Professional Documents
Culture Documents
A Sacred Drikung Teaching On Cham - Togden Rinpoche
A Sacred Drikung Teaching On Cham - Togden Rinpoche
by
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.
Jamba Ku
Padmey Zhug
Phagpa Thinley
Mamapothong
Rigzin Lonpo
Jigten Chochod
Moepa Dranak.
The above duties were all successfully performed together with of ceremonies of intitiation and the
performance of religious dances.
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:
1.
Chindrin Lamdro
2.
Chigdu Melong
3.
Dutsig
4.
Lobon Pema
5.
Jetsun Dhakpa
After, they start to perform each Bhumi (Sa) up to the twentieth. The thirteenth to the twentieth
belong to Tantrayana.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
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.
Source: http://www.coreofculture.org/a-sacred-drikung-teaching-on-cham-by-hiseminence-togden-rinpoche-of-phyiang-monastery.html