Reb gong County

རེབ་གོང
同仁
tongren

Offerings

At the beginning of the ritual, each household brings offerings to the village courtyard where the ritual starts and proceeds from. Tsampa (roasted barley flour), fruits (grapes and apples), breads (all homemade), liquor (barley or rice) and cookies are offered. There are flowers among the offerings as decorations.

Photographer: 
Lhundrom

Making Offerings

When the offering has proceeded to its half-way point, the ritual participants come to the altar with Glung rta (wind horses) and wine to make offerings. After they have made their offerings, they go back to their line and continue circumambulating the courtyard.

Photographer: 
Lhundrom

Women's Dance

While the Lha ba (trance medium) speaks to the male participants, the young village women circumambulate in a slow, systematic step wearing heavy decorations and Tibetan robes.

Photographer: 
Lhundrom

Foreign Visitors

I was surprised to see so many foreigners during the Klu rol ritual. I was told that some of them are temporary travelers, and that some had lived there for years. During the ritual process, photographers wandered around everywhere without a hint of concern about possibly inconveniencing the participants or villagers. Their cameras kept clicking and no one asked permission.

Photographer: 
Lhundrom

Foreign Visitors

I was surprised to see so many foreigners during the ritual. I was told that some of them are temporary travelers, and that some had lived there for years. During the ritual process, photographers wandered around everywhere without a hint of worry about possibly inconveniencing the participants or villagers. Their cameras kept clicking and no one asked permission.

Photographer: 
Lhundrom

Drums

Two old men dance with their drums. 

Photographer: 
Lhundrom

Drum

An old man dances with his drum in the Klu rol ritual. 

Photographer: 
Lhundrom

Piercing

All new participants in the Klu rol ritual have to have their cheeks pierced. 

Photographer: 
Lhundrom

Piercing

All new participants in the Klu rol ritual have to have their cheeks pierced.

Photographer: 
Lhundrom

Foreign Visitors

I was surprised to see so many foreigners during the ritual.

Photographer: 
Lhundrom

Piercing

All new male participants in the Klu rol ritual have to have their cheeks pierced.

Photographer: 
Lhundrom

Foreign Visitors

I was surprised to see so many foreigners during the ritual. I was told that some of them are temporary travelers, and that some had lived there for years. During the ritual process, photographers wandered around everywhere without a hint of worry about possibly inconveniencing the participants or villagers. Their cameras kept clicking and no one asked permission.

Photographer: 
Lhundrom

Two Pierced Boys

The two boys in these photos are new participants in the ritual. They have to have their cheeks despite their young age. It looks painful but the participants display little sign of discomfort.

Photographer: 
Lhundrom

Making an Offering

When the offering has proceeded to its half-way point, the ritual participants come to the altar with glung rta (wind horses) and liquor to make offerings. After they have made their offerings, they go back to their line and continue circumambulating the courtyard.

Photographer: 
Lhundrom

Women Dancing in a Line

While the Lha ba speaks to the male participants, the young village women circumambulate in a slow, systematic step wearing heavy decorations and Tibetan robes.

Photographer: 
Lhundrom

Possessed Lha ba

After the offering is completed, the participants come close to the Lha ba (trance medium), who sits in front of an image which is covered by offered Kha btags (strips of white cloth). He speaks to the participants in a poetic way. I was told that the Lha ba in these images has never been to school and is unable to read or write. There are terrifying stories about the Lha ba. When he is possessed by the local mountain god, he recites what has happened in the previous year and the sins that villagers have committed.

Photographer: 
Lhundrom

Possessed Lha ba

After the offering is completed, the participants come close to the Lha ba (trance medium), who sits in front of an image which is covered by offered Kha btags (strips of white cloth). He speaks to the participants in a poetic way. I was told that the Lha ba in these images has never been to school and is unable to read or write. There are terrifying stories about the Lha ba. When he is possessed by the local mountain god, he recites what has happened in the previous year and the sins that villagers have committed. Often he is able to name specific people and pinpoints what their sin is.

Photographer: 
Lhundrom

Women's Dance

While the Lha ba speaks to the male participants, the young village women circumambulate in a slow, systematic step wearing heavy decorations and Tibetan robes.

Photographer: 
Lhundrom

Women's Dance (back)

While the Lha ba speaks to the male participants, the young village women circumambulate in a slow, systematic step wearing heavy decorations and Tibetan robes.

Photographer: 
Lhundrom

Offering in Process

The Lha ba (trance medium) makes his offerings just after ritual participants have finished their offerings. He was speaking during the offering process but I didn't hear what was said.

Photographer: 
Lhundrom

Foreign Visitors

I was surprised to see so many foreigners during the ritual. I was told that some of them are temporary travelers, and that some had lived there for years. During the ritual process, photographers wander around everywhere without a hint of concern about possibly inconveniencing the participants or villagers. Their cameras kept clicking and no one asked permission.

Photographer: 
Lhundrom

Foreign Visitor

I was surprised to see so many foreigners during the ritual. I was told that some of them are temporary travelers, and that some had lived there for years. During the ritual process, photographers wander around everywhere without a hint of concern about possibly inconveniencing the participants or villagers. Their cameras kept clicking and no one asked permission.

Photographer: 
Lhundrom

Food Preparation

Five households in the village invite all the villagers to share a meal which is prepared particularly for this ritual. The feast is served before the ritual begins. Because between fifty to seventy people come to eat, all the village women come to help prepare, bringing bowls and cooking tools with them. Big pots of soup with noodles and meat are served.

Photographer: 
Lhundrom

Dressing

After the meal the village men go back to their homes to get ready for the ritual. All ritual participants are required to wear a Tibetan robe and Tibetan long-sleeved shirts. These clothes were traditionally everyday wear, but people don’t wear them very often nowadays. The socks that they wear for the ritual are special in that they are homemade and are very different from the ones people wear in daily life. 

Photographer: 
Lhundrom

Offerings

At the beginning of the Klu rol ritual each household brings offerings to the village courtyard where the ritual starts and proceeds from. Tsampa (roasted barley flour), fruits (grapes and apples), breads (all homemade), liquor (barley or rice) and cookies are offered. Flowers are placed among the offerings as decoration.

Photographer: 
Lhundrom

Circumambulation

The ritual begins with men circumambulating the courtyard. They walk in a systematical gait as a man beats a drum. This constant beat provides the rhythm to keep their steps together. While the men walk, the Lhaba (trance medium) prepares. The entire village attends this part of the ritual. Women with their children sit nearby and watch.

Photographer: 
Lhundrom

Circumambulation

The ritual begins with men circumambulating the courtyard.

Photographer: 
Lhundrom

Foreign Visitors

During the ritual process, photographers wander around everywhere without a hint of concern about possibly inconveniencing the participants or villagers. Their cameras kept clicking and no one asked permission.

Photographer: 
Lhundrom

Foreign Visitors

I was surprised to see so many foreigners during the ritual. I was told that some of them are temporary travelers, and that some had lived there for years. During the ritual process, photographers wander around everywhere without a hint of concern about possibly inconveniencing the participants or villagers. Their cameras kept clicking and no one asked permission.

Photographer: 
Lhundrom

Thar (2008) on Reb gong County

Thar has a large amount of information on Reb gong generally (rather than in reference to a specific Bonpo sites) in his article “Bonpo Tantrics in Kokonor Area.” In particular, he gives a detailed breakdown of the general kinds of rituals performed annually by the Bonpo gsas khang in the Reb gong (Tongren) County area, including the names of different rituals, their general length, number of participants, date, a brief description and general importance (543-544 1).

Costello on Cultural Production in Reb gong

In this chapter Costello focuses on the economics behind recent changes in Tibetan-language education and cultural products (such as newspapers, books, operas, etc.) in the Reb gong area. The majority of her information comes from her fieldwork in Reb gong, including both interviews and surveys. She only cites one source, the Qinghai Tongji Nianjian from 1998 1.

Stevenson on Art in Reb gong

In this chapter Stevenson sketches a history of art in Reb gong since it first gained national attention in 1978. Major themes in the article are the Chinese interest in China’s ethnic minorities, and the relationship between Tibetan artists and federal policies on art. He mentions that while “Regong Art” is extremely popular among Chinese collectors, it is difficult to define, including at the very least thang ka (including painted, embroidered and appliqué varieties), statues and ornamental panels (199 1).