制作：昭和9（1934）年
制作者：町内大工、彫刻：稲垣八郎兵衛、乗せ物：山脇敏男、小野為郎
にわか屋台の時代を経て、昭和9（1934）年に造り替えたものである。
二層、柱四本一間造りのしゃぎり形式であるが、白木造り、囃子屋台である。
一層囃子台の擬宝珠柱は丸直立、架木は丸、平桁は角とする。
正面階は三段、登り高欄は丸の湾曲である。前庇には鳳凰の彫り物を置き、持ち送りには飾りがない。欄間は唐草の透かし彫りをはめ込んでいる。
二層飾り台の擬宝珠は海老曲り柱を立てる。正面の擬宝珠柱の間には鶏の丸彫りを入れ、台輪と平桁の間には雲形の彫刻をはめ込んでいる。日覆いは切妻で破風板には金箔の水引としている。見送りは丸彫りの三蓋松である。

Year of Reconstruction: 1934 (Showa 9)
Builders: Local carpenters
Carving: Inagaki Hachirobei
Platform Construction: Yamawaki Toshio, Ono Tameo

This float was rebuilt in 1934 (Showa 9) after an earlier period as a niwaka-yatai (a simplified festival float).

It is a two-tiered structure in the shagiri (festival music float) style, built with unpainted wood. The first level serves as a platform for musicians.

On the first level, the decorative finials (giboshi) are supported by straight round pillars. The crossbeams are round, while the main beams are square. The front staircase has three steps, and the railings feature a gently curved form. The front canopy is adorned with a carving of a phoenix, while the supporting brackets are left undecorated. The transoms are fitted with openwork carvings of arabesque patterns.

On the second level, the decorative stage features curved corner pillars in a distinctive shrimp-like shape. Between the front pillars, a fully carved sculpture of a chicken is placed, while cloud-shaped carvings are set between the platform ring and the beams. The roof covering is gabled, and the bargeboards are finished with gold-leaf decorative cords.

The rear display (miokuri) features a fully carved depiction of a three-layered pine motif.

「天鈿女命（あめのうずめのみこと）」天岩戸開きに因む。頭には金の冠をつけ、右手には矛を持つ。着衣は白の緋と絹。右背後にしめ縄を張った大岩を置き、２階の四本柱に注連縄をつける。

荒神・須佐之男命の所業を嘆き悲しんだ天照大神は、天の石屋戸に籠った。ここに高天の原は暗くなり、各地で妖（わざわい）が起こった。天の安河原に八百万の神が集まり、常世の長鳴鳥を集めて鳴かせ、伊斯許理度売命（いしこりどめのみこと）に鏡を作らせ、玉祖命（たまのやのみこと）に八咫の勾魂を作らせ、賢木の上枝に勾魂をかけ、中枝に八尺鏡をかけた。また、下枝には白和幣、青和幣を垂らした。
天兒屋命（あめのこやねのみこと）が言禱して天手力男命（あめのたぢからのおのみこと）が岩戸の脇に立ち、天宇受売女（鈿女）が天真拆を鬘とし、天の香山の小竹葉を手に持ち、神がかりして胸乳をかき出して踊ったれば、八百万の神はともに笑った。
ここに天照大神は怪しいと思い、天の石屋戸を細めにあけたところ、姿が八尺鏡に写ったので手力男命は岩戸を押し開けた。そこで高天の原は再び光明の世界となった。太陽になぞられる天照大神にかかわる神話である。
上片町がしゃぎりを製作したのは昭和９年であり、ときあたかも昭和の大恐慌、庶民は不景気にあえいでいた。そのようなときに天鈿女命の人徳による光明の社会を期待したのである。

Ame-no-Uzume-no-Mikoto

This figure represents Ame-no-Uzume-no-Mikoto, a deity associated with the myth of the opening of the Heavenly Rock Cave (Ama-no-Iwato). She is depicted wearing a golden crown, holding a spear in her right hand, and dressed in white and red garments made of silk. Behind her stands a large sacred rock adorned with a shimenawa (sacred rope), and similar ropes are attached to the four pillars of the upper level.

According to Japanese mythology, Amaterasu Omikami, the sun goddess, withdrew into the Heavenly Rock Cave after grieving over the destructive acts of Susanoo-no-Mikoto. As a result, the Plain of High Heaven (Takamagahara) was plunged into darkness, and calamities spread throughout the world.

In response, the eight million gods gathered at the riverbed of Amano-Yasukawara. They caused long-crowing birds to sing, had Ishikoridome-no-Mikoto forge a mirror, and Tamanooya-no-Mikoto create sacred jewels. These were hung on the branches of a sacred sakaki tree, along with ritual offerings.

Ame-no-Koyane-no-Mikoto recited sacred prayers, while Ame-no-Tajikarao-no-Mikoto stood ready beside the cave. At this moment, Ame-no-Uzume performed a divine dance, placing vine leaves upon her head and holding bamboo grass, entering a trance as she danced in an ecstatic and uninhibited manner. The assembled gods burst into laughter.

Hearing the commotion, Amaterasu grew curious and slightly opened the cave door. Seeing her own reflection in the mirror, she stepped forward, whereupon Tajikarao seized the opportunity and pulled the cave open. Light was restored to the world, and the heavens returned to brightness. This myth is closely associated with Amaterasu as the embodiment of the sun.

In Kamikatamachi, the shagiri (festival music) was created in 1934 (Showa 9), during the time of the Great Depression in Japan, when people were suffering from severe economic hardship. In such difficult times, the community looked to the virtue of Ame-no-Uzume and the hope of restoring a bright and prosperous society.

上片町の「上」の字と、全19町のうち最も東側に位置することから大紋は「東上」の字を配する。地模様は半円の水玉に閂を意匠化した柄を袖繋ぎに入れる。裾柄は山道となっている。衿字には「ろ組」と入れている法被が多く、かつての火消組であることを法被に示している。

The character “Kami” (上) from Kamikatamachi, combined with the district’s location as the easternmost among the 19 neighborhoods, forms the main crest reading “Tōjō” (東上).

The base pattern features a design of semicircular dots combined with a stylized kanuki (bar latch) motif, which is incorporated into the sleeve connections.

The hem pattern is based on a mountain path design.

Many happi coats bear the inscription “Ro-gumi” (ろ組) on the collar, indicating the district’s historical role as a traditional firefighting unit.