Chief Priest (Guji)
YuUki religa
Biography
Born in Miyagi, Japan, she grew up in an environment shaped by her father’s legal practice and her mother’s heritage as a lineage of Shinto priests. Her formative years were defined by a balance of creative discipline and physical rigor, nurtured through a deep engagement with piano and karate.
During a short-term study abroad experience in the United Kingdom in high school, she was deeply moved by the solemn weight of the architectural spaces of Anglican and Catholic churches, as well as the depth of their history. Fascinated by how these spaces bring together human prayers and give birth to the art of sacred music, she became deeply interested in the spiritual foundations of Western religious culture. She went on to major in Sacred Music and Pastoral Care at Marylhurst University in Oregon, USA. It was during her time there that she met Rev. Barrish at Tsubaki Grand Shrine of America; this encounter led her to rediscover the profound spiritual depths of Shintoism. This experience became the cornerstone of her decision to pursue the path of a Shinto priest.
Upon returning to Japan, she enrolled in the Faculty of Shinto Studies at Kokugakuin University. She specialized in Shinto views on life and death, Shinto pedagogy, and sacred site pilgrimages, and her undergraduate thesis examined the role and impact of traditional Shinto festivals on the reconstruction of disaster-stricken areas. The Great East Japan Earthquake, which occurred during her studies, became a major turning point in her life. Witnessing the profound suffering of her home region, she deepened her conviction in the role of shrines as essential "spiritual infrastructure" for local communities and resolved to fulfill this mission as a Shinto priest.
Subsequently, she was granted the Seikai rank by the Association of Shinto Shrines and served as a Gon-negi at Katori Shrine in Koshigaya, Saitama, for five years. She immersed herself in the front lines of the community, performing daily prayers and seasonal festivals, dedicating herself to the rigorous training of ritual dance (kagura), the mentoring of miko (shrine maidens), and active participation in local children’s groups. By dedicating herself to the rhythmic cycle of Shinto life - daily, monthly, and annually - she experienced firsthand the deep bonds formed with local residents and found the true joy and fulfillment of serving as a priest. This five-year period of total immersion in shrine management and community engagement formed the bedrock of her current practice.
After being promoted to the Meikai rank priest, she pursued further academic excellence at the Graduate School of Kokugakuin University. She conducted her research under the guidance of Professor Emeritus Nobutaka Inoue, a world-renowned authority in religious studies. Professor Inoue, an International Honorary Member of the American Academy of Arts and Sciences, is widely celebrated for his monumental work in establishing the Encyclopedia of Shinto - the definitive online resource for researchers worldwide - and his seminal publications on Japanese religion and folklore. Under his mentorship, she specialized in the sociology of religion and comparative religious studies, focusing on the reception of Shinto by international visitors and the cross-cultural evolution of Japanese religious traditions. Her master's thesis on "Chaplaincy and the coexistence of diverse faiths within multi-religious societies in the UK" was highly acclaimed, and she was elected Salutatorian of the graduate student body upon completion of her master's degree.
Following over 15 years of rigorous learning, practice, and scholarly training across the United States, Japan, she moved to the United Kingdom. In 2026, her journey culminated in the founding of the Canada Katori Shrine. As a Shinto priest who balances the preservation of tradition with an academic perspective, and who draws on her international background to interpret the spirit of Shinto through a global lens, she continues to serve as a bridge, connecting the traditional culture of Japan and the community-rooted spirit of Shinto to the next generation, far across the ocean.
Professional Shinto Credentials & Qualifications
In Japan, there are 83,998 registered Shinto organizations, and approximately 94% of them belong to Jinja Shinto (Shrine Shinto). The Association of Shinto Shrines ("Jinja Honcho") is the official religious corporation that oversees and governs these Jinja Shinto shrines nationwide.
To become an official priest within this network, one must climb a strict hierarchy of credentials: "Jokai", "Meikai", "Seikai", "Gon-seikai", and "Chokai". Furthermore, to serve as a "Guji" (Chief Priest) of a shrine, a priest must hold the rank of Gon-seikai or higher in accordance with the regulations of the Association of Shinto Shrines.
The Canada Katori Shrine stands as an exceptionally rare institution outside of Japan. Its leader possesses the prestigious Meikai credential (the second-highest priestly rank in the nation, qualifying the holder for top-tier leadership) alongside an advanced graduate degree in Shinto Studies and a solid professional background with full-time practical experience at established, historic shrines in Japan.
While shrines located outside of Japan do not fall under the administrative jurisdiction of the Association of Shinto Shrines—meaning these rigorous qualifications are not mandatory under the Association’s regulations abroad—our shrine offers the same authentic rituals and services provided by mainstream Shinto shrines under the Association of Shinto Shrines in Japan. We bring the same high-standard rituals ("Gokigan"), sacred ceremonies, and authentic spiritual traditions that you would receive at any Jinja Shinto shrine in Japan. We look forward to listening closely to your personal concerns and crafting tailored, authentic prayers to support, protect, and guide you through life's milestones and challenges.
Kagura-Mai (Sacred Ritual Dance)
During her time in Japan, the Chief Priest dedicated herself to mastering the sacred dances and traditional music essential for formal Shinto rituals. Her training and mentorship include the following credentials:
Kagura-Mai (Sacred Ritual Dances)
While serving at the Katori Shrine in Koshigaya, she studied ritual dance for five years under the guidance of the Chief Priest, Ms. Keiko Kobayashi.
She further spent a year mastering "Urayasu-no-Mai" under the instruction of Ms. Yoshiko Yokota (Yoshiura Hachiman Shrine, Hiroshima), a certified instructor of ritual dance.
Furthermore, she has completed the formal Urayasu-no-Mai training program hosted by the Shinto Music Association (Jinja Ongaku Kyokai) at Meiji Jingu Shrine.
In addition to her private mentorship, she has actively participated in ritual dance seminars organized by the Saitama Prefecture Shinto Shrines Association to refine her performance skills.
Gagaku (Traditional court/ritual performing arts)
She joined the Mita Noriaki Gagaku Academy, studying under the direction of Mr. Noriaki Mita (Otama Inari Shrine, Tokyo) and Ms. Yoshie Suzuki, both of whom are professional musicians renowned for their international Gagaku performances.
Through this mentorship, she systematically studied the choreography for "Toyosaka-no-Mai," the performance techniques of the Ryuteki (the traditional Japanese dragon flute used in court music), and the essential foundations of Gagaku.
Message from the Chief Priest (Guji)
My Path as a Shinto Priest and the Inheritance of Prayer
1. Seeking a Spirit of Salvation Beyond the Framework of Words
Before committing myself to Shinto, I studied religious music and pastoral care at a university in the United States, aspiring to become a Christian chaplain. I was deeply moved by the clear stance of salvation within Christianity—an effort to sincerely face those in the midst of suffering and to heal their souls—as well as the power of the words woven by the clergy.
This learning remains deeply rooted in my work as the foundation of my spiritual care. The greatest treasure I gained there was the understanding that the essence of spiritual care lies in "never denying the other person's religion, but transcending existing frameworks to sincerely face the soul of a single human being in suffering."
My roots, Shinto, possess an ancient spirit called "Kotoage-sezu" (refraining from verbal definition). This is an attitude of restraint, avoiding the light verbalization or definition of the divine will. The power residing in words (kotodama) is held in awe; thus, the act of explicitly explaining divine matters through language has traditionally been considered an act that impairs their sanctity.
Consequently, rather than preaching logical doctrines, a sensory sharing through the "forms" (kata) of ritual or the state of mind in that moment is valued more highly. At one time, I felt perplexed by the lack of scriptures and the emphasis on the inheritance of forms. However, as I deepened my studies in a cross-cultural environment, I realized the "supple power" inherent in choosing not to bind oneself with concepts. Without prescribing through specific doctrines, one holds a polytheistic inclusiveness and supports the individual's soul issues from a universal standpoint. I began to think that the unique form of care in Shinto might lie beyond this "resonance without the mediation of words."
2. Days of Training and the Compassion Infused in Norito
The path toward Shinto priesthood at Kokugakuin University involved not only a wide range of academic study and rigorous ritual training, but also many opportunities for self-discipline through intensive residential training at established shrines across Japan. One such experience was at Shimogamo Shrine in Kyoto. Those days spent in a place that enshrines the rigorous traditions within the Tadasu no Mori, which has etched history for millennia, became a precious experience that fundamentally shaped my posture as a Shinto priest.
I cannot forget one morning during my training. During the "Onikku" ritual, where food is offered to the Kami (deities) every morning, the presiding priest naturally wove a prayer into the Norito for the successful completion of our training. Shinto Norito are written in "Yamato-kotoba," the language of the age of the deities, no longer used in modern times. It is the very "kotodama" that reaches the heart of the Kami most directly.
A priest must be a translator who translates the prayers of people written in modern language into the language of antiquity and carries them before the Kami. To skillfully manipulate this Yamato-kotoba and weave impromptu prayers of high dignity suited to the situation requires deep knowledge and training. The guiding priest instantly sensed our tense state of mind and beautifully incorporated our wishes into the Norito.
It was an embodiment of "spiritual care in Shinto," a warmth beyond words achievable only through seasoned skill and compassion. This primal experience at that moment has become the axis of my current activities.
3. The Mission of the "Nakatorimochi" and the Inherited "Philosophy of Form"
Through my research at university and graduate school, I have contemplated deeply on the essence of the role of a "Shinto priest."
A Shinto priest is often called a "Nakatorimochi" (an intermediary). This does not merely refer to a facilitator of rituals. It signifies an extremely physical role: not only delivering prayers before the Kami using Yamato-kotoba, but also making people "feel" the presence of the Kami there.
During my training at Ise Jingu, the lesson taught to me by the presiding priest—"Because you face a Kami that cannot be seen, train in etiquette without the slightest deviation"—has become the pillar of my heart.
When performing rituals before the Kami, the priest turns their back to the worshippers. At that moment, the priest's actions become a "mirror" that reflects the existence of the Kami. Through the tension that rises within the solemn ritual, the worshippers intuitively perceive the presence of the Kami there.
The true value of this ritual resides in the "form" (kata) honed to the ultimate limit, common to martial arts and the Japanese tea ceremony (Sa-do/Cha-do). As the saying "Keiko Shokon" (learn from the past, illuminate the present) goes, one must first accumulate training to master the correct form. Within that repetition, unnecessary things are shaved away, and the essence—the divine will—manifests.
Mastering etiquette is not merely about creating a shape; it is nothing less than the work of understanding with the body the "heart" that created that shape. Being taught by my graduate school mentor that "through the training of purification and etiquette, one approaches the heart of the Kami" forms the foundation of who I am.
Whereas clergy in Christianity and many other religions are the "protagonists" who lead their followers from the pulpit, the position of a Shinto priest is decisively different. The protagonist of the ritual is always the Kami. We priests do not teach or admonish with our own words; we are like a "device" that makes the space where the Kami resides emerge through our actions alone.
Shinto has a dual nature that appears contradictory at first glance: the coexistence of "vast receptivity that accepts any interpretation" and "strict adherence to the form shaved to the ultimate limit."
Why do these contrasting properties coexist?
In my view, protecting the "form" of Shinto is not about limiting freedom. Rather, it is about letting go of individual logic—such as doctrines and words—and making the body a vessel, an "emptiness" (ku).
Without exhausting words, one simply follows the form correctly and completes the ritual. When manifesting the existence of the Kami through that physical language, individual assertion vanishes, and one becomes a mirror reflecting the divine will.
Originally, the inheritance and execution of rituals, the interpretation of mythology, and the purification of the space are the foundations of the priesthood.
In addition to these, it is our duty to convey the cultural customs and rituals that Japanese people have cherished since ancient times to the future, along with their spirituality. A priest is not only a bridge between Kami and people, but also a "Cultural Intermediary" who connects this tradition and culture to the future.
In modern times, opportunities to encounter Japanese culture have increased worldwide; however, I am witnessing the current situation where Saishi (rituals) and Saishi-mai (ritual dance)—which are Shinto etiquette—are being disseminated as "self-styled performances" lacking the forms that should be strictly observed.
Now, precisely because I am in an overseas environment, I feel that I have a responsibility as a Shinto priest to strictly protect that form. Just as Mr. Hiroyuki Sanada pursued the "transmission of correct Japanese culture" in Hollywood without compromise, evoking great emotion, I believe that performing rituals rigorously and continuing to introduce correct traditional Japanese culture and Shinto spiritual culture is a sincere response to those who love Japanese culture abroad.
The kata of Shinto is not something that is completed once learned. To correctly inherit the essence of the ritual and embody the "correct form" that lives on through the ages, lifelong training is required.
I return to Japan on occasion, repeating the words of my mentor in ritual dance: "review, re-listen, re-do," while strictly re-examining my own actions. While strictly protecting this philosophy of form, I am determined to continue my daily devotion, never forgetting my original intention, so that I may remain a priest who can stay closest to everyone's heart.