Marme Monlam

7.30pm, 8 March, 2012

 

It is dark inside the Monlam Pavilion except for the center of the stage where the large, golden Buddha on the uppermost tier sits bathed in light. Representations of a tiger, garuda, phoenix, and snow lion grace the stage in the shadows.

Suddenly the unmistakable voice of the Gyalwang Karmapa is heard announcing the first performance. He will serve as the master of ceremonies throughout the evening, personally introducing each group of performers.

“We are about to begin the Marme Monlam with the sadhana of Avalokiteshvara called The All-Pervading Benefit for Beings. And then we will go through the other prayers in order.”

The plaintive, beautifully chanted Tibetan hymn to Chenrezig is followed by several repetitions of Om Mani Padme Hung.

“Next we will have a performance of drumming entitled, Infinite Aspirations.”

A large group of male and female drummers in grey sleeveless tops and brown culottes, stand with legs apart straddling six huge drums. One person sits on the floor playing a small drum and another plays a medium-sized double-drum. This synchronized percussive and dance performance is powerfully rousing and rhythmic. When it is finished, the drums are moved off the stage.

“Now we have the Sanskrit prayers; they will be doing the Refuge to the Three Jewels in Sanskrit.”

A group of 10 monks in mustard-colored robes stand in the center of the yellow sun to sing the Sanskrit prayers.

“Next the Korean Sangha (monks and nuns) will sing the Noble Aspiration for Excellent Conduct in Korean.”

“Next the Bhikshus and Bhikshunis from Vietnam will recite the Eighth Aspiration.”

“And now the drummers will perform a piece that represents the union of wisdom and compassion.”

Three drums are moved onto the stage and two women walk across it chanting Tara's mantra, Om Tare Tutare Ture So Ha, while hitting small singing bowls. They twirl and leap as the drummers beat a rhythm of accompaniment.

Then three men replace the women onstage forcefully shouting Guru Rinpoche’s mantra, Om Ah Hung Benza Guru Pema Siddhi Hung. They beat the three drums energetically with synchronized, athletic movements.

“Next we will have a performance of the Aspiration for the Well Being of Tibet sung by Tibetans.”

Nine Tibetan women in traditional Tibetan attire--turquoise chubas with striped aprons and pale, rose-colored blouses—and 13 men wearing brown chubas with gold vests and white shirts, gather on the stage with their instruments to perform the musical version of this beautiful prayer for Tibet written by the First Jamgön Kongtrul Lodrö Thaye.

“And now some performers from the west will sing in English a musical setting of words of the Praise of Bodhichitta from The Bodhisattva’s Way of Life by Shantideva.”

A large group of westerners sing, accompanied by a single person strumming the guitar.

“And now students from T.C.V. Suja will give a musical offering.”

Young Tibetan men—festively attired in cowboy hats and half-chubas with white blouses and green-striped sashes--and women wearing red brocade, play tambourines, maracas, flutes, xylophones, and Tibetan string instruments, such as mandolins and dranyens. Led by a conductor, they honor their heritage by performing this very traditionally sounding Tibetan arrangement.

“Next lay men and women of Chinese descent will sing a song entitled, Longing."

A fairly large group of Chinese lay people led by two ordained members in brown robes sing a poignant song of longing.

“Next we have a song by a man and woman from Poland.”

This devotional song praising the Karmapa sounds like a Polish folk song. As they sing, the couple sways back and forth and waves their arms to the music.

“Now that we have heard aspirations in many different languages, we will again have a musical offering from the drummers.”

This time one man begins by hitting a very large drum with two sticks while another sounds a large brass gong. Then all of the drums are brought out and a rousing acoustic rendition entails.

 Once the guest performances are finished the Karmapa says:

“I will strike the gong three times and on the third gong, you should light your lamp.”

So on the third gong, the Monlam Pavilion is lit up by a sea of blue, green, red, white, yellow, and orange lights.

“We will now recite the Lamp prayer…”

As the Gyalwang Karmapa leads the recitation in English and Chinese the ordained Sangha hold aloft large lotus lamps of pink, yellow, green, orange, and violet.

“And now we will sing the Marme Monlam.”

Now the Karmapa leads the melodic butter lamp song in Tibetan. He holds a large violet-colored lotus candle and on either side of him, Gyaltsab Rinpoche and Jamgon Kongtrul Rinpoche hold up orange-colored lotus candles. The Karmapa's sister holds a pink one.

Beautiful recorded music plays and a woman performs a Chinese version of the Marme Monlam, after which it is sung in English by Karma David Choephel and a group of westerners.

Then Umdze Bai Karma and a group of Tibetans perform the Tibetan version of the Marme Monlam. The audience hold up their lamps and wave them, swaying gently to the music.

Finally the lights come on and the Monlam Pavilion is filled with the sound of applause; His Holiness Karmapa offers the closing remarks.

“This completes the Marme Monlam, so now we will dedicate the virtue of our aspirations so that all sentient beings who are as limitless as space may go from happiness to happiness, and in particular that all of us who are gathered here may be happy in the short term and have lasting joy. And now, all of you who have candles, please be very careful with them. And when you go home, go in large groups, not just singly or in pairs.”

This warning comes at the request of the local police.  It is the second night of the Hindu festival of Holi; no one wants problems with groups of drunken revelers during the long walk back to Bodhgaya. With this, the crowd peacefully and joyfully disperses while chanting the mantra, Karmapa Khyenno.

Report by Mary Young, photos taken by Karma Lekcho, Liao Guo Ming, Palten Nyima