Chibdral is a ceremonial procession of
men, women and horses. ‘Chib’ refers to the horse that leads the procession and
‘Dral’ means “uniform line”. With a history believed to stretch back to the
time of the Buddha, chibdral continues
to be one of the most important and most frequently performed ceremonies in
Bhutan. It is organized in honour of His Majesty the King, His Holiness the Je
Khenpo, special guests, to celebrate promotions or to formally open a programme,
chibdral is ever-present within the kingdom.
Many must have seen or even took
part in elaborate chibdrel during His Majesty’s wedding, His Majesty’s
Coronation, National Day celebration etc.
It is indeed a very colourful event with deep meaning an unique to
Bhutan.
While we see events unfolded in
front of us we must also know why it is performed in such manner? What are the
meaning and purpose of having different flags, articles, animals so on? How it
is organized?
As per research carried
by Mr. Karma Rigzin (2011) Chibdral: A Traditional Bhutanese Welcome
Ceremony, Journal of Bhutan Studies, 24 (Summer 2011), pp.42-53.
Components of Chibdral
The
day is determined by consulting an astrologer. One person is selected to lead
the procession based on their astrological details and who possesses a clean
mind, body, soul, luck, intelligence and strength of life. All of these
qualities must be present to maintain integrity of the ceremony.
This
person carries a white scarf with the symbols of Nyimo Delek (auspicious day)
and the Tashi Tagye (eight auspicious signs). Following him is a rider-less
white stallion, its forehead decorated and on its back laid a white scarf also
displaying the Nyimo Delek and Tashi Tagye. On the scarf are placed the three jewels.
Stallions are believed to have powers to resist evil and offer long life, and
its position at the head of the procession signifies good omens to come. In its
earliest forms, there were white, red and mixed coloured horses used in the
procession. However, in modern times such horses are rarely, if ever, used.
Instead, a surrogate in the form of a white fabric or other white object is
displayed in place of the actual animal.
Men dressed in red ghos beating
drums and ringing bells walk behind the stallion, while two men in green ghos
blow small horns. Next are a series of flag bearers: Chogdar (directional
flag), Tsendar (a series in which each flag is associated with a particular
deity), Rudar (coy flag), darneynga (five coloured flags) and Gyaldar (victory
banner). Armoured marchers and Pa Chham dancers will follow the flag bearers,
and behind them walk high profile officers. Next come a group of people
carrying various religious items like shrine covers, mandala (geometric
meditation diagram), Zegyed (eight lucky articles), Gyalsid Naduen (the seven
precious emblems), statues, stupas and incense. Also in the group are
individuals bearing earthly objects, such as the Thrikheb (throne cover),
Soelchu Jandum (water container), Chagsil Pangkhep (hand wash lap cover),
Chitala (spit pot), Doma Bathra (Domapani container).
Following these
individuals is the Kudrung (monk prefect), who claps his hands in order to
alert the entourage of arriving chief guest the ground, signifying control over
the area. Next is the chief guest, along with his bodyguards and attendants, if
present. During the course of the procession, Pawo dancers line either side of
the chibdral as it moves along. The dancers hold small drums in their
hands and call attention to the chief guest and create a pleasing environment
around him.
As the procession
enters the ceremony venue, those persons carrying the Chogdar, Tsendar, Rudar
and Darna Nga flags stand behind the official who is being promoted or
honoured. To the right is a line of dancers and singers, office people and
divisional heads. On the left side are the team of escorts and people carrying
the official’s belongings. The official who is promoted stands between the two
lines and in front of the bearers, where he remains while until the conclusion
of the marchang ceremony. Marchang is a ceremony following chibdral,
and is an offering of alcohol to deities and teachers to secure blessings for
the removal of obstacles, and for successful outcomes.
Now to detail the
components and what each element signifies.
1.
White,
red and mixed coloured stallions for flourishing fortune.
2.
Drum
signifies its command over judicial affairs of the nation
3.
Bell
enhances musical sound created by drum.
4.
Trumpet
for inviting through melodious tone.
5.
Directional
flags for protecting from harm by humans and non-humans.
6.
Banner
of deity for abiding with one’s own deities.
7.
Ancient
military banner for the abidance of dharma protectors.
8.
Eleven
different coloured flags for pacifying, enriching, magnetizing, destroying and
constitute enlightened activities.
9.
Police
flag signifies the maintaining of law and order in the country.
10.
Military
flag signifies the subduing of country’s enemies.
11.
Royal
Body Guard flag for guarding His Majesty’s life from the external harm.
12.
National
flag signifying the greatness of a country.
13.
Pawo
dancers signify best of the ancient dances.
14.
Military
band signifying modernity.
15. A
pair of drinking water containers for containing drinking water in the ancient
times for the VIP
16. Traditional
bag such as those used in the distant past.
17. Traditional
dancers from Trongsa (Nubzhey of central Bhutan)
18. Traditional
dancers from Paro (Wuchupaizhey of western Bhutan)
19. Traditional
dancers from Thimphu (Wangzhey of western Bhutan)
20. Royal
dancers signifying the perseverance of Bhutanese traditional dances and songs.
21. Dance
of religious song signifies the root of Drukpa Kagyud tradition.
22. Heroic
dancers called Pa Chham, as described in vision by the 15th century master Pema
Lingpa, from an experience in Guru Rinpoche’s Copper Mountain Paradise.
The
following are carried and displayed by the religious body:
1. Religious
gong signifying monastic discipline.
2. Fan
for bringing comfort to others.
3. Small
bell for offering of invitation.
4. Offering
articles signify the victory over discordant opponents.
5. Upper
cover of alter signifies invitation with the seat.
6. Mandala
signifies the offering of the religious universe.
7. Shrine
objects of body, speech and mind to prolong life.
8. Eight
auspicious signs bring about good luck.
9. Eight
auspicious substances/articles blessed by Buddha that enhance physical health
of all beings.
10. Seven
precious substances representing seven royal treasures of a universal monarch.
11. A
conch, the sound of which is thought to precipitate mindful religious
governance.
12. Religious
trumpet signifies the offering of melodious sounds.
13. Large
trumpet signifies invitation.
14. Large
drum is melodious offering.
15. Cymbal
(thinner one) is an additional melodious offering.
16. Sixteen
goddesses known as dakinis signify invitation.
17. Perfuming
pan/bowl to purify the surrounding environment.
18. Government
officials also appear here, signify the highest representatives of the
government and the unity of the governing and religious communities.
Just
before the guest of honour are persons carrying a number of items for his
protection and comfort:
1. A
person carries a statue of the war god/protector in case of our Royal monarchs.
2. A
person carrying seat cover.
3. A
person bearing a traditional flask for containing water and tea.
4. A
person with a ‘Bathra’, a traditional betel nut container. Betel nut is a mild
stimulant often chewed within a leaf with lime paste.
These
are followed by the final members of the procession:
1. The
discipline master of monk body
2. Chamberlain
signifying the government and internal management.
3. Chief
guest
4. The
four lopens, or teachers, drawn from the monastic body, who protect the
honouree from inner and secret obstacles.
5. A
general and bodyguards who protect from outer obstacles.
Now let us understand
how Chibdrel has been originated?
Origins
and development of chibdral
According to Bhutanese belief, an
early form of the ceremony dates to the time of the Buddha, around the fifth
century BCE. The earliest form of welcoming procession that is attested in the
teachings is after the Buddha descended from the Trayastrimsa heaven. The
Buddha had gone there post-Enlightenment in order to teach his mother Mahamaya.
After a stay of a few months, his disciples begged him to return to earth and
teach for their benefit. The Lord Buddha relented and returned to earth by
descending a triple ladder. It is believed that both gods and humans celebrated
this event with a grand reception of the Lord Buddha through the various forms of
procession.
Bhutanese trace the third origin of chibdral to the ninth century, when Chandrakirtiwas Abbot of Nalanda University. While he was teaching, he saw a person standing nearby in which he asked who he was. Chandrakirti thought that he could be someone who was interested in debate. However, during the course of their communication Chandrakirti realized this was Chandragomin, a great scholar from the south.
Chandrakirti immediately said that a great scholar like him cannot make an entry that way, and offered to arrange a welcome ceremony. Chandragomin responded saying it is not appropriate to be welcomed by fully ordained monks as he himself was a lay practitioner. Chandrakirti responded that if that was the case, a statue of Manjushri would be invited, and Chandragomin would fan it as part of the procession. When the sculpture arrives, the monks will welcome the statue.
Chibdral in Bhutan
In 1616, a religious master named Zhabdrung Ngawang Namgyal left Tibet and came south. He was the reincarnation of the scholar Pema Karpo, and held a high position in the Drukpa Kagyu Buddhist tradition. At the invitation of his patrons in the south, he journeyed to Bhutan, which was then a series of local kingdoms. For the next three decades, the Zhabdrung would unify the western and central areas, forming the core of the Bhutanese nation and establishing governmental and religious authority through the chos srid system. The Zhabdrung is responsible for introducing and systematizing a number of prominent rituals, including chibdral, which encouraged loyalty to the state and offered a chance to display its power. By showing the wealth and resources available in the system, people were reluctant to challenge it, and at the same time, they identified with the different parts—religious items, local dances—which helped them to feel a sense of unity.
Benefits
of chibdral
Chibdral
contributes to the vitality of those assembled. This
welcoming process can be adapted to any population, enabling the people to
bridge differences between genders, age, class, race and abilities as well.
From its inception, chibdral was meant to unify and bond members of the
community. Based on the chos srid system instituted by the Zhabdrung, the unity
between governmental and religious authority was emphasized during his state
building initiatives, and this theme remains an obvious component of the chibdral
ceremony. By encouraging—and almost requiring—the ceremony to be performed
so frequently, the Bhutanese state and its religion remains at the forefront of
society, and outlines the ways in which the different peoples of the nation are
bound together.
In
traditional Bhutanese hierarchy, superiors are required to act with affection
and compassion towards their subordinates, while lower levels are obliged to
respect their superiors, ideally cultivating balance social harmony. Thus,
these ceremonies serve as visual tool to remind each of their obligations to
the system. It further enriches Bhutanese cultural values by strengthening the
social bonds among one another.
Ultimately, making
offerings through chibdral ceremonies are believed to accumulate
Buddhist merit and reduce suffering for oneself and all sentient beings, one of
the main goals of the state religion. 
Courtesy: Mr. Karma Rigzin (2011) Chibdral: A Traditional Bhutanese Welcome Ceremony, Journal of Bhutan Studies, 24 (Summer 2011), pp.42-53.
