Festival

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. The dancers whether they are monks or laymen, are in a state of meditation. They are transforming themselves into the deities which they represent. They are generating a spiritual power which cleanses, purifies, enlightens and blesses the witnesses. With this in mind, it should be clear that obtrusive, disrectful and discourteous behaviour is out of place. The dance ground is not a place to eat, drink or smoke, talk or laugh loudly at inappropriate times, flash cameras or intrude on the dance space. Common courtesy should rule one’s actions when photographing the dancers or onlookers. Festivals are not pageants or entertainment. They are not held as tourist attractions. They are genuine manifestations of a religious tradition thousands of years old, which outsiders are at present given the privilege of attending.
ORIGIN OF THE DANCES OF THE TSECHUS

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. Then, when the Black Hat Dancers have destroyed the malevolent enemies who persecuted the beings and the Buddhists, they beat the great drums of Buddhism. The sound of the drums represent the religion itself which cannot be represented in any other way because it has no visible form.

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.

DANCE OF THE FOUR STAGS (SHACHAM)
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). When all beings die, they wander in the Bardo (‘Intermediate State’) waiting to be led by the love of the Buddahs into the pure fields where no sufferings exists. However, when the Buddhas who assume with their peaceful,and terrifying forms appear to greet them, the men who during their lifetime had no fervent adoration for the Buddhist Doctrine, do not recognize them as Buddhas and are frightened. As the men do not recognize the Buddhas and think they are enemies, they cannot be conducted into the paradise. The Buddhas, however through their various manifestations do not stay indifferent and perform good deeds unto the beings until the cycle of rebirth is complete.
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 by the ancient Treasure Discoverers such as Sangye Lingpa and Ugyen Lingpa. Kunga Gyeltshen called the particular dance which has been executed in Dramitse in Eastern Bhutan the, “Dance of the Drum from Dramitse”. In the excellent heaven of Zangtopelri where the beings have accumulated merits, the dancers are Decorated with splendid jewels. Just in seeing this dance, the Black Demons are vanquished and the White Gods reign supreme. Men and Gods are happy and they gain Buddhahood, which is the ultimate objective.

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 faith and real wisdom is born, the dance is performed by the gods who have become incarnated in the dancers themselves.

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). For the purpose of the spectacle, these Heroes arrive dancing in order to be seen by all. As the assembly of gods of the tantras awake to the sound of their divine drums the gods from their state of indifference. Thus the heroes by the gestures of their bodies and by the sound of their melodies lead the sentient beings who are in the wheel of reincarnation along the path of liberation.

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 built during the day, the demons destroyed at night. As the bridge could not be completed, the men wondered what to do. The second Je Khenpo, Seunam Oezer (1672-1689) who was at that time residing in Wangdiphodrang Dzong, had a dream: One night a black man appeared and told him, “The bridge cannot be completed now because the dmons are creating obstacles. To find a solution to this problem, a new dance which has never been shown before has to be performed. You will invite everyone to see it. At that time the demons will also come and see it and their attention will be turned away from the bridge. After you have established the mid pillar of the bridge in the water, you will immediately perform the consecration. In this way the demons will not be able to do any more harm”. Then the Je Khenpo remembered that during the construction of Wangdiphodrang Dzong, there had been a prophecy given by Yeshey Gonpo to Shabdung. The Je Khenpo realised that this was also a prophecy from Yeshey Gonpo. Immediately he sent messengers to fetch the dancers, masks and costunme from the monastery of Dole. When the dances were performed in the Dzong, many villagers came to see the festival and the water-deity of Wangdi bridge also came with his retinue of demons. As their attention was turned away from the river, the pillar of the bridge was built in the water and the consecration was at once performed by the Je Khenpo. At that moment in the Dzong, all the other dances were finished but the Raksha dancer as if he was agitated by the protector of the religion (Chhokyong), did not enter the dancers dressing room, and went on alone performing a number of dances such as Bja Cham, Teucham, Gyucham, Kansi, Gosi, until the work on the bridge was completed. Once the construction of the bridge was completed, he disappeared without a trace. By the time the villagers dispersed and the demons went back to their places, the construction was over, the consecration ceremony was completed and the demons were powerless. That is how the order of the 4th Temporal Ruler Tenzin Rabgye was carried out and the bridge with three points built by mason Dragpa was completed. For the happiness of the Bhutanese people and in order to prevent the earth and water deities from Doing any mischief, one mandala (diagram) dedicated to the Buddha Mitrupa (Akshobya) was placed in the middle of the bridge.

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 Directions have consulted eachother and have united all their virtues of compassion resulting in the arrival of Ugyen Rinpoche.
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 of veneration and offerings to it.
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 (The Historical Buddha) Ugyen Rinpoche, (the saint who leads people away from the five impurities) and the powerful Drukpa Shabdrung Ngawang Namgyal have diffused the Tantras.
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: This is when religious practices continuously flourish, ranging from reciting Mani and Baza Guru up to the practise of the Tantric Path.
An accomplished requisite for offerings: All kinds of offerings are combined: good food and fruits, prayer-flags, nectar-like alcohol, offering tea and sweet-smelling incense. Like cheerful minded gods in a small grove of trees, a number of men and gods are seated in rows (literally meaning of Shugde) and are making thses offerings. This good custom is called Shugdrel Ceremony. Bhutan Festival Date 2010