Reconstructive criticism

Dancing in the semi-dark
Kathmandu and Patan

What's "authentic," what's not, who gets to decide that when it comes to "culture"? -Especially when one is a foreign interloper?

Perhaps it's far from an original question, but it continues to present itself. I continue to learn Newar Charya Nrtya, the Buddhist classical dance of Nepal, and to observe my own reactions to "authenticity," "tradition" and "updation."

Regardless of what the Chennai dance masters will tell you, nearly *all* the Indian "classical dances" were reconstructed from next-to-nothing. (Kerala's Kudiyattam is an exception, I believe, because it was continuously performed without a break in tradition.) That doesn't mean they are not classical, just that they are not as ancient, or entirely as ancient, as often fantasized.

I began to suspect this long ago when my Bharatanatyam teachers had trouble pinning down provenances and answering questions about origins. Given the Indian high esteem for ancient-ness (older the better), this was inconsistent. Being able to cite one's lineage and origin is, almost literally, everything.

(I know "literally" is a very overused word these days, excuse me....)

In trying to revise certain aspects (mostly, the costumes) of Newar Charya Nrtya, I have noticed the same principle applies for the dance that works when observing and learning from Buddhist art.

Sometimes newer is better...because it just looks better. (I know, "better" is a subjective statement. Bear with me.)

That is, the most ancient, "authentic" things sometimes are just too dilapidated to really be of much use. In looking at Buddhist monastery art, it is great to see the oldest paintings...but most of the time, they are barely visible.

Kathmandu and parts of India are full of newly constructed monasteries, some with vivid psychedelic artwork. I can actually get a better idea of forms, shapes and postures from observing and photographing these. It's for the art historians, I suppose, to narrate how the art has evolved. I would like to refer to the oldest artwork available - but it has to be available, and visible.

Are the new paintings "authentic"? They have been painted by modern persons who are students of an ancient, classical art form. "Classical" = there is a particular vocabulary, a canon, of images and styles that are "acceptable."

Until someone decides to throw in something new, that is. I now know this from experience.

Case in point: the costumes (and I know I am not the first - Shahrazad and my friend Margot are at least two that have done the same) that I have decided to revise. True, they are not what the National Academy is using, nor any of the (few) existing Charya dance troupes that I know of. "My" version of the costumes closely follows that of the thangkas, paubha and temple sculpture. So which is more authentic? I'm not Nepali.

When I approached my friend about putting together more "authentic costumes," she responded that there were "no authentic costumes."

Okay, perhaps there are no unchanged costumes handed down in style and form from 500 or 1000 years ago. What I want to achieve is a return, so to speak, to what SCA folks might call *period* materials.

That is, to eschew anything that could not have existed at the time of the dance's origin. (Within reason...I will use Lakme kajal the same way I use red Magic Marker for Bharatanatyam. If they had had red Magic Marker back then, they would have used it. Yes, this is inconsistent! You try using Alta and letting it dry while not getting red stains on your costume!)

This isn't for pedantic reasons...more aesthetic.

The angika abhinaya (body expression) of the basic movements had been obscured, partly by slack standards (where is your tribhangi??) and partly by the billowy costume.

Rather than wearing synthetic satins made in China or India with gold lame border, the original dancers wore veshti. For references, I have been photographing the temple roof struts and sculptures.

Is this nitpicking? Well, the temple sculptures and paintings all depict very specific postures with leg, arm, head and foot positions. If you can't see them, what's the point?

The school of wishful thinking

A return to the ancient, the original, the authentic...this was a big part of the Yuppie ethos, wasn't it? (As the brilliant humourist Cynthia Heimel said in the mid-80s, "You can't just eat maple syrup anymore. It has to be the purest maple syrup made by the cutest little old lady living in the quaintest tiny New England village, completely organic. And limited edition." (paraphrase)

Twenty years later, now that everything seemingly is a copy of a sample of a Xerox of a photocopy of an imitation of a bootleg, it's even more alluring.

"Do they have any dances that are like it used to be 1000 years ago??" my elder sister said on visiting my dance recital at a modern Nashville, Tennessee Hindu temple. I had to say, "not exactly," and watched her enthusiasm falter.

As I may have said before, t's only within the last 30 years that Charya has been performed publicly; previously it was restricted to Newar Buddhist temples. The mudras and songs that are the origin of modern Charya are still performed by the Vajracharya priests today.

An unbroken lineage of any kind is something to be proud of, for sure. But even what is now performed theatrically is not identical with the priestly performances.

Leaders of the New School
Getting Newars in-the-know to talk about this is gradual, hesitant and difficult - perhaps because they don't completely know themselves (only initiates can see most temple dances), perhaps because they hate to disappoint, or perhaps they are unwilling to acknowledge the reversions thinking foreigners will never know the difference.

Some Newars and other Nepalis even indignantly insist that the dance is"meant to be secret" and should not be revealed. If you need an example, just look at the comments on YouTube. "Such things should not be commercialized," one viewer fumed.

Dancers generally have never been known for their material wealth, and I imagine that the other Charya dancers sometimes fervently *wish* that the dance was "commercialized," if only to make a better living. Is merely presenting the dances on a stage, for a pittance, commercializing them?

Then there's the (apparent) fact that the dances, as presented for the past 30 years, are not identical with the esoteric rites. There is no revelation of Tantric secrets in a performance of modern Charya, though I may regret having said that when attempting to get funding for projects.

Even leaving aside the question of inclusion ( it goes without saying that women, not to mention foreigners, did not perform the ritual dances), there have been numerous alterations.

In two years of participation, I made a few practical observations. For one thing, I have seen many Newar bahal monasteries -- the space of many is far too small to perform even a scaled-down version of some modern Charya moves.

For another, I have seen numerous Bajracharya priests - with all due respect, they are unlikely to be performing some of the more acrobatic and yogic poses.

For yet another, the music presented for modern Charya often involves recorded female voices. This wouldn't be possible in traditional Newar practice; the women never did and still do not sing. Many recordings use non-traditional instruments, such as harmonium, and speed up the rhythm or add more percussion to make the song "perform" better.

This was reinforced by a visiting Chicago religion scholar who is studying the dances from a strictly scholarly standpoint. As a non-Newar non-initiate, he also has not seen the dances in the actual temples, but from his interviews with completely different sources than my own, had gathered much the same thing.

As my friend the Tibetan art dealer noted:
"My fake (replica) Khatvanga sold for more than the original one."

Why? was it just at the right place at the right time? Maybe it looked more like a Tibetan khatvanga is "supposed" to. A Tibetan lama would be unlikely to buy such an instrument from an art dealer. The contemporary lay-buyer of a khatvanga (a kind of Tibetan ritual implement - a kind of magic wand) would likely crave a certain aura around the artifact. Is that commercialization?

Maybe the new one really was "better." Or even, in its way, "more authentic."

We can be superheroes

Just for one day
Kathmandu

The Lalit Kala campus reeks of urine.

That's my overwhelming impression of what should be Nepal's equivalent of the "Kids From Fame" high school. Lalit Kala ("Fine Arts") is a secondary school where classical music, singing, and fine (visual) arts are taught. The building is historic; several generations of Nepali royal court musicians used to house and practice there. But it's terribly dilapidated; the semi-modern toilet installed smack in the middle of the ground floor is only the beginning.

According to Raju who graduated from there 15 years before, absolutely not one thing has changed. Looking round the fine arts and sculpting studios was nothing short of depressing. Dimly lit, dusty, musty rooms; even the grimy brown anatomy skeleton was missing parts.

In case you haven't figured this out yet, money is not a problem in Nepal. There is plenty of money. It all goes into deep pockets! I had to wonder how a student could concentrate on anything, let alone fine arts, with such a reek coming into the old classrooms.

Raju and I performed briefly there on 15 May; we opened the end-of-term classical music show with the "Sodasa Lasya" (Sixteen Graces) item.

In order to dance the approximately 6-minute hymn, we still had to garb up in full Tantric dance gear; all this in one of the empty classrooms with no mirror. But I'm not complaining, it was my first Charya performance of any kind. Raju was dressed in the yellow gown of Manjushree; I wore the red attire of Vajrayogini.

I'm accustomed to 3-hour dressing sessions from Bharatanatyam, and Charya is quite a bit simpler in alankaram (decoration), but still involved:


-under trousers, -choli blouse, -full skirt, -mekhala (deccorative belt), -another kind of overskirt waist-piece, -a big full thavani (top part) that made me feel like a Catholic cardinal, -another top piece that fit around the breastbone, -and lots and lots of jewelery, including:

-Several sets of bangles,
-rings,
-heavy silver anklets,
-bells tied round the knees,
-about five different neckpieces including the tayo or oblong traditional Newari women's piece worn by the Kumari, and
-several strands of fake pearls.

Raju drew a "third eye" on my forehead using a black kajal pencil.

My favourite part is the crown, or muthi, also called kiriti. There are several different crowns meant to be worn for various deities; this time I was wearing the skull-garland crown of VajraYogini. The grinning kapilas look to western eyes very Tibetan, but in fact it's the other way round; Tantric Buddhism with its skull imagery came from India via Nepal before reaching Tibet.

Underneath the crown is a 3-tiered topknot hairpiece; an identical wig is worn by the Tibetan monks when they perform certain lama dances depicting the Dakinis. Then the crown is tied on with black threads in three different places.

The crown looked and felt a lot like a helmet. After donning all this magical bling, I felt like a superhero - cape, implement of power, helmet of invincibility, and shields. I have often mused on the similarity between Hindu deities and the Superheroes. Vishnu particularly seems like Superman (he rests in his Fortress of Solitude when not needed; he incarnates whenever a call for help is heard on Earth, has superhuman strength and takes different forms).

After three false starts (the sound guy couldn't cue the CD right), we finally danced. It is rather un-godly to stand on stage waiting for the music to start.

Somehow I think Kathmandu needs all the cutting-through energy of Vajrayogini to eliminate the corruption that allows a noble institution like Lalit Kala to fall into such decay.

 Related reading:
Gods, Men and Territory: Society and Culture in Kathmandu Valley
 The Glory of Nepal: A Mythological Guidebook to Kathmandu Valley Based on the Nepala-Mahatmya and Himavatkhanda 

Charya for ya

Embedded
Writing from Kathmandu
Okay, here (embedded below) is the dance I just finished learning - the Manjushri Gita. Now I am polishing it and starting on the sloka for Vajrayogini.

My friend Rene said, "then you can have a recital!" No, little kids have recitals. Grownups have performances. The video below shows the Majushri gita performed by members of Dance Mandal at a German Sacred Arts festival.

My first question was about the dancer's 'ardhamundi' or knee-bending posture. They don't seem to have much ardhamundi; but then coming from Bharatanatyam I am used to extreme knee bend and foot turnout.

Also, my teacher and I plan to alter the costume so that one can see more footwork and angika abhinaya (body expression). These jama costumes are nice, but a bit too Tibetan (ie, robelike and concealing). The priests in temple wear such voluminous gowns (albeit in white colour only), but the traditional sculptures and thangkas do not. Something more along the lines of the Odissi costume (right) is more flattering and more in keeping with the Newari artwork.

Songs the Lord Taught Us

Googling the Giti
Kathmandu

It's such a struggle to get on line, half the time I can't remember what I came here for. Oh, that's right, I was going to post something about the Manjushree Charya dance.

In answer to your question, yes, this IS my idea of how to spend a Friday night. (Manjushree is pictured below.)

Obviously, to learn a dance one must know the music intimately. Charya Giti has some uncommon rhythms, even for someone accustomed to the many and varied talas of south Asia.

A quick Google of Charya Giti (the songs accompanying the dance) doesn't reveal much in the way of sources. Evidently there are some old (ancient) Bengali texts, some still found in Bangladesh, that are called Charya Giti.

Also, from the Google front-page there appears to be something in Oriya (Orissa state) with the same name. This would make sense, as Odissi is the "major" classical dance Charya most resembles, and Bengal as well as Assam and Orissa had Tantric Buddhist and Hindu practices at one time (and in some form, still do).

One of the only references to Charya Giti is from Bangladesh. Encylopedia of Modern Asia says in its Bangladesh - Music section:

Twelfth-century Buddhist poems called charya-giti (religious observance songs) and the thirteenth-century Gitagovinda (Songs of the Cowherder), a cycle of songs by the poet Jayadeva, bear the names of the specific melodic modes assigned to each song. Hindu and Buddhist kings in Bengal commissioned poets to compose raso, epic poems, in their honor, which were chanted by the poet-composers themselves.

The Dictionary of Indian Literature says:

Charya Giti aka Charya Pad: 1050-1200...earliest available relics of old Bangla discovered in a manuscript in Nepal in 1916 by Hariprasad Shastri....

Another fascinating section details how the Charya poets, at least in India, wrote under pseudonyms because their work was "much hated by the Brahmins and the elite," and how Charya giti were translated into Tibetan.

Graceland

Sixteen graces
Kathmandu

The available texts and source materials for Charya Nrtya are few. One given by my teacher, Raju Sakya of Nepal Dance Mandala, has Sanskrit text in Devanagiri script, as well as English translation; but strangely, no transliteration so that one can read the Sanskrit in English script. I say strangely, because the book's explanatory text is in English, and one must recite the Sanskrit lyrics in order to learn the dance.

Since I can read the Devanagiri, I decided to transliterate the lyrics. I haven't seen them written down anywhere else. Raju was quite delighted with my work and said "you must type up everything you have transliterated." I wonder if this is available elsewhere. With the state of traditional art forms in Nepal, perhaps not. Surely, the American students of the Portland (Oregon) Dance Mandal must have translated it in such a way, but it's not available elsewhere.

Anyway, the opening item everyone learns (after the Refuge Prayer, which Raju always calls the "Refugee Prayer" ) is the Sixteen Graces. Each item represents a principle as well as a manifest physical offering made to the gods during puja.

Om vajra vine hum....Lady of the Diamond Veena. (a veena is a sort of south Indian lute, related to the better- known north Indian sitar)

Om vajra banshe tra....Lady of the Diamond Flute. (a bansuri is the bamboo flute as played, for instance, by Lord Krishna)

Om vajra mridange hrin...Lady of the Diamond Drum. (Mridangam is the two-headed south Indian drum)

Om vajra muraje ah....(Muraje is a simple one-headed drum, like a snare)

Om vajra lasye hum...(Lasya literally means 'grace' but in this case indicates the Tin Chu, or simple cymbals used to keep time in the dance. In Bharatanatyam we called them Nattuvangam)

Om vajra male tra....(The mala is a garland of flowers. The same word, mala, is also used for a necklace of prayer beads)

Om vajra gite hrin....(Gite is song; in this case, the offering of sacred liturgical song or Charya Gita)

Om vajra nrtye ah....(nrtye is Dance itself.)

Om vajra pushpe hum....(pushpe is offering Flowers. The first Bharatanatyam item I ever learned was Pushpanjali, or flower offering)

Om vajra dhupe tra...(offering incense, or Dhoop)

Om vajravalokite hrin...(offering light; in India it is called Arati or removing darkness)

Om vajragandha ah....(offering perfume)

Om vajra darpane hum....(offering the mirror. This tradition has always intrigued me; mirrors are such a part of south Asian ritual but there are various explanations). First the mirror is shown to the audience, then the dancer looks into it herself with the Bhava of "Adbhutam" or Wonderment.


Om rasa vajra tra....(literally the "diamond taste." This is the classic Vajrayogini pose in which the dancer lifts the "skull cup," symbolically filled with blood, to her mouth)

Om sparse vajre hrin (the Diamond Touch. in this case, touching the Earth as in Bhumisparsa mudra)

Om dharmadhatu garbha ah. (the Diamond Womb-of-Mental-Events; this is shown by
"drawing" a circle with hands and feet. I do know that the Dharmadhatu Mandala is the basic mandala drawn ritually before any Newar house or building is established).

Translating and transliterating is always fun...but now it's time to go physically practice (spirit is willing, flesh can be weak).

Dance Archaeology

More ancient obscure art forms pursued
Kathmandu

Finally, after very patient and gentle persistence from the tireless Raju Sakya, I have resumed my Saturday morning lessons in the Newar Buddhist Charya Nritya. (I would say Nritya Dance, but that's redundant. Nritya means "dance.")

I've mentioned it a few times before, and like a lot of my external life so far it's been stop and start. But all those years of Bharatanatyam has given me a solid foundation for Charya - it's amazing how much of the classical dance stuff remains hard-wired after years of slackerdom.

Raju is a senior student of Prajwalratna Bajracharya, who now lives in Portland, Oregon USA and runs Nepal Dance Mandala. To my knowledge, he's the only Nepali teaching Charya abroad. There are a handful of non-Nepalis that teach Charya in their own countries, like
Lianne Takeuchi Hunt, Helen Appell, and Shahrazad.

Not that Charya is by any means a simple dance, but compared to the aerobic demands of Bharatanatyam, so far it's lower-impact. It's certainly more lasya (graceful and lyrical) than tandava (percussive and forceful).

With its Tribhangi (three-bends) posture, Charya most closely resembles Odissi dance, which, if I had had my druthers, is probably what I would have learned long ago. But Odissi teachers are hard to find in the American heartland, outside of perhaps California.


Space: the final frontier
I had planned on having dance class on one of the rooftop terraces of my guest house, since the weather is delightful during the days now. But Raju arrived in my small room and declared the space sufficient for dance. Westerners are quite spoiled in terms of studio space, not to mention facilities like wooden floors, wall mirrors and sound systems. Asian dancers usually manage to learn without any of these. At one point we were meant to make a complete oval around and come back to "first position;" we just kind of had to imagine it (dancing into the wall). And there is not room for us to dance simultaneously.

There are a number of suitable spaces (like yoga studios) in town, but they naturally all want a fee to rent for an hour or so - which doubles my class fee. Probably it's best to go ahead and rent a flat with an extra room, install a wall mirror and get on with it.

Now, to hunt for a flat (Nepali for "apartment"). Flat-hunting is always a drag, but winter should be a good time to look. With the increased load-shedding (power cuts), though, I don't want to be too far out of "town" or in too deserted an area. There's just too much darkness (in several ways) these days. If you are within shouting distance, I am ideally looking for Lazimpat, Chhetrapati, Paknajol or Sorhakutte areas. Or something like that. I see no reason to pay more than 10,000 NRS at the most.

Baby steps
Every dance has its "first position;" in Charya, that is Suchi-Tribhangi. It looks like so many of the ancient Indian statues, with a graceful goddess poking one hip out.

The basic foot movements are Alida (to the right), Pratyalida (back to the left), Suchi (right foot back) and Vajrasuchi (left foot back), which together make a semi-circular closed step sequence called Mandala. The mudras (hand gestures) are similar to the south Indian ones, but much gentler. Raju is always telling me to relax my fingers (which took so long to get ramrod-straight!) and DROP my elbows (unhearin Bharatanatyam, 90 degree elbows is a cardinal rule!).

The first "item" I am learning, other than the Refuge Prayer (a sort of opening Mangalam), is "Sodasa Lasya" or Sixteen Graces. It's an opening item invoking the sixteen forms of offering, here personified as goddesses. For instance, flowers, incense, and song, rather than just be offered as such, are depicted as the Diamond Flower Devi, the Diamond Incense Devi and the Diamond Song Devi (Vajra Puspe Devi, Vajra Dhupe Devi, Vajra Gite Devi).

Why "Diamond" (Vajra or in Nepali pronunciation, Bajra)? In Vajrayana Buddhism diamond has a significance beyond being an expensive stone, or a girl's best friend. I'm still learning but I would imagine it involves being immutable, enduring, indestructible and pure - like the teachings of Vajrayana Buddhism.

Sorry I have no recent photos of Charya, let me poke around and find some.....! above is one I have lifted from Prajwal Sir's website.

Dance the night away

Naach your average dance
Patan, Nepal

Kartik Naach, the Nepali annual dance cycle depicting scenes from Hindu mythology (but danced by Newar Buddhist dancers) begins Oct. 31st in Patan's Durbar Square.

Kartik Naach is an eight-day series of dance-dramas instituted several hundred years ago by King Siddhinarasimha Malla. Though Patan's population was primarily Buddhist, the Hindu king hired the Buddhist dancers to portray Hindu stories.

Especially popular is the final night, when the tale of Narasimha disembowelling Hiranyakashipu is re-enacted to what can only be called mass hysteria from the crowd. (I would imagine this scenario is especially prominent because it's the namesake of the originating King Siddhinarasimha.)

All dances are free and open to the public, and take place on the Kartik Dabali platform in front of the famous Patan Museum from about 7pm to 9pm.

Here is a photo from the 2006 Kartik Naach depicting Lakshmi and Brahma Padmanabhasana (seated on the lotus from Vishnu's navel!).

I wrote to my Newar Charya dance teacher Raju Sakya about the origins of Kartik Naach. Here is part of his answer;

The King is Siddhinarasingha Malla who instituted and started for 15 days and his son SriNivas Malla elaborate it with other opera and dances for 1 month.But today in this century only for 8 days and some of the dance and dance parts are already lost or dissapeared with modern age. We have to preserve it but it's already missing . Let's hope and try to do revise and research on it.

Happy Deepawali and Nepal Sambat 1129 \Mhapuja.May Mata Laxmi bless us.

Stee-rike

New Nepal? not yet
Kathmandu

Well, no Charya Nritya lessons for me last Saturday after all.

There was a transport strike (surprise! -- I have long since learned to ignore the ostensible "causes" behind such disruptions). They seem pretty interchangeable, and produce no appreciable results.

My teacher, Raju Sakya, couldn't make it into the city from his home in the traditional Buddhist neighborhood of OkuBahal, Patan.

So common are the strikes (transport or otherwise...a transport strike pretty much makes it a general strike, since many people can't get to work) that there's now a website devoted to monitoring them. Check out Nepalbandh.com
You can't make this stuff up.

Rather like holidays and festivals in Nepal, bandhs/strikes are so run of the mill as to almost have become the norm rather than the exception.

None of the participants ever seem to have stopped to ask the question: are these strikes producing a result? any result at all? Are we any closer to achieving our goals or getting our demands met? Striking has become a Nepali reflex. When all you have is a hammer, everything looks like a nail.

For now I'm just watching Charya videos on Youtube and reading some of the (very scant) material available. Other than one tiny home made paperback here, there is no book (yet) about Newari Charya Nritya.


Oh, and for your viewing pleasure you can also check out the latest Load-shedding schedule on the NepalBandh site.

Charya Nritya

My Newari dance teacher called yesterday (see photo). We're going to re-start my long-delayed Newari Charya Nritya classes. Since we don't have a proper dance studio (with wooden floor and mirror), we'll be using the rooftop terrace of the Guest House. I hope they don't mind (people use it for yoga).

We have to start around 9am, because later it will be too hot.

Newari Charya Nritya is one of the last Buddhist devotional dances in the world, and possibly the last that is still being performed in situ as part of the traditional pujas.

Kandyan (Sri Lankan) Buddhist dance, like Indian Bharatanatyam has become a theatrical form and is no longer performed in the Buddhist temples. Tibetan Chham Dance must be performed only by ordained monks. Thai classical dance, as far as I know, portrays stories that are actually Hindu (despite the fact that Thailand is Buddhist). I think the same is true for Cambodia.

Probably only a few dozen Newar people in the Valley still know how to dance Charya. With its tribhangi posture and lyrical mudras, it most closely resembles Odissi.

Charya is sometimes confused with the more widely publicised masked dances of the Kathmandu Valley, as seen in so many colourful travelogues. Unlike them, Charya is a liturgical dance that is still performed by the Newari Buddhist priesthood.

I began Charya lessons two years ago with Raju, and learned only the opening item Refuge Prayer. Now I will begin the Sodasa Lasya item (which means something like "Sixteen Graces").


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Now playing: Talking Heads - The Overload
via FoxyTunes

Throw something against the wall

...and see what sticks

Kathmandu, Nepal

Here, it's just a cool photo of flying monks from Shechen Monastery. I will start posting again soon, I promise.

Jezebel Spirit

Went down to the crossroads
The Spirit World via Kathmandu, Nepal

Long-term Siren watchers (shout out to C Drake, Tim Makins, Jayanthi, George, Carter, Sarasvati, KulluKid and Martin! in the house) know of my standing fascination with the nexus of human and divine.

That is, spiritual embodiment/channelling/possession/incarnation of the human body, in its
myriad forms; from the semi-theatrical devotional (Bharatanatyam and other devotional dances) to current folk phenomena (Nepal's "Buddha Boy") to ritual incarnation traditions (Nepal's Kumari and Tibet's Tulku reincarnation system - HH Dalai Lama being the best current example).

I'm going to blame it all on my youthful fascination with anthro-filmmaker Maya Deren, who did extensive work with the Haitian Vodouns, and wrote the seminal book about that belief system, Divine Horsemen.

This was one reason Hinduism always made so much sense to me, intuitively. How could God be completely separate, outside of and apart from us? Hinduism (and Tibetan Buddhism, among others) has this great ongoing tradition of living humans embodying the divine. They walk among us! (In fact, in Hinduism and Buddhism, we already are god, we just have to realize it. But I digress.)

Fortunately I've been able to track down, witness and photograph many manifestations of these various traditions - the Tibetan State Nechung Oracle at Dharamsala (my photo below), Newar Astamatrika masked dance and its attendant "possession" rituals, Bhaktapur's ferocious NavaDurga dancers (photos forbidden there, though), Theyyam ritual god dances of North Kerala, Nepal's Ram Bomjom (the so-called Buddha Boy) back when he was under the tree in Bara district in southern Nepal, the Thiksey Monastery oracle (who danced waving swords on a 3-storey ledge and threw chhang on me) and dinner with (as well as blessings from) 2 of the 3 Kathmandu Kumaris, just to name a few.

There is a Hindu concept of the teertha, which means (in one interpretation) "meeting place" or crossroads . People who are into sacred geometry, vaastu, feng shui and architecture study the bricks-and-mortar manifestations of these teerthas. I'm more interested in the walking ones.

And the (never-ending) quest continues.

This poorly-written article from the Mangalorean is the first I've heard of a Dakshina Kannada (southern Karnataka) tradition known as Bhootaradhana, or "honouring the ghosts and spirits."

The rituals, costumes and traditions seem to be close to that of North Kerala's Theyyam, which makes sense because they are in a geographically adjoining area. (My photo of Bhagavati Theyyam in Payyanur, above.)

The origin of the cult can be traced from ancestor worship, mother goddess, serpent and trees are incorporated. (Mangalorean photo at right.) There are certain spirits originated from Hindu God Shiva who sends the Bootas or Ganas to earth and ask them to receive offerings from human beings.
...The Bhootas are those spirits which once long back in time used to be in blood and flesh like any human being but nevertheless they were endowed with special and extra-human powers to do and undo things as per their will.... The event is called Bhootaradhane or Bhoota Kola. The season of Bhootaradhane begins usually by the first week of February which also signals the arrival of summer. The Bhootaradhane of various bhootas might go up to May 15. The first couple of bhootas to arrive on the scene are Kallurti and Panjurli.... Regional Resources Centre at MGM College Udupi has an entire library of audio and video and documentary evidence of the various bhootas in Dakshina Kannada and the neighboring Kasargod district in Kerala.

If anyone out there has more information about this tradition, or (even better) has ever witnessed a Bhootaradhane festival, I would love to hear about it.

And, if anyone has a correction or clarification about the Hindu (or any other) tradition to share - please do so, politiely. I am certainly open to corrections, but be nice. After all I am just a gori, and at a genetic disadvantage. The only stuff like this my people do is snake-handling and speaking in tongues (and we don't get to wear cool costumes). The Old Testament god doesn't approve of people looking too good.

Okay, I feel better now.

"It'll blow yo mind."

Why can't I write (or do anything) the same way James can dance?

(Check that Camel Walk!)

Breathing space

Taking a breather
Leh, Ladakh and environs

I've been talking about leaving Ladakh for a few weeks...yet keep finding reasons to stay. Here is another one.

Ladakh is a great place to breathe.

In most of India (ironically the home of yogic deep breathing or pranayama), you really don't want to breathe too deeply. Either the air is horribly polluted, or there are dreadful smells nearby if you breathe more than superficially. After a while, you forget that you are not breathing properly.

I knew a guy in New York that said incense was bad for meditation, because you breathe in too much smoke that way. Obviously, he had never been to India. Compared to what you normally breathe here, incense smoke is benign, and pleasant.

Once you adjust to altitude and catch your breath, Ladakh has plenty of deep breathing space. Here is an exercise that is great for Ladakh:

"Now and again, it is necessary to seclude yourself among deep mountains and hidden valleys to restore your link to the source of life.

"Breathe in and let yourself soar to the ends of the universe; breathe out and let the cosmos back inside.

"Next, breathe up all the fecundity and vibrancy of the earth.

"Finally, blend the breath of heaven and the breath of the earth with that of your own, becoming the breathe of life itself."

- Morihei Ueshiba Osensei

Last week, in honour of both my birthday and Halloween, I spent 6 days in various remote monasteries in Leh valley area. I attended the Thiksey GuStor masked dancing ritual and festival, and visited Shey Gompa (which includes a ruined palace, the former home of the Ladakhi kings), Stakna Gompa (a Drukpa Kagyu monastery, patronized by the kings of Bhutan) and the out-of-the-way Matho Gompa, famous for its tradition of Oracles, or monks who become "possesed" by a protector deity and answer questions about the future.
Here are a few random photos.

You know that Incredible India tourism ad that shows the monks blowing horns at dawn? It was made at Thiksey Monastery. This is how it looks in real life. I think they only wear the yellow hats if you are from India Tourism!

Here (below) are two of the dozens of masked dancers at Thiksey Gustor. At the end of the ritual, the Torma, or gruesomely-shaped barley cakes that represent sacrifices to negative forces (they used to be real animal sacrifices, back in the bad old days) are brought outside, thrown over a cliff and burned, amid much fanfare and dancing.
This old timer gladly posed for me at Thiksey, whirling his prayer wheel. And, he did not ask for money! (below). I am quite fond of this traditional Ladakhi hat. It serves absolutely no practical purpose (doesn't keep your head warm, or keep the sun or wind off) - it's just a goofy kind of top hat with horns. Very jaunty.
Thiksey Gompa is very easily reached by a half-hour or so's bus ride (15 Rs, or about 45 cents) from the New Bus Stand. Buses leave all day long and the last one back to Leh is at about 5 or 6pm (no one knows for sure). In season, Thiksey has a fantastic guest house, well furnished with beautiful views (a bit pricey at 300Rs or $8.00 for single occupancy), and a good restaurant (run by Nepali staff) that has a killer veg thali for 45Rs. I was there the very last day of the guest house season....when they shut the water off and the Nepalis went south. Quite sad, really. There is also a family-run guest house in the village but then you must climb up the steep hillside to the gompa every day. (However, it is much cheaper than 300Rs.)

During GuStor, Thiksey, like most monasteries during their annual festival, becomes the epicentre of social life in the area. Locals descend en masse, as much to pay respects to the gods and lamas as to socialize. (This is especially evident in the behaviour of the younger people.) Vendors set up stalls and tents in the village below the monastery, selling plastic wares, mo-mos, simple food and tea, and playing Hindi film music. This gives a carnival atmosphere and I noticed several younger people getting intoxicated (outside the monastery, of course).

Below is one of the dancers after the torma-burning. Peek a boo!

Treasures of the Dragon

Coming soon to a coffee table near you?
Leh, Ladakh


Every little bit of good news helps. Three of my images have been chosen from my Flickr.com gallery in the "first round" of selection for a coffee-table book called Treasures of the Dragon. It's the third in a series of successful books, published by China Stylus. The first two were called Legends of the Dragon and The Dragon's Playground.

Probably, this means that if I am lucky, only one of the images will make it to the actual book. I am up against pros with real cameras, DSLRs and so forth. When people compliment my photos (which I appreciate greatly), I feel like adding, "Yes, and just remember, it was all done with a $300 point and shoot ultra-compact with a lens the size of your pinky fingernail." That is, a pinky nail without French tips.

If I can sneak in an upload here in upload-less Ladakh, on this page should be one of the nominated images. This is a masked Tibetan "chaam" dancer or "lama dancer" at Bemchen Monastery in Kathmandu, Nepal.