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ARTICLESK DANCES AT HEMIS FESTIVAL Text by Phuntsog Dorjay (Pelik)Research Scholar, Jammu University.

The mask dances of Ladakh are referred collectively as Chams Performance. These Dances are an essential part of Tantric Vajrayana tradition. They constitute an indispensable part of monastic and religious life of the people of Ladakh. The origin of the Cham dances goes back to the year A.D. 811 when the Guru Padmasambhava1 performed the Black-Hat Tantric dance to banish evil spirits who were an obstacle to building the Samey monastery in south east of Lhasa. Chams are performed in Gonpas where the monks follow the Tantric Vajrayana teachings. Chams are performed with masks, and the costumes of various medititve and protective deities with solemn movements of legs and hands to the special music of drums, cymbals and wind-instruments. While there can be any number of meanings given to dance, it is in the hidden codes of gestures and postures that one may look for a constructive interpretation.

The Hemis monastery, foremost of the three bDruk-pa monasteries, founded by Senge Namgial, traces its intellectual lineage to the bKa-rgyud-pa sect or the "Followers of Transmitted Command", of Tibetan Buddhism founded by Marpa (1012). Their authoritative texts are the Mahayoga Tantras which expound the teaching of the esoteric inner Tantras as opposed to the exoteric ones. These works have a different flavour from the sutra texts of early Buddhism. Buddhist works after the 11th Century are known as the new tradition. The Vajrayana expounded a tradition of Empowerment, wherein the goal of enlightenment is reached in a short period of time. In the inner esoteric Tantra, Sadhanas expound the experience of oneness through simultaneous awareness of the true nature of the body, speech and mind. The practices at the Hemis Monastery are a direct lineal descent of the teachings expound in the Mahayoga Tantra School, or the esoteric school of Vajrayana.

It is said that during 1191-1274, the great sage rGod-tsangpa mGonpo rDor -je came to Ladakh and meditated several years in the upper part of Hemis gorge in a cave which later became famous as rGod-tsang. According to the Tibetan calendar, the great annual festivals held in the villages of Ladakh all takes place in winter, with the exception of Tseshu held at Hemis in summer. This is one of the most important events of the valley. From the time of Rgyalsras Rinponche around the year 1730, the Hemis Festival has been observed year after year without break and has now become well known the world over.

It is believed that guru Padmasambhava descends as a representative incarnate of all the Buddhas, to bestow grace and improve the condition of the living. He does so on the tenth day of each month and all the ten days which comes in a year or the most important of the tenth of the Monkey year in a cycle where the Thanka of guru is exhibited, locally call Naro-gyantuk or "the Pilgrimage". It is believed that Padmasambhava lives in bodiless form and returns each year to Ladakh to liberate the people. This Thanka of guru Padmasambhava is a marvelous painting, a patched work of silk cloth of various colour and was prepared around 1750-1760 by Zopa Pale on advice of rGyalras Mipham Tsewang. This Thanka is exhibited once on the 10th day of 5th month in the monkey year in a cycle of 12 years. The purpose of sacred performance and the dances is to bestow good health, subjugate disease and conquer evil spirits. The festival commemorates the birthday of the guru Padmasambhava, the celebrated founder of the Lama tradition and the presiding authority of Tibetan Buddhism.

It is said that three incarnation of Zambalha, the god of wealth gathered at Hemis. They are the head lama H.H. Rgyalras Mipham Tsewang, the manager (Chagzot) Tashi and artist and craft master Zopa Pale. These three jewels contributed their whole assets for the development of Hemis monastery DAY FIRST:On the first day of the festival, while the music is being played, thanka of guru Padmasambhava, nearly four storeys in height made of patched work silk is hung against the facade of the monastery. This is exhibited once in the Monkey year in a cycle of 12th year and rest of the year they exhibit the thanka with a portrait of Gyalsras Rinpoche, the initiator and founder of the monastery. Around 9.40 A.M. two adolescent monks blow conch-shells from the roof top of Gonpa. The sound of the conch, blowing from the roof of the Hemis monastery represents the voice of dharma. This is the first call for the monks and the visitors to get ready. The second call is to march to the Gonpa and the third, to gather in the assembly hall for Morning Prayer before starting the dance. A number of play welcome music in the courtyard.

The music at Hemis consisted of chanting and recitation of texts and instrumental music played by the monk musician. The entire orchestra at Hemis consisted of many instruments (some in pairs)
1. drum (Damru)
2. two conches (Thunkur)
3. Panshaped drum (rNa)
4. two long trumpets (Dungchen)
5. two pairs of large cymbals (rBukjal)
6. two reed instruments (rGyaling)
7. one hand bell (Tilbu)
8. two small cymbals (Silmyang) The long trumpets create the sound that are said to create sound from the 'womb of the earth and depth of Space'. It is believed that sound of the each instrument captivates and relates to a state of mind and consciousness. The reed instruments, the large trumpets and large cymbals relate to the peaceful deities, the short trumpets and the more 'shriller' cymbals correspond to the fearful deities. And the drum may be played for either deities. Deities are summoned and bid farewell with the sound of trumpet.

A procession of monks walked in from the prayer hall into the courtyard led by two monks playing reed instrument (rgyaling), two hold incense pots, and a Lama holding a staff adorned with flags and banners. Then the lamas playing the welcome music walk near the dais and the take their seats according to their status. After these two Hatuks (disciples), masked figures with yellow cap, yellow silk robes holding a small stick covered with colorful ribbons on top, appear and came down the steps of the prayer hall. Their task was to put the audience to order, bless them with their sacred stick and urged them to pay a small sum of money. They mixed freely with the devotees and onlooker and play the role of police-jester throughout the ceremony. BLACK-HAT TANTRIC DANCE (rJanak)

The thirteen Black-Hat Tantric dancers with large hat with an image of a skull with wide rims enter the scene. A stick about one-foot-high rose from the crown of the hat with an image of a skull. They wore rich caps and aprons and a necklace with a skull emblem. The skulls are potent symbols to remind the viewers of the impermanence and brevity of life. Stretching their right and left arms alternatively, advancing and retreating from the centre of the circle, they slowly dance their way round the courtyard, clockwise. Each dancer is given a few springs of dried sacred herb by a lama, and then they slowly made their way to the exit. The purpose of the Tantric dance is to dispel evil forces and mark out the exterior limits of the performance space and 'bind' the quarters by the sacred movements. The number thirteen is identified with the thirteen yugas of the cosmos and thirteen rings of the Chorten. PADMASAMBHAVA DANCE

Sixteen males dressed as compassionate Dakinis with metal masks enter the arena of the performance. Each of these dakinis holds a damaru and a bell in their hands with chanting the mantra: Om Vajra Guru Padma Siddhi Hum! By chanting the mantra four times and they offer their benediction. Their task is to purify the sacred space, the objects of worship and the lineage of teachers.

Then began the most spectacular aspect of the whole performance: the dance honouring the eight aspect of Padmasambhava, in whose honour the festival is being performed. The guru Padmasambhava wore a golden mask with benign countenance. Padmasambhava accompanied by his seven personifications. It is interested to observe that the bodily size of Padmasambhava is nearly one and half time more than his other incarnations. Their details are as follows: EIGHT ASPECTS OF GURU PADMASAMBHAVA

S.No Name Colour of Mask Attributes in Hand Aspect

1. Cshoskyes Dorje or Padmavajra Gold Bell and Skull Preached teaching to Dakinis
2. Padmasambhava Blue Vajra & Bell Moved of wheel of Dharma subjugated evil.
3. Lolden Mchhog Flesh-coloured Damru & incense A great teacher
4. Padma rGyalpo Flesh-coloured Damru & incense A great teacher
5. Nyima Odzer Yellow Sun symbol & Trident Showed Miracle
6. Shakya Singe Yellow Bowl & Meditational mudra Received eachings of Mahayoga Tantra
7. Singe Dadogs Blue-Black Vajra & Scorpan Mudra Destruction of heretics and their conversion.

8. Dorjey Tolod Reddish Brown Vajra & Iron nail Subjugated all the evil spirits of Nepal, Tibet & Bhutan and revealed the truth for the people. When the gurus takes their seats in the courtyard, a group of four heroes, wearing a turban on the mask with flag and tiger skin on the hip carrying damaru and bell in their hands appear in the courtyard. They praise the qualities of body, speech and mind, and mission of Guru Padmasambhava. DANCE OF DHARMA GUARDING DEITIESAfter the guru Padmasambhava is propitiated, the performance focuses on another significant theme: the protection of Budhadharma and banishment of evil, so that dharma retains its unshakable strength at the face of destructive forces and obstacles that lie on its path. Hence the afternoon session began by, the dance of the task to protect the teachings of Buddha emerged wearing their colourful masks, and holding their respective weapons, as given in Table below: DHARMA GUARDING DETIES S.No

Name	Color of Masks	Attributes in Hand
1	Yab (male)	Red Spear and heart
2	Yum (female)	Black-brown Tishud and heart
3	Vajrasattva	Black Flag and hammer
4	Yama Brown	Noose and chain
5	Naga Demon	Black Snake rope
6	Demon Black	Sword and rope
7	Titan Red	Rope
8	Srinpo gaint	Blue-black Stick and iron hook
9	Brahma White	Knife and arrow
10	Marti-kali	Brown Sword and bag of diseases
11-12	Monkeys

Day Second
On the second day the first act of devotion consisted of preparation of the high altar and the seat for the incarnate lama. The altar was recreated as in the previous day. Seven cups with water, grains and butter tormas are kept in position; the ceremony began by unrolling of the Thanka of silk parch-workAs on day first, dancers wearing Black-Hats with long flowing robes entered the performance arena. They were led by lamas playing instruments and two, Hatuks, who play the role of police-jesters.THE WORSHIP OF RGYALPO PEHARThen the monks assemble in the prayer hall to 'recreate' the altar of Rgyalpo Pegar, the protector of Hemis monastery. The rGyalpo's body is decorated with textile, silk cloth, flags, streamers, ornaments, various weapons and a black mask. Thangkas of Avalokiteswara, goddess Tara, the sages and Padmasambhava are hung around the alter. Various offerings were placed in a row: cups full of water, uncooked rice, grain, eatables, tea-leaves, fruits, flower and butter-lamp, incense, chotpa, torma etc. A skull-cup containing Chaang (barley beer), is placed in the centre with cups full of water. On the right side a raised altar was placed where the young incarnate lama witnessed the ceremony.

It is said that Rgyalpo Pehar is the Tibetan forms of goddess Kali2 the protector deity of the monastery. This worship is performed solely for protection of the monastery, the people, the land, the animals and the ecology of the area. After the worship, a black caparisoned horse with embroidered silk and a black dog belonging to the monastery enter the courtyard and received worship. With this the morning sessions ends.

THE DANCE OF THE DHARMA GUARDING DEITIES(Dance of Maha Dongchen)Afternoon session began with the dance of Maha Dongchen with a buffalo faced mask and his entourage of the following masked figures: four Black-Hat Tantric dancer; four dancers with metal masks; four Pumets with masks with gaping mouths; four dancer with monks, robes with benign masked faced with staff and bowl in hand; four Pisky-faced dancers, unmasked with painted faces; four figures wearing grotesque and ferocious brown, white, red and green masks. They together formed the helpers and gate guards of Dongchen. Their task is to put end to evil forces. They come in and dance together encircling the flag-staff. While the dancers perform their dance, two monks inscribe a triangle- mandala in blue with white and red outline. Another lama walk in with a plate with sacrificial effigy made of dough concealed with a veil. The dish will place in the centre of the mandals on which a mantra is also inscribed. Two lamas enter, one with a plate with ritual chalices and other with the samovar. They stood by the mandals. Then Black-Hat dancers enter along with them and stood around the mandala.

Then began the most elaborate dance of the day. The demonic Buffalo Masked figure emerged from the hall. He dances with his troupe of eight dancers with symbols of death and destruction. The procession of demon deity headed by horned masked deity, approached the sacrificial effigy of adharma purified it with holy water from the plate left at the side. He then cut through the effigy. The effigy representing evil forces lay mutilated.

Hashang And Hatuks :The last item reminded the audience about the message of Dharma which is passed through teacher-pupil lineage. The Hashang is a Chinese mask, generally known as laughing Buddha. Ever smiling, the Hashang, exhibits the inner peace of mind. It shows the happy culmination of the program. When the dance is over the thanka is rolled back and with the Hemis fair come to an end.

In the Hemis festival the monks and the lay people meet for a common aim of accumulating merit and resisting evil. From the point of view of the audience, viewing the dances represents an aspiration for dharma, it is an act of purification and constitutes a positive act of repaying karmic obligation and a means of self transformation through accumulation of merit NOTES AND REFERENCES:
1. The word Padma is Sanskrit. It was preserved as a Tibetan word and means lotus flower. Sambhava means "born from". Padmasambhava's usual name in Tibetan is 'Pema Jungney', translated from the Sanskrit name Padmakara, which means "Originated from a Lotus or Lotus Born".
2. Khanna, Madhu: The Tantric Dance of Dharma: The Mask dances at the Hemis Festival in Ladakh (TANTRIC BUDDHISM), 1999, New Delhi.
3. Snellgrove, David. L & Skrupski, The Cultural Heritage of Ladakh, Vol-I, New Delhi, 1977.
4. Jina, P.S, Recent Researches on the Himalaya, Indus Publication Company. New Delhi, 1997.
5. Rabgais, Tashi, Hemis Fair 1980, C.I.B.S., Leh.