Qiangmu Dance of Lakang Kagyu in Lhozhag County, Shannan

The Qiangmu Dance, also known as Lakang Kagyu Qiangmu羌姆（拉康噶举派羌姆舞/拉康加羌姆）, is a traditional Tibetan dance from Lhozhag County (洛扎县) in Shannan Prefecture (山南地区), Tibet Autonomous Region (西藏自治区). This dance is a vital part of Tibetan cultural heritage, blending elements of local folklore, religious rituals, and performing arts. It is recognized as one of China’s National Intangible Cultural Heritages and is celebrated for its vibrant and sacred performances.

Overview and Historical Significance

The Lakang Kagyu Qiangmu holds deep cultural and historical significance in Tibet. According to local legend, the dance originated from a vision experienced by Nima Zeng (尼玛增), a lama from Kadong Monastery (卡顶寺) in Karju Mountain (卡久山), where he discovered sacred artifacts. These included a Kagyu copper stupa and a large bell, which he decided to bring down to the village of Lakang (拉康镇). During his journey, he had a vision of six boys dancing, which inspired him to create the Qiangmu Dance, teaching it to local children from the Du Xinmen Cang family (杜新门仓家族). This oral tradition has been passed down for over 600 years, and today, the dance continues to hold an important place in the cultural and religious landscape of Lhozhag County.

The Qiangmu Dance is performed annually during the 15th day of the 12th month of the Tibetan lunar calendar, coinciding with the traditional border trade meeting in Lakang. This event brings together local villagers and traders from surrounding regions, making it a key cultural and commercial gathering.

Recognition as a National Heritage

On May 23, 2011, the Qiangmu Dance was officially recognized by the State Council of the People’s Republic of China as a National Intangible Cultural Heritage. This recognition ensures that the dance will continue to be preserved and passed down through generations. The heritage number for this dance is III-22.

Dance Structure and Performance

The Lakang Kagyu Qiangmu is a highly stylized and ritualistic dance that blends folklore, mythology, and Tibetan religious practices. The performance is structured into six segments, each with its unique theme, symbolism, and performance style.

1. Sadu (萨堆) – Purification Dance

The dance opens with Sadu, also known as the “Exorcising Evil Spirits” segment. The purpose of this ritual dance is to purify the area and ensure the smooth progression of the upcoming performances. Dancers wear deer-head masks and carry ceremonial objects like flags and bowls. The dancers perform dynamic, large-scale movements such as spinning, jumping, and bending, accompanied by the sounds of cymbals, drums, and the ritual conch shell.

2. Chunmusuo (春木索) – Gathering Dance

This segment represents the coming together of the people for the festival. The dancers wear ceremonial attire, including deer-head and cow-head masks, and perform varied and intricate movements, including arm gestures, hand signs, and coordinated steps. The second part of this segment shifts into a mythological narrative about Jiongmiqiong (大鹏鸟), the “Great Roc,” and the antics of dwarfs who use their intelligence to overcome the mythical bird. The dwarfs use meat baits to lure the bird into a trap, a theatrical performance full of humor and action.

3. Gengqiang (庚羌) – Decoration Dance

This segment, also known as “Silingguduo” (铃声和鼓声的拟音), features dancers in female costumes, including long robes and female masks. The dancers sway and shake their bells and drums, evoking playful, seductive movements. This part of the performance also introduces the Shenggong (godfather) and Shengpo (godmother) characters, who are central to the Lakang Kagyu Qiangmu’s lore. The humorous interaction between these characters, as well as their playful engagement with the audience, adds a lighthearted and festive tone to the performance.

4. Tingmaidongqiang (庭麦董羌) – The Monkey Dance

The fourth segment brings a playful and lively tone to the performance, featuring a monkey character. This character, dressed in a monkey mask and brown robes, performs acrobatic jumps and interacts with the audience. The monkey symbolizes disruption and humor, breaking the regular social order and facilitating the smooth trade between the different regions. In Tibet, monkeys are often seen as a symbol of goodwill and generosity.

The monkey performer climbs a flagpole in the center of the performance space, waving to the crowd and accepting offerings. The audience throws money and ceremonial scarves (hadda) as the monkey moves through the crowd, humorously interacting with everyone.

5. Gasa Bama (加萨拔玛) – Princess Wencheng’s Dance

The Princess Wencheng segment is a theatrical portrayal of the story of Princess Wencheng’s journey to Tibet during the Tang Dynasty. She is traditionally depicted as a savior who overcame obstacles and evil spirits on her journey. In the performance, Shengpo (godmother) and Shenggong (godfather) fight off evil forces, and Wencheng enters Tibet peacefully, aided by divine protection. This performance highlights Tibet’s historical relationship with China and its rich religious and cultural significance.

6. Xida (喜达) – Local Guardian Dance

The final segment honors local guardian deities who protect the community. The dancers wear cow-head masks and perform a series of ritual movements that symbolize the protection of the people. This part represents the ongoing struggle between Buddhism and local Tibetan beliefs, demonstrating the victory of Buddhist deities over traditional forces.

The dance reflects how the Lakang Kagyu Qiangmu serves to foster community unity and religious harmony while honoring the region’s traditional values.

Cultural and Social Impact

Inheritance and Protection Efforts

The transmission of the Lakang Kagyu Qiangmu has historically been passed down through generations, predominantly within the Du Xinmen Cang family. The dance’s transmission has faced several interruptions, particularly during the Cultural Revolution, but thanks to efforts from local communities and the Chinese government, it has been revitalized.

In recent years, efforts have been made to preserve the dance as a National Intangible Cultural Heritage, ensuring that it is passed down to younger generations. Local authorities, such as the Lhozhag County Cultural Bureau (洛扎县文化局), have supported these efforts by offering resources and platforms to showcase the dance.

Key Figures in the Preservation of Lakang Kagyu Qiangmu

Prominent figures in the preservation of this dance include:

• Bai Ma Qun Jiu (白玛群久), born in 1941, is recognized as a key inheritor and was appointed as a representative inheritor of this heritage.

• Zhan Dui (占堆) began his studies in 1993, and has mastered eight different forms of the dance.

Cultural and Religious Significance

Lakang Kagyu Qiangmu is not only a form of entertainment but also a spiritual ritual. The dance connects local communities with their religious traditions, ensuring that cultural practices are preserved in an authentic and respectful manner.

The 15th day of the 12th Tibetan lunar month is not only a celebration of the dance but also a time for community bonding, trading, and religious offerings, marking an important occasion for the people of Lhozhag County and beyond.