Slow and steadily the crowd hiked through the picturesque pine forested path with their provisions and beverage. A glowing summer sun radiating upon the panoramic Dhauladar ranges in multitude of shades, with its air replenished heavily with fragrance of juniper and incense.
Blaring drum of the "Dance of Good Luck" and the auspicious welcome hymn ruptures the fleeting tranquillity as His Holiness motorcades slowly proceeds. In a custom dating back to great Thirteenth Dalia Lama, Tenzin Gyatso, His Holiness the Fourteenth Dalia Lama has come to grace the annual Shoton Opera Festival. With folded hands and wavering eyebrows, the congregation greeted His Holiness the Dalia Lama.
Mrs. Kalsang Youdon Dagpo, the Director of Tibetan Institute of Performing arts read out the annual report and works carried out by the institution in the last 12 months. As drum rumble again, out came the blue masked man in colorful costumes. After the consecration of the stage by the artiste of TIPA, each participating opera company conducted premiere show lasting 35 minutes. Late in the afternoon, around 3.30 p.m, his holiness left the venue, nevertheless the sound of music and ebullience continued.
This year we were treated to a matured performance by the Doegoeling opera association, a testimony of their hard work and skillful teamwork. Through brilliant performance by some senior artiste they unveiled the tragedy that besotted infallible maiden Nangsa Woebum. A healthy harmonic combination of experienced senior and disciplined young artiste - a show that left a deep impression of work well done. The crowed laughed, weep, chuckled, sobbed and restrain, as they make their pilgrimage into the domain of this age-old legend of gentle yet valiant maiden.
Complimenting their good works, I find my self discussing with couple of young artiste on state of Tibetan opera in Mungod Tibetan settlement; it became known to me that one of the main factor or strength was the leadership commanded by Gyen Tashi Dhondup. Despite labeled as amateur artiste, the regime and discipline they observed at the time of practice and rehearsals were worth emulating. They also acquainted me of their rigorous opera tour prior to 2006 Tibetan New Year in one of the settlement in south, where they performed six of Tibetan Opera stories, back to back for six consecutive days.
As role of Tibetan opera modulate from being a harbinger of spiritual message to that of a social coupler. There was time when it was used to relay the spiritual message to masses besides providing entertainment. Now a day, Tibetan opera represents an old art that belongs to Tibetan people; it is an image and an identity. So does the women's role in Tibetan opera changes from being a mute spectator to an active participant, taking on the lead role in stories like Drowa Sangmo, Nangsa Woebum and Sukyi Nyima. In a pleasant transformation, it was encouraging to see senior female actors taking on responsibility in executing artistic as well as providing leadership on par with male counterpart, a bastion that remained reserved for privileged machos. Namkhang Lhamo, one of leading actor and dynamic member of Kalimpong opera association, (the oldest company in exile Tibetan community) conducted the proceeding of Kalimpong Opera Association during the 12th Shoton Opera festival, 2006. Swaying between her dual role as drummer and immoral Hashang Gyalmo, the evil queen in Opera Drowa Sangmo, she rolled out her pen-ultimate performance by supporting young artiste in delivering final aria "Tashi Cheya". Eventually, to salvage his pride from further public embarrassment, she completed it without a hint of smugness. Like her, her younger sister Mrs. Tsamchoe garbing on role of Sema Rango was equally thrilling and impressive, worthy of being mentioned.
The much-awaited Opera Milarepa by the artiste of Tibetan Institute of Performing Arts was equally impressive and encouraging. Despite handful of experienced artiste, who reciprocated amid various characters, they displayed the usual professional flamboyance and dexterity. With around 54 artiste on ground at one time (including the cultural school students numbering 26), the whole atmosphere looks imposing and compelling. In the morning Passang Dolma who played the role of Milarepa's mother Nyangtsa Kargyen treated the audiences to a rare spectacle. Mesmerized by the way she conducted her herself as the distressed mother, the audience silently sobbed and wept. In spite of challenging role, Tashi Dhargyal's rendition as Milarepa was equally impressive and worth complimenting.
Every year as I watched the opera proceedings, I had my share of doubt and apprehension, seeing number of senior artiste in late seventies, and the very thought of loosing them subsequently in years to come. There were obviously questions, doubts, scepticism and emotional disputes about the future of Tibetan opera in exile community. Will the younger generation be able to carry on the responsibility of conducting opera in the absence of these dedicated individuals?
Contradictory to my naive judgement, after interacting and conducting interviews with some of the aged artistes like Ama Dachung and Sonam Tsering, I found out they are committed to participate in Shoton opera festival as long as their limbs are able to sustain the mass of their body. The spirit and the commitment of these ageless artistes are indomitable and inspiring.
Tibetan opera demands a healthy combination of both matured and young artiste. It is usually the experienced and matured artiste that can send the audience reeling and sobbing. Youthful artiste with their acrobatic and dexterous move can evoke laughter and praise.
Out of 300 artistes, around 60% of the Shoton participants are below the age of 25. These are the third generation of Tibetan raised in exile; like me they have never seen Tibet and yet through this art they feel intermittently connected to their roots. The youngsters participation in opera varies accordingly, Bhandara and Mainpat opera association have more of matured artiste, while Nepal, Mungod have maintained a healthy mixture of young and old.
Tibetan opera is a medium of communication. It is an art through which important religious message are transmitted to the general public. The intricate Buddhist Philosophies as propounded by Lord Buddha and the subsequent practitioner and scholars are manifested on stage by the artiste with music and colours. In the age of competition and disappointments, these artistic expressions would surely help bring comfort to the depressed and discouraged soul. The message retained in this operatic tradition is appealing and relevant to our mundane existence. As long as human suffering persists, a remedy too shall prevail; Tibetan opera will ultimately flourish in year to come as it did for last 7 centuries.
On the second last day, the participants for the 12th Shoton Opera Festival were bestowed audience with His Holiness the Dalia Lama. In a special message, His Holiness acknowledges the accomplishment of senior artiste and appreciated their resilience in pursuing this theatrical legacy and passing it on to the younger generation. Further he advised the members to form a body, specifically for Revival of Tibetan opera and to raise fund, so as to provide monetary benefit to those participants, who otherwise relies on seasonal petty business. Everyone headed back to their settlements ever more committed and blessed.
