Paro Tshechu (DAY 3)

Dance of the Lords of Cremation Grounds (Durdag) (Same as day one, Dance No. 2)

Dance of the Terrifying Deities (Tungam)

Costume : beautiful brocade dresses, boots and terrifying masks

This spectacular and dramatic dance symbolises the liberation by death of those who can not led to the path of the Buddha through peaceful means. The core of the dance depicts the sacrificial killing.
First, the dancers representing the gods circle the bad spirits and ensnare them in a box. Then the main god, who holds the phurba (the ritual dagger), kills them. He thus saves the world from them and at the same time delivers them into salvation. This is the only way by which the men and the asuras (half-gods) who become enemies of Buddhism, can be converted.
Hence, Ugyen Rimpoche, who is the emanation of all the Buddhas, took the form of Dorje Dragpa, ‘Fierce Thunderbolt’ to liberate such bad spirits and usher them into the superior sphere of bliss. This incredible feat brought happiness o the human world and helped increase faith in non-illusionary acts.

Dance of the Heroes with six kinds of Ornaments (Guan Drug Pawos)

The Pawos or mediums are called the Heroes with six kinds of ornaments because they wear five types of bone ornaments and hold in their hands a tiny drum and bells (considered as one). They dance with the purpose of being seen by both the gods and sentient beings. They arouse the assembly of the Gods and the Tantras from the state of indifference by the sound of their divine drums and lead sentient beings, caught in the wheel of reincarnations, along the path of liberation.

Kyecham : Dance of the Noblemen and Ladies (Phole Mole)

This dance depicts a part of the love story of King Norzang of the kingdom of Naden in North India and Queen Yidrogma.
According to King Norzang’s biography, the son of a hunter in his kingdom was once granted a wish for saving the life fore of a serpent deity. He borrowed the magic noose which could capture anything and ensnared Yidrogma, the most beautiful woman around. He offered Yidrogma as a gift to King Norzang.
King Norzang already have five hundred Queens but became so besotted with Queen Yidrogma that he began to neglect the other queens. The queens, unable to bear the king’s indifference, sought the services of Hari, through black magic, caused King Norzang’s father to see a prophetic dream.
The prophecy said that enemies, savage men from the north, were trying to destroy the kingdom. If the kingdom was to be saved, they must be defeated at once. The father commanded King Norzang to set out immediately for the north. As King Norzang prepared to leave, Queen Yidrogma begged him to take her on excursion. The King explained to her that he could not take her to war although he was sad at having to part from her. Queen Yidrogma gave to hear beloved as souvenirs her ring, a set of her clothes and the white silk scarf with which she covered her head.
King Norzang set out for the north and conquered the foreign enemies. He then returned to his country and defeated all opponents within. Queen Yidrogma who had, using magical powers, fled to her father for fear of being killed, was welcomed back and lived happily with King Norzang.
In the dance, the essence remains the same although portrayed differently. The players are two royal couples, an old couple and the atsaras. The two princes are about to embark for war and leave the princesses in the care of the old couple. No sooner have they departed when the clowns corrupt the old woman and try to take advantage of the princesses.
On their return, the princes are scandalized by the behavior of the princesses and cut off their noses as punishment. The old woman is also meted the same punishment. Relenting later, a physician is called and the noses fixed back. When it comes to the turn of the old woman, the physician refuses to come near her because of the stink and instead fixes the nose with a stick.
In the end, the princes wed with princesses.

Shawa Shachhi – Lencham : Dance of the Stag and the Hounds (IInd part)

In the first part of this dance (Day 2, No. 13) the saint Milarepa encounters the stag and the hunter and his dogs in hot pursuit. This part depicts the conversion of the hunter, Gonpo Dorji, to Buddhism.
When Gonpo Dorji arrives at the spot where Milarepa has his dogs and the stag seated peacefully on either side, he thinks the sage has cast a spell on the animals. Gonpo Dorji, who is fierce, strong and frightening in appearance, is enraged at the sight. Saying, ‘you protect the stag and the dog, let us see if you can protect yourself from this arrow’, he lets fly a poisonous arrow.
In the next instant, Gonpo Dorji’s bow shatters, the bow string snaps and the arrow turns towards himself. Gonpo Dorji cannot believe what he sees until Milarepa tells him: ‘Gonpo Dorji, your arrow is returned, now listen to my song’.
As the song wafts through the forest, Gonpo Dorji is filled with deep remorse for his past actions and confesses his bad deeds. He promises never to sin again and becomes a practitioner never to sin again and becomes a practitioner of the religion. In time he attained full realism.