SIGNIFICANCE OF MASK DANCES
 |  |  |  |  |  |
Significance of the Mask Dances in our country.
Dances and music play a important part in the culture life of people. Each village and community has a rich
tradition of dances which marks the passing seasons, communal occasion and shared experiences.Just
like building of the dzongs and the setting up of the chhoesi system, the dances have had part to play in
helping to unite the people. Through these dances, the ordinary people come to know their place in the
history of the country. Chhams (dances) are usually performed during tshechus. The Chhams were
composed mainly to convey religious messages to people. Some were composed by guru rinpochhe while
others were created by tertoen Pema Lingpa, Zhabdrung Rinpochhe an d other great saints. During the
mask dances, the deities of the tantric teaching are invoked and through their power and blessings,
misfortunes are removed. All the evils spirits and demons which are preventing the spread of chhoe (the
doctrine) are suppressed so that the doctrine of Lord Buddha may flourish and bring joy and happiness to all
beings.Mask dances are performed by monks as well as by laymen. The following are some performed
during the annual tshechus.
1.Zhana chham.
The dancers of zhana chhams wear wide tall black hats, felt boots and long colourful brocade
dresses. These dancers do not wear masks. The dance is performed as aground purification rite during the
construction of Dzongs, temples and stupas. The aim is to pacify the evil spirits of the ground and to take
possessions of the site from them. The practices carried out during the dance are so special that just by
seeing them one is purified. All the obstacles to belief and understanding are removed. Because of its
importance, Zhabdrung Rinpochhe used to perform this ritual himself.
2.The Tungam chham.
The dancers of Tungam Chham wear beautiful brocade dresses, boots and a terrifying mask. The
dance has a very deep symbolic meaning. A ritual sacrifice is carried out. The dancers represent the gods.
They draw in and encircle the evil spirits and capture them in the box. The chief dancer then destroys them
stabbing them with a phurba (ritual dagger). The dancers, therefore, not only save the world from the evil
spirits but also free them from evil deeds. Tungam chham shows the terrifying form of dorji Dragpo ( Fierce
Thunderbolt) Guru Rinpochhe assumed in order to subdue the enemies of the doctrine.
3.Ging Tsholing Chham.
This is the dance which combines two groups of characters namely Ging and Tsholing. The Tsholing
dancers have long colourful brocade dresses and wear terrfying masks. The Ging dancers wear Tagshams
(tiger – skin skirts) and terrifying dark blue (male) and red (female) masks with a flag on top. Each Ging
dancer carries a Nga (drum) in his left hand and a drumstick in the right.
Ging Tsholing chhams were performed for the first time by Guru Rinpochhe in order to subdue the demons
who were preventing the construction of Samye monastery in Tibet. Guru Rinpochhe, through his magical
powers, transformed himself in various fierce forms of the protectors of the doctrine. He thus was not only
able to subdue the demons but also secure their help in constructing the monastery. These transformations
of the Ging and Tsholing chham.
During the Tshechus, Ging Tsholing is also performed to purify the area just before the display of Guru
Tshengye and their retinue. Shrill whistle are sounded to chase away the evil spirit. The Ging dancers tap the
spectators on the head with their drumstick to chase impurity out of them. The Tsholing dancers, after having
destroyed the evil spirits symbolized by an image in a black box, are chased away by the Ging. The Ging
dancers stay behind and perform the dance of victory by beating the drums.
4. Guru Tshengye chham.
Guru Rinpochhe assumed various forms in order to help all the living beings. The dance of Guru Tshengye
depicts his eight manifestations. The of the glorious deeds of the great Guru during the dance strengthens
the faith of the spectators.
The Guru Tshengye Chham begins with the appearance of Guru Dorji Drolo. The other manifestations follow
him at regular intervals. All the eight manifestations wear long brocade dresses and individual masks. Guru
Rinpochhe himself finally enters the scene attended by other members of retinue. He is accompanied by his
two main consorts, namely khando Mandarava on his right and Khando Yeshe Tshogyal on his left. The
fairies or attendants are symbolised by children wearing white masks.
Guru Rinpochhe takes his seat on the throne while his manifestations perform individual dances in turn and
on completion, sit in a row near the Guru. The spectators, during the dance, prostrate to Guru Rinpochhe and
receive blessings. It is also a scared occasion for the some of the spectators. They receive new names for
their babies from the Guru.
The retinue also consists of Ringa Chudrug ( sixteen Faries). They wear beautiful brocade dresses and
carved bone ornamental aprons. They sing and dance in front of Guru Rinpochhe and his manifestations.
The annual Tshechu usually ends with the Guru Tshengye dance.
5. Pachham.
The pachham dancers are dressed in knee length yellow skirts and Ringa (golden crowns). They do not
wear masks. They carry a Drilbu ( a small bell) and a Tangtee ( small drum) in each hand. This dance tells
how terton Pema lingpa,in a vision, arrived in the presence of Guru Rinpochhe in the paradise of
Zangdopelri. He saw this dance being performed by Pawos and Pamos who were leading the dead
believers to the presence of Guru Rinpochhe. Pema Lingpa introduced the devotees and followers to the
paradise of Guru Rinpochhe after their death.
Dances and music play a important part in the culture life of people. Each village and community has a rich
tradition of dances which marks the passing seasons, communal occasion and shared experiences.Just
like building of the dzongs and the setting up of the chhoesi system, the dances have had part to play in
helping to unite the people. Through these dances, the ordinary people come to know their place in the
history of the country. Chhams (dances) are usually performed during tshechus. The Chhams were
composed mainly to convey religious messages to people. Some were composed by guru rinpochhe while
others were created by tertoen Pema Lingpa, Zhabdrung Rinpochhe an d other great saints. During the
mask dances, the deities of the tantric teaching are invoked and through their power and blessings,
misfortunes are removed. All the evils spirits and demons which are preventing the spread of chhoe (the
doctrine) are suppressed so that the doctrine of Lord Buddha may flourish and bring joy and happiness to all
beings.Mask dances are performed by monks as well as by laymen. The following are some performed
during the annual tshechus.
1.Zhana chham.
The dancers of zhana chhams wear wide tall black hats, felt boots and long colourful brocade
dresses. These dancers do not wear masks. The dance is performed as aground purification rite during the
construction of Dzongs, temples and stupas. The aim is to pacify the evil spirits of the ground and to take
possessions of the site from them. The practices carried out during the dance are so special that just by
seeing them one is purified. All the obstacles to belief and understanding are removed. Because of its
importance, Zhabdrung Rinpochhe used to perform this ritual himself.
2.The Tungam chham.
The dancers of Tungam Chham wear beautiful brocade dresses, boots and a terrifying mask. The
dance has a very deep symbolic meaning. A ritual sacrifice is carried out. The dancers represent the gods.
They draw in and encircle the evil spirits and capture them in the box. The chief dancer then destroys them
stabbing them with a phurba (ritual dagger). The dancers, therefore, not only save the world from the evil
spirits but also free them from evil deeds. Tungam chham shows the terrifying form of dorji Dragpo ( Fierce
Thunderbolt) Guru Rinpochhe assumed in order to subdue the enemies of the doctrine.
3.Ging Tsholing Chham.
This is the dance which combines two groups of characters namely Ging and Tsholing. The Tsholing
dancers have long colourful brocade dresses and wear terrfying masks. The Ging dancers wear Tagshams
(tiger – skin skirts) and terrifying dark blue (male) and red (female) masks with a flag on top. Each Ging
dancer carries a Nga (drum) in his left hand and a drumstick in the right.
Ging Tsholing chhams were performed for the first time by Guru Rinpochhe in order to subdue the demons
who were preventing the construction of Samye monastery in Tibet. Guru Rinpochhe, through his magical
powers, transformed himself in various fierce forms of the protectors of the doctrine. He thus was not only
able to subdue the demons but also secure their help in constructing the monastery. These transformations
of the Ging and Tsholing chham.
During the Tshechus, Ging Tsholing is also performed to purify the area just before the display of Guru
Tshengye and their retinue. Shrill whistle are sounded to chase away the evil spirit. The Ging dancers tap the
spectators on the head with their drumstick to chase impurity out of them. The Tsholing dancers, after having
destroyed the evil spirits symbolized by an image in a black box, are chased away by the Ging. The Ging
dancers stay behind and perform the dance of victory by beating the drums.
4. Guru Tshengye chham.
Guru Rinpochhe assumed various forms in order to help all the living beings. The dance of Guru Tshengye
depicts his eight manifestations. The of the glorious deeds of the great Guru during the dance strengthens
the faith of the spectators.
The Guru Tshengye Chham begins with the appearance of Guru Dorji Drolo. The other manifestations follow
him at regular intervals. All the eight manifestations wear long brocade dresses and individual masks. Guru
Rinpochhe himself finally enters the scene attended by other members of retinue. He is accompanied by his
two main consorts, namely khando Mandarava on his right and Khando Yeshe Tshogyal on his left. The
fairies or attendants are symbolised by children wearing white masks.
Guru Rinpochhe takes his seat on the throne while his manifestations perform individual dances in turn and
on completion, sit in a row near the Guru. The spectators, during the dance, prostrate to Guru Rinpochhe and
receive blessings. It is also a scared occasion for the some of the spectators. They receive new names for
their babies from the Guru.
The retinue also consists of Ringa Chudrug ( sixteen Faries). They wear beautiful brocade dresses and
carved bone ornamental aprons. They sing and dance in front of Guru Rinpochhe and his manifestations.
The annual Tshechu usually ends with the Guru Tshengye dance.
5. Pachham.
The pachham dancers are dressed in knee length yellow skirts and Ringa (golden crowns). They do not
wear masks. They carry a Drilbu ( a small bell) and a Tangtee ( small drum) in each hand. This dance tells
how terton Pema lingpa,in a vision, arrived in the presence of Guru Rinpochhe in the paradise of
Zangdopelri. He saw this dance being performed by Pawos and Pamos who were leading the dead
believers to the presence of Guru Rinpochhe. Pema Lingpa introduced the devotees and followers to the
paradise of Guru Rinpochhe after their death.
Atasara (festival jesters)
Working in Bhutan Bhutanese Textile Bhutanese Handicraft Indigenous Medicine Astrology
Meditation Books on Bhutan Lonely Planet Local Writers Local songs
Pen pal Hotels in Bhutan Local Film Industry Business in Bhutan Manufacturing Industries
Tallest Statue of Buddha Nepal Tour Tibet Tour India Tour Bhutanese cuisines
Meditation Books on Bhutan Lonely Planet Local Writers Local songs
Pen pal Hotels in Bhutan Local Film Industry Business in Bhutan Manufacturing Industries
Tallest Statue of Buddha Nepal Tour Tibet Tour India Tour Bhutanese cuisines