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One of its events is the Sanriku Geinoh Discovery Summit, which showcases a variety of traditional and contemporary art performances in two days set upon an open stage beside a riverbank, where the breeze and surrounding nature create a tranquil atmosphere. This serene ambiance was soon transformed into a spiritual revival as each dance and performance that followed riveted the audience.

On the first day, the Summit kicked off with electrifying taiko drumming performed by Akaiso Taiko -ARATA- hailing from Hirota Town in Rikuzentakata City. The powerful opening primed the audience for the spectacle that was about to unfold. Each drumbeat resonated with each person in the audience, serving as a captivating icebreaker to start the program.

Following a series of opening remarks from the event's organizers, directors, supporters, and sponsors, kicking off the kaleidoscope of folk performances on the first day of the event was the Miroto Dance Company—the sole international group among the participants. They delighted the audience with a light-hearted, cappella dance.

The Noda Village Daikokumai Dance Society performed the first Japanese folk dance, which showcased a traditional dance called Daikokumai, believed to bring good luck. Their vibrant costumes beautifully complement the dance's meaning, usually performed during New Year's celebrations. The dancers held a hammer on their right, and a fan on the other, and each graceful sway of their hands represented inviting good fortune.

From this point forward, the energy and atmosphere became even more electrifying as traditional Japanese instruments like taiko drums, bamboo flutes, and brass-hand cymbals accompanied the performances. Every beat resonated and added emotional depth to every step.

The Ryoishi Toramai Preservation Society followed the Daikokumai Dance Society to perform a spirited tiger dance. It was said to have started in the middle of the Edo period to pray for safe voyages and bountiful fishing. It was fascinating to see how the dancers took turns performing the tiger dance, which involved a lot of hopping and bobbing of the tiger's head to show its vitality. Given that it required a tremendous amount of energy to keep dancing throughout the entire song, it was remarkable how they managed their stamina. Even with their ragged breaths, they seamlessly switched roles and donned the tiger head. Despite losing many valuable records in their community due to repeated tsunamis, the dance continues, showing its people's resilience and energy.

Following the tiger dance, the Nakano Nanazumai Preservation Society took the stage. Their performance holds roots dating back to 1840. It was created by Kudo Kitaro, renowned as a Kagura Tayu – a master of kagura, which is a form of Shinto ceremonial dance. He drew inspiration from kagura elements to craft a dance meant to pray for a bountiful harvest, safety, and abundant fishing. The dance symbolizes the hard work and sweat that go into crop cultivation and the gratitude and joy shared among the community for the year's harvest. It was originally performed in Kagura but has now evolved into an offering at the community festival. Their dance seamlessly blends strength and elegance, embodying the entire process from labor to celebration. Partway through their dancing, a delicate drizzle began to fall, hinting at impending rain, but instead, a vivid rainbow painted the sky as if the heavens were blessing the performance.

Each performance was followed by an interview, allowing the dance groups to share their thoughts with the audience, providing deeper insights into their geinoh. After the interviews, an interim break took place, during which the audience was invited to the plaza to learn the Daikokumai's Dance. It encouraged more significant interaction and engagement among both participants and attendees.

As captivating as the dance of the Nakano Nanazumai Preservation Society was, the Shirogane Shitogongen Kagura Preservation Society followed with an equally mesmerizing performance. Their dance, known as the Shirogane-shitogongen Kagura, is a form of kagura that includes ceremonial and theatrical elements to ward off evil and fulfill wishes, such as ensuring household safety, bountiful harvests, and fishing. Like Ryoishi's tiger dance, they also use a lion's head mask, dating back to 1758, making it one of the most historically significant kagura performances in Hachinohe, preserving a repertoire of 20 different acts with a thought-provoking narrative. Every year, during the New Year holidays and in July, they would visit houses in the Shirogane district to offer prayers and perform at their local shrine during the festival. The dance is so valued that it has been designated an Intangible Folk Cultural Asset by Hachinohe City. It even participated in a national folklore performance competition in Tokyo to add to its brilliance.

After Shirogane's kagura, the Unotori Kagura Preservation Society presented their Ebisu Dance, a form of Yamabushi Kagura traditionally performed by spiritual mountain monks. Unotori Kagura boasts 53 different acts, and the one showcased at the Summit was a solo performance. This act featured the god of fortune, Ebisu, who brought both well-wishes and laughter to the audience. The dance included a comedic moment where Ebisu playfully threw a fake fish at the spectators. A volunteer from the audience then tied the fish to Ebisu's fishing reel, adding to the humor. The crowd laughed as Ebisu pretended to struggle with reeling in the make-believe fish. During this act, the fish was accidentally detached from the reel. Still, Ebisu amusingly returned it to the volunteer, allowing for the comedic moment to be playfully reenacted. Their dance forms have also been recognized as Intangible Folk Cultural Assets.

Following the two kagura performances, members from both groups were interviewed. They discussed the significance, nuances, and meanings behind each of their dances and the challenges they currently face in preserving these traditional art forms for future generations.

Taking the stage just before the finale, the Usuzawa Shishiodori Preservation Society set itself apart with its distinctive head costumes. The dance form is believed to have originated from a dance conveyed by a sailor from Boshu during the Genroku era (1688 – 1704). They were adorned with flowing ribbons called kan'nagara, crafted from shaved Japanese poplar—a tree native to Japan. The dance was so intense and spirited that a considerable amount of kan'nagara fell to the ground during the performance. Keeping one of these fallen ribbons was believed to bring good luck.

As the event neared its conclusion, the Miroto Dance Company, hailing from Indonesia, took the center stage once again for the grand finale. They were founded in 1986 by the late Martinus Miroto—an internationally acclaimed artist with a deep love for Sanriku—the group paid tribute to their late founder by performing the "Asian Tiger," a blend of traditional Javanese and contemporary dance.

The performance was so mesmerizing that all eyes were glued to each movement, capturing the raw emotion on the dancers' faces. The piece also acknowledged the earthquake tragedy that had devastated their home country, taking many lives. Yet, it was not just a dramatic performance but also an inspiring one. Much like the Sanriku Coastal region's recovery from the Great East Japan Earthquake, the dancers conveyed a message of resilience and hope for the future. The performance was undeniably a fitting finale to an extraordinary first day of the event.

The evening concluded with a bon odori dance, in which audience members joined. The Indonesian group also taught their opening dance to all participants, leading to uproarious laughter. The sense of community and camaraderie was indeed a beautiful sight to behold.

A brand-new day filled with excitement and captivating performances greeted the audience as the Summit entered its second day. Coinciding with Ofunato City's local festival, the Summit attracted an even larger crowd.

Opening the Summit's second day was a performance by the Hanawa Shishiodori Preservation Society from Miyako City. The dance tradition is believed to have originated with Hanawa Jiro, a servant of Heki Yoshimoto, who learned it during his travels. In 1631, Lord Hanawa (the 29th Lord Shigemitsu of the Nanbu family) brought Jiro to Morioka Castle. There, Jiro performed and was granted permission to use the Nanbu family crests now embedded in the dancers' costumes. A unique aspect of this dance is that the drummers also dance along while holding traditional Japanese drums. Similar to other folk dances, this dance also mimics an animal – a deer – which is associated with Morioka. It is annually performed at Hanamori Shrine's festival in April and at the Hanawa Heritage Hall during the Obon festival to honor ancestors.

The next act to grace the stage was a tiger dance performed by the Osawa Toramai Preservation Society from Yamada Town. With a history spanning 300 years, the dance is performed annually in August during the town's local festival to pray for a bountiful catch for fishermen and safety. Led by a male narrator, the dance features young participants—ranging from as young as three years old to high school age—moving to the rhythm. The dancers' colorful costumes and youthful energy undoubtedly lifted the audience's spirits. After the dance, it was tradition to put your head inside the tiger's mouth as it was believed to grant you good fortune and blessings.

Following a youthful performance, the Hiranai Keimai Group from Hashikami Town seized the spotlight with a commanding presence. This time, a chicken dance entranced the audience in their seats. The performers danced around a hexagonal lantern, wearing headdresses shaped like chickens. They clashed various props like sticks, swords, and fans against it. Known as "Haneru," this form of Buddhist dance considers chicken gods that ward off evil spirits. Introduced during the Ansei era (1854-1859), the Hiranai Chicken Dance comes in three forms: dance for ancestral graves, Buddhist altars, and garden dances. The audience found it exhilarating to watch dancers sync their movements to the taiko drums and switch props several times throughout the performance. Not only has the dance been designated an Intangible Folk Cultural Asset by Aomori Prefecture, but it has also earned the distinction of being an Intangible Cultural Asset from Japan's Agency for Cultural Affairs.

Another vibrant and culturally rich chicken dance was performed by the Takisawa Keimai Preservation Society from Hirono Town. The performance began with a solo dancer encircling a pole adorned with colorful garlands, representing a willow flower while holding a sword. This was followed by over 20 different types of dances, creating an enchanting spectacle. Although the performers mainly wore bird-shaped helmets, similar to those seen in other chicken dances, the dance is unique in its influences. Not only is it closely related to Kenbu, a form of Buddhist dance prevalent throughout Iwate Prefecture, but it is also heavily influenced by Shugendo Kagura. The tradition has been passed down through generations since 1830. It is also performed as a memorial service to honor the departed. It was designated an Intangible Folk Cultural Asset in 1987.

Both chicken dance groups were interviewed. Seeing them side by side on stage was intriguing, as the similarities and differences in their costumes were visible. The group leaders discussed both the commonalities and unique aspects of their performances. They also shared their ongoing challenges, primarily the difficulty of recruiting new members to continue the tradition.

After a brief intermission, the riveting performances resumed with the final three groups. The Omiya Kagura Preservation Society kicked off the afternoon, showcasing the traditional Shugendo Kagura dance that dates back to 1337, during the Kamakura period. This dance is performed to transfer the divine spirit from the Omiya Shrine to the deity, offering prayers for a range of blessings, including warding off evil, fire prevention, health and safety, a bountiful harvest, successful fishing, and business prosperity. This time, a lone dancer symbolized the god Ebisu. He danced with such energy, ideally in sync with the lively, fast-paced, three-beat rhythm. His movements were so dynamic and vigorous that you couldn't help but be mesmerized while watching.

The final two groups, the Gyozanryu Yamaguchi-ha Kakinaizawa Shishiodori Preservation Society from Sumita Town and the Gyozanryu Sasazaki Shishiodori Preservation Society from Ofunato City, were strikingly similar in appearance. As the god Ebisu exited the stage, these groups captivated the audience with their towering headdresses and sharp antlers, symbolizing the deer central to their performances. What distinguished them from other groups was that each dancer held their traditional Japanese drum while dancing, adding to their bold and intricate movements.

The traditional dance of the Yamaguchi-ha is believed to have originated in 1789. However, it has been passed down since the mid-Edo period, with references in old documents dating back to 1627. In contrast, Sasazaki's tradition was established in 1768 and includes various types of dances, such as role dances, ceremonial dances, and dances for ancestor memorial services.

When the two groups were interviewed after their performances, it was revealed that their memberships were diverse; some members were not originally from the towns, and even foreigners were accepted into the groups, provided they were willing to learn. Women in the group noted that one of the challenging aspects was managing the weight of the costumes and drums while dancing.

After the interviews, the event wrapped up with a tradition called 'Mochi Maki,' where mochi is thrown into the audience. This practice is commonly a part of various festivals, ceremonies, and even New Year's celebrations. It is believed to bring good luck and prosperity, and the audience eagerly caught the thrown mochi in anticipation of blessings for the year ahead.