Overview of the Children’s Song “Dokoka de Haru ga”

Published in 1923 (Taishou 12), “Dokoka de Haru ga” is a children’s song that gently conveys the breath of spring. Characterized by elements such as the sound of flowing water and the chirping of skylarks (hibari), it subtly evokes the anticipation of spring’s arrival through small, natural changes. Because it was created during the Taishou era—when rigid school songs were gradually being replaced by more accessible children’s songs—“Dokoka de Haru ga” soon found its way into many classrooms and homes, where it has been widely sung ever since.

Taishou Democracy and the Birth of Children’s Songs

The Taishou period, when this song was composed, was marked by an intellectual movement known as **Taishou Democracy**, which emphasized liberalism and respect for individuality throughout society. In the field of education, there was a strong trend toward valuing children’s sensibilities. Magazines like *Akai Tori* (“Red Bird”) became cultural hubs where writers, poets, and composers inspired each other to create new children’s songs and stories. Within this vibrant environment, “Dokoka de Haru ga” emerged as a piece that straightforwardly celebrates the transition of the seasons, ultimately becoming a timeless favorite cherished across generations.

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Depictions of Nature and the Meaning of “Kochi” (East Wind)

The lyrics are filled with elements that signal the coming of spring—from the trickle of melting snow and the sight of fresh sprouts emerging from the ground, to subtle sounds that stimulate the five senses. Of particular note is the term **“kochi,”** or east wind. Rather than just indicating a wind blowing from the east, the word also draws on the ancient Four Gods (Four Symbols) concept that associates spring with the east. During the postwar period, “kochi” was temporarily replaced with the more understandable term “soyokaze” (gentle breeze), but in recent years, there has been renewed appreciation for the original term’s cultural significance and for the distinctly Japanese sense of the seasons it conveys.

Lyricist MOMOTA Souji and Composer KUSAKAWA Shin

The lyrics of “Dokoka de Haru ga” were written by Momota Souji, a poet and children’s literature author born in Osaka City. Active from the Taishou through the Shouwa eras, he was known for his “people’s poetry” style, leaving behind numerous works that highlight the importance of children’s perspectives. Meanwhile, KUSAKAWA Shin, the composer, hailed from Kamiminochi District in Nagano Prefecture (now around the Nagano City area). Also celebrated for songs like “Yuuyake Koyake” and “Yurikago no Uta,” he excelled at creating simple yet memorable melodies for children. In “Dokoka de Haru ga,” KUSAKAWA distilled the gentle atmosphere of spring into a short, easy-to-sing tune. Their collaboration produced a song in which tender lyrics and melody harmonize beautifully, and it continues to be embraced as a quintessential symbol of spring in Japan.

100 Best Japanese Songs

“Please Recall”

Please recall. A spring day when gentle sunlight spills into a kindergarten classroom, illuminating walls adorned with colorful drawings scratched out by tiny hands holding crayons. The nursery song Omoide no Album (“The Album of Memories”) is a cherished staple of Japanese graduation ceremonies, evoking such warm memories. First introduced in 1961 as a rhythmic play resource for early childhood education, its leisurely waltz tempo perfectly suits little ones singing and dancing in carefree motion. Yet, as its title suggests, it’s imbued with a tender gaze upon children’s growth, and today it’s adored more by adults. For many, merely recalling the melody brings tears to the eyes—I’m one of them. This timeless theme of growth and parting resonates across borders, touching hearts everywhere.

The Teacher’s Gentle Perspective

Please recall. The morning of the graduation ceremony, when children in crisp uniforms, faces flickering with nerves and pride, clasp their teacher’s hand as if to hold the moment tight. Sung from a kindergarten teacher’s viewpoint, this song fondly revisits the events shared with children through the seasons. Lyrics like “We played together so nicely in the warm garden,” “Everyone in straw hats, running around bare,” “Hiking up the acorn hill, la la la,” and “Decorating the fir tree for Merry Christmas” weave seasonal memories with gentle care. To the teacher, these children are not just pupils but companions who laughed and played side by side. That warmth spills from the words, stirring empathy in listeners. The song unfolds with Verse 1 as an introduction, followed by spring in Verse 2, summer in 3, autumn in 4, winter in 5, winter again in 6, and a yearly summary in 7. This structure reflects the Christian faith of lyricist MASHIKO Toshi and the Buddhist beliefs of composer HONDA Tetsumaro, symbolizing the bond through seasons. Feel the teacher’s warm gaze and the deep love beneath it.

A Treasure for Parents and Adults

Please recall. The day your child first stepped through the kindergarten gate, waving tearfully as they looked back. Though it begins with the teacher’s voice, this song nestles deeply into parents’ hearts. At graduation, it prompts a flood of memories—growth, joy, and a pang of sadness—shared by so many. Originally crafted as a playful tune for children, it now echoes through spring graduation seasons, drawing tears from grown-ups. The lyric “Soon you’ll all be first-graders” is the teacher’s words to the child, yet it mirrors a parent’s hope and sentiment, too. The pride of raising a child and the fleeting nature of time are feelings known the world over. Typically, it’s sung up to Verse 5, though Verse 6 or 7 may be chosen to avoid religious tones, hinting at cultural nuance. The Album of Memories holds a mysterious power to comfort adults’ hearts.

Japan’s Heart and Legacy

Please recall. Children holding hands, singing as they step toward tomorrow. Rooted in Japan’s kindergarten traditions, this song carries the universal theme of growth and farewell to the world. Composer HONDA Tetsumaro spent his later years as the head priest of Jyourakuin, a Tendaishuu temple in Chofu, Tokyo, where a monument to this song stands on the grounds. The Buddhist HONDA and Christian MASHIKO Toshi crafted lyrics and music that transcend faith, with Verse 6’s “A cold snowy day, warm in our room” and Verse 7’s “Peach blossoms bloomed so beautifully, soon you’ll all be first-graders” perhaps symbolizing that harmony. Verse 5 often seals the graduation’s emotion, while 6 and 7 leave a quiet resonance. Listen to this song. The simple piano notes blending with children’s voices are like opening an album, reviving memories and love. A hallmark of Japan’s spring, it whispers to hearts everywhere, recalling the beauty of days spent with children.

100 Best Japanese Songs

March: Graduation Season in Japan

March, heralding the arrival of spring, marks the graduation season in Japan. First presented in the year 1884, as the 19th century drew to a close, the song went through a period of obscurity but later experienced a revival. It became an essential classic for graduation ceremonies during the Showa era.

Photo by Ishikawa Ken

Decline in Popularity

The use of the past tense to describe its significance is because it is no longer commonly sung in recent times. The reasons for this decline vary; some attribute it to the archaic language used in the lyrics, which is difficult for children to understand, while others suggest that the content praising teachers is no longer relevant to the times.

By Yousay07& – Own work, CC BY-SA 4.0, Link

Nevertheless, it is truly regrettable to see this beautiful melody fading into obscurity.

Origins and Creation

Originally created for the graduation ceremony of “Ongaku torishirabe kakari” (now part of the Tokyo University of the Arts Faculty of Music), an organization engaged in editing song textbooks and conducting music education research, the song’s lyrics underwent multiple revisions through a collaborative process involving scholars and poets before reaching completion. The composition process, however, remained shrouded in mystery for a long time. It was only in recent years that the original publication from 1871, finally discovered in the United States, bore the composer’s initials, H.N.D, as the sole identification.

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Attempts at Modernization

In later years, there was a movement suggesting that if the lyrics were too difficult and the meaning didn’t come across, why not try modernizing them into contemporary language? However, when this idea was actually implemented and presented, voices emerged expressing sentiments like “It doesn’t bring tears if it’s not the original lyrics,” resulting in unfavorable feedback. Upon reflection, it seems that Japanese people, as a whole, may prioritize nuances and emotions over the precise meaning of words. Despite this, Japan actively embraces music from abroad, and many musicians have gained popularity in Japan even before their home countries. This adaptability could be a source of happiness.

Symbolic Meaning

Incidentally, the third verse, featuring “light of fireflies” and “snow that lingers,” draws inspiration from Chinese tales, symbolizing the pursuit of knowledge and success through studying under the illumination of firefly lights and lingering snow.

100 Best Japanese Songs

“Hotaru no Hikari” Echoes in Graduation Season—What Memories Do You Have?

As March draws to a close and cherry blossom buds begin to swell, the melody of “Hotaru no Hikari” can be heard from shops across Japan. This song, which accompanies graduation ceremonies, farewell parties, and year-end closings, evokes feelings that are somehow bittersweet yet warm. What history and meaning lie behind this tune that every Japanese person knows?

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A Scottish Import—Actually Born Abroad

“Hotaru no Hikari” actually borrowed its melody from the Scottish folk song “Auld Lang Syne,” which means “old good times.” This song was popularized in the late 18th century by poet Robert Burns. In Western countries, it’s still a standard tune sung at New Year’s Eve parties and farewell gatherings.

In Japan, the current lyrics were added in 1881 during the Meiji era. It was truly a time of “Japanese spirit with Western learning.” You might say this song symbolizes the Meiji era, infusing Western music with Japanese sentiment.

What Are “Firefly Light” and “Window Snow”?

The title’s “Hotaru no Hikari” (Firefly Light) and “Mado no Yuki” (Window Snow) are actually symbols of studious students.

“Firefly Light” comes from a Chinese story about a poor student who collected fireflies to study by their faint light. Similarly, “Window Snow” refers to how snow accumulated on windows at night would reflect moonlight and brighten a room.

There might be modern versions like “reading textbooks by smartphone light,” but essentially, the message is “maintain your desire to learn regardless of your circumstances.” It carries a somewhat preachy but passionate message for Meiji-era children.

“keisetsu no kou” is a Japanese idiom that means “the fruits of hard work in study.”

Now a Signal for Closing Time—How Its Use Has Changed

The role of “Hotaru no Hikari” has changed with the times. During the Meiji era, it was a song encouraging young people to strive for success. After World War II, it became purely a song celebrating new journeys, and from the 1960s, it became established as department stores’ and shops’ signal for “we’re closing soon.”

It’s actually quite remarkable that people understand “it’s time to leave” just from background music playing. This might be a unique culture—a distinctly Japanese form of communication that conveys messages through “atmosphere” rather than words.

Graduation Ceremonies, Tears, and “Hotaru no Hikari”—A March Tradition

Have you ever experienced “trying not to cry but almost couldn’t hold back”?

March graduation ceremonies. While many might not remember the principal’s speech from the podium, the melody of “Hotaru no Hikari” that played at the end remains etched in many hearts.

As the ceremony nears its end and the piano prelude begins, tears that had been bravely held back start to fall. Even boys who thought “I won’t cry” somehow feel their eyes welling up. Current students begin singing, and graduating students join in harmony. Casual conversations in classrooms, lunchtime in the schoolyard, the excitement of cultural festivals—all these memories rush back at once.

“Hotaru no Hikari” sees off students in their uniforms, clutching albums as they exit the school gates. It’s a curious song that says “goodbye” while seemingly encouraging you with a “do your best” push from behind.

In fact, this moment when “everyone can cry together” might be a precious “officially sanctioned emotional release time” in Japanese society, which typically restrains emotional expression. Foreigners are often surprised when they witness this scene at Japanese graduation ceremonies.

By Asturio Cantabrio – Own work, CC BY-SA 4.0, Link

Not Understood by Foreign Tourists?—The Changing Role of “Hotaru no Hikari”

I’ve noticed something recently: when “Hotaru no Hikari” plays in department stores, foreign tourists show no sign of leaving…

While 100% of Japanese people understand “Hotaru no Hikari” as a signal for “time to leave,” to foreigners it’s just background music. With the increase in inbound tourism, many stores now use multilingual announcements or introduce more obvious closing signals.

It’s a little sad that more people don’t know this song’s special meaning, but conversely, explaining the cultural background of “Hotaru no Hikari” to foreigners could be an opportunity to deepen their understanding of Japanese culture.

Not Just Goodbye—”Hotaru no Hikari” Will Continue to Resonate

At the end of March, as cherry blossoms begin to bloom, “Hotaru no Hikari” echoes throughout the city. Though it seems to announce an “ending,” it actually contains expectations for a “new beginning” as well.

Even as its meaning changes with the times, this song continues to accompany the season of farewells and new encounters. What memories are connected to the “Hotaru no Hikari” that resonates in your heart? Perhaps this year too, new memories of “Hotaru no Hikari” are being etched into someone’s heart.

100 Best Japanese Songs

The Delicate Season Between Winter and Spring

“Soushunfu” is a song that beautifully expresses the anticipation of spring in Japan, capturing the transitional period from early February (around “Risshun” in the traditional 24 solar terms) through March. Despite being officially spring, this period is characterized by winter’s lingering presence—the wind remains chilly, and even the nightingale, traditionally known as the herald of spring, still refrains from singing. The landscape presents a poetic contradiction: plum blossoms beginning to bloom while snowflakes continue to fall, and fresh reeds sprouting along waterways despite the persistent cold. These elements combine to create a poignant portrayal of the longing for spring’s full arrival.

Though written in classical Japanese style, the lyrics offer a beautiful resonance without overly difficult pronunciation, making it an ideal piece for those studying Japan’s traditional musical heritage.

The Inspiring Origins in Nagano’s Alpine Landscape

The song originated in the early Taisho era (1912-1926) when YOSHIMARU Kazumasa, a respected professor at the Tokyo Music School and member of the “Jinjo Shogakko Shoka” (Elementary School Songs for Common People) compilation committee, visited Azumino in Nagano Prefecture. The melting snow scenery around Hodaka Town profoundly moved YOSHIMARU, inspiring him to compose the poem for “Soushunfu.” For the musical composition, he turned to his colleague NAKADA Akira, a renowned composer who was the father of NAKADA Yoshinao (known for beloved songs such as “Natsu no Omoide,” “Chiisai Aki Mitsuketa,” and “Yuki no Furu Machi wo”).

Azumino: The Landscape That Inspired a Classic

Nestled at the foot of the Northern Japan Alps, Azumino presents a striking natural environment that was particularly impactful for YOSHIMARU. Having been born and raised in the warm climate of Oita Prefecture in Kyushu, the distinct seasonal transitions and alpine scenery of Azumino offered a fresh perspective that deeply influenced his artistic sensibilities.

The region is characterized by remarkable natural beauty—crystal-clear streams fed by alpine snowmelt, vast fields framed by mountain vistas, and a distinctive climate that remains cool even during summer months. This environmental contrast between his native Kyushu and the alpine landscape of Nagano likely heightened YOSHIMARU’s sensitivity to the subtle signs of early spring depicted in the song.

Azumino’s agricultural fame for premium wasabi and soba noodles further connects to its exceptional water quality and climate—elements that form the backdrop for the song’s portrayal of nature’s awakening. Today, visitors to the area can find a monument commemorating the creation of “Soushunfu,” recognizing the song’s cultural significance and connection to this specific landscape.

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Cultural Recognition and Enduring Legacy

“Soushunfu” has earned significant recognition in Japan’s cultural canon, being selected as one of the “100 Best Japanese Songs” by both the Japanese Agency for Cultural Affairs and the Japan PTA National Council. This official recognition highlights the song’s artistic merit and its importance in preserving traditional Japanese sensibilities about nature and seasonal transitions.

The song continues to be taught in schools and performed in various contexts, serving as both a cultural touchstone and a reminder of Japan’s deep poetic tradition of observing and celebrating the subtle changes in nature throughout the year.

Celebrating Hina Matsuri: Japan’s Enchanting Festival for Girls’ Day

Every year on March 3rd, Japan celebrates a delightful spring tradition known as Hina Matsuri, or “Girls’ Day.” Also referred to as Momo no Sekku (Peach Festival), this special occasion coincides with the blooming of plum and peach blossoms following the traditional start of spring (Risshun). Families pray for the health and happiness of young girls by displaying elegant hina dolls, which represent members of a historic imperial court.

While many Japanese households arrange these dolls on a tiered stand, regional variations highlight unique customs such as Nagashi-bina (floating dolls set adrift on rivers to carry away misfortune) or Tsurushi-bina (colorful hanging ornaments). At the center of a typical hina display, you’ll find a lord and princess figure—often referred to as Odairi-sama—surrounded by court attendants called San-nin-kanjo, who serve the princess, and Gonin-bayashi, a group of five musicians playing festive tunes. The display also includes Zuijin (court guardians), featuring a left minister (Sadaijin) and a right minister (Udaijin). On the lower tiers, civilian figures known as shichou appear, symbolizing people tasked with everyday responsibilities.

iwatsuki nagashibina

By Sakaori (talk) – Own work, CC BY-SA 3.0, Link

In more affluent or traditionally-minded communities—especially in rural areas—you might encounter multi-tiered displays showcasing numerous dolls, miniature furniture, and intricate decorations. Meanwhile, in modern urban settings, busy lifestyles and limited living spaces have encouraged the popularity of compact hina sets that emphasize sleek designs. These may include highlights like Dairi-bina (simplified lord-and-princess dolls), Bonbori (paper or silk lanterns), as well as iconic festival foods like Shirozake or Amazake (sweet non-alcoholic rice drinks) and Hishimochi (diamond-shaped rice cakes in vibrant colors).

Interestingly, the well-known Japanese children’s song celebrating the festival mentions “Odairi-sama and Ohina-sama” as if they were separate entities. Historically, however, Odairi-sama alone already indicates both the lord and princess. This detail led lyricist YAMANO_Saburou (an alias of SATOU_Hachirou) to express regret over the confusion in later years—yet the phrasing has become a beloved part of this seasonal tune. Whether you encounter an elaborate, multi-tiered hina arrangement or a modest, contemporary display, Hina Matsuri remains a cherished symbol of springtime in Japan and a testament to the country’s enduring cultural traditions.

Hina Cake

A Cute, Compact Hina Doll Set for Small Spaces

A small square display (approx. 12.2 × 12.2 in; partition height 6.9 in), made with soft rayon crepe and an acetate-rayon carpet.
Includes the Emperor & Empress dolls, paper lanterns, diamond-shaped rice cakes, a partition, and a carpet.

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