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guardian gods
ICH Elements 6
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Drametse Ngacham: The Masked Drum Dance of Drametse
The Masked Dance of the Drametse community is a sacred dance performed during the Drametse festival in honor of Guru Padmasambhava, a Buddhist master. The dance performance also commemorates the founder of the Tegchok Namdroel Ogyen Choeling Monastery, Ani Choeten Zangmo; and venerable Khedurp Kuenga Gyeltshen (1505-/) who introduced the Masked Dance. These two are the eldest daughter and the fourth son respectively of the great treasure revealer, Terton Pema Lingpa (1450-1521). According to oral accounts, Drametse Ngacham was introduced in 1518, just three years before the death of Pema Lingpa. The name of the mask dance is derived from the Drametse village community, which falls within the Drametse gewog village block of Mongar Dzongkhag district in the eastern part of Bhutan. The term Ngacham refers to the dance implements held by performers, a hand-held circular flat drum and mallet. Tegchok Namdroel Ogyen Choeling Monastery was established in 1530. The three-day Drametse Tshechu festival takes place twice a year, organized by the monastery administration. The dancers include monks from the monastery as well as laymen. The origin of the mask dance, its characteristic choreography, masks, and costumes are specified in detail in the Kabum, Collected Works, of Pema Lingpa. Pema Lingpa have seven siblings and Sangdag is one of his sons who fathered Tenzin Chogyal and gave birth to Ani (Nun) Choeten Zangmo. Therefore, Ani Choeten Zangmo is the great grand daughter of Pema Lingpa. Though Ani Choeten Zangmo has no intention to indulge in the leading a family, she was forced to marry Yeshey Gyalpo, son of Sumthrang Choeje Sherab Drakpa. Driven by her destiny, she became renunciate and later established her permanent seat at Drametse where she recognized a place of peace and tranquility, Dra-me “No Obstructions” to her meditational practices at the summit of a Tse, small ridge. During her stay, her brother Kuenga Gyeltshen who is popularly known as Khedrub Kuenga Wangpo visited her. Kuenga Wangpo is highly revered by spiritual masters for his outstanding philosophical knowledge and realization of the true nature of mind, thus he was given a title of Khedrup, great and realized scholar. He encountered Guru Padmasambhava several times while in meditational states, and had visited Zangdok Pelri, the Copper Colored Mountain, spiritual realm of Guru Padmasambhava. While staying at Drametse, an auspicious event happened in his early morning meditation on the 17th day of the 8th month of Iron Male Tiger year 1530—while the Drametse Lhakhang Monastery was under construction. In this state, three khadroma celestial maidens with white complexion, decorated with colorful silken robes, ornaments and flower garlands, invited Kuenga Wangpo to Zangdok Pelri, saying they had come to take him for a tour of the realm’s palaces. He asked, “What should I take for the long journey?” The maiden responded, “While you are experiencing pure vision without doubts, come along with us.” They took him to the realm, and into a palace called Pema yoe ki Phodrang where Kuenga Wangpo saw King Indra Bhuti. Then the maidens took Kuenga Wangpo to the majestic palace of Zangdok Pelri, where he saw Guru Padmasambhava in a youthful form smiling and telling him “I am happy to see you here.” Instantly, Guru manifested to a Jalue, Rainbow Body, and thereupon Kuenga Wangpo was entertained by a splendid dance performed by many gods and goddesses transforming themselves into Dampa Rigja (Hundred Guardian Deities); forty-two peaceful forms, and others in wrathful appearance or in human form with various animals’ heads. All wore exquisite robes and a melodious sound of Choe-ngai dra, Buddhist teachings, resonated from the beating of their drums. It is also believed that the sound of the drum signifies victory over evils and celebrates joy as Buddha’s teachings flourish. Kuenga Wangpo was then told to introduce this dance in Jigten me-yul, the human realm, and that conducting the Masked Dance would liberate sentient beings. Coming out of this meditation, he jotted down the detailed choreography, masks, and costumes. The first introduction of this Masked Dance was at the sacred place of Drametse, thus giving it the name Drametse Ngacham. Due to the significance embedded in the dance, Zhabdrung Ngawang Namgyal (1594-1651) who unified Bhutan as a country, the successive Je Khenpo spiritual leaders, as well as the Druk Desi temporary leaders—these spiritual masters and farsighted monarchs all propagated the Masked Dance across various monasteries and Dzong fortresses around the country.
Bhutan 2008 -
Gesar epic tradition
The Gesar epic recounts the sacred deeds of the hero King Gesar, while unfolding a broad spectrum of oral genres, embedded hundreds of myth, legend, folktale, ballad, and proverb in narrative framework of “beads on a string,” namely “Gesar Epic Cycle,” demonstrating the sheer monumentality and vitality of verbal arts. So far we found the earliest manuscript is The Battle Between Vjang Regality and Gling Regality, which dated to the 14th century, while the earliest Mongolian woodblock version titled “Geser Khan, Guardian Lord of the Ten Directions,” was published in Beijing in 1716. As of today, there are over 120 different oral cantos on record. Not counting the texts in prose, the portions in verse alone are total over one million lines excluding different variations, indicating that the living oral epic continues to expand. As the creators and inheritors of the heroic song, the Tibetan singers and storytellers are traditionally classified in several ways by how they learn and master the epic. In oral performances, they invoke a flexible genre of bcad-lhug-spel-ma, namely ‘prosimetrum,’ by melding concisely worded prose with lyrical verse and over 80 melodies of music in responding to different contexts. They often use a variety of skills that include gestures, facial expressions, postures, and verbal sound effects to enhance the singing artistry. Among their meaningful props, the hat, bronze mirror, and costume are shaped in special ways to symbolize the traditional cosmology and aesthetics. In Mongolian tradition however, the epic singing is handed down professionally from master to apprentice. Performances usually feature musical accompaniment by stringed instruments called the “horse head fiddle” (morin khuur) and the “four stringed spiked fiddle” (hugur). The two major singing styles, “improvised melodic singing” (holboga) and “musical storytelling” (bensen ulger), are combined with oral narratives, which highlight vocal singing with deep, broad, and melodious sounds skilfully utilized as needed. Gesar epic performances play important roles in rites of passage, festival ceremonies and religious rituals in communities concerned. For instance, when a child is born, passages about King Gesar’s descending to the world are sung. The epic also reflects Tibet’s native Bon religion, in respect to beliefs, rituals, theology, divination, and so on. Moreover, the epic singing itself usually accompanies with specific ritualized practices, for example, smoke offering, meditation devoting, and spirit possessed. Hence, the epic is not only the dominant means for communicating with the hero, gods, ancestors, and members of society, but also the major entertainment in rural communities. The epic performers have acted as traditional educators who enable people understanding genealogy and history, astronomy and geography, zoology and botany, arts and crafts, medicine and treatment through their storytelling. Concrete narratives focusing on origins of nature and universe are incorporated in numerous episodes called Ode, such as Ode to Mountain, Ode to Sword, etc., revealing that the epic itself a continuum of experiential knowledge in response to their environment, their interaction with nature, universe, and history. As a Tibetan proverb goes, “On every person’s lips there is a canto of King Gesar.” It has been a constant inspiration for other art forms, including traditional forms such as Thangka painting, Tibetan opera, and Cham masked dance, as well as contemporary arts, which provides peoples and young generations a sense of cultural identity and historical continuity, while reflecting credit on the common cultural legacy, shared by generations, serves as a really all-embracing encyclopedia for the general public.
China 2009 -
Lkhon Khol Wat Svay Andet
Having originated in bhani, a type of drama, mentioned in at least 10th century inscriptions of Cambodia, Lkhon Khol today is performed by males, wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. It performs only episodes from Reamker, a Cambodian version of the Indian Ramayana. Lkhon Khol Wat Svay Andet is distinct from the generic form because its specific aim is to propitiate Neak Ta (guardian spirits of a place and its people; in this case the community of Wat Svay Andet), and in so doing, protect and make prosperous the community, its lands and harvest. When Lkhon Khol is performed especially during a fixed date after the New Year, spirit mediums are presented to facilitate interaction between the Neak Ta, performers and villagers. Spirit mediums, who predict the situation for the upcoming year, attend the performance and become possessed by the Neak Ta and then might get on the stage. When the spirits are satisfied by the performance, villagers are blessed by them, and if not, dancers will stop; the music continues; and the audience will fall silent and carefully listen to the spirits. Then the episode must be performed again. nIn Wat Svay Andet, Lkhon Khol has such spiritual significance in the community that some Reamker characters have become local deities in themselves. For example, on the campus of the monastery, a shrine for Hanuman (Monkey General) locally called Lok Ta Kamheng is built and venerated. The mask for Tos Mok (Ravana, King of the Demons) also lives and is venerated in a spirit house at the home of the family that has danced that role for several generations. In addition to the intrinsic specificity of the Wat Svay Andet form, some external differences are noted, such as the fact that three of the key roles are not masked. In fact their faces are painted white, indicating that they are neither mortals nor gods. The costumes, which are very refined with magnificent embroidery, are also different especially from those of the Battambang Troupe. Melodies for recitations are also different and richer. nLkhon Khol Wat Svay Andet is not performed by professional artists, but by the villagers themselves, and they do not perform for money but for merits and their community’s well-being. Everyone in the community is obliged to contribute, either by direct participation in the performance or by sharing support, e.g. financial or labor. Even villagers, who have migrated for work, tend to come back for the ritual and believe that if they don’t come, they could be struck by illness or bad luck.
Cambodia 2018 -
Baab: Mask
Colloquially, a mask often used in artistic mask dance performances to disguise or hide the original appearance is called “Baab” in Dzongkha (Bhutanese language) and in many local dialects. Baab is not only used for masquerade, but represents the appearance and expression of enlightened beings, celestial beings, guardian deities, and some extraordinary human beings who have helped to shape meaningful human life and promote harmonious living, which is why it is also referred to by the honorific title Zhal baab (face mask). Baab comes in many forms, appearances, complexions and with exceptional features that represent transcendent religious meanings and significance. Baab is the product of an art that requires several skills such as religious knowledge including proper proportions, biodiversity as the basic raw materials are woods, craftsmanship, blacksmithing in making tools and finally painting to give the mask the final structure. According to historical texts, the Baab tradition and the performance of the mask dance, usually called Gar-cham, was introduced to Bhutan by Guru Padmasambava in the early 8 th century. Later, it was further developed by eminent Buddhist masters, especially Terton (discoverer of the hidden treasure) Pema Lingpa (1450-1521), who introduced many sacred mask dances and passed on the art of Baab making, which is still recognized and known today for his contribution to the enrichment of Bhutan’s indigenous art and culture. His exceptional art of Baab making and mask dances was later recognized by Zhabdrung Ngawang Namgyal (1594-1651), the head of the state government, and included as one of the of Bhutan’s intangible cultural heritage domain of arts and crafts. Thereafter, the Baab tradition was maintained and enjoyed increasing popularity after the heads of the state government, chief abbots and successive monarchs introduced and authorized other private religious institutions to organize Tshe-chu, Drub-chen, Chod-pa, Rab-ne, Me-wang, Ma-ni, Due-chod (mask dance festivals), etc. throughout the country. In general, the manifestations of Baab can be summarized as; Baab of deities and gods, animals and extraordinary human beings. It is firmly believed that the masks of the deities and gods manifest themselves in various emotional appearances such as; graceful, heroic, abominable, wrathful, compassionate, comical, wondrous, terrifying and petrifying. These expressions can also be divided into four categories: peaceful, inspiring, empowering and angry. There are three types of masks made by Bhutanese artisans: Re baab (paper and cloth mask), Shing baab (wooden mask) and Sing-phye baab (mask made of a mixture of sawdust). However, the former two are ancient technical craft, while the latter is a newer product used mainly for commercial or decorative purposes. Traditionally, Baab are used only for the actual performance or kept as relics after the consecration ceremony has been performed by spiritual masters. It is believed that if these items are not blessed, they are as good as toys and are haunted by the spirits, causing harm to society.
Bhutan -
Ging Tshogling Cham: Wrathful War Dance
One of the most entertaining mask dances is the Ging Tsholing Cham, where most of the audience, especially the children, are captivated by the intensifying drum beats and the fighting scene of the Cham ritual dance. The mask dance is also called Tro-ging, a local name, because it provides an entertaining presentation and performance for the audience. Ging represents the wrathful appearance of celestial beings, daka and dakinis; those dances are performed by laymen called Boecham pa. Whereas Tshogling is the emanation of guardian deities of Dharma protectors, including the Four Kings of the cardinal points and the Eight Classes of Gods and Goddesses; these roles are usually performed by Tsun cham pa monks. According to literary sources, the mask dance was introduced by Terton, treasure revealer, Pema Lingpa (1450-1521) after he saw the performance at Zangdok Pelri, the copper-colored mountain and spiritual realm of Guru Padmasambhava. Pema Lingpa, who was one of the fortunate incarnate beings of Guru Padmasambhava, met his enlightened master several times: when he predicted the future, when he gave him the list of treasures to be discovered in disguise, when he guided him to the sites to be discovered, and as he often invited him into his realm during meditation states and in dreams. On one such occasion, in the magnificent palace of Rang-jung Trulpai Phodrang, self-formed palace, he saw the Root Master manifesting in Ja-lue rainbow body or wisdom body, from which millions of his forms emerged, filling the three realms of the universe, which is beyond our imagination. Among the magical representations, the enlightened sages of India and Tibet sit in the right row and the scholars sit in the left row. In between them sit the 108 treasure discoverers, who are incarnations of Guru Padmasambhava and his 25 chief disciples. A cloud of gods and goddesses transformed into one hundred Dampa Rigja Protective Deities– forty-two peaceful forms, and fifty-eight in Ging wrathful appearance–they made various sensuous offerings, including the performance of Dorji-lugar Vajra Dances, dancing upon the air, rejoicing in the participation in the preaching of the coinage doctrine. Outside the entrance gate of the Four Directions are thousands of warriors from the Pho-jued and Mo-jued male and female classes of protecting deities, the Eight Classes of Gods and Goddesses, led by the kings of the Four Directions Tshoglings, who are getting ready to overcome obstacles to the sacred teachings. In the war scene between the Gings and the Tshoglings, the aggressive characters of the Tshoglings, and the drum beats of the Gings arouse a sense of fear in the obstacles and samaya oath breakers, guiding them to follow the righteous path of humanity. A similar performance was originally introduced by Guru Padmasambhava to aid Tibet’s King Thrisong Detsen (c. 755-797 or 804 AD). Padmasambhava used his supernatural powers at the great Samye Monastery in Tibet, he manifested in the form of Ging and Tshogling, producing an immense positive force to fight and subdue the evil spirits that hindered the construction of the monastery. With the obstacles overcome, the site became an important part of establishing the teachings of the Buddha in the region. After seeing the spectacular performance and realizing its benefits for the liberation of sentient beings, Pema Lingpa introduced the sacred mask dance to Jigten me-yul the human world, first at Korphu Temple, one of his seats in Trongsa, central Bhutan. There is still a saying that goes, "If you are not sure about the choreographies of Ging Tsholing or Tro-ging, you should visit Korphu Drub." Korphu Drub is the annual mask dance festival that coincides with the temple's dedication ceremony. Due to the importance of the dance, this mask dance was later introduced in most Tshechu, Rabney, Mewang, Mani, Drub, Drubchen (native names for the annual mask dance festival) of forts, monasteries and temples by Zhabdrung Ngawang Namgyal (1594-1651) who unified Bhutan as a country, the successive spiritual leaders of the Je Khenpo as well as the temporary leaders of the Druk Desi - these spiritual masters and far-sighted monarchs.
Bhutan -
Jeju Chilmeoridang Yeongdeunggut
Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Jeju’s harsh environmental features have made the islanders’ lives tough, inspiring respect for the sea. Dongguk Yeoji Seungnam (Augmented Survey of the Geography of Korea) of the Joseon Dynasty records, “As there is the custom of valuing licentious sacrifices, rites are held to honor the gods of forests, ponds, hills, trees and stones.” It can thus be inferred that many religious activities are conducted in Jeju. For Jeju islanders, the Yeongdeunggut rite is of special significance. When the time of Yeongdeung arrives, the rites are held throughout the island to plead for calm seas and abundant sea catches. Of all these rites, the one at the Chilmeoridang Shrine called the Jeju Chilmeoridang Yeongdeunggut is the most important. Its name implies that it is a rite for the goddess of wind only, but it is also a rite to worship village guardian gods and the Dragon King of the sea. While venerated, Yeongdeung also instills fear as she threatens people’s lives by stirring the sea. From early to mid-February when the goddess is present on the island, the sea is particularly turbulent. The islanders believe that as she leaves she removes all the contents of the shellfish. On the day of departure, however, the goddess also sows seeds along the shore to ensure people’s livelihood and the sea is purified to help the growth of the seeds. As such, importance has been attached to the time of her stay and people began to mark the occasion by performing a rite at the Chilmeoridang Shrine in supplication for safety and good sea harvests. Named after the village where it is located, the Chilmeoridang Shrine serves the goddess Yeongdeung and a couple, the Magistrate god and the sea goddess known as the Dragon King's Wife. The couple’s responsibilities are divided between the needs of the local residents (managed by the god) and the livelihood of fishermen and female divers (the domain of the goddess). The Chilmeoridang Shrine is where the Yeongdeung Welcome Rite is held on the 1st day of the second lunar month to mark the arrival of the goddess as well as the Yeongdeung Farewell Rite performed on the 14th. During this period, rituals for the mountain gods (dangje), which are performed in the first lunar month elsewhere in Korea, are carried out in other villages on Jeju Island. Only on Jeju are rituals for the mountain gods and rites for the goddess Yeongdeung combined into one shaman ritual, Yeongdeunggut. Compared to the simple Yeongdeung Welcome Rite, the Yeongdeung Farewell Rite is a sumptuous and more significant event. It is considered one of the most important of the shaman rituals and includes a rite for the Dragon King. The Welcome Rite begins with chogamje, a “calling of the gods” ceremony which involves greeting and inviting the gods to the shrine as well as reciting the participants’ names, followed by pungeoje, a “pleading for a good catch” ceremony, and ends with seoksalrimgut, a gut (shaman ritual) with a three-act play to entertain and appease the ancestral gods. The Farewell Rite also begins with the chogamje ceremony, but it also includes bonhyangdeum, an “entering the Village Shrine” ceremony. This involves asking the God and Goddess Couple to plead for the wellbeing of the village. The ritual includes three village officials offering drinks to the Couple and villagers asking that their wishes be granted. This is followed by chumul gongyeon, an “offering” ceremony in which drinks and rice cakes are offered to all the gods, a yowang maji, a “welcoming the Dragon King” ceremony, which is a special welcome for the Dragon King and the goddess Yeongdeung to ask them to ensure an abundant catch and safety at sea for the fishermen, and then by ssidrim, an “offering of seeds” ceremony in which fortunetelling is done with millet seeds and the sowing of seaweed seeds. Next comes the doaek mageum, “preventing disasters” ceremony that involves the throwing of a rooster to prevent disasters from happening in the village. There is also fortunetelling for the villagers and female divers. This is followed by the yeonggam nori, a play in which the village’s senior men launch a straw boat into the sea. The rite ends with the dosin, “sending the gods back” ceremony. Chilmeoridang Yeongdeunggut began to be widely known in 1980 as simbang (senior shaman) Ahn Sa-in was recognized as Skill Holder. At the time, the waves of modernization had resulted in a negative view of gut as being a dangerous superstition. However, the fishing people of Jeju, along with simbangs, went into deep valleys and sea caves to secretly offer up fervent prayers. Then, the ritual’s designation as an important intangible cultural heritage paved the way for its survival. Determined to revive the rite, Ahn Sa-in established an association with simbangs to safeguard the heritage. Among the founding members are the current Skill Holder Kim Yun-su, adviser Yang Chang-bo, and trainer Goh Sun-An. As Ahn, who had prevented the gut from disappearing on Jeju, passed away in 1990, Kim Yun-su was recognized as the second Skill Holder in 1995. There are currently 40 members. Although the rite is conducted by shamans, its real owners are female divers and ship owners, together called “dangol,” who prepare food for the rite and offer sacrifices to the gods. Starting from their early teens, the divers continue their work of collecting marine delicacies from the ocean floor, so their safety and abundance of the sea are their lifelong wish; and their existence helps maintain the Yeongdeunggut. Sending off the goddess Yeongdeung, the dangol prays: “When you leave, please sow seeds of turban shells, abalones, octopi and sea cucumbers so that we, the people who believe in the sea, can have an abundant sea catch.”
South Korea 2009