Though Jampa Lhakhang is believed to have been established in the 7th century, there is no evidence regarding what rituals may have been held there in its early centuries. Oral tradition traces the present Jampa Lhakhang Drub directly to Dorje Lingpa. As previously mentioned, after arriving in Bumthang, Dorje Lingpa executed the renovation of the temple probably in between 1374–7627. At its conclusion, he conducted a grand Drub dedicated to Guru Drakpo and Lam Kadu Cycle in order to ward off evil forces that might impact the temple and the Buddhist teachings propagated within, thereby sanctifying the newly renovated temple. In particular, oral tradition has it that Dorje Lingpa was said to have performed sibnon (subjugation of the si spirit) under the entry staircase of Jampa Lhakhang to ward off thirty evils that were obstructing Buddhism in the Choekhor valley and beyond. It is believed that the Drub ceremony has been conducted annually ever since during the ninth lunar month. The masked dance performances commemorate the introduction of Dorje Lingpa’s Drub and re-invigorate the spiritual power of the site. Though it takes place in the ninth month, the days were variable and would be fixed depending on what was convenient for the tsawas (sponsors). Chagkhar Lam Dorje claims that the present dates have been fixed only in the last sixty years. Some elements take place prior to the beginning of the fifteenth day, including the exorcism rituals, comprised of jinsek (fire offering), mewang (fire blessing), and sibnon (subjugation of evil spirit). a. Preparations: The Chagkhar Lama and one member from each tsawa household join the committee members for a meeting during which they decide the timetable for festival preparations. On the 29th day of the seventh lunar month, the torgyab ritual is performed at Chagkhar Lhakhang, following which the dancers can begin to practice the cham that will be performed at the festival. Usually, cham practice begins from the next day of the torgyab, that is on the 30th day of the seventh lunar month after offering serkyem to the protective deities of Chagkhar Lhakhang. But if that day is deemed to be inauspicious, astrology is consulted to determine an appropriate date. From the designated day forward, the cham practice takes place every evening at Chagkhar Lhakhang. Similarly, folk dancers chosen from the villages begin practicing on an auspicious day. On the 13th day of the eighth lunar month, a member of each household gathers at Jampa Lhakhang to clean the venue, including in and around the temple and the kitchen. The preparation of ritual cakes, called torzheng, takes place on the 14th day. b. Day One (15th Day of the Eighth Lunar Month): Chamjug (final rehearsal) At mid-morning on the 15th day of the eighth lunar month, the presiding lama, monks and all the tsawa members gather at Chagkhar lhakhang, the private temple of Chagkhar Lama family. After offering prayers and serkyem in the temple, they begin a chibdrel procession to guide the sacred religious objects enshrined in the temple37 to Jampa Lhakhang. Once they pass the outer gate of Chagkhar Lhakhang, the procession stops to offer marchang on the lawn by the roadside, after which they move towards Jampa Lhakhang. People line the route to receive blessings from the sacred objects. At the outer gate of Jampa Lhakhang the procession is received by all the members of Drub Tsawa who receive blessings from the sacred objects and offer marchang. They enter the inner courtyard where the procession is received by the Jampa Lhakhang Lama and/or dzongpon and again offered marching before they move inside the Jampa Lhakhang. All the sacred objects are placed inside the inner sanctum of the Jowokhang, everyone makes prostrations to them, and then take part in the zhugdrel ceremony before being served tea. After a break, the programme resumes with the lama presiding over ritual prayers in the Jowokhang. The tsawa members and dancers gather to make thodam (boundary-sealing) prayers for the success of the Drub. After ritual prayers, the lama addresses the dancers and organizers about the importance of the Drub and its continuity to bring good health and prosperity for the community, Bumthang valley and the country at large. He also instructs all participants taking part in the drub to bear their roles and responsibilities without failure. In mid-afternoon, the lama presides over the monks as they perform ritual prayers at each choeten and place a boundary post at each one. The thodam ritual is followed by sibnon, which is conducted in order to maintain continuity with what the locals believe Dorje Lingpa did during the first drub. In sibnon the si spirit are buried in a triangular box underneath a stone slab in front of the inner entrance to the passageway, while a ritual dedicated to Guru Drakpo is performed. After sibnon, jinsek ritual begins at the performance ground. First, the Atsara Gep and the atsaras arrive and explain how and why Lhawang Jajin (Indra) arrived on earth from heaven; meanwhile organizers prepare the fire for jinsek in the middle of the ground. Performances are conducted in the following order: - Zhana Cham, the Black Hat Dance, for jinsek; - Tre Ging Dance, four dancers with wrathful masks hold sticks at each corner of the jinsek fire pit while the Zhana Dance is performed; - Tshog Cham, the Feast Offering Dance; - Mecham, the Fire Dance, by the two Tre Ging dancers around the fire pit (after mecham they proceed to mewang ground carrying a mecha (torch) along with lama, monks and crowds of people. Coming back from mewang, marchang offering and beshed are performed at the performance ground by the patselpas). - Yoeluema (locally called Zhauli), the Malevolent Spirit Dance; - Ju Ging Cham, the Stick Dance of Dorling tradition; - Durdhag Cham, the Dance of the Cremation Ground; - Dri Ging Cham, the Sword Dance of Dorling tradition; - Nga Ging Cham, the Drum Dance of Dorling tradition. The evening programme ends around midnight, and slightly after, the Naked Dance called Tercham begins. c. Day Two (16th Day of the Eighth Lunar Month): Tsukton (Initial ceremony) On the 16th day of the eighth lunar month, the tsukton day, the programme is as follows: - Atsara Gep consecrates the ground and welcomes the audience; - Shinje Yab-yum, the Dance of Yamantaka Father and Mother; - Yoeluema, the Malevolent Spirit Dance; - Ju Ging Cham, the Stick Dance of Dorling tradition; - Dri Ging Cham, the Sword Dance of Dorling tradition; - Nga Ging Cham, the Drum Dance of Dorling tradition. Lunch break - Zhana Nga Cham, the Black Hat Drum Dance; - Pacham, the Dance of the Heroes according to Dorling tradition; - Jachung Boechung, the legend of the bird and the boy. The evening programme ends around 5 p.m., and the Naked Dance begins after midnight. d. Day Three (17th Day of the Eighth Lunar Month): Barton (Actual event) The third day, or barton, takes place on the 17th day of the eighth lunar month. The programme is as follows: - Dralha Pangtoe, when the Atsara Gep leads the atsaras in propitiating local tsen and deities; - Shazam Cham, the Stag Dance; - Zhana Phur Cham, the Black Hat with Dagger Dance. This dance is suspended part way through so that the Durdhag Cham can take place, then the Atsara Gep offers marchang while the Zhana dance is stopped. Then the female folk dancers line up holding the marchang pot. After the marchang is offered, Zhana dance finally concludes. - Ging and Tsholing, the Dance of the Ging and Tsholing. The Tsholing dance first, followed by the Ging, and they enact a dance of the sacred war between the gods and the demons. Lunch Break - Dramitse Nga Cham, the Drum Dance of Dramitse, performed by ten dancers; - Pholey Moley, the Dance of Noble Men and Charming Ladies; - Torgyab, the torma exorcism, is prepared in the Jokhang. The evening programme ends around 7:30 p.m., and the Naked Dance begins after midnight. e. Day Four (18th Day of the Eighth Lunar Month): Droeton (Concluding day) On day four, the 18th day of the eighth lunar month, the programme is as follows: - The Jowo Jampa Thongdrol is displayed between 8:30 to 10 a.m.41 on the northern side of Jampa Lhakhang. During the display, Zhengzhi Pemi Cham, a dance based on Guru’s soldeb, Pa Cham, and singing take place; - Chung Cham, a Garuda Dance performed by four dancers; - Dri Cham, the Sword Dance; - Nga Cham, the Drum Dance; - Tenwang, receiving blessings from the relics42 starts for the public in the Jowokhang. - Raksha Go Cham, Ox-headed Dance introduced by Terton Karma Lingpa in the 14th century; - Raksha Mang Cham, Intermediary Dance introduced by Terton Karma Lingpa in the 14th century; - Raksha Jug Cham, the Concluding Dance of Raksha Go Cham; - Community members offer dhar (scarf) to the champon. The evening programme ends around 6 p.m. f. Day Five (19th Day of the Eighth Lunar Month): Trashi Monlam (Auspicious prayers) The programme for the 19th day of the eighth lunar month is as follows: - Tangra, Thanksgiving prayers offered to the Gonpo Degyed and his retinues; - Removal of boundary posts and offering of serkyem; - Atsara Gep offers farewell prayers at the performance ground and retires to dressing room, signifying the closure of the Jampa Lhakhang Drub; - At the same time, a new champon is appointed by offering dhar; - In the late afternoon, the sacred objects are carried in a procession back to Chagkhar Lhakhang and installed in the shrine until the next Jampa Lhakhang Drub.

It is said that besides the naked dance performed during Jampa Lhakhang Drub, there are also naked dances performed during Nabji Drub in Trongsa and Sakteng Tercham, Trashigang and in Dagana. The naked dance is honorifically referred to as a “tercham” a term usually applied to dances revealed as treasure. Just as any sacred ter (treasure or precious object) is not exposed freely to the public so also our nakedness is never exposed publicly. So the dance performed naked and exposing the genitals is exceptional and hence considered tercham or the “revealed treasure dance”. According to the book Invoking Happiness, the dance has its origins during the construction of Jampa Lhakhang, when local spirits disrupted the process45. The story recounts that King Songtsen Gampo manifested himself in the form of several people dancing naked, which fascinated the troublesome spirits. As they remained preoccupied by the dancers, the temple construction was completed and consecrated. According to Chagkhar Lama Dorje, Dorje Lingpa introduced the dance at Nabji, Trongsa. One oral account maintains that when Dorje Lingpa was constructing Nabji Lhakhang, local spirits were disrupting the process every night. In order to distract the spirits, Dorje Lingpa used his miraculous power to summon naked people from the Treasure Cliff located opposite of Nabji Lhakhang. He made them dance, and antics kept the spirits spellbound enough so that Dorje Lingpa was able to complete the temple and consecrate it. Thus, according to this account, the tercham was first performed at Nabji under the supervision of Dorje Lingpa. When Dorje Lingpa later renovated Jampa Lhakhang, the dance was performed during the initial consecration ceremony and is said to have been enacted every year since. At Jampa Lhakhang Drub, tercham is performed each of the first three nights. The performers are chosen from the five villages of Drub Tsawa: Chagkhar, Jampa Lhakhang, Changwang, Nasphey and Nobgang. After the normal mask dance performances are concluded, a crowd gathers around midnight at the performance ground in the outer courtyard of the western side of Jampa Lhakhang. Shortly after midnight, a group of ten men emerge from the chamkhang (room for dance preparations) and dance to the rhythmic beating of traditional mask dance drums and cymbals. The men are all naked except for their faces, which are covered by a white cloth to conceal their identities. The last man, who is the dance master, wears shorts. The group dances around a bonfire located in the middle of the performance ground, sometimes acting outrageously towards the spectators. The dance lasts for an hour despite the cold, which drops to around one to two degrees Celsius. Photos or any type of recording is strictly prohibited, as is the use of torches. Policemen and village locals guard the integrity of the performance, and deal harshly with anyone who attempts to break the stringent rules. Chagkhar Lama Dorje describes the dance as most sacred and says that spectators should not look at the dancer’s genitals as just male organs. As the male genitals are never exposed publicly, it is one of the world’s precious ter. All sentient beings are brought into the world, in part, by this organ. Local elders explain that though the younger generation may find the dance funny, it was started by the great saint Dorje Lingpa, and therefore one should view events with devotion rather than as entertainment. In the recent past, the dance was banned by the Dzongkhag Administration, who deemed it vulgar and embarrassing. Once banned, there was abnormally heavy rainfall and hail, and the Drub could not be properly conducted. Local astrologers attributed downpours and bad weather to the tercham ban. The local people conducted kangsol rituals to repair the relationship with the protective deities and the Dzongkhag Administration lifted the ban the following year.