Dingga Reba Dance of Biru County, Nagqu

热巴舞（那曲比如丁嘎热巴）Dingga Reba Dance of Biru County, Nagqu
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Dingga Reba is a folk dance passed down in Dingga Village, Xagqu, Biru County of Nagchu Prefecture in Northern Tibet. According to local artists as well as an introduction in the Tibetan version of History of Naxu Chiru written by Mr. Renwang Tenzin and Mr. Sonam Dorji of the CPPCC of Biru County: the earliest Dingda Reba was a unique dance created by Milarepa, the 2nd patriarch of the Kagyupa School of Tibetan Buddhism, and Reqiongba on the basis of the original folk Reba. This form of Reba has been passed down from the people to temples and then back to the people.

The existing Dingga Reba is divided into two forms, one performed by Lamas in temples and the other performed by folk artists. In the past, the Dingga Reba performed by folk artists was mainly passed down from fathers to sons generation by generation. Now Reba troupes have been established in different villages, which have further extended the scope of inheritance. Dingga Reba has a large repertoire consisting of over 30 programs, with each program boasting different movements and postures. The programs mainly tell the history or legends of Tibet, or advocate the religion’s philosophy for the purpose of temple sacrifices. Representative works include: Oudong (Drum beating), Chogyal Lozang (Prince Lozang), Sibai Bama Ganguo (primitive old parents), Gyalsa Konchok Nambar (receiving Prince Wencheng), Guru Dorjiri (Vajra Dance Hall), etc. Dingga Reba inherited both the rhythm of the local herdsmen dance and movements of the Reba tambourine dance in Qamdo. It utilizes the herdsmen dance by moving ones’ arms and legs on the same side synchronously as the basic moves, and absorbs the passionate moves of Female Tambourine in Qamdo Reba for upper body movements. It has thus formed a unique style that integrates the essence of dances in North Tibet and East Tibet. Dingga Reba features stimulating movements, animal-simulating moves as well as mini-plays with interesting plots.

After hundreds of years of efforts by the villagers of Dingga, Dingga Reba has been continuously improved and provided with more diversified dancing styles and programs. Dingga Reba contains the cultural connotation of the traditional Tibetan culture, embodies the outstanding ability of the Tibetan people in dance creation, and reflects the openness and inclusiveness of the Tibetan Culture, making it unique in Tibetan Rebawu.

Dingga Reba is a folk dance passed down in Dingga Village, Xagqu, Biru County of Nagchu Prefecture in Northern Tibet.

1. Origin

According to local artists as well as an introduction in the Tibetan version of History of Naxu Chiru written by Mr. Renwang Tenzin and Mr. Sonam Dorje of the CPPCC of Biru County: the earliest Dingga Reba was a unique dance created in 1040 by Milarepa, the 2nd patriarch of the Kagyupa School of Buddhism in Tibet, and Reqiongba on the basis of the original folk Reba. This form of Reba has been passed down from the people to temples and then back to the people.

Reba Dance [Photo/Baidu]

Dingga People has been a part of Naxiu Tribe in northern Tibet which has been famous for singing and dancing. On New Year’s Day or during other festivals, people who are trying to celebrate the harvest or pray for blessings, always express their feelings with singing and dancing. As time passes, Dingga People create their own songs and dances. During long-time evolution, they have constantly absorbed and integrated external arts and finally created the unique Dingga Reba.

2. Artistic Features

The existing Dingga Reba is divided into two categories, one performed by Lamas in temples and the other performed by folk artists. In the past, the Dingga Reba performed by folk artists was mainly passed down from fathers to sons generation by generation. Now Reba troupes have been established in different villages, which have further extended the scope of inheritance.

Dingga Reba has a large repertoire consisting of over 30 programs, with each program boasting different movements and postures. The programs mainly tell the history or legends of Tibet, or advocate the religion’s philosophy for the purpose of temple sacrifices. Representative works include: Oudong (Drum beating), Chogyal Lozang (Prince Lozang), Sibai Bama Ganguo (primitive old parents), Gyalsa Konchok Nambar (receiving Prince Wencheng), Guru Dorjiri (Vajra Dance Hall), etc. Dingga Reba inherited both the rhythm of the local herdsmen dance and movements of the Reba tambourine dance in Qamdo. It utilizes the herdsmen dance by moving ones’ arms and legs on the same side synchronously as the basic moves, and absorbs the passionate moves of Female Tambourine in Qamdo Reba for upper body movements. It has thus formed a unique style that integrates the essence of dances in North Tibet and East Tibet. Dingga Reba features stimulating movements, animal-simulating moves as well as mini-plays with interesting plots.