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Paro Festival - Ging and Tsholing Dance, Bhutan

The Dance of the Ging and Tsholing is one of Bhutan’s most spiritually electrifying performances, steeped in tantric symbolism and theatrical spectacle.

Originating from the teachings of Guru Rimpoche (Padmasambhava), this ritual was created to reveal his celestial paradise, Zangtho Pelri, during the consecration of Samye—the first monastery in Tibet. The characters in the dance are spiritually charged: the Ging, powerful messengers of wrathful deities, and the Tsholing, fierce guardians of religion. Their costumes are vivid and intimidating—Ging dancers wear tiger-striped garments, leopard-patterned trousers, and terrifying masks crowned with tiny flags, while Tsholing sport vibrant robes and demonic visages designed to drive fear into evil forces.

The performance unfolds like a mystical purge. The Tsholing begin the ritual outside the main circle, representing protection and exorcism. As the dance intensifies, the Ging join in with thunderous drumming, symbolically purifying the space and the bodies of onlookers by gently striking them with curved drumsticks. Whistles from the crowd add to the cacophony meant to dispel negativity. This dynamic interplay culminates in a powerful confrontation with an effigy—representing evil—housed in a black box. The destruction of this effigy marks the climax of the purification, after which the Tsholing are theatrically chased away, signifying a victory over dark forces.

The version performed on the fifth day of the Paro Tshechu festival is particularly mesmerizing. It’s not only a reenactment of spiritual warfare, but also a community exorcism. Young dancers take on the role of Ging with frenetic, energetic movements, circling the more composed Tsholing—usually older men—with playful intensity. The collision of youthful vigor and solemn ritual produces an exhilarating rhythm, keeping the crowd enthralled. It’s a dance of polarities: chaos and control, wrath and serenity, human and divine.

When the Tsholing exit and the Ging take center stage for their final blessing dance, there’s a shift from tumult to triumph. As the Ging alone beat their drums in unison, it’s as if the very air is cleansed. Spectators, touched by the drumsticks, leave not only entertained but spiritually renewed. For many Bhutanese, witnessing this sacred cham is as close to touching the divine as one might hope for—an embodiment of Guru Rimpoche’s compassionate power manifest in a ritual as wild as it is holy.

Ging Mask Dance
The four types of Ging—Dri-Ging, Nga-Ging, Sa-Ging, and Nam-Ging—are sacred emanations within Bhutanese cham dance traditions, each embodying a distinct spiritual function and energy.

  • These characters are especially prominent in the Peling Gingsum, a trilogy of dances revealed by the 15th-century terton (treasure revealer) Pema Lingpa. The Ging are not merely performers but manifestations of tantric deities, each representing a facet of Guru Rimpoche’s enlightened activity. Their dances are not entertainment but ritual enactments of purification, protection, and spiritual awakening.
  • Dri-Ging, or Sword Ging, is the most martial of the four. Wielding a symbolic sword, this character represents the cutting away of ignorance and the destruction of demonic forces. His movements are sharp and deliberate, embodying wrathful compassion.
  • Nga-Ging, the Drum Ging, carries a small hand drum and curved stick, using rhythm to summon divine energies and harmonize the space. His dance is both playful and fierce, often engaging the audience directly in a symbolic cleansing. These two types are central to the fifth day of the Paro Tshechu, where the Ging dancers surround and confront the Tsholing in a dramatic contest of spiritual forces.
  • Sa-Ging, though less commonly seen, is deeply rooted in the earth element. His presence in the dance cycle is grounding, invoking stability and the protective energies of the land. He is often associated with the extended lineage of Peling dances and appears in more localized or region-specific cham performances.
  • Nam-Ging, on the other hand, channels celestial energy. His movements are expansive and transcendent, representing the sky and the vastness of enlightened awareness. Nam-Ging’s role is to elevate the ritual, connecting the earthly proceedings to the divine realms.
  • On the fifth day of the Paro festival, the Ging dancers—primarily Nga-Ging and Dri-Ging—take center stage in a turbulent and thrilling performance. Younger dancers embody these roles with vigor, surrounding the Tsholing in a symbolic confrontation that culminates in the purification of the space and the crowd. The Ging bless the audience by gently striking them with drumsticks, a gesture believed to expel impurities and confer spiritual protection. This climactic dance is not only a spectacle but a sacred rite, where the four types of Ging converge to enact Guru Rimpoche’s vision of cosmic harmony and liberation.

Ging celebrating victory over the Tsholing
The costumes and masks worn by the Ging dancers are not merely theatrical; they are sacred embodiments of spiritual archetypes.

  • The orange skirts that hang like skin evoke the shedding of worldly attachments, symbolizing transformation and rebirth. Leopard-patterned trousers and tiger-striped garments channel the raw power and fearlessness of these animals, which are revered in Himalayan tantric traditions as protectors of sacred spaces. The dorji gong shoulder cover, associated with the vajra (dorje), signifies indestructibility and spiritual clarity, reinforcing the Ging’s role as divine messengers of wrathful compassion.
  • The masks are perhaps the most striking element. Painted in black and orange, with snarling expressions and protruding fangs, they represent terrifying deities who subdue evil through their wrathful energy. The tiny flag affixed to the crown of each mask is a spiritual insignia—an emblem of victory over ignorance and malevolent forces. These masks are not meant to frighten the faithful but to remind them of the fierce compassion that protects the Dharma. In Bhutanese belief, wrathful deities are not malevolent; they are enlightened beings who use fearsome appearances to destroy delusion and ego.
  • On the fifth day of the Paro festival, the Ging dancers—often younger men—don these costumes to enact a sacred drama of purification. Their rhythmic drumming and vigorous movements are not random; they are choreographed invocations of divine energy. As they circle the Tsholing dancers and eventually drive them away, the Ging assert the triumph of enlightened forces over spiritual impurities. The crowd, dressed in ceremonial attire, watches with reverence, knowing that the visual spectacle is also a metaphysical cleansing.
  • Spiritually, the Ging costumes and masks serve as portals between the human and divine realms. They allow the dancers to temporarily embody celestial beings—heroes, deities, and khandromas—who descend to bless the earth. For the audience, witnessing this dance is more than cultural participation; it’s a moment of spiritual communion. The vivid colors, fierce expressions, and ritual gestures combine to create a living mandala, where every thread and beat of the drum carries the pulse of Bhutan’s sacred heritage.

Panorama of the stage while the Ging perform

Ging dancers striking people on the head with drumsticks
The act of Ging dancers striking people on the head with drumsticks carries profound symbolic and spiritual meaning rooted in Bhutanese tantric Buddhist tradition.

  • Far from being aggressive, this gesture is a ritual blessing meant to purify the body, mind, and spirit. The drumsticks themselves are sacred instruments, believed to channel the wrathful compassion of enlightened beings. When the Ging beat the crowd, they are not inflicting harm but symbolically driving out negative energies, karmic defilements, and spiritual obstacles that hinder one’s path to liberation.
  • This ritual follows the dramatic defeat of the Tsholing, a masked figure representing obstructive spirits or inner demons. The Ging, particularly the Nga-Ging and Dri-Ging, embody enlightened forces that subdue these malevolent energies through sacred dance. Their victory is not just theatrical—it’s a cosmic triumph reenacted to cleanse the environment and the people within it. The beating with drumsticks is the final act of this spiritual drama, transferring the energy of purification directly to the audience. It’s believed that even a single tap on the head can dispel accumulated impurities and confer blessings for health, clarity, and spiritual progress.
  • On the fifth day of the Paro festival, this ritual reaches its climax. The courtyard of the Paro Dzong becomes a sacred arena where the Ging dancers, often young and vigorous, move through the crowd in rhythmic patterns. Their drumbeats echo the tantric invocation of deities, and each strike is timed with intention. The audience, dressed in their finest traditional attire, bows their heads in reverence, welcoming the touch as a moment of grace. This communal act of purification transforms the festival into a living mandala—where dance, music, and ritual converge to elevate collective consciousness.
  • Spiritually, the Ging’s blessing ritual reflects Bhutan’s unique fusion of Vajrayana Buddhism and indigenous beliefs. It’s a tactile reminder that liberation is not only a lofty ideal but something that can be invoked and felt. The physicality of the drumstick blessing bridges the gap between the sacred and the mundane, allowing every participant—whether devout or curious—to receive a direct imprint of Guru Rinpoche’s enlightened activity. In this way, the Paro Tshechu becomes more than a festival; it becomes a portal through which divine energy flows into everyday life.

Atsaras’ fundraising
During the Paro Tshechu, the Atsaras—Bhutan’s sacred clowns—play a surprisingly vital role beyond their comedic antics. On the final day of the festival, they are permitted to engage in public fundraising, a tradition that blends humor with spiritual purpose.

  • Dressed in vibrant red masks and wielding phallic symbols meant to ward off evil spirits, Atsaras weave through the crowd, teasing and entertaining while subtly soliciting donations. Their playful demeanor disarms spectators, making the act of giving feel joyful rather than obligatory.
  • These contributions are far more than pocket change. The funds collected by Atsaras help sustain the monasteries that host and perform the elaborate rituals of the Tshechu. Monastic institutions in Bhutan rely heavily on community support to maintain their sacred spaces, feed their monks, and preserve centuries-old traditions. The Paro festival itself is a massive undertaking, involving intricate costumes, sacred dances, and days of spiritual preparation. Without grassroots fundraising, including the Atsaras’ efforts, such events would be difficult to sustain year after year.
  • The Atsaras’ fundraising also reinforces the communal spirit of the Tshechu. By inviting the public to participate financially, they create a shared sense of ownership and responsibility for Bhutan’s spiritual heritage. It’s not just the monks or the government who uphold these traditions—it’s everyone. The money collected goes directly into the upkeep of the Dzong, the training of young monks, and the preservation of sacred artifacts and dance rituals that define Bhutanese identity.
  • In this way, the Atsaras serve as both jesters and stewards of culture. Their antics may provoke laughter, but their mission is deeply serious. Through humor, they bridge the gap between the sacred and the secular, reminding festival-goers that supporting the Dharma can be as lighthearted as it is profound. Their fundraising is a living example of Bhutan’s unique blend of spirituality, community, and joy.

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Location

Location: CCGF+Q54, Paro, Bhutan