Geography

Bio-diversity

Personalities from Sikkim

The Sikkimese Bhutia culture is deeply rooted in Tibetan Buddhist traditions and Himalayan ways of life. It is characterized by rich religious practices, monastic institutions, and a strong reverence for nature and sacred landscapes. Traditional attire such as the Kho, unique festivals, music, and oral traditions reflect the community’s historical ties with Tibet and its enduring cultural identity in Sikkim.

Festivals

Allegory of the Bumpa and the Holy Texts in Tashiding Monastery.

It is believed that during the 8th century, Maha Guru Padma Sambhava along with twenty-five learned lamas decided to bless the initiation of Sab-Cho Khor-Wa Ley-Drol at a palace in Tibet (Rasa-Tul-Nang-ki Tsug-Lag-Khang). During the ceremony Prince Murup Tsenpo disobeyed his father (the Gyalpo/ King) and forcibly tried to enter the palace, but his procession was halted by the sentinels. Filled with rage at this humiliation he killed the sentries. This disrupted the initiation, on hearing the news the King decided to punish him for his transgression, by making him relinquish all his authority before the Great Guru.

Realizing his mistake the prince begged for forgiveness and bowed before the “Bumpa of initiation /Sab-Cho”, then Maha Guru Padma Sambhava with mercy in his heart, blessed him and enlightened the prince the significance of the Bumpa (vase) in the three realms (i.e. Teng Lha, Oog lu, Bar tsen). Further, the Maha Guru prophesied that in future the prince would be reincarnated as Garwang Shikpo Lingpa and would discover the Bumpa (vase) among the Secret hidden treasure (Ter) which would benefit all the sentient being in the world. Accordingly, the Great Guru hid the Bumpa under the throne of Seven Buddhas.

As predicted the prince was re-incarnated as Garwang Shikpo Lingpa who discovered the Bumpa amid the hidden treasure (Ter) with a Holy text called (Sab-cho Khor-wa Ley-drol). He started practicing its precepts for the rest of his life. At the age of sixty, he started giving sermons to the masses and later to Chogyal (Dharma Raja) Tak- Shamchen. In turn Chogyal Tak-Shamchen offered his patronage. Later, the Bumpa was entrusted to a monk with colossal potentiality called Nga-dak Sempa Chenpo Phuntshok Rigzing, who had just accomplished one lakh initiation (chakbum) at the shrine of Lhasa joo, where it was believed that the idol of the shrine could speak. The Lhasa-joo Rinpoche designated him to escort the Bumpa and Holy text to Be-yul Demozong to bless the land. Following the instruction Nga-dak Sempa Chenpo Phuntshok Rigzing reached Sikkim where he installed the Bumpa and Holy text in Tashiding, where a monastery was constructed to commemorate the incident.

The16th century was a turning point in the history of Sikkim as it would witness State formation under the Namgyal Dynasty and the propogation of Mahayana Buddhism under Gyalwa Lha-tsen Namkha Jigmed ,Kathog Rikzin Kuntu Chenpo and Nga-dak Sempa Phuntsog Rikzin Chenpo. Together they built monasteries to disseminate the message of Buddha Dharma. The 1st Six hundred crore “Mani Dung-Dup” Mani chanting were initiated at Rinchenpong, West Sikkim, followed by chanting’s in Barphung, South Sikkim and then in Tashiding. It is believed that through these intense incantations came out; perennial water, fresh water, fragrant water, a sacred elixir blessed with Dharma in the Monastery of Tashiding. The revered monks of Tashiding Monastery brought the blessed water of from Rathong River and mixed it with the Bumchu and distributed among the devotees.

Since then every 14th midnight and 15th day of the Tibetan Lunar calendar (i.e. every 14th day from the Losar) a sacred festival is organized at the Tashiding Monastery to reprise the rituals and continue the tradition of Bumchu.

With the recitation of the Holy text “Tsa-Sum Khorwa Leydrol” under the direction of UU-Dor-Cho-Sum, Khenpos Rinpochi, and distinguished monks the scared Bumchu is performed. Predictions are made according for the year ahead. It is supposed that if the water is not crystal clear it signifies unrest in world, if the water is less or half empty then evils may befall, If the water is maximized or more it signifies peace and fruitful ahead year.

by Sonam Onchen Bhutia and Jigme Wangchuk Bhutia

Folk Songs of the Lho Po’s.

The songs and dances performed by the Lho Po’s on occasions such as marriage, childbirth, house warming and annual harvesting time etc. mirrors their love for nature and their praise for Gods, Goddess and spirits of ancestors etc. Instrumental music, songs and dances thus play an important role in the evolution of the Lho Pos or Bhutia culture in Denzong.
The dances performed by the Bhutia community are customarily accompanied by live Lu or songs and Da-nyen or music. The dances executed are mostly a series of footwork called Shabdra, (Shab meaning foot in Lho Kay or Bhutia language) and it is usually the dance of the foot making a rhythmic sound.
The instruments usually accompanying Bhutia folk songs and dance are:
1. Daden (stringed musical instrument)
2. Piwang (violin type instrument)
3. Piwang tawa (violin type instrument)
4. Threling or Lingbu (flute)

There are different types of Lho Po songs such as: –
1. Dzung Lhu or Nations historic song. In these types of songs there is an oral transmission of past history, History of Lho Po community, their cultural traditions and religious customs and rituals. People have been singing such song for centuries and have kept it intact through careful transmission from one generation to another.
2. Trea Lhu or medley type songs. These types of song are usually sung in times of child birth, marriage a, housewarming and other ceremonies. It is kind of a duet and dual type of songs where one singer or group of singer finishes and other singer or group continues and not letting it stop. In olden times it could go for days without the song coming to an end. It is very interesting and eventful.
3. Riksel lhu or modern songs. These types of songs can be said of modern composition with a fusion of traditional and western instruments.

Some of the celebrated songs of the Lho Po community are:

  • Shonpa Ngatso Lingu Kor ne Dro
  • Jang Namtso Karpo
  • Aela sang Ri
  • Nyugshed
  • Lukhang Shey kyi Gomo
  • Kora Ley Kor
  • Ashi Bhumo
  • Tashi Yangchag
  • Sergi Chorten
  • Gungsang Aechog
  • Yulchog Kyido
  • Bhumchung Nyimai Ritse
  • Dhutsi Yarchoe
  • Tapoi Shey
  • Denjong Chagrab
  • Pangyen Metog

Guru jingi Lap ……By Late Palden Lachungpa

Lho Po Traditional Dance Forms:

Dance is a performance art form consisting of purposefully selected sequences of human movement.

This movement has aesthetic and symbolic value, and is acknowledged as dance by performers and observers within a particular culture. Dance can be categorized and described by its choreography, by its repertoire of movements, or by its historical period or place of origin. Some of the cherished dance enjoyed by the Lho Pos of Denzong are:

Secular Dances:

Lu khangthamo: It is dedicated to the day of thanks giving to all gods and deities of the three worlds, heaven and earth and hell. This age-old folk dance is performed regularly by the young and old folks alike in their traditional dress and ornaments accompanied by a pleasing song and music on the occasion like warming and New Year celebration. It is a typical Bhutia folk dance.

Gha to kito: It is a Bhutia folk song cum dance   which refer to the treasures of Sikkim like Mount Khangchendzonga and the snow-covered Himalayan ranges, rhododendrons and Primulas holy places caves and minerals etc.

Chi Rimu: It is a popular Bhutia folk dance performed in praise of Sikkim by young and old folks. This dance is a regular feature in every happy occasion when Bhutia express reverence to great teachers and sacred places of worship.

Gnungmala Gnunghey: It is a typical Bhutia folk dance performed in praise of the majestic Sikkimese bamboo and its bounty, by both male and female. The dance is accompanied by devotional hymns and songs describing it use.

Rechungma: It is typical Bhutia dance performed during happy occasions like childbirth, marriage and other social gatherings, offering payers of thanks to the Gods for their blessings.

Tashi Zaldha: It is a dance depicting the Bhutia custom of offering scarves performed by boys and girls.

Yak dance: High among the mountains of Sikkim, the Yak is a gallant creature providing man with transport and nourishment. The yak dance is performed in different occasion and festivals to honor the majestic Yak and also depicting the simple lifestyle of the herdsman in the mountains.

Singi Dance: In this group dance four men dressed as the mythical Snow Lion led by a herdsman perform their dance. The presence of two snow lion dancing under the guidance of a herdsman looks extremely attractive and enchanting to the viewers. Musical instrument (without any songs) is used like drum, cymbal, yarka and yangley.

Religious Dances: Mask dances.

The Bhutias are Buddhist and their everyday life is interwoven with monastic way of life and monastic rituals and usually one son from a Bhutia family is a monk.  The religious mask dance therefore cannot be separated from the Bhutia community. These religious mask dances are merged in the traditions and customs of everyday Bhutia life and are inseparable.

The instrument used in the religious mask dance are:

  1. Dungkar (Sankha or Conch Shell)
  2. Dama (like drums)
  3. Duchen or Radong (Trumpet)
  4. Suna or (Sanai/Clarinet)
  5. Rolmo or Raum (cymbals)
  6. Siljen or small zamta type instrument.
  7. Dorjee dilbu or bell and Vajra

Enchey Cham:  Sikkim’s famous mask dances provide a spectacle perhaps nowhere to be experienced in the entire world performed by lamas in the ‘Gompa’ courtyard to celebrate religious festivals; dances demonstrate perfect footwork and grace. Costumed lamas with gaily painted masks, ceremonial swords and sparkling jewels leap and swing to the rhythm of resounding drums, trumpeting of horns and chanting of lamas. It is the annual pula celebrated with religious masked dances on the 18th and 19th of 11th month of the Tibetan Buddhist calendar corresponding to month of December and January.

 Kagyed Dance: It is performed on the 28th and 29th of the 10th month of the Tibetan calendar, around December. This dance symbolizes the destruction of evil forces and prayers for peace and prosperity to flourish in every Sikkimese home. This, dance is extremely popular and are always performed by monks who are accompanied liturgical music and chanting. The intense nature of the dance is combined with comic relief provided by jesters called Atsara, Kagyed dances enact various themes from the Buddhist mythology.

Rumtek chaam: It is the most important Cham (religious masked dance) performed on the 10th day of the 5th month of Tibetan calendar, corresponding to the month of June. It presents eight manifestations of the Guru Rimpoche. This is highly colorful and spectacular and draws many pilgrims and visitors.

Gouthor (Winter Chaam): It is performed on the month of February 2 days prior to Losar.

Pangtoed chaam: It is performed during the Pang Lhabsol at the Tshuklhakang near royal chapel. It is a warrior dance performed by the layman. This Chaam was initiated by Chogyal Chador Namgyal and especially performed in honor of Mount Khachenzongn,Yeshe Gompu or Mahakala and other gods. It is a colorful dance and attracts visitors and tourist likewise.