“Makka na Aki” (which translates to “Bright Red Autumn”) is a beloved Japanese children’s song that reflects the emotions of children who want to continue playing outside, even as the autumn days grow shorter and the evening approaches earlier. The song captures a moment of childhood innocence and joy, where the change of seasons from summer to autumn brings new experiences and colors, yet also signals the end of long, sun-filled days.

When this song was first introduced in the 1960s, Japan was undergoing a significant period of transformation. The nation was rapidly modernizing, and the rural, natural landscapes known as satoyama (a term used for traditional rural areas where people live in harmony with nature) were starting to decline. This shift was partly driven by the economic growth that followed Japan’s post-war recovery, and the successful hosting of the 1964 Tokyo Olympics, the first ever held in Asia. These events symbolized a turning point for Japan, moving toward urbanization and industrialization, and consequently, the natural environment that children once played in was gradually disappearing.

Despite this trend, the song’s lyrics celebrate the beauty of a fully developed autumn landscape, rich in vibrant colors. The imagery of bright red leaves and crisp autumn air reminds listeners of the nature that still surrounded them in those times, offering children spaces to run and explore. The song can be seen as a tribute to the fleeting moments of nature that were still accessible in a rapidly changing world.

The song was written by lyricist SATSUMA Tadashi and composer KOBAYASHI Hideo, both born in 1931 in Tokyo. When “Makka na Aki” was first broadcast in 1965, both were 34 years old. Their childhood had been marked by the hardships of World War II and the destruction that came with it. Tokyo, the city where they grew up, had been devastated by air raids, and in the years following the war, it underwent a process of reconstruction and modernization. Given this context, it is possible that both creators felt a deep sense of nostalgia for the pre-war natural landscapes of their youth. They may have longed for a time when children could run freely in the countryside, before the pressures of modernization began to alter the city and its surroundings.

Water tank truck in Tokyo under the serious water crisis in 1964

This sense of nostalgia, combined with a recognition of the inevitable changes Japan was undergoing, may have influenced the creation of “Makka na Aki.” The song, therefore, does more than just celebrate autumn—it reflects a longing for the innocence of childhood, the beauty of nature, and the sense of freedom that was slowly being lost as the country modernized.

“Nanatsu no ko” is one of Japan’s most familiar children’s songs.

It is also well known as music played by local authorities to encourage children playing outside to return home in the evening.

The song depicts the universal love between parents and their children through the image of parent crows that descend to the village in search of food for their chicks waiting in the nest in the mountains. Notably, the song portrays crows, often seen as pests, as affectionate parent birds. This perspective, which sympathetically captures the fact that crows have parenting feelings no different from humans, is a significant reason for the work’s great popularity.

The original Japanese title is “Nanatsu no ko,” and there has been controversy over whether this is “seven children” or “seven-year-old children.

The prevailing theory was that a seven-year-old should already be an adult bird as a raven, so why not seven children? The prevailing theory was that “seven-year-olds” should have already reached maturity as crows, so why not use the title “seven children”? Wouldn’t that be more natural? There was an objection that “seven children” would be more natural. It is also said that crows do not raise as many as seven chicks at a time. This led to the theory that “raven” was a metaphor. The lyricist, Noguchi, was the first to suggest that the word “crow” was a metaphor. The lyricist, NOGUCHI Ujyou, was separated from his mother when he was 7 years old. Another theory is that Ujyou was born and raised in Kitaibaraki City, which used to be a prosperous coal-mining town, and the miners who worked in the dust were called “crows,” so he sang about them working for their families.

On the other hand, Ujyou, who could not adapt to his political marriage, took custody of his two children after the divorce. However, as the children cried every night longing for their mother, he decided to return them to her. It is said that he expressed his torn feelings as a father in a song during that time.

Incidentally, crows in Japan were often regarded as sacred birds. Yatagarasu, the symbol of the Japan Football Association, is a three-legged raven that is said to have guided Emperor Jinmu, the founder of Japan. In the Shugendo sect, which originated from mountain worship, the crow has also been regarded as a messenger of the gods.Crows also play an important role in the anime “Kimetsu no yaiba.

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Karasu-no-nureba-iro,” used to describe a woman’s beautiful black hair, refers to the deep, glossy, dark purple color of a crow’s wet feathers.

Where is “Desert of the Moon” set? When is the season?
Actually, there is no clear answer to either of those questions.

As for the setting, it is often said to be Onjyuku Beach in Chiba Prefecture, where the songwriter, Kato, who was frail, often visited to recuperate and later moved to make his final home. Kato himself is said to have publicly stated that this place was the model for the song after the town of Onjyuku_cho built a statue in commemoration of the Desert of the Moon.

As for the season, the word “oboro” appears in the story, so it must be spring, right? However, the tune of the song suggests a somber autumn.

onjyuku station

In fact, however, Kato is said to have said that it was totally imaginary. At the time, it was not easy to know what was going on in other countries, and the writer’s imagination resulted in these beautiful lyrics, which inspired the composer Sasaki to create this lyrical piece of music. Since Kato’s lyrics were published in the year of the Great Kanto Earthquake, the piece remains popular.

The song “Momiji” is a traditional piece that symbolizes the beauty of autumn in Japan. The word “Momiji” (紅葉), written in Kanji, also has another reading, “Kouyou,” which refers to the changing colors of autumn leaves, a phenomenon highly appreciated in Japanese culture. This word reflects the broader cultural significance of the season and the aesthetics of nature in Japan. The appreciation of “Kouyou” is not only a modern pastime but is deeply rooted in Japanese literature and art.

One of the most popular activities during the autumn season is known as “Momiji-gari” (紅葉狩り), which literally means “hunting for autumn leaves.” However, the term does not imply actual hunting, but rather refers to the practice of traveling to scenic spots to view and admire the changing colors of the foliage. Similar to how people gather to enjoy cherry blossoms in the spring (a practice known as “hanami”), “Momiji-gari” is a cultural activity where people go out to appreciate the beauty of nature in its autumnal form. This tradition is deeply embedded in Japanese culture, reflecting a unique way of connecting with the seasonal rhythms of the natural world.

In Japanese poetry, especially in the form of waka and haiku, the transition from summer to autumn is a recurring theme, often symbolizing the impermanence of life, a concept central to Japanese aesthetics. The falling leaves of deciduous trees serve as a poignant metaphor for the fleeting nature of existence, known as mono no aware. This philosophical reflection is central to classical Japanese literature and contributes to the deeper emotional resonance of autumn imagery in the arts.

autumn leaves and Nishikigoi carp

Despite the profound themes underlying the song “Momiji,” the lyrics themselves are remarkably straightforward and accessible, which is why it has been cherished by people of all ages for generations. Even children can grasp its meaning, which adds to its widespread popularity and enduring appeal. This balance between simplicity and depth is a hallmark of much Japanese cultural expression.

The lyricist, TAKANO Yasuyuki, drew inspiration from the spectacular autumn foliage he witnessed near Kumanotaira Station, a location that had already been abandoned at the time. The contrast between the station’s deserted state and the vivid beauty of the surrounding leaves reflects a sense of nostalgia and the passage of time, further enriching the song’s emotional depth.

Kouyou in Arashiyama, Kyoto, like a pastel painting

In Japan, the progression of autumn colors follows what is known as the “autumn foliage front,” which moves gradually from the northern to the southern regions of the archipelago. This is a reverse of the “cherry-blossom front” observed in spring, where the blooming of cherry blossoms travels northward. The arrival of autumn foliage, therefore, serves as a natural prelude to the coming of winter, marking the cyclical rhythm of the seasons that plays a significant role in the Japanese connection to nature.

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“Momiji” has rightfully earned its place as one of the “100 Best Japanese Songs,” a distinction that highlights its importance in the cultural and musical heritage of Japan. The song not only encapsulates the beauty of autumn but also serves as a reminder of the intricate relationship between nature, time, and human emotion that is deeply ingrained in Japanese culture.

Kamakura, near Kyoto and Tokyo, is also famous for its autumn leaves.

The “traditional watchman” standing in the rice fields

The Kakashi, Japanese scarecrows, which can be called an essential “character” in the landscape of Japanese rice fields, is not only important for its practical use in rural areas but also holds deep symbolic meaning rooted in spiritual and cultural traditions. Practically speaking, Kakashi have been placed in rice paddies mainly to protect crops from crows and sparrows. However, in Japanese folk beliefs, they are said to serve as the yorishiro (temporary vessel) of the ta no kami (rice field gods). In rural communities, pest damage from birds and animals was not seen as a mere natural issue but was believed to be caused by malevolent spirits. The Kakashi were thought to possess the power to ward off such spirits. Additionally, the practice of dressing the Kakashi in straw coats and hats symbolized their role as visitors from the gods or the other world, indicating that they were revered as sacred beings rather than mere scarecrows. In this way, the Kakashi were regarded as the incarnations of the ta no kami(rice fields gods) or yama no kami (mountain gods), serving as sacred protectors of the fields.

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You’ll Even Find Them in Folktales

The fact that the Kakashi simply stands there, doing nothing, sometimes leads to it being dismissed as “useless,” as even children tease it in songs. Yet, in the context of agricultural society, it played a crucial role. People felt a sense of security and familiarity in the very presence of the Kakashi, which can be seen as a guardian silently watching over the community. This mindset is also reflected in characters like Yotaro from rakugo, who, despite his incompetence, is loved by those around him. In Japanese culture, there is a deeply ingrained attitude of accepting and respecting things, even if they appear useless.

So Familiar, Yet a Bit Uncanny

Scarecrows can be found in other countries as well, but in the West, their function is more practical. Many scarecrows are equipped with moving mechanisms or devices that make sounds to scare off birds and animals, and they are often designed to increase visual deterrence using reflective materials or materials that sway in the wind. In the West, the scarecrow is less a sacred figure and more a tool designed for the efficient protection of crops. Moreover, in Western stories such as The Wizard of Oz, scarecrows are often depicted as characters with personalities, symbolizing the search for wisdom and emotions.

Still Standing as a Symbol of Rural Japan

In contrast, Japanese Kakashi are characterized by their stillness and silence, carrying the sacred role of protecting the fields. The spiritual power imbued in the seemingly powerless Kakashi, and its symbolism as a protector of the community, reflects Japan’s unique perspective on agriculture, nature, and spirituality.

Let’s look for the red dragonfly in the evening sky

“Akatombo” is a beautiful song that sings of the heart filled with nostalgia as one watches the red dragonflies that fly from early to mid-autumn, as if stained by the setting sun.

The image of the dragonflies glowing in the evening light has long been a symbol of Japan’s autumn, giving listeners a bittersweet reminder of childhood days and hometown landscapes.

A melody born from a poet’s window

The lyricist, MIKI Rofuu, is said to have been inspired by seeing a red dragonfly flying outside his window while teaching literature at the Hakodate Trappist Monastery.

Surrounded by the quiet of nature and the solemn atmosphere of the monastery, the sudden appearance of the delicate insect must have left a vivid impression, one that later took shape in his poignant lyrics.

Memories of a poor mountain village

The kanji for “akatombo” is written as follows.

About 100 years ago, in the early Showa period (early 20th century), mountain villages in Japan were very poor.

MIKI Rofuu’s mother ran away from home when he was five years old, and he was raised by a nanny girl. However, that “neeya” also married off at the age of 15.

In a time when food was scarce, this may have been part of the so-called “kuchiberashi,” a way of trying not to feed anyone other than the work force of the farm.

Loneliness entrusted to the song

Later, when the author left for the city, he no longer received letters from his hometown. How must Rofuu have felt when he lost his family?

Such loneliness was entrusted to “Akatombo,” a song widely loved as a representative Japanese song. However, although sentimental, this loneliness does not mean unhappiness. That is why it is widely sympathized with and has remained in the present age.

Still loved all over Japan

“Akatombo” won first place in the “Songs of Japan and Hometowns You Choose” conducted by the NHK National Executive Committee in a nationwide survey.

Monuments to “Akatombo” can be found all over Japan, which shows the popularity of the song.
The monument shown in the map below is one of them.

100 Best Japanese Songs

▼Jean=pierre rampal “Aka Tombo” flute

Gratitude for the Harvest and Prayers for the Coming Year

Muramatsuri is a vital community event held in autumn across various regions of Japan, primarily conducted to thank the gods of the land for a good harvest of agriculture (mainly rice cultivation) and to pray for a bountiful harvest in the following year. This festival is not merely a regional event, but serves as a sacred ritual that expresses deep respect for nature’s bounty and confirms the spiritual connection with the gods. In agricultural villages welcoming the harvest season, it becomes a precious time to celebrate the fruits of a year’s labor together with the gods and express heartfelt gratitude.

Autumn Festival at Emishu-guu, Tenmangu Shrine in Shikama Ward, Himeji City ( Hyougo Prefecture)

Coexistence with the Eight Million Gods

Japanese gods are called Yaoyorozu no Kami (The gods dwell everywhere.), and they are believed to dwell in various places throughout our lives: rice paddies, fields, mountains, oceans, kamado (places where fire is handled), and countless other locations. Although usually invisible to the eye, people invite these gods into their homes and communities, holding festivals to show their appreciation. This worldview reflects the ancient Japanese belief that sacred power resides in all aspects of the natural world, a concept that continues to resonate in many people’s hearts even today.
Despite influences from foreign religions such as Buddhism and Christianity, Japan has never lost its reverence for the Shinto belief in the yaoyorozu no kami. Furthermore, even in the 21st century, we can observe how animistic culture continues to blend seamlessly with Japan’s high-tech orientation. This phenomenon can be attributed to Japan’s cultural diversity, inclusiveness, and deep sense of coexistence with nature.

Dousojin ( traveler’s guardian deity )

Shinto’s View of Nature and Its Modern Legacy

Shintoism has long been rooted in the worship of nature and the veneration of ancestors, maintaining animistic beliefs that gods reside in mountains, rivers, trees, and other elements of nature. This deep connection with daily life and local communities allowed Shinto to coexist harmoniously with foreign religions. For instance, when Buddhism arrived in the 6th century, instead of conflicting with Shinto, it merged to create a unique religious tradition called shinbutsu-shuugou (syncretism of Shinto and Buddhism), which shaped Japan’s distinctive spiritual landscape.
Even in the 21st century, this animistic worldview remains deeply embedded in Japanese culture, naturally blending with modern technology and subculture. The prevalence of anime and video games featuring themes of spirits and the power of nature reflects Shintoist values, demonstrating that the belief in spirits residing in natural objects continues to be part of people’s daily lives.

By Indiana jo – Own work, CC BY-SA 4.0, Link

Embraced by the Festival’s Melodies

During the festivals, people sing, dance, and enjoy themselves with the gods using traditional instruments: the fue (flute) and taiko (drums). The powerful “don” sound of the drums and the beautiful “hyarara” melody of the flutes resonate throughout the village, creating a sacred atmosphere. These traditional instrumental sounds play a crucial role in welcoming the gods and expressing gratitude, while also uniting the hearts of all participants.

After the autumn festival concludes, the villagers begin preparing for winter. The festival represents Japanese wisdom of living in harmony with natural rhythms, marking the seasonal transitions and maintaining awareness of nature’s cycles.

Tsuchiura City Yasaka Festival (Ibaraki Prefecture) , By NU-Xs – Own work, CC BY-SA 4.0, Link