In the freedom of exile, Tibetans sought means to preserve that identity. Tipa, founded in Kalimpong, not far from the Tibetan border was the first of the various institutions to be established by His Holiness the Dalai Lama's government-in-exile for this purpose.

The new opera company brought together the talents of both professional and competent amateur performers. The refugee community contributed what resources it could, mostly in the form of sumptuous brocade robes which were no longer of much use to their owners.

The troupe became a major source of entertainment in the refugee camps and staged numerous performances of the traditional Lhamo operas. These lively, all day performances brought colour, laughter and a reminder of home into the otherwise hopeless and dreary lives of the newly bereft refugees.

For further information, please contact

Director
Tibetan Institute of Performing Arts
Drama School
Mcleod Ganj 176 219
Dharamsala
INDIA

Historical Background to Lhamo Opera

The founder of Lhamo, Tibet's indigenous opera, was the 14th century adept, Thangtong Gyalpo. An accomplished scholar and highly realized lama, his principal aim was the propagation of Buddhism. In fulfilling this objective he established bridges and ferries over the major rivers of Tibet, creating links with remote villages and introducing Buddhist teachings to them. Entertainment was a means to raise funds. It is said that when he needed to raise money to finance the first iron chain bridge over the Kyichu river, Thangtong Gyalpo trained seven sisters from the workforce to sing and dance while he played drums and cymbals. Onlookers, struck by their beauty exclaimed, "the Lhamo (goddesses) themselves are dancing, which gave rise to the name Lhamo later attributed to Tibetan opera.

Opera was extremely popular in Tibet and in the 19th century each major district had a permanent troupe of performance. The actors, who came from both the monastic and lay communities. were people who had a personal love for opera rather than a need to earn their living from it. Troupes performed at festivals and official functions. Some performances, like those at the Dalai Lama's summer palace, the Norbulingka, were well organized events supported by the government and, being open to the public, were eagerly attended by the whole population of Lhasa.

Tipa Today

In 1960, Tipa mowed from Kalimpong to Dharamsala, the seat of the Tibetan government-in-exile, 1800m above sea level. They were given a large piece of land on which the troupe was able to settle down and expand. The dance master, who had belonged to the famous Kalimpong opera troupe. which had performed at the Norbulingka, specialized in three particular plays: Sukyi Nyima, Pema Woebar and Drowa Sangmo. He was also familiar with other plays and by gathering folk songs and dances from all over Tibet from amongst the refugee community. the company was able to expand the traditional Lhamo repertoire. Historical plays were composed and performed not mainly as entertainment. hut also to demonstrate the legitimacy of Tibet's claim to independence.

Today, at the heart of Tipa is a team of fifty-five actors and actresses, some of whom also serve as tailors and cooks. They are aided by administrators and craftsmen who make masks, instruments and other theatrical paraphernalia. Together with the company's forty children, they form their own little community.

Activities

Every spring, Tipa gives a day long Lhamo performance. In accordance with tradition, this takes place outside, under a large cotton awning decorated with auspicious symbols, drawing crowds of young and old alike. Tipa also participates in official ceremonies of the Tibetan government-in-exile including the New Year rites, Uprising Day and other anniversaries. In addition, the company regularly tours the Tibetan settlements throughout India and sometimes performs at the major pilgrimage sites for the crowds who come to attend religious teachings. In recent years, it has also travelled abroad, visiting Europe, Australia and the U.S.A.

Organising and Training

Actors are divided into several categories including teachers, junior teachers, general performers, musicians and trainees. A new performer usually trains for one year before he or she begins to take part in opera or folk dance performances. Training involves the study of choreography, musical training and voice development, as well as memorization of the traditional opera texts. As their abilities develop, the actors begin to specialize in certain aspects of the operatic repertoire, concentrating either on dramatic and comical roles or becoming more involved with dancing and music. As actors begin their training at an early age, their time is divided between daily practice and ordinary studies. Those below the age of sixteen attend classes at the Tibetan Children's Village school nearby and practise after school.

Tipa also trains instructors in drama and music for the Tibetan schools in India and Nepal. The Tipa instructors meet together regularly to discuss and select new songs and other material for future performances.

Present and Future Plans - Preserving Tradition

Tipa functions under the auspices of the Council for Religious and Cultural Affairs of His Holiness the Dalai Lama and its primary aim is the preservation of the Tibetan performing arts. Accordingly, Tipa has established a research section with two permanent staff collecting traditional songs, dances and modess of actings to enrich their repertoire. They welcome informants and periodically travel to other settlements in India to gather material.

The survival of a performing tradition rests with its audience. Interest in Tibet has been growing worldwide and there is increasing pressure on the company to perform abroad. Such tours provide opportunities to display the richness and variety of Tibetan culture to the international public. However, in order to present a living theatre tradition abroad, the roots of the Tibetan performing arts must be sustained within the Tibetan community. If actors do not feel appreciated by their own people it is difficult for them to maintain the enthusiasm necessary to popularise their work elsewhere. Tipa's artistic directors have realised the need to reduce the length of performances from the traditional minimum seven hours to that of a standard two hour play both to stimulate young people's enthusiasm for Lhamo and to fit in with what it is possible to produce on a Western stage. Six plays are therefore currently being abridged, though the traditional full-length annual performances will also be maintained as in the past. Since some adaptations have had to be made when transferring Lhamo from an open area to the limits of a conventional stage advice is being sought on staging methods, sound engineering and lighting.

Creating New Traditions

It is proposed that a committee be formed to supervise the writing of new plays and the development of contemporary Tibetan theatre using traditional skills and modern acting techniques. Such new material could be based on recent and historical events and modern Tibetan literature. Professional advice will also be sought on ways to stage the new material, instructions in modem theatrical techniques may be invited to teach at Tipa and Tipa members may be sent abroad to gain experience of other theatrical traditions.

A similar approach will be employed in relation to music. Tipa musicians who already have a strong acquaintance with the Tibetan classical tradition will be encouraged to draw from a wide range of techniques and traditions to create contemporary Tibetan music.

In order to satisfy local and overseas demand for performances, Tipa is proposing to increase its team of artists so that when one group is away on tour, the other will be available to serve the needs of the Tibetan community in India.

Current Tipa Directors

Director - Mr Jamyang Dorjee
Artistic Director - Lobsang Samten
Costume Director - Jampa Lungtok
Operatic Director - Norbu Tsering
Administrative Assistant - Tsesum Lhamo

Lhamo Opera

Lhamo is traditionally performed in the open air under a broad canopy. In old Tibet a performance could last several days and as a result was regarded fondly like a fair or picnic. During an opera the audience prays reverently, but also laughs merrily at the normally hallowed institutions and personages of Tibet. Yet, far from being a mere light musical comedy, the glamour and buffoonery, improvisation and slapstick are blended perfectly with the best of the noble arts: rich poetry, musical styles finely tuned to express the diverse shades of human emotion and dances which emphatically reject artificiality and constraint.

Much of a Lhamo performance is left to the imagination of the audience. Realism is almost totally lacking on the Tibetan stage, which is devoid of any scenery or props other than a statue of its founder Thangtong Gyalpo. The costumes, however, are spectacular and provide an important key to the identification of the characters. In Tibet each troupe provided a certain number of its own costumes, particularly those of the standard characters, but the government and individual sponsors loaned a great many of the clothes and masks required for particular performances. Thus, the artists would wear the noblemen's finest brocades and silks from Russia and China and their ornaments were studded with sparkling jewels from India, China and Europe.

The stories presented in Tibetan opera reflect the importance of Buddhist thought in Tibetan culture. The shortened forms of Lhamo presented here are adapted from the classical repertoire, which consists of no more than ten operas.

These either concern religious events in Tibetan history or originated in India and were adapted to Tibetan settings. The narratives, in verse form, are sung by the performers in a fast chant called 'namthar' . The chorus is sung by nearly all the characters present on the stage, but does not consist of specific verses. Instead, it repeats the refrains of each stanza rendered by the lead vocalist. Additional dialogues are composed and often spontaneously' improvised by the troupes themselves, especially during comical scenes. These usually pertain to contemporary events, distinguishing each performance from all others.

The accompanying music is played on cymbals and drums. A change of drum rhythm and corresponding change of dance steps by everyone on stage, including the chorus, signals the end of a scene. The 'Ghuktup' is performed at the end of each act. Each character in the Lhamo may also be identified by their own step.

Introductory' Rites

Every performance begins with a purification of the stage, which is performed by three characters called the 'fish hunters' (Ngonpas) , who wear big, black, goateed masks and baggy trousers tucked into their black velveteen boots. Around their waist are slung a number of tassel-tipped ropes that twirl around the dancers creating a wheel-like effect as they adroitly cartwheel around the stage. Two sedate personages called 'Gyalu' in loosely fitting robes are traditionally included in the introductory rites. 'Gyalu' is the term used for the head of the family, usually accorded to the eldest male. It is said that their inclusion dates from one occasion when the old men in the audience were so inspired that they joined in the dancing and singing and exchanged humorous repartee with the dancers. Six girls or fairies (Ri-ngas) also take part in the dance. They are the mainstay of the chorus and substitute as goddesses and nymphs as the script demands.

Following the stage purification the narrator (Shung Shangen) enters the stage. He gives a resume of the opera, his stylized recitation ending with a high shout. Later, the narrator explains the gist of each scene and sometimes announces the entrances and exits of the characters. In the abbreviated performance he also recites the verses of dialogue which are normally sung. Performers usually enter each scene dancing, accompanied by two musicians who seat themselves in a corner of the stage.

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Last updated: 30-Sept-96