Qiangmu Dance of Tashilhunpo Monastery in Shigatse

Founded by the First Dalai Lama in 1447, Tashilhunpo Monastery is one of the six big monasteries in Tibet. It is the seat of the Panchen Lama, the second ranking person in the Gelugpa Tibetan Buddhist hierarchy, after the Dalai Lama. The monastery houses the tombs of Panchen Lamas and a 22.4-meter statue of Maitreya Buddha. Tashilhunpo remains popular among the Tibetans, as they carry on coming here on pilgrimage.

Qiangmu Dance (羌姆舞) of Tashilhunpo Monastery (扎什伦布寺) in Shigatse (日喀则), Tibet is one of the most important traditional dances in Tibetan culture and has been recognized as a National Intangible Cultural Heritage of China. It is a religious dance, also known as “Jumping God” (跳神), and is performed annually as part of the Tibetan Buddhist rituals.

The Qiangmu Dance is most famously performed during the Tibetan lunar August (藏历八月) at Tashilhunpo Monastery, where it forms an integral part of Tibetan festivals and religious celebrations. It has been recognized as a National Intangible Cultural Heritage since May 20, 2006, under the heritage number Ⅲ-22.

History and Origins

Origin

The roots of the Qiangmu Dance trace back to 1617 (Tibetan year of the Fire Snake), during the reign of the 4th Panchen Lama, Losang Chökyi Gyaltsen. At that time, Tashilhunpo Monastery established the “Aba Zhacang” (密乘僧院), a Tantric monastic institute. By 1647 (Tibetan year of the Fire Dog), the Panchen Lama, at the age of 78, created a special ritual dance to honor the guardian deity “Chibala” (赤巴拉), a six-armed protector deity, through the Qiangmu dance.

This dance, known as the “Guduo” (驱鬼) or exorcism dance, was held annually on the 29th day of the 12th month in the Tibetan lunar calendar, and it marked the precursor to the Se Mo Qim Qiangmu (色莫钦姆羌姆) dance.

Development

In 1862, the 7th Panchen Lama, Danba Ni Ma, traveled to Lhasa and became interested in the rituals of other monasteries. He returned to Tashilhunpo and built the “Deqing Gexang Pochang” (德庆格桑颇章) and modified the original Guduo dance by incorporating influences from other Tibetan monasteries. This expansion gave birth to the Se Mo Qim Qiangmu, formally established and performed by monks from the Zigong Zhacang (孜贡扎仓) monastery.

Cultural Revolution Interruption

The Qiangmu Dance was interrupted during the Cultural Revolution in the 1970s when the dance ceased for almost 20 years. However, after 1986, efforts were made to revive the dance, and by the 1990s, the performance resumed with increasing participation, growing to over 40 performers.

The Tashilhunpo Monastery continues to host performances twice a year:

  1. On the 29th of the 12th lunar month (performed by Aba monks).

  2. During the Se Mo Qimpo Festival (藏历八月西莫钦波节), performed by monks from Zigongkang (护法神院).

Dance Characteristics

Dance Forms

The Qiangmu Dance includes a variety of ritualistic performances, with more than 30 segments depicting different deities and legends. Key components include:

  • Vajra Dance of the Horse Head (马首金刚舞)

  • King’s Dance (法王舞)

  • Demon Dance (仓巴神舞)

  • Black Hat Dance (黑帽舞)

  • Skull Dance (骷髅舞)

  • Four Seasons Dance (四季舞)

  • God-child Dance (神童舞)

  • Angry God Dance (怒神舞)

  • Longevity God Dance (寿星舞)

  • Yama Dance (阎王舞)

  • Pasture Dance (牧场舞)

The dance features solo, duo, and group performances, with significant emphasis on the leg, waist, shoulders, and hips, showcasing complex ritual movements that are integral to the religious ceremony.

Musical Features

The music of the Qiangmu dance is also distinct, with a large ensemble of instruments, including:

  • Four great horns (大法号)

  • Ten long drums (长柄鼓)

  • Two sets of large cymbals (大钹)

The cymbals are played in a rotating pattern, and when major deities or guardian gods make their entrance, both sets of cymbals play together in unison. The musicians are typically monks who have previously performed in lead roles in the Qiangmu dance.

Costume Features

One of the most striking features of the Qiangmu Dance is the masks worn by performers. Apart from the 21 female deities (达日额赫), every other character wears a distinctive mask, some covering the entire face while others are only partial masks. Masks include:

  • Animal heads like cow, deer, lion, and phoenix.

  • Other masks like skull, ghost, and elderly man faces.

The costumes are made from satin robes, often adorned with large sleeves in a bell shape, which have been a part of the tradition for generations.

Ritual Performances

The dance begins with a sacrifice ceremony (牲祭仪式) where symbolic offerings are made to the gods. The performance features groups of guardian deities and other spiritual characters who act out different roles, often involving exorcising evil spirits or seeking divine protection.

First Day

On the first day of the performance, a variety of deities make their appearance, including:

  • Ha Xiang Jian Zhu (哈香简珠), representing the monks.

  • Xia Ya (鹿神 and 牛神), the deer and cow gods.

  • Tu Da (尸陀林), performed by four dancers.

  • Long Chi (引路), led by two children.

Second Day

The second day features more ritualistic performances with characters such as:

  • Qu Jie Ya Yong (阎罗王的父母) performed by 18 dancers.

  • Zu Guo Song (孜玛热), the temple’s protective deities.

Third Day

The final day is more festive and entertaining, showcasing animal dances such as the wild ox dance, lion dance, and mask dance, featuring both live animals and statues. It culminates in a grand display of sacred objects like coral pillars, pearl mandalas, and golden pagodas.

Inheritance and Protection

Inheritance Value

The Qiangmu Dance is not only a vital cultural treasure in Tibet but also has a widespread influence across Tibetan-inhabited regions in Qinghai, Gansu, Sichuan, Yunnan, and Nepal, India, and Bhutan. It is a rare Tibetan Buddhist religious dance that holds immense research value for understanding Tibetan spirituality and history.

Inheritance Status

Despite the rich heritage, the Qiangmu Dance has faced challenges in maintaining its traditional form. At one point, only a few monks from Zacang could perform the dance. However, efforts are being made to protect and revive this cultural form, ensuring its transmission to future generations.

Protecting Figures

Monks such as Lama Tsiren (1920), Lama Mima (1933), and Zashi (藏族) have been pivotal in preserving and passing down this dance, making them representative inheritors of the tradition.

Protection Measures

In 2016, the Tibet Autonomous Region government began a rescue recording program for elderly inheritors. In 2019, the Ministry of Culture and Tourism of the People’s Republic of China approved the Tashilhunpo Monastery‘s management committee to oversee the dance’s protection.

Social Impact

Major Exhibitions

In 2007, the Tibet Ecological Folk Culture Exhibition in Lhasa featured the Qiangmu Dance as one of its representative performances.

Honors

In 2008, 31 inheritors of national intangible cultural heritage projects, including those of Tashilhunpo Monastery, were awarded certificates and medals to recognize their contributions to preserving Tibetan culture.

Cultural Anecdotes

Legendary Story

A popular legend suggests that when Buddhism was first introduced to Tibet, a great ox helped build the first monastery, Sakya Monastery (桑耶寺), but was forgotten during the celebration. In anger, the ox charged at the temple and died. It reincarnated as Darma, a powerful king who nearly destroyed Buddhism. However, a monk named Balar Dorji performed the Qiangmu dance to defeat the tyrant, and the dance has been performed every year since as a commemoration of his victory.