A Sacred Drikung Teaching on Cham
by His Eminence Togden Rinpoche, Drikung Kagyu Chosgay
In July of 2001, His Eminence Togden Rinpoche, a 9th reincarnate, sat and delivered for our cameras,
a Drikung Kagyu teaching on Cham and the dance tradition within the order.
It requires a somewhat sophisticated understanding of Buddhism to appreciate all the the Rinpoche says,
nevertheless, it is clear what importance and meaning is conveyed in the Cham.
Printed here is the entire contents of the teaching.
It is one of the only sacred teachings on Cham ever recorded,
translated into English and available to people around the world.
Please read these words with reverence. It is only with trust that such teachings are made public.
A Sacred Drikung Teaching on Cham
by His Eminence Togden Rinpoche
"In Ladakh, there are three Gonpas (monasteries) of the Drikungpa tradition, the main centre of Ga-ngon Tashi Chozong at Phyang, the second,Yungdrung Tharpaling, at Lamayuru and Phuntsok Choling in Chanthang.
As in every year of the water snake, today, the first of July, 2001, sees the performance of the eight orders of the Cham - the masked religious dances - of the Drikung Kargyudpa tradition. Tomorrow will see the dances associated with Mahakala, the Great Protector, and on the following day there will be Maha Ati Yoga dances.
For some time now, led by his eminence Rangdol Nyima Rinpoche, Mr. Joseph from America and Mr. Gerald from England, have been working to document, preserve, maintain and update the great Drikungpa Cham tradition by examining especially its different elements, meanings and details. They are both working hard to create archival recordings of the Cham's various forms, basic steps, structures and the overall flow of the movements, together with the shaping of the Tormas - or associated offerings.
Since I have been asked to give a brief history of the Drikung Kagyupa Cham tradition and practice, I would like to explain as follows.
For the betterment of the Buddha Dharma, the legendary Indian saint, Nagarjuna, was reincarnated as His Holiness Kyoba Jigten Gonpo, who was the founder of the Drikung Kagyudpa lineage. This tradition unites both Sutric and Tantric forms which continue shine like the Sun and the Moon upon the three realms of the heavenly gods, earthly creatures and beings of the underground.
It is said in Tibet that the illustrious Abbot Shantarakshita, the great guru Padmasambhava and the great King Trisong Deutsan bestowed the main seat of the Drikung Kargyudpa - Jangchub Choeling in Drikung. From there they initiated Katen (Kangyur and Tengyur) for both old and new Sutric and Tantric practices, including cleansing and empowering Tormas.
The illustrious Kyoba Jigten Gonpo mastered the Tantras and Sutras of both the Kagyudpa and Nyingmapa traditions. He also received all the other necessary forms of education to become Vajra Guru. It was he who introduced the tradition of Torgyag (the throwing of tormas) during the lifetime of Jetsun Ratna. This belongs to the actual history of Tibet. Jetsun Ratna (Rinchen Phuntsok) is often known as the second Padmasambhava. He became the owner and inheritor of this highly precious dharma. He was the former Drikung Chungtsang - Je Kunga Palzang Dorje. He passed the knowledge of the Kargyud Wangdrub (eight order forms) to Je Palzang and Changpa Dujomm Dorje. Chogyal Rinchen Phuntsok introduced a tradition that combined the Nyingmapa and Kagyudpa schools together, containing the especially noted Mandala of Kagyad Wangrub.
Kagyad Wangrub comprises the following eight forms:
Thereafter the tradition was passed on by successive Dharma rulers right up to the former Drikung Chetsang Gyalwang Konchik Thinley Zangpo. This latter incorporated some new Cham dances, including those of the four-armed Mahakala, Apchi Chokyi Dolma and others. Since those times these dances have been integrated into the repertoire of the Drikungpa Cham. It was he also who established the regular cycle of great prayers and Torma ceremonies.
Today, the dancer-monks are in Vajra costume, with their brocade shirts, aprons, bone jewelry and various arms held in their hands, each one standing according to the represented deities position and status. In Tibet, the chamber where the dancers stand or sit is called Dorje Ling (abode of the Vajra). Here, to the right of the two lama's thrones, are rows of precious vases. The first row has two jeweled vases, each representing Pal Yeshi Gonpo and Palden Lhamo respectively. The second row consists of images representing the four guardian-protectors, Apchi Chokyi Dolma, Namsey, Zhingbum Yabyum, Khyamjun Gyalpo, Tseamar, Damchen, along with the five traditional protectors of the Dirkungpa Order: Geyngar, Palalag, Sogstser, Chopolung and Thedomomo. Following these, tea, salt and other valuable items are likewise displayed.
In front of these ritual grant offerings, His Holiness, the Lamas, Tulkus and Abbots gather at the sound of conch shells and horns to perform the morning's Cham of new Kagyudpa dances. Given this the mask dancers will be blessed accordingly. The morning session is called Pagtsol, which means 'praying with masks'. Throughout this session the dancers, their masks and their costumes are all being ritually blessed. There they will pray with overtones, asking for blessings from the Indian town of Bodh Gaya to invite Gonpo (Mahakala) to the festivities. There are also both short and longer overtone prayers sung to invite Apchi Chokyi Dolma - our guardian protector - to provide blessings also. Following these prayers, the initial Chams commence. There are several different types ranging from brief to quite detailed Chams, divided into individual and group dances. The first to appear is the Acharya Cham, (called Atsaraya in Ladakh) which is performed by individuals. It is said that two Indian Acharayas (holy men) came to help Gyalwayng Rinchen Phuntsok and Konchok Thinley Gonpo develop the steps of the dances. The Acharyas are dressed like Indian holy men with white hair and beards, and represent an auspicious omen. Thus, the Acharya dance is always performed at the head of the proceedings to ensure good luck.
The second Cham is Gonpo (four arm) and Gonyum. Before that there is a prayer of invitation. The music is of nine beats and then there is a performance of the individual dance of Gonpo and Apchi Choski Dolma. The next dance is the individual dance of Milung Chiwa. Following is the fourth dance of Ngangsong Gyalpo and Tensum which is called Domtsig Dorjee. The fifth to appear is the dance of Zingkyong, together with the owner of Tsari. Zingkyong is the deity of all Kargyud traditions, but, in fact, he appears in all of the four schools (Gelug, Sakya, Kagyud and Nyingma). The sixth Cham is called Gyalon . It is the individual dance of Gyalpo Pheyar and Lonpos Choskyong Rolwa, Tsimar etc. So on the first day, there are different stages of dance from first to sixth, which include the invitation, the sitting and the return.
On the second day, there is a recital of the Kargyud prayers followed by Acharaya and then a performance of the Cham of Ngancham. It is said that Gyalwang Rinchen Phuntsog went on pilgrimage and meditated for three years, three months and three days. During this retreat he visited Zangdong Paril where Guru Rinpoche resides. From Guru Rinpoche and other Gods and Godess he received the empowerment of Tantrayana. The Ngancham consists of:
The ten Bhumis of the Boddhisattva path are:
To attend the performance of these different stages of the Chams prevents one from going to hell after death. In that one becomes familiar with the various deities that might be encountered in the Bardo, such attendance has many spiritual benefits. Prayers are recited to each of the deities involved. Then come the individual dances of Phelchenmo, Heruka, Ngovo Gendun, Zam Gendun, Thorchen, Phelchen Cheydog, Gordon, the Shava, Thalcham, Thulcham and Zorcham and all stages of Sangngag. It is important to perform the offering Cham of Chaggya Kargi Chodpa.
There are differences in character and style between the Yangrigar Cham and the Thil Cham.
The Thil Cham is much faster than the slower Yangrigar. The 'step on toes' step is only found in the Yangrigar style, and the walk is likened to a balloon floating on a river. In Thil Cham the steps are likened to the movement of swans. Also, the sounds of the cymbals are different in the two styles, Yangrigar sounds like "kowang kong kowang kowang kowang" whilst the cymbals of Thil music sound like "kong thang thang thang thang".
The Yabyum should move their heads like a lion turning his head until his hair becomes braided into a tight bun. Gyalwang Chung Rinpoche is said, in a lost text, to have had a dream of the Cham being performed by two monkeys who rolled their heads this way. First they move their heads very slowly, like this, then gradually becoming faster and faster to tie very tightly at the end. In Yangrigar the movement is performed more slowly, like this. Thus everything in Thil Cham can be said to be faster, the steps and the movements.
Dalog Konchog Thubten Chodak is the head Lama of Kangur. He has performed both Yangrigar and Thil Cham. He is of the opinion that although Yangrigar is slower and Thil faster, there are no other major differences between the two styles.
I was also asked to speak about why it is important to learn the Cham dance. This is a very important discipline for all. It is necessary to do Cham retreat for ten or fifteen days. Everyone should learn all of the Chams except for the Shava (deer) Cham which should only be done by special performers. If all the steps and movements are correctly performed in the right time, then not only does it look good for the audience but it is also easier for oneself. But if the Cham is only learnt by some elder lamas and not properly taught to the younger lamas then it does not look good to see them only following the steps of the leaders in the dance. Here the Champon (dance master) moves to the left while some of the others move right, looking to right and left and using the wrong steps and movements. Since this does not look good to the viewers it is imperative that each individual should learn the correct steps and perform the Cham properly.
Formerly there used to be only one Champon (dance master) called Meme Ngayro. Another monk, called Meme Jorba used to perform the Nyingma-style correctly but not the Sarma-style. Sometimes he would just go to the middle with Champon, and people would say "Meme Jorba, act like a real Champon!" If everyone does not perform the same hand movements at the right time then not only does it look bad but there is a risk of accidentally hitting each other. Hand movements must be done correctly or the dancers risk having their arms look like the waving legs of a beetle.
When performing the Yingcham the dancers should not enter into the circle formed by the dancing monks, that only occurs when the Nyabo (evil) is destroyed and held in the hand. Except for those two occasions the dancers should stay on the outside of the circle. It is important that the circle be large and that the Champon should be in the middle.
It is very important that the young monks be interested in learning Cham. Cham is performed in all the schools of Buddhism. Of particular note and of great spiritual benefit among the Drikung Cham are the Kabgyat Cham and the different stages of the Phurpey Zhalzig Cham.
Although there is much more to tell that is enough. You should find out more about Thil Cham from Gen Jospel (Dubang Rinpoche). Kabjye Rangdol Nyima is also concentrating on Cham. When I was in Tibet, I took much interest in Cham and learned various dances, Apchi, Gendun, Ngancham, Zorcham, Zha, Namsras and Gonpo Gendun.
The Tibetan Cham of Yangrigar and Drikung Thil still exist today in three Kargyud monasteries in Ladakh. The styles of Cham in Kham and in Ladakh are different, the Ladakhi Cham being of the same style as in Yangrigar.
I wish to thank both of you for your hard work. I have told much, but can't say more.
Julley!"
As in every year of the water snake, today, the first of July, 2001, sees the performance of the eight orders of the Cham - the masked religious dances - of the Drikung Kargyudpa tradition. Tomorrow will see the dances associated with Mahakala, the Great Protector, and on the following day there will be Maha Ati Yoga dances.
For some time now, led by his eminence Rangdol Nyima Rinpoche, Mr. Joseph from America and Mr. Gerald from England, have been working to document, preserve, maintain and update the great Drikungpa Cham tradition by examining especially its different elements, meanings and details. They are both working hard to create archival recordings of the Cham's various forms, basic steps, structures and the overall flow of the movements, together with the shaping of the Tormas - or associated offerings.
Since I have been asked to give a brief history of the Drikung Kagyupa Cham tradition and practice, I would like to explain as follows.
For the betterment of the Buddha Dharma, the legendary Indian saint, Nagarjuna, was reincarnated as His Holiness Kyoba Jigten Gonpo, who was the founder of the Drikung Kagyudpa lineage. This tradition unites both Sutric and Tantric forms which continue shine like the Sun and the Moon upon the three realms of the heavenly gods, earthly creatures and beings of the underground.
It is said in Tibet that the illustrious Abbot Shantarakshita, the great guru Padmasambhava and the great King Trisong Deutsan bestowed the main seat of the Drikung Kargyudpa - Jangchub Choeling in Drikung. From there they initiated Katen (Kangyur and Tengyur) for both old and new Sutric and Tantric practices, including cleansing and empowering Tormas.
The illustrious Kyoba Jigten Gonpo mastered the Tantras and Sutras of both the Kagyudpa and Nyingmapa traditions. He also received all the other necessary forms of education to become Vajra Guru. It was he who introduced the tradition of Torgyag (the throwing of tormas) during the lifetime of Jetsun Ratna. This belongs to the actual history of Tibet. Jetsun Ratna (Rinchen Phuntsok) is often known as the second Padmasambhava. He became the owner and inheritor of this highly precious dharma. He was the former Drikung Chungtsang - Je Kunga Palzang Dorje. He passed the knowledge of the Kargyud Wangdrub (eight order forms) to Je Palzang and Changpa Dujomm Dorje. Chogyal Rinchen Phuntsok introduced a tradition that combined the Nyingmapa and Kagyudpa schools together, containing the especially noted Mandala of Kagyad Wangrub.
Kagyad Wangrub comprises the following eight forms:
- Chochaed Yonten Yangdak Thob
- Jamba Ku
- Padmey Zhug
- Phagpa Thinley
- Mamapothong
- Rigzin Lonpo
- Jigten Chochod
- Moepa Dranak.
Thereafter the tradition was passed on by successive Dharma rulers right up to the former Drikung Chetsang Gyalwang Konchik Thinley Zangpo. This latter incorporated some new Cham dances, including those of the four-armed Mahakala, Apchi Chokyi Dolma and others. Since those times these dances have been integrated into the repertoire of the Drikungpa Cham. It was he also who established the regular cycle of great prayers and Torma ceremonies.
Today, the dancer-monks are in Vajra costume, with their brocade shirts, aprons, bone jewelry and various arms held in their hands, each one standing according to the represented deities position and status. In Tibet, the chamber where the dancers stand or sit is called Dorje Ling (abode of the Vajra). Here, to the right of the two lama's thrones, are rows of precious vases. The first row has two jeweled vases, each representing Pal Yeshi Gonpo and Palden Lhamo respectively. The second row consists of images representing the four guardian-protectors, Apchi Chokyi Dolma, Namsey, Zhingbum Yabyum, Khyamjun Gyalpo, Tseamar, Damchen, along with the five traditional protectors of the Dirkungpa Order: Geyngar, Palalag, Sogstser, Chopolung and Thedomomo. Following these, tea, salt and other valuable items are likewise displayed.
In front of these ritual grant offerings, His Holiness, the Lamas, Tulkus and Abbots gather at the sound of conch shells and horns to perform the morning's Cham of new Kagyudpa dances. Given this the mask dancers will be blessed accordingly. The morning session is called Pagtsol, which means 'praying with masks'. Throughout this session the dancers, their masks and their costumes are all being ritually blessed. There they will pray with overtones, asking for blessings from the Indian town of Bodh Gaya to invite Gonpo (Mahakala) to the festivities. There are also both short and longer overtone prayers sung to invite Apchi Chokyi Dolma - our guardian protector - to provide blessings also. Following these prayers, the initial Chams commence. There are several different types ranging from brief to quite detailed Chams, divided into individual and group dances. The first to appear is the Acharya Cham, (called Atsaraya in Ladakh) which is performed by individuals. It is said that two Indian Acharayas (holy men) came to help Gyalwayng Rinchen Phuntsok and Konchok Thinley Gonpo develop the steps of the dances. The Acharyas are dressed like Indian holy men with white hair and beards, and represent an auspicious omen. Thus, the Acharya dance is always performed at the head of the proceedings to ensure good luck.
The second Cham is Gonpo (four arm) and Gonyum. Before that there is a prayer of invitation. The music is of nine beats and then there is a performance of the individual dance of Gonpo and Apchi Choski Dolma. The next dance is the individual dance of Milung Chiwa. Following is the fourth dance of Ngangsong Gyalpo and Tensum which is called Domtsig Dorjee. The fifth to appear is the dance of Zingkyong, together with the owner of Tsari. Zingkyong is the deity of all Kargyud traditions, but, in fact, he appears in all of the four schools (Gelug, Sakya, Kagyud and Nyingma). The sixth Cham is called Gyalon . It is the individual dance of Gyalpo Pheyar and Lonpos Choskyong Rolwa, Tsimar etc. So on the first day, there are different stages of dance from first to sixth, which include the invitation, the sitting and the return.
On the second day, there is a recital of the Kargyud prayers followed by Acharaya and then a performance of the Cham of Ngancham. It is said that Gyalwang Rinchen Phuntsog went on pilgrimage and meditated for three years, three months and three days. During this retreat he visited Zangdong Paril where Guru Rinpoche resides. From Guru Rinpoche and other Gods and Godess he received the empowerment of Tantrayana. The Ngancham consists of:
- Chindrin Lamdro
- Chigdu Melong
- Dutsig
- Lobon Pema
- Jetsun Dhakpa
The ten Bhumis of the Boddhisattva path are:
- Rabtu Gava Sa (the extremely joyous)
- Drimamepa Sa (the stainless)
- Ohjepa Sa (the luminous)
- Ohtrova Sa (the radiant)
- Jangkava Sa (the difficult to overcome)
- Ngondu chogpa Sa (the approaching)
- Ringdusongva Sa (the gone afar)
- Meyova Sa (the immovable)
- Legpe Lodo Sa (the good intelligence)
- Choskitin Sa (the cloud of Dharma)
- Machag Padma Changi Sa
- Natsog Dorje Changi Sa
To attend the performance of these different stages of the Chams prevents one from going to hell after death. In that one becomes familiar with the various deities that might be encountered in the Bardo, such attendance has many spiritual benefits. Prayers are recited to each of the deities involved. Then come the individual dances of Phelchenmo, Heruka, Ngovo Gendun, Zam Gendun, Thorchen, Phelchen Cheydog, Gordon, the Shava, Thalcham, Thulcham and Zorcham and all stages of Sangngag. It is important to perform the offering Cham of Chaggya Kargi Chodpa.
There are differences in character and style between the Yangrigar Cham and the Thil Cham.
The Thil Cham is much faster than the slower Yangrigar. The 'step on toes' step is only found in the Yangrigar style, and the walk is likened to a balloon floating on a river. In Thil Cham the steps are likened to the movement of swans. Also, the sounds of the cymbals are different in the two styles, Yangrigar sounds like "kowang kong kowang kowang kowang" whilst the cymbals of Thil music sound like "kong thang thang thang thang".
The Yabyum should move their heads like a lion turning his head until his hair becomes braided into a tight bun. Gyalwang Chung Rinpoche is said, in a lost text, to have had a dream of the Cham being performed by two monkeys who rolled their heads this way. First they move their heads very slowly, like this, then gradually becoming faster and faster to tie very tightly at the end. In Yangrigar the movement is performed more slowly, like this. Thus everything in Thil Cham can be said to be faster, the steps and the movements.
Dalog Konchog Thubten Chodak is the head Lama of Kangur. He has performed both Yangrigar and Thil Cham. He is of the opinion that although Yangrigar is slower and Thil faster, there are no other major differences between the two styles.
I was also asked to speak about why it is important to learn the Cham dance. This is a very important discipline for all. It is necessary to do Cham retreat for ten or fifteen days. Everyone should learn all of the Chams except for the Shava (deer) Cham which should only be done by special performers. If all the steps and movements are correctly performed in the right time, then not only does it look good for the audience but it is also easier for oneself. But if the Cham is only learnt by some elder lamas and not properly taught to the younger lamas then it does not look good to see them only following the steps of the leaders in the dance. Here the Champon (dance master) moves to the left while some of the others move right, looking to right and left and using the wrong steps and movements. Since this does not look good to the viewers it is imperative that each individual should learn the correct steps and perform the Cham properly.
Formerly there used to be only one Champon (dance master) called Meme Ngayro. Another monk, called Meme Jorba used to perform the Nyingma-style correctly but not the Sarma-style. Sometimes he would just go to the middle with Champon, and people would say "Meme Jorba, act like a real Champon!" If everyone does not perform the same hand movements at the right time then not only does it look bad but there is a risk of accidentally hitting each other. Hand movements must be done correctly or the dancers risk having their arms look like the waving legs of a beetle.
When performing the Yingcham the dancers should not enter into the circle formed by the dancing monks, that only occurs when the Nyabo (evil) is destroyed and held in the hand. Except for those two occasions the dancers should stay on the outside of the circle. It is important that the circle be large and that the Champon should be in the middle.
It is very important that the young monks be interested in learning Cham. Cham is performed in all the schools of Buddhism. Of particular note and of great spiritual benefit among the Drikung Cham are the Kabgyat Cham and the different stages of the Phurpey Zhalzig Cham.
Although there is much more to tell that is enough. You should find out more about Thil Cham from Gen Jospel (Dubang Rinpoche). Kabjye Rangdol Nyima is also concentrating on Cham. When I was in Tibet, I took much interest in Cham and learned various dances, Apchi, Gendun, Ngancham, Zorcham, Zha, Namsras and Gonpo Gendun.
The Tibetan Cham of Yangrigar and Drikung Thil still exist today in three Kargyud monasteries in Ladakh. The styles of Cham in Kham and in Ladakh are different, the Ladakhi Cham being of the same style as in Yangrigar.
I wish to thank both of you for your hard work. I have told much, but can't say more.
Julley!"
The photo above shows the only known mandala-dance-diagram for Cham.
It's rarity nonetheless inspires insight into the synergy and integration of the arts in the mystical practice of tantric Buddhism.
It's rarity nonetheless inspires insight into the synergy and integration of the arts in the mystical practice of tantric Buddhism.
