Orchestras and their instruments

Just as costumes and masks are important to the Cham dance, so is music.  Without music the Wrathful Deities are not able to move in unison and together conjure up the forces necessary to capture and destroy evils.  Music is the catalyst that makes Cham powerful, it is the lubricant that joins energy with purpose - it guides and energizes the dancers in their display of the power of Tibetan Buddhism.

A typical Cham orchestra. At Sengeshong Yagotsang (Shang Wutun, Repkong). The orchestra leader, called 'cham pon', sits behind the table with the colourful scarf.

Gomar Gompa orchestra.The Living Buddha of the monastery, 12 years old, is at the left rear. Center rear is the Abbot of Gomar Gompa. 'Dorje Lopon', the Cham dance master, is at the right rear in the wavy hat, black fringe and face mask. Two shanags are seated to the right front.

Orchestra for the Gu Cham, Vajra College, Labrang Tashikyil. This is a shanag cham, one dancer shown at the extreme left of the photo. Snow is extremely rare during a cham dance ....

Shachong Monastery (Jakhyung Shedrubling). 'Dorje Lopon' at the extreme left, 'Cham Pon' is the fourth cymballist from the left. Note the anticipatory crowd (no foreigners). A later view of the courtyard during the Cham dance is shown as the banner to this website and this page.

Kumbum Monastery orchestra played for Choe Jia Cham and Hayagriva Cham in June 2010.

MUSICAL Instruments ...

Orchestras vary in size as one might expect, depending on the wealth of the importance and wealth  of the monastery.  Instruments may include cymbals, drums and horns, some big, some small.  The number of musicians will also very.  Sometimes, but not often, a small group (quartet or sextet) will move away from the main orchestra and play separately during a specific part of the Cham dance.

Longhorn (T: radong)

The longhorn makes a deep and mournful sound, stirring the internal essence of humans.  The vibrations it produces are important in assembling the protector gods to participate in the Cham.  It also marks the end of certain dance movements in the Cham.

Those monks spending many years on the longhorn can sometimes be recognized by their missing front teeth, a by-product of the force that is necessary to make the music of the radong.

Played in pairs, each horn 3-4 meters long.  Most longhorns come in two pieces, each of which is telescopic.

Thighbone Trumpet (T: kangling)

The sound of this horn is known to drive out evil influences and negativities.  Originally the horns were made from human thigh bones.  The one shown in the photo is an original trumpet.

Those trumpets made from the thighbones of tigers are called ‘stagling.

 

Flageolets

An older European word for a derivation of a flute or small horn or trumpet.

These trumpets are always played in pairs.  As human thighbone trumpets have fallen into dis-use, this horn has taken its place.

At least two will stand from time to time next to the entrance of the chanting hall to announce the arrival of the chief divinities.  Will be played by either musicians from the orchestra or by Black Hats.

In this photo they are leading the Zor procession to the gtor rgyab burning ceremony.

Frame Drum (T: chos rnga)

Drums, like the longhorns, are instrumental in summoning the protector deities to come to earth.  The frame drum performs this function.

Additionally, it accompanies the cymbals during chanting.

A curved stick or piece of bamboo serves as the beater.

The reverse side may bear various images, the most common being that of a Kalachakra (Wheel of Time) deity, in various colors.

The sound of the drum causes sleeping gods to awake from their sleep of ignorance.

Hand Drum (T: damaru)

Originally constructed of two inverted skull caps, each covered with taunt yak skin.  The drum is symbolic of the joining of male and female elements of life.

Catechu wood or sandlewood is also used.

Drum accompanies reciting of magic spells; also used to indicate intervals in a religious ceremony.

(The photo shows the damaru being used during a Nyingma – Red Hat order – Cham dance ceremony.)

Cymbals (T: rolmo, tingsha)

While the drums call the protectors to assemble, the cymbals plea for them to remain.  They are used when chanting mantras and reciting sutras.

Smaller cymbals (finger cymbals) are joined with a leather thong.  They are rung by holding the thong and gently shaking it.  They are not normally part of the Cham dance.

Conch Shell Horn (T: dung kar)

The Conch is one of the Eight Auspicious Symbols of Tibetan Buddhism.

Important because it is created by nature and not by human hands.

Often played in pairs.

Most conch horns are ‘right-handed’ (ie. the right hand fits into the shell).  The rare and auspicious ones are ‘left-handed’.

Some have elaborately carved silver handle adornments, inlaid with precious stones and finely tooled.

Conch shell horns that are no longer playable, usually because of cracks or internal breakage, are sometimes used as holders for offerings (barley, rice, various seeds, etc.).

A quartet, from the main orchestra, playing at Gonlung Jampaling (You Ning Si), a quietly well-known Gelug monastery in a Tu minority area north of Xining, Qinghai Province. The dance they are supporting is a very large Shanag Cham performed with over 80 dancers.

... and a well deserved rest.

Rol Pon in the center.  He is also the main cymbalist
and the Chant Master.