Bhutan’s Famous Chham Festival

The Chham Festival of Bhutan

Move and music have a significant impact in the social existence of the general population of Bhutan. Every town and network has a rich convention of move which denotes the passing seasons, collective events and shared encounters. We will take a gander at the noteworthiness and the spot of Chhams( Mask Dances) performed amid the celebrations through the historical backdrop of the general population of Bhutan.

Much the same as the structure of the Dzongs and the setting up of the Chhoesi framework, the moves have had a comparative part to play in joining the general population. Through these moves, the common individuals come to know their place ever of nation. Chhams are typically performed amid Tshechu celebration.

The chhams were formed basically to pass on religious messages to individuals. Some were made by Guru Rinpoche while others were made by Tertoen Pema Lingapa, Zhabdrung Rinpoche and other extraordinary holy people. Amid the veil moves, the gods of the tantric lessons are conjured and through their influence and favors, mishaps are evacuated. Every single malevolence soul and evil spirits which are avoiding the spread of Chhoe (the convention) are stifled with the goal that the tenet of Lord Buddha may prosper and convey delight and bliss to all creatures.

Cover moves are performed by priests just as by laymen. Coming up next are a portion of the moves performed amid the Tshechu celebration.

Zhana Chham

The artists of Zhana Chham wear wide tall dark caps, conventional boots. The artists accept the presence of Neljorpas (Yogis) and along these lines they curb the foes of the regulation. This is done so as to lead the creatures or spirits to Buddha’s instructing. This move is likewise executed as a ground filtration ritual amid the development of Dzongs, Lhakhangs and Chortens. The point is to mollify the insidious spirits of the ground and to claim the site from them.

The practices did amid the move are special to the point that just by observing them one is cleansed. All snags to conviction and comprehension are evacuated. In view of its significance Zhabdrung Rinpoche used to play out this custom himself.

The Tungam Chham

The artists of Tungam Chham wear delightful brocade dresses, customary boots and a startling cover. The move has a profound representative importance. A custom penance is completed. The moves speak to the divine beings. They attract and encompass the insidious spirits and catch them in a container. The main artist at that point wrecks them by wounding them with a Phurba (Ritual Dagger). The artists in this manner, not just spare the world from the shrewd spirits yet in addition free them from malice deeds.

Tungam Chham demonstrates the frightening type of Dorji Dragpo (Fierce Thunderbolt), Guru Rinpoche expected so as to repress the adversaries of the tenet.

Ging Tsholing Chham

This is a move which consolidates two gatherings of characters to be specific Ging and Tsholing. The Tsholing artists have long bright brocade dresses and wear frightening covers. The Ging artists wear Tagshams(Tiger Skin Skirts) and frightening dim blue (male) and red (female) covers with banner on top. Each Ging artist conveys a Nga (Drum) in his left hand and a drumstick justified.

Ging Tsholing Chham was performed out of the blue by Guru Rinpoche so as to repress the devils that were avoiding the development of Samye cloister in Tibet. Master Rinpoche, through his mystical forces, changed himself into different wild types of the defenders of the regulation. He along these lines was ready to quell the evil presences as well as secure their aides in developing the cloister. These changes of the Guru are showed in the Ging and Tsholing chham.

Amid the Tshechus celebration, Ging Tsholing is likewise performed to filter the territory just before the presentation of Guru Tshengye and their entourage. Abrasive whistles are sounded to pursue away the malevolent spirits. The Ging artists tap the onlookers on the head with their drumstick to pursue pollution out of them. The Tsholing artists, subsequent to having crushed the underhanded spirits symbolized by a picture in black box, are pursued away by the Ging. The Ging artists remain behind and play out the move of triumph by pounding the drums.

Master Tshengye Chham

Master Rinpoche accepted different structures so as to support every living being. The move of Guru Tshengye delineates his eight fundamental appearances. The showcase of the sublime deeds of the incomparable Guru amid the move fortifies the confidence of the observers.

The Guru Tshengye Chham starts with the presence of Guru Dorji Drolo. Different appearances tail him at ordinary interims. All the eight appearances wear long brocade dresses and individual covers. Master Rinpoche himself at long last enters the scene gone to by different individuals from the entourage. He is joined by his two principle associates, in particular Khando Mandarava to his right side and Khando Yeshey Tshogyel to his left side. The pixies or chaperons are symbolized by youngsters wearing white veils.

Master Rinpoche sits down on the honored position while his signs perform singular moves thus and on fruition, sit straight close to the Guru. The onlookers, amid the move, prostate to Guru Rinpoche and get favors. It is additionally a consecrated event for a portion of the observers. They get new name for their infants from the Guru.

The entourage likewise comprises of Ringa Chudrug (sixteen pixies). They wear wonderful brocade dresses and cut bone decorative covers. They sing and move before Guru Rinpoche and his appearances. The yearly Tshechu as a rule closes with Guru Tshegye move.

Pachham

The Paccham artists are wearing knee length yellow skirts and Ringa (brilliant crowns) and they don’t wear covers. They convey a Drilbu (a little chime) and a Tangte (a little drum) in each hand. This move tells how Tertoen Pema Lingpa, in a dream, in the heaven of Zangdopelri. He saw this move being performed by Pawos and Pamos who were driving the dead devotees to the nearness of Guru Rinpoche. Pema Lingpa presented a similar move on earth so as to lead the enthusiasts and supporters to the heaven of Guru Rinpoche after their passing.

Drametse Nga chham

Drametse Nga chham is performed by sixteen artists, each wearing a veil speaking to either a creature or a winged animal. They have a Nga in their left hand and a drumstick in the correct hand. They wear knee length yellow silk skirts.

Around the finish of the fifteenth century, Lam Kuenga Gyeltshen, one of the relatives of Pema Lingpa, left Bumthang joined by his sister, Ani(anim) Choten Zangmo. They arrived and settled at Drametse in eastern Bhutan.

Kuenga Gyeltshen, in his vision amid the reflection, touched base at Zangdopelri and met Guru Rinpoche. There, in his vision, the chaperons of Guru Rinpoche changed themselves into gods looking like the essences of various creatures and feathered creatures and played out a move.

Kuenga Gyeltshen watched the move and built up the custom of this move at Drametse. The move is, along these lines, prominently known as Drametse Nga Chham.

Shazam Chham

This move is performed by four artists wearing knee length silk skirts and stag veils. Master Rinpoche curbed the Lung Lha (God of Wind) who was making enduring the general population of the world. He rode on the Lung Lha’s stag and reestablished harmony and satisfaction on the planet.

Shazam Chham is, along these lines, performed in appreciation to Guru Rinpoche for this.

Durdag Chham

Durdag Chham is the move of the Lords of the Cremation Grounds and is performed by four artists. They all wear white outfits and white skull covers.

As per the Buddhist conviction, there are eight Cremation Grounds where Chhochongs (defenders of religion) live. Among the Chhochongs are the Duthrod Dagmos(Lords of the Cremation Grounds) who are bound by the vow to shield the tenet from the wicked adversaries.

Raksha Marchham

Raksha Marchham or the move of the Judgment of the Dead depends on the Bardo Thoedroel(Book of the Dead), a content covered up by Guru Rinpoche and rediscovered later by Tertoen Karma Lingpa in the fourteenth Century. As indicated by the Bardo Thodroel, when living creatures kick the bucket they meander in the Bardo (state between one’s demise and resurrection). The Buddhas amid the period show themselves into various structures and collect to do the equity on the dead creatures as indicated by their deeds in their past lives. While showing up before Shinje Chhokigap (Lord of Death) those creatures who have experienced their lives as per the precept are remunerated. Then again, heathens and non-adherents of the principle need to go through the alarming Bardo. For their wrongdoings, they face resurrections in various Nyelwa (hells) where they are tormented by the alarming divinities. These delinquents need to bear their sentence until they are sanitized of every one of their transgressions lastly increase appropriate resurrection. The sentence might be spread more than many years relying upon the sort of transgression.

The judgment given relies upon the distinctive ways of life in their past lives. The judgment by the get together of Buddhas is sensationalized through the Raksha Marchham move. The Buddhas show themselves into Shinje Chhoekigap, Lhakaap(white god), Dre Nagchung( dark evil spirit), Raksha Lango (the Ox-headed Justice Minister) and different divinities wearing covers of various flying creatures and creatures.

Raksha Marchham is viewed as extremely exceptional and it is trusted that an individual is incompletely sanitized from his or her wrongdoings each time the person observes the move. The principle reason for the move is, to remind individuals to have great existences with the goal that they are conveyed from the startling Bardo and can have more joyful occasions in their next lives.

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