TSECHU (RELIGIOUS FESTIVAL)
Religious festivals are very numerous
and have different names according to their types, the best known being the ‘tsechus’,
which are festivals in honour of Guru Rinpoche, commemorating one of his great
deeds. These great deeds are all believed to have taken place on the 10th
day of the month, which is the meaning of the word ‘tsechu’, even though all
tsechus do not in practise, take place on the 10th days. All the
district Dzongs and a large number of villages, especially in the east, have an
annual tsechu which attracts peasants from the surrounding countryside.
Tsechus are celebrated for several days,
between three and five according to the location, and are the occasion for
dances that are clearly defined in religious content. They can be performed by
monks, laymen or gomchens and the repertory is the same practically everywhere.
Certain tsechus end with the worship of a huge appliqué thanka representing
Guru Rinpoche and his eight manifestations, such a thanka is called
‘thongdrel’ which means that simply by viewing it, people can be delivered
from the cycle of reincarnations. Some tsechus also have a wang, a collective
verbal blessing given by a high monk. Coloured threads are then distributed and
people tie them around their necks as witness to the blessing. Sometimes, the
wang is called ‘mewang’, meaning ‘blessing by fire’, as the participants
jump over a fire which burns away their impurities.
Atsaras are clowns whose expressive masks
and postures are an indispensable element in any religious festival: they
confront the monks, toss out salacious jokes, and distract the crowd with their
antics when the religious dances begin to grow tedious. Believed to represent
the acaryas, religious masters of India, they are the only people permitted to
mock religion in a society where sacred matters are treated with the highest
respect. For a few days these popular entertainers are allowed the freedom to
express a formulaic challenge within an established framework that does not,
however, upset the social and religious order.
Some religious festivals include only
a few dances and consist mostly of readings from a particular text. On these
occasions, villagers assemble in the temple and participate in the prayers while
at the same time drinking strong alcoholic beverages. Each village takes pride
in its annual religious festival, whether it includes dances or simply prayers,
and any villager who has gone to live in the city is expected to come back home
for it. He will then sponsor a large part of the festival. For the Bhutanese,
religious festivals offer an opportunity to become immersed in the meaning of
their religion and to gain merit. They are also occasions for seeing people, and
for being seen; for social exchanges, and for flaunting success. People bring
out their finest clothes, their most beautiful jewels; they take out picnics
rich with meat and abundant alcohol. Men and women joke and flirt. An atmosphere
of convivial, slightly ribald good humour prevails.
Religious Dances and Music
Religious dances are called ‘cham’ and
there are a large number of them. Dancers wear spectacular costumes made of
yellow silk or rich brocade, often
decorated with ornaments of carved bone. For certain dances they wear masks
which may represent animals, fearsome deities, skulls, manifestations of Guru
Rinpoche or just plain human beings, the masks are so heavy that dancers protect
themselves from injury by binding their heads in strips of cloth which support
the mask. The dancers then see out through the opening of the mouth.
Dances can be grouped into three broad categories: instructive or didactic
dances which are dances with a moral (the dance of the princes and princesses,
the dance of the stag and the hunting dogs, the dance of the judgement of the
dead); dances that purify and protect a place from demonic spirits (the dance of
the masters of the cremation grounds, the dance of the stags, the dance of the
fearsome gods, the dance of the black hats, the dance of the ging and tsholing,
the dances of the ging with sticks and ging with swords; the dances that
proclaim the victory of Buddhism and the glory of Guru Rinpoche (all dances with
drums, the dance of the heroes, the dance of celestial beings, the dance of the
eight manifestations of Guru Rinpoche).
Etiquette for Tsechu Festival in Bhutan
Festivals (tsechus) are religious. The
ground where they are held has been purified and consecrated by lamas, so when
you are watching a festival, you are in essence, on the perimeter of an outdoor
religious ground. The conduct of the onlookers should be governed with this in
mind.
ORDER
OF DANCES OF TSECHUS
In order that Bhutan can rejoice in
continued happiness, many knowledgeable lamas established the tradition of the
dances. The deities of the tantric teachings are invoked during dances. Through
their power and benidiction, all misfortunes may be anihilated, luck increased
and all wishes realised.
Shabdrung Ngawang Namgyel (1594 – 1651), the migt lord of the religion of the
Drukpa school, was protector of all beings I our country. In conformity with the
tantric teachings, he composed the following dances:
BLACK
HAT DANCE (SHANA)
This ground purification rite is also
performed on the occasion of construction of Dzongs, Temples and stupas etc. Its
aim is to conciliate the malevolent beings of the ground in order to make
possession of the site from them.
Costume: Large black hat, felt boots, colourful brocade long gown, no mask.
The black hat dancers assume the
appearance of Yogis who have the power of killing and recreating life. In order
to lead to the field of Buddha, beings who cannot be led by peaceful means, they
subdue these enemies of the doctrine through their external compassionate anger
but internally they have an accomplished peaceful mind. They have the appearance
of Tantrists who are good to beings through terrifying but really accomplished
acts such as killing and expelling bad spirits. The poisonous enemies, which are
the sins, disappear in the sphere of emptiness.
This dance can be also referred to as “Gar” dance. It is derived from the
different tradition of tantras (text of Northern Buddhism). They say that with
the help of the Gods who have meditated deeply upon the mantras (sacred fromula),
the “gar” which are the gestures of the dancer’s hands are transformed
into mudras (sacred mystic gestures) and their feet which pound the earth are
forming a mandala (mystic geometric figure).
The Black Hat Dancers who perform the
ritual for the earth firstly build a mandala and then cut the demons into
pieces. Thus they take possession of the earth in order to further protect it
and they dance the step of the thunderbolt to impress their power on it. (the
thunderbolt step is a particular step in the religious dances)
To draw the mandala they use a practice
from the “Tantra without Superior” (it is a text called by Lamey Gyu) which
is not known in the Hinayana (Small path of Buddhism). Because these practices
are so special the very act of seeing them purifies and dissipates the mass of
mental obscurity which has been accumulated during ages (Kalpa) and the inner
and outer abstacles are pacified. Because of its importance the Shabdrung
himself used to perform this ritual.
BLACK
HAT DANCE WITH DRUMS (SHANA NGA CHAM)
In honour of the victory the religion over the enemies, the Black Hats beat the
drums, the sound of which resounds throughout the three worlds.
DANCE WITH GUITER (DRANYEN CHAM)
Performed in the cheerful state of mind in
order to celebrate the establishment and diffusion of the Drukpa School in
Bhutan.
Costume: Elaborate and heavy woolen cloths, traditional felt boots, long black
skirts, yellow shirt, brown coat, sword and a circular head dress. One dancer is
holding guiter called Dranyen.
Shabdrung Ngawang Namgyel, the reincarnation of Ugyen Rinpoche and Thugje Chenpo
brought under his control the large southern land of Four Approaches (the old
name of Bhutan) and he blessed it. He protected his subjects like sons by the
heavy golden yoke of law. As is he was crushing them under his feet, he
conquered many foreign enemies and he was victorious in all direction.
He build marvellous temples and palaces
and made beautiful chortens and religious books, supports of the faith. He
imposed very strict rules upon the newly – established Monk Body and also upon
the Tantric College. He supported the Three Jewels the admirable community of
the monks who practice together the moral training: to listen, to think, to
explain, to understand and to meditate the basic texts which are contained in
the three baskets (the Buddhist Canon), essence of Buddha’s doctrine.
The generous donors who give offerings to
the gods and the gifts to the people believe in the results of their actions.
Because of their powers generosity, monks and laymen will be happy in this life
and the life to the come. This dance of guitar is performed in a cheerful mood
during the festival.
RELIGIOUS SONG (CHOESHEY)
Performed to commemorate the opening of
Tsangpa Jarey (1161 – 1211), (fonder of the Drukpa School) of the gateway for
pilgrimages to Tsari mountain (eastern Tibet)
Costume: Very similar to the Guitar Dance. Elaborate and heavy woolen clothes:
long black skirt, yellow shirt, folded brown coat, felt boots, a circular head
dress and a sword.
When Tsangpa Jarey arrived in Tsari, a
frog, which was guardian deity of the lake of Turquoises, turned itself into a
yak and prevented him going further. When his three religion friends arrived at
this place, they asked the best way to remove this obstacle. Tsangpa Jarey
jumped on the frog, performed the dance and said “if anybody wants to compare
himself to me, the son of the glorious Drukpa lineage, let him come”. Then the
frog turned itself into a rock but inspite of this, the saint impressed his foot
on the rock as if it were mud. Thus the frog was subdued. It offered him his
life force and he accepted. Then after establishing the frog as a guardian deity
of the place, he opened the gateway to the pilgrimages. All the believers
undertake a pilgrimage to Tsari even now, and just by reaching this place, they
obtain perfect happiness.
TUNGAM (DANCE OF THE TERRIFYING DEITIES)
This dance is performed with the aim of
delivering the beings by showing them the Zangtopelri, the paradise of Guru
Rinpoche. Here Guru Rinpoche takes the form of Dorji Dragpo “Fierce
Thunderbolt”.
Costume: Beautiful brocade dress, boots and terrifying masks.
This spectacular and dramatic dance has
very deep symbolic meaning, namely that a sacrificial murder is performed. First
the dancers representing the gods try to enclose the bad spirits in a circle and
in a box. Once this is done, the main gods who hold the phurbu, the ritual
dragger kills them. He thus saves the world from them and he delivers them into
salvation at the same time. The men and he asuras (demons) who becomes enemies
of Buddhism, the source of happiness and benefit, do not have the chance to be
converted by peaceful means. Hence, Ugyen Rinpoche, who is the emanation of all
the Buddhas, took the form of Dorji Dragpo “Fierce Thunderbolt”. By slaying
these enemies he liberated them into the superior sphere of bliss. By performing
such an incredible feat which resulted in the happiness of human world, he
helped increase faith in non – illusionary acts.
DANCE OF EIGHT MANIFESTATIONS OF GURU RINPOCHE (GURU TSHEN
GYED)
The eight different forms of Guru Rinpoche,
which he had assumed in order to convert different kinds of beings into
Buddhism, are represented here.
Ugyen Rinpoche is second Buddha and the reincarnation of Avaloketshvara (Thugje
Chenpo), Lord of compassion. When he was born as the son of a guardian of
poultry, he made a vow to guide the beings of the world in general and
particularly the people of Sikkim, Bhutan and Tibet. That was why he came to
these regions. When Buddha was about to enter Nirvana, he told his disciples a
prophecy: “Don’t be sad, I will be coming from the west”.
Thus he appeared as Ugyen Rinpoche, Master without any attachment of the great
teachings.
When the 100.000 fairies of wisdom were begging the Buddhas of the 10 directions
to send somebody to guide all beings, this eas discussed at length and all the
virtues of their body, speech and mind were summed up in Ugyen Rinpoche. He came
in order to guide the beings who live in the age of impurities.
His activities were beyond description. However, here is how he helped the
beings of the continent through his eight manifestations:
· He was born from a blue lotus on the lake of Danakosha in Oddhyana and he was invited to become the son of King Indrabhuti. Then he was called Guru Tshokye Dorji “Diamond Thunderbolt born frm the lake”.
·
He renounced his kingdom and went to recive teachings from the Master
Prabhati in the Maratika cave ( Nepal). Then he was called Guru Shakya Shenge
“The Lion of the Shakya clan”.
·
After having listened to all the teachings of the Vajrayana “The
Diamond Path” and after having fully mastered the sciences of all Indian
Pandits, he obtained full realization and was able to see all the gods and
tutelary deities (‘yidam’). Then he was called Guru Loden Chogsey “Guru
who wants to acquire the supreme knowledge”
·
After his marriage to the daughter of the King of Zahor, he was condemned
to be burnt by the King. Through his magical powers, he turned the pyre into the
lake and he converted this particular kingdom to Buddhism. Then he was called
Guru Padmasambhava “born from a lotus”.
·
When he returned to Oddayana, the evil of chiefs of this country wanted
to burn him. But the fire could not burn his body and this was the sign of
realization. So the chief offered him the kingdom and its subjects. Then he was
called Guru Pema Gyalpo “Lotus King”.
·
When he was preaching in the eight cremation grounds to the fairies (Khandoms),
he caught the “life force” of the evil deities and he turned them into
protectors of the doctrine. Then he was called Nyma Yoeser “Sunbeam”.
·
As five hundred heretic Masters were trying to destroy the Doctrine of
Buddha, he vanquished them all through the power of his words. He brought down
the thunderbolt by his terrific magic formula and they were burnt. He was then
called Senge Dradok “the one who speaks with the lion voice”.
·
When he was Senge Dzong in Kurtoe and at Taktsang in Paro, he was in the
form of Dorje Dragpo “Terrifying Thunderbolt”. He subdued all the evil
spirits who hindered Buddhism. He blessed them as the guardians of the Doctrine
and was then called Guru Dorji Drolo “Thunderbolt”.
The fairy who is standing on the right of Guru Rinpoche
is Mandarava, the lady of wisdom. Ugyen Rinpoche made her his own emanation for
the benefit of the beings to be converted in the Kingdom of Zahor.
The fairy who is standing to his left is Yeshay Tshogyel. She is a
representation of the goddesss of knowledge, mother of all the Buddahs. She
helped to establish Buddhism in Tibet for the benefit of all the beings.
The SIXTEEN FAIRIES (Rigma Chudrug) are sixteen emanations of the same person.
They are Goddess of Offerings who are divided into four categories. Each
category is again divided into four, which make 16.
This dance brings total happiness. People believe in the manifestations of Ugyen
Rinpoche during the dance. A changeless faith in the glorious deeds of Ugyen
Rinpoche’s mind, speech and body is born to them.
DANCE
OF THE LORDS OF THE CREMATION GROUNDS (DURDAG)
They are the protectors of the religion
who live in the large cremation grounds situated on the external edges of the
Mount Sumeru.
Costume: White short skirts, white boots, white skull masks.
On the external edges of the symbolic mandala where the assembly of the secret
tantric deities are residing, there are eight large cremation grounds. Living in
these cremation grounds are numerous protectors of the religion (Chhokyang) who
are bounded by an oath and among them, are the lords of the Cremation Grounds
who protect these areas. Because of a promise they had accepted before and from
which they cannot be diverted even for one instant, these lords render powerless
the assembly of demonic enemies who have violated their oath of not harming the
Doctrine. They offer them to the gods of the mandala and they reduce them to a
mere name.
THESE
GROUPS OF DANCES ARE STARTED BY DIFFERENT SAINTS OR TAKEN FROM VARIOUS SOURCES:
DANCE
OF THE GING AND TSHAOLING (GING DANG TSHOLING)
On the occasion of the consecration of the Samye Monastery in Tibet, Guru
Rinpoche initiated this dance to show to the people of Tibet the Zangtopelri,
his paradise.
Costume: The Tsholing have long colourful dresses and wear teerrifying masks.
The Ging wear orange skirts which hang like a skin, terrifying black and orange
masks with a flag on top, and are holding a big drum and a drumstick.
The dance depicts the paradise of Ugyen Rinpoche that is the Zangtopelri from
where all the incarnations of Ugyen Rinpoche, essance of all Buddhas, are sent
into the three worlds. In the middle of a great Palace which appears by itself,
Ugyen Rinpoche is seated. On his right the holy men from Tibet and India are
seated in a row, and on his left the learned men (Pandits) from Tibet and India.
In all the intermediate zones are the 108 “Treasure Discoverers” (terton)
who are his incarnations, and also his twenty five disciples, including the King
of Tibet, Trisongdetson, who are receiving teaching and instructions. In the
centre of a rainbow, the assembly of tutelary deities (Yidam), heroes (Pawos),
and fairies (Khandoms), peaceful and terrifying, as if by magic, sings, dances
and spreads from the clouds three kinds of offerings. It is these that grant the
realisaton, ordinary and extraordinary.
All the protectors of the religon, male and female in their fierce forms are
guarding the four outer doores while the four Guardian Kings of the Directions
command an army of the eight classes of spirits. These subdue all the demons,
enemies such as develish heretics who are creating obstacles to the Doctrine of
Buddha. All these wonders have been personally observed by the “Treasure
Discoverers”, Pema Lingpa. Besides, long ago in Tibet in order to introduce
Buddhism King Trisongdetson built a large monastery in Samye. Ugyen Rinpoche, by
showing his magical powers through incarnations, subdued all the demons who were
preventing its constructions. Thus he fulfilled the religious commitment of the
king.
These incarnations are manifested in the
Ging and Tsholing dance: The inner dance called the Ging is performed by the
assembly of heroes (Pawos), tutelary deities and fairies as well as the various
terrifying deities, male and female. The outer dance called Tsholing dance is
performed by the protectors of the religion, male and female with their retinue
of eight classes of spirit.
These dances which brings blessings is
performed in order to remove obstacles to the Doctrine as well as to bring
happiness the sentiment beings. When the Ging and Tsholing are performing this
miraculous and agitated dance, they discourage the external demons and they
demonstrate clearly their magical powers so as to overcome them.
This dance is clearly a dance of purification before the arrival of Guru
Rinpoche. People whistle to chase away the bad spirits and the Ging hits
everybody on the head with their drumsticks to chase impurity out of the body.
The Tsholing after having destroyed the evil spirits symbolised by an effigy in
a black box are chased away by the Ging who stays alone and performs a dance of
victory by beating their drums.
Guru Rinpoche subdued the God of Wind
(also the lord of the North-West Direction) and rode the stag which was the
Mount of the God of Wind.
Costume: The stags are wearing knee length skirts and masks of horned deers.
Long ago when Ugen Rinpoche was in this world, he subdued the King of Wind who
created much happiness in this world through his great power by making all
sentiment beings and the world tremble. Ugen Rinpoche rode the stag when he
subdued the earth and he appeased all beings by establishing peace and
happiness. As a blesing the first incarnation of Nam Nying (Namkhe Nyingpo)
found the effigy of a face of a stag and hence the dance of the white stag came
to be. During this dance the gratitude of the pious people is demonstrated to
all the beings destined to be converted in the future. After all the agitation
of the world have been overcome, happiness and peace will reign supreme.
DANCE
OF THE JUDGEMENT OF DEAD (RAKSHA MANGCHAM)
This is based on the Bardo Thoedrol (Book
of the Dead), a text hidden by Guru Rinpoche and rediscovered later by Karma
Lingpa (14th century).
Shinje Chhogyel, Lord of Death, estimates the value of the white and black deeds
during the judgement. Also present are the White God and the Black Demon who
live with every being from birth, and all the Shinje’s helpers who emanate
under numerous forms. These are the ox-headed justice minister, the wild
hog-headed helper who takes account of the black and white deeds, the khyung-
headed bird (the khyung is a mythical bird) who holds a small sword which cuts
the root of the three poisons (ignorance, envy anger) and a big hammer which
destroys the rocky mountains of sins, the lion-headed helper who holds a lasso
which represents love and an iron chain which represents compassion, the fierce
bear-headed helper who holds the magical noose which ties the means and wisdom
together and a saw which cuts selfishness, the serpent-headed helper whose
mirror reflects all actions, the monkey-headed helper who weighs them on a
scale.
All these helpers are called Rakshas and
they separate with equanimity the black actions from the white actions of all
beings, just as in the case of the sinner, Nyelwabum and the virtuous
Chimdapelkye. The frightening Court of Justice cannot be avoided by the
condemned beings. But after enduring certain sufferings, their sins are washed
away and they are purified. Progressively they are led to the pure fields and
the paradise. Unfortunately some beings do not understand that everything is the
result of their mind, whether they are pure or impure. The dance shows everyone
that if they devote themselves to virtuous actions, they will be sent
immediately to the pure fields and paradise. Regarding the different forms of
Shinje’s helpers shown in the dance, the beings who are born into the human
world where the doctrine of Buddha has been propagated, know that they are the
Gods who have taken refuge in Buddhism.
Then after life, when they have to cross
the Bardo and meet Shinje’s helpers and the assembly of Peaceful and
terrifying deities, they recognise them as incarnations of Buddha, they are
delivered from the frightening Bardo and go to the pure fields and paradise. The
origin of the dance is to be found not only in the Sutras and the Tantras, but
also in the books discovered by Karma Lingpa (14th century).
The dance can be described as more of a
play than a dance and lasts approximately two hours. Firstly, there
is the long dance of all the Raksha who are the helpers of Shinje, the
lord of Death during the judgement. Then Shinje himself appears, symbolised by a
huge puppet which holds a mirror. The White God and the
Black Demon enter the courtyard with him. Shinje sits and all his helpers
follow taking up their places in two
rows in front of him. Then the judgement begins. First the Black Demon and the
main helpers perform a dance. Then the sinner who is dressed in black and
wearing a red hat, arrives. He is very frightened and tries to escape but is
recaptured each time by the helpers. From his basket, a freshly severed cow’s
head is taken, implying that the sinner was responsible for killing it.
The judge then weighs his actions.
Afterwards the White God sings of the merits of the man, followed by the Black
Demon who expounds the sins of the man. Finally a black strip of cloth
symbolising the road to hell, is spread and then the sinner is sent to hell.
This is followed by the general dance after which everyone assumes their former
seat positions. Another man arrives. He is clad in white and holds a prayer flag
and a ceremonial scarf, which altogether is implicit of his virtues. The same
scene as above is re-enacted and at the conclusion a white strip of cloth
symbolising the road to heaven is deployed. Fairies elaborately dressed in
brocade and bone-ornament come to fetch him. At the last moment, the Black
Demon, furious at having lost a being, tries to grab the virtuous man but the
White God protects him.
DANCE OF NOBLEMEN AND THE LADIES (PHOLE MOLE) AND KYECHAM
(ACCOMPANIMENT DANCE)
These are taken from the biography of King
Norzang who lived in a Kingdom called Naden in the North of India. Once upon a
time, in a Kingdom called Naden, there was a King of Norzang who had five
hundred queens. One day, the son of a hunter received a favour for saving the
“life force” (‘sog’) of a serpent deity (‘lu’): he could borrow from
this deity the noose which brings anything. With it he caught the very beautiful
daughter of King Driza, called Yidrogma, who was so beautiful that no human girl
could compare. He offered her to king Norzang who became passionately attached
to her. When King stopped looking at all the other queens, they could not bear
it. So they asked Hari, by black magic caused King Norzang father to be
disturbed by a dream which was in the form of a prophecy.
This prophecy said the father and son had
enemies, savage men from the North, and that if they did not find a way of
subduing these enemies immediately far away from the Kingdom, it wil be too
lateand the Kingdom could be destroyed. Then, following his father’s command,
King Norzang was to leave for the north but his wife Yidrogma was not happy and
she begged him to take her with him. The King explained to her in
detail that he could not take a woman while while going to war in far country
but that in this heart which was attached to her was sad. Yidrogama, as a
souvenir, gave him her ring, one of her clothes and the white silk, which
covered her head.Then he left for the North and conquered the foreign enemies.
Afterwards he returned to the country and defeated all his internal enemies, all
his internal opponents. Yidrogma who had fled, through her magical power to her
father for fear of being killed, was welcomed back and once again she came to
the human world where she lived happily with King Norzang. This is the classical
explanation of the dances of Phole Mole taken from the biography of King Norzang.
Here is the explanation of what
really happens in the dance, which is more of a comical and very crude play than
a dance. The actors are two princes, two princesses, an old couple and the
clowns. The two princes are going to war and are leaving the two princesses in
the care of the old couple. As soon as they depart, the clowns try to frolic
with the princesses and corrupt the old woman who is also behaving quite badly.
When they return the princes are scandalized by the behaviour of the princesses
and cut off their noses as a punishment. The old woman also has her nose cut.
Then a doctor is called to put the nose back but the old woman stinks so much
that the doctor has to use a stick because he does not want to approach her.
Finally, the princes marry the princesses and everybody is reconciled.
KYECHAM (ACCOMPANIMENT DANCE)
Costume: Knee-length yellow skirts, bare
feet, animal masks, sword in the right hand. When King Norzang left for the
north, the protectors for the religion gaurdains for the doctrine and the
assembly of the King’s tutelary deities become the armed companions thanks to
their magical powers and they openly accompany him to war. This is the classical
explanation of this dance whence its name. However, there is another
explanation, which is closely related to the popular explanation of Phole Mole,
the following dance. Kyecham and the Phole Mole are inter-related. The son of an
old and a pretty girl got married.
They seemed to be a compatible, but during a fight he cut off her nose. First
their love was so great that they could not be separated but then they got
attracted to somebody else because the mind and body are not constant. That is a
universal law which says that there is no real substance in worldly components.
Many people behave like this and bring upon themselves sufferings in this life
and the ones to come. The cause of happiness is faith in the Buddhist creed
knowing that the three jewels (Buddha, Religion and Community of Believers) are
a refuge, which never fails.
DANCE OF THE STAG AND THE HOUNDS (SHAWA SHACHHI)
This represents the conversion to Buddhism
of the hunter named Gonpo Dorji by the great saint Jetsun Milarepa (1040 –
1123). Long ago, Jetsun Milarepa (1040 – 1123), was deeply meditating in a
hermitage called Nyishangkurta on the border between Nepal and Tibet, when he
heard a man shouting and a dog barking. He went out of his cave and saw a red
haired stag who was sweating all over his body and trembling with fear. Because
of his great compassion, Milarepa sang a religious song and the stag having
forgotten his fear laid down on the right of the lama. Chasing the stag, a red
dog arrived running as fast as lightning, and full of fiery wrath. For the dog
also, Milarepa sang a religious song immediately he allayed the temper and the
passion of the dog. The dog lay down on the left of the lama and here were both
the stag and the dog lying down like mother and son. Following the dog, a hunter
called Gonpo Dorji arrived. He was frightening fierce and a strong man carrying
bow and arrows. When he saw Milarepa, a stag and a dog he wandered if the lama
had cast a spell on the stag and the dog he became enraged. He told Milarepa
“you protect the stag and the dog, let us see if you can protect from this
arrow” and he shot a poisonous
arrow. Gonpo Dorji’s bow broke into pieces and the string of the bow was cut
and the arrow was turned against himself. Gonpo Dorji was full of incredulity
and Milarepa told him “Gonpo Dorji, your arrow is returned, now listen o my
song”. As Milarepa was singing, a violent regret of whatever action he had
done before was born in Gonpo Dorji and he confessed his bad deeds.
He promised to take an oath and not to sin
again. He practised the religion and attained full realization. This dance is
generally performed like a play in two parts. The first part takes place the
first day while the second part is on the second day of the Tsechu. Usually
there are two dogs and not just one like in the above story. The first part is
quite comical: the hunter’s servant appears first and jokes with the clowns.
Then comes the hunter crowned with leaves and carrying a bow and arrow. He is
accompanied by his two dogs. These dancers are wearing knee-length yellow skirt
and dark masks. The servant jokes very disrespectfully with his master, before
going for hunting, must perform good luck rituals. The priest performs the
rituals in a way contrary to the Buddhist tradition,while the atsaras and the
servants go on with their jokes.
The second part has more serious and
religious tone, Milarepa appears, wearing a long white dress, white hat and
holding a pilgrim’s staff. He sings with a soft voice and has his right hand
near his ear. He two dogs, the stag and the hunter, one after the other, arrive
in Milarepa’s presence and he converts them with his song. The conversation
symbolized by a rope that the dog and the hunter have to jump. This part
exhibits acrobatic among the dancers.
DANCE OF THE THREE KINDS OF GING (GINGSUM)
This is the visual representation of the
Zangtopelri, Paradise of Guru Rinpoche as seen by the Terton (Treasure
Discoverer) Pema lingpa (1450-1521). Costume: The Ging are wearing knee-length
skirts. For the dance with the sticks they are wearing animal masks. For the
dance with the swords and with the drums, they are wearing terrifying masks.
The origin of happiness of all beings in the three world s is the religion of
Buddha. To propogate this religion in the world, first one must listen to the
teachings, then practise thinking and meditating in the places of meditation.
Any kinds of demons who are creating obstacles to the doctrine, human or
non-human, who have no fast powers and bad thoughts are called Jyunpo Nyulema.
There are many means by way of magical formulae to subdue these malevolent
spirits. On this subject, the great treasure discoverer Pema Lingpa when he went
to Zangtopelri, saw the dance of the three kinds of Ging who are emanations of
Guru Rinpoche. This was the blessing, which explained how to subdue the demons
Nyulema by magic. The deep teachings of these dances appeared to Pema Lingpa.
Thus, although all the demons Nyulema who are creating obstacles to the religion
are fleeing anywhere in the Three Worlds, the Ging with the sticks can find
them, thanks to their fore-knowledge, They catch them with the hook of
compassion, beat them with the stick of wisdom and tie them with the noose of
compassion.
The lords of the cremation grounds bring
the box which contains the mind and the body of these demons-Then the Ging with
the sword purify the atmosphere from such deeds as robbery, killing or the
seperation of one’s self from tutelary deity (Yidam), which are caused by the
Nyulemas. The Ging with the swords send their minds to the paradise of pure
conciousness, while they use as sacrificial offerings their body of flesh and
blood. After these demons have been vanquished, the Ging with the drums dance
with happiness. They beat the drums of the religion, which is thus propagated.
The dance is performed to bring good luck and wish happiness to all living
beings. These dances are considered as blessings and in all the countries they
are connected with religious ceremonies.
Those who master the practise of the two
degrees of meditation must explain the doctrine. Then the visions have been
explained, when the merit which is represented by the devotion for the
assembly of the gods has been attained, and when the Black Demons have been
supressed, the white gods are victorious and the Doctrine of the Lord Buddha is
propagated. So, for all living beings joy and happiness arise.
DANCE OF THE TAMSHING IN BUMTHANG (BUMTHANG TERCHAM)
On the occasion of the
consecraton of the Tamshing Monastery in Bumthang, Pemalingpa built the temple
of Lungrub Chholing at Tamshing in Bumthang Valley, and was about to consecrate
it, he had a dream one night. Five Tantrists brothers appeared and told him:
“We have come from the Land of Sufferings of the 3000 worlds and for the
consecration of your temple, Pemalingpa, you must do a dance like this”. After
they had performed this dance, Pemalingpa woke up. Because he remembered the
dance clearly, he composed it using the work of the text “Phurpa sogi Prtri”.
He called this new dance “The dance of the Ging of the Tamshing Monastery”
and miraculously discovered dance is performed, all the earth demons in the
whole country are appeased and the Gods are rejoicing.
DANCE OF TH DRUMS FROM DRAMITSE (Dramitse Na Cham)
Chorten Zangmo, daughter of Pemalingpa,
was living in the Monastery of Dramitse in Eastern Bhutan. Her brother, the
well-learned lama Kunga Gyeltshen has a vision of Guru Rinpoche and his
paradise, the Dramitse and established the tradition of the dance which depicts
his vision.
Costume: Knee-length yellow skirt, animal masks. They hold a big drum and a drum
stick. In the 15th century, the daughter of Pemalingpa from Bumthang
came into this world. This nun called Chorten Zangmo was living in the Monastery
of Dramitse in Eastern Bhutan. Her brother, the well learned Lama Kunga
Gyeltshen not only saw Guru Rinpoche many times and heard his teachings but also
went through the strength of his magical powers to the Zangtopelri heaven where
he met Ugyen Rinpoche. At that time, the attendant of Ugyen Rinpoche were
transformed into one hundred kinds of peaceful and terrifying deities. They took
in their left hand a big drum and in their right hand a drumstick and performed
a dance. Kunga Gyeltshen witnessed this dance and when he returned to Dramitse
and to the human world, he established the tradition of the dance along with the
other drum dances which were composed
DANCE OF THE HEROES (Pacham)
Costume: Knee-length yellow skirt
and golden crwon (rina). No mask. They are holding a small bell (Drilbu) and a
small drum (Damaru). The great “Treasure Discoverer” Pemalingpa arrived in
the presence of Ugyen Rinpoche, at the summit of the Zangtopelri, in the middle
of a marvellous palace of lotus beams which reflected the wisdom large and deep as the sky, without obstacles. There he saw Ugyen
Rinpoche, the Lord who leads the beings of the Three World, sitting among his
assistants in the centre of a limitless mandala which was made of lines of
rainbow beams. In the mandala, the assembly of the sages, of the tutelary
deities, of the heroes (Pawos) and the heroines (Khandom Pamo) were dancing in
the form of various emanations of the peaceful and terrifying deities. All sorts
of dances were performed and all sorts of harmonious melodies which were the
sounds of the religion of Great Path (Northern branch of Buddhism) were sung.
Among this congregation, the assembly of the peaceful heroes and heroines is the
most important. They are as numerous as the moving clouds in order to celebrate
the deep and the large religion and their function is to lead the beings who
died out of the world. This dance of the heroes is to lead the believers of the
human world into the presence of Ugyen Rinpoche.
DANCE OF THE LORD OF DEATH AND HIS CONSORT (Shinge Yab
Yum)
Costume: Long brocade dress, buffalo mask. The Bodhisatava Manjushri (Jampelyang)
represents the body of Wisdom of all the Buddhas. When he takes the appearance
of the terrifying Lord of Death, he becomes the Lord (Je) of the Dead (Shin) and
thus is called Shinje. Being the Lord of the Death, he is also the ruler of the
Three World which he protects. His wrathful Buffalo face guards the four
continents and blesses them before the arrival on earth of the gods of Wisdom.
DANCE OF THE EIGHT KINDS OF SPIRITS (Degye)
Costume: Knee-length yellow skirt, animal
mask. The eight categories of the Yaksas, the Mamos, the Shinjes, the Gyelpos,
the Tsens, the Lus and the Lhas. They are the masters of the Three Worlds (sky,
earth, underground). These poisonous and evil deities provoke death by their
desire to continuously torment santient beings. As they transform all santient
beings into suffering beings, the gods such as Yeshey Gompo, who have unlimited
magical power, omniscent wisdom of compassion and who reside with the Buddhas
and Bodhisatavas, manifest themselves in the form of the chief of the above
eight categories. Thus they subdue all these spirits who make the world unhappy
and protect th life of the beloved doctrine of the Buddha. Once this has been
achieved, endless happiness is recorded. In order that
DANCE OF THE HEROES WITH THE SIX KINDS OF ORNAMENTS (Guan
Drug Pawos)
They are named the heroes with six kinds
of ornaments because of the fact that they are wearing five rings of bone
ornaments and they are holding in their hands a small drum and bell (drum and
bell are considered as one).
DANCE OF THE RAKSHA FROM THE MONASTERY OF DOLE (Dole
Raksha Cham)
Costume: The Raksha has a black mask with
horns and a yellow skirt. The 4th temporal ruler of Bhutan, Tenzin
Rabgye (1680-1695) wished to do good to his subjects of Shar, Wang and They in
Western Bhutan. Therefore, he ordered a bridge to be made from the Wangdi river
by a mason called Dragpa from the village of Rinchengang. In 1685, this builder
along with the people of Shar, Wang and They began the construction of the
bridge but what the men
MEANING AND HISTORY OF THE THANGKHA IN PARO
Buddhas and Bodhisatavas possess
indiscernible virtues which permit them to liberate from suffering even those
who fall straight into hell after having commited such sins as killing parents
and breaking the vow of to their clerical brothers and lamas. There people have
only to think, to touch, to taste, to smell, to listen and to see the supports
of Body (i.e. Statue), Speech (book), and Mind (i.e. Chorten) of the Buddhas and
Bodhisatavas. This is called liberation by the mind, touch, by knowledge, by
taste, by smell, by listening and by seeing. The people who know virtuous and
unvirtuous deeds, because of their devotion and faith in the support of Body,
Speech and Mind of the Buddha, have created the Thangkha, a mere sight which
liberates the individuals. In this mundane world there is nowhere to be found a
more superior treasure. Inorder to help all the sentient beings who are nowadays
impure, the Buddhas of ten
During a previous life, he was born as a
son to a woman poultry farmer. At that time, while he was erecting the great
chorten of Jarungkhashor (Boudhant in Nepal), he made a powerful vow to have
compassion for sentient beings, particularly those of Nepal, Bhutan and Sikkim.
As a result of this vow, he is
giving compassion and blessing to them, far more rapidly than other Buddhas.
This is why our accomplished forefathers made the great Thangkha which
represents Ugyen Rinpoche and his eight manifestations, the sight of which
liberates. They also established the code
Both in this life and the next, it is
hoped that those who have a great desire to be delivered from transmigratory
existence develop and protect this excellent ancient custom. Shugdrel ceremony
(Blessing and Offering Ceremony performed by the Monk Body in front of the
Thangkha). Regardless of the size and importance of any auspicious occasion, we
must complete the Shugdrel Ceremony to show the main achievement of the Glorious
Drukpa. For this Shugdrel Ceremony, we must have three or five accomplished
elements which are as follows:
An accomplished place: It is here in the Kingdom of
Bhutan, the Valley of Medicinal Herbs, which has become, as quoted from
different sources, an excellent place where the Buddhas and Bodhisatavas, Shakya
Thubpa
An accomplished master: He is Ugyen Pemajyune who
incorporates within himself all the Buddhas. We can see his image on the great
Thangkha which liberates us from the cycle of reincarnations. An accomplished
retinue: The holy clergy and even the devout people who wear rich clothes and
ornaments are in the middle of the assembly like a gathering of celestial stars.
An accomplished time:
An accomplished requisite for offerings: All kinds
of offerings are combined: good food and fruits,
FESTIVAL PROGRAMME:
THIMPHU TSECHU
Day One: Dance of the Four Stags (Shacham) Dance of
the Three kinds of Ging (with sticks, swords and drums) Dance of the Heroes (Pacham)
Dance of the Stag and the Hounds (Shawa Shachi) Dance of the Guitar (Dranyen
Cham)
Day Two: Dance of the 21 Black Hats (Shana) Dance
of the 21 Black Hats with Drums (Shana Nga Cham) Keycham (Accompaniment dancers)
Dance of the Nobleman and the Ladies (Phole Mole) Dance of the 16 Drum Beaters
from Dramitse (Dramitse Ngacham) Dance of the Stag and the Hounds (Shawa Shachi)
Day Three: Dance of the Lords of the Cremation
Grounds (Durdag) Dance of the Terrifying Deities (Tungam) Dance of the Rakshas
and the Judgement of the Dead (Raksha Mangcham)
Day Four: Dance of the Tamshing in Bumthang (Bumthang
Tercham) Dance of the Lords of the Cremation Grounds (Durdag) Dance of the Eight
Manifestations of Guru Rinpoche (Guru Tshen Gyel) Religious Song (Chhoshey)
WANGDIPHODRANG TSECHU
Day One:
Day Two:
Day Three: Dance of the Heroes (Pacham) Dance of
the Lords of the Cremation Grounds
(Durdag) Dance of the Ging and the Tsholing (Ging Dang Tsholing) Dance of the
Eight Manifestations of Guru Rinpoche (Guru Tshen Gyel) Dance of the
16
Fairies (Rigna Chudrug)
PARO TSECHU
Day One: (Inside the Dzong) Dance of the Lord of
Death and his Consort (Shinje Yab Yum)
Dance of the Lords of Cremation Grounds
(Durdag) Dance of the Black hats (Shanag) Dance of the Drum from Dramitse (Dramitse Ngacham) Dance of
the
Eight Kinds of Spirits (Degye) Religious Song (Chhoshey)
Day Two: (Outside the Dzong) Dance of the Lord of
Death and his Consort (Shinje Yab
Yum) Dance of the Black hats with Drums (Shanag Nga Cham) Dance of the
Three kinds of Ging with Sticks (Gynging) Dance of the Lords of the Cremation
Grounds (Durdag) Dance of the Three kinds of Ging with Drums (Driging) Dance
of the Three kinds of Ging with Drums (Ngaging) Dance of the Stag and the Hounds (Shawa Shachi) 1st Part
Day Three:
Day Four: Dance of the Lord of Death and his
Consort (Shinje Yab Yum) Dance of the four
Stags (Shacham) Dance of the Judgement of Dead (Raksha Mangcham) Dance of
the Drums from Dramitse (Dramitse Ngacham)
Day Five:
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