Gar Dance in Ngari

The Gar Dance (嘎尔) is a traditional dance of the Tibet Autonomous Region, recognized as part of China’s National Intangible Cultural Heritage. Known for its graceful dance forms and unique musical style, the Gar Dance is an important element of Tibetan culture. It is primarily used in ceremonial and ritual contexts, such as during large festivals and the welcoming and sending off of high-ranking Buddhist figures like the Dalai Lama (达赖喇嘛) and Panchen Lama (班禅大师). The dance is deeply rooted in the Ngari (阿里) region of Tibet, specifically in Zhada, Purang, and Ritu counties.

  • Heritage Level: National Intangible Cultural Heritage

  • Heritage Category: Traditional Dance

  • Declared Area: Tibet Autonomous Region

  • Heritage ID: III-85

  • Approved Date: June 7, 2008

Historical Origins

The Evolution of the Gar Dance

The Gar Dance originated in the Ngari (阿里) region, particularly in the counties of Zhada (札达), Purang (普兰), and Ritu (日土), in the 17th century. It is thought to have been brought to prominence during the Zangba Dynasty (藏巴第斯), which ruled over central Tibet for over 20 years. The Gar Dance was initially performed during significant events, such as the installation and departure of religious figures, particularly the Dalai Lama and the Panchen Lama. The dance has roots in ancient Tibetan practices, including the traditional “Gar Xuan” (嘎尔宣) performance, which is a ceremonial dance to honor Tibetan Buddhist figures.

The Gar Dance’s presence and influence grew during the fifth Dalai Lama’s reign (1642), when it was adopted by the Tibetan government and incorporated into ceremonial life at the Potala Palace (布达拉宫) in Lhasa (拉萨). It later evolved into a highly organized artistic form, blending both music and dance to honor deities and important figures in Tibetan Buddhism.

Dance Characteristics

Performance Style

The Gar Dance is a multifaceted art form that integrates song, dance, and music, and is characterized by the following features:

  • Dance Forms: The dance includes a variety of performances, primarily executed by male dancers (around 10 years old). The dance categories include “Bogaer” (男舞), “Muguer” (女舞), and “Chiger” (刀舞, sword dance). Each dance has multiple segments, often with different themes. For example, Bogaer features bold movements with wooden axes, while Muguer emphasizes delicate and graceful gestures. Chiger is a sword dance that uses real swords.

  • Performance Composition: The dance is often accompanied by traditional instruments like the suona (唢呐), dama drums (达玛鼓), and kong’a juba (康阿居巴), a set of ten cymbals. The suona leads the melody, while the other instruments provide rhythmic accompaniment. The dances do not feature lyrics during the performance but are accompanied by a soft vocal hum during rehearsals.

  • Movement and Poses: The Gar Dance places significant importance on form, often holding poses that involve gestures like waist twisting, single-leg standing, high axe raises, and ritual offerings such as the presentation of the ceremonial hada (哈达). The entire performance is serious and respectful, with a solemn atmosphere reflecting the religious and ceremonial aspects of the dance.

Music Characteristics

The Gar Music can be divided into three main categories:

  • Garlu (嘎尔鲁), the song part, with more than 50 different songs like “Sacred Lhasa” (圣地拉萨) and “Wish-Fulfilling Jewel” (如意宝). These songs are accompanied by a variety of instruments, including zhanyanqin (扎年琴), yangqin (扬琴), and xiao (横笛). The melodies are harmonious and elegant, designed to create a peaceful and uplifting atmosphere.

  • Ruicha Lu (瑞恰鲁), instrumental pieces performed during the dance, include two variations: “Duo Dama” (朵达玛), played during the ceremonial welcoming and sending off of figures like the Dalai Lama, and “Jiangmu Rui” (蒋姆瑞), a lighter piece played during banquet-like settings. The instruments include suona, dama drums, and zheng, and the melodies are more relaxed and lyrical compared to the more intense and rhythmic sections.

Cultural Value

The Significance of the Gar Dance

The Gar Dance holds profound cultural and religious significance. It is an expression of Tibetan Buddhism (藏传佛教) and serves as a vehicle for conveying respect for religious leaders and deities. The dance’s integration of music and movement also reflects the deeply embedded Tibetan community values, such as unity, respect for elders, and devotion to spiritual practice.

As a traditional performance, the Gar Dance preserves historical Tibetan songs, legends, and wisdom. It is also a reflection of the Tibetan people’s resilience and the artistic excellence found in their sacred rituals. The Gar Dance not only carries the message of Tibetan Buddhism but also offers insights into the Tibetan people’s connection to the land and their spiritual practices.

Inheritance and Protection

Challenges and Preservation Efforts

Due to the complexity of the dance and the specialized skills required, the Gar Dance faces challenges in maintaining its integrity and ensuring its continued practice. The dance requires skilled performers and is difficult to master due to its strict structure and movement patterns. With the influence of modern culture and economics, the dance faces a decline in practitioners and performances, making its preservation an urgent matter.

To safeguard the Gar Dance, several measures have been implemented:

  • Representation and Training: In 2018, the Gar Dance was officially recognized as part of the National Intangible Cultural Heritage program, and efforts to train new inheritors and preserve the dance have been underway, with new representatives being selected.

  • Cultural Promotion: Cultural performances and heritage celebrations have been organized to raise awareness and spread the dance’s cultural significance. The Gar Dance has been featured in various festivals and events across Tibet and beyond.

Notable Inheritors

Several individuals have made significant contributions to the preservation of the Gar Dance:

  • Pema Yujie (平措玉杰), born in 1930, is a prominent representative of the Gar Dance, known for his work in passing down the traditional forms of the dance.

  • Tashi Tsiring (扎西次仁), born in 1942, is another key figure in the dance’s preservation, recognized for his efforts in maintaining the authenticity of the performance.

Protection Measures

In 2019, the Tibet Autonomous Region Folk Art Museum was designated as the official protector of the Gar Dance. Ongoing efforts include creating training programs for young performers, digitizing traditional music, and organizing nationwide tours to ensure the dance continues to thrive in the modern era.

Social Impact

Prominent Performances and Outreach

The Gar Dance has continued to gain recognition in national and international circles. Notably, in 2018, it was performed during the Sichuan Province’s Ganzi Tibetan Autonomous Prefecture (甘孜藏族自治州) New Year’s Festival. Such performances help to spread the cultural richness of the Gar Dance and ensure its survival for future generations.