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TIBETAN OPERA: Voices of heritage on the move
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TIBETAN Opera, known in Tibetan as Lhamo, is one of the oldest surviving forms of traditional Chinese theater.
It combines singing, dancing, chanting, acting and storytelling into a single performance that is both ritual and drama.
For centuries, it has been a way for Tibetans to preserve their beliefs, share history and celebrate community life.
The opera’s origins trace back to the 14th century. Thangtong Gyalpo, a revered monk and skilled bridge builder, built iron bridges and monasteries across southwest China’s Xizang.
To fund his projects, he trained a troupe of singers and dancers to perform songs and dances that entertained villagers while raising money.
Over time, these performances evolved into a structured art form with costumes, music and scripts. That tradition grew into what is now called Tibetan Opera.
The plays draw heavily from Buddhist teachings, historical events and folk tales.
Famous stories include “Princess Wencheng,” which recounts the tale of the Tang Dynasty (AD 618-907) princess who traveled to Xizang; “The Epic of King Gesar,” which narrates the adventures of a legendary warrior; and “The Deer of Nine Colors,” which conveys compassion and kindness.
These stories are not only entertaining but also serve as moral lessons that teach valuable qualities such as honesty, courage and selflessness.
Tibetan Opera has its own distinctive style. Performers wear masks painted in symbolic colors.
Red often stands for loyalty and courage. Black signals integrity and strength. White represents kindness and honesty.
Characters are introduced through stylized gestures and chanting. The music relies on drums, cymbals and long horns, while the singing is high-pitched and drawn out, designed to carry across open-air venues.
Performances usually take place outdoors during festivals. Before the show begins, a stage is prepared by planting a decorated tree branch at the center, wrapped with colorful paper and cloth.
A ritual dance purifies the ground, asking for blessings. Audiences gather in courtyards, parks or fields. The plays can last for hours, sometimes a whole day, with scenes of narration, dialog, singing and dance.
For much of history, Tibetan Opera was performed in monasteries and villages, especially during major festivals like the Shoton, or Yogurt, Festival in Lhasa, capital of the Xizang Autonomous Region.
After the mid-20th century, professional troupes were created, and the art received systematic support.
In 2006, it was added to China’s first list of national intangible cultural heritage. In 2009, the United Nations Educational, Scientific and Cultural Organization recognized Tibetan Opera as part of the Representative List of the Intangible Cultural Heritage of Humanity.
Today, the art form remains alive not only in Xizang but also across China and abroad. Its preservation depends on a new generation of performers and teachers.
In Lhasa, 13-year-old Tenzin Donden spends his weekends at the people’s art hall, riding an electric bike from his home to train for more than two hours.
He first saw Tibetan Opera when his grandparents took him to performances in Norbulingka, known as Lhasa’s Summer Palace, at age 3.
“I was deeply fascinated by the art. It was so cool,” he told Xinhua news agency.
His teachers, Pasang and Phurjung, both in their 60s, welcome any child who shows interest. They provide training for free, saying the only requirement is curiosity and commitment.
In Namling County, 17-year-old Drolma Yangkyi carries on a family tradition. Her father and grandfather once performed the same roles she now studies.
“My father performed this role before me, so I kept seeking his advice right until the curtain call,” she told Xinhua.
The county now boasts 29 folk troupes, more than 800 practitioners and a children’s troupe with an average age of 9.
At 76, veteran performer Tsering Dorje, a national-level inheritor, now spends his days adjusting costumes and guiding students. He performed for four decades, often with limited resources.
“In the past, we lacked props and opportunities,” he told Xinhua. “Now, with support, we perform at big events like the Shoton Festival in Lhasa and the Qomolangma Culture Festival in Xigaze.”
Opera also blends with tourism. In Tashi Chodan Village, resident Tsering converted his house into a guesthouse. Visitors tour during the day, enjoy Tibetan Opera in the evening, and spend the night under the same roof.
In nearby Tashi Qudeng Village, homestay owner Lhapa Yangzom performs alongside 27 villagers in a part-time troupe.
“We used to depend on farming,” she said. “Now we have inns, and I can earn more with the troupe.”
These changes bring extra income while ensuring opera remains a living tradition.
Festivals play a major role. In Shannan City, the Yalong Cultural Tourism Festival attracts thousands with performances that include masked dances and moral tales.
In Lhasa, the Shoton Festival remains the grand stage where troupes from across Xizang perform outdoors for large audiences.
Tibetan Opera has also gained recognition beyond China. During cultural exchange weeks, Tibetan Opera troupes have toured countries such as Australia, Denmark, New Zealand, Canada, Belgium and Thailand.
Excerpts from Tibetan Opera were also staged during the 2022 Winter Olympics in Beijing.
Elder teachers like Pasang and Phurjung have toured the United States, Canada and Austria, staging shows with English subtitles.
Their efforts have inspired students like Tenzin Donden to study English, hoping to one day introduce Tibetan Opera to audiences abroad.
From village courtyards to international stages, Tibetan Opera continues to evolve. Children rehearse lines once spoken by their grandparents. Elders pass down techniques with patience.
Communities invite visitors to share their performances. And foreign audiences listen, sometimes without understanding the words but feeling the rhythm and meaning behind them.
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