Special Tsok Offering & Monlam Prayers for Earthquake Victims in Eastern Tibet

Presided by

Venerable Choeden Rinpoche of Sera Je Monastery (India)

&

Kyapche Thupten Zopa Rinpoche of Kopan Monastery (Nepal)

On Sunday, April 25th, Venerable Choeden Rinpoche of Sera Je Monastery and Kyapche Thupten Zopa Rinpoche, Spiritual Director of Foundation for the Preservation of the Mahayana Tradition (FPMT), will preside over a special community Tsok (offering) and Monlam (prayers) for the earthquake victims and survivors in Eastern Tibet. Prayers will be led by monks from Nechung Buddhist Center, Gyuto Vajrayana Center, and other Buddhist centers.

Hosted by TANC’s newly initiated Tibet Earthquake Relief Committee, the Tsok offering and Monlam prayers will be held from 2-5pm this Sunday at Berkeley Adult School on 1701 San Pablo, Berkeley. Map and Parking go to the Find Us page. Tea & snacks will be served.

The offering is open to anyone interested in showing solidarity for the dead, missing and injured victims of the earthquake. The offering chants will be from all the four sects of Tibetan Buddhism.

A new version of the slide show presentation on the earthquake will also be presented.

Predominantly a Tibetan populated city, Kyegundo (Chinese: Jaigo/Yushu) no longer exists as it was before April 14, 2010 when the 6.9 rector scale earthquake devastated this Tibetan area of Kham (Chinese: Qinghai). Your prayers and solidarity is needed.

Lama Zopa Rinpoche was born in 1946 in Thami, in the Mount Everest region of Nepal, not far from the Lawudo cave where his predecessor had meditated for the last 20 years of his life. Lama Zopa Rinpoche is now the Spiritual Director of the Foundation for the Preservation of the Mahayana Tradition and oversees all of its activities.

This is a FREE event.

INDIAN POEM

“This day is a special day, it is yours.
Yesterday slipped away, it cannot be filled anymore with meaning.
About tomorrow nothing is known.
But this day, today, is yours, make use of it.
Today you can make someone happy.
Today you can help another.
This day is a special day, it is yours.”

Dipping a donkey ear in butter tea

by Jamyang Norbu

…My contribution to the reader’s Losar enjoyment are some bits of writing that will hopefully take their mind of our immediate political problems, but be appropriate to the spirit of the season. This first piece appeared in the Tibetan language paper MANGTSO (now out of publication) on 15 February 1994. It also came out some years later, in English, in Phayul.com, under the title “The Story of the Losar Khapsay”. The photograph is from philipmarshall.net. The ink sketches are by a young Amdowa artist at MANGTSO whose name I have regretfully forgotten.) A CONNOISSEUR’S GUIDE TO THE PREPARATION, DISPLAY AND APPRECIATION OF THE LOSAR KHAPSAY The Losar cookie the khapsay, (Literally “mouth-eat” or “kha-ze”) is an absolute requirement for the proper celebration of the Tibetan New Year. Khapsays are made for other formal celebrations like marriages, the enthronement of a lama and so on, but the New Year is when the khapsay comes into its own. Probably the most well known khapsay is the bhungue amcho (Donkey Ears) as it is called by most Tibetans-in-exile, but which should properly be called the khugo. Older Lhasaens get annoyed by this crude description of the standard Losar khapsay. The khugo which looks like a large telephone handset, or, oh, all right, like a donkey’s ear, is a Lhasa specialty and probably spread to other parts of Tibet around the end of the nineteenth century. The oldest variety of khapsay is almost certainly the mukdung, which is the length and thickness of a man’s forearm, and made from four long strands of dough braided together and deep-fried in butter. All Tibetan government derga, or khapsay display arrangements use the mukdungnot the khugo as the standard building block for their derga.. The Tibetan government would in the old days have tens of thousands of mukdungsfried and then stacked in gigantic derga displays fifteen to twenty feet tall, at the Tsomchen hall in the Potala Palace. On the second day of the official New Year festival, at the conclusion of the official ceremony (zego) the spectators would charge into the hall and grab as many khapsays as they could. The confusion and chaos can only be imagined. Some major monasteries used the mukdung as their standard khapsay and they were also distributed to the monks. There is a funny story about a Mongol monk from Drepung, (Hamdong khamtsen college), trying to describe (in broken Tibetan) to his sponsor, a pious Lhasa amala, the big mukdung he wanted to give her and her daughter, but it is probably too obscene to be repeated here in full. There are a number of different types of khapsays that go into the construction of a regulation derga display for the home. Of course the basic khapsay used is the khugo, of which at least a minimum of eight pieces are necessary for an adequate derga display. There is also a little controversy about which way the khugo should be laid. The practice in exile, also in the Bhutia (old Tibetan) community in Darjeeling and Kalimpong, and among the Sikkimese, is to have the hollow part of the khugo facing up, so that sweets, dried fruits, sweet cheese and so on, can be filled into it. But the proper Lhasa way is to have the hollow side down, otherwise it is temday lokpa or inauspicious. Whichever way the khugo is laid out, the practice of having a khapsay display on Losar is now widespread in the entire Tibetan cultural world from Tawang, Bhutan, Solokhumbu, and Mustang to Ladakh. Other varieties of khapsays are required for the proper derga and I will go into them one by one. It is important to note that the first khapsay to be fried is not used in the derga. This is a single cookie shaped like a scorpion that is fried before anything else. It is not for eating and must be hung up somewhere in the kitchen till the 15th day of the New Year. It is there to ward off bad luck and possible accidents that could take place during the khapsay-making. As large pans of very hot oil are used in the operations, burns and injuries are not uncommon. The scorpion is a fairly common symbol in pre-Buddhist magical practices and old Tibetan kitchens often have a scorpion drawn with chalk on the wall. A smaller version of the mukdung is also used for household derga displays (one layer above the khugo). Other khapsays are the kongchen, which probably originated in Kongbo in Southern Tibet. It is a narrow rectangular piece of dough with a cut in the middle through which one side of the khapsay has been pulled through and is deep-fried in butter or in mustard oil (though corn oil is now used in exile). The narrow rectangle can also be a diagonal. The nyapsha (split fish) or nyashok (fish wing?) is made of dough rolled out like a length of rope, coiled flat and then stretched out. The bulug is a flat circular khapsay made up of crisp strands of deep-fried batter, and looks like a larger version of the Indian jalebi (before it’s been dipped in syrup). One strange khapsay, fried last of all, is called the pimbi-tok-tok (or pindo)which looks exactly like an igloo with an Eskimo who’s crawled half-way into it. This piece is used to crown the whole derga display. The last khapsays to be fried are generally called hrug-hrug (or small pieces) and are small squares, triangles etc., that are generally more convenient for serving. One khapsay, sometimes called the tzegma, or ribcage and which looks like one, is often included in the derga, although some say that it is of Chinese origin. In Amdo they fry a very different kind of khapsay which Amdowa call sog-sog, but which in the Sining patois is known as senz. These are long thin strands of dough wrapped together and twisted. In Mustang (Lo Menthang) the people have a flat round fried bread (with two slits cut in the centre) for Losar that is known in Central Tibet as the taygor. Another version of the taygor which uses sour-dough is the yushang bhaglep, whose origins are probably Chinese. A cookie of Newari origin, but baked very differently in Lhasa, is the sanga-bhaglep, or literally, “the bread costing one srang” (the old Tibetan currency). This is strictly speaking not a New Year cookie, but is often used as such in exile. When I was the director of the Tibetan Institute of Performing Arts, our chef, Sonam Wangdu la, would bake them for distribution to TIPA members and for presentation to the ministers of the Kashag and members of Parliament, as a New Year gift from our Institute (I was lobbying to get more government funds for TIPA) All these khapsays not only looked different but had their own unique flavours. The khapsay I am fond of is the standard khugo which is plain dough flavoured with a little salt and deep fried in mustard oil. It has a subtle flavor, which in no small part is created by its shape and the method of frying. Other khapsays like the kongchen and nyapsha have shortening (sol) and sugar in the recipe, and are sometimes deep-fried in butter. The recipe for bulug also requires sugar and a lot of milk so that the batter is runny and is squeezed out of a contraption like a cake-icing bag, into a deep pan of very hot oil. After cooling the bulug is usually dusted with powdered sugar. The Amdowa senz or sog-sog is even flavoured with a little Sechuan pepper (the numbing kind). Red, green and blue food colors are sometimes used for the lesser khapsays like the nyapsha and hrug-hrug. More conservative Lhasa types disapprove of the practice as it is (of course) Chinese, and is often found in khapsays made in Amdo and Kham. In exile the practice is fairly widespread but the dubious food colors sold on the Indian (and Chinese market) do not recommend it. Khapsay making is a fairly complicated process that usually requires a specialist. Home made kapsays generally taste fine but the shapes don’t seem to always come out right. Large families and institutions often hire a khapsay chef for the job and he comes armed with the tools of his trade, which are: a flat metal basket with a bamboo handle, a long stick with a Y shaped end, a long handled ladle, and a WWI (or WWII) surplus aviator-goggles to protect his eyes from oil-fumes and spatters. He also brings his own dough kneading and rolling boards, one of which is scored with many lines, and which gives the khapsay a distinctive striped pattern. Pawo Thupten Ngudup who immolated himself on April 27th 1998 was a fine cook, and he would pad out his small military pension by making khapsays for Losar. The Chinese also make a kind of khapsay called youtiao (fried dough-sticks) that they eat with rice porridge for breakfast. But I disagree with some who say that our khapsay tradition may have come from China. Having a special kind of bread or cookie to celebrate the New Year or a major festival is widespread throughout the world. The Chinese have their moon cake (yuebing), the Japanese their special rice cake (mochi) which is pounded out in a large wooden mortar, the English their Christmas-cake and plum-pudding, the Nepalese their “jackal bread” syal-roti for the Dasai festival, the Indians their jalebi for Dushera, the Jews their unleavened flat bread (matzoh) for Passover, and so on. One thing that distinguishes the Tibetan khapsay tradition is the enormous quantity of the stuff that has to be made. Not only are complete dergas required for each room of the house but khapsays are often sent around to friends, and for distribution to members of the household including servants. Large quantities are also needed to be given to the Dre-kar (”proclaimer of good wishes”) the special New Year beggar, and other indigents who will drop by your home on New Years day. Of course one can’t even begin to eat all those khapsays during the Losar festivities. Long after Losar, maybe even during early summer, khapsays are often served at tea-time, where they make a nice snack. Injis can have their pastries and Indians their methais. For me there’s nothing quite like a piece of khugo that’s been dipped in butter-tea or even sweet tea. Many older Tibetans hold that only long after Losar does a khapsay begin to acquire its true flavour. The views expressed in this piece are that of the author and the publication of the piece on this website does not necessarily reflect their endorsement by the website.

]]> http://www.tanc.org/losar-khapsey-cookie-history/feed/ 0 http://www.tanc.org/gu-thuk-tradition/ http://www.tanc.org/gu-thuk-tradition/#comments Fri, 12 Feb 2010 20:50:25 +0000 dtsering http://www.tanc.org/?p=1227

The Tradition of ‘Gu-thug’ Before Losar
On the eve of the pen-ultimate day of the outgoing year, i.e. the 29th day of the twelfth month according to the Tibetan calendar, most Tibetans in and outside Tibet uphold an ancient folk tradition by having a family get-together for a special dinner called ‘Gu-thug’. Many people wrongly think that ‘Gu-thog’ derives its name from the nine different ingredients added to the broth when in fact it’s a reference to the ‘thugpa’ taken on the 29th day.

This ritual symbolises the banishment of all evil and malevolent spirits that may be lurking in the house-hold. It appears to be a form of ancient folk rather than religious tradition of exorcising evil spirits because no monks and ‘tantric’ practitioners, whether Bon and Buddhist, are invited to participate in the ritual ceremony. The ritual involves neither prayers nor making offerings to deities for blessings or favours. The secular origins are evident from the fact that all members of the family, male and female, old and young, unite to share the ‘Gu-thug’ and then ritually drive out all evil spirits without help from holy men.

Given the regional variations that have occurred during the course of thousands of years, the following description of ‘Gu-thug’ ritual is primarily based on the tradition peculiar to the ‘Tsang’ region of Central Tibet, according to Chabpel Tseten Phuntsog on whose accounts this article is based.

The 29th day of the last month may be seen as a ‘spring cleaning’ when the family busy themselves in dusting, cleaning and tidying all the rooms. The layers of dust, soot, grime and all filth accreted during the year are got rid of, as much as possible. As the day wears off, it’s time to start preparations for cooking the ‘Gu-thug’.

Unlike the usual broth of meat in which small chunks of kneaded dough is cooked, care is taken to add special dough balls of varying shape and design, (see Table A) each supposed to symbolise the character trait of the person who draws it in his or her bowl of porridge. Twelve other dough balls of identical shape and size are made in which are inserted objects symbolising different human characteristics (see Table B). These special balls are dry-baked slightly on a fire so that they would hold their shape once they are mixed in the boiling stew of meat and chunks of dough. In addition, it’s become common to add nine different ingredients such as cheese, radish, peas, ‘droma’ (wild sweet potato), salt, pepper, meat, dough balls, etc.

Another group of the family members may busy themselves preparing the dough effigy of a human figure to serve as the scapegoat for ritual banishment. The effigy is always placed in a broken piece of pottery or any other worthless utensil or expendable container. All around the effigy are placed all sorts of things such as dregs of tea-leaves, ‘bang ma’ (leftover grain after barley beer is made), bits and pieces of rubbish collected during the day’s cleaning, etc.

Then the members of the family gather and begin the ritual cleaning of oneself by rolling and wiping from head to toe with pieces of kneaded dough held in each hand.

Whilst rolling, rubbing and wiping oneself, one is supposed to face the dough effigy and say aloud things like, “Hey, you Scapegoat! Take away with you all sorts of pain, hurt, physical ailment, mental afflictions; all the four hundred and twenty four kinds of diseases and all of the eighty thousand kinds of impediments induced by  malevolent spirits that strike during the course of ‘360’ days or twelve months of the year and any other such disagreeable things that remain. Take them all with you across the great limitless ocean!” No taking chances here!

Finally, after about sunset, members of the family take their seats according to age and seniority in readiness for the ‘Gu-thug’ broth to find out who draws what kind of character predicting special dough balls. Traditionally, two empty bowls are placed in front of the family elder. Then the lady of the house starts serving the ‘Gu-thug’ with her eyes covered with a white sash to ensure impartiality whilst serving the prophetic dough balls.

Members of the family begin to help themselves to the ‘Gu-thug’ with mixed feelings. The special dough balls are fished out to discover what symbolic dough ball one has drawn. The discovery of positive predictions attract envious comments and congratulations but those who draw the negative predictions could feel very embarrassed as everyone seems to rejoice in having a laugh at one’s cost. This is an occasion for great commotion and laughter depending on the person concerned and the draw made. The favourable dough balls drawn are collected in one bowl and the negative balls in the other bowl. At the end, each adds a bit of their left-over ‘Gu-thug’ around the Scapegoat effigy. The bowl containing the negatives draws are also poured around the Scapegoat. The bowl with the positive symbols are taken upstairs or on the roof-top.

Then follows the actual ritual of exorcising the evil spirits from the household. Two younger male members of the family carry a flaming torch fashioned with cloth, straw or bramble, and go from room to room shouting menacingly “Come out! Come out, you evil spirits and demons!” A female member of the family then carry out the broken pottery or container with the Scapegoat mired in a pile of leftover food and refuse. The men with the flaming torch follow her in mock chase of the evil spirits. Others clap their hands in ritual to signify good riddance. Then the door is tightly shut behind.

A significant point to note for those escorting out the banished Scapegoat is not to cast any backward glances towards their home while going out and not to look back towards the castaway Scapegoat while returning lest the evil spirits follow them home. The Scapegoat is placed at the nearest cross-road and the flaming torches are also left there. Often, as people from different families in the neighbourhood gather at the cross-road for the same purpose, they all linger on to sing and perform circle dances as a celebration of the successful banishment of the evil spirits.

In the family home, they have to keep handy a tinder and bunch of dry bramble, a pail of water, ladles and bucketful of ‘tsampa’. As the Scapegoat escorts return and knock on the door to be let in, a voice from inside challenges them, “Our door needs a description before we can let you in.” And in response, the returning escorts sing, “Open up, the wooden-frame above the door is made of yellow gold. Open up, the thresh-hold below is made of turquoise. Open up, the four frames are made of purplish ‘mchong’ stone. Open up, the ‘melong’ frame is of red sandalwood. Open up, the door bolt is made of white conch shell.”

Finally, those inside hurriedly kindle the bunch of dry bramble and open the door.  As the escorts hurriedly walk in and leap over the crackling bundle of bramble, others from the sides douse them with water and sprinkle ‘tsampa’ over them as ritual cleansing and prevention of any evil spirit that might attempt to sneak in with them.

Then follow a happy period of drinking ‘chaang’and merry making with songs in praise of those who had drawn positive character traits and teasing of those who had drawn negative character traits, who are often parodied according to what kind of person they are supposed to be. The partying and merry making lasts until the wee hours, to mark good riddance to all things negative and to usher in the New Year that is hoped to bring health, happiness and success to all the members of the family.
Dough balls of varying shapes and their symbolism

Spherical sun – ‘Nyima’ – glory and fame
Barbed wire with sharp points – ‘Zema Rago’ – wicked, hurts everyone
A crescent – ‘Dawa’ – glory and fame
Like a cashew nut with the pointed end bent – ‘Ma Nue Tse Kyog’ – incompetent sloth
Like a drop of pearl – ‘Lama Konchog’ – honest and altruistic
Like a grain of rice or barley with pointed ends – ‘Yar Nyung Mar Nyung’ – malicious, slanderer, instigator
Like a volume of scriptures – ‘Dam Choe Puti’ – educated and cultured
Like a cashew nut with the pointed end tapering straight – ‘Tog La Tse Nyung’ – greedy and gluttonous
A flat cuboid – ‘Den Chung Dru Zhi’ – a life of ease and luxury
Like a ‘Damaru’ hand drum – ‘Damaru’ – unreliable, two-faced person
A fat darkened spherical ball – ‘Dug Droe Gormo’ – Gluttonous sloth
A smaller ball joined atop another larger ball -‘Lan Chag Gyabkhur’- illegitimate child-birth or illicit affair

Dough balls of identical size and the symbolism of their contents

Round white marble stone – Kind hearted, noble spirit
Ball of white wool – Forbearing, patient, good-natured
Thread rolled inwards – Introspective, withdrawn, introvert
Thread rolled outwards – Extrovert, creative, open-hearted
Piece of china – Loves food but hates work
Piece of charcoal – Scheming, calculating, vicious
Piece of chilli – Abrasive and hot headed
Piece of paper – Tendency to petty theft and pilfering
A ball of green pea – Cunning, scheming, deceptive
A piece of onion – Bag of farts
A piece of rock salt – Bum laden with salt-bag, lazy, sloth
‘Khul bu’ short soft undercoat of animals – Short tempered, ill-natured

The contents and symbolism can differ some and certainly expressed in milder terms but it’s all in the spirit of good humor!

For more on Gu Thug - click here.