A Sacred Drikung Teaching 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 ri!ung "agyu teaching on #ham and the dance tradition $ithin the order% It re&uires a some$hat sophisticated understanding of 'uddhism to appreciate all the the Rinpoche says, nevertheless, it is clear $hat importance and meaning is conveyed in the #ham% (rinted here is the entire contents of the teaching% It is one of the only sacred teachings on #ham ever recorded, translated into English and availa)le to people around the $orld% (lease read these $ords $ith reverence% It is only $ith trust that such teachings are made pu)lic%
A Sacred Drikung Teaching on Cham by His Eminence Togden Rinpoche *In +ada!h, there are three onpas -monasteries. of the ri!ungpa tradition, the main centre of a/ ngon Tashi #hoong at (hyang, the second,ungdrung Tharpaling, at +amayuru and (huntso! #holing in #hanthang% s in every year of the $ater sna!e, today, the first of July, 2001, sees the performance of the eight orders of the #ham / the mas!ed religious dances / of the ri!ung "argyudpa tradition% Tomorro$ $ill see the dances associated $ith 3aha!ala, the reat (rotector, and on the follo$ing day there $ill )e 3aha ti oga dances% 4or some time no$, led )y his eminence Rangdol 5yima Rinpoche, 3r% Joseph from merica and 3r% erald from England, have )een $or!ing to document, preserve, maintain and update the great ri!ungpa #ham tradition )y e6amining especially its different elements, meanings and details% They are )oth $or!ing hard to create archival recordings of the #ham7s various forms, )asic steps, structures and the overall flo$ of the movements, together $ith the shaping of the Tormas / or associated offerings% 8ince I have )een as!ed to give a )rief history of the ri!ung "agyupa #ham tradition and pra ctice, I $ould li!e to e6plain as follo$s% 4or the )etterment of the 'uddha harma, the legendary Indian saint, 5agaruna, $as reincarnated as His Holiness "yo)a Jigten onpo, $ho $as the founder of the ri!ung "agyudpa lineage% This tradition unites )oth 8utric and Tantric forms $hich continue shine li!e the 8un and the 3oon upon the three realms of the heavenly gods, earthly creatures and )eings of the underground% It is said in Ti)et that the illustrious ))ot 8hantara!shita, the great guru (admasam)hava and the great "ing Trisong eutsan )esto$ed the main seat of the ri!ung "argyudpa / Jangchu) #hoeling in ri!ung% 4rom there they initiated "aten -"angyur and Tengyur. for )oth old and ne$ 8utric and Tantric practices, including cleansing and empo$ering Tormas% The illustrious "yo)a Jigten onpo mastered the Tantras and 8utras of )oth the "agyudpa and 5yingmapa traditions% He also received all the other necessary forms of education to )ecome :ara uru% It $as he $ho introduced the tradit ion of Torgyag -the thro$ing of tormas. during the lifetime of Jetsun Ratna% This )elongs to the ac tual history of Ti)et% Jetsun Ratna - Rinchen (huntso!. is often !no$n as the second (admasam)hava% He )ecame the o$ner and inheritor of this highly precious dharma% He $as the former ri!ung #hungtsang / Je "unga (alang ore% He passed the !no$ledge of the "argyud ;angdru) -eight order forms. to Je (alang and #hangpa uomm ore% #hogyal Rinchen (huntso! introduced a tradition that com)ined the 5yingmapa and "agyudpa schools together, containing the especially noted 3andala of "agyad ;angru)%
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"agyad ;angru) comprises the follo$ing eight forms< #hochaed onten angda! Tho)
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Jam)a "u
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(admey =hug
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(hagpa Thinley
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3amapothong
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Rigin +onpo
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Jigten #hochod
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3oepa rana!% The a)ove duties $ere all successfully performed together $ith of ceremonies of intitiation and the performance of religious dances% Thereafter the tradition $as passed on )y succ essive harma rulers right up to the former ri!ung #hetsang yal$ang "onchi! Thinley =angpo% This latter incorporated some ne$ #ham dances, including those of the four/armed 3aha!ala, pchi #ho!yi olma and others% 8ince those times these
dances have )een integrated into the repertoire of the ri!ungpa #ham% It $as he also $ho esta)lished the regular cycle of great prayers and Torma ceremonies% Today, the dancer/mon!s are in :ara costume, $ith their )rocade shirts, aprons, )one e$elry and various arms held in their hands, each one standing according to the represented deities position and status% In Ti)et, the cham)er $here the dancers stand or sit is called ore +ing -a)ode of the :ara.% Here, to the right of the t$o lama7s thrones, are ro$s of precious vases% The first ro$ has t$o e$eled vases, each representing (al eshi onpo and (alden +hamo respectively% The second ro$ consists of images representing the four guardian/protectors, pchi #ho!yi olma, 5amsey, =hing)um a)yum, "hyamun yalpo, Tseamar, amchen, along $ith the five traditional protectors of the ir!ungpa >rder< eyngar, (alalag, 8ogstser, #hopolung and Thedomomo% 4ollo$ing these, tea, salt and other valua)le items are li!e$ise displayed% In front of these ritual grant offerings, His Holiness, the +amas, Tul!us and ))ots gather at the sound of conch shells and horns to perform the morning7s #ham of ne$ "agyudpa dances% iven this the mas! dancers $ill )e )lessed accordingly% The morning session is called (agtsol, $hich means 7praying $ith mas!s7% Throughout this session t he dancers, their mas!s and their costumes are all )eing ritually )lessed% There they $ill pray $ith overtones, as!ing for )lessings from the Indian to$n of 'odh aya to invite onpo -3aha!ala. to the festivities% There are also )oth short and longer overtone prayers sung to invite pchi #ho!yi olma / our guardian protector / to provide )lessings also% 4ollo$ing these prayers, the initial #hams commence% There are several different types ranging from )rief to &uite detailed #hams, divided into individual and group dances% The first to appear is the charya #ham, -called tsaraya in +ada!h. $hich is performed )y individuals% It is said that t$o Indian charayas -holy men. came to help yal$ayng Rinchen (huntso! and "oncho! Thinley onpo develop the steps of the dances% The chary as are dressed li!e Indian holy men $ith $hite ha ir and )eards, and represent an auspicious omen% Thus, the charya dance is al$ays performed at the head of the proceedings to ensure good luc!% The second #ham is onpo -four arm. and onyum% 'efore that there is a prayer of invitation% The music is of nine )eats and then there is a performance of the individual dance of onpo and pchi #hos!i olma% The ne6t dance is the individual dance of 3ilung #hi$a% 4ollo$ing is the fourth dance of 5gangsong yalpo and Tensum $hich is called omtsig oree% The fifth to appear is the dance of =ing!yong, together $ith the o$ner of Tsari% =ing!yong is the deity of all "argyud traditions, )ut, in fact, he appears in all of the four schools -elug, 8a!ya, "agyud and 5y ingma.% The si6th #ham is called yalon % It is the individual dance of yalpo (heyar and +onpos #hos!yong Rol$a, Tsimar etc% 8o on the first day, there are different stages of dance from first to si6th, $hich include the invitation, the sitting and the return%
1% 2% ?% @% A%
>n the second day, there is a recital of the "argyud prayers follo$ed )y charaya and then a performance of the #ham of 5gancham% It is said that yal$ang Rinchen (huntsog $ent on pilgrimage and meditated for three years, three months and three days% uring this retreat he visited =angdong (aril $here uru Rinpoche resides% 4rom uru Rinpoche and other ods and odess he received the empo$erment of Tantrayana% The 5gancham consists of< #hindrin +amdro #higdu 3elong utsig +o)on (ema Jetsun ha!pa fter, they start to perform each 'humi -8a. up to the t$entieth% The thirteenth to the t$entieth )elong to Tantrayana%
The ten 'humis of the 'oddhisattva path are< 1% Ra)tu ava 8a -the e6tremely oyous. 2% rimamepa 8a -the stainless. ?% >hepa 8a -the luminous. @% >htrova 8a -the radiant. A% Jang!ava 8a -the difficult to overcome. B% 5gondu chogpa 8a -the approaching.
C% D% 9% 10% 11% 12%
Ringdusongva 8a -the gone afar. 3eyova 8a -the immova)le. +egpe +odo 8a -the good intelligence. #hos!itin 8a -the cloud of harma. 3achag (adma #hangi 8a 5atsog ore #hangi 8a The last five 'humis are called Rinin 5ga% To attend the performance of these different stages of the #hams prevents one from going to hell after death% In that one )ecomes familiar $ith the various deities that might )e encountered in the 'ardo, such attendance has many spiritual )enefits% (rayers are recited to each of the deities involved% Then come the individual dances of (helchenmo, Heru!a, 5govo endun, =am endun, Thorchen, (helchen #heydog, ordon, the 8hava, Thalcham, Thulcham and =orcham and all stages of 8angngag% It is important to perform the offering #ham of #haggya "argi #hodpa% There are differences in character and style )et$een the angrigar #ham and the Thil #ham% The Thil #ham is much faster than the slo$er angrigar% The 7step on toes7 step is only found in the angrigar style, and the $al! is li!ened to a )alloon floating on a river% In Thil #ham the steps are li!ened to the movement of s$ans% lso, the sounds of the cym)als are different in the t$o styles, angrigar sounds li!e *!o$ang !ong !o$ang !o$ang !o$ang* $hilst the cym)als of Thil music sound li!e *!ong thang thang thang thang*% The a)yum should move their heads li!e a lion turning his head until his hair )ecomes )raided into a tight )un% yal$ang #hung Rinpoche is said, in a lost te6t, to have had a dream of the #ham )eing performed )y t$o mon!eys $ho rolled their heads this $ay% 4irst they move their heads very slo$ly, li!e this, then gradually )ecoming faster and faster to tie very tightly at the end% In angrigar the movement is performed more slo$ly, li!e this% Thus everything in Thil #ham can )e said to )e faster, the steps and the movements% alog "onchog Thu)ten #hoda! is the head +ama of "angur% He has performed )oth angrigar and Thil #ham% He is of the opinion that although angrigar is slo$er and Thil faster, there are no other maor differences )et$een the t$o styles% I $as also as!ed to spea! a)out $hy it is important to learn the #ham dance% This is a very important discipline for all% It is necessary t o do #ham retreat for ten or fifteen days% Everyone should learn all of the #hams e6cept for the 8hava -deer. #ham $hich should only )e done )y special performers% If all the steps and movements are correctly performed in t he right time, then not only does it loo! good for the audience )ut it is also easier for oneself% 'ut if the #ham is only learnt )y some elder lamas and not properly taught to the younger lamas then it does not loo! good to see them only follo$ing the steps of the leaders in the dance% Here the #hampon -dance master. moves to the left $hile some of the others move right, loo!ing to right and left and using the $rong steps and movements% 8ince this does not loo! good to the vie$ers it is imperative that each individual should learn the correct steps and perform the #ham properly% 4ormerly there used to )e only one #hampon -dance master. called 3eme 5gayro% nother mon!, called 3eme Jor)a used to perform the 5yingma/style correctly )ut not the 8arma/style% 8ometimes he $ould ust go to the middle $ith #hampon, and people $ould say *3eme Jor)a, act li!e a real #hampon* If everyone does not perform the same hand movements at the right time then not only does it loo! )ad )ut there is a ris! of accidentally hitting each other% Hand movements must )e done correctly or the dancers ris! having their arms loo! li!e the $aving legs of a )eetle% ;hen performing the ingcham the dancers should not enter into the circle formed )y the dancing mon!s, that only occurs $hen the 5ya)o -evil. is destroyed and held in the hand% E6cept for those t$o occasions the dancers should stay on t he outside of the circle% It is import ant that the circle )e large and that the #hampon should )e in the middle% It is very important that the young mon!s )e interested in learning #ham% #ham is performed in all the schools of 'uddhism% >f particular note and of great spiritual )enefit among the ri!ung #ham are the "a)gyat #ham and the different stages of the (hurpey =halig #ham%
lthough there is much more to tell that is enough% ou should find out more a)out Thil #ham from en Jospel -u)ang Rinpoche.% "a)ye Rangdol 5yima is also concentrating on #ham% ;hen I $as in Ti)et, I too! much interest in #ham and learned various dances, pchi, endun, 5gancham, =orcham, =ha, 5amsras and onpo endun% The Ti)etan #ham of angrigar and ri!ung Thil still e6ist today in three "argyud monasteries in +ada!h% The styles of #ham in "ham and in +ada!h are different, the +ada!hi #ham )eing of the same style as in angrigar% I $ish to than! )oth of you for your hard $or!% I have told much, )ut can7t say more% Julley*
The photo a)ove sho$s the only !no$n mandala/dance/diagram for #ham% It7s rarity nonetheless inspires insight into the synergy and integration of the arts in the mystical practice of tantric 'uddhism%
Source: http://www.coreofculture.org/a-sacred-drikung-teaching-on-cham-by-hiseminence-togden-rinpoche-of-phyiang-monastery.html
