From the time Buddhism entered the mythical land of the snows, Tibetans have expressed their spiritual devotion and celebrated their culture with dance. This book--lavishly illustrated with color and rare historic photographs depicting the dances, costumes, and masks--is the first to explore the significance and symbolism of the sacred and secular ritual dances of Tibetan Buddhism.
The series Religion and Society (RS) contributes to the exploration of religions as social systems- both in Western and non-Western societies; in particular, it examines religions in their differentiation from, and intersection with, other cultural systems, such as art, economy, law and politics. Due attention is given to paradigmatic case or comparative studies that exhibit a clear theoretical orientation with the empirical and historical data of religion and such aspects of religion as ritual, the religious imagination, constructions of tradition, iconography, or media. In addition, the formation of religious communities, their construction of identity, and their relation to society and the wider public are key issues of this series.
In the midst of the devastation that has been wrought on their culture, the monk dancers in the Shechen monastery in Kathmandu, Nepal, are devoted to preserving the sacred dances central to the Tantric tradition of Tibetan Buddhism. The dances, which originated in India and flourished for centuries in Tibet, are teaching stories--each mask, costume, movement, and gesture has a specific significance and embodies the values of Buddhism. The dances are the monks' spiritual gift to the lay community. The origin of the sacred Buddhist dance, or cham, goes back to the ninth century, when Guru Padmasambhava introduced Buddhism to Tibet. Through the ages, the practice has been advanced by great masters whose visionary experiences enriched and enhanced the dance forms. The sacred dances were then transmitted as accurately as possible by the masters' disciples from generation to generation. The dances are now preserved in exile in India, Nepal, and Bhutan, and have been presented in the West, by the monks of Shechen and other Tibetan monasteries, in the same spirit of sharing a profound inner experience. In vivid, full-color photos and illuminating text, the well-known author and photographer Matthiew Ricard reveals the painstaking preparations for and meanings behind the dances, as well as the intriguing history of this uniquely colorful teaching practice.
Richard Kohn's book transports the reader to the high Himalayas for an in-depth look at the inner workings of the three-week long Mani Rimdu festival. This event encapsulates the breadth and depth of the Himalayan Buddhist experience, from the profound practices of Great Perfection meditation to the worship of the gods of the neighboring mountains. The festival uses archaic material as well as prayers written by contemporary lamas, and it entails the preparation of numerous works of ritual art such as man'd'alas constructed of colored sand and sculptures of barley flour and colored butter called tormas. Two days of public performance, a day of spiritual empowerment, and a day of masked dance complete the festival. A description of Mani Rimdu from beginning to end, Lord of the Dance goes on to consider the structure of Tibetan ritual and its place within the history of South and Central Asian religions. In addition, the author discusses ritual as an art form and analyses the transformation of a textual tradition into performance art. Through the small window of the Himalayan festival, the book overlooks the vast horizon of the Buddhist experience.
Both Buddhism and dance invite the practitioner into present-moment embodiment. The rise of Western Buddhism, sacred dance and dance/movement therapy, along with the mindfulness meditation boom, has created opportunities for Buddhism to inform dance aesthetics and for Buddhist practice to be shaped by dance. This collection of new essays documents the innovative work being done at the intersection of Buddhism and dance. The contributors--scholars, choreographers and Buddhist masters--discuss movement, performance, ritual and theory, among other topics. The final section provides a variety of guided practices.
'Brilliant and riveting. This book shows us that freedom is a choice we can all make' Gelong Thubten, author of A Monk's Guide to Happiness 'A fascinating story of an incredible life, told with unflinching honesty' Dr John Sellars author of Lessons in Stoicism ___________________________________________________________________________________ Lama Yeshe didn't see a car until he was fifteen years old. In his quiet village, he and other children ran through fields with yaks and mastiffs. The rhythm of life was anchored by the pastoral cycles. The arrival of Chinese army cars in 1959 changed everything. In the wake of the deadly Tibetan Uprising, he escaped to India through the Himalayas as a refugee. One of only 13 survivors out of 300 travellers, he spent the next few years in America, experiencing the excesses of the Woodstock generation before reforming in Europe. Now in his seventies and a leading monk at the Samye Ling monastery in Scotland - the first Buddhist centre in the West - Lama Yeshe casts a hopeful look back at his momentous life. From his learnings on self-compassion and discipline to his trials and tribulations with loss and failure, his poignant story mirrors our own struggles. Written with erudition and humour, From a Mountain in Tibet shines a light on how the most desperate of situations can help us to uncover vital life lessons and attain lasting peace and contentment.
This is a unique and powerful presentation of the teachings of Tibetan Buddhism on the five elements: earth, water, air, fire, and space. In their gross and subtle forms, these elements combine to make up the infinite illusory display of phenomenal existence. Through teachings, stories, and his distinctive use of language, Thinley Norbu Rinpoche relates how the energies of the elements manifest within our everyday world, in individual behavior and group traditions, relationships and solitude, medicine and art. He explains their links to the five Buddha families and their respective Wisdom Dakinis, and shows how each element relates to our senses, temperament, passions, habits, and karmic potentials. This magic dance of the elements, he concludes, can be transformed through meditation practice and cultivating the calm, vast, and playful state of consciousness that he calls "playmind."
The Sound of Vultures' Wings offers the first in-depth exploration of the music of the Tibetan Chöd tradition, which is based on the liturgical song-poems of the twelfth-century Tibetan female ascetic Machik Labdrön (1055–1153). Chöd is a musical/meditative Vajrayāna method for cutting off the root of suffering, namely, egoic identification with the body, or the belief that the "I" is the locus of the "self." Chöd is regarded by many Tibetan Lamas as one of the most effective Buddhist practices for spiritual and social transformation. Jeffrey W. Cupchik details the significance of the complex, interwoven performative aspects of this meditative ritual and explains how its practice can bring about experiences of insight and inner transformation. In doing so, he undoes the notion of meditation as exclusively an experience of silence and stillness.
This unique work presents invaluable material related to the Tibetan sacred dances, which have met their doom with the destruction of monastic life in Tibet.
A fresh interpretation of the dakini—a Tibetan Buddhist symbol of the feminine—that will appeal to practitioners interested in goddess worship, female spirituality, and Tantric Buddhism The primary emblem of the feminine in Tibetan Buddhism is the dakini, or “sky-dancer,” a semi-wrathful spirit-woman who manifests in visions, dreams, and meditation experiences. Western scholars and interpreters of the dakini, influenced by Jungian psychology and feminist goddess theology, have shaped a contemporary critique of Tibetan Buddhism in which the dakini is seen as a psychological “shadow,” a feminine savior, or an objectified product of patriarchal fantasy. According to Judith Simmer-Brown—who writes from the point of view of an experienced practitioner of Tibetan Buddhism—such interpretations are inadequate. In the spiritual journey of the meditator, Simmer-Brown demonstrates, the dakini symbolizes levels of personal realization: the sacredness of the body, both female and male; the profound meeting point of body and mind in meditation; the visionary realm of ritual practice; and the empty, spacious qualities of mind itself. When the meditator encounters the dakini, living spiritual experience is activated in a nonconceptual manner by her direct gaze, her radiant body, and her compassionate revelation of reality. Grounded in the author's personal encounter with the dakini, this unique study will appeal to both male and female spiritual seekers interested in goddess worship, women's spirituality, and the tantric tradition.
