Ladakh, situated in the trans-Himalayan region, is often regarded as one of the last bastions of Tibetan Buddhism, where monastic ritual traditions continue to be preserved. Tibetan Buddhist monasteries in Ladakh maintain the ritualistic systems that once flourished in the great monastic institutions of Tibet’s four major sects. Among these traditions, monastic chanting and ritual music play a crucial role, structured around texts such as dbyangs-yig or rol-dbyangs, which systematically notate ritual music. To perform these rituals, lamas must receive empowerments (dbang), scriptural transmission (lung), and guidance (khrid) from qualified masters. These empowerments not only authorize monks to conduct rituals but also serve as pedagogical transmissions, ensuring the continuity of ritual expertise. Both monastic dance (cham) and family-based ritual performances continue to be carried out in accordance with established traditions.
For centuries, these monastic musical traditions remained largely unaffected. However, with time, alterations have emerged within the ritual music systems of different monasteries, particularly due to the absence of formalized musical notation. Traditionally, only experienced lamas or skilled practitioners could detect subtle variations in musical performance through auditory discernment. While departures from tradition were once viewed as unethical, the expansion of modern scientific education has heightened the need for innovation, raising questions about how monastic education and vocational training should evolve.
Tibetan Buddhist education has historically encompassed five major and five minor sciences (rig-gnas bcu), including Buddhist philosophy (Nang-don rig-pa), logic (mTsad-ma rig-pa), and Sowa rig-pa (medicine), alongside arts, astrology, drama, and music. However, within contemporary monastic institutions, Buddhist philosophy and logic have become dominant fields of study, while disciplines such as ritual music and dance receive comparatively little institutional attention. This shift has contributed to declining proficiency in monastic musical performance, impacting both instrumental orchestration and sacred dance traditions such as Cham. While historically viewed as a vital esoteric art form, Cham now faces increasing pressure to adapt within modern Buddhist education and institutional structures.
Despite these challenges, monastic ritual music and dance remain integral to Mahāyāna Buddhist communities across the Himalayan region. From Hemis Monastery in Ladakh to Rumtek in Sikkim and Tawang in Arunachal Pradesh, these monasteries continue to function as important centers for Tibetan Buddhist education, ritual practice, and cultural transmission. Cham dances, in particular, serve as highly choreographed ritual enactments, symbolizing the destruction of malevolent forces and the manifestation of enlightened deities. Accompanied by orchestral instruments such as trumpets, cymbals, bells, shells, and drums, these performances cultivate a uniquely immersive atmosphere that enhances religious devotion and communal participation.
This paper explores the historical and contemporary role of monastic music and ritual performance in Ladakh, shedding light on underexplored Tibetan musical literature. By analyzing shifts in monastic training, ritual education, and social change, this study examines how monastic institutions balance traditional ritual performance with evolving educational demands. Through ethnographic engagement with monastic musicians and ritual specialists, this paper argues that monastic music remains a vital, though increasingly marginalized, component of Buddhist education. The case of Ladakh provides a broader lens to understand the intersections between ritual transmission, modern monastic curricula, and the future of Buddhist vocational training.unction as embodied manifestations of divine forces and exorcistic rituals.
Monastic music remains vital not only within monasteries but also in wider Mahāyāna Buddhist communities across the Himalayas. From the cham dances of Hemis Monastery in Ladakh to Rumtek in Sikkim and Tawang in Arunachal Pradesh, these performances sustain Tibetan ritual traditions and attract global Buddhist audiences. This paper examines historical and contemporary trends in monastic music and ritual performance in Ladakh, considering broader transformations in Buddhist education and vocational training. By engaging with unexplored Tibetan musical literature and ethnographic insights, this study highlights the enduring role of ritual music in monastic identity and its evolving significance in the face of modernity.
Monastic rituals in Ladakh are accompanied by sacred music, enshrined in the ritual text known as dbyangs-yig. In Ladakhi monasteries (gonpas), monks perform these rituals with musical precision and religious sanctity, preserving centuries-old traditions. While these practices have historically remained intact, recent shifts have led to degradation in ritual performance, particularly due to the absence of standardized musical notation and the evolving role of monastic education. Around Leh, the capital of Ladakh, four major Gelukpa monasteries exert a strong musical influence, shaping the ritual practices of more remote monastic communities. Increased interaction between monks from these monasteries has further contributed to shifts in ritual transmission and pedagogy. This paper examines historical and social transformations in monastic music and ritual performance, situating these changes within broader discussions on Buddhist education, vocational training, and the evolving role of ritual expertise in contemporary monasticism.