Tiji Festival at Lo-Manthang, Upper Mustang

 

According to the Tibetan Lunar Calendar in the month of May, Mustangis celebrate the 3 days Tiji Festival at Lo-Manthang, known as forbidden kingdom of Nepal. This festival is the most respectful and cultural event which celebrate every year since 17th century.

 

 

 

Tiji is one of the most well known and revered festivals in Lo. It is a time of celebration and religious pilgrimage for the people of Lo. The festival initially began as a religious ceremony, to ward off obstacles and suffering that might befall the country.Later it also came to symbolize the hope and strength of the people of Lo.

A remote place lying in the rain shadows of the Himalayas, Lo was beset by environmental difficulties, yet its situation along the main salt trade route made it a highly prized location regularly invaded by neighbouring states.

 

In effect, the festival is a fervent prayer by the King and Queen of Mustang and the people of Lo for peace and stability, the people of Lo thus believe zealously that Tiji protects them.

An additional benefit of Tiji is that it is one of the few annual occasions when representatives of Lo Tso Dun can meet together with the King, thus giving them an opportunity to discuss and solve matters of a more temporal nature.

 

This colorful 3 days long festival is always held between the 27th and 29th day of the third Tibetan month Dawa Sumba (mid/end of May). It is performed in the square in front the Tashi Gephel Palace, within the walled city of Lo-Manthang.

 

The morning begins with the assembly of monks and offerings of Vajrakila prayers in Choede Gompa.

The afternoon sees a flurry of activity in the square. Amidst the blare of traditional long copper horns or dungchen and the beating of drums and cymbals, an enormous scroll painting or thangka depicting Padmasambhava is unfurled on the south wall of the square. 

 

 

This thangka is said to be more than 400 years old, and is hand-embroidered with an image of Padmasambhava and two dakinis.

After having offered incense, ngagpas or tantric practitioners, from Lo-Manthang offer six bowls of grain and torma on a wooden altar. This is followed by the arrival of monks in red pointed hats, who take a seat beneath the unfurled thangka.

The Khempo or abbot of the Choede Gompa is seated on a slightly higher dias in the centre, flanked at the far end by the monks blowing the dungchen. Amidst the chanting of hymns and offering of prayers, the masked dances begin. This is eagerly watched by the people gathered in the square.

 

 

The masked dancers (black hat dancers) start the dance from the Tashi Gephel Palace with a private audience for the King, in front of his private room.

The tsowo, who can be recognized by wearing the most elaborate headgear, makes offerings and thus starts the ceremony. Together they then gradually leave the palace and move down the square where the public is waiting.

Over a period of about 2 hours, the Tsacham is performed; a gentle and slow masked dance featuring graceful movements and turns.

The tsowo dancers in the centre flanked all around by the other dancers in the form of a mandala (a geometric meditative diagram generally used for meditation).

 

A total of about 52 different forms of steps are performed.

The masked dances represent the preparation or invoking of the gods (or protective deities), and the purification and preparation of the soil on which the dancers are performed.

The tsowo guides his fellow dancers into each form by signaling each change by a verbal command. To the untrained eye, such subtle changes and steps are seamless.

This thangka is also made of silk and hand embroidered with an image of Padmasambhava. It depicts the 8 forms of the guru, with the two dakinis and the King and Queen making offerings beneath the thangka.

The masked dances on the second day are more active, and are executed in a more aggressive style. A collection of different dances that symbolize the slaying of the demon.

 

 

These are interspersed by dances of deities representing the principal deity (Dungmara) of the Kings of Mustang. This is the main reason why the King, Queen and members of the royal family participate in the celebrations.

 

A total of 20-24 different animals are depicted in this dance and include animals such as tigers, deer, yaks, crows, vultures, and horses. The animals of this dance represent the different entourages of Phurba (Vajrakilaya).

The final act is the Dhakey or the slaying of the demon. This is depicted by the piercing of the straw effigy by the tsowo with the religious dagger. This symbolizes the evil demon being slayed by the deity Dorje Shunu. The straw effigy is then thrown into the air.

On the third and final day, the morning begins again with offerings of prayers to Vajrakila by the monks in the monastery. In the afternoon, the tsowo offers Serkemp (ritualistic offerings of nectar) as an appeal for help from all the gods.

 

 

Before and after the effigy is cut, there are again dances by monks wearing masks depicting animals.

An effigy made of dough is brought out tand amidst the chants of prayers and dances, the tsowo facing to the northeast pierces the effigy with the symbolic dagger. This act symbolizes victory over evil and its destruction.

The cut head of the effigy is buried in front of the Palace’s main entrance. The rest of the parts of the effigy are kept along with the other main tormas, where it is later disposed off.

Finally, the dances come to an end with the formation of a raucous procession led by the masked dancers, and followed by the King and members of the royal family, representatives of the village development committees and the lay people.

 

The procession winds its way through the narrow lanes, and is met at the main gate of the walled city by monks who are carrying 5 large red tormas.

A short dance is performed just outside the gate of the city, while the King and his aides fire a few rounds from a musket into the air.

 

The procession eventually arrives at the Jhiwa Chhorten, a stupa outside the walled city, and it is here that more prayers are offered by the monks and the King.

The procession’s final destination is to a place called Solang, outside the city walls.

 

Here, the tsowo prays to the gods, and different weapons such as a bow and arrow and sling are used to symbolize the defeat of evil. The torma are flung to the ground, and finally the demons are banished amidst loud cries and the firing of muskets.

 

 

The atmosphere is joyous and participants shout Lha Gyalo (May God be Victorious). This marks the end of the 3-day ceremony.

 

In the Tashi Gephel Palace, the final celebrations are made by the offering of prayers and tormas by the key dancer and a selected number of monks. There is much rejoicing with the offering of tsampa to the gods amidst a whirl of white on the rooftop of the palace.

Finally, there is an exchange of greetings and white Khatas (scarves) between the King and the Khempo, and other high monks. The people of Lo express their great luck and fortune at being able to witness yet another Tiji and they pray that many better years follow.

The cold night air is then filled with the rapturous sounds of songs and dances as people gather around in the very same square.

Thousands of tourists different part of the world along with the domestic tourists visit this desertic kingdom of Himalayas thoughout the year. 

 

 

NEED SPECIAL PERMIT FOR FOREIGNERS

Special trekking permit must be acquired from the department of immigration, Kalikasthan, Kathmandu for foreigner tourists. They must go through the government registered Travel/Trekking agency to obtain the special permits as this areas are one of the 15th restricted zone. 

 

Permit fees: for the first 10 days ($500 per person), beyond 10 days $50 per day per person.