Ngompa Mask by Meha Shetty

The Making OfNgompa Mask by Meha Shetty

â&#x20AC;&#x153;The Lhamo in its original and simple way reveals the true, inherent qualities of the Tibetan: his rough individualism concealed by an easygoing nature; his deep reverence yet sly understanding of archaic institutions; his ability to fall and laugh at pain, sorrow, and death; and moreover his earnest if not always successsful desire to live up to the precepts of Buddhism.â&#x20AC;? - Jamyang Norbu, former director of TIPA

Contents Foreward ..............................................................................................................

About the craft .....................................................................................................

Origin and Region of practice .......................................................................

Myths and local beliefs .......................................................................................

Ache Lhamo..........................................................................................................

Ngompa Rignga....................................................................................................

Ngompa Mask......................................................................................................

Old Ngompa Mask...............................................................................................

Mask Making ......................................................................................................

Tools, Materials and Workplace..........................................................................

People, Culture and Festival ...............................................................................

Bibliography ..........................................................................................................

Foreward This is a document on a Tibetan craft of Ngompa mask making.The ngompa mask is a part of ancient tibetan culture of theatre.The Achi Lhamo,which is the tibetan drama, has a character called the Ngompa,or the hunter, who wears this mask. The Tibetan culture is under danger since the Chinese invasion of Tibetan in 1959,which led to mass genocide of Tibetan people. Over one million Tibetans died. In the aftermath of this genocide, around 100,000 refugees followed His Holinessthe Dalai Lama into exile. On his arrival to India,His Holiness the 14th Dalai Lama felt the need to take immediate steps to preserve the traditional performing arts. Thus, Tibetan Institue of Performing Atrs (TIPA) was established in 1959. TIPA keeps this craft alive till today.

About the Craft

The Craft of making Ngompa Mask (Hunter’s Mask) is indeed an integral part of the performing art culture of the Tibetans. The Ngompa mask is used in the dance form Achi Lhamo (Tibetan Opera) hence originated with the dance form. Ngompa Rignga (Ritual dance of the hunters) this dance is performed at the beginning of every opera in order to purify the stage where the opera will be performed and to cleanse the area of any negative influences. The masked dancers wearing the Ngompa mask represent the Buddhist deity Chakna Dorjee, known as Vajrapani in Sanskrit, who is the destroyer of the evil. The girls wearing five panelled crowns with large rosettes over their ears serve as a chorus and represent dakinis or celestial beings. At the end of the dance, everyone on stage tosses handfuls of Tsampa, i.e. roasted barley into the air to appease the gods and pray for the peace and prosperity of all sentient beings.

Emerging with control over most of mainland China after the Chinese Civil War, the People’s Republic of China incorporated Tibet in 1950 and negotiated the Seventeen Point Agreement with the newly enthroned14th Dalai Lama’s government, affirming the People’s Republic of China’s sovereignty but granting the area autonomy. After the Dalai Lama government fled to Dharamshala, India, during the 1959 Tibetan Rebellion, it established a rival government-in-exile. Since then the Tibetans in exile are trying to preserve their art and cultural crafts for their upcoming generations.

Losel Dolls depicting a scene of Achi Lhamo with the character of Ngomp at the back in blue mask.

Origin and Region of practice Origin Tibetan Opera-one of the oldest continuous living theatres in the world has long and distinguished roots. The first performances of Lhamo were probably composed of songs and teachings of Buddha, with a heritage that can be traced back to pays known as the Birth stories of Buddha written in the first century C.E. by Ashvaghosha (Indian philosopher-poet). In addition to composing well known poems in honour of Buddha, Ashvaghosha wrote manyplays on his life, adhering to the rules of drama put forth by Bharata in his Natyashatra (Study of Dramatic Arts), reflecting Indian performance traditions whose origins are estimated to date from 4000 B.C.E.

The Operas also have touches of Chinese, Mongolian, and Nepalese traditions weaving through them. It is not even too far-fetched to say that they display a smattering of Greek influence, spread by trading route contacts during the time of Alexander the Great.

Paintings in the Norbulinka Losel Doll Museum that tell the story of origin of Achi Lhamo

Top : Illustrative map of Tibet at Norbulinka Losel Museum, Dharamshala Bottom : Achi Lhamo performance demonstrated by losel Dolls.

Region Tibet is a plateau region in Asia, north-east of the Himalayas. It is the traditional homeland of the Tibetan people as well as some other ethnic groups such as Monpas, Qiang, and Lhobas, and is now also inhabited by considerable numbers of Han and Hui people. Tibet is the highest region on earth, with an average elevation of 4,900 metres (16,000 ft).

Tibet has three main provinces namely U-Tsang, Kham and Amdo. There are over 800 settlements in Tibet. Lhasa is Tibetâ&#x20AC;&#x2122;s traditional capital and the capital of Tibet Autonomous Region. It contains two world heritage sites â&#x20AC;&#x201C; the Potala Palace and Norbulingka, which were the residences of the Dalai Lama. Lhasa contains a number of significant temples and monasteries, including Jokhang and Ramoche Temple.

To Dharamkot To Bhagsu Temple & Waterfall

TIPA

To Dharamkot

Bhagsu Rd

TIPA Rd

To TCV

FORSYTHGANJ

McLEODGANJ

Main (cantonme

Bus Route to Dharamshala

Bus Route to Mcleod.

Namgyal Monastry

GANGCHEN KYISHONG Kotwali Bazar Museum of Kangra Art

To PathankotT

CIVIL LINES Dharamshala , Himachal Pradesh

Central Tibetan Administration & Library

Cantonment Rd

Cinema Rd

TCV

To Khaniyara LOWER DHARAMSHALA

o Kangra

The Tibetan economy is dominated by subsistence agriculture. Due to limited arable land, the primary occupation of the Tibetan Plateau is raising livestock, such as sheep, cattle, goats, camels, yaks, dzo, and horses. The main crops grown are barley, wheat, buckwheat, rye, potatoes, and assorted fruits and vegetables. Tibet is ranked the lowest among China’s 31 provinces on the Human Development Index according to UN Development Programme data. In recent years, due to increased interest in Tibetan Buddhism, tourism has become an increasingly important sector, and is actively promoted by the authorities.

Tourism brings in the most income from the sale of handicrafts. These include Tibetan hats, jewellery (silver and gold), wooden items, clothing, quilts, fabrics, Tibetan rugs and carpets. The Central People’s Government exempts Tibet from all taxation and provides 90% of Tibet’s government expenditures. After the Chinese invasion in 1959, the Tibetan refugees who came to India, set up their base in Dharmshala, Himachal Pradesh. With them came their traditions, culture and the craft of Ngompa mask making which is now practiced in McLeodganj,Dharamshaala, Himachal Pradesh.

Amdo Ngari

U-Tsang Lhasa

Xining

Kham Chengudu

Tibet autonomous region

Myths and local beliefs Although differing accounts exist about the origins of Achi Lhamo, the founding of the more formal operatic tradition is popularly attributed to Thangtong Gyalpo, a fourteenth-century engineer and builder of bridges who helped to connect the people of Tibet and advance the spread of Buddhist culture throughout the countryside. His name, given to him by the dakinis, means â&#x20AC;&#x153;King of the empty Plains,â&#x20AC;? referring to his journeys to India, China, Mongolia, Bhutan, Kashmir and Ladakh. It is said that he uttered the well-known mantra Om Mani Padme Hum at the moment of his birth, and he is as highly regarded in Tibet as Leonardo da Vinci in the west.

The story attributing the origins of Achi Lhamo to Thangtong Gyalpo is connected to a journey he made to Kong-po, southern Tibet to raise funds for building bridges. With the support of several wealthy friends who supplied him with essential tools as well as access to an iron mine, he built his first iron-linked bridge near Chushur. However, in an unfortunate accident, all of the iron links he forged for the bridge fell into the river.

Thangtong Gyalpo , great Buddhist adept, a yogi, physician, blacksmith, architect, and a pioneering

civil engineer.

One version of the story says that seven brothers in a nearby village were willing to help him start all over again since a bridge would greatly benefit the surrounding area. But Thangtong Gyalpo had no money. In order to raise the necessary cash, he organised the brothers into a wandering minstrel troupe of the kind that was no doubt, already in existence. The dancers must have been really good because villagers were said to remark, “The gods themselves are dancing.” This version is supported by the fact that until china invaded Tibet, there was a troupe called The Seven Brothers of Chongye who claimed to have a direct lineage connection with the original troupe of Lhamo dancers.

Another version of the story says that seven sisters well versed in music and dance set off to various provinces of central Tibet to raise money for the bridge, taking responsibility for ”the beating of the drum and the clash of the cymbal.” The catalogue of the Tibetan Institute of Performing Arts says that Thangtong Gyalpo trained seven sisters from his crew to sing and dance while he accompanied them on the drums.”Onlookers, struck by their beauty, exclaimed, ‘the Lhamo (goddess) themselves are dancing,’ which gave rise to the name Lhamo.” Tashi Dhundup one of the founders of Chaksampa, a Lhamo dance troupe, says Thangtong Gyalpo “had a vision, a dream of Tara, who gave him seven chains and those chains and those chains transformed into these dancers.

Old Chain Bridge at Chaksam

Yet another version says Thangtong Gyalpo built the bridge but jealous spirits came and destroyed it at night. Distraught, he prayed for help to his personal protective deity, the goddess Tara, the embodiment of the female energy of compassionate action. Tara appeared to him as an old woman-one of her common disguises and gave him seven magical chain links. When he encountered the jealous spirit, he threw the chain links on the ground. They magically transformed into seven auspicious dancers who hypnotized the spirit, allowing Thangtong Gyalpo to capture it with a spell and go on to rebuild the bridge.

A final version says Thangtong subdued a demon that was locked in stone. The demon then emanated six other versions of himself as a crazy man and all seven of them including the original went to the market place and performed a dance to raise themoney to build the bridge.

Traditional painting depicting Achi Lhamo

Top : Prayer wheels at Norbulinka Institute Bottom : Butter lamps at Namgyal Monastry , McLeodganj

Ache Lhamo Lhamo, or Ache Lhamo, which literally means “sister goddess”, is a traditional Tibetan folk opera. It is a combination of dances, chants and songs. Based on Buddhist teachings and Tibetan historical figures, Ache Lhamo are traditionally stories of love, devotion, good and evil. It is a strong medium of telling moral tales, based on Buddhist philosophy, in the words of the common people. The Tibetan opera was founded in the 14th century by Thang Tong Gyalpo, a Lama and a bridge builder. Gyalpo recruited seven girls who danced beautifully and formed a troupe that performed across regions to raise funds for building bridges, which would facilitate transportation in Tibet. When these girls danced the audiences mesmerised by their beauty felt that goddesses themselves were dancing on the earth, and hence the term “sister goddess” or Ache Lhamo. The tradition continued, and Lhamo is held on various festive occasions such as the Linka and Shoton festival. Elaborate costumes, masks and props are used in this dance form, which are different for different stories, characters, occasions and regions.

Top : Ache Lhamo on stage Bottom : Ngompa dancing during Achi Lhamo

Ngompa Rignga Ngompa or the hunter is a character in Ache Lhamo who represents the Buddhist deity Chakna Dorjee (known as Vajrapani in sanskrit) who is a destroyer of evils. The Ngompas perform a ceremonial dance called NGOMPA RIGNGA at the beginning of every Ache Lhamo to purify the performing area of all sorts of evils and negative influences. The Ngompa also plays the role of the hunter in the folk opera. Girls wearing five panelled crowns with large rosettes over their ears serve as a chorus and represent Dakinis or celestial beings. At the end of the dance, everyone on stage tosses handfuls of Tsampa, the grounded roasted barley in air to appease the Bodhisattvas and deities for a peace and prosperity of all sentient beings. The costume of the Ngompa consists of a thin silk shirt, a silver brocadetrimmed Khenja and a striped raw silk jacket lined in red. In the bottom, they wear black raw silk pants with a red sash on top and a black and white tasselled net-like garment. The Ngompa wears peasant boots as the footgear and holds an arrow, called â&#x20AC;&#x2DC;Dadharâ&#x20AC;&#x2122; in certain areas, which attracts essence of wealth.

Top : Ngompa Rignga dancers Bottom : Ngompa Rignga dancing during Achi Lhamo

Ngompa Mask The Ngompa mask can be divided into a few basic parts- the face, arch, crown, beard, tassels and a fabric at the back to cover the head. The features on the navy blue silk mask are appliquĂŠed in red and light blue. The arch over the face has roses painted on yellow silk so as to repeat the rose pattern of brocade. Mink trim is the beard and twelve silk tassels hang from the mask attached to the Infinite knot (Srivatsa) (Picture 6), one of the eight auspicious signs of Buddhism, which represents the endless cycle of death and rebirth. The flowers on the face made of conch shells represent the Lotus flower (Padma) (Picture 4) which symbolises purity, whereas the gold sun and silver moon represent luck and virtue respectively. Survanamatsya, the golden fish (Picture 2), represented by the eyes of the mask, symbolises the liberation of the spirit from the cycle of rebirth. The parasol (Chattra) (Picture 7) is a symbol of spiritual power, which is represented by the crown of the mask. The appliquĂŠed motif inside the crown consists of the clockwise spiralled conch shell (Daksinavartasankha) (Picture 5) that represents the glory of the teachings of the Buddha. The arch stands for the Dhvaja, the flag of victory (Picture 1), which stands for the victory of Buddhist teachings over all opposing forces and the face of the mask represents the Chakra or the wheel (Picture 8).

Old Ngompa Mask In earlier times, instead of the plywood, a thick base made up of layers of fabric, pasted together with starch, was used. But this base was heavier and would bend over the time, hence they switched to plywood. Also since olden times rice boiled in water was used as the adhesive as fevicol is a new phenomena. All the stitching done now, apart from the appliqué, is done using the sewing machine, which was earlier done by hand. Interestingly, in the old masks that I had seen, instead of the shells, buttons were used to make the flowers. I assumed that since Tibet is in a hilly terrain and not a coastal one, I thought that shells wouldn’t have been there in the olden times and hence the buttons. But I was told that Tibet did have a sea and that’s where the shells came from earlier.

I couldn’t find out the reason of the buttons being used. The crescent and the teardrop used to be of real gold and silver and not of fabric or paper. All the parts that are now made by sticking fabric on paper cut outs, for faster production, were earlier appliquéed. The beard that hangs from the chin was real sheep wool and the one on the side was chamdi or goat skin. But after the law passed by Dalai Lama that no animals should be harmed and the offender will be jailed, the mask makers began using fake furry fabric from the market. Also in some old masks, instead of a row of shells on the nose, there is a single shell hanging from the tip of the nose. Real silk brocade was used earlier but now cheaper substitutes from Delhi and Varanasi with identical motifs are used.

Mask Making The Face For faster production of masks, now a days, paper stencils of the required shapes are kept ready (Picture1). The face stencil is used to cut the blue felt and choona is dusted throught the holes in the stencil to mark the eyes, mouth, eyebrows and moustache (Picture 2). Chain stitch using light blue embroidery thread is used to highlight the eyebrows and moustache (Picture 3). Earlier red and light blue was used to applique the eyes and mouth but now red and black are used. Strips of fabrics are stitched along the edges of the eyes, mouth and face for edging purposes (Pictures 5,6,7) and the inside of the eyes and the mouth are cut out (Picture 8).The stencil is also used to cut out the plywood base of the mask (Pictures 9,10). The face is pasted on the plyboard using fevicol (Pictures 11,12). The edgings of the eyes, mouth and face are turned inside out and pasted at the back. Holes are made using a metallic tool called ‘Ungu’ and circular metallic embellishments called ‘Thubchi’ are stitched at the centre of the cheeks, which form the centres of the flowers (Picture13).

Next conch shells (‘Timbur’) are stitched on four sides of the circular disk to form the petals. More flowers having three petals are formed on the chin and above the two eyebrows (Picture14). They use paper to make the sun and the moon, whereas traditionally metallic ones made of gold and silver were used. To make them, the paper shape is glued to a piece of brocade and the extra allowance is glued at the back (Picture15). The sun, in the shape of a teardrop, with the crescent moon below it is, put in the centre of the forehead (Picture16). The nose is an interesting element of the mask. A flexible nose is made which can be bent on either side so that it is not protruding at all times, which allows the mask to be stacked easily. For making the nose, a triangular piece of wood is cut and covered with the blue felt. Along the edge of the nose, a red ribbon is pasted and three conch shells are stitched in a row (Pictures17,18).

27 16

The Crown The motif in the centre of the crown is traditionally completely appliquéed but now a days paper stencils are used to make the shapes. Only the outermost flame is appliquéed. The shape of the motif is marked on the red fabric using the stencil (Pictures 19,20). In the Tibetan method of appliqué, first the shape is outlined using a thick stiff thread which is stitched along the outline of the shape using another thread and needle (Picture 21). The shape is cut out leaving some allowance along the edges, which is then folded and pasted at the back (Pictures 25,26). This shape is then put on the ground fabric and stitched along the edges like regular appliqué (Pictures 28,29,30,31). The mask maker makes the conch shells in large numbers and stores them. They are simply assembled together and pasted to get the final form (Pictures 22,23,24).

The base fabric of the crown is yellow brocade which is cut out in the shape and edging is done with a contrasting colour (Picture 27). The entire mask has a frame or an outline, i.e., the green edging done all over the mask. But instead of it being flat, they make it slightly relief by stitching a thick chord along the edges, over the strip of fabric (Picture 32). The edging strip is then turned inside out and pasted at the back (Picture 33). Another ornamentation that is done is a line pearls that is stitched on the inside of the edge of the crown. They take a needle with a long thread and make a stitch at one end of the crown (Picture 34). The thread is then filled with pearls, sufficient enough to just fit along the edge of the crown. This long row of pearls in then set along the edge and stitch up (Pictures 35,36).

36 29

The Head For the arch of the mask, yellow brocade is taken and the shape is sketched on it using the stencil (Picture 37). Strips of fabrics are stitched along the sides of the arch which would form the edge (Picture 38). But the edging of the bottom arch is finished before pasting as it is not on the outer edge of the mask (Pictures 39,40). For pasting all the extra fabrics at the back of the board he uses a stronger type of fevicol (Picture 44). Again the strip of fabric is turned inside out and pasted at the back (Picture 45). The major part of the mask is now done.

Wearing Mechanism Since this mask is used for a dance which involves rotating and moving a lot, the mask has to be secured well on the wearerâ&#x20AC;&#x2122;s head. An interesting mechanism is used to wear the mask, which is being used since the olden times. A V-shaped piece of fabric with a flat end is stitched. The flat end is folded to form a loop so that a string can pass through it (Picture 47). It is then stitched at the back of the mask, on the forehead area. It is stitched in a curve so that it can easily drape along the head of the wearer (Picture 48). Two flat strings, stitched by them, are used to make two loops that would run along the ears of the wearer (Picture 50).

The size of the loop is dependent on the size of the head of the wearer, which they now know by estimate. A third string is taken and passed through the loop in the red piece of fabric, then through the two loops and then tied into a knot (Pictures 51,52). This mechanism is an extremely comfortable and firm method of tying the mask.

51 31

The Beard and Tassels The final touches to the mask include putting the beard and the tassels. Currently this mask maker gets all his material from Delhiâ&#x20AC;&#x2122;s famous wholesale market Sadar Bazaar. They get a furry fabric for the beard and stitch a white triangular beard at the chin and a strip of similar brown fabric along the sides of the face (Pictures 53-56). At the end, a wet comb is used to brush the furry fabric to get rid of all the extra loose fibres (Picture 57). This mask maker had devised ways of his own to do certain jobs.

He took a piece of dough and rubbed it all over the mask so that all the fibres and dust gets removed (Picture 59). The last task it so attach the tassels to the metallic infinite knot, which is then attached to the mask, at the two ends of the arch (Picture 60). The tassels are formed by taking a bunch of thick spun silk yarns and folding the bunch at the centre, which is then secured by winding colourful threads at the folded end.

58 32

Step 1 : Take blue Felt and cut the shape as shown in the image.

Step 2 : Do chain embroidery for the eyebrows and moustache.

Step 3 : Take Red and green fabric and stich outline of eye as shown.

Step 4 : Do the same for lips and fold it behind as shown.

Step 5 : Cut the shapes shown above from yellow coloured brocade fabrics.

Step 6 : Cut the shape shown above on Plywood.

Step 7 : Paste the brocade cut outs and the edges as shown in the image.

Step 8 : Do pipeing with green fabric and rope on on the cut ply.

Step 9 : Make the Jewel Of Desire decoration by sticking coloured fabrics

Step 11 : Decorate the top by doing an inner outline of pipeing with pearls.

Step 13 : Make the Sun and Moon as shown by pasting fabric over paper.

Step 15 : Use tassels with The Unending Knot Top along with the hairy fibre fabric to finish.

Step 10 : Plece the Jewel Of Deisre decoration as over paper as shown.

Step 12 : Cut out a piece of plywood and paste red and blue felt on it for the nose.

Step 14 : Place the nose, Sun, Moon and decorate it with conch shells as shown in the image.

Step 16 : Place the tassels and hairy fabric as shown. The Ngompa Mask is ready

Tools, Materials and Workplace Mr. Samten, the only mask maker at TIPA, has been working there for over thirty years now and he had learnt this art from the old Master mask maker, who had left a few years back. Since he has been making masks for several years, he has experienced both old and new ways of making the masks and the kind of tools he uses shows this. He uses a mixture of hardware tools and traditional tools and methods. Right where he sits on the long table is a drawer which contains all the tools needed by him. He is a very patient man and sits in his place for hours till he gets his chai break. So he keeps everything in his close vicinity, which saves his time and effort. Mask making requires a lot of stitching with the needle or Khap, which hurts the index finger after a while. To protect it, he has made a covering from leather that fits in the upper part of the index finger. He uses a lot of hardware tools for simple jobs like applying fevicol and making holes. Pliers are used by him to make holes in the conch shells and a sharp pointed tool, what he calls â&#x20AC;&#x2DC;Unguâ&#x20AC;&#x2122;, is used to make holes in the plywood.

He sharpens his tools by rubbing them on a certain stone. Boiled potato is rubbed on fabric as it contains starch and gives it thickness and prevents the ends from fraying. He uses thin sticks to apply fevicol in smaller areas, which are not thrown away after every use but kept the same. He has made a small sac of chalk powder by simply knotting a piece of cloth and he uses this to mark all the shapes from the stencils onto the fabric. His work place is also situated inside TIPA where he has a big room for himself. There is a very big table, a steel almirah, a chair, a sewing machine and other such articles that he needs for his work inside the room. There is also a large window that brings in natural light all throughout the day. On the top are the old used/ unused masks displayed. The place is mostly in a mess but he can easily find out what is kept where.

Other Masks Apart from the Ngonpa mask, he also makes masks of several other characters of Ache Lhamo. There is another type of tibetan Buddhist ritual dance called â&#x20AC;&#x2DC;Chamâ&#x20AC;&#x2122; performed by monks for lay people. There is great variety among cham dances according to the sect of the hosting monastery, the religious occasion, the region of performance and the traditions of the particular monastery. The Black Hat Dance is a famous type of cham dance in which the dancers wear a headgear instead of a mask. Each character in a Cham or Ache Lhamo has a specific elaborate mask which has a strenuous process of construction. Mr. Samten makes different types of masks and all of them follow a process which is a mixture of the traditional and modern techniques and materials.

People, Culture and Festivals

The historical photographs and objects of everyday life in the Museum’s Tibetan collection show many aspects of a culture closely tied to the earth: sturdy tents, compact saddle gear, warm and flexible clothing and durable cooking equipment. The Museum’s collection of historical photographs and objects once owned by farmers, traders and nomads was formed primarily between 1900 and 1948. Tibet (pronounced tib-bet) sits squarely in the center of Asia between India, central Asia and China. Tibet is set on a high plateau that is surrounded by the largest mountains in the world, the Himalayas and Karakorum, a vast high-altitude desert called the Taklamakan, and the grasslands of Mongolia. Tibet is sometimes called “the Land of Snows” because of its high altitude and its many snowcapped mountains. Tibet’s mountains and valleys range from 4,000 - 28,000 foot elevations with a mean elevation of 14,000 feet. For many months of each year, passageways through the mountains are blocked with snow and cannot be traveled. Nomads are people who move their home from place to place in search of grazing lands for their animals. The rugged nomads of Tibet have maintained this lifestyle for hundreds of years. Large extended families live together in big black yak-hair tents. The tents are held up by many ropes and poles and are able to withstand the fierce winds of the Tibetan climate.

Nomads move their homes as the seasons change so their herds of sheep, goats and yaks always have a place to graze. During the winter, the only grass not covered by snow is down in valleys away from winter storms. During the summer, nomads move their home up into the mountains where new grasses are growing. A typical Tibetan family could have a herd of 100 yak or several hundred sheep and goats. Because the nomads move so often, all of their possessions, including their tents, are made to be easily packed and tied onto animals or worn on their own bodies. In the late summer and early fall months, Tibetans travel to distant market towns to celebrate the annual harvest. In the old days, princes from the local castle and grand lamas from a monastery would officiate at the festive displays of dance and music. Families, still today set up their tents to enjoy trading, good food and drink, contests and conversation. The primary summer festival in Lhasa was the Shotën or “Curd Feast” when Ache Lhamo was performed. Ache Lhamo (“Sister Goddess”) is a Tibetan form of opera: costumed dramas, with dialogue, singing and dancing, of historical or religious themes. In Lhasa, several established companies would perform at the Potala Palace, the major monasteries, the Norbulingka, and then in courtyards outside the homes of the various noble families and wealthy merchants.

The Potala Palace was the palace of the Dalai Lamas in the city of Lhasa, the capital of Tibet. Built on a rocky outcropping looming over the Lhasa Valley, the building has 13 stories and 1,000 rooms. Construction on the building was started by the 5th Dalai Lama in 1645 and finished in 1695. For over 250 years the Potala Palace served as the home for the Dalai Lamas and as the main governmental center of Tibet. In addition, a school for monks and administrators was in the palace as well as the tombs of past Dalai Lamas. Two small chapels, built in the seventh century, were incorporated within the structure in the 17th century. Tibetans would make religious pilgrimages to this building, regarded as sacred, to see the chapels, tombs and statues. Many of the ceremonies and government functions of old Tibet took place in and around the Potala. The black and white photographs and the aristocratic costumes, jewelry and objects in the Museum record this lifestyle prior to the end of the traditional Tibetan government in 1959. The Potala Palace is now a museum. Agriculture and Farm Life in Tibet Many people in Tibet are farmers. They live in the river valleys and plant barley, wheat (in lower altitudes only), mustard, peas and a few vegetables such as turnips, radishes and potatoes. These fields are among the highest agricultural areas in the world, set in valleys at 4,000 – 13,000 feet.Tibetan farmhouses are made of stone and earth with wooden posts and beams. The roofs are flat in order to provide more living and working space during nice weather.

The houses have multiple stories and the animals are kept in the lowest level during severe weather. Yaks, cows, dzos (a crossbreed of yak and cow), sheep, goats, ponies and mules are the most common farm animals. A few animals of each type may be kept—just enough to provide milk, butter and cheese for the family. The larger animals are used as transportation and to plow the fields. Yaks and dzos (a crossbreed of yak and cow) are important resources for Tibetans. They can be saddled and or they can be packed to carry the belongings of a nomad family as it moves. The yak is the only animal in Tibet that is strong enough to carry the heavy black tents that weigh almost 200 pounds through the snow-covered mountains. Yaks are also used to carry goods—such as wool, barley, salt and meat—to markets for trade. Male yaks are typically four feet high at the shoulder and weigh between 440 and 550 pounds. In addition to transportation, yaks provide many other things for the people of Tibet including food, shelter and clothing. Their milk is made into butter, yogurt and cheese. Yak dung is used as fuel for cooking and heat. Their long, coarse black hair is made into rope and woven into cloth that is used to make tents. The soft fur-like wool is woven into blankets. If a yak dies or is killed, every part of it is used. The meat is eaten—an adult male yak can provide between 175 and 275 pounds of meat! The yak hide is made into leather for boots and bags. Nothing is wasted: even the tail is made into a fly swatter.

Horses are also important animals in Tibet. They are more expensive and less hardy than yaks, however, so they are not as common and receive special attention. Horses do not have as much fat as yaks to keep them warm in the cold weather, so Tibetans dress them in colorful blankets. The horses are also fed a special diet and decorated with brightly colored bridals, saddle carpets and tassels. Horses are used for transportation and often trained to race at festival events. Mules are commonly found in Tibet and are used as mounts and beasts of burden. As pack animals, they can carry goods to a local market or across the country in trade caravans. As farm animals, mules help work the fields by pulling plows and other agricultural equipment. One of Tibet’s major traditional festivals, Shoton Festival, is to fall on August 17th this year. Aside from the Tibetan New Year festival, the Shoton Festival is one of the most important annual occasions on the Tibetan lunar calendar. Shoton means “yogurt banquet” in Tibetan language. Legend has it that Tsong Khapa, founder of the Yellow Sect of Tibetan Buddhism made it a rule that all lamas must do meditations from the fourth month to the sixth month of the Tibetan year. Abstinence is broken by the end of the sixth month. On this day, by tradition, pilgrims will go to monasteries to offer their homemade yogurt to monks who have been long constricted by religious rituals inside monasteries.

In this way, people show their thanks to the merciful lamas for their love and protection to the little and prosperous lives in the nature. Shoton is the transliteration of two Tibetan words which means the Yogurt Banquet in Tibetan language. It is high time to enjoy various kinds of homemade yogurt. The reason of the connection between Shoton and yogurt has a long history. There are more than 300 pieces of Tibetan religious tenets and the most important one is to avoid killing lives. As all animals come out for food in summer, it is easy to kill those small worms. So during June 15th to July 30th, lamas are ordered to do nothing but staying inside their monasteries for penance, which is called Yale in Tibetan language. However, staying inside monasteries for the whole day means no enough food for the lamas. And it is said that livestocks of local families offering yogurt to lamas are free of disease, can never get lost, nor are eaten by wild animals. With these known by more and more local people, offering yogurt to lamas is becoming an activity during the Shoton Festival.“Shoton” is also known as the “Tibetan Opera Festival” as competitive performances of Ache Lhamo (Tibetan Opera) are held at the Norbu Lingka.

A gigantic Buddha tapestry As one of the traditional activities of Shoton festival, the Buddha Painting Unfolding Ceremony is also regarded as an event to show respect for the Buddhist Gods. Some invaluable giant fabric Buddhist paintings and brocaded Buddhist figures housed in Tibetan monasteries will be exhibited on the Buddha painting displaying platform near the monasteries or hung on the cliff of the a slope or a boulder, enabling the believers to pay their respect for the Buddhist Gods. Known as the “living fossil” of the Tibetan culture, the Tibetan opera is an indispensable part of the annual artistic performances during the Shoton Festival and the Tibetan New Year, etc. Horses have been good companions of the Tibetan people for generations. Therefore, festivals themed in horse race are imperative. The horse racing festivals are held in many areas, among which, Changtang (Nagqu), Gyangtse, Damxung and Tingri Horse Racing Festivals are most famous. Shoton” means “yoghurt banquet” in Tibetan language. So as the name suggests, it is a great time to savor various yoghurts. The roots of Lhamo can be traced in the period of royal dynasties of Tibet (VI - IX century AD), but the process that led to the definition of the present form is attributed to Thangtong Gyalpo, enlightened master of the fourteenth century.

He later became an expert in the field and built several bridges, creating links with remote villages and thus allowing the introduction of Buddhist teachings. Thangtong Gyalpo including how, through the play, the higher teachings could be given also to the common people. Representation, then, in addition to having a cultural value, began to acquire a strong spiritual significance. The theatrical entertainment was also a function of self-financing. It is said that, needing funds to build the bridge over the river Kyichu, Thantong Gyalpo taught seven sisters who were working on the building to sing and dance while he played drums and cymbals. The spectators, struck by the beauty of the girls, they said, “The dancers are just the Lhamo (dee)” Hence the name “Lhamo”, by which is known this particular theatrical form. The Lhamo became popular in Tibet and in the nineteenth century, each district had its main theater company permanently. The actors, both belonging to the lay community and to the monastic life, they performed during festivals and celebrations. Some shows, like the one that was held at the Norbulingka, the summer palace of the Dalai Lama, were organized in collaboration with the government, and recorded the attentive participation by all people of Lhasa.

The spectacle of Lhamo can last a whole day, it is performed in the open air, under a large tent traditionally circular, and brings together, in a style all of its own, the dialogue in the form of songs, dance and pantomime. The stories always reflect the importance of Buddhist thought in Tibetan culture. The costumes are spectacular and are a major key to the identification of the characters. Were once provided in part by the government or by individual supporters, who served the actors masks and clothing. Each performance begins with the purification of the place, carried out by the three characters called Ngompa who wear big black masks with white goatee and baggy trousers tucked into the boots of black velvet.

Around the waist are hung a series of leather belts that circle around the dancers, creating an effect of splendor. Two characters called Gyalu - which means the head of the family - and six girls or take part in the purification ritual dancing. After purification of the stage, the narrator goes on stage. Presents the work and brings her with a loud cry. Following explains the content of each scene and announces the entry and exit of the characters. The artist can always dancing on stage, accompanied by two musicians who sit in a corner of the scene. The Lhamo is still a living tradition and evolving thanks to the efforts of the masters in exile, who passionately continue to pass on to future generations the art form so rich and refined.

Copyright ÂŠ2011 NATIONAL INSTITUTE OF DESIGN All rights reserved. No part of this publication may be reproduced or transmitted in any form by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without permission in writing from the copyright owner. Most of the images featured in this document are taken on site and others from the interent whose links are in the bibliography. Project Guide Nandita Mehrotra Content Support Lodsang Samten, Artistic Director, TIPA Tenzin Laksham, General Secretary, TIPA Penpa, Office Incharge, TIPA Samten, Instructor/craftsman, TIPA Migmar Lhundup, Ex. Manager, TCV Tashi Topgyal, Tailoring Section Head, TCV Thangde Gatsal Editorial support Aishwarya Ganeshan Megha Roy Talukdar Project synopsis Priya Pakad Ketki Lonare Graphic Design Assistance Rupesha Vyas Software Development & IT Support Mahendra Bhai Photography & Image editing Ketki Lonare Meha Shetty Library Support Library Of Tibetan Works & Archives, Gangchen Kyishong, Dharamshaala. Special Thanks to PradyumnaVyas, Director, NID Rama Krishna Rao, Coordinator, FID 51

Special Mention TIPA, Tibetan Institute of Performing Arts, is an institute set up by the Tibetan exile government responsible for preserving and promoting the Tibetâ&#x20AC;&#x2122;s unique tradition of performing arts. After the Communist Chinese occupation of Tibet in 1959, the Chinese authorities formulated laws and programmes which undermined the very existence of Tibetan culture and identity. Hence, when His Holiness the 14th Dalai Lama, along with 80,000 Tibetans came to India, he felt the immediate need to take steps to preserve the traditional performing arts. Thus, TIPA was established in August 1959. Every year TIPA holds auditions and selects students who display early precocity as performing artistes and train them for two years in vocals, instruments or dance.

These artists then go for different events all over the world and perform these traditional art forms, so as to promote their age-old folk music, opera and dance traditions. TIPA is organised into different sections of the museum, the handicraft and tailoring section that makes all the costumes, the carpentry section which makes traditional Tibetan musical instruments, the painting section that makes the props and stage, the research section that documents and publishes and the archiving section that serves as a repository of information and material related to theatrical arts. TIPA has a very homely ambience with a very few people who live there. The institute works at a very comfortable pace and thereâ&#x20AC;&#x2122;s always an air of tranquillity in their premises.

TIPA had been extremely cooperative and understanding towards us. Tenzin Laksham (Picture1), the General Secretary of TIPA, had met students from our college earlier and visited NID, hence we could relate to him the most. Mr. Samten, the mask maker was very patient and considerate to take out time for us and instruct me while I sat with him making the mask. The Artistic Director, Mr. Loadsand Samten and the Director, Ms. Tsering Yankyi (Picture3) of TIPA were not at all hesitant in giving us permission to spend two days in their institute and helped us in all the possible ways. Special thanks to Penpa Tsering (Picture4) who was like our tour guide, translator and accompanied us all throughout. Kuldeep bhai (Picture5) and Tenzin Dhedhen (Picture6), the receptionist, were very friendly and answered all our queries with a smile. A special thanks to Mr. Tashi Tsering (Picture7), who teaches at TCV- Tibetan Childrenâ&#x20AC;&#x2122;s Village, who took us around TCV and gave us a lot of important information.

Bibliography Books Referred

Facets of Tibetan Traditional Theatre, Antonio Attisani The Monks Who Dance Symbolism And Designs Mask: A Significant Trait of the Tibetan Culture, Chittaranjan Patra Losel: Alternative Forma of Tibetan Art, Frank J. Korom Tibetan Sacred Dance, Ellen Pearlman Essential Elements of Achi Lhamo Buddhist Symbols, Tatjana Blau, Mirabai Blau

Websites Referred

www.asia-ngo.org www.tibetanarts.dk www.dharmanet.org www.newarkmuseum.org www.indovacations.net www.chinesedefence.com www.handmadetibetanjewerly.com www.accu.or.jp www.theatre-du-soleil.fr www.wikipedia.com 55

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