The frenzied followers of Bacchus, who rampaged about in an ecstatic frenzy? Based on the bacchanalia?
It turns out that samurai Japan had something similar: the furyu,
an activity sometimes called, simply, dancing, sometimes called hayashi—which referred to the accompaniment of flutes and drums, and probably to singing. Most often the activity was identified as furyu odori—literally “the dance of the wind flowing.” Just what this was, however, remains a mystery. Like the tantalizing expression uchimawari, which named the circular processions of the Hokke sectarians, furyu odori evoked without defining an apparently sensational scene. The emphasis of the phrase itself was on spectacle. When it first came into use in the early classical period, furyu referred to a showy elegance, particularly in dress, although it could also indicate splendor in music or poetry. By the early medieval period, the word designated elaborate constructions as well—such as floats or festooned umbrellas or other ornaments that appeared in festival gatherings. Yet it retained strong associations with flamboyant costume, especially in the periodic sumptuary laws where “furyu attire” was lined up with the flaunting of “figured silk and embroidered brocade and silver blades” as symptoms of “lunacy” (monogurui) and “wild excess” (basara).
…diarists tell us of flute and percussion accompaniment and the ‘havoc’ they associate with the dancing. They sometimes link it to nenbutsu odori—ecstatic dancing invoking the Buddha Amida which, as we encounter it in medieval painting, involved moving circles of devotees stomping their feet and swinging their arms in apparent delirium.
In 1506 the shogunate, seeing these frenzied gatherings (500+ people gathering at a time, impromptu, which for Kyoto during this era was alarming and hinted at peasant uprising and war) as a threat, banned it, along with “violations of coinage exchange laws, theft, arson, armed assault, quarrels, sumo wrestling, and dancing.”
(Berry, The Culture of Civil War in Kyoto).