The Chham Celebration of Bhutan
Move and music have a vital 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, common events and shared encounters. We will take a gander at the noteworthiness and the spot of Chhams( Veil Moves) 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 comparable part to play in joining the general population. Through these moves, the normal individuals come to know their place ever of nation. Chhams are generally performed amid Tshechu celebration.
The chhams were made principally to pass on religious messages to individuals. Some were made by Master Rinpoche while others were made by Tertoen Pema Lingapa, Zhabdrung Rinpoche and other incredible holy people. Amid the cover moves, the gods of the tantric lessons are summoned and through their influence and favors, mishaps are expelled. Every single underhandedness soul and evil presences which are keeping the spread of Chhoe (the principle) are stifled with the goal that the teaching of Ruler Buddha may thrive and convey euphoria and joy to all creatures.
Veil moves are performed by priests just as by laymen. Coming up next are a portion of the moves performed amid the Tshechu celebration.
The artists of Zhana Chham wear wide tall dark caps, customary boots. The artists expect the presence of Neljorpas (Yogis) and along these lines they stifle the adversaries of the precept. This is done so as to lead the creatures or spirits to Buddha’s instructing. This move is additionally executed as a ground purging custom amid the development of Dzongs, Lhakhangs and Chortens. The point is to conciliate the malicious 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 purged. All snags to conviction and comprehension are expelled. In light 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 an unnerving veil. The move has an exceptionally profound emblematic importance. A custom penance is done. The moves speak to the divine beings. They attract and encompass the malevolent spirits and catch them in a container. The main artist at that point demolishes them by wounding them with a Phurba (Custom Blade). The artists in this way, not just spare the world from the detestable spirits yet additionally free them from insidiousness deeds.
Tungam Chham demonstrates the frightening type of Dorji Dragpo (Furious Jolt), Master Rinpoche accepted so as to stifle the foes of the convention.
Ging Tsholing Chham
This is a move which consolidates two gatherings of characters in particular Ging and Tsholing. The Tsholing artists have long bright brocade dresses and wear startling covers. The Ging artists wear Tagshams(Tiger Skin Skirts) and startling dim blue (male) and red (female) veils with banner to finish everything. Each Ging artist conveys a Nga (Drum) in his left hand and a drumstick morally justified.
Ging Tsholing Chham was performed out of the blue by Master Rinpoche so as to stifle the evil presences that were keeping the development of Samye religious community in Tibet. Master Rinpoche, through his supernatural forces, changed himself into different savage types of the defenders of the regulation. He along these lines was ready to quell the evil spirits as well as secure their aides in developing the cloister. These changes of the Master are showed in the Ging and Tsholing chham.
Amid the Tshechus celebration, Ging Tsholing is likewise performed to decontaminate the zone just before the showcase of Master Tshengye and their entourage. High pitched whistles are sounded to pursue away the malicious spirits. The Ging artists tap the onlookers on the head with their drumstick to pursue polluting influence out of them. The Tsholing artists, in the wake of having annihilated the malicious 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 thumping the drums.
Master Tshengye Chham
Master Rinpoche expected different structures so as to support every living being. The move of Master Tshengye delineates his eight fundamental signs. The presentation of the brilliant deeds of the incomparable Master amid the move reinforces the confidence of the onlookers.
The Master Tshengye Chham starts with the presence of Master Dorji Drolo. Alternate signs tail him at customary interims. All the eight signs wear long brocade dresses and individual covers. Master Rinpoche himself at last enters the scene gone to by different individuals from the entourage. He is joined by his two fundamental consorts, specifically Khando Mandarava to his right side and Khando Yeshey Tshogyel to his left side. The pixies or orderlies are symbolized by youngsters wearing white covers.
Master Rinpoche sits down on the position of royalty while his signs perform singular moves thusly and on consummation, sit straight close to the Master. The onlookers, amid the move, prostate to Master Rinpoche and get favors. It is additionally a holy event for a portion of the observers. They get new name for their children from the Master.
The entourage additionally comprises of Ringa Chudrug (sixteen pixies). They wear wonderful brocade dresses and cut bone fancy cook’s garments. They sing and move before Master Rinpoche and his appearances. The yearly Tshechu more often than not finishes with Master Tshegye move.
The Paccham artists are wearing knee length yellow skirts and Ringa (brilliant crowns) and they don’t wear veils. 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 Master Rinpoche. Pema Lingpa presented a similar move on earth so as to lead the aficionados and devotees to the heaven of Master Rinpoche after their passing.
Drametse Nga chham
Drametse Nga chham is performed by sixteen artists, each wearing a cover speaking to either a creature or a fowl. 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 contemplation, landed at Zangdopelri and met Master Rinpoche. There, in his vision, the chaperons of Master Rinpoche changed themselves into divinities looking like the essences of various creatures and winged creatures and played out a move.
Kuenga Gyeltshen watched the move and built up the custom of this move at Drametse. The move is, in this way, famously known as Drametse Nga Chham.
This move is performed by four artists wearing knee length silk skirts and stag veils. Master Rinpoche curbed the Lung Lha (Lord 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, accordingly, performed in appreciation to Master Rinpoche for this.
Durdag Chham is the move of the Masters of the Incineration Grounds and is performed by four artists. They all wear white outfits and white skull veils.
As per the Buddhist conviction, there are eight Incineration Grounds where Chhochongs (defenders of religion) live. Among the Chhochongs are the Duthrod Dagmos(Lords of the Incineration Grounds) who are bound by the vow to shield the tenet from the wicked foes.
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 Master Rinpoche and rediscovered later by Tertoen Karma Lingpa in the fourteenth Century. As indicated by the Bardo Thodroel, when living creatures pass on 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 (Master of Death) those creatures who have experienced their lives as indicated by the regulation are compensated. Then again, heathens and non-adherents of the regulation need to go through the terrifying Bardo. For their transgressions, they face resurrections in various Nyelwa (hells) where they are tormented by the alarming gods. These delinquents need to persevere through their sentence until they are purged of every one of their wrongdoings lastly increase legitimate resurrection. The sentence might be spread more than many years relying upon the kind of wrongdoing.
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 devil), Raksha Lango (the Bull headed Equity Priest) and different gods wearing veils of various flying creatures and creatures.
Raksha Marchham is viewed as uncommon and it is trusted that an individual is somewhat filtered from his or her transgressions each time the person observes the move. The primary reason for the move is, to remind individuals to have great existences with the goal that they are conveyed from the unnerving Bardo and can have more joyful occasions in their next lives.