Finnish what you started - Ravintolapaiva (Restaurant Day)

For our first fundraising post of the Tibetan New Year we turn to Elina, Alex and Marika's Finnish Food Extravaganza - helping establish the tradition of food-based fundraising that Iza Redon started with her Bristolian fine dining last year.

Over to Alex for the meat of the tale:

It’s not every day that someone comes up with a brilliant fundraising idea, one that’s both fun and lucrative, and yet with Ravintolapäivä just around the corner the event struck us as the perfect opportunity. It was also a great excuse to follow our appreciation and do what we love to do – cook! Here in Finland, four times a year, Ravintolapäivä (Restaurant Day) allows anyone to make, bake or boil a selection of cuisine and then sell it to the public.

Our idea was to use the garden as our venue and to create a menu that would attract as many different palates as possible. To that end we chose two traditional Finnish soups – salmon, and mushroom – and then a more exotic lentil soup, as starters. The first main course is a rising star of Helsinki dining – pulled pork – served with coleslaw and tomato in a homemade bread bun; and secondly, a roasted red pepper, garlic mushroom, and yoghurt marinated chicken skewer served with tahini sauce. For dessert we went for a family favourite – ice-cream – all traditionally homemade. We served three flavours, vanilla, caramel kitkat, along with saffron and coconut.

To promote the event we put our listing on the official Ravintolapäivä website and then set up a Facebook page. One member of our team (who has just graduated as a chef!) previously worked in marketing and she designed a logo, and some flyers. The grass was freshly mown, the fence freshly painted, we borrowed tables and chairs and after that, we simply cooked and cooked and cooked. Ten litres of ice-cream; 40 litres of soup; two necks of pork, and 40 chicken skewers, all sat waiting for the big day, and we, with our fingers tightly crossed, wondering if anyone would show up.

[the yoghurt marinated chicken skewer]

At one point, on the morning of the event, we stood looking at the mountains of food and wondered ‘why on earth did we make this much food? Who exactly is going to come and eat it?’ Actually, it was a win win situation; even if no one showed up we would eat like kings for days to come, but, as it turned out, the clock struck eleven and at five past we had our first customers, then the next and the next, right up until five o’clock that afternoon.

We sold out of nearly everything. One of our team drove four times to restock, and another gamely helped with the washing-up for hours on end. And so it went. Our customers enjoyed the food, we enjoyed serving them, no one had to wait and the weather was perfectly warm. The garden was transformed into a heartfelt space of appreciation for the senses, and we couldn’t have been happier. All in all, a thundering success, we raised 700€ before costs!

[The team]

Iza 'nother roaring success

Some of you may have seen the tabloid headlines back in May ‘Iza no Mirekal – the finest food in Bristol served up with a spicy dash of stand-up comedy – and all for charity’.  For those who didn’t, herewith. . .the news. . .

Firstly our apologies to those fine folk who volunteered and supported the May Meal for the long delay in posting this piece.  Those who know us well will know that we’ve been a bit tied up in some of the finer details of the expansion of our family – but now three have become four in our household – back to blogging.

All who reported back have told us that the May Meal was a resounding success, both as an occasion, and in terms of the cuisine.  The amazing Iza served up many excellent dishes, and Shé-zér – herself something of a pudding aficionado – said the Rhubarb and Elderflower tart was absolutely to die for. You should check out Iza’s website.  Her latest tweet on La Cuizine made us think of what Chögyam Trungpa Rinpoche wrote about money-as-energy in his book Work, Sex & Money and reminded us to use our energy with awareness.

14 paying diners (and non-attending donors – thank you!) brought in nearly £400 for the appeal before food costs – with all chefs, kitchen staff, helpers and comedians providing their services free of charge.  A tip from Iza -  apparently getting covered in cake is far preferable to getting covered in mud when it comes to raising money for a good cause (and Mirek remains in fine fettle too, for all of you who may be concerned he might have got his hands dirty).

Gary Hooley, our comedian for the evening, had no advance warning that the audience would largely be comprised of people for whom English was their second language (Sorry Gaz – I’ll give you a heads up next time!).  Nonetheless and the contingent from France, Finland, Poland, (along with those from Wales, America, Yorkshire, South Africa and Australia) have all expressed appreciation for his bold bravado in getting belly laughs from a international contingent of (largely) Buddhist diners.  None of those who attended will ever quite look at a pillow in the same way again.

The planned raffle had to be postponed –because we didn’t quite get everything in place in time - but we plan now to hold several more fund raisers over coming months.

This will include the raffle, a Natural Dignity Ball (complete with some new 17^th century Jane Austen dances) and, by popular demand, we will have another charity meal at some point next year.

Thanks once more to all involved.  It’s great to be able to raise money for a great cause and have fun at the same time.

A reminder of what it's all about - Kunzang Dorje Rinpoche

I found the following via Facebook, and felt supporters of the appeal would enjoy it.  To my knowledge it was first posted here, but regardless of its first posting, we present it here so more people might see it.

Kyabjé Kunzang Dorje Rinpoche knew the gö kar chang lo'i dé, its history, lineages and practices .  He was a master og the gö kar chang lo'i dé.  He asked us as Nyingma ngakpas to preserve it, through practicing the Dzogchen practices of the Aro gTér Tradition, and through the establishment of Drala Jong.

Read and enjoy!

Namgyal

- - -

An Historic Description of Awareness Holders of the Great Secret Mantra who are Resplendent in White Clothes and Long Hair

a brief oral commentary by Kyabje Kunzang Dorje Rinpoche 

Ever since the time of the meeting of the three masters, Khenpo Shatarakshita, Lopon Padmasambhava and the Dharma King, Trison Detsen in 8th century Tibet, there were two divisions of sangha, known as the sangha of monastics with shaven-heads and the saffron robes (rab byung ngur smig gi sde) and the sangha of ngakpas with white clothes and long, plaited hair (gos dkar lcang lo’I sde).

In the upper and lower regions of Kham, these ngakpas are known as ‘amnyes’ (a myes). In the district of Ngari, they are called ‘jopas’ (jo pa) and in provinces such as U and Tsang, they are called‘ngakchangs’ (sngags ‘chang). In Bhutan, Sikkhim and other bordering kingdoms, these practitioners are known as ‘serkhyimpas.’

The sovereignty of both sanghas was equal during the reign of the Dharma King Trisong Detsen (790-858). This is clearly indicated in historical accounts. Moreover, during the reign of King Ralpachen (813-836), the monarch weaved silk into two ends of his matted hair as a sublime object of offering and requested that both sanghas sit and walk back and forth upon it. This appears in all of the reliable sources of monarchy annals.In these historical accounts, there were four different jopa practitioners who worked to reverse adverse conditions for the Dharma kings of Tod Guge and Gungthang. Similarly, in lower Nangchen and Dege, it is known that there were four different great lamas at the center of the region, four ministers in the middle of the region and four amnyes in the low part of the valley, working for the Dharma Kings.

These ngakpas performed the three esoteric ‘do’ rituals in places where earth and sky form a triangular shape like a ham khung. When there are many indications that obstructing forces such as gods and demons are hindering the practice of those in a particular place, then yogis with sharpness, swiftness and the ability to enact wrathful activity are extremely beneficial.

In Central Tibet, during the reign of Drogon Chogyel Phakpa (1235-1280), it is said that there were four great ngakpas in the four directions of Drogon Tsang. In the time of the Great 5th Dalai Lama (1617-1682), there were also four ngakchangs who controlled the four directions of serkhang. These ngakpas performed healing and obstacles reversing ceremonies, rituals that were performed by ngakpas only.

Furthermore, it is ngakpas who would preside over the activity rituals related to the seven types of transgressors (nyams pa bdun) including beings who contradict the Buddha’s teachings, beings who have broken their samaya commitments, enemies of the Three Jewels, Personal enemies of the teacher, the ten enemies to be destroyed and antagonistic protector beings. Through the activities of destruction, the rituals of suppression, burning and throwing, the violators’ form and aggregates are completely annihilated and reduced to particles of dust, so that not even so much as their name remains. Then, their consciousnesses are liberated into the dharmadhatu.

(The Activity of Suppression:) The offending enemies and hindrances are first commanded and invoked but the power of the Three Truths. Once summoned, they are bound through mudra and then forced nine levels underground, unable to re-emerge.

(The Activity of Burning:) In the same way, the hindrance being is summoned through the power of the truth and bound by mudra. Then, they are destroyed through the method of Me Lha.

(The Activity of Throwing:) Alternatively, after they have been summoned and bound, their forms are bound to the torma effigy, which is then thrown.

The method used to destroy dreaded foes of the Buddhist doctrine, Dharma people and especially, beings that threaten the Lama, is great compassion. This is accomplished by joining skillful activity with the three aspects of clear visualization. Through these wrathful activities, the continuum of unwholesome karma is cut through and the offending being is places in a state of permanent bliss. Ngakpas are known for these three methods of suppressing, burning and throwing: these are their primary daily activities.

The Magical Weapon Activities

The magical weapon activities of reversal can be classified into divisions of nine types of reversal, seven reversals, one reversal and so forth. The nine magical weapons of reversal include the mantra weapon (thunn zor), the stone weapon (rdo zor), the blood weapon (khrak zor), phung zor, the thorn weapon (tsher zor), the white mustard seed weapon (yung zor), the arrow weapon (mda zor), the torma weapon (gtor zor) and the poison weapon (gug zor).

There is one magical weapon that is sufficient for all purposes – the horn of wrathful revelry (kro bo rol ba’I rwa zor). This horn should be the right horn of a drong, or the right horn of a yak from the southern Tibetan jungle, ‘Kyilgyi Sin.’ If one cannot obtain such a shorn, one may use the right horn of an ordinary yak, the right horn of a dzo, or the right horn of an ox. According to the teachings of the Inner Tantras, one fills the horn with poisons, blood and a variety of other sorcery substances and then the substances are thrown.

There are two types of blood: poisonous blood and mixed blood. Poisonous blood is a mixture of three black poisons: tsenduk nakpo, tharnu nakpa and bongwa chen nakpo. it is best if one can obtain all three. If all three cannot be acquired, it is necessary to have at least one of them. These poisons grow in rocky ravines, gorges and other places that are not reached by the sun’s rays.

Mixed blood includes the heart-blood of a warrior killed in hand-to-hand combat. If this cannot be obtained, one must acquire the heart blood of a person who has been killed by one of three things – an arrow, knife or spear. This combined with the mixture of three poisons is called mixed blood. This is needed for effigy rituals and the magical weapon activities of the horn.

In any case, it is absolutely necessary that those who perform these activities manifest signs of accomplishment of the approach, accomplishment and activity stages of the Three Roots sadhana. One must actually have the power to first summon the ten types of obstructing beings, liberate them and finally, lead them to pure realms. One must be a Tantric master.

There are two types of ngakpas – those of family lineage (rigs rgyud) and those of Dharma lineage(chos rgyud). Ngakpa family lineages are passed from father ngakpa to their sons from generation to generation. At present, these are family lineage holders such as the great lamas of the Nyingma tradition, Minling Trichen Rinpoche and Sakya Trinzin Rinpoche, the throne holder of the Dharma Potrang lineage.

There are Dharma lineage nagakpas in both the Nyingma and Sarma traditions. Since one may enter the Tantric mandala by receiving empowerment, scriptural authorization and practical instructions from a qualified Lama, it is not necessary to be born into a ngakpa family lineage. Once one has properly received these transmissions, one must authentically enter into the sadhana practices of approach, accomplishment and activity.

Ngakpas such as these allow their hair too remain long and uncut. They dress in simple, white clothes. Their minds reside in the unfabricated, natural state. These are the three aspects of the ngakpa’s non-contrivance (ma bcos rnam gsum gyi sngags pa).

Further, in colloquial language, there is a custom of referring to ngakpas as ‘white,’ ‘black’ and ‘multi-colored.’ Those who rely on alms and essence extraction as food, mystic heat and a single piece of cotton for clothing, and fully integrate their lives with sadhana practice are called ‘white ngakpas.’ Further, those who engage in sadhana practice in solitary retreat for only three months out of the year and perform rituals for lay people are called ‘multi-colored ngakpas.’ Similarly, ngakpas holding the family or Dharma lineages that spend less than seven days in retreat but perform village rites, are known as ‘black village ngakpas.’ These are well known designations in colloquial language.

These days in Tibet, there are only three ngakpa gomdes that are very well known. In the region of Amdo, there are the Rekong (reb kong) ngakpas who generally wear long, matted hair, a multi-colored shawl worm across the shoulder and red clothing. The Vajra Masters of this gompa are similarly attired, although they usually wear a white skirt.

Similarly, at Chakri Phurdrak (chags ri’I phur brag) gomde, a place where there is a spontaneously appearing letter ‘A’ on a rock, the renowned ngakpas who serve the government wear clothing similar to the general ngakpa’s attire described above.

On the border of U and Tsang, in Shang Zabphulung (shangs zab phu lung), there is a community of ngakpas known as ‘Zabphu’ zab phu’ ngakpas. These yogis wear uncut hair, multi-colored shawls and white skirts. There, once one has completed the general practices, the accumulations and purifications of the preliminary practices and has received empowerment, scriptural authorization and practical instructions for Lama Gongdu, one is allowed to wear the white clothing. When I was 27 or 28 years old, I lived at this ngakpa gomde for several years.

Generally speaking, in Tibet, there are many ngakpa gomdes, but one cannot possibly explain in detail the descriptions, histories and so forth of each and every one of them.

Once, on a previous occasion in Dharmsala, India, the Tibetan government office of Dharma affairs organized a five-day event focusing on general and specific aspects of Tibetan religious and secular issues. The sangha of monks, nuns and ngakpas, came together in order to accumulate 100,000 tsog accumulations from Rigdzin Dungdrup of Rigdzin Godem’s Northern Ter.  On that occasion, initially, the ngakpas were belittled and called ‘phagen.’ Although a general order had been issued that the office of religious affairs would provide everyone with five rupees apiece each day, the ngakpas were not given any. The following day, myself and another ngakpa decided that we would go to the feast gathering attired in our white clothing and full nagkpa accouterments andthat if we were not shown proper respect and given our money accordingly, we would report the incident directly not only to the Dala’i Lama, but to the media. The next morning, we went as planned. When we arrived at the door of the assembly hall, some officials from the religious affairs department were seated upon stools in the doorway collecting donations. As soon as they saw the two of us, one of them said, “Look! Some handsome looking ngakpas have arrived!” Another one replied, “They are Tso Pema ngakpas.” Subsequently, we received our five rupees without any argument.

It is our own fault that ngakpas are belittled. It is fine for a ngakpa to be a father, but when ngakpas enter the assembly hall and are afraid to sit in the assembly row, then they shave their heads or wear monastic clothing as well as shave their heads, when they wear ordinary chupas and do not dress in the various accouterments of ngakpa attire, this is what happens.

In bordering countries such as Bhutan and Sikkim, there are ngakpas who don’t keep their hair long or wear white skirts. They dress in monk’s clothing, but have wives and are family lineage holders. They are called ‘serkyim’ ngakpas. In Tibet, there are a few gomdes like this, one of them is called ‘Wonpo’ (bdon po). Again, in this place, ngakpas have bald heads and wear informal chupas. They pretend to be ngakpas but they spend their lives doing business and performing rituals for ordinary pursuits, so they are neither ngakpas nor monks. The ordinary chupa is the dress of worldly, lay people.

On a previous occasion, the prince of Sikkim asked me to establish a three-year retreat center. When the appointed retreat master released the retreatants from the retreat boundaries, Chatral Rinpoche came and said that now that the retreat was complete, Sikkim was an extremely sacred practice place of Guru Rinpoche. From then on, if all of the retreatants left their hair uncut and wore ngakpa attire, it would be auspiciously beneficial to the country. He told the prince not to remain a bachelor and that he should find a kind-hearted consort. His instructions were very clear.

The ultimate Dharma lineage and the ngakpa family lineage, the beings who are the extraordinary holders of the practice lineage teachings, the great Vidyadharas of India as well as the sublime Tibetan masters of the kama and terma traditions who possess the three virtuous qualities of knowledge, love and power transcend the possibility of expression and cannot be written about here.

Furthermore, the seventh samaya vow precludes revealing secret teachings to sentient beings that are not completely mature. Thus, the secret mantra vehicle is called so because it is secret. The secret mantra teachings are without fault and must accordingly remain secret to beings that are unsuitable vessels or have wrong view. There are indeed many hidden yogis and yoginis who have mastered the practices of the Tantric classes of the superior Vajrayana and have accomplished the two-fold siddhis.

Colophon:

This brief account of the white-skirt, long-haired ngakpas was given at the request of a few Dharma friends who hold the name ngakpa, especially the ngakpa lineage holder, Tenzin Samphel and the French woman, Kechog Zangmo.
Based on the understanding, awareness and experience of Kunzang Dorje, a ngakpa of the Horja family lineage, this brief ngakpa history was written in his 70th year, the year of the earth-rabbit, at Tsogyel Gephel Jong, which is in the foothils of Yanglesho, a sacred place of Nepal.

Translated in March 2004 with the support of Lopon P. Ogyan Tanzin.

Translator’s Footnotes:

1 sngags pa General name for ordained Tantric practitioners who are neither monastic, nor lay.
2 ser khyim pa According to Lopon P Ogyan Tanzin, ‘serkhyimpas’ refers to practitioners who wear yellow (ser) monastic clothing, but live as householders (khyimpa).
3 The text lists King Trisong Detsen’s life span as 790-844, but I have chosen to go with the more commonly accepted 790-858.
4 The text lists the reign of Ralpachen as 866-896, but I have chosen to go with the more commonly accepted 813-836.
5 mdos Most important type of ransom ritual used to dispel harm and obstacles caused by the lha, nyen, lu and the eight classes of gods and spirits. (Drung, Deu and Bon, Narrations, Symbolic languages and the Bon tradition in ancient Tibet, p. 77, Namkhai Norbu, Dharmsala, 1995.) These are the rituals of suppression, burning and throwing which are described further into the text.
6 ham khung Also known as ‘brub khung.’ The ham khung is a black, triangular-shaped, iron receptacle used in sacrificial rites. Its function can also be accomplished by any conjunction of three points formed by earth, sky, valleys, rivers, etc., or established points on the ground. (Kyabje Kunzang Dorje Rinpoche, 2002).
7 zhung beu tshang ba’I dgra bo The ten enemies to be destroyed include: 1)beings who damage the doctrine 2)beings who slander the Three Jewels 3)beings who steal the sangha’s possessions 4) beings who slander the Mahayana 5)beings who harm the Lama 6)beings who cause upset to one’s vajra siblings and friends 7)beings who obstruct practice 8)beings who do not rely upon love and compassion 9)samaya violators 10)beings with perverted view of karma and its consequences.
8 bden pa gsum The Three Truths: 1) the absolute truth of transcendence or emptiness 2)the relative truth of temporary phenomena 3)the inseparability of the absolute and relative truths.
9 me lha A deity associated with the fire offering rituals, related to the Hindu fire god, Agni.
10 ling zor Effigy torma to which a harmful being is bound and then thrown as a means of destruction. (Lopon P. Ogyan Tanzin)
11 gsal ba gsum The three aspects of clear visualization related to generationstage meditation which include 1) the clear visualization of the deity’s appearance 2)maintaining the stable pride of the deity 3)recalling the pure, insubstantial qualities of the deity.
12 zor zlog Rituals in which substances or objects are empowered as magical weapons through mantra and visualization, and then used to avert enemies and obstructing forces.
13 thun zor ‘Thun’ refers to the use of mantra as a magical weapon. According to Lopon P. Ogyan Tanzin, it is not necessary to involve a particular sorcery object – the recitation alone is the weapon. According to Norbu (p.257) ‘thun’ refers to the substances themselves, which are first empowered through mantric recitation and then hurled from the wrathful horn in the zor zlog rituals.

Green Man Challenge

On Saturday June 30th - fifteen apprentices and friends of the Aro Tradition will be undertaking the Green Man Challenge as a sponsored walk to raise funds for the Drala Jong Appeal.

The Green Man Challenge follows the 45 mile course of the Community Forest Path around the city of Bristol.

We will be undertaking the challenge as a relay team with people undertaking legs of between 4 and 22 miles each depending on their age and ability. Two hardy souls - Naljorma Thrin-lé and Drowang Pawo have both committed to completing half the walk each - 22 miles, and our younger participants Tomas (age 5) and Raechel (age 9) have committed to walk 4 miles each.

If you would like to sponsor our team effort you can do so via Paypal or for other methods please get in touch. 

Just 5 pence per mile for Thrin-lé & Drowang's efforts would make all the difference.  Send your £2.20 donation to sncd.treasurer@gmail.com via www.paypal.co.uk and if you are a UK income tax payer include your name, house number and post code marking it 'Gift Aid' and we'll claim 55p tax relief on your donation.

 Now we're just hoping it won't rain. . .

Fundraising 101 - part 2 - Little and Often

Now okay, 101 part 2 is probably 103 (think about it) but I hope you'll forgive my mathematical meshuggenations after our little discussion about 101.

Let us proceed. 

Raising money is much like eating an elephant - a subject with which Tantrikas should be intimately familiar.  Having first established that you don't have to work as hard as you originally thought (based on the - don't do more than you have to principle) despite the joys of the tax break, you're still confronted with a mighty target.  When approaching the Drala Jong project I had not the slightest experience of raising funds (unless you count bob-a-job week - the first time round in the early 1980s).  At first I thought we had to raise the whole £500,000 in one hit. 

And I was wrong wrong wrong.  The most important thing about being wrong, is recognising that you're wrong.  In most circumstances everyone will see it pretty quickly, so you can always ask the opinion of others. . .

. . . anyway, I digress.  The best way to raise a large sum of money, is to start.  Why?  Well, because if you wait for a big donor to come along you'll be waiting a long time.  Like many things in life, it's better to pitch for little, and often.  As a Management Consultant colleague once advised me (stay awake, this bit will be over quickly) 'Waiting is not an activity. . .'

If you're not used to fund raising, you should start small - simply because if you set achievable goals you set yourself up in a pattern of succeeding.  Once you've got some success under your belt you can go for something grander.  And remember, nothing sucks seeds like a parrot. . .

So, here are some simple suggestions you might like to consider

1) Sell your old junk

- two donors have been selling unwanted CDs and DVDs on Amazon and e-bay, and raised £170 in 6 months
- in a variant on this, another volunteer has gather together other people's unwanted stuff, and sold it on e-bay on their behalf, raising £240

2) Sell your skills

- table top, garage and street-front sales of home grown plants and home made cakes have raised £500 in the last few months
- you could even donate the prize money from your successes in a local horticultural show, if you fancy it

3) Go without something that you won't really miss

- one supporter is putting 1/3rd of their restaurant tips towards the appeal
- one supporter is going without their daily Starbucks hit, and putting the money aside in a jar for the project

don't go too far unless you're pretty confident of the outcome

4) And there are always sponsored events (although again set yourself an achievable target)

I'd welcome hearing of other fundraising ideas that people have put to good effect, and we can flag them here for others to learn from - not just for this project, but for any charitable cause that folk wish to support.

If you've enjoyed this post, why not donateto the appeal, by sending a Paypal donation to

sncd.treasurer@gmail.com

The one thousand nine hundred dagger wielding ngakpas

This is a post that has been floating around for a few months, whilst I've been waiting for a good time to pop it up.  Now the title has got the better of me, and I can't keep it back any longer.  Enjoy!

Recently had a remarkable day at the ARHC/SOAS conference on 'Unity & Diversity: Monastic and Non-monastic Traditions in Amdo', where the conveners were kind enough to let myself and Lama 'ö-Dzin attend as observers.  The material from the conference will be published presently through an academic publishing house and before rolling on I should make it completely clear that although I have received academic training I make no pretence at presenting an academic assessment of the proceedings here.  I am simply so inspired to hear of the sheer number and range of Nyingma and Bon ngakpas and ngakmas in Amdo that I'm moved to write about it.  More specifically, there are some lessons about the form and function of the 'community of ngakpas' (or ngak mang) that touch on what we're doing with Aro Ling and with the Drala Jong project.

One of the conveners & speakers was Professor Geoffrey Samuel (above) who wrote Civilized Shamans.  This is a book which for me when I was a new young apprentice back in the 1990s closed the door on the vajra-Muppet's I'd encountered early doors in my practice career.  Back then there were westerners who suggested that there was no such thing as the go-kar chang-lo'i de and Ngak'chang Rinpoche had 'made up' the ideas that the ngakpa style of practice had ever been widespread.  Indeed some challenged the very existence of this style of practice, suggesting if it had ever existed at all it was 'reserved only for High Lamas'.  Now nearly 20 years have passed and so much more is known - such that today the conference was presented with 5 very different papers each of which illustrated different aspects of the ngakpa tradition.  In fact some of the early critics have even taken ngakpa vows in the intervening time (vajra-muppetry duly recanted - good show chaps - no hard feelings, we all make mistakes). 

Well, the conference certainly laid flowers at the gravestone of the idea that being a ngakpa was somehow a fiction, a thing of the past, or something distant and unobtainable to mere mortals.  In Repkong in fact there something in the order of 2,000 ngakpas practising today from the Nyingma and Bon traditions (perhaps 80% Nyingma), and in the wider Amdo region this figure increases to around 3,500.  In Repkong itself between 5% and 10% of the male population are ngakpas, and the number of ngakmas whilst much smaller is growing at a pace.  I say much smaller, but the conference recognised that in fact ngakmas are much harder to spot than ngakpas, with neither party overtly displaying the white skirt of the tradition and thus only being identifiable by their hair (which women wear long anyway) and their presence as major rituals (which tend to be male dominated affairs).

The reasons as to why there should be so many ngakpas in this area seem many and varied, and there was not a single core view as to how this came to be the case.  What is certain is that the vajrayana house holding style of practice had been present in the region for some centuries before monasticism arrived (which it did circa the 16th century).  A number of small assemblies of ngakpas are noted from 12th century onwards, including in the 12th century when Rig'dzin Dorje established the 100 tantrists of Zho'ong, and the 14th century where Drupchen Dorje Tsering (1325-1403) established the 30 'Ja' mo Tantrists in 'Ja' mo village.  The key spark for the huge spread and also survival of ngakpas in the area is attributed to Rig'dzin Palden Tashi (1688-1743) who was deeply troubled by the politically motivated massacres by Mongols that reached as deep into Tibet as Lhasa. 

Although trained at Drepung He ceased to be a Gelug monk instead taking ngakpa vows at Mindroling.  He organised the somewhat disparate Nyingma ngakpas of the region, enlarging structures, merging some traditions and encouraging new lineages where he could.  This organisational force was cemented in a 15 day ceremony where he started giving out wooden phurbas to ngakpa attendees.  By the end of the ceremony he had given out 1,900 - so the first major large scale establishment in the area was the '1,900 phurba wielding ngakpas' (phur-thog gos'dkar' lcang-lo-can) also called the 'Community of many yogis' (sngags-mang).  The name ngakmang survives to modernity, most recently embodied by the excellent ngakmang institute, which strives to support this style of practice in Repkong today.

In modernity there are several overlapping structures which seem to knit the Repkong ngakpas together in a variety of different ways, and some of these structures seem entirely applicable in terms of Drala Jong, Aro Ling, and the evolution of go-kar chang-lo practice in the west.

Many of the ngakpas practice as part of a family lineage, and fullfil a local social role in their village and immediate surroundings.  They often assemble and practice in a local village ngak khang.  Their external ritual practice here tends to be focused on the needs of local people, and their personal focus is often on a local yidam or protector and on their family lineage.  Larger gompas also exist, both with their own contingent of ngakpas and ngakmas and also as centres which draw practitioners from the surrounding areas to events specific to that gompa, or the lineage to which the gompa is affiliated.  There are 6 major gompas, 3 older ones on the 'shady' side of the valley which are associated with Mindroling, and 3 newer ones on the 'sunny' side of the valley associated with the Longchen Nyingthig tradition.  Major events also occur throughout the year, some of which are specific to a single gompa, and others which cycle through different major locations in the region.  There is a strong reflection here of the model which we hope to create in the Aro gTér, where Drala Jong will act as that central hub, with centres like Aro Ling providing local focus for practitioners in one particular geographical area.  All we need now is one thousand nine hundred phurbas. . .

If you've enjoyed this post, why not donate 1,900 pennies to the appeal, by sending a £19 / Euro19 / $19 Paypal donation to

sncd.treasurer@gmail.com

Calligraphies - the Scorpion Seal

With the work of Ngak'chang Rinpoche, the calligraphy is not simply a brush-and-ink drawing.  Each piece carries seals and signatures, in unique combinations.  The most easily recognisable perhaps is the seal of scorpion is found in Tibetan calligraphy on the works of both Trungpa Rinpoche (see here) and some of the work of Ngak'chang Rinpoche.  Robert Beer describes the 'black Indian scorpion [as] a potent symbol of destructive malice' but of course within Buddhist Vajrayana the scorpion (Tib. sdig-pa) symbol is a transformative one, and Ngak'chang Rinpoche writes:

'The seal stamped in black is the scorpion which is used as the symbol of the Tantrika. The scorpion is symbolic of the power of transformation as the scorpion is known as the most dangerous and destructive creature. Because every aspect of duality—no matter how viciously deranged—remains undivided from the nondual state, even the most horrific states of mind can be transformed.'

In fact, the Tantric community of ngakpas and ngakmas, naljorpas and naljormas (collectively called the go-kar-chang-lo'i-de), owe the continuity of their tradition to the power of the scorpion, as this famous tale reveals:

'When in the ninth century, King Langdarma and his hostile ministers set about to suppress the Indian Buddhist teachings and to close the Buddhist monasteries such as Samye, he summoned the Tantric master Nubchen Sangye Yeshe and his disciples into his presence, although all of them were not Buddhist monks but rather Tantrikas (sngags-pa). The arrogant king challenged Nubchen, inquiring, "And what power do you have?"  "Just observe the power I can manifest merely from the reciting of mantras!" Nubchen replied and raised his right hand in the threatening gesture of tarjini-mudra.

Instantly, in the sky above the Tantric sorcerer, the king saw nine giant scorpions appear, each the size of a wild yak. The king was terrified at this vision. So he promptly promised not to harm the white-robbed Buddhist Tantrikas and to refrain from disrobing and exiling them as he had done with the maroon-robbed Buddhist monks. Then Nubchen pointed again into the sky with a threatening gesture, and lightning flashed from heaven, shattering into pieces a nearby boulder.

Doubly terrified, the king vowed, "I will not in any way harm you or your white-robed followers!" and he ordered that his prisoners be released. because of the mighty magical powers of this Tantrika Nubchen, the anti-Buddhist king could not destroy the esoteric teachings of the Mahayoga Tantras nor their white-robbed practitioners, the Ngakpas (sngags-pa, one who uses mantras.) Subsequently, this Tantric Order of Nyingmapa Buddhists has flourished among the Tibetans until this day.'


(From The Golden Letters - John Myrddin Reynolds)


In fact Padmasambhava himself is described as receiving the transmission of phurba practice - a practice almost synonymous with the go-kar-chang-lo'i-de - via the medium of 'a gigantic scorpion with nine heads, eighteen pincers and twenty seven eyes' which unearthed the phurba gterma - the heads of the scorpion being symbolic of the nine vehicles of the Nyingma Buddhist tradition, and the scorpion's sting equated with the tip of the phurba itself.

Ngak'chang Rinpoche reserves the scorpion stamp for the most dramatic and dynamic calligraphies he creates.  There will be an opportunity to ask about this and the other seals used in the creation of calligraphies at the talk on Friday 25th November, at Aro Ling in Bristol.

Tibetan Calligraphy

As next Friday's charity calligraphy sale at Aro Ling approaches, our thoughts are turning to focus fully on this modern art form (and of course to the sale itself).  Written words are sacred in Tibet because they carry the knowledge of liberation.  The scripts Ngak'chang Rinpoche uses are u'med and u-chen, and originate in part from the ancient script Lha-bab-yig-ge - meaning 'script symbols from the sky expanse'.

Trungpa Rinpoche is credited with being the first Tibetan Lama to work with calligraphy in this spontaneous style.  Examples of his work are relatively hard to come by but some examples can be found on the internet. 

Trungpa Rinpoche worked with both Tibetan and English script, as you can see here:

The second is from the weblink above, and is from Trungpa Rinpoche's Elegance series - titled 'Elegance overcomes aggression'.  His works are in the stewardship of the Shambhala organisation, but alas he passed away in 1987. His direct line of work did not end however, and is continued through the Sakyong.

Tai Situ Rinpoche also known to work with calligraphy and can be seen in the above clip, but the pool of artists working in this way within Buddhist Vajrayana is limited at present, and the art form in this context is in its infancy.. 

I myself have never even attempted to create a calligraphy. However it is still possible even for an ignoramus like me to be  appreciate the variety of approaches that can be seen in this clip. Even in the brief video here one can see themes reflected in the work of Ngak'chang Rinpoche and his students. I am particularly fascinated by the different effects that can be created, the different brushes, and even something so simple as seeing the different ways of holding the brush.  Next Friday Ngak'chang Rinpoche will be talking about some of these different approaches, stylistics, and in particular his own approach.  There will be ample opportunity to ask about the how- and why- of brush type, choice of ink, brush loading, the choice of paper, as well as the meaning of the calligraphies themselves, the ink spots and the seals and signatures that each work bears.

I look forward to seeing you there!

Mad as a snake

Well, things are building up nicely to the next main fundraising event on Friday 25th November at Aro Ling.

The calligraphies have arrived for the exhibition, talk and sale in a fortnight's time.  There are 15 different calligraphies, each of which has been specially commissioned in support of the fund raising appeal, as well as a set of 5 calligraphies of the syllable Hung.  Several of the sangha were here at our place last night, and the desire-to-acquire inspired.  In fact early pledges to support this fund raiser mean that at least 4 calligraphies will sell within moments of the doors of Aro Ling opening on the 25th - all from admirer's of Ngak'chang Rinpoche's art, and the Drala Jong project as a whole.  This means the day has paid all its costs and is already £150 to the good even before the exhibition starts.  Over all we hope to raise £6,000 from this fund raiser - and in the process we aim to give pleasure to all who come to the free talk and display (recommended donation £5 - all proceeds to the appeal. . .).

On the day we'll also have copies of the yojohnnycowpunk CD on sale, which has already raised £80 at time of writing, and also several select Raechel's Risible Rabbits items, which has also raised about twice that amount - both since last weekend alone.  Lama Bar-ché Dorje, who is just starting to learn the art of calligraphy, has also donated some of his early small scale practice pieces (which read 'Gar-tak') on offer for a mere £20 each, so there will be an opportunity for everyone to fully satisfy their acquisitive inclinations on the day, regardless of the depths of their pockets.

All told, this means year to date in 2011 we've raised nearly £4,000 for the appeal, most of which has come since we tickled this Blog into life a few months ago.  Will we make five figures, by the end of the year?  We shall see.

Of course the kindness of donors and fund raisers, large and small, is impossible to repay - whether for the Drala Jong project, supporting the existing Aro Ling centre, or any of the other works of our charity Sang-ngak-chö-dzong.  Still, I wonder what HH Dud'jom Rinpoche (who directed the creation of the charity) or Kyabjé Kunzang Dorje Rinpoche (who directed us to establish a retreat centre) would have said if they had heard of Naljorma Rin'dzin 'Mad as a snake' Pamo's efforts, running the Bristol Green Man Marathon (check this link as it has footage of the inestimable Chris Bloor on it) ALL FORTY FIVE MILES OF IT.  Indeed as well as qualifying as a woodwose (and would a wose by any other name smell as sweet?) Rin'dzin win's this Blog's entirely unofficial mad-as-a-snake award for not only running the whole marathon (and raising over £1,000 for the Aro Ling centre as a result) but actually stopping near the end and running back a couple of miles before re-running the same leg of the trip.  She is the only person we know of to run 48.6 miles of a 45 mile run.  Actually, she likes to pretend that she dropped her phone on the route and went back for it, but we know truthfully that 45 miles just wasn't tough enough for that Pamo.

That feat (and those feet) is of course remarkable - but any and all fund raising is remarkable.  If, like Rig'dzin Palden Tashi, we could find just 1,900 remarkable dagger wielding fund raisers, and they raised just £222 each, we'd be able to establish Drala Jong.  Small is beautiful, and anyone, regardless of their knowledge, experience, and personal bank balance can make a difference.  From selling  unwanted books on Amazon, to donating art works and music for sale, to garage sales, to sponsored runs, sponsored sits, promise auctions, or just tapping up friends to give a contribution (how about 22 friends to give a tenner each) we can and we shall establish Drala Jong. 

All we need to do is think positive.  If you think that Drala Jong will be there, it will be there. 

Just avoid the negative waves, that's my advice. And I have a friend who tends to agree.. . .





So, on that note - how about working out how to raise £222.  Think you can do it?  I do.

All the best

Oddball

Drala Jong Radio presents yojohnnycowpunk

Forget J-Lo we've got that 'yojo' mojo here at Drala Jong Radio.  yojohnnycowpunk has been good enough to donate some CDs for sale by the Drala Jong appeal.

yojohnnycowpunk's page on Who's who reads: 'Ever since yojohnnycowpunk was a young boy playing air guitar in front of his bedroom mirror surrounded by the sounds, pictures and slabs of vinyl of his musical heroes, he dreamt of releasing a notable recording of his own songs. Something that he could hold in his hands and feel proud of. Although he couldn't at that point even play a real guitar, hero worship and adulation seemed just a step away. Fast forward 20 years through a deep and unremitting love-affair with the guitar that survived near-digit amputation and a long stint on the road with no money and no 6-stringed friend, the debut and self-titled yojohnnycowpunk album hits the streets to wild and unrestrained enthusiasm from a tiny pocket of family, friends and pets. 10 tracks of unique cowpunk tunes full of love mayhem and samsaric madness.'

The recommended donation is £9.99 - but I'm afraid the CDs are only ENTIRELY EXCELLENT IN ALL RESPECTS so we are willing to force ourselves to accept donations of up to £999.

Send Paypal donations to sncd.treasurer@gmail.com and mark them 'yojohnnycowpunk' and we'll be in touch to arrange mailing you a copy.

Am I partisan - well, yes I am.  Am I feeling particularly mercenary this morning -  well, yes I am indeed.  So, for those of you who trust me not one whit (and why wouldn't that be you) try this:



Or, if that's not enough for you, how about a bit of this instead, for a change of tempo (and yes, that's YOU he's singing about - so presumably that's you singing back to him.  Nice voice):

Ngak'chang Rinpoche's calligraphy

Ngak’chang Rinpoche (pictured above with Khandro Déchen his wife and two children Robert and Raechel) is a Lama of the Nyingma Tradition within Vajrayana Buddhism. Born in 1952 in Hannover Germany—of an English father and German mother—he is the great grand-nephew of Franz Schubert. He was raised in England—attended Farnham Art School—and later Bristol Art School, where he gained a first class honours degree in Illustration (Fine Art painting and print making).  Subsequent to receiving his BA degree in 1975 he spent the next eleven years travelling and studying in India and Nepal, where he studied thangka painting, and calligraphy – as part of the Lama’s training (study, practise, and retreat) he commenced with Kyabjé Düd’jom Rinpoche in 1971 during a sabbatical  year from Art School. 

Written words are sacred in Tibet, because the carry the knowledge of liberation. The scripts Rinpoche uses are called u-chen and u’mèd – and they originate in part from the ancient script: Lha-bab yig-gé, meaning: script-symbols from the sky-expanse. The calligraphic form of these ‘sky signatures’ are thus both ancient and contemporary. Their spontaneous style was first evolved by Chögyam Trungpa Rinpoche from the influence of his friendship with the Zen Master, Shunryu Suzuki Roshi. Variants of this style were later taken up by Ta’i Situ Rinpoche and other Lamas.

Spontaneous calligraphy is new to the Tibetan tradition – and as yet has no established form. Each Lama works individually. Rinpoche uses a variety of turnip-shaped Japanese brush which holds a considerable quantity of shellac based Indian Ink.  The line produced by these brushes can vary from a hair’s breadth to two inches in width, according to the pressure exerted – and Rinpoche often uses the full range of possible widths within a single calligraphy – the result being a startling dance of chaos and precision. Rinpoche simmers Indian ink over a gentle flame to reduce its water content – thereby increasing the density of the ink. This gives an unusual crispness and shine to the calligraphies – reminiscent of thermographic images, in which resin is employed to produce a raised surface in the printing process.

Rinpoche uses a ‘heavily loaded brush’ rather than the ‘dry brush’ of the Chinese and Japanese styles. Due to the speed at which the calligraphies are executed, erratic ink droplets explode onto the paper. This causes the ‘splatters’ by which Rinpoche’s calligraphies have become known. The splatters—due to that viscosity of the ink—settle in dramatic patterns on most of his calligraphies.

Rinpoche uses two types of paper - hand-made rag paper from Sikkim and Tibetan birch-bark paper.

The hand-made rag paper has various unusual qualities. Being inconsistently absorbent / non-absorbent it is unpredictable in use. The paper Rinpoche employs is pressed between thread-bare blankets and therefore not always available – as blankets are now more frequently replaced.   He sometimes has to wait a few years before new supplies of the ‘inferior quality paper’ becomes available – and then has to take whatever is available.  The process of pressing between thread bare blankets gives each sheet a unique texture - the roughness of the warp and weft break the edge of brush strokes allowing tremendous variation in character of each sky signature. Sometimes smooth spots occur where holes occur in the blankets and where these are found, Rinpoche employs them as part of the calligraphy. 

Tibetan birch-bark type is rougher, has visual characteristics, and is absorbent. A more sparsely loaded is therefore employed.  The paper from Sikkim results in more starkly dynamic appearance and the Tibetan paper results is more wistful æthereal appearance.

Ngak’chang Rinpoche is also skilled at a range of other art forms, including poetry, musical performance and creation (most especially the electric bass, electric and acoustic guitar, blues harp and blues vocals, along with being a lyricist), gar cham (vajrayana Buddhist dance) and traditional thangka painting, which he also teaches.

Sky signatures

We are delighted that Aro Ling Buddhist Centre (in Bristol, Great Britain) will be hosting a display of calligraphies by Ngak'chang Rinpoche on November 25th (start 7.30pm). The evening which will consist of a talk about 'sky signatures' and opportunity to purchase a calligraphy. All proceeds raised will go towards the Drala Jong Retreat Centre appeal.

All of the calligraphies on display have been created specifically for this event by Ngak’chang Rinpoche. Each is a unique piece, and no copies or prints have been taken of the works which are being displayed this evening.‘A sky signature is the ‘sky’, signing itself, within itself and out of itself.

"The ‘sky of one's Being’ can ‘sign itself’ in its own dimension – for this to come about however, the experience of Mind must be identified with the sky; an expanse without limit. The nature of Mind is like the sky. Ideas and images that arise within it, are like clouds. Clouds appear and disappear, but the nature of the sky is unchanged. When a calligraphy can arise as freely as the play of clouds, then the sky of one’s being has signed its signature."  - Ngakchang Rinpoche

In forthcoming posts on this blog we will look at further details of this beautiful art form.

Change is now overdue - (Interview - final part)

Q: Rinpoche - can you talk a little about students in the context of personal retreat? In the Drala Jong brochure we describe the aspiration to build a dratsang. I understand this translates as ‘tantric college’.

NCR: With a residential retreat centre we’d have a larger library. We would concentrate on developing that library, in order to support study as a part of the retreat experience. This would enable people to integrate study into personal retreat. We have the beginnings of a library at Aro Ling but there is so much more scope for development.

Q: I know that you received a ‘classical’ training with various Lamas of different traditions, in terms of study of madhyamaka philosophy and so on. I’m not asking about madhyamaka specifically, but do you have any concept of a more formalised, classical, even academically developed training programme for apprentices or teachers?

NCR: Well, one of the problems—and it will always be a problem—is that there has been no concerted effort with the publication of books in English to cover all fields of study. As a result, the study of Dharma means having to study and read whatever you can find. Back in the 1970s and 1980s one would simply read everything that was available—regardless of school or origin—because the overall corpus of material was so limited. In recent years however sufficient Nyingma material has become available – sufficient to last many years of study. However, there is still insufficient material concerning essential-vajrayana. This is why Chögyam Trungpa Rinpoche forms a part of the core curriculum in our tradition – as well as Namkha’i Norbu.

Q: Would there ever be a place for things like essay writing, and examination?

NCR: We used to ask people to write essays – but we no longer have the time to give such essays the attention they deserve. It would be good if the senior ordained could gradually take on that kind of rôle. We have so many commitments now that we don’t have time to directly oversee that kind of activity without a retreat centre. As a result, study is currently a random procedure. We would like to encourage people to study, practise, and write.

Q: Is authentic Vajrayana possible without a residential centre – for anyone? Is that residential aspect vital?

NCR: Well certainly it’s possible to experience and practise authentic Vajrayana without there being a residential centre – but there has to be a way to get a handle on Vajrayana. There has to be somewhere to learn Vajrayana. You need a way in. Commonly—having a centre—enables people to know where you are, where they can find Vajrayana. Aro Ling starts to provide this help – because it can be a doorway, an entry point for people. Then, if they find value in what they are experiencing, they will recognise the value in establishing Drala Jong as a residential retreat centre. The two should complement one another.

Q: Some of what you’ve said—with regard to Henry Cow and Captain Beefheart—reminds me of the story of Joshua Bell, the world famous violinist. He once busked outside a subway station dressed in ordinary street clothes. No one stopped to listen – because they didn’t know who he was and didn’t understand what they were hearing. Only a child stopped a listened for any length of time – because he didn’t have the preconceptions around what he was hearing. For the child it wasn’t just busking, it was amazing, remarkable music. That’s why the child stopped – but the adults all had other agendas. If they’d been in a concert hall however, they would have seen the same man—and heard the same music—and been entranced.

KD: Yes . . . That is why we need a centre. We need a centre so we can be understood in a context where we can present Vajrayana.

NCR: Then maybe—from time to time—we can hire a dingy bedsit in Splott and teach Dzogchen men-ngag-dé to the one person who shows up. You see . . . it’s important to understand that Khandro Déchen and I are not ‘that which is proclaimed by the residential centre’ – it’s Vajrayana and more particularly the essential-vajrayana of the Aro gTér that would be proclaimed. We’re neither here nor there. The essential-vajrayana of the Aro gTér is what people need to discover – whether through us or someone else. We just happen to be the current lineage holders. There’s nothing special about us – or if there is it only resides in what we have the honour to teach. So the residential centre is the vehicle by which the essential-vajrayana of the Aro gTér can become known to more people who could benefit from it. For us it is important that Vajrayana can be incorporated into western society – and that cannot happen ’til such time as Vajrayana can be understood in terms of its essence. We have no desire to ‘westernise’ Vajrayana – that will happen over the course of the next millennium. Our concern is to make Vajrayana practical. At the moment Vajrayana tends to be the esoteric interest of a minority, who tend not to live in the mainstream of society. Some say that Vajrayana can never be mainstream – but we see no absolute reason why that should be the case. We have written half a dozen books which illustrate the way in which Vajrayana could be at the heart of everyday life – we simply need to be able to make this information more widely accessible.

KD: We used to joke that we were the ‘Tibetan Tantric Periphery’ because we had no centre. That model made some sense when we were a small sangha – but now not having a centre is a substantial inhibiting factor. Collectively, it costs people considerable sums of money to gather together. So, hiring places is no longer financially practical.

NCR: It’s no longer physically practical either. I’m schlepping too much now for my age. I can still lift an 80 LB suitcase – but throwing it up into the roof box on the car is becoming less and less possible. Khandro Déchen cannot help me with that because her back is not in the best shape.

KD: 15 years ago we reached a point before when we could no longer use peoples’ homes for our retreats. We had to start hiring venues. That was seen as something of a huge step and apprentices were quite worried about it. Now it the taken for granted as essential. Now we’ve reached the next transition point – or rather, we reached it a few years back. A residential centre is becoming a necessity not a choice. In the past we have been averse to saying too much or moving things too quickly – because we have no sense of ‘ambition’ in what we do. Now we have reached the next transition point however, a residential centre is not something merely to be desired as ‘the next stage of development’. It is now a pressing need for change – and that change is now overdue.

No More Songs? (Interview - Part IV)

Q: Rinpoche, I hate to ask this question – as I suspect I know your answer . . . and it might upset some people. Drala Jong is intended to establish the lineage for future generations . . . If you don’t wish to answer I’ll understand – but do you think that the Aro gTér Tradition will survive after your death if we don’t manage to build Drala Jong in the next few years?

NCR: No . . .

KD: You’ve said that before, when asked. . .

NCR: Yes. This is a difficult question to answer. I really don’t like to give this answer – because I don’t like the answer. But I can’t see any way around it. If you subtract Khandro Déchen and myself from the equation – there would need to be a building. If we’re no longer living it would be difficult for lineage to maintain cohesion. Without a physical structure—a location which provided a focal point for all the brevet lamas and their sanghas—there would be something of a lack of cohesion. Something might survive – but not the lineage as a whole.

Q1: I suppose as students we always pushed your death into the future. . .

NCR: Well, I’m definitely getting older. In the last couple of years I’ve had to say ‘You know, I’m definitely not young any more.’ That’s the past. I’m actually getting old. I’m more easily tired. It’s not a problem – but it’s a fact.

Q: I’m aware of this at the moment, because my own father is 65 this year and is going in for heart surgery . . .

NCR: 6 years older than me . . . Mmmm . . . My father was 5 foot 2, 16 stone, and died at 76. Maybe I’ve got longer than I think . . .

KD: Rinpoche’s blood pressure is good . . . but everyone is on the slippery slope by virtue of having a human body. Look at those poor people in Norway who were murdered by that psychopath. They were on the slope but didn’t know.

NCR: Perhaps I might stretch it to 30 years, who knows – but travel would definitely shorten my life so I’m looking to cut down on travel in the future.

KD: Travel certainly shortened Chhi’mèd Rig’dzin Rinpoche’s life.

NCR: Yes . . . he did travel ’til the end – but even he had to change his schedule in order to stay in one place for 6 months at a time.

KD: I think if you had asked us that ten or twenty years ago we would have given a different answer. I think Aro Ling has taught us something about what is possible – and what is needed in terms of teaching. The importance of having a residential centre has also become paramount because of Kyabjé Künzang Dorje Rinpoche’s advice.

NCR: That is probably the central, pivotal and crucial statement. Künzang Dorje Rinpoche’s advice was given for two reasons. The first concerns liberation and creating optimal circumstances. The second is based on the recognition of what ‘samsara’ is. From the perspective of Dharma—the liberated viewpoint—the benefit to having a centre is the ability to be able to concentrate efforts – to: house special lineal objects; create supports for Dharma and store them; preserve ancient artefacts; and, collect and index records of the teachings. A residential centre can be a vast repository. From the perspective of ‘samsara’ – if one wishes to ‘make the thing work’, people have to see it. In the common run of things—according to the dictates of society—people have to see what we’re doing as something serious. The press needs to be impressed if they are to write accounts of our work. People want to go to a place that looks as if it represents something cogent in the world. There are few who will go to a rented flat – to see a Lama, even a Tibetan Lama. From the perspective of Dzogchen it makes no difference – but Dzogchen is the goal, rather than the state of societal consciousness. I shall give an example from my own experience. In the 1970s I went to a Captain Beefheart concert. The supporting band was Henry Cow – and I found them entirely marvellous. The audience however were unconscionably rude. They talked and walked around – almost complete ignoring the music. I had to concentrate in order to screen out the disturbance in order to hear Henry Cow. Then Captain Beefheart walked on stage. Now I must say that I am an admirer of Captain Beefheart – but on this occasion he gave a poor performance. He treated the audience as poorly as the audience had treated Henry Cow. I only considered later that he might have acted in this way deliberately to make a point – but what he did was to sit half off stage and drink beers when he wasn’t singing. The audience however seemed universally enraptured.

KD: Because Captain Beefheart was famous and Henry Cow wasn’t.

Q: So we’re Henry Cow and the centre is Captain Beefheart.

KD: That is how it works with samsara. We can laugh about it and ridicule it – but it’s the everyday reality. Of course that ridiculous societal scenario creates opportunities for people to see through the illusion of what is worthwhile and what is not worthwhile. Künzang Dorje Rinpoche recognised this samsaric aspect – and said “Most Tibetans are like this too. They think that if someone has a big gompa they must be an important Lama!”

NCR: Künzang Dorje Rinpoche never had a centre – but he lived in a culture where he was recognised by the highest dignitaries. Many people sought him out – but he accepted very few as disciples. We don’t have that culture in the West. Künzang Dorje Rinpoche recognised our culture and our cultural needs – where a centre is needed. Without it we’re fly-by-nights. We’re insubstantial even though we have been teaching for 30 years.

KD: We have to acknowledge that if people go to a centre and sit there as 1 of 100 in an audience – it’s more impressive than being 1 of 10. It’s important to have a centre because people need to have something to rely upon as concrete. There is no point in saying it shouldn’t be that way - and that therefore we shouldn’t do it. Life simply isn’t like that. Most people wish to be enthused and excited by something.

NCR: I didn’t go to see Henry Cow. I went to see Captain Beefheart – but I ended up preferring Henry Cow. Without Captain Beefheart however – I would possibly never have heard of Henry Cow.

KD: Some people find—after the excitement wears off—that they come away empty-handed. Or . . . they recognise to some degree they’ve come to be interested for reasons other than excitement. They find value from practice – so it’s not—all—bad.

'Unless you are an imbecile. . .' (Drala Jong Interview - Part III)

Q: What sort of location do you have in mind?

KD: It depends on how much money we raise. It depends on many factors. It would be wonderful . . . perhaps . . . to have a cliff-top hotel . . . Housell Bay Hotel on the Lizard Peninsula . . . It has a private beech – that would be grand. That’s a place we used to frequent some years ago.

Q: So do you have a particular part of the country in mind? Should it be a coastal location?

NCR: Anywhere in striking distance of motorways form London so that people from other countries could find their ways there without undue difficulty. We would probably think of South Wales.

Q: You touch on an interesting point here, Rinpoche - we have an international sangha, but whenever you’ve spoken of it Drala Jong has been planned to be based in Britain. How will Drala Jong make a difference for people who live outside of Britain?

NCR: It will make more difference as I get older and cannot travel as much. I’d say that’s perhaps 10 years away. Travel takes its toll I’m afraid . . . I will be 60 next year . . . and there is a limit to how long I can throw 80lb suitcases into the roof box of our car. Unless we had millions and could have a centre in every country, we would be looking to have a centre somewhere. We would necessarily have to choose one where we live. Even if we didn’t have a centre, my travel arrangements will become increasingly restricted. In fact people within the sanghas do travel great distances to attend events with other apprentices. Having our own place means we can engineer things to make it easier for foreign apprentices to come here, by giving them concessions on distance travelled.

KD: But I guess it won’t mean as much to the Americans as to the European sanghas, simply because of distance – although it really depends a lot on the individual and what they perceive as important. We don’t live in America—and cannot do so—so the retreat centre cannot be there in the final analysis.

NCR: Even if it was in America it would have to be on the east coast or west coast – and that would create the same problem. Montana wouldn’t work as a central place because of the cost of travel to get there. . .

KD: We have a fragmented sangha in terms of geography, because Rinpoche always goes wherever he’s asked. It will have to work differently for different people. When we know the specifics of the venue we can acquire, we’ll be able to work out how best to make that accessible for people.

Q: I’d like to ask about how Drala Jong ‘fits’ with Aro Ling? We do have a city centre non-residential venue in Bristol – Aro Ling. Why is residential retreat so important; what difference does it make having a residential venue?

KD: It makes a huge deal of difference in terms of the 5 certainties being present. There’s just something about having to leave home and go to a different place. You pack your case – and then only have what you have. You go to a place and there is a certain sense in which you’re committed. You could leave or walk out on a residential event – but it’s only happened once in 30 years. So when you’re there, you’re there – because you’ve made the commitment to be there.

NCR: Unless you’re an imbecile you’re going to make the most of it. If you take the time and trouble to go to the cinema you normally stay to see the thing out. If you hire a DVD you might quit after 5 minutes because you’re at home. So because you’ve taken the trouble to get there you’re going to participate. And you’re also going to eat, sleep and defecate there.

KD: You get up in the morning, you practise, there’s breakfast, when you’re able to talk to people in a way you wouldn’t in a non-residential setting – because you’re there. In a non-residential setting people go off for lunch in small groups to cafés and so on. People don’t mix the same way. They don’t talk the same way. It’s more disparate. If you are dropping in and out of the venue through the weekend – you go home for the evening. You can watch television—you can check your email—you’ve left the retreat. A non-residential retreat is a constrained space. It’s different – but only as different as what’s immediately outside the door. On a residential retreat there are many different places to meet and chat with others. You can go for a walk – down a country road, or in the woods. At a non-residential city centre venue once you’re in the street – you’ve left the retreat. On a residential retreat people don’t leave or change environment – and in that way they get the most out of the experience of being there.

NCR: Also . . . a residential retreat allows more time. The teaching can be given in a more leisurely manner – with time for practice. On a non-residential retreat, incorporating too much meditation seems vaguely felonious . . . The attendees’ time is constrained, so we tend to talk at them most of the time. As a result, they can receive a barrage of teaching that may be hard to digest. On a residential retreat we can intersperse periods of silent sitting – and that radically changes the manner in which people understand.

KD: Then, people talk over meals. They interact – and that gives a chance for the teachings to percolate.