Lord of the Dance: The Mani Rimdu Festival in Tibet and Nepal

Lord of the Dance

SUNY Series in Buddhist Studies Matthew Kapstein, Editor

Lord of the Dance The Mani Rimdu Festival in Tibet and Nepal

Richard

J.

Kohn

Sta:te University of New York Press

Published by State University of New York Press, Albany © 2001 State University of New York

All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without writteri permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, address State University of New York Press, 90 State Street, Suite 700, Albany, NY 12207 Production by Michael Haggett Marketing by Patrick Durocher

Library of Congress Cataloging-in-Publication Data Kohn, Richard J., 1948Lord of the dance : the Mani Rimdu Festival in Tibet and Nepal I Richard J. Kohn. p. em. - (SUNY series in Buddhist studies) Includes bibliographical references and index. ISBN 0-7914-4891-6 (alk. paper) -ISBN 0-7914-4892-4 (pbk : alk. paper) 1. Mani Rimdu Festival. 2. Buddhism-Nepal-Steng-chen-dgon (Monastery : ThyAngboche, Nepal)-Rituals. 3. Dance-Religious aspects-Buddhism. 4. Tantric Buddhism-Rituals-Texts. 5. Rfiin-ma-pa (Sect)-Rituals. I. Title. II. Series. BQ5720.M28 K64 2001 294.3'436'095496--dc21

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Contents

List of Tables List of Illustrations Matthew T. Kapstein Foreword Preface Sources and Methodology Abbreviation Key Part I 1 2 3 4 5 6 7

ix xiii xvii xxi XXV

xxxiii Orientations

Introduction The Gods Deity Yoga The Sworn Protectors History: The Lord of the Dance Rituals Tibetan Religious Dance The Officiants Part II

3 9 31 35

49 55 63

The Days

8 9 10 11 12 13 14 15 16 17 18

The Days Day Zero: Exorcism Day One: Site, Preparation, and Drawing the Ma.Q.aki.ni Dancer, Thami 1983

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DAY FIITEEN

If you want to sing the Song of the Queen of SpringHom! I pray To every Tathagata, And to all the Heroes and Yoginis, Sky Walkers and Sky Walking Women! In bliss Joyous Heruka,

Maddened with bliss, comes to the Mother, And enjoys [her] according to ritual, Entering into innately blissful union. A Ia Ia! La Ia hob! A i ab! Arali ho! Stainless hosts of Sky Walkers! Look on me with love! Do every deed! Hom! I pray To every Tathagata, And to all the Heroes and Yoginis, Sky Walkers and Sky Walking Women! Bliss has much moved my mind, So, my body moving much in dance Plays in the lotus of the mudrll. Make this bliss An offering to the hosts of Yoginis! A Ia Ia! La Ia hob! A i ab! Arali ho! The prayer takes but a minute to read. Then, to a soft accompaniment of cymbals and drums, the Sky Walkers begin their elegant and gentle dance. A minute later, they face the dais once more and the monks begin to pray. Their final dance is somewhat differ~nt. At first, the dancers move forward and backward a short distance, perhaps a foot. Then, they circle the altar playing their t/.amaru. Their playing stops as they wait to make their exit, but each resumes as he leaves the stage.

DANCE TEN-THE SEER The Sherpas call the star of tenth act the "Tolden" (Tib., rTogs !dan), the Seer. Like the Sky Walker dance, the Seer is a celebration of the enjoyment the feast. However, Trulshik Rinpoche explains, whereas the former was serious celebration, the latter is comic. 145

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At Rongphu, the act is said to have been a rather short affair-no more than two hours long. The Seer simply explains a little Buddhist doctrine and then leaves. 146 In Solu-Khumbu, the Seer is'.by far the longest act of Mani Rimdu-often enduring a staggering four-and~one-half hours. It is also the most beloved. The day of the dance is a long one. Now and again, members of the audience take a break at the tea shops. During most of the day, these shops do a thriving business; during the Seer, they are often deserted. 147 In 1994, a thousand people jammed the monastery to see the Tolden. Much of the present-day Seer's performance is devoted to clowning. One highly placed Tibetan monastic informant voiced mild disapproval of this custom, finding it inexplicable except for the fact that, in his words, "Sherpas like a lot of 'ha ha."' In general though, Tibetans enjoy the Seer's antics every bit as much as the Sherpas, and monks laugh as loudly as laymen. Most years, the monks can be seen crowding the dais-their place of privilegecraning around the pillars to catch a better view. The name rTogs ldan, "Seer," means "he who has penetrating insight." According to Ngawang Yonten, who has played the part for many years at Chiwong, the Seer lives up to his name. He is a Buddhist yogi capable of doing in truth all the things he acts out in the dance, such as balancing on the point of a sword without being impaled. The Seer wears the red and white striped shawl of a Buddhist yogi. The rest of his costume is in keeping with his character: bone earrings, a top-knot, and a yellow vest or shirt. He carries the thigh-bone trumpet and large\doubleheaded (jamaru drum (gcod (jam) which mark the chOpa (gcod pa), the practitioner of the yoga of cutting-off. gCod is a fearsome rite steeped in the shamanic traditions of an earlier age. The meditator imagines that he cuts up his body and offers it to all flesh-eating demonic forces in want of food. The Seer's script specifies that he perform the rite, which he does, cirCling the courtyard and singing in the plaintive voice typical of gcod song. During one performance of Mani Rimdu, I heard the Seer shout, "I am a Kagyii yogi!" 148 According to some sources, the Seer represents a specific historical figure, and the dance portrays his life and demonstrates his powers. 149 The Seer's half-mask has the dark complexion, large nose, and protruding eyes of a caricature Indian. The half-mask leaves his mouth relatively free, and indeed he is the only character in Mani Rimdu that speaks. Much of what he says is found in manuscript form, although some dialog may be transmitted orally, without reference to a printed page. Some of this memorized but unwritten material belongs to the 'dre dkar tradition-a school of itinerant satirical performance. For Stein, the 'dre dkar, or "white demon," actor exemplifies that uniquely Tibetan personality: "ambiguous figures whose character is at once sacred and hilarious." 150 The same could be easily said of our Seer, and to an extent, of the other coll).ic figure of Mani Rimdu, the Long-Life Man.

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The script used for much of the Seer's dialog at Chiwong is a ragtag miscellany of papers, obviously in many hands and possibly of several generations. The text begins with a description of the Seer's entrance and then goes into his rather lengthy sermon. The selection below gives all of his entrance and a little of the sermon-just enough to give its flavor. 151 The Seer's Schedule At the beginning, when coming from inside the Assembly Hall, come out saying, Mao.i ho, Padme hrlb [Then, go for refugej1 52 Then, make yourself known. 153 Then, [recite]The three roots, collected ... 154 Also, then explain religion. 1ss Then, teach about impermanence. 156 [Then, the ten non-virtues, etc.jl 51 Then, offer incense to the gods. 158 Also do a song and dance. 159 [Also, then, there is the 'dre dkar dance.jl 60 Then, the Bro brdung. 161 Then, do an empowerment. 162 Then, do the "Attracting Fortune" 163ris gu 'khu yo 'khu yo! smug pa 'khu yo 'khu yo! 164 On this residence, today Luck and fortune, 'khu yo! 'khu yo, fortune, 'khu 'khu yo! Then, offer a Long Life Prayer. Then, do the Auspicious Omens. 165 The Long Life Prayer is done after the "Truths" 166-

Om svasti! By the intrinsic power of The three supreme undeceiving truths of the Lama, And the truth of the Tutelary and Sky Walkers, And the truth of the Sages (rsi) and Knowledge BearersHere and now, may I achieve the results of my wishesP 67 Ananda, the sublime son of the Fourth Guide, The incarnations that in succession come, [each] a new dance [of] The sublime one named Ngawang Losang Donag, 168

The Days That their lives remain firm for a hundred reons, I offer with respect this long life prayer! 169 The Lama's body is a diamond body, Brilliantly shining, forever everywhereInconceivable, perfect in its qualities! offer with respect this long life prayer to the Lama's body! The Lama's voice is the song of Brahma. It resounds like the unstoppable lion's roar. I offer with respect ... To the Lama's speech, which vanquishes the non-believer's perverted views! The Lama's mind is like the skyThe blissful, clear, unimpeded realm of the sky! I offer with respect ... To the Lama's mind! The unchanging body! The Lama's body! The unimpeded speech! The Lama's speech! The unmistaken mind! The Lama's mind! I offer ... this long life prayer to the Lama's body, speech and mind. Especially, all the holy, highly born who uphold The Sugar Cane Man's precious teaching, 170 Those who uphold the teaching in broad Jambu-land, 171 That their lives remain firm for a hundred reons ... The noble clergy who Cleave to the Conqueror's teaching, Beautified by the jeweled ornaments of the three learnings, the transmissions and understanding, Those who strive to hold others dearer than themselves, That their lives ... Especially, the kind patrons of the teaching who bear the lineage Of the Sovereign Nyima Wozer, 172 Those who, in general, bear the lineage Of he who was named Lama Sangyay of the Nyang clan, I offer with respect ... Especially, to work for the pleasure, happiness and glory Of every form of being born in broad Jambu-land,

223

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DAY FIFTEEN

And to pacify all disease, darkness, strife, dispute and trouble, And then to spread the Buddha's teaching, with respect, I offer a long-life prayer! Namo Guru! I bow to Ngawang Norbu's feet! The root of all religious [teachings] Is twofold-Philosophy (mtshan nyid), the cause vehicle; And Mantra, the effect vehicle. In the cause [vehicle], Philosophy, there are the ten perfections, and so on; And in the effect [vehicle], Mantra, there are the nine successive vehicles, and so on. Action Tantra, BehaviorTantra, Yoga, [and] Unexcelled [Yoga] Tantra Are the four classes of tantra. The first, Philosophy (mtshan nyid), has two parts: The Branches of What is to be Explained, And What is Actually to be Explained. The first among these is the door -the method of relying on a spiritual friend. Also, there is the thing to be abandoned-a perverted spiritual friend; And the thing to be taken up-the method of relying on a spiritual friend, and so on. If this has not been done already, 173 Th~ Great Orgyan said"Not checking a lama is like drinking poison. Not checking a disciple is like jumping off a cliff." The method of relying on a virtuous friend-since that's over withPart two has three parts-The Way a Master Explains Religion, The Way a Disciple Listens, and How Master and Disciple Explain and Listen to Religion Respectively. 174 Among these, there is also the way the Master, the Buddha, explained religion; the way the Arhats explained religion; the way the masters, the pa!J4itas explained religion-and so on. There are many of them. However, if you summarize themPart Two-The Way Disciples Listen, has two parts: Motivation and Behavior. This also has two parts: The Vast Concept of the

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Bodhisattva's Motivation, and The Vast Method of the Motivation of the Secret Mantra. Regarding the first, The Vast Conceptyou must cast aside thoughts of this life. The all-pervading sky is pervaded by beings, And among all those beings, who are pervaded by suffering, there is not a one who has not been your father and mother. When they were your parents, their kindness was great. They gave you the first taste of food, covered you up with the very best of clothes-put simply, they had extreme loving kindness. In order to liberate all those who have acted with such kindness from the ocean of samsara, and to get them liberation and the precious state of enlightenment, right now, having heard the holy and profound, I must have the sound motivation which considers that [I should] practice it. A monk of Khumbu interviewed by anthropologist Vincanne Adams sums up the Seer's message: When you are born, you must die. Everyone gets sick, but this [process] shows one the physical body. It will get sick, disease and die. The main idea is that you must meditate. Otherwise, you are wasting your time. Tolden says that the lama, shaman, doctor-none can save your life. They will care for the sick people, but we are all mortaljiktenpa ('jig rten pa)-destructible bodies. At the time of death, nobody can save you. Not even your relatives can help you then. You must leave your body behind. Then you must walk by yourself. 175 The Seer's speech is a linguistic hodgepodge. One moment he will banter with the CDO in Nepali. The next, he will speak Sherpa, or quite passable central Tibetan dialect. Religious discourses, like the one above are in a more classical Tibetan. There is hardly the space here to describe four-and-one-half hours of comedy. Many elements of the Seer's performance, such as the 'dre dkar tradition are yet to be explored by Western scholarship. The Seer himself could.easily be the subject of an entire book. Before we leave him however, it would be good to describe one of his more significant acts in some detail. The sword trick is a major feature of the Seer's yearly performance. In preparation, the actor strips off his upper garments and takes up a large sword. He prays over the weapon, dances in a circle and sings. Halting near

226

DAY FIFrEEN

the edge of the courtyard, he places the sword upright, bracing the handle against the flagstone floor. He bends over, placing his weight on the sword point and balancing from the waist. The crowd begins to throw money. The Seer circles the courtyard further and stops at another spot to repeat his. balancing act. A second flurry of coins clatters to the ground. Once more, the Seer moves on and for a third time bends over his sword. This time he puts on the pressure and the sword bends. Money hails. The liturgy the Seer recites during his trick is real. It is one of the "Showering Blessings" rituals used in Mani Rimdu. The mudni he makes is likewise genuine-the iron hook gesture that is used to summon supernatural entities/forces into our realm. The sword, however is fake. Dull-pointed and made of flexible steel, it is easily bent when braced in the heavy folds of cloth around the waist of the Seer's costume. 176 The actor who plays the Seer discusses this piece of stagecraft openly and without any reticence. To at least some of the members of the audience, however, his act is no trick. For them, it is only the power of the mantra that protects the Seer from certain death. For one Sherpa informant, a young, successful English-speaking businessman, the sword trick was a sign of the very efficacy of his religion. Were he to think it was fake, he said, he would lose faith in his own culture. Others less subject to the pressure of foreign ideas might have a less drastic reaction. As the Seer leaves the courtyard, he shouts "Farewell, good-bye, I'll come back tomorrow or the next day." 177 It will be a year before the audience sees the Seer again. Many members of that audience will be the same as this year and year before. No matter how often they have seen him and how many times they have heard his jokes, they will await him eagerly. An old joke is an old friend and he who brings one is always welcome. The figure of the Seer has features in common with characters of other 'chams. Like the Mongolian eagan obo, the "White Old Man," he alone among the dancers is allowed to speak. 178 Like both the eagan obO and the atsara of other traditions, he collects money from the spectators. The atsara-their name is presumably from the Sanskrit acarya-are worth a few more words. Like the Seer, their masks are dark brown or black, often bearded and have a large nose. Their hair is long or in a top-knot. According to all accounts the atsara represent the Indian yogis they indeed resemble-figures designed to "ridicule the priesthood of Hinduism. " 179 There is evidently some relation between the Seer and the atsara, but of what it consists we may only speculate. As we have shown above, the Mani Rimdu Seer is no figure of ridicule, nor is he considered to be a Hindu. It may be that here we see the mask and costume of a comic stock Hindu given a new name and put to a new use. It should not be forgotten that the longhaired yogis of ancient India (or of modern Tibet) were not all Hindus. It may well be that at least some of the atsara of other traditions like the Seer are

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Buddhist yogis, and for all the laughter they provoke, figures of reverence rather than ridicule. Throughout much of his act, the Seer is accompanied by the figures of an old man and woman, and their child, the rag doll effigy of the liberation dance. The old man and woman also have analogues elsewhere. In eastern Tibet, for example, we fmd a nomadic yak-herd and his wife leading a cow, the man armed with a sling and his wife, carrying a milk pail. 180 The old couple that appear with the "Ha Shang" at Choni have some interesting parallels to our own. The couple at Mani Rimdu carry a doll, and to some extent abuse it. At Choni, "after the litzga had been cut up," the old couple "hurled pieces of the dough effigy among the spectators." 181 The sword trick also has analogues outside the realm of sacred dance. Similar demonstrations are in the repertoire of several Tibetan oracles. Candidates for the oracle of Nechung must twist a heavy sword into a spiral. 182 In his memoirs, Nebesky-Wojkowitz describes a performance by an oracle of the god Dorje Shugden: A servant pressed a short sword into the oracle priest's right hand. The seer placed the point against his hip, where a strong leather strap showed under his brightly colored apron, and pushed on the handle until the blade doubled up. 183 Such a twisted sword is called a "knotted thunderbolt" and is valued as a defense against the supernatural. Hung next to the door, it can prevent malignant spirits from entering. 184

DANCE ELEVEN-THE REMAINDER The eleventh dance concerns the remainder of food on the feast plate, the "jutho," to use the Indian and Nepali term, 185 the leftovers from the offerings to the gods of the ma~;ujala and the gods of the body. The figures of the remainder dance wear the costumes of the two Black Men, the relatively lowly supernatural entities that were seen earlier serving the local god. The Chant Leader of Thubten ChOling firmly states, however, that they are not the two Black Men, identifying them instead simply as the "Remainder's" (!hag ma).l86

As the name implies, the ritual used here is the Remainder of the Feast: Hum! Among Great Compassion's circle of attendants, You who possess a vow to defend the teachingThe hosts of Ladies, Sky Walkers, Ging [and] Langka, and Sorcerers, Slow-Walkers (shugs 'gro) and Malefactor/Benefactors.

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You are fearsome in form; you have ornaments of violence. You judge [our] quality; you gauge the warmth [of our practice]. You follow vows; you circulate among the cemeteries. Together with your individual incarnations and messengers, Please eat these glorious left-overs! And act in accord with your vows! Om ucchi(>ta balirhta khahi 187 The commentary further refines the list of the guests to be invited to offering or the remainders. The twenty eight isvarl, the thirty-two Sky Walkers, the eighteen great Ging, the three types of langka. 188 Further, the seven Grandmothers, the four Sisters, the eight Blazing Women, the three-hundred sixty Messengers, and so on. And those of the race of Sorceresses, shugs 'gro, and Malefactor/Benefactors. 189 Taking these passages into consideration, it would seem that the "Remainders" costume represents a status in the supernatural hierarchy rather than an absolute identity. As Tengpoche Rinpoche puts it, these beings are "servants who are not supposed to feast with the. other deities. " 190 The dance is simple and short. 191 Two black-clad dancers enter, one wearing a green mask, the other a red one. They race around the courtyard an