The Lepcha community under Samtse Dzongkhag (district), especially the Limithang Chiwog (sub-block) under Samtse Gewog (block), conducts the indigenous festival “Ram Faat” annually. All the Lepcha in this community are Buddhist. It is a community festival where even the Lepchas as far as Paa Chu, Phuntsholing under Chukha Dzongkhag come to observe Ram Faat in Limithang chiwog. It is a five-day festival worshipping the God of earth for protection of their society and country from misery. During this festival, they propitiate the deities seeking protection from natural calamities such as earthquake, flood, landslides and well-being of all sentient beings. There is a strong belief that that their tutelary deity resides in one of the giant mountains where they locally call it as Zay Nga facing North east of their community Lhakhang (temple). Annually, Ram Faat is held for five days from 10th to 14th days of the 12th month of the lunar calendar. This is one of the Lepcha’s most intriguing festivals that the Lepcha community in the locality observe. It is unknown when the Ram Faat was initially introduced but it is conducted in one storied Community Lhakhang, Limithang Chiwog which is three hours drive on a rough feeder road from Samtse Dzongkhag. While the actual date of the establishment of the temple is not known, the head lama said that the Lhakhang used to be there during their fore fathers’ time indicating that the temple used to be there from 16th century. There was no evidence how the Lhakhang looked like before. It has only been five years now that the Lhakhang, with the help of the government support, has been face lifted with the concrete walls and aluminum corrugated sheets. The majestic Guru Rinpoche statue is the primary image in the main shrine room and also require two Choep/chogap (ritual performers) along with the head lama of the community Lhakhang. However, certain parts of the element seemed to have been lost. For example, when asked about the performance of the mask dance during the festival, the Lama (narrator) said that the practice of performing the mask dance during this festival had declined with the loss of the equipment (mask and dress) due to insects and pests. Today, no one in the community knows what kind of mask dances were performed during this festival. The Lama (also the narrator) seems to be frail and old, but he assured that he has two trained disciples in the community who will maintain the continuity of this festival even after his death.

NAYIT is an Arabic word. Eid means holiday. In the Islamic tradition, two Eids are officially celebrated as religious holidays: the great Eid or the Eid of Sacrifice (Arabic: Eid al-Kabir, Eid al-Adha) and the lesser Eid, or Eid of fasting (Arabic: Eid al-Sagheer, Eid al-Fitr). Eid al-Adha is associated with the pilgrimage and sacrifice, and Eid al-Fitr is about opening the mouth at the end of the month of Ramadan. Eid al-Adha is celebrated on the 10th day of Zu-l-Hijjah, and Eid al-Fitr is celebrated on the 1st day of Shawwal. Eid al-Fitr prayer in the mosque in the morning, giving al-Fitr charity (before the Eid al-Fitr prayer), and making sacrifices on Eid al-Fitr, etc. rites related to Islam arose. In many places, the local customs of the peoples are included in these Eid rituals: sharing food on the eve, wearing new clothes, giving "Hayt", going for a walk, visiting loved ones, etc. also joined.

Uzbekistan

A unique female-dominated performance held only on the 8th and 9th day of the 7th lunar month in the two communities of Ura-ma-krong (main village of Ura) and Shingkhar, the farthest settlement under Ura gewog (block) in Bumthang Dzongkhag (district). In Ura dialect, Intangible Cultural Heritage (ICH) is usually called Saang (smoke offering). It is said that in the old days, when there were yak herders who usually came from their village to raise the yaks at Purshey la (one of the mountains overlooking Ura village), they welcomed the female performers by burning sang at Korgang (the place believed to be the place where the deity descends or dwells and where the female performers circumambulate the stupa). Hence, community members refer to the festival as Sang or Sang na gai-sang (on the way to the Sang offering). Another interpretation states that the female participants begin their offering by making various medicinal herbs and other fresh offerings go up in smoke while appeasing the main female deity named A-shey Lhamo and her entourage, namely Gawa Lhamo, Kiba Lhamo, Champa Lhamo, and Dropa Lhamo. However, in addition to the aforementioned attendant goddesses, Shingkhar A-zhi (pronounced locally) Lhamo has Lam-dron Lhamo forming five attendant goddesses. Therefore, the festival and performance were called Sang from the first offering. The other name of the festival, A-shey Lhamo, is interpreted literally by outsiders and some learned community members as the lyrics of the religious song sung and danced in honor of the deity A-shey Lhamo. Colloquially, the term A-shey is addressed to either the queen or the elder sisters, and Lhamo is a general term for the divine goddess. The origin of Sang or A-shey Lhamo is that during the Dung Lhawang Rabgay (local ruler), not long before the emergence of the Dung caste system in Bhutan around the 10th-11th century, there was a misfortune of Shey-ned (diarrheal infection) that spread among the children of the Ura community. People sought the advice of their ruler as there was no tradition of performing rituals or treatments. Thus, Dung Lhawang introduced Drakpa, who had a divine bloodline, to appease the female local deity by performing dances. He composed the lyrics in the typical Ura dialect and ordered that they be performed by female members of the community. The Lord also determined the place: Pur-shey la (written Pur-gyal la) along with the things to be sacrificed and also the steps. Following the advice, the women performed the dance, which gradually helped the children recover from the epidemic. After that, the performance of A-shey Lhamo was practiced. According to the origin, A-shey Lhamo and the goddesses accompanying her are both the deities of the place and deities of the Bon khar tradition. Perhaps they are the other form of Tshering chey nga (the five sisters of longevity) who appeared in the Bon tradition before they were introduced by Guru Padsambava as the tutelary deity of Buddhism, just as many Bonpo deities were later transformed as protectors of the sacred teachings of the Buddha. In the poetry of A-shey Lhamo, it is mentioned that they reside in the high mountains Gang-toed thoen po. The road to their citadel is like a mule track, filled with the sweet fragrance of Ba-loo (Rhododendron ciliatum) and Su-loo (Rhododendron setosum). She delights in the first share of Mar-chang Ara (locally brewed wine) and Kara and Buram (honey and brown sugar) and sits down on the white sheepskin mat. She resides gracefully in a palace of precious gems with golden columns and silver windows. Apart from the above description of her residence, there is no text describing her appearance, only the names of her sisters and the goddess herself. This ICh element is still alive in Ura and Singkhar communities. However, there are some changes: The sang is now prepared and offered by themselves since there are no more highlanders at Pur-shey la, and the other is that, according to tradition, the sang is generally performed on the 8th and 9th day of the lunar month but, the community members decided to either coordinate the festival on 15th day if the time and weather is not favourable.

The name for this festival brings together two words, Lha means god and Soel means offering or prayer. The tradition in Sangbekha is primarily a Bon practice. Bon was a diverse body of localized ritual practices flourishing in Tibet before Buddhism expanded into the region. According to Sam Van Schaik (2013), Bon or the Bonpo religion, only emerged as a unified body of practices when put in contrast to Buddhist practice as the “othered” alternative to Buddha’s teachings. Following the eleventh century, the diverse practices organized and formalized in conversation with contemporary practices. Scriptures emerged, mainly through Terma hidden treasures, and visions of Tertons who discover the treasures such as Loden Nyingpo. Although Bon Terma contain legends that Bon existed before the introduction of Buddhism to Tibet, Van Shaik notes "the 'old religion' was in fact a new religion." Following these developments and reforms of the practices to eliminate animal sacrifices, some scholars consider Bon to be a distinct sub-school within Tibetan Buddhism. Over time, Buddhism became more popular and Bon practice waned. The Bon tradition also existed in Bhutan before Buddhism took hold. Although the Bon tradition is not as strongly recognized by the people of Bhutan, it still existed in every corner of the country, making this tradition one of the oldest in Bhutan. The Bon tradition takes refuge in the earth, rocks, cliffs, trees, sun, moon, stars, etc. are the protectors, and formerly involved offering animals in sacrifice. The Bon practitioners in Wangdiphodrang Dzongkhag or district, such as the communities of Gaseng Tshogom, Khatoekha and Lhashing Tsawa, performed a common ritual known as Lha-soel every three years. The ritual is organized by one of the Pawo male shamen, and Neljorm or Pamo female shaman, of each village. They alternate hosting the program every three years. The organizer of the year prepares for the rituals, tents are pitched near the organizer's house and the Lha-soel ritual takes two whole days. In an interview with 68-year-old female shaman Aum, elder, Kencho Om has been a Pamo for 25 years in Nakey-kha village in Sangbekha gewog, Haa Dzongkhag a district of eastern Bhutan. She said that the Pamos are the same as Nyeljoms and are common throughout central and eastern Bhutan. They are the female mediums who are possessed by local deities. Their job is to diagnose and cure diseases through divination and rituals. It is believed that the abilities of Pamo continuously persist through the family line. When a practitioner dies, the spirit passes to her daughter. However, it depends on the decision of the deity to choose the legitimate “wife” to inherit the role among the daughters or granddaughters. Aum Kencho has no formal education, but learned the and rituals transmitted through their family line. According to her, Pamo play an important psychological and healing role in a rural society where the supernatural is a part of life. They do what others cannot, such as mediate through the mind. The Bhutanese believe that illnesses are due to an imbalance in the various elements that make up the body, and that they are often caused by one of the numerous vengeful spirits associated with certain symptoms that consist of Tsa energy channels, the Lung wind channel, and the Thig-le seed channel in the human body. When these channels unbalance each other, it causes illness. The Lha-soel is held at the beginning of the 6th month (July) and another in the 12th month (January) according to the Bhutanese calendar. It is performed twice a year (summer and winter). In summer, they perform a shortened ritual (Due-pa) in the evening, while in winter they perform a grand ritual (Gye-pa) that usually lasts from evening to the next morning. Although there is no specific time, the ritual is performed either on the 8th, 10th, 15th, 25th and 30th of the month.

Bhutan, embodied with rich and unique culture heritage has largely remained intact for centuries because of its unique way of preserving its culture and tradition over the generation and of course being isolated from the rest of the world. Rukubji, a geopolitically located snake head village under Sephu Gewog (block) in the premises of Wangduephodrang Dzongkhag (district) celebrates Lochu. Lochu is the native sacred festival were offering for the wellbeing of locality led by Phajo (local shaman) with 25 Pazab (soldiers or guard) particularly performed. Lochu is said to be sacred performance initiated in around mid of 10th and 11th century after Zhabdrung Tshenden Dhelwa subdued the demonic forces and made into local deity (Phola) of the place. The villagers do a grand offering to the local deity to bring peace and happiness. In the past a sheep is slaughtered and made offering to the local deity. In recent times, the bonisim culture was being stopped and alternative offerings like forelegs/hindleg and ……. of a cow are done to appease the protector. Zhabdrung Tsenden Dhelwa was born in Tibet. It was around in mid of 10th and 11th century where Zhabdrung Tsenden Dhelwa visited the place. The place was not blessed by any other Lamas and it is said that first lama to visit in the region was Zhabdrung Tsenden Dhelwa where he subdued many demons and sanctified the place. Lochu was conducted consecutively every 3 years. It is believed that, failing to perform the offerings would bring bad luck, natural calamities such as flood (happened some 7-8 years ago) and the harvest of any crop (potato being the main cash crop of the locality) would be befallen. It is also believed to be said that the local deity, in order to bless the community with peace and happiness, an old man is always assigned to offer prayers to local deity (Phola) to bring peace and prosperity in the community. It so happened that one day the old man knew that due to his old age, worried that he wouldn’t be able to render his service in offering to Phola thereafter. Legends are being past that the local deity appeared before him and enlightened him with wisdoms. The old man, upon this wisdom advised his communities to conduct the Lochu on 5th or 6th day of every twelfth lunar month of the third year. Thereon, the festival is being celebrated in winters of every third year. Far and near community witnesses this festival and the locality celebrates grandeur day with feast and ceremony. It is said that in the olden days lochu is annually conducted on the 5th or 6th day of the twelfth lunar month. However, as time passes the communities could not conducted annually and made to conduct in every 3 years. Alternatively, if the locality couldn’t celebrate this occasion, the community comes together annually and recites Kangyuar (translated words of buddha) to bring good luck in community. As the time passes by, the community face problems like, finding Phajo (Shaman) since it is said that the way of offering is different. A man from every household was mandatory in the past for Pazab. As the time passes, 25 Pazab are required for the day which are mostly performed voluntarily. The community fears that the next celebration wouldn’t happen as there is no Phajo for the day. The previous one is unable to perform due to his illness.

Tamzhing Phag-chham is a solo mask dance with a mask made of a wild boar (Sus scrofa), which is very common on the Asian continent. The term "Phag-chham" sometimes has two different meanings; Phag-chham (tamzhing Phag-chham) and the other, the Phag-chham performed during the Raksha Mangchham (a theatrical mask dance of the Intermediate state). Tamzhing Phag-chham was originally composed by the Great Treasurer Terton Pama Lingpa (1450-1521) on the consecration of the temple Tamzhing Lhundrub Choeling on the 15th day of the Tiger Month (11th month) of the Wood Ox Year, which corresponds to the Gregorian year 1505, in Bumthang, one of the central districts of Bhutan. Later it was performed in other monasteries founded either by Terton himself or by his successors in most of the eastern and central parts of Bhutan. Phag-chham is among the most important and sacred mask dances in Tamzhing, and the festival "Tamzhing Phag-la Chod-pa" is also named after this dance, which is held every year from the 10th to the 12th of the eighth lunar month. It is performed by an amateur and can only be danced by the Chhamjug (the second leader of the mask dancers), who wears a wooden boar mask, exquisite brocade costumes with dangling skirts made of five eye-catching colored cloths, and holds two bundles of willow branches in both hands. The boar mask is considered one of the masterpieces of the founder himself, as are the dance steps themselves. Since the mask is considered sacred, it is received in a Chibdrel (traditional procession) when the dancer comes out of the Chhamkhang (preparation room). The origin of the mask dance lies in local tradition: Pema Lingpa was looking for a suitable place for his temple in the Choekhor valley when he saw a wild boar digging in the ground. He realized that this was a sign from the enlightened being Dorje Phagmo (deity Skt. Vajravarahi) to show him the suitable place. After the temple was built, he held a festival in honor of the patron deities during the inauguration as a symbol of gratitude. Since it is believed that the prophecy and the groundbreaking ceremony for the Tamzhing Temple was led by Dorje Phagmo, the festival is dedicated to her and is called Phagla-Chodpa. On the second day of the festival, Phag-chham leads the ground-breaking ceremony to sanctify the site before more mask dances are performed for the audience. Due to the unexpected loss of the Chham-yig (choreography manuscript) from the monastery many years ago, elders have regretfully found that the Phag-chham performed today no longer contains the complete steps and choreography. Elderly locals says that, at that time, there were more than 14 different types of steps, and due to faulty oral tradition, nearly 50% of the choreographies have been lost. The communities are concerned that without documentation, there is a risk of even more steps being lost and even new ones being added, as many of the artisans are either lay monks or farmers from the affiliated communities.

Held from the 10th through the 15th days of the second lunar month, main foci of this festival are paying tribute to Guru Rinpoche and the performance of ritual prayers dedicated to Tshepamed (Buddha of Long Life) and local protective deities on the 10th and the 11th days. Events take place in community temples and are presided over by lamas and monks, and/or locally-based gomchens (Leymen). On the 12th to 15th days, games and sports are organized, especially archery and Khuru (Traditional dart) are played. At night, the Blessing Round or Changkor (Wandering) takes place as a presiding lama or monk leads a group to visit every household in their respective villages and bless them with auspiciousness. The community members drink, sing and dance, and relish good foods during the period. The festival is not only meant to pay tribute to Guru Rinpoche and the protective deities but is also an occasion for community members to get together to relax away from the usual toils of agrarian life. During Tala Chodpa, most of the villages conduct certain ritual prayers. Often the dagkey, or main ritual prayer, is either the Lama Norbu Jamtsho of Pema Lingpa or dedicated to Tshepamed, the Buddha of Long Life. These are often followed by ritual prayers conducted on the individual household level or at the community’s choesung, and include Guru Soeldeb, prayers to Guru Rinpoche. Groups of seven or eight monks from Nyimalung Dratshang preside over the Chodpa ritual prayers and rituals in different villages. The monks of Buli Gonpa also preside over Chodpa ritual prayers in upper Chume. It is said that previously monks from Tharpaling Monastery also presided over the Chodpa rituals in the upper villages of Chume like Uruk and Gaytsa, but now they are no longer available due to activities in their home monastery. Wherever monks are not available, local gomchens take their places. It is said that gomchens are playing an increasingly prominent role as monks are busy with their monastic activities as well as due to other disciplinary issues. In all the community Lhakhangs (Temple), the ritual prayers take place on the 10th and 11th days, followed by associated programming that continues through the 15th day. Between the 12th and 15th days, different villages organize traditional games, including archery, Doegor (stone-throwing) and khuru (darts), as well as singing and dancing by almost all the local residents. At night, they organize the Changkor, during which they bring Torma or sacrificial cakes from their respective community temples and carry them from house to house, spreading blessings.

The Viet Belief in Mother Goddesses of the Three Realms is a form of worshiping the Mother Goddesses of the realms of the universe: sky, water, mountains and forests. From the 16th century, this belief became a religious and cultural activity that had a profound effect on the social life of the people. The Princess Liễu Hạnh and other Mother Goddesses governing the sky, water, mountains and forests, together with historical and legendary figures have been worshiped by communities. Daily worship rites are performed by custodians at the temples. Practices related to the Việt belief in the Mother Goddesses of Three Realms, known as lên đồng spirit mediumship, in particular at Phủ Dầy temple (Kim Thái commune, Vụ Bản district, Nam Định province) where Princess Liễu Hạnh, a leading figure in the Mother Goddess cult, is venerated. It takes place from the 3rd day to the 10th day of the third lunar month with special folk performances such as arranging letters, procession of Buddhist scriptures. Traditional cultural costumes, music, dance, folk performances of lên đồng spirit mediumship clearly show the unique cultural identity of the Viet people.

Viet Nam 2016

Phu Day festival is organized by the community in Kim Thai, Nam Dinh province to honor Mother Lieu Hanh - one of the Four Immortals in Vietnamese folk beliefs. People believe that Phu Day is the place where the Mother of God was born. According to folk legend, the Holy Mother Lieu Hanh is Princess Lieu Hanh - who is honored as Mother Nghi Thien Ha. Mother Goddess Lieu Hanh is also considered the main deity of Vietnamese mother worship. There is a saying "August Father's death anniversary, Mother's death March" with the meaning of honoring saints like father and mother. The festival takes place from the 1st to the 10th day of the third lunar month. The Phu Day festival is known for its rites of passage to the fields and singing of chau van. The procession of Mother Goddess’s palanquin is one of the important rituals of the festival. There are also other activities such as dragon, unicorn, quartet dance, and a very special word-drawing festival.

Tshechu literally means the “Tenth Day”. Tshechu festivals are normally dedicated to Guru Padmasambhava and held on or close to the 10th day of a lunar month, as Guru Rinpoche had said that he would be present on this occasion for the benefit of sentient beings. Such festivals, dedicated to Guru Rinpoche, are held annually in dzongs and monasteries across Bhutan. Tshechu festival has many names given different communities though it carries the same meaning and significances. some of the terms are; Rabney, Chodpa, Me-wang, Mani, Duechod, Nyarub, etc.. People come from far and near, dressed in their finest attire, to witness the three-day event. The monks perform rituals in the temples and enact didactic mask dances for the benefit of the public. Folk dances are interspersed between the mask dances to entertain the devotees, but actually, they are really the offerings of songs to the Bodhisattvas, dakas and dakinis. On these days, family members meet together not only to enjoy sumptuous lunches but also to educate each other on the moral significance of the dances and dramas enacted by the mask dancers. This is one way of learning about the sufferings undergone in samsara as well as during the intermediate stage of existence after death and helps guide one’s thoughts, speeches and actions along the right path while still in the land of the living. The festival ends with the display of a thongdroe (meaning ‘liberation by sight’), a huge silk appliqué thangka on which the images of sublime beings are depicted, for the benefit of all sentient beings. Tshechu was introduced in Bhutan by 4th Druk Desi Tenzin Rabgey (1638–1696), who in 1688 had sent one of his attendants to witness festivals in Tibet. The first tshechus were held at Trashi Choedzong, Thimpu in 1690 and at Rinpung Dzong, Paro in 1692. Similar events were then instituted at other dzongs and monasteries.

The practice of propitiation and timely offering (Choed-pa means "offering") of food and drink to the deities has long been found in the history of the people of Bhutan. Although most of these ancient practices have not been put into words, many of these sacrificial rituals to nature gods and deities are still practiced in most parts of Bhutan. These beliefs remain strong as people seek protection from evil spirits, sickness, during disease and famine, and wish for blessings and prosperity. The sacrificial ceremony is held annually on the 15th day of the first month of the Bhutanese lunar calendar. The 15th day is considered the most auspicious day of the month. Depending on time availability, the ceremony can also be held on the 10th day of the first month, but the 15th is the preferred day. The Choedpa ceremony takes place on the mountain top where Jela Dzong stands at an altitude of about 3000 meters above sea level. Jela Dzong (fortress) was built in ancient times to defend enemies. Therefore, the whole area is called Jela Dzong. The fortress is under the care of the government and has been converted into a Lhakhang (temple) where a Lam (teacher) has been appointed and some monks study and live under him. There are no human settlements except for the nomads and yak herders who camp nearby and graze their yaks in the meadow. It takes about 5 hours on foot to reach Jela Dzong from the nearest village downhill. In earlier times, this sacrificial ceremony was important for the well-being of the family and the entire household. With the passage of time, this custom has lost its significance. Nowadays, only a handful of people make the effort to pack their belongings and head up the mountain. Changing times have meant that the 5-hour journey to Jela Dzong is considered too arduous and time-consuming. Instead, some people have considered simplifying the ceremony and going to a nearby mountain peak, only an hour and a half away, to perform the ceremony. It is debatable whether this will work, but according to Ap Dorji, villagers seem to admit that it has worked so far. Still, it is obvious that many things have changed and the custom is losing its meaning.

Jakar Tshechu is a recent introduction, as noted above. It was established in 1994 on the 4th day of the sixth lunar month through the initiative of Dzongdag Dasho Pema Dorje and Thrimpon Dasho Sangay Rinzin. In the beginning, the mask dances were performed by Trongsa Rabdey as the dzong had no permanent monks. The duration of the tshechu was initially only one day long. Later, during the time of Dzongdag Nyima Tshering, it was extended to four days, running through the 8th to 11th days of the ninth lunar month. Given their prominence and importance, usually the annual district tshechu are sponsored and coordinated by the respective District administrations. Similarly, Jakar Tshechu is organized by the Bumthang District Administration in collaboration with the Jakar Rabdey. While at many festivals the local residents provide contributions, at Jakar Tshechu all the expenses are borne by the District Administration rather than by the locals. As the sponsor, the District Administration documents all expenditures for the duration of the tshechu, which includes meals for all participants, mask dancers and folk dancers, as well as their wages. Preparations for the festival are intense and involve significant manpower, financial resources and planning. Preparations begin well in advance, with the lam and dratshang overseeing the preparations for rituals and practice sessions for the mask dances. The dzongkhag takes on administrative responsibilities and plans the budget. A week before the festival, the dzongkhag staff prepare the performance area in the dzong courtyard. The district administration selects around thirty-two mask dancers, between ages of eighteen and forty-two, from the four gewogs. In addition, a troupe of approximately eleven folk dancers is chosen from each gewog to perform in between the mask dances. The troupes rotate each year, with each group performing every four years. The folk dancers and the mask dancers begin practicing about a month before the tshechu. On the 7th day of the ninth lunar month, dancers hold a rehearsal session, which is called chamjug. These rehearsals are held in the courtyard of the dzong where the festival takes place and include the use of musical instruments, such as trumpets and clarinets. The practice continues for much of the day, from around 8:30 a.m. until around 3 p.m. The two chief mask dancers, one from the monastic community and the other from the District Administration, oversee the practice to ensure that everything is perfect. During rehearsal, the dancers don’t wear the costumes or masks and only the main mask dances are rehearsed. a. Day One: (8th Day of the Ninth Lunar Month): The main event begins on the 8th day of the ninth lunar month, when the monks get up around 1:30 a.m. to perform the Lama Gongdue ritual. Before dawn, the ritual pauses at tshog lhagma for breakfast and preparation for the mask dance performances. Around 8 a.m., the dzongkhag staff gathers at the dzong to receive dzongda and drangpon and then they all wait to receive lam. Then the lam accompanied by Dzongkhag Administration officials including dzongdag and drangpon, move in a chibdrel procession to the zigrekhang (spectators’ pavilion) to witness tshechu proceedings. The mask dance performances begin by 8:30 a.m. In 2015, the mask dances were performed in the following order: - Shinje Yab-yum Cham (Yamantaka Father and Mother Dance); - Yoeluema Cham (Dance of the Malevolent Spirit); - Peling Ging Sum (Dance of the Three Gings): Ju Ging Cham (Stick Dance), Dri Ging Cham (Sword Dance) and Nga Ging Cham (Drum Dance); - Kel Cham (Farewell Dance); - Pholey Moley (Dance of the Noblemen and the Charming Ladies); - Shawo Gangley Phap (the first episode of chasing the stag down the mountain). At the conclusion of the mask dances, the lam and the monks resume the feast offering ritual in the lhakhang from where they left off in morning. b. Day Two: (9th Day of the Ninth Lunar Month): The morning’s programme on the 9th day of the ninth lunar month is same as the day prior. The ritual pauses at tshog lhagma for breakfast, and then the day’s mask dances begin around 8:30 a.m. as follows: - Zhana Cham (Black Hat Dance); - Zhana Nga Cham (Black Hat Drum Dance); - Dramitse Nga Cham (Dance of the Drums from Dramitse); - Durdhag Cham (Dance of the Lords of Cremation Grounds); - Ging Tsholing Cham (dance of the wrathful deities and the ging); - Shawa Shakhyi Thaley Tonpa (the second episode driving the stag out of low-lying jungles). As on the previous day, after mask dances, the monks and the lam resume conducting the ritual prayers in the lhakhang, starting from the tshog lhagma intermission and conclude the day’s programme. c. Day Three: (10th Day of the Ninth Lunar Month): The morning programme is same as days one and two. The ritual pauses at tshog lhagma for breakfast before the day’s mask dances begin. The day focuses on the judgment of the dead and depicts the consequences of karma on the afterlife, and people receive blessings from the Lord of Death. The mask dances are performed as follows: - Durdhag Cham (Dance of the Lords of Cremation Grounds); - Tum-ngam Cham (Dance of the Terrifying Deities); - Shazam Cham (dance of the four stags); - Raksha Go Cham (Ox-headed Dance); - Raksha Mang Cham (Intermediate State Dance). As on the previous days, the Lam Neten and monks resume the ritual prayers from the tshog lhagma to conclude the day’s events. d. Day Four: (11th Day of the Ninth Lunar Month): Thongdrol (giant tapestry) and Tenwang (blessing by sacred relics): The 11th day of the ninth lunar month is the last day of the tshechu, during which the thongdrol is unfurled and artefacts are displayed to the public, an act called tenwang. People gather in the dzong as early as 3 a.m. The main statue displayed for public blessing is a small statue of Yidam Thongwa Kundrol that Terton Pema Lingpa is said to have withdrawn from Mebartsho (the Burning Lake). The thongdrol was made in 2005 and shows Guru Tshengyed, the Eight Manifestations of Guru Rinpoche. In front of the hanging thongdrol, mask dances – specifically Pacham, Dram-nyen Choeje, and Zhengzhi Pemi Cham – are performed to pay homage to Guru Rinpoche. The day’s mask dance programme is presented in following order: - Unfurling of Guru Tshengyed Thongdrol; - Zhengzhi Pemi Cham (Dance offering with recitation of prayers to Guru Rinpoche); - Bekor Cham (Ceremonial Dance of the Monks); - Pa Cham (Dance of Heroes); - Guru Tshengyed Cham (Dance of the Eight Manifestations of Guru Rinpoche); - Rigma Chudrug (Dance of the Sixteen Wisdom Consorts); - Acho dang Phento (the story of the conversion of the hunter); - Atsara gi Lochoe (Atsara’s ritual) to mark the conclusion of tshechu. As on prior days, the events finish with the feast offering ritual in the lhakhang, though with additional rituals particular to the last day. Specifically, a torshag (cascading the ritualcakes) ritual followed by ngoedrub langwang (receive blessings) and trashi monlam (auspicious prayers), during which all participants gather and to offer collective dedications and auspicious prayers.