Tiji Festival 2019

 

In 2019, I went on three major journeys to photograph "ordinary people doing extraordinary things".

The first journey was at the end of May.  I returned to Upper Mustang, "The Former Kingdom of Lo", for the third time in three years ostensibly to witness and document a major festival, Tiji Festival" held in Lo Manthang.

The Tiji Festival is one of the two major festivals held in Lo Manthang each year.  It is held typically at the end of May and early June, prior to the start of the rainy season.  The other major festival, which I attended the previous year, is "Yartung Festival, which is held at the end of the rainy season in August.

In the 17th century the King of Mustang invited the Sakya Trizin (Holder of the Sakya Throne) in Samye Monastery in Tibet, the home of Vajrakila sacred dance, to reside at the Chode Monastery in Lo Manthang. The Tibetan culture and tradition is very strong in Mustang.  Today it is said that Upper Mustang is more like Tibet than the post WWII Chinese dominated Tibet of today.

While at the Chode Monastery, the Sakya Trizin performed a special Vajrakila ritual for the well being of all conscious as well as mindful beings such as divinities, humans, animals, tormented spirits, and denizens of hell.  He started a Cham, sacred Vajakila dances, associated with meditation.

Since that time in the 17th century, the Monks of Chode Monastery have been performing the dance and rituals.  Just as the Chams of Bhutan, every intricate movement, gesture, and expression of the dancer is prescribed and holds significant meaning.  In performing the Cham the Monk dancer has meditated to become the deity that he portrays.

The Tiji Festival, "Prayer for world peace", is a very religious Vajrayana Buddhist purification ceremony and ritual that commemorates the legend of a son who defeated his father in order to save the Kingdom of Lo.  The son, a deity named Dorji Jono, fought his demon father who had brought drought which caused famine in the land.

The Tiji Festival, which is held at the end of the dry season and the start of the wet growing season, commerates the victory of good over evil.

The Tiji Festival is a three day event.  In 2019 the first day of the festival was May 31st.  On the morning of the 31st, I attended a puja, a religious ritual, at the Chode Monastery.  I did not take any photographs because photography is not allowed UNLESS you had purchased a special permit just for that event.  If I remember is was something like $100 for two hours.

Unfurling the Thankla

In the afternoon, the ceremony started with a procession of costumed Monks from the monastery to the courtyard south of the Palace Gate and East of the Royal Palace.  I had been informed that the festivities would commence at 1:00 PM.  I arrived early, around 12:00 PM in order to not miss anything.  The area for spectators was already rapidly filling with people - locals as well as tourists.  I found a good location and sat on the cobble stone paving to await the start. 1:00 PM came and went.  I spoke with some people and they informed me that the ritual would start around 2:00 PM.  2:00 PM came and went.  I spoke with a monk that I know in Lo Manthang and he informed me that the start would be at 3:00 PM.  3:00 PM came and went.  However, at 3:30 PM the festivities actually started.  The wait and confusion is fairly typical for events in Upper Mustang.  Waiting is not all that unpleasant when you are surrounded by such beautiful scenery, ancient buildings, interesting local residents, and perhaps just as important - protecting your vantage point from the ever increasing number of spectators.

A Grandfather Escorts His Grandson

Monks Arriving at the Festival Site

Monk Performing Cham

 

The second afternoon, was highlighted by unfurling the ancient Thangka.  The ancient tapestry is said to be 400 years old.  It depicts the image of the Padmasambhava also known as Guru Rinpoche.  Guru Rinpoche was an 8th century Buddhist master.  He constructed the first monastery in Tibet.  He he is widely worshiped as the second Buddha by devotees of Tibetan Buddhism, typically found in Tibet, Nepal, Bhutan, and the mountainous areas of India.

Devotees of Tibetan Buddhism believe that viewing the sacred dances and the thangka brings them peace as well as prosperity.  The chams performed during the Tiji Festival cleanses Lo Manthang and surrounding area of evil spirits.

Unfurling the ancient thangka of Guru Rinpoche

The afternoon of the second day of the Tiji Festival, is filled with sacred dances, Chams.  The Chams performed on that day are more energetic and lively than the ones performed the previous afternoon.

Local women pay their respects to Guru Rinpoche

Lamas play cymbals and blow radong (long horn)

 

Monks Performing Durdag Cham - Lord of the Cremation Ground Dance

Lord of the Cremation Ground Dance

Young Monk Performs  Cham

On the third day of the festival, June 2, involved more sacred cham performances at the festival site.  At approximately, 5:00 PM there was a procession lead by the Lamas from the festival site through the streets of Lo Manthang to a field outside of the village.

Inside of Lo Manthang, Lamas beat drums and chant

At the edge of town, the man who many people recognize as the King stopped and lit the musket held by his bodyguard.  The matchlock musket erupted in a thunderous clap and filled the air with copious clouds of white smoke along with fragments of paper.  The firing of the musket is to banish evil from the town.

The "King's" Bodyguard Holds and Ancient Musket that the "King" Has Just Fired.

Once the procession had cleared the village of Lo Manthang, the ritual was concluded in an open field with the snow capped Himalaya mountains as a backdrop.  Several times, the ancient matchlock muskets were fired to signify the destruction and defeat of Dorjee Jono's evil father for the benefit of Lo Manthang and the Lowa people.  Firing of the muskets also banished any current demons from the region.

Outside of Lo Manthang, a man loads his ancient musket

Men Prepare Musket to be fired

Ramming the Charge

I am glad that I attended the Tiji Festival.  It was a interesting and unique experience.  

Would I return to the Tiji Festival?

Having "been there and done that", I can honestly say that I would not return to the Tiji Festival.

The ritual and ceremony met all my expectations.  The photo opportunities met my needs.

The local people were friendly and very photogenic.  It was a pleasure to see some friends once again and to make some new friends.

However, I did not completely enjoy my visit like during the previous two journeys to Lo Manthang.

The problem on this visit were the other foreign visitors.  There were not necessarily a great number of foreign visitors but I estimate that there were approximately 200 foreigners.  For a "town" of 500 residents, the amount of visitors made a big impact.

Two hundred visitors in the confined space of the Royal Palace Courtyard along with the local people attending THEIR festival was difficult.

I can tolerate the number of visitors.  I can even live, but grudgingly, with some of them wearing bright yellow or red jackets - who wants  photographs of an ethnic festival with brightly dressed foreigners conspicuously in the background? I always attend dressed in tan and black to minimize my visual impact on others.

What I have a low tolerance for and have difficulty in accepting is the poor behavior of  some visitors.  Granted that most visitors behave properly but there is a certain percentage of people who behave poorly.  The greater the number of people in any group, the greater the number of miscreants. I have also found that certain nationalities also tend to be more prevalent to poor public behavior.

Americans used to be considered to be the world's worst tourists.  They have been superseded by Chinese, South Korean, Russian, and German tourists.  I suspect that Italian tourists could also outrank the Americans now.

The Tiji Festival is highly publicized and touted for tourism to Upper Mustang.  Although Upper Mustang receives approximately 3,000 visitors a year, the vast majority of them arrive for the three day Tiji Festival.  Most have not done their homework as to what the festival is about, and most of all how sacred and important it is to the local people.

The festival is for the local people.  They believe that just by attending and witnessing the ritual, they will receive blessings and merit.  The festival is not a commercial event to attract tourists and their money.

Some of the visitors that I observed behaved as if the festival was being conducted for their benefit and entertainment.  That did not excuse their boorish behavior.  On the right hand side of the courtyard, there were a series of well made long benches with red plush cushions on top of them. HINT.  HINT!  They were obviously not intended for tourists!  Other than the chairs set up on the opposite side of the courtyard with "VIP" signs on them, there were no other seating arrangements at the performance venue.

I realized right off the bat that these benches were for the Monks.  Taking advantage of that, I stood right behind them with my knees against the bench - I knew that the young Monks would not be standing and I would have an unobstructed view of the ritual.  

Many tourists came and sat on the benches before the start of the ritual.  Perhaps they did not know or realize.  Some of the tourists sat and refused to move even when they were told that the benches were for the Monks.  As the young Monks stood before them, they would not move.  Even when they were informed by the local people they refused to allow the Monks to use the benches.  Only after an authority figure in a uniform arrived did they reluctantly vacate the benches.

The area of the courtyard where the cham is performed is sacred ground having been purified before the start of the ritual and marked out in two large concentric red lines placed by a Monk pouring the red liquid on the cobble stoned courtyard.  This did not stop some tourists from sitting in the space and refusing to move or respect the area when informed ...until an authority figure appeared with a baton to move them.

Some people behaved even more disgracefully.  There was one Chinese female tourist who kept violating the sacred space to squat and get "HER" shot.  Her presence at times interfered with the movement of the performers. Despite protests from local as well as other tourists she persisted with her obnoxious and inconsiderate behavior.  She became well known and despised throughout the festival.

One foreign man would stand in front of the seated local people at the edge of the audience obstructing their view.  He was not there for a short period of time to take a photo but to watch the ritual!  At other times I saw him placing his hand on local people to move them.  

These were all behaviors that I had not observed in Lo Manthang during my other trips.  It was not an environment that I enjoy or prefer.

Gerewol Festival 2019 Chad - Gallery Is Now Available

A gallery of 33 selected photographs from my recently completed journey to Chad (Tchad) is now available for viewing on my personal photography website.

Gallery Link:
 
https://www.hale-worldphotography.com/Gerewol-Festival-Chad-2019

Mobile App Link:

https://www.hale-worldphotography.com/Gerewol-Festival-Chad-2019?mobile=true

I had gone to Chad to witness, document as well as experience the Gerewol Festival.

The Gerewol Festival is the annual gathering of the nomadic people of the Wodaabe Tribe of the Sahel region of Africa.  At the gathering, the males compete for the attention and "favors (favours) of the young females.  The Wodaabe people consider themselves to be the most beautiful people in the world.

For the festival which provides the opportunity to comingle the bloodlines of the various clans, the males dress and make-up to emulate birds while accentuating their features that are considered beautiful and desirable.

Starting a little before sunset each day, the young men will dance and chant all night long before stopping just after sunrise.

Attending this festival was a great opportunity for me to: "show extraordinary people doing ordinary things.  In so doing, I wish to show how different people can appear, to provide a glimpse of other cultures, to celebrate the diversity of mankind, and to demonstrate that despite our appearances we are so much alike."

Chad was definitely one of the places that I now seek and treasure  - "a place less visited"

Back From Bhutan - 2018

My wife and I recently returned from our second tour of Bhutan in a year.  Once again we enjoyed touring the nation that values "Gross National Happiness".  This second tour gave us the opportunity to tour some different locations in the Buddhist Himalayan nation as well as opportunities to revisit locales, events, and people that we had enjoyed on our previous trip.

As I have written in previous blogs, I like to travel to special places more than once.  I find that you begin to understand a culture, place as well as people only on subsequent journeys. The first tour provides an introduction and a basis for further study and appreciation.

For this return tour of Bhutan, I had created a list, prior to our departure, of twenty photography goals to achieve.  I typically develop a list of priorities and goals for photography as well as sightseeing prior to each of our journeys.  I find that doing such planning and scheduling, helps to achieve goals and assists in keeping me focused as well as mentally organized.  It is often easy to become confused and overwhelmed when on tour of exotic lands.  Pre-planning and developing goals provides some direction and structure.

The goals for this tour were:

     1.   Levitating Cham Dancers
     2.   Eyes of Dancers Inside of Masks
     3.   Young Monks Reciting/Chanting
     4.   Elderly People at Prayer Wheels in temple
     5.   Temple Ceiling Paintings
     6.   People Lighting/Worshiping at Butter Lamps
     7.   Monk Filling Butter Lamps
     8.   Unfurling tapestry on closing day of Domkhar Festival
     9.   Cham Dancers Getting Dressed
    10.  Cham Costumes, Masks, and Instruments
    11.   Religious Paraphernalia In Window Light
    12.   Monk At Shrine
    13.   Monk's Afternoon Debates
    14.   Masks at Handicraft Center
    15.   People Painting Thangkas
    16.   People Carving Wood
    17.   People Doing Handicrafts
    18.   Indian Road Workers
    19.   Traditional House Roof - Wood & Rocks
    20.   Milky Way

These photography goals were developed from my experiences on the previous tour last Spring as well as to try out some new techniques and skills that I had studied in the past year.  I was also planning on obtaining some photos for a couple of projects that I have in mind.



          1.  LEVITATING CHAM DANCERS

Last year, I was able to capture moments when Cham performers leaped into the air and appeared to be suspended between the Earth and the Heavens.  In my studies of Cham I have learned that these movements, like every movement, have significant religious significance.  For this tour, I wanted to capture and share more of those moments, special moments when the performer appeared to be levitating.

 

          2.   EYES OF DANCERS INSIDE OF MASKS

Performers wear costumes and masks to transform themselves into the deity or manifestations of the Cham that they are performing.  The dancers also use mediation to become the deity or manifestation.  Although the masks have eyes, for the vast majority of the masks, the performers see out of the mask's mouth rather than the mask's eyes.  I am intrigued with the dichotomy of the performer becoming a deity or manifestation but, for me, still being a man beneath it all.  For me, this dichotomy is best illustrated by showing the performer's eyes beneath the mask.  During last year's tour, I was able to get some photographs - eyes beneath the masks while dancing and eyes in posed portraits.  For this trip, I wanted to focus more on shots of eyes beneath the mask while performing.

     3.   YOUNG MONKS RECITING/CHANTING

Living in Southeast Asia and being married to a devout Buddhist, I have many occasions to witness and document the lives of boy Monks.  Again I am fascinated by the dichotomy of "holy men" and of "boys being boys".  On the previous tour of Bhutan, I had a very personal moment photographing young monks chanting and reciting mantras at a temple.  For this second tour, I want to photograph a similar scene if not recreate that moment.

I had taken a photograph of that special moment on last year's tour and I was carrying a print to give the young Monk on this tour.  We inquired about the young Monk in the small village where the temple was located and determined that the boy was still a Monk at the temple.  Upon arrival at the temple, we discovered that things had changed ... a reminder of the Buddhist tenet that "Life is change".  The room where the young Monks study, recite, and chant was no longer accessible to outsiders.  The door was closed and the windows were covered.  Signs on the door indicated that the Monks were not to be disturbed.  Fortunately we found some young Monks outside the room.  They recognized the young Monk in my photograph and agreed to give it to him.

Fortunately, we were able to photograph some young Monks at a new locale, for us, during a puja.

 

 

     4.   ELDERLY PEOPLE AT PRAYER WHEELS IN TEMPLE

Throughout Bhutan, you will encounter prayer wheels.  Prayer wheels come in a myriad sizes.  In addition to size, the prayer wheels have various means of propulsion.  Some are rotated by merely rotating the wrist.  Some are spun by rotating its shaft with the palm of the hand.  Others are rotated by pulling on a cord suspended from the rim of the wheel.  I have seen some prayer wheels that had a circular handrail at the base that you grab to turn the wheel.  My favorite type of prayer wheels are propelled by water.

Everyone turns prayer wheels in Bhutan.  However I like, best of all, to photograph elderly people spinning the prayer wheels.

     5.   TEMPLE CEILING PAINTINGS

I was not able to take any photographs of the mandalas painted on the ceilings of many of the temples in Bhutan.  This year we had a slightly different itinerary than the one that we followed last spring.  Although our new itinerary presented new opportunities for photographs, some previous opportunities were not available.

     6.   PEOPLE LIGHTING/WORSHIPING AT BUTTER LAMPS


One of the rituals of Buddhism in Bhutan is to light butter lamps.  Butter lamps are brass receptacles that resemble goblets that were originally filled with Yak butter but today most likely filled with vegetable or palm oil.  Last year, at a mountain pass rest stop, I took some photos of people worshiping by lighting some butter lamps.  Taking the shots was difficult due to the confined space of the room and the relative darkness.  This year I had a wide angle fast lens to take such photos.  I wanted to document the darkness of the room - darkness from lack of lighting except for the lamps and windows, as well as from soot deposits from years of thousands of burning lamps.  I wanted to better capture the solemness of such a ritual.

     7.   MONK FILLING BUTTER LAMPS

Last year, I witnessed a Monk filling butter lamps in a special room at a temple.  I was not allowed to photograph him.  I was impressed with the scene and wanted other opportunities to document such moments.  My attitude for this trip was that there are other Monks and perhaps they would be cooperative.  As it turned out, this year's tour did not take us to that temple or any other temple where Monks were filling butter lamps.  In another example of the late 20th century philosopher, Mick Jagger's mantra "You can't always get what you want But if you try sometime you find You get what you need"

I tried and I got photographs of the proprietor of the mountain pass rest stop filling the butter lamps.

     8.   UNFURLING TAPESTRY ON CLOSING DAY AT DOMKHAR FESTIVAL

A very important part of Tshechus, religious festivals in Bhutan, is unfurling a a large tapestry called a thondrol.  It is believed that merely looking at the tapestry provides merit and blessings to the people.

We arrived at the festival this year just after the thondrol had been unfurled.  However we were able to observe the veneration of it by Monks and laypeople.

 

     9.   CHAM CHAM DANCERS GETTING DRESSED

Our tour of Bhutan allows us special access to the dressing room of the Domkhar Festival.  One by one we are escorted into the room where the cham dancers dress and prepare prior to exiting on to the performance ground.  In addition to observing the performers "backstage", we are able to photograph the masks, instruments, and costumes that are used for the various sacred dances.  Besides getting dressed, the performers warm up and practice the intricate movements required for each specific cham.  During this time they also focus and meditate to transform themselves into the embodiment of the deity for their performance.

 

 

    10.  CHAM COSTUMES, MASKS, AND INSTRUMENTS

In addition to being able to photograph cham masks in the Domkhar Festival dressing room, we had the privilege to photograph them at a monastery along our tour route in Eastern Bhutan.

The masks are of deities and manifestations central to each cham.  The masks also represent various human traits such as stubbornness, greed, compassion, wisdom ...

    11.   RELIGIOUS PARAPHERNALIA IN WINDOW LIGHT

    12.   MONK AT SHRINE

I had a specific goal of photographing a Monk at a shrine for this trip.  I had in mind the shrine at the Domkhar Festival.  Last year I took some photos but I was too polite to get the exact shots that I prefer.  I now have more confidence to politely ensure that I get my shots.  This year I chose to not go into the shrine, preferring to maintain my location outside at the performance ground for the Chams.

Unexpectedly, and most fortunately, I was able to get some photographs at a temple and much more importantly - during a puja.  Duang and I returned to a temple where I had spent 2 hours and Duang had spent 6 hours attending a special ritual last year.  This year we were immediately recognized and welcomed by the Monks who were once again having a special ritual.  We were welcomed and the Monks had us sit at one of their worship stations.  They clued us into what to do during the 3 hour ritual.  It was a wonderful experience for both of us.  Photographs are not allowed in the temple, or photographs of the Guru.  Early into the ritual, the Monks motioned to me to take photographs.  I motioned back that I understood that photography was not allowed.  They reassured me that it was OK even to photograph the Guru.  I took some photos that I treasure but out of respect will not share.


    13.   MONK'S AFTERNOON DEBATES

Last year we were unable to witness the afternoon Monk debates at Lhodrak Kharchu Goemba in Jakar due to heavy rain.  My goal this year, weather permitting, was to photograph the highly animated debates.  In the adapted words of Robert Burns in "To A Mouse" ... "The best-laid plans of mice and men often go awry." My goal was my plan, however Duang and my itinerary did not take us to Jakar this year.  The tour group went there but we went on to another town further afield and to the north. As I often say ... "Another reason why we need to return".


    14.   MASKS AT HANDICRAFT CENTER

We did not get to stop at the Handicraft Center in Zungney Village on this tour.  We had higher priorities and it was complicated by our stay at a different hotel this year.  With the opportunities afforded to photograph masks at other locations this year, this specific goal was no longer relevant.


    15.   PEOPLE PAINTING THANGKAS

There is a special school in Thimphu, National Institute for Zorig Chusum, often referred to as School of 13 Traditional Arts.  We were not able to visit it last year since it is closed on Sunday.  This year it was on the top of our list and was the first sight that we visited upon arrival in Bhutan.

Students spend 4 to 6 years taking courses specializing in woodcarving, painting, sculpting clay, and embroidery.

Thangkas are religious pictures painted typically on canvas.  They are bright, colorful, and intricate.

 

 

    16.   PEOPLE CARVING WOOD

 

    17.   PEOPLE DOING HANDICRAFTS

    18.   INDIAN ROAD WORKERS

Bhutan is shrinking each day.  Locations are getting closer and closer.  The distances remain basically the same, but the time between places along with the ease of travel is continually improving.  Duang and I were shocked and to a certain degree, dismayed, at the differences in just one year.  The road improvement program and paving of the West/East highway is astounding.  Hours have been cut from the driving time from some of the points along our tour route.  There is more traffic in the Eastern part of Bhutan.  This "progress" is attributable to the scores of road workers from southern India.  These workers were found all along the West/East highway last year working along the cliffs and mountain sides carving a second lane as well as paving the roadway.  They lived in primitive camps in the wilderness.  For me they seemed to be the "silent people, the invisible people".  I wanted upon my return to photograph them.

    19.   TRADITIONAL HOUSE ROOF - WOOD & ROCKS

Traditional Bhutanese architecture is wood roofs held down with stones.  Bhutan is 71% forested and the Constitution requires that a minimum 60% of Bhutan's forests remain.  Each Bhutanese household is allowed to harvest a certain amount of trees for their home and household use.  The selection and harvest is regulated and controlled by Forest Rangers.  Due to the amount of forests, roofs composed of long wood shingles were traditional.  Today, with concerns to conserve resources and a desire to maintain a low carbon footprint, these wood roofs are becoming scarce.  Wood roofs are being replaced by corrugated metal roofs.  The King provides the metal roofs free to the households.

    20.   MILKY WAY
 
 I am constantly looking to learn and utilize different skills as well as techniques for my photography.  Since Bhutan has many areas of "dark sky", I intended to try some astro-photography on the tour.  Photos of the Milky Way was my goal, but I knew that due to our schedule the opportunities would be difficult.  The new moon is the best time to photograph the Milky Way.  We were not going to be in Bhutan during the new moon.  As it turned out the phase of the moon did not matter for this tour.  The Monsoon Season had arrived early this year in Bhutan.  If it was not raining, the skies were heavily overcast throughout our tour - not conducive to photographing the Moon, stars, let alone the Milky Way.. 


Well this year's tour was great.  We saw many wonderful things.  We saw some new sights, reunited with many people and met many new people.  Just as in life, everything did not go exactly as we planned or even hoped. However,  just as in life, we were able to make the most of it and thoroughly enjoyed it.  The key to happy traveling as well as to a happy life is to adapt to change rather than resisting it.  Always do your best based upon what you know at the time. Appreciate what you have and do not fret or obsess over what you don't have.