Jibi Powo is a must dance
performed during Bhutanese parade unique to its context and culture. It
exhibits physical deftness and mental awareness inspired by Buddhism’s union of
method and wisdom. The tradition has survived through mid-19th century to the
present day. It is still awe-inspiring to watch four fleet-footed powos
(heroes) flanking a guest through a crowded gathering at a public event and an
official ceremony.
Bhutanese experts suggest
that the parade was inspired by the legend of Ling Gesar, the warrior king who
fought the enemies of Hor. King Gesar was believed to be the embodiment of the
trinity known as Rigsum Gonpo: body emanation of Manjushri (wisdom), the speech
emanation of Avaloketeshvara (compassion) and the mind emanation of Vajrapani
(adamantine). Gesar performed a heroic dance when he sensed that his army was
fighting a losing battle, which beguiled and overpowered the enemies into a
voluntary defeat. Iconographically, Gesar is appareled as a fearless warrior on
the horseback wearing a crown and a sword tucked across his waist.
There are two oral
accounts of the origin of the dance in Bhutan. The male resident deity Chundu
of Haa in western Bhutan worshiped Gesar. The 16th Paro Penlop (governor)
Tshultrim Namgyal, popularly known as Ponlop Agay Haap, was believed to be an
offspring of Chundu. Unrivalled as a statesman and strategist, he called a long
truce during an armed battle between the Bhutanese and Tibetan.
Meanwhile, the versatile
ponlop composed and performed the charismatic dance every day to pacify his
enemies. According to senior locals, the dance was staged with dexterity,
exquisite costume and lyrical invocation of warrior god Gesar. The dance made
opposing parties drop their grudges in a favorable situation. In an unavoidable
showdown, the dancers would slay the unsuspecting enemies with their swords
tucked across the back of the waist.
Another account goes that
Zhabdrung Jigme Norbu, the 4th mind incarnation of Zhabdrung Ngawang Namgyal,
who was born in Drametse, Mongar in 1831, was a potential candidate for the
39th Druk Desi (regent) following the death of former Desi Wangchuk Gyalpo in
1850. Sensing danger to Jigme Norbu’s life during the investiture ceremony,
Ponlop Haap, an ally of Desi Jigme Namgyel (1824-1881), staged the dance to
escort Jigme Norbu out of Tashichhodzong in Thimphu.
An oral account affirms
how both the ponlop and Jigme Norbu performed the dance and escaped the scene
unharmed. Later, Jibi Powo was recognized for its skillful means and
wisdom, and performed as an official parade to receive His Majesty the King,
His Holiness the Je Khenpo and dignitaries during ceremonies and public
events.
The performers sing an
invocation and dance simultaneously in a swift and rigorous choreography. The
dance is performed in four choreographic modes and lyrical transitions. The
crude translations of the lyrics go:
ENTRY: PEACEFUL
Upon the open and
auspicious lotus-like ground
The auspicious waterfall
cascades like a crystal nectar
The charismatic
personality is the accomplished fearless hero
The superior tree is the
faultless cypress
The bird of heaven flock
to partake.
INVOCATION: SEMI WRATHFUL
The dancers extol Guru
Rinpoche and his physical attributes:
The Lama seated on the
throne is the peerless
Lotus-born teacher of
Orgyen
In his hand is the vase of
elixir
His head is adorned with
the lotus hat.
CRESCENDO: WRATHFUL
The bird of heaven is
flapping wings to take flight
It is zestfully clucking
for grains
Its parched throat thirsts
for cool fresh water
Perched upon the treetop,
it could see the zenith of heaven
For all the heavenly
blessings, it prefers to remain on the treetop.
EXIT: PEACEFUL
The dancers take leave by
receiving blessings from spiritual teachers and bowing to the guest of
honour.
The costume, adornments,
implements and weaponry are intricately cloaked. The costume is woven from
resilient materials. Metallic adornments are infused with potent symbolism.
Weaponry is crafted to inspire awe and fear.
1. Thick raw silk and
brocade gho (national dress) to deflect sword strikes.
2. Dar Nay Nga or five
multi-coloured silk scarves crisscrossing the upper body to psycho-spiritually
empower the performers. The softness and sensitivity of the scarves symbolize
compassion and defiance.
3. Khabshub: a pouch hung
by the waist to store sewing needle and thread
4. Phorshub: a pouch hung
by the waist to keep flint and matches
5. Ngueshub: a
wallet
6. Rig-nga: a gilded
silver helmet, symbolizing the 5 Primordial (Dayani) wisdom Buddhas.
7. A sword tucked across
the waist hints at a warrior faced with a mortal challenge. When the sword is
worn suspended from the waist, the weapon becomes a heroic decoration.
8. A damaru (hand-held
double-sided drum) in the right hand is played to invoke blessings of the
female wisdom.
9. A long white skirt worn
outside the gho, the national dress of Bhutan, symbolizes the ritual garb of
spell-binders (Ngagpa).
Courtesy: KEZANG NAMGAY
