awanouta, a song of the cosmos. Theirs was a ceremony in which Isanagi the male went to the left, and Isanami the female went to the right. In this way, Isanagi and Isanami unified the people and gave birth to their country (kuni-umi), and named it Awa no Kuni, Land of Awa.


Awanouta. Part 2. Awanouta and Wosite Syllabary


Awanouta analysis 2We show how the ideograms/syllables of the Awanouta (in the box above) were derived from the Wosite syllabary. This figure is by S. Sakata.

Wosite Syllabary

Shown in the box is a chart of the Wosite syllabary. It begins with the blue ideogram for  a. Follow the blue arrow to the left for the upper half of the song which Isanagi sings. The red ideogram for  mo  begins Isanami’s lower half. Follow the red arrows to the right to the end of the song at  wa.

You can see why Isanagi’s half is called “upper” and Isanami’s is called “lower”. When the ideograms are written and sung in the given order in 5 – 7 rhythm, the Awanouta of Part 1 is produced.

Verse 402 Hutakami ha

The verse reads:

huta kami ha     arata ni mekuri

wo ha hitari     me ha miki mekuri

ahi utahu     ame no awa uta


hutakami /  two kami.  aratani / newly.  mekuri / to revolve.  hitari / left.  miki / right.  ahi (ai) / together.


The two kami     newly went around

male to the left     female to the right

sang together     song of Cosmos.

This is the famous story of how Isanagi goes around to the left and Isanami to the right. Isanagi sings first and Isanami sings second. That is the proper way. The reason is: Isanagi’s song comes from the upper five lines of the syllabary, minus the last syllable, mo. Isanami starts with mo and goes through the rest of the chart to the end, wa. His lines are regular: 5, 5, 5, 5, 5-1. Hers are irregular: 1+5, 4, 5, 4, 5 and begins with mo. Thus it can be said that it was not proper for her to sing first, as the well-known legend relates. When they realized this, then he sang first and all was well.

The singing and movements of Isanami and Isanagi may be considered to be a ceremony for giving birth to a good country. This insight of theirs came from much praying with their whole hearts.


Awanouta. Part 1. Song of Creation

Awanouta in box

Part 1.  Awanouta, Song of Creation

Awanouta (Awa no Uta) is a powerful song. See it in the box above. All figures provided by S. Sakata. It is comprised of all 48 of the creation kami as taught by the great sage, Toyoke-sama. Toyoke-sama designed the Motoake chart to teach the creation of Universe by Amemiwoya, Great Origin, and the 48 kami. The Wosite syllabary itself is powerful since it contains all 48 of the kami. Indeed, one can say that the Wosite language is powerful. Wosite contains the power of sound, the power of human voice.

Isanagi and Isanami, and the Motoake

The Awanouta was composed by Isanagi and Isanami, the futakami (two kami, the kami pair) who served as the 7th Amakami in Wosite era. When they first came to live in the capital, there was something they noticed. Although the two of them spoke proper Japanese, the people of the land found it difficult to understand each other because of their strong regional dialects. The two Amakami thought that it is important to clear the speech of the people to proper language. They would base the teaching on Motoake. When people sang the Awanouta, their speech would become beautiful and they would naturally acquire a unified sense of being Japanese. Further, the Awanouta contains the hidden laws and history of Universe. Creative energy works through sound, and sound energy establishes the message of Awanouta in people’s mind and body.

Verse 111  Akahanama and Awanouta

The Awanouta is given in lines 111 – 114 of Hotuma Tutae. It  goes like this:

a ka ha na ma     i ki hi ni mi u ku

hu nu mu e ke     he ne me o ko ho no

mo to ro so yo     wo te re se ye tu ru

su yu wu ti ri     si yi ta ra sa ya wa

The song begins with  a  and ends with  wa. As we know,  a  represents Cosmos, and  wa  represents earth. The song contains hidden energy of the creation of Universe. It applies to the birth of a baby as well as of a kuni, country/land/area.

The figure above shows the Awanouta in the box. Isanagi sings the first two columns and Isanami sings the next two columns. Note the eight ideograms shown in green. They are: a, i, hu, he, mo, wo, su, si. Did you realize that they are the eight Anami-kami in the Motoake chart? They were discussed in a previous post, Hutomani Part 1. These eight appear in the second ring (pink) of eight kami in the Motoake chart.

Motoake En.

Verse 654 Kuniume to and the law of 5 and 7

Verse 654 on the left side of the first figure reads:

kuni ume to     tami no kotoha no

hutu kumori     kore naosan to

kankayete     yine nana miti no

awa uta o     kami husoyo koye

isanagi to     simo husoyo koye

isanami to     utai turanete

Observe that there are three colors of ideograms in the poem:  Green indicates the phrase, yine nana miti. In blue, kami husoyo koye isanagi. In red:  simo husoyo koye isanami. We will explain them shortly.


kuni ume (umi) / birth of a country.  tami / people.  kotoha / language, speech.  hutu / very.  kumori / dim.  naosu / to fix.  kankayete / thinking.  yi ne / 5 root.  nana (ne) / 7 (root).   

miti / law (in this case).  kami / upper or first (in this case).  simo / lower or second (in this case).

hu-so-yo / 20 plus 4, or 24.  utai / sing.  turane / to continue.


The birth of the country     the speech of the people

was very dim.     To fix this

they thought of     law of 5 and 7 roots.

Awa Uta      upper 24 sung

by Isanagi;     lower 24 sung

by Isanami     who continued the song.

Isanagi and Isanami give birth to the country.

This verse is telling the story of the time when the speech of the diverse people was “dim”, that is, not clear, and they had difficulty communicating with each other due to their distinct dialects. Isanagi and Isanami thought of a remedy. Based on the intonation of the language, they felt that they would focus on a backbone of five and seven syllables (yine nana miti, the green ideograms in the poem). Five and seven are the base of syllables and grammar, the unique rhythm and intonation of the Japanese language. They composed a song of 48 syllables, and Isanagi sang the first half (kami husoyo koye isanagi, it says in blue) and Isanami sang the second half (simo husoyo koye isanami, in red). The reason they are called the kami upper and the simo lower will soon become clear in Part 2.

To protect the pronunciation, rhythm, and syllables of the five and seven, the eight Anami-Kami were placed at the beginning of each phrase in the Uta. These are shown as the green ideograms in the Awanouta.

From the age of Woshite to the present day, for more than three thousand years, the rhythm of five and seven is in the Japanese poetry, language and mind. Haiku and tanka poems employ 5 and 7 syllables.


Hutomani. Part 3. Ahara and Takamanohara

Motoake Ahara En.In the previous post on the Ahara waka, we connected the terms: ahara,   anohara,    takamanohara. The  a  in ahara and in anohara, as well as the  ama  in takamanohara have the meaning of Cosmos, where high kami dwell. Takamanohara may be deconstructed to be taka-ama-no-hara, where taka means high and hara means place.

The term Takamanohara is better known to readers of Japan’s creation myth. Isanami and Isanagi are the kami couple who create the eight islands of Japan while standing on the “floating bridge of heaven” in Takamanohara. This, of course, implies that Takamanohara is “Heaven”, and is often pronounced Takama-ga-hara. We would like to give another version of the creation story, the version taught by the Wosite documents.

To the present-day Japanese, Takamagahara – known in English as “High Plain of Heaven” with “ama” translated as “Heaven” – is a mythical place. This idea is based on Ki-Ki (the documents Kojiki and Nihon Shoki from the 8th century). The true history of Japan was changed by Ki-Ki. This is very unfortunate. In this Ki-Ki view, only “heavenly” kami dwell in Takamagahara which is separate from the world of people. Indeed, when this happened to the name, people were moving away from a deep connection with the kami.

Originally, Takamanohara (note the spelling) was a place of kami and people. It was referred to as if it were in Ama, Cosmos. The significance is that people and kami were in harmony with Ama, Cosmos. Takamanohara was a place on earth where people tried to live and make decisions in keeping with the way of the kami, with the way of Nature and Universe.

The name changed after the Woshite period and it picked up a voiced consonant (“ga”). A voiced consonant generally abbreviates the original meaning and gives a negative connotation to it. So “Takama-no-hara” in changing to “Takama-ga-hara” became limited in scope and in imagination, and it lost its pure aspect.

It is hoped that by exposing the nature of the Woshite world, we can show our readers the worldviews of the Woshite people. This Woshite worldview regarded humans in unity, or at least humans that intended to be in harmony, with the kami of Takamanohara and with all of Nature and Universe.

Please re-read Welcome to the World of Woshite regarding kami and Ama,

As you continue to read our articles, you will develop a clearer understanding of the World of Woshite. The World of Woshite was in harmony with the Way of Ama.


Hutomani. Part 2. Ahara Waka

Motoake Ahara En.

Here is an example of one of the 128 waka, the ahara (a-ha-ra) in the Hutomani anthology. In the above chart, it is the triplet of Anami 1 with Misohu pair (2) and it is outlined in red. This beautiful chart by S. Sakata was created especially for this article.

a no hara ha       kami no atumaru

hito no hara        situku ni waza no

miti zo umi keru


a-no-hara /amanohara /cosmic field where cosmic kami gather.  hito no hara /miya / the place where human kami leaders gather, the central figure being the Amakami.  atumaru / to gather.  kami /a human who possesses great ability and has earned high respect; also kami is a powerful cosmic force of nature.  situku /a beneficial dew of rain or light, flash of energy.  waza /technology, methods, law, ability.  miti / way, law.  umi / born, produced.

The Ahara verse

A-no-hara where cosmic kami gather,

and hito-no-hara where human kami gather,

receive beneficial drops of rain and a flash of energy.

Thus a way is born.

The way, of course, is the solution to a perplexing problem faced by the people. The way is also in harmony with the laws of Cosmos. This waka suggests a deep connection between the Takamanohara of the Cosmos and that on the earth.The human kami leaders gather at hito-no-hara on earth with the Amakami leader as do powerful cosmic kami who gather at A-no-hara cosmic place. The abilities of the people are increased with the benefits of rain and light from the sky.


Hutomani. Part 1. Waka and Uranahi

Motoake En.

This post expands the previous Post 6.1 on the topic of Motoake and Hutomani. These informative charts are by S. Sakata.

Motoake Cosmology

The Motoake chart was designed by Toyoke-sama to teach how the world and humans are created, according to the teaching of To no Wosite. Motoake, the great beginning is represented by this chart. In the central circle is the unseen Source, Amemiwoya.  Amemiwoya is surrounded by the ring of eight Akuta-Kami which govern space and time. Their names are: To, Ho, Ka, Mi, Ye, Hi, Ta, Me.

The next ring, colored in pink, contains the eight Anami-Kami. The two outer rings, colored yellow, each contain sixteen Misohu-Kami; there are 32 Misohu-Kami. There are a total of 48 Kami in this chart. Each of the 48 Kami is represented by a phoneme syllable sound and an ideogram Wosite character.

The Anami-Kami determine the first sounding of creation. Then the Misohu-Kami appear in pairs, and they set the tones. People in Wosite age sensed the power of sound and the voice in the energy of creation by these kami.

Motoake as Hutomani

Motoake Ayama En.

Amateru Amakami studied with his grandfather Toyoke-sama and he learned the cosmology of this chart. Amateru lived a long life, and in his later years developed the use of the Motoake as the Hutomani process. In times of special trouble, the chart would be consulted for inspiration in coming to a solution.

The eight Anami-Kami work with sixteen pairs of Misohu-Kami. Let us explain. The Anami-Kami have a special order which is

a – i – hu – he – mo – wo – su – si.

We have numbered their sectors in the pink ring from 1 through 8. The people of the Wosite age sensed the power of the voice and the ideogram which shows it. The Anami-Kami are the first vocal sounds of creation. They work with the Misohu-Kami. The Misohu-Kami are paired, one in the third ring with its partner in the fourth ring. For example, the first pair might be labelled (1) ya-ma, outlined in red in the chart. The second pair (2): ha-ra, (3): ki-ni; (4): ti-ri, etc.

The sixteen triplets for  a  would be a-ya-ma, a-ha-ra, a-ki-ni, a-ti-ri, etc. The sixteen triplets for i  would be i-ya-ma, i-ha-ra, i-ki-ni, i-ti-ri, etc. There are 128 triplets (8 times 16). Even with only three syllables, these triplets give rise to images in people’s minds, recalling history and culture. People made waka poems of these triplet images and used them as proverbs. Amateru-Kami decided to collect 128 waka, one for each triplet. He put out a call for submssions of proverbs in waka form, and he selected 128 waka. The waka begin with the words ayama, ahara, akini, etc. We will show you one of these waka in a later article.

Hutomani as Waka Anthology and Uranahi Inspiration

Hutomani may thus be considered an anthology of waka. The waka were used in connection with the principle of Motoake, to assist in deciding upon a course of action to a troublesome situation, a solutiion that would be in harmony with Universe.

When we perform Wosite analysis on the word uranahi, we get the result shown in the chart below. is the dynamic, powerful movement that can create new forms of things; ra  is the powerful energy that will be radiated during the process;  na  is the energy that is gathered together in harmony and is collectively moved down to the receiver; and  hi  means that from this energy, inspiration and new ideas will be born.

Therefore, the common labels for Hutomani: “divination” or “fortune-telling” do not convey the true meaning of Hutomani. Hutomani was a process of finding inspiration for approaching the solution to a societal problem by considering the way of Universe.

uranahi en

Amateru-Kami was compiler and editor of the Hutomani document. He was ably assisted by the scholar Amanokoyane, his tsurugi-no-tomo. Amanokoyane was also long-lived so that the document contains much of the wisdom that both great men had gained over the years.