Nepal Carya Nrtya of Nepal
Nepal Carya Nrtya of Nepal
Nepal Carya Nrtya of Nepal
"Quintessence of Void"
Author(s): Syed Jamil Ahmed
Source: TDR (1988-), Vol. 47, No. 3 (Autumn, 2003), pp. 159-182
Published by: The MIT Press
Stable URL: http://www.jstor.org/stable/1147056
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Carya Nttya of Nepal
SyedJamilAhmed
Enquiring into what it means for Asian performers to "become the charac-
ter," Phillip Zarrilli examines kalarippayautu (a South Indian martial art), ka-
thakali, and noh, and concludes with the following note: "Asian performance
is founded on the assumption that the world constituted in the performance is
not separate from the world outside the performance"(I99o:146). He then
cites James Brandon who says, "The [Asian] performing arts are not viewed as
being different from some real world; they are one manifestation of the one
world which encompasses all" (in Zarilli 1982:2-3).
Unfortunately, Zarrilli does not clarify or dwell at greater length on the na-
ture of "the world"-constituted in the performance or outside of it. How-
ever, Brandon's references to "some real world," and "one world which
encompasses all" do seem to indicate that both Brandon's and Zarrilli's as-
sumptions are based on the atma-doctrine of the Upanisadic-Brahmanical tra-
dition of South Asian philosophy, which "conceive[s] reality on the pattern of
an inner core or soul (atman),immutable, and identical amidst an outer region
ofimpermanence, and change, to which it is unrelated or but loosely related"
(Murti [1955] I998:IO). Indeed, Zarrilli does touch upon the "Indian under-
standing of the self" in the penultimate stage of his paper by quoting a concept
from the Chandogya Upani?ad (chapter 6, sections 8- 16), which is tat tvamasi,
translated as "that art thou" (Radhakrishnan 1953:456-67):
Then Zarrilli refers to Diana Eck's exposition of the concept ofdarsan in order
to show-or attempt to show-that "[t]his joining-with suffuses daily life. A
159
I60 SyedJamil Ahmed
Hindu from childhood takes the deity into herself/himself in the act of dar-
san-seeing the deity" (I45). A kathakali performer, in his view, does the
same "seeing." For him, the "correspondence" and "resonance" between the
microcosm and the macrocosm, the self and the universe-which an Indian
(traditional?)performer joins with ease-provides a vital "cultural context for
the performer's psychophysical process." Such a context, Zarrilli seems to im-
ply, is profoundly important for the "fundamental psychophysical unity in the
act of doing," and a "sense of ineffable presence which the accomplished Asian
actor embodies when he 'becomes the character.'" In such moments, he
claims, "through the interior psychophysical process, he is that character"
(I990:I46).
..........
1. Fromleft:Manik Bajra-
charya,UppaShakya,Ritu
Bajracharya,Bunu Sher-
stha, and KiranBajra-
charyaof the Dance
Mandalin the danceof the
PancaBuddhas,at Achhe-
woreMahaviharain Patan,
1995. (Courtesy of Prajwal
Vajracharya)
I62 SyedJamil Ahmed
have been performed in public. However a large number are stilljealously pro-
tected from the noninitiated by the Vajrayanapriests.
Sadhana can be practiced only by the initiated. A person who wishes to en-
gage in sadhana (i.e., the sadhak)has to be guided by a Vajrayanapriest who is
to act as his or her spiritual preceptor. To the priest the person has to prove her
sincerity and purity of purpose, as well as unconditional devotion. Before ini-
tiation, the person also has to carry out a number of devotional and purifica-
tory practices. At the initiation ceremony, the preceptor selects a mantra
(sacred words of power), a chosen deity appropriate to the character type of
the person seeking initiation, and introduces him or her to the maydala(a sa-
cred circle of symbolic forms enclosed within a square with four entrances) of
the chosen deity. It is only then that the initiated is permitted entry into a wide
body of written teachings supplemented by explanatory oral instructions.
Once initiated, it is expected that the spiritual obstructions in the initiated
person have been removed and the person has been empowered by the precep-
tor to engage in sadhana (Harvey 1990:260).
The chosen deity is a holy being who acts as the tutelary deity of the initi-
ated. Each deity belongs to a group of five "families" of the Pafica Buddhas
(the Five Buddhas or five abstract aspects ofBuddhahood), and each "family"
is associated with a particular fault in the personality of human beings. The
Five Buddhas, recognized as the five Conquerors, are Vairocana, Aksobhya,
Ratnasambhava, Amitabha, and Amoghasiddhi. Vairocanais the conqueror of
ignorance and bewilderment, which he transmutes into his wisdom-quality
of primordial awareness. Aksobhya conquers anger and aggression by trans-
muting them into his wisdom-quality of mirrorlike clarity. Ratnasambhava
conquers greed and envy, transmuting them into equanimity. Amitabha trans-
mutes desire, lust, and passion into discriminating awareness. Amoghasiddhi
transmutesjealousy and envy into all-accomplishing wisdom. The deities of
the five families are further classified into four different types-male or fe-
male, peaceful or wrathful-to correspond to variations in human character.
The Five Buddhas mentioned above are also the male peaceful type of deities.
Each of them has a corresponding female deity, conceived as his consort. Arya
Tara (the Green Tara), the consort of Amoghasiddhi, is one of the most pop-
ular female peaceful deities. Male wrathful deities are known as Herukas while
the female wrathful deities are known as Dakiiis. Representing hate-free an-
ger, these deities are coupled so that each Heruka has a Dakiri. Vajrapaqi,a
fierce emanation of Aksobhya, is an oft-propitiated deity. By choosing one of
these wrathful deities "for strong, unconventional people who are disgusted
with the impermanent world and its dreary rounds of rebirths," it is expected
that the heart of the initiate will open up "by devastating his hesitations,
doubts, confusion, and ignorance" (Harvey 1990:261-62).
A sadhana is always based on a particular deity and usually includes acts of
purification, meditation, recitation of mantras corresponding to the chosen
deity, visualization of the deity, and concluding rites (which includes the
"dedication of merit"2). Particularly important is the involvement of the three
faculties: body, voice, and mind. The body is held erect and ritual hand ges-
tures (mudras)are executed; the voice chants mantras;and the mind is focused
on visualizing the deity. In some sadhanas, the Vajrayanapriests and their ini-
tiated disciples, instead of or in addition to chanting mantras, sing esoteric
songs, known as Carya Gita, which describe the deities. In addition, the body,
instead of being held still, executes movement that interprets the song. More
often, the movement is rendered by the dancer(s) and the song by the singer(s).
With the mind focused on the visualization of the deity, the dancer seeks to
become one with the deity. The singer's visualization is enhanced by the dan-
cer's movements. This part of the sadhanais known as Carya N:tya.
Carya Nrtya 163
Having set the ritual context, it is necessary to give a brief account of sepa-
rately identifiable components of Carya N'tya before attempting to discern a
performance. The following description covers the visual setting, the aural
elements, the olfactory-savory stimuli, the movements, and the dancers.
to portray the luminous world [...] of a specific holy being, with other
holy beings particularly associated with it arrayed about it. [...] It can, in
fact, be seen as a two-dimensional Stupa-temple which contains the ac-
tual manifestations of the deities represented within it. (Harvey
1990:264)
Carya NVtyamay also be held in any other sanctified place where the mardala
of the deity is drawn on a platform.
During a ritual performance, the Vajrayanapriests are dressed in the jama (a
long white garment that covers the entire body), the traditional garment of
Newar Buddhist priests. Specific ornaments and garments of the deity are
worn over the jama. The ornaments worn are the mukuta(crown), the kunda-
lam (earring), the kanthika(necklace), the rucakam(bracelets for arms and legs),
and the mekhalam(belt). The crown can be of various forms, such as the so-
called jafd mukuta (lit., "the crown of hair"), the cakramukuta (the crown
showing the Wheel of Law), and the mani mukuta (the crown showing the
three Jewels, signifying Enlightenment). Often, the Vajrayanapriests wear a
type of crown with five separate parts, which are colored according to the col-
ors of the Five Buddhas: red, green, blue, yellow, and white. A sixth ornament,
the sutra(sacred thread), may also be added. Traditional masks are mostly made
of metal. However, those made of papier-mache and baked clay are also used
at present (Kala-mandapa 1986:6-7; Pradhan 1996:91, 95).
Movement
The range of movement in Carya NVtya can be
broadly categorized as (I) vigorous for the "wrath-
ful" deities, and (2) gentle for the "compassionate"
deities.3 In the dances of the compassionate deities,
the performers often pause momentarily to make
graceful use of held positions. When in motion, the
body often is gently curved but held upright. The
dynamic quality of these dances is a sustained calm-
ness. Another characteristicfeatureis the smallbut met-
ricallyrhythmicstep patterns.However, some dances of
the "wrathful"deities also use running steps and leaps.
In these, the dancers move rapidly and energetically.
They employ varied levels of movement, ranging from
near crouching to upright. In all the dances, the focus
is mostly on the hands and the face, and design in
space rather than rhythm is emphasized.
Using a small dancing space, the dancers create in-
2. Uppa Shakyaof the tricate gesture designs, close to as well as away from the body. Most of the
DanceMandalin the dance dances are characterized by elegant hand movements using mudras,and codi-
of Arya Tdraat the Hotel fied standing postures, or sthanakas.However, the articulation of hands and
Vajra.(Photoby Ashoke feet is not as detailed as in bharatanatyam.Underlying the movements may be:
Panta)
the observation that states of mind generally express themselves in a per-
son's stance, and gesture. [...] Ritual mudrasare seen as working on the
reverse of this principle: by making various gestures, certain states of
mind may be stimulated or enhanced. (Harvey 1990:266)
PANCA BUDDHA
The dance of the Pafica Buddhas (see plate I) is the dance of the five tran-
scendental Buddhas discussed earlier. It was given by five dancers who rep-
resented the five Buddhas: Vairocana (in white dress), Aksobhya (in blue),
Ratnasambhava (in yellow), Amitabha (in red), and Amoghasiddhi (in green).
Each Buddha was distinguished by a particularposture and mudra. The mudra
for Aksobhya was Earth Touching (bhumisparsa),that of Ratnasambhava was
Giving (varada),of Amitabha was Meditating (dhydna),of Amoghasiddhi was
Protecting (abhaya), and Vairocana was Teaching (dharmacakra).The move-
ment for these compassionate deities was characteristically gentle, graceful,
and calm. The choreography was actually conceived in terms of a "living map-
dala," with one of the Buddhas in the center and four others in four cardinal
directions, all inside the inner circle of a maipdala.Group movement alternated
with individual movement; the Buddha in the center danced during the verse
sung in his honor while the four other Buddhas stood holding specific ges-
tures. When the refrain was sung, the four Buddhas danced while the central
dancer held still. The following Carya song was performed with the dance
(given here in translation from the original in hybrid Sanskrit):
I hail the divine Ak?obhya whose body is the color of the flax flower. He
faces east, his vehicle is the elephant and he brings victory over the
obstacles, which come from afar.
I remember the Buddha who grants boons to the people of this world
round the clock; the lord, the jewel who bestows deliverance on man-
kind. (Repeatedaftereachverse.)
I hail the divine Ratnasambhava, whose body is the color of the midday
sun. He faces south, his vehicle is the horse and he grants wealth and
prosperity.
I hail the divine Amitabha, whose body is the color of the newly risen
sun. He shows the posture of meditation and rides a peacock.
I hail Amoghasiddhi who is of green color and who is protected by the
seven-hooded snake. His vehicle is the garudi.
I hail Vairocanawhose body is like the white water lily. He rides a lion
and guards the living beings of the 13 worlds.
CarydNrtya 167
I hail this hymn, strung like a garland of flowers, in the year 600 of the
Nepal era [1480 A.D.]. I take refuge in Sri Dharmadhatu.
(Refrain)
Oh, the great victors, the glorious and famous Vairocana, Ratnasam-
bhava, Amitabha, Amoghasiddhi, Aksobhya.
Oh the Five Buddhas remembered as victors who are of the nature of
the elements of consciousness [skandha];esteemed as the very bone of
the Buddha, they spread their fragrance over the world, illuminate
men and are feared by men. (Kala-mandapa I986:I5-17)
The dance visually translated the song with the help of mudras and sthanakas.
ARYA TARA
Arya Tara (or the Green Tara; see plate 2), the consort of Amoghasiddhi, is
the protector of suffering beings who are in the process of crossing the ocean
of Sansara.A female dancer in green costume gave the dance, which empha-
sized the aspect of compassion. The following Carya song was performed with
the dance:
She sits in the posture of ease, is of green color, one face and two eyes
with a glittering crown ofjewels.
All hail to the goddess Arya Tara who pervades the three worlds and
protects all against an untimely death.
With her right hand she grants the boon of fearlessnessand with her left
she holds the blue lotus.
She wears a vesture of five colors and bestows on her devotees the
knowledge of the Buddha and liberation.
Ratna Vajracaryasings this verse as an offering to Arya Tara his refuge in
birth after birth.
(Refrain)
I hail (Arya Tara) who destroys fear and leads people across the ocean of
sorrow; all hail to her who is of the nature of the syllable Svaha.
(Kala-mandapa 1986:27)
The dancer entered the performance space with gentle and graceful move-
ment. Upon reaching center stage, she visually translatedthe song cited above.
For this, she manipulated her hands delicately and used a small range of leg
movements over a relatively small dancing area. At certain points, she held still
positions, displaying mudras in curvilinear sthanakas. All through the dance,
she evoked a compassionate deity in sustained calmness and gentle grace. An-
other dance performed at the Himalayan Buddhist Meditation Center, which
exhibited similar characteristics, was that of Arya Tara and Amoghasiddhi (see
plates 3-6).
VAJRAPANTI
3. & 4. AryataraAmo-
ghashidhiby Ritu and
ManikBajracharya of the
DanceMandalin the dance
of Arya TadrandAmo-
ghasiddhi,directedby Praj-
wal Vajracharya,at the
Himalayan Buddhist Medi-
tationCenterin Kath-
mandu, 1999. (Photos by
Shahnajjajan)
Carya N[tya I69
Amoghasiddhi,directedby
at the
PrajwalVajracharya,
HimalayanBuddhistMedi-
tation Center in Kath-
mandu, 1999. (Photos by
Shahnajjahan)
shown [...] towards mortal beings" (Ling 198I:I 8- I9). It is a habit of regard-
ing others as oneself, of identifying I with not-I. A Bodhisattva may adopt any
updya (strategy, device, or means) to bring a sentient being closer to truth.
That truth may be relative or provisional; nevertheless, the relative truth is
necessary for moving a step closer to the "absolute truth." The means adopted
may be deception, disguise, or even falsehood. Regardless of the nature of the
means, what matters is its suitability to realize karupa. Upaya is deemed as a
"pedagogic duty, the necessary complement of prajina"(George I999:99),
which is direct apprehension of the Four Noble Truths regarding nature, life,
and the three characteristic marks of existence (transience, no-self, and suffer-
ing) verified experientially.
Two important schools of thought which developed from Mahayana Bud-
dhism were the Madhyamika and the Yogacara (Vijfianavada).Reducing ev-
erything in life to a continuing process of becoming, Madhyamikaphilosophy
postulates the doctrine of sunya, which shows that "there is no thing-unto-
itself, nothing with a self-essence, nothing that cannot be broken up until we
reach the great transcendent reality which is so absolute that it is wrong to say
that it is or that it is not" (McGovern I968:I4).10 The term "sunya" is often
translatedas "void," but it is not empty space; the term may be better under-
stood as "relative," i.e., "devoid of independent reality" or "devoid of specific
character." "Thus sunyata [voidness] is nonentity, and at the same time 'rela-
tivity,' i.e., the entity only as in causal relation. [...] It is simply the negation of
an independent reality or the negation of specific character" (Takakusu
1956:109-Io). Sunya is not to be interpreted ontologically. It is an unattached
intellectual position, rather like a raft for crossing a river. Once the river is
crossed, the raft is to be discarded. One who clings to isunyalike a religious or
philosophical doctrine is like "a customer to whom a merchant has said that
he has nothing to sell, and the customer now asks to buy this 'nothing,' and
carry it home" (Muller 2002). Sinya is complete nonadherence and nonac-
quisition: "dwelling in no special view, holding on to no abstractedVoid, ad-
hering to no special attainment, assuming no special characteristics, and
expecting no special interest of any special merit" (Takakusu 1956: 11). Be-
cause there is no desire, sunya is nirvaia. To apprehend isunyais to attain per-
fect wisdom (prajina).Sunya is Bodhisattva's prajna, and karuna is his upaya.
Carya Nrtya 171
the distinction making activity of the mind, both in making and having
distinctions, including the states we consider the conscious as well as un-
conscious. Consciousness, in making distinctions between self and
other, becomes the subject which treats everything else as object. (Zim
I995)
water, where duality between the two objects ceases to exist. According to the
Gujyasamdja-tantra(XVIII:37), "[t]he bodhi-cittais the unity of voidness and
compassion; it is beginningless and endless, quiescent and bereft of the notion
of being and non-being" (in Nakamura I987:333). To attain bodhi-citta is to
attain nirviaa because mahasukha is nirvara. As Harvey explains:
e. & 8s.PtrajwalVaj - ra
charyain the danceof hVaj-e a a
rapdni,diirecited
by Prajwalie w '"( v
Vajracharya,at the Hotel
Vajra, 1995. (Photos by
SharodShakya)
The circle drawn around stands for the dynamic consciousness of the
initiated. The outlying square symbolizes the physical world bound in
four directions [...]; and the midmost or the central area is the residence
of the deity. Thus the center is visualized as the essence and the circum-
ference as the grasping, thus in its complete picture a mandala means
grasping the essence. (Kumar 2000)
the dance, the mandala serves to reinforce the same in terms of a "journey."
By "seeking nonduality," and making the "journey," the sadhak begins to
equate him/herself with the deity. It is then that the circle/s of the deity's
maindalais visualized as the consciousness of the sadhak, the outlying square as
his/her physical body. The deity is placed in the temple of the "heart," i.e.,
the Eighth Consciousness (AlayaVijinana).Hence, the sadhak'sjourney in the
176 SyedJamil Ahmed
maidala is a journey to his/her Eighth Consciousness. It is expected that the
dance and maidala, aided further by aural (music and songs), savory (wine),
and olfactory (burning of incense) stimuli, will serve, or ideally should serve as
a powerful experiential vehicle of the senses, which "makes tangible" the ab-
straction of metaphysics to enable the sadhak to experience directly the ulti-
mate reality.
"Making tangible" in physical terms is further built up in a dance of a non-
celibate male and his female partner, seeking nonduality in a male deity and
his consort respectively. The dance may culminate in sexo-yogic union of
Yab-Yum "under very controlled meditative conditions, so that lust is directly
confronted, and crushed, by transmuting its energy into a form of wisdom"
(Harvey I990:267). As Dasgupta explains, "Vajrayanaperceives bodhi-citta as
the extremely blissful state of consciousness (mahasukha) produced through
the yogic union of the male (karuVaas the means or upaya) and the female
(sunya as wisdom or prajina)(I969:27). By incorporating the tactile element,
the ritual of sadhana brings on board all the five senses to play an active part.
By this, the practitioner attempts to engage the five sense-consciousnesses so
that they can ultimately function in a purified state of wisdom without attach-
ment or distortion.
For those who do not dance but participate in the ritual nevertheless, the
dance functions, or should function, experientially. For them, the aural, sa-
vory, and olfactory stimuli are the same as they are for the dancer. Instead of
undergoing the act of transcending nonduality through the dance, the ritual
participants visualize the deity in the dancer/s.
A neurobiologist would possibly explain the nondual state in sadhana in
terms of simultaneous stimulation of the left cerebral hemisphere (the seat of
the ergotropic system) and the right cerebral hemisphere (the seat of the tro-
photropic system). "Stimulating the left lobe makes one energized, aroused,
and alert. [...] Stimulating the right hemisphere loosens a person's ego, dis-
solves boundaries between self and other, inner and outer" (Schechner
2002:165). In daily life, one of the systems is dominant. In sadhana, the sadhak
induces the simultaneous stimulation by means of music, dance, alcoholic
spirit, incense, sexual intercourse, and meditation. When one of the systems is
brought fully into activation, it causes a "rebound" which "produces a balance
or 'tuning' of the two systems." Consequently:
plete alteration of the ordinary state of mind into a state of nonduality with
Vajrasattva.In it, Myerhoff's "invisible world" is "made manifest" by seeking
the nondual state where the "subject" is not only placed within the "invisible
world" but the latter is also placed within the "subject." Furthermore, by rec-
ognizing the deity to be a construct of the mind, reflexivity is set in a chal-
lenging binary relationship with flow. The "perceptual play with mirrors and
masks, with borders and transitions" is set in a dialectical relationship of flux.
In learning to generate the mental image of the deity, the deity is a mask for
the subject, the "other" with which the subject seeks union. In terms of the
Upanisadic-Brahmanical tradition, the atman of the self (microcosm) seeks
union with the Atman of the Self (macrocosm). During the dance, the deity
becomes a mirror of the subject (since it is but an aspect of the subject's dor-
mant personality). In the dissolution phase, the mirror is destroyed. It is turned
void-a black hole-emptiness. And hence, the atman of the Upanisadic-
Brahmanical tradition is seen as nonexistent.
While ritual participation may not transform the private state of the
performer from one of "disbelief" to "belief," our argument is that in it
the ambiguity, ambivalence and volatility of the private processes are
subordinated to a simple and unambiguous public act, sensible both to
the performers themselves and the witnesses as well. Liturgical perfor-
mance is, thus, a fundamental social act, for the acceptance intrinsic to it
forms a basis for public orders which unknowable and volatile belief or
conviction cannot. (I999:I22-23)
in
9. PrajwalVajracharya
the danceof Vajrapani,
di-
rectedby PrajwalVajra-
charya,at theHimalayan
BuddhistMeditationCenter
in Kathmandu,1999.
(Photoby ShahnajJahan)
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