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      "dwf_livret" => "<h3>Tibet FA5481</h3><span class=Soustitre2><br />Tibet <br />Musique et pri&egrave;res aux monast&egrave;res des Bonnets Jaunes : Tashilhunpo, Ganden, S&eacute;ra<br />Tibet<br />Music and prayers from the Yellow Hats monasteries: Tashilhunpo, Ganden, Sera</span><span class=Texte><br /></span><span class=Soustitre>OM MANI PADME HUNG</span><span class=Texte><br />Mantra ou formule incantatoire repr&eacute;sentant, sous forme sonore, le Bouddha de Compassion.<br /></span><span class=Soustitre>Tibet - Musique et pri&egrave;res aux monast&egrave;res des Bonnets Jaunes : <br />Tashilhunpo, Ganden, S&eacute;ra.<br />Par Fran&ccedil;ois Jouffa</span><span class=Texte><br />&laquo;&thinsp;(...) dans la vaste cour du Temple voisin, les &laquo;&thinsp;forts en th&egrave;se&thinsp;&raquo;, les &laquo;&thinsp;rh&eacute;toriciens&thinsp;&raquo; de Kum-Bum, se livrent &agrave; des joutes oratoires, se posent des colles telles que n&rsquo;en n&rsquo;ont jamais r&ecirc;v&eacute; les cerveaux d&rsquo;Occident. Ils sont quelques centaines, divis&eacute;s en groupes nombreux, et le bruit qu&rsquo;ils font &eacute;voque l&rsquo;id&eacute;e d&rsquo;un march&eacute; de grande ville.&thinsp;&raquo;&nbsp;&nbsp; &nbsp; <br />&nbsp;&nbsp;&nbsp;&nbsp; Alexandra David-N&eacute;el. Journal de voyage, 23 ao&ucirc;t 1918.<br />&laquo;&thinsp;(...) la voix de basse ultra profonde - celle des lamas chantant les offices.&thinsp;&raquo; (...) &laquo;&thinsp;La procession d&eacute;file aux sons d&rsquo;airs vari&eacute;s : graves, solennels, lorsque les immenses trompettes thib&eacute;taines emplissent l&rsquo;air de leurs mugissements profonds et d&rsquo;une fra&icirc;cheur d&eacute;licate charmante (...)&thinsp;&raquo;<br />&nbsp;&nbsp;&nbsp; Alexandra David-N&eacute;el. Voyage d&rsquo;une Parisienne &agrave; Lhassa, 1927.<br />&laquo;&thinsp;Les lamas du Tibet ont une sorte de trompette de 4m50 de long, qu&rsquo;ils braquent sur la campagne pour appeler les gens &agrave; la pri&egrave;re. Un bruit de glotte &eacute;norme et hippopotamesque en sort. Et ce son partout ailleurs excessif, ici faible et obscur dans les montagnes de l&rsquo;Himalaya, passe par-dessus les hameaux comme un soupir.&thinsp;&raquo;&nbsp;&nbsp; &nbsp;<br />&nbsp;&nbsp; &nbsp;Henri Michaux. Un Barbare en Asie, 1933.<br />&laquo;&thinsp;(...) clochettes de bronze, ces tambours (en peau humaine ?), ces trompettes pour titan qui font concurrence par leur longueur &agrave; celles de certains bergers des Alpes (...)&thinsp;&raquo;&nbsp;&nbsp;&nbsp; <br />&nbsp;&nbsp;&nbsp; Andr&eacute; Guibaut. Missions perdues au Tibet, 1937.<br />&laquo;&thinsp;D&rsquo;apr&egrave;s leurs l&eacute;gendes, les Tib&eacute;tains ont commenc&eacute; par se nourrir d&rsquo;air. Respirer leur suffisait.&thinsp;<br />&nbsp;&nbsp; &nbsp;Alexandra David-N&eacute;el. &Agrave; l&rsquo;ouest barbare de la vaste Chine, 1947.<br />&laquo;&thinsp;Des roulements de tambours r&eacute;sonnaient dans la salle des soutras tandis que des fum&eacute;es d&rsquo;encens s&rsquo;&eacute;levaient au-dessus du domaine.&thinsp;&raquo;&nbsp;&nbsp; &nbsp;Alai. Les pavots rouges, 1998.<br /><strong>Dur&eacute;e totale du CD : 65&rsquo;50<br /></strong></span><span class=Soustitre>A. Monast&egrave;re de Tashilhunpo &agrave; Shigats&eacute;.</span><span class=Texte><br />Plages 1, 2, 3, 4, 5 et 6. Enregistrements effectu&eacute;s, le samedi 26 juin 2010, lors du deuxi&egrave;me jour de la f&ecirc;te du d&eacute;roulement de la Grande Thangka (le &laquo;&thinsp;Festival de l&rsquo;Ensoleillement du Bouddha&thinsp;&raquo;), avec des dizaines de milliers de p&egrave;lerins.<br />Shigats&eacute; (&agrave; 3836 m&egrave;tres d&rsquo;altitude) est la deuxi&egrave;me ville du Tibet (apr&egrave;s Lhassa, bien s&ucirc;r), peupl&eacute;e maintenant d&rsquo;une majorit&eacute; de Chinois Han, ph&eacute;nom&egrave;ne de colonisation accentu&eacute;e par la construction de la ligne ferroviaire Beijing-Shigats&eacute; et parce qu&rsquo;elle abrite une imposante garnison militaire.<br />Principal monast&egrave;re de la province du Tsang, Tashilhunpo est un des six centres importants de la secte (au sens &laquo;&thinsp;&eacute;cole religieuse&thinsp;&raquo;) Gelugpa, dite de la tradition des Bonnets Jaunes (appellation chinoise). Cette v&eacute;ritable cit&eacute; monastique fut fond&eacute;e en 1447 par Gendun Drub, le premier Dala&iuml;-lama. En 1642, le cinqui&egrave;me Dala&iuml;-lama d&eacute;cerna &agrave; son tuteur, Ch&ouml;kyi Gyaltsen, le titre de Panchen Rinpotch&eacute;, soit &laquo;&thinsp;Grand ma&icirc;tre pr&eacute;cieux&thinsp;&raquo;, cr&eacute;ant la lign&eacute;e des Panchen-lamas, chacun d&rsquo;entre eux &eacute;tant reconnu comme l&rsquo;incarnation du Bouddha Amitabha ou Bouddha de &laquo;&thinsp;la lumi&egrave;re infinie&thinsp;&raquo;. Les Panchen-lamas sont des religieux tr&egrave;s v&eacute;n&eacute;r&eacute;s au Tibet, presqu&rsquo;autant que les Dala&iuml;-lamas, m&ecirc;me plus selon certains. Ce grand monast&egrave;re de Tashilhunpo, aux tr&egrave;s nombreux b&acirc;timents, palais, chapelles et ch&ouml;rten (tombeaux), se positionne &agrave; la base de la colline Dr&ouml;lma Ri et sa porte d&rsquo;entr&eacute;e principale est proche de la route Lhassa-Shigats&eacute;-N&eacute;pal. Un circuit d&eacute;ambulatoire p&eacute;r&eacute;grinal de trois kilom&egrave;tres entoure Tashilhunpo, gravissant la cr&ecirc;te derri&egrave;re le complexe et longeant les murs d&rsquo;enceinte nord. Cet itin&eacute;raire est emprunt&eacute; par les p&egrave;lerins pour acc&eacute;der au plus pr&egrave;s du grand mur blanchi par les moines. C&rsquo;est ici, pendant trois jours des mois de juin ou juillet (en fait, les 14&egrave;, 15&egrave; et 16&egrave; jours du 5&egrave; mois du calendrier tib&eacute;tain lunaire), qu&rsquo;une gigantesque thangka de 40 m&egrave;tres est d&eacute;roul&eacute;e. Trois jours, trois thangkas, trois Bouddhas (pr&eacute;sent, pass&eacute; et avenir).<br /><strong>1. Enfant, oiseaux et trompes. 1&rsquo;26</strong><br />Le Tashilhunpo, &laquo;&thinsp;l&rsquo;endroit vent&eacute; de bon augure&thinsp;&raquo;, h&eacute;berge un petit millier de moines (ils &eacute;taient environ 5000 en 1959 au moment de l&rsquo;arriv&eacute;e de l&rsquo;arm&eacute;e chinoise, puis la R&eacute;volution culturelle des ann&eacute;es 1960 a d&eacute;truit les 2/3 du monast&egrave;re).<br />Ce matin, &agrave; l&rsquo;aube de ce 26 juin 2010, des p&egrave;lerins, devant l&rsquo;esplanade qui fait face &agrave; l&rsquo;entr&eacute;e du monast&egrave;re, s&rsquo;agglutinant sur les stands des &laquo;&thinsp;marchands du temple&thinsp;&raquo; (rosaires mala, drapeaux &agrave; pri&egrave;res lungta, bo&icirc;tes ghau, perles dzi en agate, bols &agrave; offrandes, bols chantant, lampes &agrave; beurre, etc.) et campant autour de statues chinoises r&eacute;alistes, attendent avec ferveur que la gigantesque thangka soit d&eacute;roul&eacute;e du haut de la colline. Ceux-ci, des milliers, sont debout, depuis des heures, apr&egrave;s avoir march&eacute; des jours, sinon des semaines, en se prosternant &agrave; plat-ventre, front sur la route, &agrave; chaque pas. D&rsquo;autres, des dizaines de milliers, contournent le monast&egrave;re par la gauche, circumambulation traditionnellement dans le sens des aiguilles d&rsquo;une montre, comme le mouvement des moulins &agrave; pri&egrave;res qu&rsquo;ils brandissent presque tous, pour se trouver, une ou deux heures plus tard, juste sous la grande thangka. Les trompes g&eacute;antes tib&eacute;taines, au lointain, commencent &agrave; se faire entendre. Des petits enfants jouent au milieu de leurs parents qui prient. Les plus grands, scolaris&eacute;s, indiquent aux parents moins &eacute;duqu&eacute;s o&ugrave; ils peuvent s&rsquo;installer sur le sol. Des oiseaux gazouillent. Selon une l&eacute;gende, ils disent le futur, b&eacute;nissent et conseillent pour l&rsquo;avenir. Le premier Dala&iuml;-lama &eacute;tait natif de Shigats&eacute;. Apr&egrave;s sa mort, il avait &eacute;t&eacute; r&eacute;incarn&eacute; dans une famille de paysans qui avait d&ucirc; s&rsquo;enfuir en laissant le b&eacute;b&eacute; sous une pierre. Devenu Dala&iuml;-lama, un oiseau noir lui raconta dans un r&ecirc;ve, qu&rsquo;il avait prot&eacute;g&eacute; l&rsquo;enfant. Depuis, m&ecirc;me si ce n&rsquo;est pas de l&rsquo;ordre du religieux, c&rsquo;est bien une croyance populaire.<br /><strong><br />2. Moulins &agrave; pri&egrave;res des p&egrave;lerins. 7&rsquo;59</strong><br />Plusieurs groupes de p&egrave;lerins, tout en faisant tourner leurs gros moulins &agrave; pri&egrave;res mani korlo qui renferment des mantras &eacute;crits, et dont on entend les grincements, sont assis en cercles. Certains r&eacute;unissent des billets de banque pour construire un stupa (ch&ouml;rten) dans leur village. Offrandes et chants pour le Dharma, refl&egrave;tent les sens, la forme, la vue, l&rsquo;odorat, le go&ucirc;t, le toucher. Ils r&eacute;p&egrave;tent trois fois les quatre phrases suivantes :<br />Sang gy&egrave; tcheu tang tsok kyi tchok nam la<br />Jusqu&rsquo;&agrave; l&rsquo;&eacute;veil, je prends refuge en le Bouddha<br />Tchang tchoup par tou dak ni kyap sou tchi<br />Le Dharma est la communaut&eacute; supr&ecirc;me, la Sangha<br />Dak ki tcheu ny&egrave;n gyi p&egrave; tsok nam kyi<br />Gr&acirc;ce aux deux accumulations [m&eacute;rites et sagesse] recueillies par l&rsquo;&eacute;coute de l&rsquo;enseignement<br />Dro la p&egrave;n tchir sang gy&eacute; droup par chok.<br />Puiss&eacute;-je devenir un Bouddha pour le bien des &ecirc;tres.<br /><strong>3. Trompes et pri&egrave;res. 1&rsquo;13</strong><br />L&rsquo;appel des trompes, du haut de la colline, vers les 8 heures du matin, se fait de plus en plus pr&eacute;sent.<br />&laquo;&thinsp;Devant vous, Ma&icirc;tre fondateur, Bhagavan, Ainsi-all&eacute;, Destructeur de l&rsquo;ennemi, Bouddha parfaitement accompli, Glorieux Conqu&eacute;rant Bouddha Shakyamouni, je me prosterne. En vous je prends refuge et vous pr&eacute;sente des offrandes. Accordez-moi vos b&eacute;n&eacute;dictions&thinsp;&raquo;.<br /><strong>4. Bonzes en pri&egrave;res sous la thangka. 1&rsquo;37</strong><br />Plusieurs centaines de moines sont en activit&eacute;, au sommet et au pied de la colline. En haut, silencieux, on les voit d&eacute;rouler respectueusement la grande thangka, d&eacute;voilant une immense image peinte des trois Bouddhas. En bas, assis en tailleur, face au mur de la colline, d&rsquo;autres moines chantent leurs pri&egrave;res sous la repr&eacute;sentation religieuse. Les p&egrave;lerins, en un flot ininterrompu, d&eacute;filent dans le dos des moines, en jetant leurs &eacute;charpes khata de soie par-dessus les t&ecirc;tes des religieux, et les &eacute;toffes blanches de f&eacute;licit&eacute; s&rsquo;accumulent en vrac sous la thangka. Canalis&eacute;s par des jeunes femmes militaires chinoises, immobiles et impassibles, ils n&rsquo;ont pas le droit de s&rsquo;arr&ecirc;ter. Leurs pas, lents, sont accompagn&eacute;s par des tambours qui se tiennent &agrave; gauche de la thangka. Le texte de la pri&egrave;re, comment pratiquer le Dharma (enseignements spirituels, particuli&egrave;rement ceux du Bouddha), est autant r&eacute;p&eacute;titif que m&eacute;ditatif. &laquo;&thinsp;Quelle est la cause du probl&egrave;me qui emp&ecirc;che d&rsquo;atteindre le bonheur ? Comment arr&ecirc;ter la souffrance et s&rsquo;en lib&eacute;rer totalement ?&thinsp;&raquo;<br /><strong>5. Bonzes en pri&egrave;res devant les p&egrave;lerins. 2&rsquo;05</strong><br />Il est maintenant 9 heures du matin. La pri&egrave;re-r&eacute;citation continue, trois fois, sept fois ou d&rsquo;avantage. Un bouddhiste prend refuge dans les Trois Joyaux, le Bouddha, le Dharma et la Sangha (&laquo;&thinsp;Namo Bouddhaya, Namo Dharmaya, Namo Sanghaya&thinsp;&raquo;), pour tenter d&rsquo;&eacute;viter la souffrance du Samsara (Khorwa en tib&eacute;tain) et avec la foi que les Trois Joyaux ont le pouvoir de le mener vers le bonheur, la lib&eacute;ration ou l&rsquo;&eacute;veil.<br />6. Trompes, trompettes, fl&ucirc;tes et hautbois, conques, tambours et cymbales. 8&rsquo;45<br />Vers les 12 heures, la thangka du Bouddha Shakyamouni (563-483 avant J.-C., le quatri&egrave;me des mille Bouddhas, fondateur de ce qui est appel&eacute; aujourd&rsquo;hui le bouddhisme) est de nouveau enroul&eacute;e par les moines qui, par dizaines, portent ensuite sur leurs &eacute;paules, en file indienne, le long et lourd boudin sacr&eacute; du tissu peint. &Agrave; mi-parcours de la descente de la colline, les porteurs religieux sont encadr&eacute;s par d&rsquo;autres moines, des musiciens. Certains sont harnach&eacute;s aux flancs comme des mulets de deux tambours qu&rsquo;un autre moine, derri&egrave;re, frappe en donnant le rythme de la marche. &Agrave; la porte d&rsquo;un des b&acirc;timents de la cit&eacute;-monast&egrave;re, tous, ils s&rsquo;arr&ecirc;tent pour jouer une dizaine de minutes, bri&egrave;vement mais fortement. Puis, ils cessent brutalement, tournant les talons et rentrent, emportant la grande thangka du jour et les instruments de musique.<br />Les tambours ronds nga dhum, d&rsquo;origine indienne, ont fusionn&eacute; avec les petites trompes ou fl&ucirc;tes chinoises gua ling et autres hautbois et conques marines blanches dhung kar (symbole de l&rsquo;absence du mal, son pur du Dharma). Les longues trompes dhung chen ont rivalis&eacute; en une bataille musicale rapide avec les grandes cymbales bhub chel qui ont claqu&eacute; et craqu&eacute; en se superposant avec r&eacute;sonance dans l&rsquo;&eacute;cho des montagnes himalayennes, d&eacute;livrant une bien &eacute;trange fausse sonorit&eacute; de cornemuse celtique.<br /></span><span class=Soustitre><br />B. Monast&egrave;re de Ganden.</span><span class=Texte><br />Plage 7. Enregistrement le samedi 10 juillet 2010 dans la chapelle Nym Chu Lhakhang, &agrave; droite apr&egrave;s l&rsquo;entr&eacute;e du monast&egrave;re. Ganden est situ&eacute; au Nord-Est de Lhassa en longeant la rivi&egrave;re Kyi Chu. &Agrave; 36 km du Palais du Potala des Dala&iuml;-lamas, un chemin grimpe vers la vall&eacute;e de Ganden o&ugrave; le monast&egrave;re se trouve pr&egrave;s du sommet de la corniche sacr&eacute;e de Wangku Ri, &agrave; 4700 m&egrave;tres d&rsquo;altitude. Chaque petit matin, des camions convoient des p&egrave;lerins &agrave; partir du monast&egrave;re de Jokhang de Lhassa jusqu&rsquo;&agrave; Ganden, qui est pour eux la r&eacute;sidence de divinit&eacute;s (devas), le Paradis Tushita, et aussi la terre de Jampa (nom tib&eacute;tain de Maitreya, le futur bodhisattva qui sera le successeur de Bouddha). Ce monast&egrave;re fut cr&eacute;&eacute; en 1409 par Tsong Khapa, fondateur de l&rsquo;&eacute;cole religieuse dite secte Gelugpa. Le terme &laquo;&thinsp;gelug&thinsp;&raquo; signifie &laquo;&thinsp;vertueux&thinsp;&raquo;, mais on peut y voir la contraction de &laquo;&thinsp;Geden lug&thinsp;&raquo;, soit &laquo;&thinsp;la tradition de Geden&thinsp;&raquo;. Tsong Khapa, apr&egrave;s avoir m&eacute;dit&eacute; sur les lieux, d&eacute;cida que ce serait le premier monast&egrave;re des Bonnets Jaunes (d&eacute;nomination chinoise) et le principal. Contrairement &agrave; la coutume des autres monast&egrave;res, le titre d&rsquo;abb&eacute; de Ganden (Tri Rinpotch&eacute; ou Tripa) n&rsquo;est transmis ni par h&eacute;r&eacute;dit&eacute;, ni par incarnation, mais parmi les lamas les plus &eacute;rudits; cette fonction le destinait &agrave; devenir r&eacute;gent en cas d&rsquo;absence du Dala&iuml;-lama, ou pendant sa minorit&eacute;.<br />Des six grands monast&egrave;res de cette &eacute;cole religieuse (Ganden, S&eacute;ra, Drepung, Tashilhunpo, Labrang et Kumbum), il fut le plus d&eacute;vast&eacute; par l&rsquo;action des jeunes Gardes rouges chinois pendant la R&eacute;volution culturelle de 1966 (tanks et avions bombard&egrave;rent les b&acirc;timents et les moines qui s&rsquo;en &eacute;chapp&egrave;rent furent fusill&eacute;s). Depuis les ann&eacute;es 1980, les villageois des alentours font des efforts exceptionnels pour aider les moines &agrave; reconstruire le monast&egrave;re &agrave; l&rsquo;identique, avec sa couleur rouge brique fonc&eacute; si typique de Ganden. Des 3500 moines &agrave; son apog&eacute;e en 1959, date de l&rsquo;exil en Inde du Dala&iuml;-lama, il n&rsquo;en reste que 300 qui sont encore soumis &agrave; des s&eacute;ances de r&eacute;&eacute;ducation patriotique, depuis 1996, pour y avoir affich&eacute; des photos interdites du saint homme.<br /><strong>7. Sheri Devi. 32&rsquo;</strong><br />La chapelle Nym Chu Lhakhang, interdite aux femmes (c&rsquo;est indiqu&eacute; en tib&eacute;tain et en anglais sur une pancarte) est consacr&eacute;e aux quatre divinit&eacute;s protectrices : Gon-po ou Kala Rupa, Choegyal, Nam S&eacute; et Lhamo Devi. Deux religieux, le bonze Lobsang Dawa et le gu&eacute;sh&eacute; Kirchen r&eacute;citent donc, en diphonie, une pri&egrave;re de protection, importante dans la tradition gelugpa. L&rsquo;accompagnement rythm&eacute; se fait avec un tambour nga, des cymbales moyennes bhub chel, un petit tambour dhamaru, des petites cymbales entre le pouce et l&rsquo;index de la main droite qui renferme le sceptre vajra &agrave; l&rsquo;int&eacute;rieur de la paume, pendant que la main gauche agite une petite cloche drilbu.<br />Cette cloche, faite de 7 m&eacute;taux, est un symbole f&eacute;minin qui repr&eacute;sente la sagesse (par la connaissance) et la vacuit&eacute;. La cloche et le vajra sont l&rsquo;union de la sagesse et de la compassion. D&rsquo;ailleurs, le manche de la drilbu est un demi vajra repr&eacute;sentant les 5 &eacute;motions perturbatrices &agrave; transformer en 5 sagesses. Le son de la cloche est le son primordial, l&rsquo;appel du divin. Les deux petites cymbales, utilis&eacute;es dans les rituels du bouddhisme tib&eacute;tain, sont &eacute;galement fabriqu&eacute;es avec le m&ecirc;me alliage de 7 m&eacute;taux que les bols chantant (aux propri&eacute;t&eacute;s th&eacute;rapeutiques), correspondant aux 7 plan&egrave;tes : or (Soleil), argent (Lune), mercure (Mercure), cuivre (V&eacute;nus), fer (Mars), &eacute;tain (Jupiter) et plomb (Saturne). Quant au petit tambour dhamaru, utilis&eacute; pour les rituels tantriques, il &eacute;tait jadis fabriqu&eacute; &agrave; partir de deux demi-cr&acirc;nes humains. Le son proclame la f&eacute;licit&eacute;, et reproduit la circulation du sang lorsque le lama, sage ou yogi, est en silence complet.<br /></span><span class=Soustitre>C. Monast&egrave;re de S&eacute;ra.</span><span class=Texte><br />Plage 8. Enregistrement le lundi 5 juillet 2010 &agrave; 15 heures, avec la pr&eacute;sence de quelques 200 moines du monast&egrave;re de S&eacute;ra qui en compte 1200 au sein de trois coll&egrave;ges d&rsquo;&eacute;tudes.<br />S&eacute;ra est un des grands monast&egrave;res des Bonnets Jaunes gelugpa. Son nom signifie &laquo;&thinsp;L&rsquo;enclos des roses&thinsp;&raquo; mais aussi &laquo;&thinsp;la gr&ecirc;le&thinsp;&raquo;, car, d&rsquo;apr&egrave;s un dicton local, &laquo;&thinsp;la gr&ecirc;le peut d&eacute;truire la r&eacute;serve de riz&thinsp;&raquo;, sous-entendu le monast&egrave;re rival de Dr&eacute;pung, construit comme S&eacute;ra en 1419. Ces deux monast&egrave;res b&eacute;n&eacute;ficient, par ailleurs, d&rsquo;une aire o&ugrave; l&rsquo;on d&eacute;coupe les corps des morts et o&ugrave; l&rsquo;on broie leurs os, interdite aux &eacute;trangers. Du temps o&ugrave; y vivaient 5000 moines et novices, S&eacute;ra &eacute;tait renomm&eacute; pour son enseignement tantrique en mysticisme &eacute;sot&eacute;rique. Dans une des chapelles, l&rsquo;effigie de la d&eacute;esse Jetsun Dolma (Tara Verte la salvatrice) est apparue d&rsquo;elle-m&ecirc;me sur un rocher. Dans une autre chapelle, les p&egrave;lerins se prosternent jusqu&rsquo;&agrave; en user le sol car celui qui &laquo;&thinsp;offre sa t&ecirc;te&thinsp;&raquo; au protecteur Tamdrin, divinit&eacute; &agrave; t&ecirc;te de cheval, est garanti d&rsquo;avoir une descendance en bonne sant&eacute;.<br />S&eacute;ra, qui se trouve au pied de la montagne Phurpa Chok Ri, &agrave; 5 km au nord du Jokhang &agrave; Lhassa, est l&rsquo;un des monast&egrave;res les mieux pr&eacute;serv&eacute; du Tibet, miraculeusement &eacute;pargn&eacute; durant la R&eacute;volution culturelle mao&iuml;ste, bien que les cent huit volumes du canon bouddhique furent perdus ou d&eacute;truits &agrave; cette &eacute;poque.<br /><strong>8. Joutes oratoires philosophiques. 10&rsquo;35</strong><br />La cour des d&eacute;bats philosophiques, sous forme de joutes oratoires, tradition s&eacute;culaire, est ombrag&eacute;e par des arbres anciens. Les p&egrave;lerins d&eacute;posent des offrandes, &eacute;charpes, talismans et beurre de yak sur une grande pierre v&eacute;n&eacute;r&eacute;e pour y avoir re&ccedil;u des cieux la forme treize fois &eacute;crites de la voyelle &laquo;&thinsp;A&thinsp;&raquo;, alors que le ma&icirc;tre Tsong Khapa r&eacute;digeait son commentaire sur le classique de Nagarjuna, &laquo;&thinsp;la Voie du Milieu&thinsp;&raquo;. C&rsquo;est dans ce cadre que les moines sont interrog&eacute;s et r&eacute;pondent philosophiquement &agrave; toutes sortes de questions. Les &eacute;tudes durent vingt ans minimum, et commencent vers les sept ans avec la lecture, l&rsquo;&eacute;criture et la m&eacute;morisation de textes. L&rsquo;examen final a lieu en public, et c&rsquo;est la foule des moines (3000 en 1959) qui posent les questions mais ce sont deux professeurs qui jugent les candidats, deux par deux &eacute;tudiants. &Agrave; chaque question qu&rsquo;il pose, le lettr&eacute; se frappe lui-m&ecirc;me dans la paume. Les interrogations de cet enregistrement sont, en vrac, &laquo;&thinsp;Comment arriverons-nous &agrave; m&eacute;diter tout en gardant l&rsquo;&eacute;nergie pour obtenir l&rsquo;exp&eacute;rience de l&rsquo;esprit ?&thinsp;&raquo;, &laquo;&thinsp;Comment et pourquoi peut-on voir, sentir, percevoir ?&thinsp;&raquo;, &laquo;&thinsp;Comment se connecter l&rsquo;esprit, dans le c&oelig;ur et non dans le cerveau pour obtenir la vision ou l&rsquo;odorat ?&thinsp;&raquo;, &laquo;&thinsp;O&ugrave; suis-je, dans l&rsquo;esprit ou dans le corps ?&thinsp;&raquo;, &laquo;&thinsp;O&ugrave; est l&rsquo;esprit ? O&ugrave; est moi ?&thinsp;&raquo;, &laquo;&thinsp;Comment se d&eacute;tacher de son &eacute;go ?&thinsp;&raquo;. Des explications diverses sont donn&eacute;es comme r&eacute;ponses : &laquo;&thinsp;Le f&oelig;tus, dans le ventre de sa m&egrave;re, est d&rsquo;abord un c&oelig;ur qui devient l&rsquo;esprit. <br />Le corps est un r&eacute;cipient de l&rsquo;esprit&thinsp;&raquo;. &laquo;&thinsp;Si l&rsquo;on est en col&egrave;re, il faut se d&eacute;tacher, s&rsquo;&eacute;loigner d&rsquo;un sentiment qui n&rsquo;est pas soi tout en acceptant ces sentiments qui ne font pas partie de notre personnalit&eacute;&thinsp;&raquo; est une r&eacute;ponse &agrave; la question&#8200;: &laquo;&thinsp;Il y a du lait dans le caf&eacute;, ensemble ils se m&eacute;langent, comment les s&eacute;parer ?&thinsp;&raquo;<br /><strong>Production-r&eacute;alisation : Fran&ccedil;ois Jouffa.</strong><br />Enregistrements in situ au Tibet, en juin et juillet 2010, au Nagra IV-S, avec bandes magn&eacute;tiques RMG International, et deux micros Sennheiser MKH 416T.<br />Photos : Sylvie Jouffa au Nikon D90 (sauf pour la chapelle du monast&egrave;re de Ganden interdite aux femmes o&ugrave; Fran&ccedil;ois Jouffa a utilis&eacute; un Lumix Panasonic DMC-LXI plus discret).<br />Textes en fran&ccedil;ais et en anglais : Susie Jouffa.<br />Montage et pr&eacute;mastering : Alexis Frenkel, Sudio Art &amp; Son, Paris, 2011.<br />Editorialisation : Augustin Bondoux pour Groupe Fr&eacute;meaux Colombini.<br />Droits : Fr&eacute;meaux &amp; Associ&eacute;s.<br />Remerciements :<br />Merci &agrave; Annie Vorac (la Maison de la Chine, Paris), Lopsang Tenzyn (guide-interpr&egrave;te anglo-tib&eacute;tain de Lhassa) et Ky Sang (chauffeur-porteur). Merci &agrave; Katia Buffetrille (tib&eacute;tologue &agrave; l&rsquo;École pratique des hautes &eacute;tudes, Paris) pour ses conseils. Merci pour sa disponibilit&eacute;, quand il est &agrave; Paris, au gu&eacute;sh&eacute; Dakpa (qui &eacute;tudia au monast&egrave;re de Ganden de 1982 &agrave; 1989) et merci aussi au Centre Kalachakra parisien pour son accueil.<br />Merci, et surtout reconnaissance infinie, au cardiologue chinois du service des urgences de l&rsquo;h&ocirc;pital de Shigats&eacute;...<br />*** Du m&ecirc;me auteur : Tibet - Le Jokhang de Lhassa, pri&egrave;res et chants de travail. CD Fr&eacute;meaux &amp; Associ&eacute;s, 2011. FA5 312.<br /></span><span class=Soustitre2><br />Tibet. Music and prayers from the Yellow Hats monasteries: <br />Tashilhunpo, Ganden, Sera.</span><span class=Texte><br /></span><span class=Soustitre>By Fran&ccedil;ois Jouffa</span><span class=Texte><br /></span><span class=Soustitre>OM MANI PADME HUNG</span><span class=Texte><br />Sanskrit mantra particularly associated with the Bodhisattva of Compassion. <br /><strong><br />Total playing time: 65 minutes 50 seconds</strong><br /></span><span class=Soustitre>A. Tashilhunpo Monastery, Shigatse. </span><span class=Texte><br />Tracks 1, 2, 3, 4, 5 and 6. Recorded on Saturday, June 26th, 2010, on the second day of the Shigatse Great Thangka Festival held every year where tens of thousands pilgrims come to admire the huge displayed thangka. Shigatse (at an altitude of 3836 meters) is the second largest city in Tibet (after Lhasa, of course), now populated by a majority of Han Chinese people as the result of a colonization phenomenon emphasized by the construction of the Beijing-Shigatse railway and the presence of a impressive and imposing military garrison. <br />Main monastery of the Tsang Province, Tashilhunpo is one of six important centers of the Gelugpa sect (in the sense of &ldquo;religious school&rdquo;), named the Yellow Hats Tradition by the Chinese. Gendun Drub, the first Dalai Lama, founded the monastic city in 1447. In 1642, the fifth Dalai Lama gave his tutor, Ch&ouml;kyi Gyaltsen, the title of Panchen Rinpoche meaning the &ldquo;precious great/grand master&rdquo;, thus creating the lineage of the Panchen Lamas, each of them being <br />considered as the embodiment of the Buddha Amitabha, the &ldquo;Buddha of Infinite Light&rdquo;. Panchen Lamas are widely worshipped in Tibet, almost as much as the Dalai Lama, even more according to some people. The great Tashilhunpo Monastery with its numerous buildings, palaces, chapels and ch&ouml;rten (dome-shaped graves), is established down the Dr&ouml;lma Ri hill and its main front door is close to the Lhasa-Shigatse-Nepal road. A three-kilometers ambulatory peregrination path surrounds the Tashilhunpo Monastery climbing the ridge behind the complex and going along the northern outer walls. Pilgrims to reach, as closely as possible, the huge whitewashed wall by the monks, use this road. It is here that, for three days in June or July (actually the 14th, the 15th and 16th days of the 5th month of the Tibetan lunar calendar), a gigantic thangka of 40 meters is unwound. Three days, three thangkas, three Buddhas (of the past, the present and the future).<br /><strong>1. Children, birds and horns. 1&rsquo;26 </strong><br />Tashilhunpo, &ldquo;a windy place of good omen&rdquo;, accommodates almost a thousand monks (they were approximately 5000 in 1959 at the arrival of the Chinese army before the Cultural Revolution of the 1960s destroyed 2/3 of the monastery). In the morning of June 26th, 2010, at dawn, in front of the esplanade that faces the main entrance of the monastery, pilgrims are gathering around the stands of &ldquo;merchants of the Temple&rdquo; (mala rosaries, lungta prayers flags, gau boxes, dzi pearls, offering bowls, etc.) and around realistic Chinese statues, awaiting fervently for the gigantic thangka to be unwound down from the top of the hill. A few thousands of them have been standing for hours after they had walked for days, even for weeks, prostrating themselves by lying flat on their stomach and placing their forehead on the ground at each step. The other pilgrims, dozens of thousands, bypass the monastery by the left in the traditional clockwise circumambulation direction, alike the movement of the prayer wheels they almost all brandish until they will get right under the big thangka, one or two hours later. The Tibetan huge and long horns can now be heard in the distance. Children are playing around their parents who are praying. The oldest ones, who have the chance to be sent to school, indicate to their less educated parents where they may settle down on the ground. Birds are twittering. According to a legend, they can tell the future, bless people and give advice. The first Dalai Lama was native of Shigatse. After his death, he had been reincarnated among a family of peasants who had to run away and leave their baby under a stone. After he became the Dalai Lama, a black bird told him in a dream that he had protected the child. Since then, even if it is not part of the official religious doctrine, it became a popular belief.<br /><strong>2. Pilgrims prayer wheels. 7&rsquo;59 </strong><br />Several groups of pilgrims sitting in a circle have their big mani korlo prayer wheels that contain written mantras spinning. Some of them are collecting bank notes in order to build a st&ucirc;pa (ch&ouml;rten) in their village. The offerings and songs to the Dharma represent the five senses (vision, hearing, smell, taste and touch). They repeat three times in a row the following four sentences drawn from the prayer of Refuge and Bodhicitta: <br />Sang gy&egrave; tcheu tang tsok kyi tchok nam la<br />In the Buddha, the Dharma and the noblest Sangha<br />Tchang tchoup par tou dak ni kyap sou tchi<br />I take refuge until enlightenment is obtained<br />Dak ki tcheu ny&egrave;n gyi p&egrave; tsok nam kyi<br />By the merit of generosity and so forth<br />Dro la p&egrave;n tchir sang gy&eacute; droup par chok.<br />May I attain Buddhahood for the welfare of all beings. <br /><strong>3. Horns and prayers. 1&rsquo;13 </strong><br />The call of horns, from the top of the hill, at about 8:00 am, is increasingly loud. &ldquo;In front of you, Founding Master, Bhagavan, so going, Destroyer of the enemy, perfectly accomplished Buddha, Glorious Conqueror Shakyamuni Buddha, I prostrate myself. In you I take refuge and present you offerings. Grant me your blessings&rdquo;.<br /><strong><br />4. Bonzes in prayers under the thangka. 1&rsquo;37 </strong><br />Several hundred monks are bustling about at the top and at the foot of the hill. At the summit, one can see them unwinding respectfully, in silence, the big thangka that reveals a huge painted image of the three Buddhas. Below, sitting cross-legged and facing the hill, other monks, chant their prayers under the religious representation. Behind the monks, pilgrims are parading in a continuous stream, throwing their white khata silk scarves over the heads of the priests, the fabrics of bliss thus piling up in bulk under the thangka. Kept under surveillance by motionless and impassive Chinese military young women, they do not have the right to stop. Drummers who stand to the left of the thangka accompany their slow steps. The prayer text about how to practice the Dharma (spiritual teachings, particularly those of the Buddha) is repetitive and meditative. &ldquo;What is the cause of the problem that prevents from attaining bliss? How to stop suffering and release oneself from it totally?&rdquo; <br /><strong><br />5. Bonzes in prayers in front of the pilgrims. 2&rsquo;05 </strong><br />It is now 9:00 am. The chant-prayer-recitation continues, three times, seven times or more. The Buddhists take refuge in the Three Jewels, the Buddha, Dharma and Sangha (&ldquo;Namo Bouddhaya, Namo Dharmaya, Namo Sanghaya&rdquo;) in order to avoid suffering and attain freedom from Samsara (Khorwa in Tibetan) and with the faith that the Three Jewels have the power to lead towards happiness, the liberation or the enlightenment.<br /><strong>6. Horns, trumpets, flutes and oboes, conches, drums and cymbals. 8&rsquo;45 </strong><br />At about 12:00 o&rsquo;clock, the thangka of the Shakyamuni Buddha (563-483 before J.-C., the fourth of the Thousand Buddhas, founder of what is known today as Buddhism) is again rolled up by the monks. They are a several dozen to carry along on their shoulders, in single file, the long and heavy sacred painted fabric. Halfway through the descent of the hill, the religious carriers are accompanied by musician monks. Some of them carry on both sides of hips two drums stroke by another monk who thus gives the rhythm of the pacing rate. In front of the door of one of the buildings of the monastery town, they all stop and play about ten minutes, briefly but loudly. Then, they suddenly interrupt their music, turn around and walk away bringing with them the big thangka and their musical instruments. <br />The nga dhum round drums, of Indian origin, are combined with small Chinese gua ling horns or flutes and with oboes and dhung kar white marine conches (symbol of the absence of evil, pure sound of the Dharma). The long dhung chen horns competed in a short musical battle between big bhub chel cymbals that echoed in the Himalayan mountains, delivering a sort of strange wrong tone Celtic bagpipe.<br /></span><span class=Soustitre>B. Ganden Monastery.</span><span class=Texte><br />Track 7. Recorded on Saturday, July 10th, 2010 in the Nym Chu Lhakhang chapel situated to the right after the entrance of the monastery. Ganden is located East of Lhasa along the Kyi Chu River. At 40 km from the capital, a path climbs into the Ganden valley where the monastery stands near the summit of the sacred cliff road of Wangku Ri at an altitude of 4700 meters. Every early morning, trucks convey pilgrims from the Jokhang Monastery in Lhasa to Ganden, which is for them the residence of divine beings or devas, the Tushita Heaven, and also the land of Jampa (tibetan name for Maitreya, future bodhisattva who will be the successor of the Buddha). Tsongkhapa, founder of the religious school called the Gelugpa sect, built it in 1409. The term &ldquo;gelug&rdquo; means &ldquo;virtuous&rdquo;, but one can see the contraction of &ldquo;Geden lug&rdquo; namely the &ldquo;Ganden tradition&rdquo;. After having meditated on the scene, Tsongkhapa decided that it would be the first and the main monastery of the Yellow Hats (the Chinese name). Contrary to the custom of other monasteries, the title abbot of Ganden (Tri Rinpoche or Tripa) is not transmitted neither by heredity nor by embodiment, but is passed on among the most erudite lamas; this function /office designates the regent in case of absence of the Dalai Lama, or during its minority. <br />Among the six major monasteries of this religious school (Ganden, Sera, Drepung, Tashilhunpo, Labrang and Kumbum), it was the most devastated by the action of the young Chinese Red Guards during the Cultural Revolution of 1966 (the constructions were bombed by tanks and planes, and the monks who tried to escape were shot). Since the 1980s, the villagers of the surroundings help the monks to rebuild the monastery as it used to be with its dark red color bricks so typical of Ganden. They were 3500 monks at its peak in 1959, when the Dalai Lama found exile in India. The 300 remaining monks are still subjected to patriotic reeducation sessions since 1996 for having posted banned pictured of the holy man.<br /><strong><br />7. Sheri Devi. 32&rsquo; </strong><br />The Nym Chu Lhakhang chapel, forbidden to women (it is indicated in Tibetan and English on a sign) is dedicated to four protective divinities: Gonpo or Kala Rupa, Choe Gyal, Namse and Lhamo Devi. Two members of a religious community, the monk Lobsang Dawa and the gueshe Kirchen are therefore reciting, in overtone singing, a prayer of protection, important in the Gelugpa tradition. The rhythmical musical arrangement is provided by a nga drum, average sized bhub chel cymbals, a small dhamaru drum, small cymbals held between the thumb and the forefinger of the right hand which contains the vajra scepter inside the palm, while the left hand rings a small drilbu bell. <br />The bell, made of seven metals, is a feminine symbol, which represents wisdom (by the knowledge) and the vacuity. The bell and the vajra are the union of wisdom and compassion. Besides, the drilbu handle is a half vajra representing the 5 disruptive feelings to be transformed into 5 wisdoms. &shy;&shy;&shy;The sound of the bell is the primordial sound, the call of the divine. The two small cymbals used in the rituals of Tibetan Buddhism are also made with the same alloy of 7 metals as the melodious bowls (with therapeutic properties) corresponding to the 7 planets: gold (Sun), silver (Moon), mercury (Mercury), copper (Venus), iron (Mars), tin (Jupiter) and lead (Saturn). As to the small dhamaru drum used for tantric rituals, it was formerly made from two human half-skulls. The sound is the proclamation of bliss and reproduces the blood circulation when the lama, a wise man person or a yogi, is in complete silence.<br /></span><span class=Soustitre>C. Sera Monastery. </span><span class=Texte><br />Track 8. Recorded on Monday, July 5th, 2010 at 3:00 pm, with the presence of some 200 monks from the Sera Monastery that shelters 1200 priests divided into three groups of studies. <br />Sera is one of greatest monasteries of the Yellow Hats (Gelugpa). Its name means &ldquo;The enclosure of roses&rdquo; but also &ldquo;hail&rdquo; as, according to a local saying, &ldquo;Hail can destroy the rice reserve&rdquo;, suggesting it can destroy the rival Drepung monastery built, as Sera, in 1419. Both monasteries have, moreover, an area forbidden to foreigners where the bodies of the deads are cut and the bones are crushed. At the time, when 5000 monks and religious followers used to live there, Sera was renowned for its tantric teaching and its esoteric mysticism. In one of the chapels, the effigy of the goddess Jetsun Dolma (Green Tara, the Saviouress) once appeared on a rock. In another chapel, pilgrims prostrate themselves on the ground as it is believed that &ldquo;offering one&rsquo;s head&rdquo; to the protector Tam Drin, a horse-necked deity, brings the guarantee of have a healthy descent. <br />Sera which lies at the foot of the mountain Phurpa Chok Ri, 5 km north of the Jokhang in Lhasa, is one of the best preserved monasteries in Tibet, miraculously spared during the Maoist Cultural Revolution, although one hundred and eight volumes of the canonical Buddhist texts were lost or destroyed at that time.<br /><strong>8. Philosophical verbal sparring matches. 10&rsquo;35 </strong><br />The courtyard dedicated to philosophic debates, taking the form of oratorical contests, a secular tradition, is in old trees shade. Pilgrims leave offerings, scarves, talismans and yak butter on a big worshipped stone revered for having received thirteen times the shape of the vowel &ldquo;A&rdquo; from heavens while master Tsong Khapa drafted his comment on the Nagarjuna&rsquo;s Middle Way. It is in this context that the monks are questioned and answer to all sorts of philosophical questions. Studies take a minimum of 20 years. It begins at the age of 7 years old with the reading, the writing and the memorization of texts. The final examination takes place in public. The crowd of monks (3000 in 1959) raises the questions but it is two professors who evaluate the candidates, two by two students. At each questions asked, the scholar laps himself in the palm of his hand. The questions of this recording are here delivered disorderedly: &ldquo;How shall we manage to meditate while keeping the energy to get the experience of the mind?&rdquo;, &ldquo;How and why can we see, smell, perceive?&rdquo;, &ldquo;How to connect the mind, in the heart and not in the brain, to obtain the vision or the sense of smell?&rdquo;, &ldquo;Where am I, in the spirit or in the body?&rdquo;, &ldquo;Where is the spirit? Where is myself?&rdquo;, &ldquo;How to break away from one&rsquo;s ego?&rdquo;. Various explanations are given as answers: &ldquo;The fetus in the womb is at first a heart which becomes the mind. The body is a recipient for the mind&rdquo;. &ldquo;If we are angry, it is necessary to get loose from the feelings that are different from ourselves while accepting them though they are not a part of one&rsquo;s personality&rdquo; is an answer to the question: &ldquo;There is some milk in the coffee, together they mix, how to separate them?&rdquo;<br /><strong>Production-direction: Fran&ccedil;ois Jouffa</strong>. <br />In situ recordings in Tibet, June and July, 2010, with a Nagra IV-S <br />and two Sennheiser MKH 416T microphones, on RMG International magnetic tapes. <br />Photos: Sylvie Jouffa (with a Nikon D90, except for the chapel of the Ganden monastery forbidden to women where Fran&ccedil;ois Jouffa used the more discreet Panasonic Lumix DMC-LXI). <br />Texts in French and in English: Susie Jouffa. <br />Editing and premastering: Alexis Frenkel, Studio Art &amp; Son, Paris, 2011. <br />Publishing by Augustin Bondoux / Groupe Fr&eacute;meaux Colombini<br />&copy; 2015 Fr&eacute;meaux &amp; Associ&eacute;s<br />Acknowledgements&nbsp;&nbsp; &nbsp;<br />Thanks to: Annie Vorac (la Maison de la Chine, Paris), Lopsang Tenzin (Tibetan-English interpreter and guide of Lhasa) and Ky Sang (driver-carrier). Special thanks to Katia Buffetrille (Tibetologist at the École Pratique des Hautes Études, Paris) for her advice, and to gueshe Dakpa for his availability when he is in Paris (he studied in the Ganden monastery from 1982 to 1989). <br />We owe to the Chinese cardiologist of the emergency department of the Shigatse hospital a debt of endless gratitude&hellip; <br />*** Same production: Tibet, Jokhang in Lhasa, Buddhist chants and worksongs. CD Fr&eacute;meaux &amp; Associ&eacute;s, 2011. FA5 312.<br /><strong>Tibet - Musique et pri&egrave;res aux monast&egrave;res des Bonnets Jaunes&thinsp;:<br />Tashilhunpo, Ganden, S&eacute;ra<br />Tibet - Music and prayers from the Yellow Hats monasteries: Tashilhunpo, Ganden, Sera<br />R&eacute;alisation Fran&ccedil;ois Jouffa</strong><br />Collect&eacute;s en 2010 par Fran&ccedil;ois Jouffa, ces enregistrements in situ ont &eacute;t&eacute; r&eacute;alis&eacute;s en grande partie lors de la f&ecirc;te du d&eacute;roulement de la Grande Thangka (le &laquo;&thinsp;Festival de l&rsquo;Ensoleillement du Bouddha&thinsp;&raquo;) au monast&egrave;re de Tashilhunpo, fond&eacute; au XVe si&egrave;cle par Gendun Drub, le premier Dala&iuml;-lama. Cette cit&eacute; de plusieurs temples est un haut lieu de p&egrave;lerinage pour les disciples de l&rsquo;&eacute;cole religieuse Gelugpa, de la secte dite des &laquo;&thinsp;Bonnets Jaunes&thinsp;&raquo; (dont les coiffes fascinantes ont &eacute;t&eacute; immortalis&eacute;es par Herg&eacute; dans Tintin au Tibet), qui est l&rsquo;une des branches les plus v&eacute;n&eacute;r&eacute;es du bouddhisme. En compl&eacute;ment du disque &laquo;&thinsp;Tibet - Le Jokhang de Lhassa&thinsp;&raquo; (FA5312 dans cette collection), ce nouvel album permet &agrave; l&rsquo;auditeur d&rsquo;explorer une tradition mystique s&eacute;culaire au son des longues trompes tib&eacute;taines et des cymbales g&eacute;antes qui vrombissent dans les montagnes himalayennes, des pri&egrave;res et des joutes oratoires philosophiques des bonzes &eacute;rudits.&nbsp;&nbsp; &nbsp;<strong><br />Patrick Fr&eacute;meaux</strong><br />Most of these recordings were collected in 2010 by Fran&ccedil;ois Jouffa during the Tibetan Thangka Unveiling Festival (&ldquo;The Sunning of the Buddha Festival&rdquo;) at the monastery of Tashilhunpo, founded in the fifteenth century by Gendun Drub, the first Dalai Lama. With its several temples, this holly city has become an important site of pilgrimage for the followers of the Gelugpa religious school known as the &ldquo;Yellow Hats&rdquo; (whose fascinating headgears were immortalized by Herg&eacute; in Tintin in Tibet), which is the one of the most revered sects of Buddhism. In addition to the &ldquo;Tibet - The Jokhang in Lhasa&rdquo; disc (FA5312 in this collection), this new album allows the listener to explore an ancient mystical tradition to the sound of long Tibetan horns and giant cymbals that echo in the Himalayan mountains, prayers and monks philosophical verbal sparring matches.</span><br /><span class=Texte><span class=Texte><strong>Patrick Fr&eacute;meaux</strong></span><br /></span>"
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          "value" => "<h3>Tibet FA5481</h3><span class=Soustitre2><br />Tibet <br />Musique et pri&egrave;res aux monast&egrave;res des Bonnets Jaunes : Tashilhunpo, Ganden, S&eacute;ra<br />Tibet<br />Music and prayers from the Yellow Hats monasteries: Tashilhunpo, Ganden, Sera</span><span class=Texte><br /></span><span class=Soustitre>OM MANI PADME HUNG</span><span class=Texte><br />Mantra ou formule incantatoire repr&eacute;sentant, sous forme sonore, le Bouddha de Compassion.<br /></span><span class=Soustitre>Tibet - Musique et pri&egrave;res aux monast&egrave;res des Bonnets Jaunes : <br />Tashilhunpo, Ganden, S&eacute;ra.<br />Par Fran&ccedil;ois Jouffa</span><span class=Texte><br />&laquo;&thinsp;(...) dans la vaste cour du Temple voisin, les &laquo;&thinsp;forts en th&egrave;se&thinsp;&raquo;, les &laquo;&thinsp;rh&eacute;toriciens&thinsp;&raquo; de Kum-Bum, se livrent &agrave; des joutes oratoires, se posent des colles telles que n&rsquo;en n&rsquo;ont jamais r&ecirc;v&eacute; les cerveaux d&rsquo;Occident. Ils sont quelques centaines, divis&eacute;s en groupes nombreux, et le bruit qu&rsquo;ils font &eacute;voque l&rsquo;id&eacute;e d&rsquo;un march&eacute; de grande ville.&thinsp;&raquo;&nbsp;&nbsp; &nbsp; <br />&nbsp;&nbsp;&nbsp;&nbsp; Alexandra David-N&eacute;el. Journal de voyage, 23 ao&ucirc;t 1918.<br />&laquo;&thinsp;(...) la voix de basse ultra profonde - celle des lamas chantant les offices.&thinsp;&raquo; (...) &laquo;&thinsp;La procession d&eacute;file aux sons d&rsquo;airs vari&eacute;s : graves, solennels, lorsque les immenses trompettes thib&eacute;taines emplissent l&rsquo;air de leurs mugissements profonds et d&rsquo;une fra&icirc;cheur d&eacute;licate charmante (...)&thinsp;&raquo;<br />&nbsp;&nbsp;&nbsp; Alexandra David-N&eacute;el. Voyage d&rsquo;une Parisienne &agrave; Lhassa, 1927.<br />&laquo;&thinsp;Les lamas du Tibet ont une sorte de trompette de 4m50 de long, qu&rsquo;ils braquent sur la campagne pour appeler les gens &agrave; la pri&egrave;re. Un bruit de glotte &eacute;norme et hippopotamesque en sort. Et ce son partout ailleurs excessif, ici faible et obscur dans les montagnes de l&rsquo;Himalaya, passe par-dessus les hameaux comme un soupir.&thinsp;&raquo;&nbsp;&nbsp; &nbsp;<br />&nbsp;&nbsp; &nbsp;Henri Michaux. Un Barbare en Asie, 1933.<br />&laquo;&thinsp;(...) clochettes de bronze, ces tambours (en peau humaine ?), ces trompettes pour titan qui font concurrence par leur longueur &agrave; celles de certains bergers des Alpes (...)&thinsp;&raquo;&nbsp;&nbsp;&nbsp; <br />&nbsp;&nbsp;&nbsp; Andr&eacute; Guibaut. Missions perdues au Tibet, 1937.<br />&laquo;&thinsp;D&rsquo;apr&egrave;s leurs l&eacute;gendes, les Tib&eacute;tains ont commenc&eacute; par se nourrir d&rsquo;air. Respirer leur suffisait.&thinsp;<br />&nbsp;&nbsp; &nbsp;Alexandra David-N&eacute;el. &Agrave; l&rsquo;ouest barbare de la vaste Chine, 1947.<br />&laquo;&thinsp;Des roulements de tambours r&eacute;sonnaient dans la salle des soutras tandis que des fum&eacute;es d&rsquo;encens s&rsquo;&eacute;levaient au-dessus du domaine.&thinsp;&raquo;&nbsp;&nbsp; &nbsp;Alai. Les pavots rouges, 1998.<br /><strong>Dur&eacute;e totale du CD : 65&rsquo;50<br /></strong></span><span class=Soustitre>A. Monast&egrave;re de Tashilhunpo &agrave; Shigats&eacute;.</span><span class=Texte><br />Plages 1, 2, 3, 4, 5 et 6. Enregistrements effectu&eacute;s, le samedi 26 juin 2010, lors du deuxi&egrave;me jour de la f&ecirc;te du d&eacute;roulement de la Grande Thangka (le &laquo;&thinsp;Festival de l&rsquo;Ensoleillement du Bouddha&thinsp;&raquo;), avec des dizaines de milliers de p&egrave;lerins.<br />Shigats&eacute; (&agrave; 3836 m&egrave;tres d&rsquo;altitude) est la deuxi&egrave;me ville du Tibet (apr&egrave;s Lhassa, bien s&ucirc;r), peupl&eacute;e maintenant d&rsquo;une majorit&eacute; de Chinois Han, ph&eacute;nom&egrave;ne de colonisation accentu&eacute;e par la construction de la ligne ferroviaire Beijing-Shigats&eacute; et parce qu&rsquo;elle abrite une imposante garnison militaire.<br />Principal monast&egrave;re de la province du Tsang, Tashilhunpo est un des six centres importants de la secte (au sens &laquo;&thinsp;&eacute;cole religieuse&thinsp;&raquo;) Gelugpa, dite de la tradition des Bonnets Jaunes (appellation chinoise). Cette v&eacute;ritable cit&eacute; monastique fut fond&eacute;e en 1447 par Gendun Drub, le premier Dala&iuml;-lama. En 1642, le cinqui&egrave;me Dala&iuml;-lama d&eacute;cerna &agrave; son tuteur, Ch&ouml;kyi Gyaltsen, le titre de Panchen Rinpotch&eacute;, soit &laquo;&thinsp;Grand ma&icirc;tre pr&eacute;cieux&thinsp;&raquo;, cr&eacute;ant la lign&eacute;e des Panchen-lamas, chacun d&rsquo;entre eux &eacute;tant reconnu comme l&rsquo;incarnation du Bouddha Amitabha ou Bouddha de &laquo;&thinsp;la lumi&egrave;re infinie&thinsp;&raquo;. Les Panchen-lamas sont des religieux tr&egrave;s v&eacute;n&eacute;r&eacute;s au Tibet, presqu&rsquo;autant que les Dala&iuml;-lamas, m&ecirc;me plus selon certains. Ce grand monast&egrave;re de Tashilhunpo, aux tr&egrave;s nombreux b&acirc;timents, palais, chapelles et ch&ouml;rten (tombeaux), se positionne &agrave; la base de la colline Dr&ouml;lma Ri et sa porte d&rsquo;entr&eacute;e principale est proche de la route Lhassa-Shigats&eacute;-N&eacute;pal. Un circuit d&eacute;ambulatoire p&eacute;r&eacute;grinal de trois kilom&egrave;tres entoure Tashilhunpo, gravissant la cr&ecirc;te derri&egrave;re le complexe et longeant les murs d&rsquo;enceinte nord. Cet itin&eacute;raire est emprunt&eacute; par les p&egrave;lerins pour acc&eacute;der au plus pr&egrave;s du grand mur blanchi par les moines. C&rsquo;est ici, pendant trois jours des mois de juin ou juillet (en fait, les 14&egrave;, 15&egrave; et 16&egrave; jours du 5&egrave; mois du calendrier tib&eacute;tain lunaire), qu&rsquo;une gigantesque thangka de 40 m&egrave;tres est d&eacute;roul&eacute;e. Trois jours, trois thangkas, trois Bouddhas (pr&eacute;sent, pass&eacute; et avenir).<br /><strong>1. Enfant, oiseaux et trompes. 1&rsquo;26</strong><br />Le Tashilhunpo, &laquo;&thinsp;l&rsquo;endroit vent&eacute; de bon augure&thinsp;&raquo;, h&eacute;berge un petit millier de moines (ils &eacute;taient environ 5000 en 1959 au moment de l&rsquo;arriv&eacute;e de l&rsquo;arm&eacute;e chinoise, puis la R&eacute;volution culturelle des ann&eacute;es 1960 a d&eacute;truit les 2/3 du monast&egrave;re).<br />Ce matin, &agrave; l&rsquo;aube de ce 26 juin 2010, des p&egrave;lerins, devant l&rsquo;esplanade qui fait face &agrave; l&rsquo;entr&eacute;e du monast&egrave;re, s&rsquo;agglutinant sur les stands des &laquo;&thinsp;marchands du temple&thinsp;&raquo; (rosaires mala, drapeaux &agrave; pri&egrave;res lungta, bo&icirc;tes ghau, perles dzi en agate, bols &agrave; offrandes, bols chantant, lampes &agrave; beurre, etc.) et campant autour de statues chinoises r&eacute;alistes, attendent avec ferveur que la gigantesque thangka soit d&eacute;roul&eacute;e du haut de la colline. Ceux-ci, des milliers, sont debout, depuis des heures, apr&egrave;s avoir march&eacute; des jours, sinon des semaines, en se prosternant &agrave; plat-ventre, front sur la route, &agrave; chaque pas. D&rsquo;autres, des dizaines de milliers, contournent le monast&egrave;re par la gauche, circumambulation traditionnellement dans le sens des aiguilles d&rsquo;une montre, comme le mouvement des moulins &agrave; pri&egrave;res qu&rsquo;ils brandissent presque tous, pour se trouver, une ou deux heures plus tard, juste sous la grande thangka. Les trompes g&eacute;antes tib&eacute;taines, au lointain, commencent &agrave; se faire entendre. Des petits enfants jouent au milieu de leurs parents qui prient. Les plus grands, scolaris&eacute;s, indiquent aux parents moins &eacute;duqu&eacute;s o&ugrave; ils peuvent s&rsquo;installer sur le sol. Des oiseaux gazouillent. Selon une l&eacute;gende, ils disent le futur, b&eacute;nissent et conseillent pour l&rsquo;avenir. Le premier Dala&iuml;-lama &eacute;tait natif de Shigats&eacute;. Apr&egrave;s sa mort, il avait &eacute;t&eacute; r&eacute;incarn&eacute; dans une famille de paysans qui avait d&ucirc; s&rsquo;enfuir en laissant le b&eacute;b&eacute; sous une pierre. Devenu Dala&iuml;-lama, un oiseau noir lui raconta dans un r&ecirc;ve, qu&rsquo;il avait prot&eacute;g&eacute; l&rsquo;enfant. Depuis, m&ecirc;me si ce n&rsquo;est pas de l&rsquo;ordre du religieux, c&rsquo;est bien une croyance populaire.<br /><strong><br />2. Moulins &agrave; pri&egrave;res des p&egrave;lerins. 7&rsquo;59</strong><br />Plusieurs groupes de p&egrave;lerins, tout en faisant tourner leurs gros moulins &agrave; pri&egrave;res mani korlo qui renferment des mantras &eacute;crits, et dont on entend les grincements, sont assis en cercles. Certains r&eacute;unissent des billets de banque pour construire un stupa (ch&ouml;rten) dans leur village. Offrandes et chants pour le Dharma, refl&egrave;tent les sens, la forme, la vue, l&rsquo;odorat, le go&ucirc;t, le toucher. Ils r&eacute;p&egrave;tent trois fois les quatre phrases suivantes :<br />Sang gy&egrave; tcheu tang tsok kyi tchok nam la<br />Jusqu&rsquo;&agrave; l&rsquo;&eacute;veil, je prends refuge en le Bouddha<br />Tchang tchoup par tou dak ni kyap sou tchi<br />Le Dharma est la communaut&eacute; supr&ecirc;me, la Sangha<br />Dak ki tcheu ny&egrave;n gyi p&egrave; tsok nam kyi<br />Gr&acirc;ce aux deux accumulations [m&eacute;rites et sagesse] recueillies par l&rsquo;&eacute;coute de l&rsquo;enseignement<br />Dro la p&egrave;n tchir sang gy&eacute; droup par chok.<br />Puiss&eacute;-je devenir un Bouddha pour le bien des &ecirc;tres.<br /><strong>3. Trompes et pri&egrave;res. 1&rsquo;13</strong><br />L&rsquo;appel des trompes, du haut de la colline, vers les 8 heures du matin, se fait de plus en plus pr&eacute;sent.<br />&laquo;&thinsp;Devant vous, Ma&icirc;tre fondateur, Bhagavan, Ainsi-all&eacute;, Destructeur de l&rsquo;ennemi, Bouddha parfaitement accompli, Glorieux Conqu&eacute;rant Bouddha Shakyamouni, je me prosterne. En vous je prends refuge et vous pr&eacute;sente des offrandes. Accordez-moi vos b&eacute;n&eacute;dictions&thinsp;&raquo;.<br /><strong>4. Bonzes en pri&egrave;res sous la thangka. 1&rsquo;37</strong><br />Plusieurs centaines de moines sont en activit&eacute;, au sommet et au pied de la colline. En haut, silencieux, on les voit d&eacute;rouler respectueusement la grande thangka, d&eacute;voilant une immense image peinte des trois Bouddhas. En bas, assis en tailleur, face au mur de la colline, d&rsquo;autres moines chantent leurs pri&egrave;res sous la repr&eacute;sentation religieuse. Les p&egrave;lerins, en un flot ininterrompu, d&eacute;filent dans le dos des moines, en jetant leurs &eacute;charpes khata de soie par-dessus les t&ecirc;tes des religieux, et les &eacute;toffes blanches de f&eacute;licit&eacute; s&rsquo;accumulent en vrac sous la thangka. Canalis&eacute;s par des jeunes femmes militaires chinoises, immobiles et impassibles, ils n&rsquo;ont pas le droit de s&rsquo;arr&ecirc;ter. Leurs pas, lents, sont accompagn&eacute;s par des tambours qui se tiennent &agrave; gauche de la thangka. Le texte de la pri&egrave;re, comment pratiquer le Dharma (enseignements spirituels, particuli&egrave;rement ceux du Bouddha), est autant r&eacute;p&eacute;titif que m&eacute;ditatif. &laquo;&thinsp;Quelle est la cause du probl&egrave;me qui emp&ecirc;che d&rsquo;atteindre le bonheur ? Comment arr&ecirc;ter la souffrance et s&rsquo;en lib&eacute;rer totalement ?&thinsp;&raquo;<br /><strong>5. Bonzes en pri&egrave;res devant les p&egrave;lerins. 2&rsquo;05</strong><br />Il est maintenant 9 heures du matin. La pri&egrave;re-r&eacute;citation continue, trois fois, sept fois ou d&rsquo;avantage. Un bouddhiste prend refuge dans les Trois Joyaux, le Bouddha, le Dharma et la Sangha (&laquo;&thinsp;Namo Bouddhaya, Namo Dharmaya, Namo Sanghaya&thinsp;&raquo;), pour tenter d&rsquo;&eacute;viter la souffrance du Samsara (Khorwa en tib&eacute;tain) et avec la foi que les Trois Joyaux ont le pouvoir de le mener vers le bonheur, la lib&eacute;ration ou l&rsquo;&eacute;veil.<br />6. Trompes, trompettes, fl&ucirc;tes et hautbois, conques, tambours et cymbales. 8&rsquo;45<br />Vers les 12 heures, la thangka du Bouddha Shakyamouni (563-483 avant J.-C., le quatri&egrave;me des mille Bouddhas, fondateur de ce qui est appel&eacute; aujourd&rsquo;hui le bouddhisme) est de nouveau enroul&eacute;e par les moines qui, par dizaines, portent ensuite sur leurs &eacute;paules, en file indienne, le long et lourd boudin sacr&eacute; du tissu peint. &Agrave; mi-parcours de la descente de la colline, les porteurs religieux sont encadr&eacute;s par d&rsquo;autres moines, des musiciens. Certains sont harnach&eacute;s aux flancs comme des mulets de deux tambours qu&rsquo;un autre moine, derri&egrave;re, frappe en donnant le rythme de la marche. &Agrave; la porte d&rsquo;un des b&acirc;timents de la cit&eacute;-monast&egrave;re, tous, ils s&rsquo;arr&ecirc;tent pour jouer une dizaine de minutes, bri&egrave;vement mais fortement. Puis, ils cessent brutalement, tournant les talons et rentrent, emportant la grande thangka du jour et les instruments de musique.<br />Les tambours ronds nga dhum, d&rsquo;origine indienne, ont fusionn&eacute; avec les petites trompes ou fl&ucirc;tes chinoises gua ling et autres hautbois et conques marines blanches dhung kar (symbole de l&rsquo;absence du mal, son pur du Dharma). Les longues trompes dhung chen ont rivalis&eacute; en une bataille musicale rapide avec les grandes cymbales bhub chel qui ont claqu&eacute; et craqu&eacute; en se superposant avec r&eacute;sonance dans l&rsquo;&eacute;cho des montagnes himalayennes, d&eacute;livrant une bien &eacute;trange fausse sonorit&eacute; de cornemuse celtique.<br /></span><span class=Soustitre><br />B. Monast&egrave;re de Ganden.</span><span class=Texte><br />Plage 7. Enregistrement le samedi 10 juillet 2010 dans la chapelle Nym Chu Lhakhang, &agrave; droite apr&egrave;s l&rsquo;entr&eacute;e du monast&egrave;re. Ganden est situ&eacute; au Nord-Est de Lhassa en longeant la rivi&egrave;re Kyi Chu. &Agrave; 36 km du Palais du Potala des Dala&iuml;-lamas, un chemin grimpe vers la vall&eacute;e de Ganden o&ugrave; le monast&egrave;re se trouve pr&egrave;s du sommet de la corniche sacr&eacute;e de Wangku Ri, &agrave; 4700 m&egrave;tres d&rsquo;altitude. Chaque petit matin, des camions convoient des p&egrave;lerins &agrave; partir du monast&egrave;re de Jokhang de Lhassa jusqu&rsquo;&agrave; Ganden, qui est pour eux la r&eacute;sidence de divinit&eacute;s (devas), le Paradis Tushita, et aussi la terre de Jampa (nom tib&eacute;tain de Maitreya, le futur bodhisattva qui sera le successeur de Bouddha). Ce monast&egrave;re fut cr&eacute;&eacute; en 1409 par Tsong Khapa, fondateur de l&rsquo;&eacute;cole religieuse dite secte Gelugpa. Le terme &laquo;&thinsp;gelug&thinsp;&raquo; signifie &laquo;&thinsp;vertueux&thinsp;&raquo;, mais on peut y voir la contraction de &laquo;&thinsp;Geden lug&thinsp;&raquo;, soit &laquo;&thinsp;la tradition de Geden&thinsp;&raquo;. Tsong Khapa, apr&egrave;s avoir m&eacute;dit&eacute; sur les lieux, d&eacute;cida que ce serait le premier monast&egrave;re des Bonnets Jaunes (d&eacute;nomination chinoise) et le principal. Contrairement &agrave; la coutume des autres monast&egrave;res, le titre d&rsquo;abb&eacute; de Ganden (Tri Rinpotch&eacute; ou Tripa) n&rsquo;est transmis ni par h&eacute;r&eacute;dit&eacute;, ni par incarnation, mais parmi les lamas les plus &eacute;rudits; cette fonction le destinait &agrave; devenir r&eacute;gent en cas d&rsquo;absence du Dala&iuml;-lama, ou pendant sa minorit&eacute;.<br />Des six grands monast&egrave;res de cette &eacute;cole religieuse (Ganden, S&eacute;ra, Drepung, Tashilhunpo, Labrang et Kumbum), il fut le plus d&eacute;vast&eacute; par l&rsquo;action des jeunes Gardes rouges chinois pendant la R&eacute;volution culturelle de 1966 (tanks et avions bombard&egrave;rent les b&acirc;timents et les moines qui s&rsquo;en &eacute;chapp&egrave;rent furent fusill&eacute;s). Depuis les ann&eacute;es 1980, les villageois des alentours font des efforts exceptionnels pour aider les moines &agrave; reconstruire le monast&egrave;re &agrave; l&rsquo;identique, avec sa couleur rouge brique fonc&eacute; si typique de Ganden. Des 3500 moines &agrave; son apog&eacute;e en 1959, date de l&rsquo;exil en Inde du Dala&iuml;-lama, il n&rsquo;en reste que 300 qui sont encore soumis &agrave; des s&eacute;ances de r&eacute;&eacute;ducation patriotique, depuis 1996, pour y avoir affich&eacute; des photos interdites du saint homme.<br /><strong>7. Sheri Devi. 32&rsquo;</strong><br />La chapelle Nym Chu Lhakhang, interdite aux femmes (c&rsquo;est indiqu&eacute; en tib&eacute;tain et en anglais sur une pancarte) est consacr&eacute;e aux quatre divinit&eacute;s protectrices : Gon-po ou Kala Rupa, Choegyal, Nam S&eacute; et Lhamo Devi. Deux religieux, le bonze Lobsang Dawa et le gu&eacute;sh&eacute; Kirchen r&eacute;citent donc, en diphonie, une pri&egrave;re de protection, importante dans la tradition gelugpa. L&rsquo;accompagnement rythm&eacute; se fait avec un tambour nga, des cymbales moyennes bhub chel, un petit tambour dhamaru, des petites cymbales entre le pouce et l&rsquo;index de la main droite qui renferme le sceptre vajra &agrave; l&rsquo;int&eacute;rieur de la paume, pendant que la main gauche agite une petite cloche drilbu.<br />Cette cloche, faite de 7 m&eacute;taux, est un symbole f&eacute;minin qui repr&eacute;sente la sagesse (par la connaissance) et la vacuit&eacute;. La cloche et le vajra sont l&rsquo;union de la sagesse et de la compassion. D&rsquo;ailleurs, le manche de la drilbu est un demi vajra repr&eacute;sentant les 5 &eacute;motions perturbatrices &agrave; transformer en 5 sagesses. Le son de la cloche est le son primordial, l&rsquo;appel du divin. Les deux petites cymbales, utilis&eacute;es dans les rituels du bouddhisme tib&eacute;tain, sont &eacute;galement fabriqu&eacute;es avec le m&ecirc;me alliage de 7 m&eacute;taux que les bols chantant (aux propri&eacute;t&eacute;s th&eacute;rapeutiques), correspondant aux 7 plan&egrave;tes : or (Soleil), argent (Lune), mercure (Mercure), cuivre (V&eacute;nus), fer (Mars), &eacute;tain (Jupiter) et plomb (Saturne). Quant au petit tambour dhamaru, utilis&eacute; pour les rituels tantriques, il &eacute;tait jadis fabriqu&eacute; &agrave; partir de deux demi-cr&acirc;nes humains. Le son proclame la f&eacute;licit&eacute;, et reproduit la circulation du sang lorsque le lama, sage ou yogi, est en silence complet.<br /></span><span class=Soustitre>C. Monast&egrave;re de S&eacute;ra.</span><span class=Texte><br />Plage 8. Enregistrement le lundi 5 juillet 2010 &agrave; 15 heures, avec la pr&eacute;sence de quelques 200 moines du monast&egrave;re de S&eacute;ra qui en compte 1200 au sein de trois coll&egrave;ges d&rsquo;&eacute;tudes.<br />S&eacute;ra est un des grands monast&egrave;res des Bonnets Jaunes gelugpa. Son nom signifie &laquo;&thinsp;L&rsquo;enclos des roses&thinsp;&raquo; mais aussi &laquo;&thinsp;la gr&ecirc;le&thinsp;&raquo;, car, d&rsquo;apr&egrave;s un dicton local, &laquo;&thinsp;la gr&ecirc;le peut d&eacute;truire la r&eacute;serve de riz&thinsp;&raquo;, sous-entendu le monast&egrave;re rival de Dr&eacute;pung, construit comme S&eacute;ra en 1419. Ces deux monast&egrave;res b&eacute;n&eacute;ficient, par ailleurs, d&rsquo;une aire o&ugrave; l&rsquo;on d&eacute;coupe les corps des morts et o&ugrave; l&rsquo;on broie leurs os, interdite aux &eacute;trangers. Du temps o&ugrave; y vivaient 5000 moines et novices, S&eacute;ra &eacute;tait renomm&eacute; pour son enseignement tantrique en mysticisme &eacute;sot&eacute;rique. Dans une des chapelles, l&rsquo;effigie de la d&eacute;esse Jetsun Dolma (Tara Verte la salvatrice) est apparue d&rsquo;elle-m&ecirc;me sur un rocher. Dans une autre chapelle, les p&egrave;lerins se prosternent jusqu&rsquo;&agrave; en user le sol car celui qui &laquo;&thinsp;offre sa t&ecirc;te&thinsp;&raquo; au protecteur Tamdrin, divinit&eacute; &agrave; t&ecirc;te de cheval, est garanti d&rsquo;avoir une descendance en bonne sant&eacute;.<br />S&eacute;ra, qui se trouve au pied de la montagne Phurpa Chok Ri, &agrave; 5 km au nord du Jokhang &agrave; Lhassa, est l&rsquo;un des monast&egrave;res les mieux pr&eacute;serv&eacute; du Tibet, miraculeusement &eacute;pargn&eacute; durant la R&eacute;volution culturelle mao&iuml;ste, bien que les cent huit volumes du canon bouddhique furent perdus ou d&eacute;truits &agrave; cette &eacute;poque.<br /><strong>8. Joutes oratoires philosophiques. 10&rsquo;35</strong><br />La cour des d&eacute;bats philosophiques, sous forme de joutes oratoires, tradition s&eacute;culaire, est ombrag&eacute;e par des arbres anciens. Les p&egrave;lerins d&eacute;posent des offrandes, &eacute;charpes, talismans et beurre de yak sur une grande pierre v&eacute;n&eacute;r&eacute;e pour y avoir re&ccedil;u des cieux la forme treize fois &eacute;crites de la voyelle &laquo;&thinsp;A&thinsp;&raquo;, alors que le ma&icirc;tre Tsong Khapa r&eacute;digeait son commentaire sur le classique de Nagarjuna, &laquo;&thinsp;la Voie du Milieu&thinsp;&raquo;. C&rsquo;est dans ce cadre que les moines sont interrog&eacute;s et r&eacute;pondent philosophiquement &agrave; toutes sortes de questions. Les &eacute;tudes durent vingt ans minimum, et commencent vers les sept ans avec la lecture, l&rsquo;&eacute;criture et la m&eacute;morisation de textes. L&rsquo;examen final a lieu en public, et c&rsquo;est la foule des moines (3000 en 1959) qui posent les questions mais ce sont deux professeurs qui jugent les candidats, deux par deux &eacute;tudiants. &Agrave; chaque question qu&rsquo;il pose, le lettr&eacute; se frappe lui-m&ecirc;me dans la paume. Les interrogations de cet enregistrement sont, en vrac, &laquo;&thinsp;Comment arriverons-nous &agrave; m&eacute;diter tout en gardant l&rsquo;&eacute;nergie pour obtenir l&rsquo;exp&eacute;rience de l&rsquo;esprit ?&thinsp;&raquo;, &laquo;&thinsp;Comment et pourquoi peut-on voir, sentir, percevoir ?&thinsp;&raquo;, &laquo;&thinsp;Comment se connecter l&rsquo;esprit, dans le c&oelig;ur et non dans le cerveau pour obtenir la vision ou l&rsquo;odorat ?&thinsp;&raquo;, &laquo;&thinsp;O&ugrave; suis-je, dans l&rsquo;esprit ou dans le corps ?&thinsp;&raquo;, &laquo;&thinsp;O&ugrave; est l&rsquo;esprit ? O&ugrave; est moi ?&thinsp;&raquo;, &laquo;&thinsp;Comment se d&eacute;tacher de son &eacute;go ?&thinsp;&raquo;. Des explications diverses sont donn&eacute;es comme r&eacute;ponses : &laquo;&thinsp;Le f&oelig;tus, dans le ventre de sa m&egrave;re, est d&rsquo;abord un c&oelig;ur qui devient l&rsquo;esprit. <br />Le corps est un r&eacute;cipient de l&rsquo;esprit&thinsp;&raquo;. &laquo;&thinsp;Si l&rsquo;on est en col&egrave;re, il faut se d&eacute;tacher, s&rsquo;&eacute;loigner d&rsquo;un sentiment qui n&rsquo;est pas soi tout en acceptant ces sentiments qui ne font pas partie de notre personnalit&eacute;&thinsp;&raquo; est une r&eacute;ponse &agrave; la question&#8200;: &laquo;&thinsp;Il y a du lait dans le caf&eacute;, ensemble ils se m&eacute;langent, comment les s&eacute;parer ?&thinsp;&raquo;<br /><strong>Production-r&eacute;alisation : Fran&ccedil;ois Jouffa.</strong><br />Enregistrements in situ au Tibet, en juin et juillet 2010, au Nagra IV-S, avec bandes magn&eacute;tiques RMG International, et deux micros Sennheiser MKH 416T.<br />Photos : Sylvie Jouffa au Nikon D90 (sauf pour la chapelle du monast&egrave;re de Ganden interdite aux femmes o&ugrave; Fran&ccedil;ois Jouffa a utilis&eacute; un Lumix Panasonic DMC-LXI plus discret).<br />Textes en fran&ccedil;ais et en anglais : Susie Jouffa.<br />Montage et pr&eacute;mastering : Alexis Frenkel, Sudio Art &amp; Son, Paris, 2011.<br />Editorialisation : Augustin Bondoux pour Groupe Fr&eacute;meaux Colombini.<br />Droits : Fr&eacute;meaux &amp; Associ&eacute;s.<br />Remerciements :<br />Merci &agrave; Annie Vorac (la Maison de la Chine, Paris), Lopsang Tenzyn (guide-interpr&egrave;te anglo-tib&eacute;tain de Lhassa) et Ky Sang (chauffeur-porteur). Merci &agrave; Katia Buffetrille (tib&eacute;tologue &agrave; l&rsquo;École pratique des hautes &eacute;tudes, Paris) pour ses conseils. Merci pour sa disponibilit&eacute;, quand il est &agrave; Paris, au gu&eacute;sh&eacute; Dakpa (qui &eacute;tudia au monast&egrave;re de Ganden de 1982 &agrave; 1989) et merci aussi au Centre Kalachakra parisien pour son accueil.<br />Merci, et surtout reconnaissance infinie, au cardiologue chinois du service des urgences de l&rsquo;h&ocirc;pital de Shigats&eacute;...<br />*** Du m&ecirc;me auteur : Tibet - Le Jokhang de Lhassa, pri&egrave;res et chants de travail. CD Fr&eacute;meaux &amp; Associ&eacute;s, 2011. FA5 312.<br /></span><span class=Soustitre2><br />Tibet. Music and prayers from the Yellow Hats monasteries: <br />Tashilhunpo, Ganden, Sera.</span><span class=Texte><br /></span><span class=Soustitre>By Fran&ccedil;ois Jouffa</span><span class=Texte><br /></span><span class=Soustitre>OM MANI PADME HUNG</span><span class=Texte><br />Sanskrit mantra particularly associated with the Bodhisattva of Compassion. <br /><strong><br />Total playing time: 65 minutes 50 seconds</strong><br /></span><span class=Soustitre>A. Tashilhunpo Monastery, Shigatse. </span><span class=Texte><br />Tracks 1, 2, 3, 4, 5 and 6. Recorded on Saturday, June 26th, 2010, on the second day of the Shigatse Great Thangka Festival held every year where tens of thousands pilgrims come to admire the huge displayed thangka. Shigatse (at an altitude of 3836 meters) is the second largest city in Tibet (after Lhasa, of course), now populated by a majority of Han Chinese people as the result of a colonization phenomenon emphasized by the construction of the Beijing-Shigatse railway and the presence of a impressive and imposing military garrison. <br />Main monastery of the Tsang Province, Tashilhunpo is one of six important centers of the Gelugpa sect (in the sense of &ldquo;religious school&rdquo;), named the Yellow Hats Tradition by the Chinese. Gendun Drub, the first Dalai Lama, founded the monastic city in 1447. In 1642, the fifth Dalai Lama gave his tutor, Ch&ouml;kyi Gyaltsen, the title of Panchen Rinpoche meaning the &ldquo;precious great/grand master&rdquo;, thus creating the lineage of the Panchen Lamas, each of them being <br />considered as the embodiment of the Buddha Amitabha, the &ldquo;Buddha of Infinite Light&rdquo;. Panchen Lamas are widely worshipped in Tibet, almost as much as the Dalai Lama, even more according to some people. The great Tashilhunpo Monastery with its numerous buildings, palaces, chapels and ch&ouml;rten (dome-shaped graves), is established down the Dr&ouml;lma Ri hill and its main front door is close to the Lhasa-Shigatse-Nepal road. A three-kilometers ambulatory peregrination path surrounds the Tashilhunpo Monastery climbing the ridge behind the complex and going along the northern outer walls. Pilgrims to reach, as closely as possible, the huge whitewashed wall by the monks, use this road. It is here that, for three days in June or July (actually the 14th, the 15th and 16th days of the 5th month of the Tibetan lunar calendar), a gigantic thangka of 40 meters is unwound. Three days, three thangkas, three Buddhas (of the past, the present and the future).<br /><strong>1. Children, birds and horns. 1&rsquo;26 </strong><br />Tashilhunpo, &ldquo;a windy place of good omen&rdquo;, accommodates almost a thousand monks (they were approximately 5000 in 1959 at the arrival of the Chinese army before the Cultural Revolution of the 1960s destroyed 2/3 of the monastery). In the morning of June 26th, 2010, at dawn, in front of the esplanade that faces the main entrance of the monastery, pilgrims are gathering around the stands of &ldquo;merchants of the Temple&rdquo; (mala rosaries, lungta prayers flags, gau boxes, dzi pearls, offering bowls, etc.) and around realistic Chinese statues, awaiting fervently for the gigantic thangka to be unwound down from the top of the hill. A few thousands of them have been standing for hours after they had walked for days, even for weeks, prostrating themselves by lying flat on their stomach and placing their forehead on the ground at each step. The other pilgrims, dozens of thousands, bypass the monastery by the left in the traditional clockwise circumambulation direction, alike the movement of the prayer wheels they almost all brandish until they will get right under the big thangka, one or two hours later. The Tibetan huge and long horns can now be heard in the distance. Children are playing around their parents who are praying. The oldest ones, who have the chance to be sent to school, indicate to their less educated parents where they may settle down on the ground. Birds are twittering. According to a legend, they can tell the future, bless people and give advice. The first Dalai Lama was native of Shigatse. After his death, he had been reincarnated among a family of peasants who had to run away and leave their baby under a stone. After he became the Dalai Lama, a black bird told him in a dream that he had protected the child. Since then, even if it is not part of the official religious doctrine, it became a popular belief.<br /><strong>2. Pilgrims prayer wheels. 7&rsquo;59 </strong><br />Several groups of pilgrims sitting in a circle have their big mani korlo prayer wheels that contain written mantras spinning. Some of them are collecting bank notes in order to build a st&ucirc;pa (ch&ouml;rten) in their village. The offerings and songs to the Dharma represent the five senses (vision, hearing, smell, taste and touch). They repeat three times in a row the following four sentences drawn from the prayer of Refuge and Bodhicitta: <br />Sang gy&egrave; tcheu tang tsok kyi tchok nam la<br />In the Buddha, the Dharma and the noblest Sangha<br />Tchang tchoup par tou dak ni kyap sou tchi<br />I take refuge until enlightenment is obtained<br />Dak ki tcheu ny&egrave;n gyi p&egrave; tsok nam kyi<br />By the merit of generosity and so forth<br />Dro la p&egrave;n tchir sang gy&eacute; droup par chok.<br />May I attain Buddhahood for the welfare of all beings. <br /><strong>3. Horns and prayers. 1&rsquo;13 </strong><br />The call of horns, from the top of the hill, at about 8:00 am, is increasingly loud. &ldquo;In front of you, Founding Master, Bhagavan, so going, Destroyer of the enemy, perfectly accomplished Buddha, Glorious Conqueror Shakyamuni Buddha, I prostrate myself. In you I take refuge and present you offerings. Grant me your blessings&rdquo;.<br /><strong><br />4. Bonzes in prayers under the thangka. 1&rsquo;37 </strong><br />Several hundred monks are bustling about at the top and at the foot of the hill. At the summit, one can see them unwinding respectfully, in silence, the big thangka that reveals a huge painted image of the three Buddhas. Below, sitting cross-legged and facing the hill, other monks, chant their prayers under the religious representation. Behind the monks, pilgrims are parading in a continuous stream, throwing their white khata silk scarves over the heads of the priests, the fabrics of bliss thus piling up in bulk under the thangka. Kept under surveillance by motionless and impassive Chinese military young women, they do not have the right to stop. Drummers who stand to the left of the thangka accompany their slow steps. The prayer text about how to practice the Dharma (spiritual teachings, particularly those of the Buddha) is repetitive and meditative. &ldquo;What is the cause of the problem that prevents from attaining bliss? How to stop suffering and release oneself from it totally?&rdquo; <br /><strong><br />5. Bonzes in prayers in front of the pilgrims. 2&rsquo;05 </strong><br />It is now 9:00 am. The chant-prayer-recitation continues, three times, seven times or more. The Buddhists take refuge in the Three Jewels, the Buddha, Dharma and Sangha (&ldquo;Namo Bouddhaya, Namo Dharmaya, Namo Sanghaya&rdquo;) in order to avoid suffering and attain freedom from Samsara (Khorwa in Tibetan) and with the faith that the Three Jewels have the power to lead towards happiness, the liberation or the enlightenment.<br /><strong>6. Horns, trumpets, flutes and oboes, conches, drums and cymbals. 8&rsquo;45 </strong><br />At about 12:00 o&rsquo;clock, the thangka of the Shakyamuni Buddha (563-483 before J.-C., the fourth of the Thousand Buddhas, founder of what is known today as Buddhism) is again rolled up by the monks. They are a several dozen to carry along on their shoulders, in single file, the long and heavy sacred painted fabric. Halfway through the descent of the hill, the religious carriers are accompanied by musician monks. Some of them carry on both sides of hips two drums stroke by another monk who thus gives the rhythm of the pacing rate. In front of the door of one of the buildings of the monastery town, they all stop and play about ten minutes, briefly but loudly. Then, they suddenly interrupt their music, turn around and walk away bringing with them the big thangka and their musical instruments. <br />The nga dhum round drums, of Indian origin, are combined with small Chinese gua ling horns or flutes and with oboes and dhung kar white marine conches (symbol of the absence of evil, pure sound of the Dharma). The long dhung chen horns competed in a short musical battle between big bhub chel cymbals that echoed in the Himalayan mountains, delivering a sort of strange wrong tone Celtic bagpipe.<br /></span><span class=Soustitre>B. Ganden Monastery.</span><span class=Texte><br />Track 7. Recorded on Saturday, July 10th, 2010 in the Nym Chu Lhakhang chapel situated to the right after the entrance of the monastery. Ganden is located East of Lhasa along the Kyi Chu River. At 40 km from the capital, a path climbs into the Ganden valley where the monastery stands near the summit of the sacred cliff road of Wangku Ri at an altitude of 4700 meters. Every early morning, trucks convey pilgrims from the Jokhang Monastery in Lhasa to Ganden, which is for them the residence of divine beings or devas, the Tushita Heaven, and also the land of Jampa (tibetan name for Maitreya, future bodhisattva who will be the successor of the Buddha). Tsongkhapa, founder of the religious school called the Gelugpa sect, built it in 1409. The term &ldquo;gelug&rdquo; means &ldquo;virtuous&rdquo;, but one can see the contraction of &ldquo;Geden lug&rdquo; namely the &ldquo;Ganden tradition&rdquo;. After having meditated on the scene, Tsongkhapa decided that it would be the first and the main monastery of the Yellow Hats (the Chinese name). Contrary to the custom of other monasteries, the title abbot of Ganden (Tri Rinpoche or Tripa) is not transmitted neither by heredity nor by embodiment, but is passed on among the most erudite lamas; this function /office designates the regent in case of absence of the Dalai Lama, or during its minority. <br />Among the six major monasteries of this religious school (Ganden, Sera, Drepung, Tashilhunpo, Labrang and Kumbum), it was the most devastated by the action of the young Chinese Red Guards during the Cultural Revolution of 1966 (the constructions were bombed by tanks and planes, and the monks who tried to escape were shot). Since the 1980s, the villagers of the surroundings help the monks to rebuild the monastery as it used to be with its dark red color bricks so typical of Ganden. They were 3500 monks at its peak in 1959, when the Dalai Lama found exile in India. The 300 remaining monks are still subjected to patriotic reeducation sessions since 1996 for having posted banned pictured of the holy man.<br /><strong><br />7. Sheri Devi. 32&rsquo; </strong><br />The Nym Chu Lhakhang chapel, forbidden to women (it is indicated in Tibetan and English on a sign) is dedicated to four protective divinities: Gonpo or Kala Rupa, Choe Gyal, Namse and Lhamo Devi. Two members of a religious community, the monk Lobsang Dawa and the gueshe Kirchen are therefore reciting, in overtone singing, a prayer of protection, important in the Gelugpa tradition. The rhythmical musical arrangement is provided by a nga drum, average sized bhub chel cymbals, a small dhamaru drum, small cymbals held between the thumb and the forefinger of the right hand which contains the vajra scepter inside the palm, while the left hand rings a small drilbu bell. <br />The bell, made of seven metals, is a feminine symbol, which represents wisdom (by the knowledge) and the vacuity. The bell and the vajra are the union of wisdom and compassion. Besides, the drilbu handle is a half vajra representing the 5 disruptive feelings to be transformed into 5 wisdoms. &shy;&shy;&shy;The sound of the bell is the primordial sound, the call of the divine. The two small cymbals used in the rituals of Tibetan Buddhism are also made with the same alloy of 7 metals as the melodious bowls (with therapeutic properties) corresponding to the 7 planets: gold (Sun), silver (Moon), mercury (Mercury), copper (Venus), iron (Mars), tin (Jupiter) and lead (Saturn). As to the small dhamaru drum used for tantric rituals, it was formerly made from two human half-skulls. The sound is the proclamation of bliss and reproduces the blood circulation when the lama, a wise man person or a yogi, is in complete silence.<br /></span><span class=Soustitre>C. Sera Monastery. </span><span class=Texte><br />Track 8. Recorded on Monday, July 5th, 2010 at 3:00 pm, with the presence of some 200 monks from the Sera Monastery that shelters 1200 priests divided into three groups of studies. <br />Sera is one of greatest monasteries of the Yellow Hats (Gelugpa). Its name means &ldquo;The enclosure of roses&rdquo; but also &ldquo;hail&rdquo; as, according to a local saying, &ldquo;Hail can destroy the rice reserve&rdquo;, suggesting it can destroy the rival Drepung monastery built, as Sera, in 1419. Both monasteries have, moreover, an area forbidden to foreigners where the bodies of the deads are cut and the bones are crushed. At the time, when 5000 monks and religious followers used to live there, Sera was renowned for its tantric teaching and its esoteric mysticism. In one of the chapels, the effigy of the goddess Jetsun Dolma (Green Tara, the Saviouress) once appeared on a rock. In another chapel, pilgrims prostrate themselves on the ground as it is believed that &ldquo;offering one&rsquo;s head&rdquo; to the protector Tam Drin, a horse-necked deity, brings the guarantee of have a healthy descent. <br />Sera which lies at the foot of the mountain Phurpa Chok Ri, 5 km north of the Jokhang in Lhasa, is one of the best preserved monasteries in Tibet, miraculously spared during the Maoist Cultural Revolution, although one hundred and eight volumes of the canonical Buddhist texts were lost or destroyed at that time.<br /><strong>8. Philosophical verbal sparring matches. 10&rsquo;35 </strong><br />The courtyard dedicated to philosophic debates, taking the form of oratorical contests, a secular tradition, is in old trees shade. Pilgrims leave offerings, scarves, talismans and yak butter on a big worshipped stone revered for having received thirteen times the shape of the vowel &ldquo;A&rdquo; from heavens while master Tsong Khapa drafted his comment on the Nagarjuna&rsquo;s Middle Way. It is in this context that the monks are questioned and answer to all sorts of philosophical questions. Studies take a minimum of 20 years. It begins at the age of 7 years old with the reading, the writing and the memorization of texts. The final examination takes place in public. The crowd of monks (3000 in 1959) raises the questions but it is two professors who evaluate the candidates, two by two students. At each questions asked, the scholar laps himself in the palm of his hand. The questions of this recording are here delivered disorderedly: &ldquo;How shall we manage to meditate while keeping the energy to get the experience of the mind?&rdquo;, &ldquo;How and why can we see, smell, perceive?&rdquo;, &ldquo;How to connect the mind, in the heart and not in the brain, to obtain the vision or the sense of smell?&rdquo;, &ldquo;Where am I, in the spirit or in the body?&rdquo;, &ldquo;Where is the spirit? Where is myself?&rdquo;, &ldquo;How to break away from one&rsquo;s ego?&rdquo;. Various explanations are given as answers: &ldquo;The fetus in the womb is at first a heart which becomes the mind. The body is a recipient for the mind&rdquo;. &ldquo;If we are angry, it is necessary to get loose from the feelings that are different from ourselves while accepting them though they are not a part of one&rsquo;s personality&rdquo; is an answer to the question: &ldquo;There is some milk in the coffee, together they mix, how to separate them?&rdquo;<br /><strong>Production-direction: Fran&ccedil;ois Jouffa</strong>. <br />In situ recordings in Tibet, June and July, 2010, with a Nagra IV-S <br />and two Sennheiser MKH 416T microphones, on RMG International magnetic tapes. <br />Photos: Sylvie Jouffa (with a Nikon D90, except for the chapel of the Ganden monastery forbidden to women where Fran&ccedil;ois Jouffa used the more discreet Panasonic Lumix DMC-LXI). <br />Texts in French and in English: Susie Jouffa. <br />Editing and premastering: Alexis Frenkel, Studio Art &amp; Son, Paris, 2011. <br />Publishing by Augustin Bondoux / Groupe Fr&eacute;meaux Colombini<br />&copy; 2015 Fr&eacute;meaux &amp; Associ&eacute;s<br />Acknowledgements&nbsp;&nbsp; &nbsp;<br />Thanks to: Annie Vorac (la Maison de la Chine, Paris), Lopsang Tenzin (Tibetan-English interpreter and guide of Lhasa) and Ky Sang (driver-carrier). Special thanks to Katia Buffetrille (Tibetologist at the École Pratique des Hautes Études, Paris) for her advice, and to gueshe Dakpa for his availability when he is in Paris (he studied in the Ganden monastery from 1982 to 1989). <br />We owe to the Chinese cardiologist of the emergency department of the Shigatse hospital a debt of endless gratitude&hellip; <br />*** Same production: Tibet, Jokhang in Lhasa, Buddhist chants and worksongs. CD Fr&eacute;meaux &amp; Associ&eacute;s, 2011. FA5 312.<br /><strong>Tibet - Musique et pri&egrave;res aux monast&egrave;res des Bonnets Jaunes&thinsp;:<br />Tashilhunpo, Ganden, S&eacute;ra<br />Tibet - Music and prayers from the Yellow Hats monasteries: Tashilhunpo, Ganden, Sera<br />R&eacute;alisation Fran&ccedil;ois Jouffa</strong><br />Collect&eacute;s en 2010 par Fran&ccedil;ois Jouffa, ces enregistrements in situ ont &eacute;t&eacute; r&eacute;alis&eacute;s en grande partie lors de la f&ecirc;te du d&eacute;roulement de la Grande Thangka (le &laquo;&thinsp;Festival de l&rsquo;Ensoleillement du Bouddha&thinsp;&raquo;) au monast&egrave;re de Tashilhunpo, fond&eacute; au XVe si&egrave;cle par Gendun Drub, le premier Dala&iuml;-lama. Cette cit&eacute; de plusieurs temples est un haut lieu de p&egrave;lerinage pour les disciples de l&rsquo;&eacute;cole religieuse Gelugpa, de la secte dite des &laquo;&thinsp;Bonnets Jaunes&thinsp;&raquo; (dont les coiffes fascinantes ont &eacute;t&eacute; immortalis&eacute;es par Herg&eacute; dans Tintin au Tibet), qui est l&rsquo;une des branches les plus v&eacute;n&eacute;r&eacute;es du bouddhisme. En compl&eacute;ment du disque &laquo;&thinsp;Tibet - Le Jokhang de Lhassa&thinsp;&raquo; (FA5312 dans cette collection), ce nouvel album permet &agrave; l&rsquo;auditeur d&rsquo;explorer une tradition mystique s&eacute;culaire au son des longues trompes tib&eacute;taines et des cymbales g&eacute;antes qui vrombissent dans les montagnes himalayennes, des pri&egrave;res et des joutes oratoires philosophiques des bonzes &eacute;rudits.&nbsp;&nbsp; &nbsp;<strong><br />Patrick Fr&eacute;meaux</strong><br />Most of these recordings were collected in 2010 by Fran&ccedil;ois Jouffa during the Tibetan Thangka Unveiling Festival (&ldquo;The Sunning of the Buddha Festival&rdquo;) at the monastery of Tashilhunpo, founded in the fifteenth century by Gendun Drub, the first Dalai Lama. With its several temples, this holly city has become an important site of pilgrimage for the followers of the Gelugpa religious school known as the &ldquo;Yellow Hats&rdquo; (whose fascinating headgears were immortalized by Herg&eacute; in Tintin in Tibet), which is the one of the most revered sects of Buddhism. In addition to the &ldquo;Tibet - The Jokhang in Lhasa&rdquo; disc (FA5312 in this collection), this new album allows the listener to explore an ancient mystical tradition to the sound of long Tibetan horns and giant cymbals that echo in the Himalayan mountains, prayers and monks philosophical verbal sparring matches.</span><br /><span class=Texte><span class=Texte><strong>Patrick Fr&eacute;meaux</strong></span><br /></span>"
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      "dwf_livret" => "<h3>TIBET - LE JOKHANG DE LHASSA</h3><p align=justify><span class=Soustitre>TIBET - LE JOKHANG DE LHASSA&nbsp;&nbsp; </span><span class=Texte><br /><strong>Pri&egrave;res et chants de travail&nbsp; </strong><br /><em>(Jokhang in Lhassa - Buddhist chants and worksongs)</em><br /><em>&ldquo;Quant au nom Thibet, il peut &ecirc;tre int&eacute;ressant de savoir qu&rsquo;il est inconnu des Thib&eacute;tains.&nbsp; Son origine reste obscure. Les Thib&eacute;tains appellent leur pays Peu yul ou, po&eacute;tiquement, en litt&eacute;rature, Gangs yul (le Pays des Neiges)&rdquo;. </em><br />Alexandra David-N&eacute;el, Voyage d&rsquo;une Parisienne &agrave; Lhassa, 1927 <br />N.B. : Tibet se voit parfois orthographi&eacute; Thibet, notamment dans les r&eacute;cits de l'exploratrice et orientaliste Alexandra David-N&eacute;el&nbsp;&nbsp; <br /></span><span class=Soustitre>Le Bouddhisme tib&eacute;tain </span><span class=Texte><br />Alors que le bouddhisme peut sembler, aujourd&rsquo;hui, indissociable de la culture du Tibet, il n&rsquo;en fut pas toujours ainsi. En raison de son acc&egrave;s difficile, le Toit du Monde conna&icirc;t un isolement g&eacute;ographique qui l&rsquo;a longtemps pr&eacute;serv&eacute; des influences ext&eacute;rieures. La conversion tardive du Tibet au bouddhisme n&rsquo;intervint que dans la premi&egrave;re moiti&eacute; du VIIe si&egrave;cle, avec l&rsquo;&eacute;mergence de l&rsquo;empire Yarlung. C&rsquo;est Songtsen Gampo le &ldquo;premier roi religieux&rdquo; qui, le premier, instaura et diffusa la religion bouddhiste. Il la percevait comme un facteur de civilisation et de prosp&eacute;rit&eacute; au regard de ce qui se passait dans d&rsquo;autres contr&eacute;es qui avaient d&eacute;j&agrave; adopt&eacute; le bouddhisme, notamment en Asie du Sud-est. En effet, en absorbant les anciennes cultures dites pr&eacute;bouddhiques (animistes), cette religion souvent li&eacute;e &agrave; la royaut&eacute;, permettait de promouvoir la nouvelle culture tib&eacute;taine et ainsi de consolider l&rsquo;influence &agrave; la fois politique et &eacute;conomique du monarque. Cette religion ayant un caract&egrave;re missionnaire depuis le r&egrave;gne de l&rsquo;empereur Ashoka (dynastie Maurya au IIIe si&egrave;cle av.J.-C.), Songtsen Gampo n&rsquo;h&eacute;sita pas &agrave; &eacute;riger le bouddhisme en religion d&rsquo;Etat. A l&rsquo;instar de l&rsquo;empereur indien, il &eacute;rigea de nombreux monuments bouddhiques dont les deux principaux temples du pays, &agrave; Lhassa, Jokhang et Ramoch&eacute;, mais aussi le palais du Potala originel, le Dragla Lugug en face du Potala, le Pabonka de S&eacute;ra, etc., qui sont encore aujourd&rsquo;hui d&rsquo;importants centres de p&egrave;lerinage. Avant de conna&icirc;tre une seconde diffusion vers la fin du Xe et durant le XIe si&egrave;cle, le bouddhisme fut temporairement &eacute;radiqu&eacute; au IXe si&egrave;cle sous le r&egrave;gne de Landarma, dernier roi de l&rsquo;empire Yarlung qui se morcela en un certain nombre de principaut&eacute;s ind&eacute;pendantes. Parfois appel&eacute; lama&iuml;sme, le bouddhisme tib&eacute;tain est une synth&egrave;se du Mah&acirc;y&acirc;na et du Tantrisme. Ces deux courants religieux du bouddhisme ont en commun un corpus de connaissances spirituelles. Mais, alors que le Grand V&eacute;hicule a pour id&eacute;al le bodhisattva qui recherche l&rsquo;Éveil, non pour son propre salut mais pour celui d&rsquo;autrui, tout en le retardant volontairement pour aider son prochain &agrave; atteindre le Nirv&acirc;na et ainsi &eacute;chapper au cycle des renaissances, les adeptes du Tantrisme &ndash; &eacute;galement appel&eacute; Vajray&acirc;na (&ldquo;V&eacute;hicule du Diamant&rdquo;) &ndash; pratiquent des m&eacute;thodes de yoga et de m&eacute;ditation permettant d&rsquo;atteindre &agrave; l&rsquo;Eveil gr&acirc;ce &agrave; la supervision d&rsquo;un ma&icirc;tre d&eacute;j&agrave; initi&eacute;. Le second essor du bouddhisme au Tibet vit &eacute;merger des sectes rivales, le charisme des ma&icirc;tres spirituels pr&eacute;valant parfois sur d&rsquo;autres consid&eacute;rations. Les Nyingmapa, les Kagy&uuml;pa, les Sakyapa et les Gelugpa constituent les quatre principales &eacute;coles du bouddhisme tib&eacute;tain. La plus r&eacute;cente, la tradition Gelugpa, fond&eacute;e par Tsong Khapa (1357-1419), est aussi appel&eacute;e l&rsquo;&eacute;cole des Bonnets jaunes. Cette nouvelle formulation du bouddhisme tib&eacute;tain, n&eacute;e en partie en r&eacute;action au laxisme moral ambiant et aux d&eacute;viations observ&eacute;es dans l&rsquo;interpr&eacute;tation des tantras, pr&ocirc;ne une plus grande discipline de vie monastique (vinaya) et une codifi&shy;cation de la voie menant &agrave; l&rsquo;Eveil, le processus de purification mentale &eacute;tant constitu&eacute; de 10 niveaux spirituels conduisant ultimement au salut. Le terme &ldquo;Gelug&rdquo; signifie &ldquo;Vertueux&rdquo; mais certains y voient la contraction de Geden lug (&ldquo;tradition de Geden&rdquo;) en r&eacute;f&eacute;rence au monast&egrave;re de Ganden fond&eacute; en 1409 par Tsong Khapa lui-m&ecirc;me. Des principaux disciples de ce grand r&eacute;formateur est issue la lign&eacute;e des Dala&iuml;-lamas, consid&eacute;r&eacute;s comme des incarnations de Chenresi (Avalokiteshvara), le Bodhisattva de la Compassion. Du syst&egrave;me Gelugpa est &eacute;galement issue une autre lign&eacute;e de r&eacute;incarnations, celle des Panchen-lamas, abb&eacute;s du monast&egrave;re de Tashilhumpo &agrave; Shigats&eacute; et seconde autorit&eacute; spirituelle du Tibet li&eacute;e au Dala&iuml;-lama par une relation de disciple &agrave; ma&icirc;tre. Cette relation est certainement aujourd&rsquo;hui alt&eacute;r&eacute;e en raison du conflit entre les Tib&eacute;tains et les autorit&eacute;s chinoises sur la d&eacute;signation du 11e Panchen-lama. <br /></span><span class=Soustitre>Lhassa, ville sainte du Tibet </span><span class=Texte><br />Situ&eacute;e sur le plateau du Tibet dans une vall&eacute;e bord&eacute;e de montagnes, Lhassa, une des villes les plus hautes du monde avec ses 3658 m d&rsquo;altitude, est la &ldquo;Terre des dieux&rdquo; (Lha signifiant divinit&eacute; et Sa, la terre, le sol). Elle est devenue un lieu saint durant la premi&egrave;re moiti&eacute; du VIIe si&egrave;cle gr&acirc;ce au premier essor du bouddhisme qui est l&rsquo;oeuvre des trois premiers &ldquo;rois religieux&rdquo; (Ch&ouml;gyal) du Tibet, dont le premier est Songtsen Gampo (&tilde; 617-650). Poursuivant l&rsquo;&oelig;uvre politique et militaire de son p&egrave;re Namri Songtsen (&tilde; 570-619), le &ldquo;Commandant aux cent mille Guerriers&rdquo;, il unifia le Tibet et continua d&rsquo;&eacute;tendre les limites de cet empire encore balbutiant gr&acirc;ce &agrave; ses faits d&rsquo;arme et &agrave; des alliances matrimoniales strat&eacute;giques. En effet, il &eacute;pousa en 632 la princesse n&eacute;palaise Tritsun (Brikuti) apr&egrave;s avoir conquis le N&eacute;pal et re&ccedil;ut la main de la princesse chinoise Wencheng, en 641, apr&egrave;s qu&rsquo;il e&ucirc;t menac&eacute; la fronti&egrave;re occidentale de la Chine des Tang. Toutes deux bouddhistes, ses &eacute;pouses, consid&eacute;r&eacute;es respectivement comme des &eacute;manations de la Tara Verte et de la Tara Blanche eurent une influence primordiale sur leur &eacute;poux mais surtout sur le cours de l&rsquo;histoire du Tibet. En effet, Songtsen Gampo introduisit le bouddhisme au Tibet et transf&eacute;ra la capitale de Chingwa Tagtse &agrave; Lhassa qui devint rapidement une cit&eacute; importante du bouddhisme.&nbsp; Avec ses nombreux monuments bouddhiques, la cit&eacute; sacr&eacute;e est devenue un lieu de p&egrave;lerinage incontournable du Tibet pour les nombreux p&egrave;lerins cherchant &agrave; favoriser une renaissance meilleure dans une vie prochaine, les privations du temps pr&eacute;sent se transformant en m&eacute;rites qui assurent une existence plus douce. Cependant, tout p&egrave;lerinage n&rsquo;implique pas n&eacute;cessairement un d&eacute;placement physique. Le tantrisme con&ccedil;oit, en effet, le p&egrave;lerinage comme un voyage informel qu&rsquo;il est possible d&rsquo;accomplir int&eacute;rieurement, le d&eacute;placement se r&eacute;alisant en soi, chaque r&eacute;gion du corps correspondant &agrave; un site g&eacute;ographique. Mais les religieux ou les simples croyants qui se d&eacute;placent &agrave; Lhassa observent des gestes rituels immuables depuis de nombreux si&egrave;cles. Outre les actes d&rsquo;offrande, souvent accompagn&eacute;s de la r&eacute;citation de mantras cens&eacute;s les aider &agrave; parvenir &agrave; un &eacute;tat m&eacute;ditatif dont le plus r&eacute;pandu au Tibet est &ldquo;Om Mani Padme Hum&rdquo; (symbole verbal de Chenresi, Bodhisattva de la Compassion et protecteur du Tibet), les croyants s&rsquo;aspergent de quelques gouttes d&rsquo;eau rituelle, puis cherchent &agrave; obtenir une audience (darsan) avec un lama ou le ma&icirc;tre spirituel d&rsquo;un sanctuaire. Ils pratiquent &eacute;galement la circumambulation autour de lieux sacr&eacute;s, dans le sens des aiguilles d&rsquo;une montre. Originaire de l&rsquo;Inde, cette fa&ccedil;on de rendre hommage favorise la concentration spirituelle et constitue un acte de d&eacute;votion favorisant l&rsquo;acquisition de m&eacute;rites. L&rsquo;un des corridors (appel&eacute;s khorlam au Tibet) les plus parcourus est le Nangkhor qui ceint le sanctuaire principal du monast&egrave;re du Jokhang. Mais l&rsquo;observance religieuse la plus remarquable est la prosternation (chaksthal), de tradition essentiellement tib&eacute;taine. Afin de montrer et d&rsquo;&eacute;prouver sa foi, le fervent p&egrave;lerin touche de ses mains jointes son front (l&rsquo;esprit), sa r&eacute;gion bucco-gutturale (la parole) et son c&oelig;ur (le corps) avant de se prosterner en s&rsquo;&eacute;tirant de tout son long sur le sol. Les plus valeureux accomplissent ainsi cette incroyable performance physique, quel que soit leur &acirc;ge, durant les nombreux jours, mois ou ann&eacute;es que dure leur p&egrave;lerinage. Autrement, seule la prosternation &agrave; trois reprises avant d&rsquo;entrer dans un monast&egrave;re est exig&eacute;e.&nbsp; Avec le d&eacute;veloppement d&rsquo;une &eacute;conomie locale et du tourisme, le Barkhor, ce chemin de p&egrave;lerinage qui encercle le complexe du Jokhang, est le lieu d&rsquo;une succession d&rsquo;&eacute;choppes des marchands du temple. Haut lieu de la vie culturelle et religieuse, Lhassa devint &eacute;galement, au XVIIe si&egrave;cle, le si&egrave;ge du gouvernement du Tibet gr&acirc;ce au 5&egrave;me Dala&iuml;-lama, Lobsang Gyatso (1617-1682). Avec l&rsquo;occupation chinoise &agrave; partir de 1951, cette ancienne capitale du royaume tib&eacute;tain n&rsquo;est plus qu&rsquo;une division administrative de la Chine, le chef-lieu de la R&eacute;gion autonome du Tibet, laquelle ne couvre qu&rsquo;environ la moiti&eacute; du Tibet historique, cette aire revendiqu&eacute;e par le gouvernement tib&eacute;tain en exil. Dharamsala, terre d&rsquo;accueil en Inde du 14&egrave;me Dala&iuml;-lama, Tenzin Gyatso, est par ailleurs surnomm&eacute;e &ldquo;la petite Lhassa&rdquo;.&nbsp; <br /></span><span class=Soustitre>Le Jokhang</span><span class=Texte> <br />Lieu le plus sacr&eacute; du Tibet en ce qu&rsquo;il est d&eacute;positaire de la statue la plus v&eacute;n&eacute;r&eacute;e du pays, le Jowo Sh&acirc;kyamuni, le Tsuglag Khang, plus commun&eacute;ment appel&eacute; le Jokhang, est &agrave; la fois le centre et le symbole de la ville sainte de Lhassa. Consid&eacute;r&eacute; comme le premier et le plus important temple bouddhique du Tibet, il &eacute;tait originellement destin&eacute; &agrave; abriter les tr&eacute;sors constitu&eacute;s par la dot de l&rsquo;&eacute;pouse n&eacute;palaise de Songtsen Gampo, notamment la statue du Bouddha &agrave; l&rsquo;&acirc;ge de 8 ans (Jowo Mikyo Dorje/Akshobya). Mais, aujourd&rsquo;hui, celle-ci se trouve &agrave; 1 km au nord, dans le second temple le plus sacr&eacute; de Lhassa, Ramoch&eacute;, o&ugrave; devait &ecirc;tre d&eacute;pos&eacute;e la statue rapport&eacute;e par la princesse Wencheng, celle du Bouddha &agrave; l&rsquo;&acirc;ge de 12 ans (Jowo Sh&acirc;kyamuni/Mikyo Dorje), actuellement ador&eacute;e au Jokhang. Cette derni&egrave;re statue est &agrave; l&rsquo;origine un pr&eacute;sent que le roi du Magadha (Bengale) avait offert au p&egrave;re de Wencheng, Tang Taizong, qui r&eacute;gna de 627 &agrave; 649, en r&eacute;compense de son aide face &agrave; l&rsquo;invasion des Yavana. Si la statue du Bouddha &agrave; 12 ans est actuellement au Jokhang, c&rsquo;est que durant le r&egrave;gne de Mangsong Mangtsen (649-676), une rumeur courut selon laquelle la dynastie Tang s&rsquo;appr&ecirc;tait &agrave; attaquer le Tibet. Aussi, pour prot&eacute;ger la v&eacute;n&eacute;r&eacute;e statue, il fut ordonn&eacute; que la statue apport&eacute;e de Chine soit transf&eacute;r&eacute;e de Ramoch&eacute; au Jokhang o&ugrave; elle fut cach&eacute;e dans une chambre secr&egrave;te durant soixante ans. Lorsque la paix entre le Tibet et la Chine des Tang fut r&eacute;tablie et scell&eacute;e gr&acirc;ce &agrave; une nouvelle alliance matrimoniale, en 710, ladite statue fut plac&eacute;e dans la chapelle principale du Jokhang o&ugrave; elle demeure encore, alors que la statue ramen&eacute;e du N&eacute;pal est rest&eacute;e dans son second temple d&rsquo;adoption. Le choix du site le plus propice &agrave; sa construction est li&eacute; &agrave; un mythe qui ne fait qu&rsquo;accentuer le caract&egrave;re magique du lieu. <br />En effet, gr&acirc;ce aux m&eacute;thodes chinoises de g&eacute;omancie apport&eacute;es par la seconde &eacute;pouse du roi tib&eacute;tain, il put &ecirc;tre d&eacute;termin&eacute; qu&rsquo;une d&eacute;mone gisait, allong&eacute;e sur le dos, &agrave; Lhassa et qu&rsquo;afin de la mettre hors d&rsquo;&eacute;tat de nuire, il fallut construire des monast&egrave;res et &eacute;riger des statues de divinit&eacute;s en des points strat&eacute;giques pr&eacute;cis. Douze institutions monastiques furent ainsi b&acirc;ties avant les premiers travaux du Jokhang qui devait clore cet ambitieux programme. Construit sur l&rsquo;ancien lac W&ouml;thang, correspondant au c&oelig;ur de la cr&eacute;ature, ce temple devait achever de la neutraliser.&nbsp;&nbsp; Malgr&eacute; des difficult&eacute;s pour combler l&rsquo;&eacute;tendue d&rsquo;eau et construire par dessus, le Jokhang fut &eacute;difi&eacute; vers 639 ou 647. Enti&egrave;rement financ&eacute; par la princesse n&eacute;palaise Tritsun, il est orient&eacute; vers l&rsquo;ouest, en direction du N&eacute;pal, en signe de reconnaissance. Le temple que l&rsquo;on peut voir aujourd&rsquo;hui, haut de quatre &eacute;tages, est constitu&eacute; de deux structures distinctes identifi&eacute;es comme &ldquo;le Jokhang int&eacute;rieur&rdquo; et le &ldquo;Jokhang ext&eacute;rieur&rdquo;. Le premier, qui est le plus ancien et le plus important, correspond au plan initial qui reprend la forme des vihara indien avec ses nombreuses cellules monastiques entourant la salle de r&eacute;union et de m&eacute;ditation, de plan g&eacute;n&eacute;ralement carr&eacute;, qui abrite une image du Bouddha. Le tout &eacute;tant entour&eacute; par un corridor ambulatoire, le Nangkhor. Cette structure de base est &agrave; pr&eacute;sent comprise dans un complexe qui mesure &agrave; pr&eacute;sent&nbsp; 25 000 m2 et qui comprend de nombreuses chapelles auxiliaires, des r&eacute;serves alimentaires et bien d&rsquo;autres pi&egrave;ces encore. Le roi Songtsen Gampo est traditionnellement cr&eacute;dit&eacute; pour la construction du premier &eacute;tage du temple alors que le deuxi&egrave;me niveau est g&eacute;n&eacute;ralement attribu&eacute; &agrave; son successeur, Trisong Detsen. Le troisi&egrave;me est plus tardif. En raison d&rsquo;une s&eacute;rie de r&eacute;fections, parfois de grande ampleur, et de restaurations importantes &ndash; notamment apr&egrave;s les dommages cons&eacute;cutifs &agrave; la R&eacute;volution culturelle chinoise &ndash; il est difficile d&rsquo;&eacute;tablir et sa conception architecturale originelle et l&rsquo;authenticit&eacute; des statues actuelles qui, pour la plupart, datent des ann&eacute;es 1980. Les peintures murales, quant &agrave; elles, dateraient des XVIIIe et XIXe si&egrave;cles. Le Hall d&rsquo;Assembl&eacute;e principal, appel&eacute; Khyamra Chenmo, est un hall &agrave; colonnes &agrave; ciel ouvert situ&eacute; entre l&rsquo;entr&eacute;e principale et le sanctum sanctorum qui abrite la statue la plus v&eacute;n&eacute;r&eacute;e du Bouddha. Autour court une terrasse alors qu&rsquo;au nord, on aper&ccedil;oit la fa&ccedil;ade d&rsquo;une b&acirc;tisse &agrave; deux niveaux surmont&eacute;e d&rsquo;un toit en pagode dor&eacute; qui abrite les chambres du Dala&iuml;-Lama. Initialement con&ccedil;u pour recevoir le festival de M&ouml;nlam, ou festival de la Grande Pri&egrave;re, qui a lieu durant le premier mois du calendrier tib&eacute;tain, les travaux du Khyamra furent initi&eacute;s par le fondateur de la secte Gelugpa, Tsong Khapa, en 1409. Durant cet important festival religieux, les moines des principaux monast&egrave;res du Tibet &ndash; S&eacute;ra, Dr&eacute;prung et Ganden &ndash; se r&eacute;unissent dans ce hall afin de prier ensemble l&rsquo;image du Bouddha Sh&acirc;kyamuni. D&rsquo;autres c&eacute;r&eacute;monies et offices religieux peuvent aujourd&rsquo;hui y prendre place. Bien qu&rsquo;il s&rsquo;agisse d&rsquo;une fondation royale, le Jokhang n&rsquo;a jamais &eacute;t&eacute; r&eacute;serv&eacute; au seul roi et &agrave; sa famille ou bien &agrave; une &eacute;cole bouddhique particuli&egrave;re. Lieu de culte favorisant les &eacute;changes et la discussion, le temple est un lieu de p&egrave;lerinage majeur du Tibet.&nbsp; <br /><u><strong>Dur&eacute;e totale du CD : 66&rsquo;17 </strong></u><br /><strong>1 - PRI&Egrave;RES</strong> 14&rsquo;31 <br />L&rsquo;enregistrement a eu lieu le lundi 5 juillet 2010, &agrave; 18h30, dans le Hall d&rsquo;Assembl&eacute;e principale. 108 bonzes sont en pri&egrave;re pendant que l&rsquo;un d&rsquo;eux leur sert du th&eacute; et que quelques p&egrave;lerins privil&eacute;gi&eacute;s passent de l&rsquo;un &agrave; l&rsquo;autre pour leur faire des offrandes en billets de banque chinois. <br /><em><strong>a. Spyi bshags (Pri&egrave;re de purification)</strong></em>. 1&rsquo;36 Cette pri&egrave;re, qui est un texte standard d&rsquo;usage dans tout le Tibet, est constitu&eacute;e de deux textes issus du Mah&acirc;y&acirc;na, le Drung Shang et le Kyi Shak, comportant des versets qui rendent hommage aux vertus du Bouddha. Destin&eacute;e &agrave; purifier les &acirc;mes, non pas d&rsquo;un individu mais de l&rsquo;humanit&eacute; en son ensemble, elle est aussi une forme de confession globale. Nous &eacute;coutons ici le Kyi Shak. <br /><em><strong>b. Tsogyelma (Pri&egrave;re &agrave; cette divinit&eacute;)</strong></em>. 1&rsquo;36-2&rsquo;46 <br /><em><strong>c. Dga&rsquo; ldan lha brgya ma (Pri&egrave;re fond&eacute;e sur la d&eacute;votion pure).</strong></em> 2&rsquo;46-4&rsquo;33 Invocation au guru yogi Tsongkhapa (1357-1419), fondateur de l&rsquo;&eacute;cole des Gelugpa - Bonnets Jaunes.&nbsp; <br /><em><strong>d. &lsquo;Phags bstod (Pri&egrave;re de louanges)</strong></em>. 4&rsquo;33-14&rsquo;31 Ce texte loue les vertus du Bodhisattva de la Compassion, Avalokiteshvara (Chenrezi), en &eacute;num&eacute;rant les diff&eacute;rents aspects que prennent ses qualit&eacute;s spirituelles. <br /><strong>2 - PRI&Egrave;RES. 12&rsquo;34 </strong><br /><em><strong>a. Chenrezi seuldeb (Pri&egrave;re d&eacute;di&eacute;e au Dala&iuml;-lama en tant que r&eacute;incarnation de Chenrezi).</strong></em> 1&rsquo;00 b. Jowo Sh&acirc;kyamuni Tsuglag Khang (Pri&egrave;re d&eacute;di&eacute;e &agrave; la statue du Bouddha &agrave; 12 ans). 1&rsquo;00-6&rsquo;06 c. Bde smon (Pri&egrave;re pour rena&icirc;tre &agrave; Sukhavat&icirc;, le paradis du Bouddha Amit&acirc;bha). 6&rsquo;06-12&rsquo;34 <br /><strong>3 - PRI&Egrave;RES. </strong>24&rsquo;18 <br /><strong>a. Shes rab snying po (S&ucirc;tra du c&oelig;ur).</strong> 3&rsquo;30 <br /><em><strong>b. Mngon rtogs rgyan (&ldquo;Ornement de la r&eacute;alisation parfaite&rdquo;).</strong></em> 3&rsquo;30-14&rsquo;00&nbsp; L&rsquo;un des Cinq trait&eacute;s compos&eacute; par Asanga au IVe si&egrave;cle, relatifs au Bouddha du futur Maitreya. <br /><em><strong>c. Sgrol ma (Pri&egrave;re d&eacute;di&eacute;e &agrave; Tara, la Lib&eacute;ratrice).</strong></em> 14&rsquo;00-18&rsquo;10&nbsp; <br /><em><strong>d. Myur mdzas ma (Pri&egrave;re d&eacute;di&eacute;e au protecteur Mah&acirc;k&acirc;la).</strong></em> 18&rsquo;10-19&rsquo;08 <br /><em><strong>e. Chos rgyal bstod pa (Louange au Dharmaraja, le garant de l&rsquo;ordre socio-cosmique). </strong></em>19&rsquo;08-19&rsquo;50 <br /><em><strong>f. Lha mo&rsquo;i gtor &lsquo;bul (Offrande de g&acirc;teaux sacrificiels torma &agrave; la divinit&eacute; Pelden Lhamo).</strong></em> 19&rsquo;50-21&rsquo;39 <br /><em><strong>g. Byams smon (Pri&egrave;re &agrave; Maitreya, le Bouddha du futur).</strong></em> 21&rsquo;39-24&rsquo;18 <br /><strong>CHANTS DE TRAVAIL (Arr-kha) </strong><br />L&rsquo;enregistrement a eu lieu le jeudi 8 juillet 2010, &agrave; 17 h, sur un des toits en r&eacute;fection du Jokhang. Une soixantaine d&rsquo;ouvriers, dont deux tiers de femmes, tassent un ciment de boue, de pierrailles et de colle de r&eacute;sine d&rsquo;arbre pour consolider plusieurs toits du monast&egrave;re. Cette technique sp&eacute;ciale au Tibet Central est destin&eacute;e aux palais et aux temples depuis sept si&egrave;cles et le 28e roi du Tibet, au d&eacute;but du bouddhisme. En pi&eacute;tinant le sol, divis&eacute;s en deux groupes, &agrave; tour de r&ocirc;le, un long et lourd maillet &agrave; la main, les travailleurs avancent, reculent, de face, de dos, &agrave; gauche, &agrave; droite, en une chor&eacute;graphie accompagn&eacute;e de chants de travail. Couverts de boue, accompagn&eacute;s de leurs petits enfants qui attendent sagement, ils travaillent sept jours par semaine avec un jour de cong&eacute; toutes les deux semaines, de 8 &agrave; 13 h puis de 14 h 30 &agrave; 19 h 30, dix heures par jours pour 43 yuans par jour (environ 4,30 euros) pay&eacute;s par le monast&egrave;re. Le vent de l&rsquo;orage claquait dans les toiles des b&acirc;ches et des drapeaux de pri&egrave;re. <br /><em><strong>4 - Arr-kha I.</strong></em> 4&rsquo;37&nbsp;&nbsp;&nbsp; <br /></span><span class=Texte><strong>5 - Arr-kha II.</strong> 2&rsquo;25&nbsp;&nbsp; <br /></span><span class=Texte><em><strong>6 - Arr-kha III.</strong></em> 1&rsquo;39 <br /><em><strong>7 - Arr-kha IV.</strong></em> 2&rsquo;44 <br /><u>Bonus </u><br />Durant la pause th&eacute; de trente minutes de 17 h, deux jeunes travailleurs interpr&egrave;tent deux chansons. <br /><em><strong>8 - Shon nu lung tso (&ldquo;Young Life&rdquo;). </strong></em>1&rsquo;44 Chanson d&rsquo;amour interpr&eacute;t&eacute;e par Kye Sang et Tashi Puntsok, vingt ans chacun. <br /><em><strong>9 - Changchain bho kyi pha sang (&ldquo;Holly Land&rdquo;).</strong></em> 1&rsquo;26 Chant&eacute; par Kye Sang, d&eacute;di&eacute; &agrave; la m&egrave;re nature du Pays des Neiges, le Tibet aux belles montagnes blanches et &agrave; l&rsquo;herbe verte. Le dernier mot est Tashi Deley, utilis&eacute; pour dire &ldquo;Bonjour&rdquo; mais aussi pour signifier &ldquo;Tr&egrave;s bien&rdquo; ou pour souhaiter &ldquo;Bonne chance&rdquo;.&nbsp; <br />Production-r&eacute;alisation : Fran&ccedil;ois Jouffa. <br />Enregistrements &agrave; Lhassa, Tibet, en juillet 2010, au Nagra IV-S, micros Sennheiser MKH416T,&nbsp; bandes magn&eacute;tiques RMG International. <br />Photos : Sylvie Jouffa (Nikon D90). <br />Textes en fran&ccedil;ais et en anglais : Susie Jouffa. <br />Montage et pr&eacute;mastering : Alexis Frenkel, Studio Art &amp; Son, Paris. <br />Conseillers artistiques et techniques : Benjamin Goldenstein et Alexis Jouffa.&nbsp; <br /><u>Remerciements</u> :&nbsp; Ces enregistrements ont pu &ecirc;tre r&eacute;alis&eacute;s gr&acirc;ce &agrave; la b&eacute;n&eacute;diction du lama sup&eacute;rieur Kushu Wangduk La, professeur g&eacute;sh&eacute; de philosophie au Jokhang, le monast&egrave;re le plus v&eacute;n&eacute;r&eacute; du Tibet. Merci &eacute;galement &agrave; Annie Vorac (Maison de la Chine, Paris), Ngawang Tenzin (Shambala Palace, Lhassa), Lopsang Tenzyn (guide-interpr&egrave;te) et Ky Sang (chauffeur-sherpa). Merci aussi &agrave; Thupten Gyatso (Pr&eacute;sident de la Communaut&eacute; Tib&eacute;taine de France), Katia Buffetrille (tib&eacute;tologue &agrave; l&rsquo;École Pratique des Hautes Études), Datsen Thubten Gyatso (&eacute;crivain tib&eacute;tain d&rsquo;Amdo), G&eacute;sh&eacute; Daktsonn et Sylvain Berthet (traducteur).&nbsp;&nbsp;&nbsp; <br /></span><em><span class=Soustitre>english notes</span></em><span class=Texte><br /><em>&lsquo;As for the name Thibet, it may be interesting to know that it is a word unknown in the Thibetan language. Its origin is not quite clearly traced, but Thibetans ignore it completely. They call their country P&ouml;d yul and themselves P&ouml;d pas.&rsquo;</em> <br />Alexandra David-Neel. My Journey to Lhasa, 1927 <br /></span><span class=Soustitre>Tibetan Buddhism </span><span class=Texte><br />While nowadays Buddhism may seem inseparable from the culture of Tibet, it has not always been so. Because of its difficult access, the Roof of the World has always experienced a geographical isolation that has long protected it from outside influences. The late conversion of Tibet to Buddhism did not take place before the first half of the seventh century, with the emergence of the Yarlung Empire. Songtsen Gampo (ca. 617-650), &laquo;the first religious king&raquo;, is the first to have introduced and spread the Buddhist religion that he perceived as a factor of civilization and prosperity in the light of what was going on in other countries that had already adopted Buddhism, in particular in Southeast Asia. Indeed, by absorbing the ancient prebuddhist cultures, this religion - often associated with royalty - favoured the promotion of the nascent Tibetan culture and thus contributed in the consolidation of the political and economical influence of the monarch. As this religion has a missionary character since the reign of the Emperor Ashoka (Maurya dynasty in the third century BC), Song&shy;&shy;tsen Gampo established Buddhism as state religion and, like the Emperor of India, erected numerous Buddhist monuments including the two main temples of the country, in Lhasa, the Jokhang and Ramoche, but also the original Potala Palace, the Dragla Lugug at the opposite side of the Potala, the Sera and the Pabonka Monasteries which are still important centres of pilgrimage. Before blossoming anew in the late tenth and during the eleventh centuries, Buddhism temporarily disappeared in the ninth century under the reign of Landarma, last king of the Yarlung Empire that was then divided into a number of independent principalities.&nbsp; Sometimes called Lamaism, Tibetan Buddhism is a synthesis of the Mahayanism and Tantrism. These two religious streams of Buddhism share a set of spiritual knowledge. While the Mahayana&rsquo;s ideal resides in the figure of the bodhisattva who voluntarily delays his own Enlightenment in order to help others reach the nirv&acirc;na and thus escape the cycle of rebirth, the followers of Tantrism - also known as Vajray&acirc;na (&laquo;Vehicle of Diamond&raquo;) - practice methods of yoga and meditation to attain Enlightenment through the guidance of a spiritual master.&nbsp; The second growth of Buddhism in Tibet saw the emergence of rival sects, the charisma of spiritual masters sometimes prevailing over other considerations. The Nyingma, the Kagyu, the Sakya and the Gelugpa are the four main schools of Tibetan Buddhism. The most recent one, the Gelugpa tradition, founded by Tsong Khapa (1357-1419) is also known as the School of Yellow Hat. This modern formulation of Tibetan Buddhism that emerged partly in response to the ambient moral laxity and to the deviations observed in the interpretation of tantras, has favoured a greater discipline within the monastic life (vinaya) and a codification of the path to enlightenment, the process of mental purification being composed of 10 levels ultimately leading to spiritual salvation. The term &laquo;Gelug&raquo; means &laquo;Virtuous&raquo; but one may see the contraction of &laquo;Geden lug&raquo; (&laquo;Geden tradition&raquo;) in reference to the Monastery of Ganden founded in 1409 by Tsong Khapa himself. From the principal followers of this great reformer comes the line of the Dalai Lama regarded as incarnations of Chenresi (Avalokiteshvara), the Bodhisattva of Compassion. Is also issued from the Gelugpa system another line of reincarnations, that of the Panchen Lamas, monks of the Tashilhumpo Monastery in Shigatse and second spiritual authority of Tibet related to the Dalai Lama by a relationship of disciple to master. This relationship is now certainly altered because of the conflict between Tibetans and Chinese authorities about the designation of the 11th Panchen Lama.&nbsp; <br /></span><span class=Soustitre>Lhasa, Tibet&rsquo;s holy city&nbsp; </span><span class=Texte><br />Located on the Tibetan plateau in a valley surrounded by mountains, Lhasa, one of the highest cities in the world with an altitude of 3658m, is the &laquo;Land of the gods&raquo; (Lha meaning divinity and Sa, earth, soil). It became a holy place during the first half of seventh century with the first rise of Buddhism due to the first three &laquo;religious kings&raquo; (Ch&ouml;gyal) of Tibet, the first one being Songtsen Gampo. Continuing the political and military work of his father Namri Songtsen (ca. 570-619), he unified Tibet and continued to extend the boundaries of this still stammering empire by feats of arms and strategic matrimonial alliances. Indeed, in 632 he married the Nepalese princess Tritsun (Brikuti) after having conquered Nepal and the Chinese Princess Wen Cheng in 641, after he had threatened the Tang&rsquo;s Western border. Both Buddhists, his two wives, considered as emanations of the Green Tara and the White Tara, had a fundamental influence not only on their common husband but also on the course of history of Tibet. As a matter of fact, Songtsen Gampo introduced Buddhism in Tibet and moved the capital from of Chingwa Tagtse to Lhasa that quickly became an important city of Buddhism.&nbsp; With its numerous Buddhist monuments, the sacred city has become an essential sacred place of pilgrimage in Tibet for the numerous pilgrims seeking to foster a better rebirth in the next life, the privations of the present turning into merits that will ensure a sweeter life. However, all pilgrimages do not necessarily imply a physical displa&shy;cement. In Tantric practices, the pilgrimage is conceived as an informal journey that can be accomplished internally, each region of the body corresponding to a geographical site. But the religious or ordinary believers who travel to Lhasa observe ancestral rituals. In addition to the acts of sacrifice that are often accompanied by the recitation of mantras that are supposed to help them reach a meditative state (the most common one in Tibet is Om Mani Padme Hum, a verbal symbol of Chenresi, Bodhisattva of Compassion and the patron of Tibet), believers splash themselves with a few drops of ritual water, seek a hearing (darsan) with a lama or any spiritual master of a sanctuary. They also practice the clockwise circumambulation around sacred places. Coming from India, this way of paying tribute favours one&rsquo;s concentration and constitutes an act of devotion that fosters the acquisition of merits. The Nangkhor, which girds the main sanctuary of the Jokhang Monastery, is one of the most attended corridors (called khorlam in Tibetan) for this type of custom. But the most remarkable religious observance is the prostration (chaksthal), mainly of Tibetan tradition. To demonstrate and test their faith, staunch pilgrims touch, with their hands clasped, their forehead (the mind), their guttural oral region (the speech) and their heart (the body) before bowing and stretching out full length on the floor. The bravest ones perform this noteworthy and eye-catching physical performance, regardless of age, during the many days, months or years of their pilgrimage. A single prostration three times in a row is required before entering any monastery.&nbsp; With the development of a local economy and of tourism, the Barkhor, the pilgrimage path that encircles the Jokhang complex, has become the area of a succession of stalls of merchants from the temple.&nbsp; As it was the centre of the cultural and religious life, Lhasa also became in the course of the seventeenth century, the seat of the Government of Tibet thanks to the Fifth Dalai Lama, Lobsang Gyatso (1617-1682). With the Chinese occupation since 1951, this ancient Tibetan capital of the Tibetan kingdom is now an administrative division of China, the capital of the Tibet Autonomous Region, which covers only about half of the historical Tibet, this area claimed by the Tibetan government in exile. Also known as &laquo;Little Lhasa&raquo;, Dharamsala, in India, has become the country of asylum of the Fourteenth Dalai Lama, Tenzin Gyatso.&nbsp; <br /></span><span class=Soustitre>The Jokhang&nbsp; </span><span class=Texte><br />Holiest place in Tibet as it is the dwelling of the most venerated statue of the country, the Jowo Sh&acirc;kyamuni, the Tsuglag Khang, more commonly known as the Jokhang, is both the centre and the symbol of the holy city of Lhasa. Considered as the first and most important Buddhist temple in Tibet, it was originally designed to house Songtsen Gampo Nepalese bride&rsquo;s dowry that included the statue of Buddha at the age of 8 (Jowo Miky&ouml; Dorje/Akshobya). But this treasure is nowadays sheltered in the second most sacred temple in Lhasa, Ramoche, which was originally built to dwell the statue brought by Princess Wen Cheng, the Buddha at the age of 12 (Jowo Sh&acirc;kyamuni/Miky&ouml; Dorje) that is now currently worshiped in the Jokhang. This latter statue had been, in the first place, a present offered by the King of Magadha (Bengal) to the father of Wencheng, Tang Taizong (who ruled between 627 and 649) as a reward for his help against the invading Yavana.&nbsp; The statue of the Buddha at the age 12 is currently at the Jokhang because of a rumour during Mangsong Mangtsen&rsquo;s reign (649-676) according to which the Tang Dynasty was about to attack Tibet. Therefore, in order to protect the revered statue brought from China, its transfer from Ramoche to the Jokhang was ordered. The statue had been hidden in a secret chamber for sixty years before peace between Tibet and China was restored and sealed with a new matrimonial alliance in 710. The statue was then placed in the main chapel of the Jokhang where it has remained while the statue brought from Nepal can still be seen in its second temple of adoption.&nbsp; The election of the most suitable site for the Jokhang&rsquo;s construction is related to a myth that enlightens the magic of the place. Thanks to Chinese methods of geomancy brought by the second wife of Songtsen Gampo, it could be determined that a demon was lying on its back over the site of Lhasa and that, in order to render it harmless, monasteries and statues of deities were to be erected at strategic points. Twelve monastic institutions had thus been built before the Jokhang ambitious construction began. Built on the former lake W&ouml;thang, corresponding to the core of creature, this temple was to complete its neutralization.&nbsp; Despite difficulties in filling in the stretch of water and building over it, the Jokhang was finally built around 639 or 647. Entirely funded by the Nepalese princess Tritsun, it is oriented westwards that is to say towards Nepal as a mark of gratitude. <br />The temple one can see today is four-storey high and the complex is composed of two separate structures identified as &laquo;the primitive Jokhang&raquo; and &laquo;the late Jokhang&raquo;. The former is the oldest and most important part of the site and corresponds to the initial plan which derives from the Indian vihara with its many monastic cells&nbsp; surrounding the meeting / meditation room, generally of square plan, that houses an image of the Buddha. The whole is surrounded by an ambulatory corridor known as the Nangkhor. This basic structure is now included in a wider complex of 25 000 m2 that comprises secondary chapels, food reserves, etc. King Songtsen Gampo is traditionally credited with building the first floor of the temple while the second level is generally attributed to his successor, Trisong Detsen. The third floor is more recent. Due to a series of repairs, often of major scale, and important restorations - especially after the damage resulting from the Chinese Cultural Revolution - it is difficult to establish its original architectural design as well as the authenticity of the current statues, most of which are dating from the 1980s. As to the murals, their dating oscillates between the eighteenth and the nineteenth centuries.&nbsp; The main Assembly Hall, called Khyamra Chenmo, is an open-air pillar hall located between the main entrance and the sanctum sanctorum that houses the most venerated statue of the Buddha. All around runs a terrace while northward can be seen the facade of a two-story building topped by a gilded pagoda roof that houses the chambers of the Dalai Lama.&nbsp; Originally designed to host the Monlam Festival, or Great Prayer Festival, which takes place during the first month of the Tibetan calendar, the construction work of the Khyamra was initiated by the founder of the Gelugpa sect, Tsong Khapa, in 1409. During this important religious festival the monks of the main monasteries of Tibet - Sera, Ganden and Dreprung &ndash; are gathered in this Hall to pray together the picture of Buddha Sh&acirc;kyamuni.&nbsp; Although it is a royal foundation, the Jokhang has never been allotted solely to the king and his family nor to a particular school of Buddhism. As a place of worship where debate and conversations are fostered, the Jokhang temple is still a major pilgrimage site in Tibet. &nbsp;&nbsp; &nbsp;&nbsp; <br /><u><strong>Total Playing Time: 66&rsquo;17&nbsp; </strong></u><br /><strong>1 - PRAYERS. 14&rsquo;31 </strong><br />The recording took place on Monday, July 5th, 2010 at 6:30pm in the main Assembly Hall. 108 monks are praying while one of them is serving the others some tea. In the meantime, privileged pilgrims are passing from a monk to another to make Chinese banknotes offerings. <br /><em><strong>a. Spyi bshags (Prayer of Purification).</strong></em> 1&rsquo;36 This prayer that is used throughout Tibet is composed of two texts drawn from the Mah&acirc;y&acirc;na Tradition, the Drung Shang and the Kyi Shak, both comprising verses celebrating the virtues of the Buddha. Designed to purify the souls, not of an individual but of mankind as a whole, it is also a form of overall confession. We are here listening the Kyi Shak part. <br /><em><strong>b. Tsogyelma (Prayer dedicated to this divinity)</strong></em>. 1&rsquo;36-2&rsquo;46 <br /><em><strong>c. Dga&rsquo; ldan lha brgya ma (Prayer based on pure devotion). </strong></em>2&rsquo;46-4&rsquo;33 Prayer to guru yogi Tsongkhapa (1357-1419), the founder of the Gelugpa School-Yellow Hats.&nbsp;&nbsp; <br /><em><strong>d. &lsquo;Phags bstod (Hymn of Praise).</strong></em> 4&rsquo;33-14&rsquo;31 This text extols the virtues of the Bodhisattva of Compassion, Avalokiteshvara (Chenrezi), by listing the different aspects that His spiritual qualities may take.&nbsp; <br /><strong>2 - PRAYERS. 12&rsquo;34 </strong><br /><em><strong>a. Chenrezi seuldeb</strong> </em>(Prayer dedicated to the Dalai Lama as the reincarnation of Chenrezi). 1&rsquo;00 <br /><strong><em>b. Jowo Sh&acirc;kyamuni Tsuglag khang</em> </strong>(Prayer dedicated to the image of the Buddha at the age of 12).<strong> </strong>1&rsquo;00-6&rsquo;06 <br /><em><strong>c. Bde smon</strong> </em>(Prayer often recited during funerals to wish the deceased to reborn in Sukhavat&icirc;, the Paradise of the Buddha Amit&acirc;bha.). 6&rsquo;06-12&rsquo;34&nbsp; <br /><strong>3 - PRAYERS. 24&rsquo;18 </strong><br /><em><strong>a. Shes rab snying po</strong></em> (S&ucirc;tra of the Heart).3&rsquo;30 <br /><em><strong>b. Mngon rtogs rgyan</strong></em> (&laquo;Ornament of Clear Realization&raquo;). 3&rsquo;30-14&rsquo;00&nbsp; One of the Five Treatises concerning the Future Buddha, Maitreya, written by Asanga in the IVth century.&nbsp; <br /><em><strong>c. Sgrol ma </strong></em>(Prayer dedicated to Tara, the Mother of Liberation). 14&rsquo;00-18&rsquo;10&nbsp; <br /><em><strong>d. Myur mdzas ma</strong></em> (Prayer dedicated to the protector Mah&acirc;k&acirc;la). 18&rsquo;10-19&rsquo;08 <br /><em><strong>e. Chos rgyal bstod pa</strong></em> (Prayer dedicated to the Dharmaraja, the protector of the socio-cosmic order). 19&rsquo;08-19&rsquo;50 <br /><em><strong>f. Lha mo&rsquo;i gtor &lsquo;bul</strong></em> (Offerings of torma cakes to Pelden Lhamo). 19&rsquo;50-21&rsquo;39 <br /><em><strong>g. Byams smon</strong></em> (Prayer dedicated to Maitreya, the Future Buddha). 21&rsquo;39-24&rsquo;18&nbsp; <br /><strong>WORK SONGS (Arr-kha) </strong><br />The recordings took place on Thursday, July 8th, 2010, at 5pm, upon the Jokhang&rsquo; roofs, the repairing of it being in progress. Sixtyish workers, of which two thirds of women, are tamping a cement composed of mud, stones and tree resin glue in order to consolidate several roofs of the monastery. This technique coming from Central Tibet has been in use in the building of palaces and temples for the past seven centuries. It was introduced under the 28th king of Tibet in the early period of Buddhism. Divided into two groups, they are, in turns, trampling the ground with a long and heavy mallet, stepping forward, backward, rightwards and leftwards, the choreography being accompanied by work songs. Covered with mud, they have brought their young children who are waiting for their parents quietly aside. They work seven days a week from 8:00am until 1:00pm and from 2:30pm until 7:30pm, that is to say 10 hours a day to earn 43 yuans per day (about 4.3 euros) paid by the monastery. They only have one day off after two weeks of work. One can hear the wind storm having the canvas sheets and the prayer flags whipping into the sky.<br /><em><strong>4 - Arr-kha I. </strong></em>4&rsquo;37<br /><em><strong>5 - Arr-kha II.</strong></em> 2&rsquo;25<br /><em><strong>6 - Arr-kha III.</strong></em> 1&rsquo;39&nbsp; <br /><em><strong>7 - Arr-kha IV. </strong></em>2&rsquo;44&nbsp;&nbsp; <br /><strong>Bonus </strong><br />The 5pm tea break of thirty minutes is the opportunity for two young workers to interpret two songs. <br /><em><strong>8 - Shon nu lung tso (&laquo;Young Life&raquo;).</strong></em> 1&rsquo;44&nbsp; Love Song interpreted by Kye Sang and Tashi Phuntsok, both aged twenty.&nbsp; <br /><em><strong>9 - Changchain bho kyi pha sang (&laquo;Holly Land&raquo;).</strong></em> 1&rsquo;26&nbsp; Sung by Kye Sang and dedicated to the Mother Nature of Tibet, Snowland with its beautiful white mountains and its green grass. The last word, Tashi Deley, is used to say &laquo;Hello&raquo; but it also means &laquo;Great&raquo; or &laquo;Good Luck&raquo;.&nbsp; <br />Production-direction by Fran&ccedil;ois Jouffa.&nbsp; <br />Recordings in Lhasa, Tibet, in July 2010, Nagra IV-S tape recorder,&nbsp; Sennheiser microphones MKH416T, RMG International tapes.&nbsp; <br />Photo: Sylvie Jouffa (Nikon D90).&nbsp; <br />French and English texts: Susie Jouffa.&nbsp; <br />Editing and premastering: Alexis Frenkel, Studio Art &amp; Son, Paris.&nbsp; <br />Artistic and technical advisers: Benjamin Goldenstein and Alexis Jouffa.&nbsp; <br /><u>Acknowledgements:&nbsp;</u> These recordings have been realized thanks to the blessing of the Superior Lama Kushu Wangduk La, professor-geishe of philosophy at the Jokhang Monastery, the most venerated place of worship in Tibet.&nbsp; Many thanks to Annie Vorac (Maison de la Chine, Paris), Ngawang Tenzin (Shambala Palace, Lhasa), Lopsang Tenzyn (guide-interpreter) and Ky Sang (driver-sherpa).&nbsp; We also express our gratitude to Thupten Gyatso (President of the Tibetan Community in France), Katia Buffetrille (French ethnologist and Tibetolog at the École Pratique des Hautes Études), Datsen Thubten Gyatso (Tibetan writer from Amdo), Geishe Daktsonn and to Sylvain Berthet (translator).&nbsp; <br /></span><span class=Source>CD LE JOKHANG DE LHASSA - Pri&egrave;res et chants de travail TIBET &copy; Fr&eacute;meaux &amp; Associ&eacute;s (fr&eacute;meaux, fr&eacute;maux, fr&eacute;mau, fr&eacute;maud, fr&eacute;mault, fr&eacute;mo, fr&eacute;mont, fermeaux, fremeaux, fremaux, fremau, fremaud, fremault, fremo, fremont, CD audio, 78 tours, disques anciens, CD &agrave; acheter, &eacute;couter des vieux enregistrements, albums, r&eacute;&eacute;ditions, anthologies ou int&eacute;grales sont disponibles sous forme de CD et par t&eacute;l&eacute;chargement.)</span><span class=Texte><br /></span></p>"
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      "description" => "<p><h3>MUSIQUE & TÉMOIGNAGES - ENREGISTREMENTS HISTORIQUES DE FRANÇOIS JOUFFA</h3></p><br><br><p>Music and spoken archives<br>I was in Kathmandu in 1969 and I think I haven’t pulled myself together yet; I still didn’t get over it’ wrote François Jouffa. While he was a young reporter for the French radio station Europe n°1, he recorded every sounds during his trip with a minicassette (a new technology at that time) hidden in a small Indian shoulder bag. A record company got interested and issued a LP from this musical journey. Many years later Jimmy Page, Led Zeppelin’s ‘guitar hero’, confirmed to François Jouffa, for whom it was beyond belief, that his vinyl of about forty minutes had been both for him and the singer Robert Plant a bedside disc when they were composing Kashmir, great inter national success and starting point of the world pop music fashion. This 2 CD boxset (with a 44 pages booklet in both French and English) delivers a musical trip into the Celebration of the little Living Goddess, during the Festivities of Indra (CD1) and two long interviews by François Jouffa (CD2, in French). Exactly forty years after these recordings were made, Frémeaux & Associés are proud to present, for the first time, the complete set of captured sounds that had been preserved all along this initiatory trip out of time and out of space. Claude Colombini & Patrick Frémeaux</p><br><br><p></p>"
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Car cet auteur a la particularit&eacute; d&rsquo;&ecirc;tre &agrave; la fois un historien de la musique populaire et de la chanson, tout en &eacute;tant un ethnomusicologue sp&eacute;cialis&eacute; dans les peuples d&rsquo;Asie. Gr&acirc;ce &agrave; Katmandou !&nbsp; Si, maintenant, sa discographie est riche d&rsquo;une quarantaine d&rsquo;albums 33 tours et CD enregistr&eacute;s par lui in situ, c&rsquo;est gr&acirc;ce &agrave; cette d&eacute;couverte de l&rsquo;Orient, fin des ann&eacute;es 60, quand quelques jeunes Occidentaux prenaient la route, &laquo;les Chemins de Katmandou&raquo;, pour aller s&rsquo;impr&eacute;gner sur place des d&eacute;couvertes spirituelles d&rsquo;Alexandra David-N&eacute;el. Et pour revivre les aventures d&rsquo;un roman graphique fascinant d&rsquo;Herg&eacute; : assis sur les marches d&rsquo;un temple avec sa compagne Sylvie, Fran&ccedil;ois s&rsquo;est d&rsquo;ailleurs mis &agrave; pleurer d&rsquo;&eacute;motion en ayant conscience qu&rsquo;ils se trouvaient exactement dans une case de la page 12 de Tintin au Tibet. Alors jeune reporter &agrave; Europe n&deg;1, il avait enregistr&eacute; tous les sons de leur p&eacute;riple au moyen d&rsquo;un mini-cassette (une toute nouvelle technologie) cach&eacute; dans un petit sac indien en bandouli&egrave;re. Une firme de disques s&rsquo;int&eacute;ressa, ensuite, &agrave; ces musiques folkloriques et religieuses d&rsquo;une partie du monde alors fr&eacute;quent&eacute;e seulement par des sportifs de haut niveau, mais que les exp&eacute;riences musicales et&nbsp; hallucinatoires des Beatles rendaient &agrave; la mode. Des ann&eacute;es plus tard, nouvelle crise de larmes, de joie cette fois, quand le &laquo;guitar hero&raquo; Jimmy Page du groupe Led Zeppelin confirma &agrave; Fran&ccedil;ois, stup&eacute;fait, que cette rondelle de vinyle de quelques quarante minutes avait &eacute;t&eacute; leur disque de chevet, &agrave; lui et au chanteur Robert Plant, quand ils compo&shy;s&egrave;rent Kashmir, succ&egrave;s international et point de d&eacute;part de la vogue de la world music pop. Les retomb&eacute;es m&eacute;diatiques du voyage effectu&eacute; par le jeune et nouveau couple Jouffa (c&rsquo;&eacute;tait en fait leur&hellip; voyage de noces) au pays de la petite D&eacute;esse Vivante avaient influenc&eacute; toute une g&eacute;n&eacute;ration. Pour preuve, Philippe Gloaguen &eacute;crivit dans ses m&eacute;moires G&eacute;n&eacute;ration Routard, combien il avait trouv&eacute; &laquo; impressionnants &raquo; les r&eacute;cits de Fran&ccedil;ois &agrave; la radio. Dans le Manuel du Routard, il avait carr&eacute;ment not&eacute; : &laquo;Fran&ccedil;ois Jouffa est &agrave; l&rsquo;ethnomusique ce que Gutenberg est &agrave; l&rsquo;imprimerie&raquo;. Exactement quarante ans apr&egrave;s les enregistrements, Fr&eacute;meaux &amp; Associ&eacute;s sont fiers de vous pr&eacute;senter l&rsquo;int&eacute;grale in&eacute;dite des captations sonores de ce voyage initiatique hors du temps et de l&rsquo;espace. <br /><em>Claude Colombini &amp; Patrick Fr&eacute;meaux&nbsp; <br /></em><br />&laquo;Ce que je souhaitais c&rsquo;&eacute;tait parcourir ce pays natal du Bouddha, voir dans quel d&eacute;cor avaient &eacute;clos les id&eacute;es qui l&rsquo;avaient pouss&eacute; &agrave; devenir un Bouddha. Tu me diras que les vingt-cinq si&egrave;cles &eacute;coul&eacute;s ont d&ucirc; changer ce d&eacute;cor. Evidemment, mais pas tant pourtant qu&rsquo;on pourrait le croire. La vie est lente en Orient et sp&eacute;cialement dans des coins recul&eacute;s ferm&eacute;s &agrave; la civilisation comme l&rsquo;est le N&eacute;pal.&raquo; <br /><em>Alexandra David-N&eacute;el</em>, Journal de voyage. Lettres &agrave; son mari, 22 d&eacute;cembre 1912.&nbsp;&nbsp; <br />&laquo;Ce sourire du N&eacute;palais, le plus exquis que je connaisse, exquis, pas excessif, pas troublant, mais ravi, sans arri&egrave;re-pens&eacute;e, pur.&raquo; <br /><em>Henri Michaux</em>, Un Barbare en Asie, 1933.&nbsp; <br />Capitaine Haddock : &laquo;C&rsquo;est une trompette, &ccedil;a ? ... Et c&rsquo;est par ici qu&rsquo;on souffle ?&hellip;&raquo; - POOAA Capitaine Haddock : &laquo;Oh ! pardon !&raquo; <br /><em>Herg&eacute;</em>, Tintin au Tibet, 1960.&nbsp;&nbsp; <br />&laquo;Je ne laisse &agrave; personne faire ma corv&eacute;e d&rsquo;eau. Mes deux jerrycans en plastique du Bazar de l&rsquo;H&ocirc;tel-de-Ville, je les transporte chaque matin dans la maison de la d&eacute;esse vivante o&ugrave; se trouve la fontaine la plus proche. D&eacute;pass&eacute;, l&rsquo;Olympe ! Il faudra que je le raconte &agrave; mes petits-enfants : au N&eacute;pal, j&rsquo;allais puiser l&rsquo;eau dans la demeure d&rsquo;une d&eacute;esse, sans m&eacute;taphore, d&rsquo;une d&eacute;esse vivante. (&hellip;) Je voudrais bien voir cette petite divine pucelle.&raquo; <br /><em>Jack Thieuloy</em>, L&rsquo;Inde des grands chemins, 1971.&nbsp;&nbsp; <br /><span class=Soustitre>Katmandou 69</span> <br />La petite D&eacute;esse Vi&shy;vante existe, je l&rsquo;ai rencontr&eacute;e &agrave; Katmandou au N&eacute;pal. Je l&rsquo;ai vue appara&icirc;tre, la premi&egrave;re fois, furtivement, &agrave; la fen&ecirc;tre de bois sculpt&eacute; de son appartement, construit dans l&rsquo;aile de l&rsquo;ancien Palais royal. L&rsquo;archi&shy;tecture de cette demeure m&rsquo;a frapp&eacute;e par la richesse de sa d&eacute;coration. Il s&rsquo;agit, en fait, d&rsquo;un v&eacute;ritable puzzle de bois dans lequel chaque pi&egrave;ce s&rsquo;embo&icirc;te parfaitement. Selon la tradition, on n&rsquo;utilise ni clou, ni colle.&nbsp; La Kumari (vierge) sacr&eacute;e, autre appellation de la D&eacute;esse Vivante, est une petite fille de huit ans, tr&egrave;s belle, myst&eacute;rieuse et impas&shy;sible, habill&eacute;e de brocarts et coiff&eacute;e d&rsquo;une couronne d&rsquo;or. Son regard, lourdement maquill&eacute;, semble fixer tristement le ciel, &agrave; la recherche &ndash; peut-&ecirc;tre &ndash; de cerfs-volants (principal jouet n&eacute;palais) que les enfants de son &acirc;ge font planer au-dessus des toits en pagodes. Elle, la petite recluse, qui n&rsquo;a pas le droit de s&rsquo;amuser&hellip; J&rsquo;ai eu un choc en d&eacute;barquant &agrave; Katmandou, un choc enchant&eacute;&hellip;&nbsp; On se retrouve plong&eacute;, d&rsquo;un seul coup, dans un monde m&eacute;di&eacute;val o&ugrave; tout semble avoir &eacute;t&eacute; pr&eacute;serv&eacute; depuis des si&egrave;cles. Le N&eacute;pal n&rsquo;a &eacute;t&eacute; ouvert aux &eacute;trangers qu&rsquo;en 1953. C&rsquo;est non seulement un voyage dans l&rsquo;espace, c&rsquo;est aussi une incursion dans le temps. &Agrave; Katmandou, ce qui frappe le plus, c&rsquo;est le regard accueillant de ses habitants. Ils sont paisibles et semblent d&eacute;pourvus d&rsquo;agressivit&eacute;. Un &eacute;ternel sourire sur la face ! Simplement, ils ont les mains tr&egrave;s baladeuses, et aiment &agrave; t&acirc;ter les seins et les fesses des &eacute;trang&egrave;res. Mais, toujours avec un sourire d&eacute;sarmant&hellip; Je suis arriv&eacute;e au N&eacute;pal, apr&egrave;s un voyage passionnant mais &eacute;puisant en Inde, au d&eacute;but de la pleine lune de septembre 1969, quelques jours avant le Festival d&rsquo;Indrajatra, la manifestation la plus spectaculaire du N&eacute;pal, au cours de laquelle la D&eacute;esse Vivante sort du palais o&ugrave; elle vit enferm&eacute;e le reste de l&rsquo;ann&eacute;e. J&rsquo;entre de plein pied dans la f&ecirc;te. On n&rsquo;est plus devant un &eacute;cran de t&eacute;l&eacute;. Le spectacle est dans la rue, en Technicolor et en Dolby St&eacute;r&eacute;o. Le pays entier vibre au rythme de cent jours de f&ecirc;tes par an (soit environ un jour sur trois). Et qui dit f&ecirc;tes, dit musiques, danses, c&eacute;r&eacute;monies religieuses, processions. Le tout avec des costumes &eacute;blouissants, de couleurs vives, rehauss&eacute;s de superbes masques d&eacute;moniaques. <br />J&rsquo;ai quitt&eacute; l&rsquo;Inde en fin de mousson, ayant souffert physiquement et psychologiquement de la chaleur moite, du manque de nourriture, et surtout de la mis&egrave;re environnante. Dans les ruelles de Katmandou, les gens on l&rsquo;air plus heureux, et ne me poursuivent plus, par grappes, dans la rue, dans l&rsquo;espoir d&rsquo;un &ldquo;backshish&rdquo;, d&rsquo;une pi&egrave;ce. Le climat y est plus frais qu&rsquo;en Inde. Enfin, la nourriture est tr&egrave;s bonne. Une multitude de restaurants chinois, n&eacute;palais et tib&eacute;tains, nous est propos&eacute;e. On peut manger entre autres soupes et l&eacute;gumes, le tr&egrave;s consistant steak de buffle. Bref, on rena&icirc;t ! Toutes ces raisons font que le N&eacute;pal m&rsquo;est apparu comme un paradis en comparaison de l&rsquo;enfer indien. Katmandou, pour moi, c&rsquo;est M&eacute;g&egrave;ve, en Haute-Savoie, avec un petit air de &ldquo;Tintin au Tibet&rdquo;. Un M&eacute;g&egrave;ve avec des temples &agrave; chaque coin de rue ; et les montagnes qui encerclent la ville &agrave; perte de vue, la cha&icirc;ne de l&rsquo;Himalaya, formant un collier blanc et bleu ciel autour de la vall&eacute;e. Le contraste avec l&rsquo;Inde est tellement saisissant que tout para&icirc;t merveilleux, m&ecirc;me le lit humide du Camp H&ocirc;tel. Un refuge moyen pour freaks friqu&eacute;s, tr&egrave;s bien situ&eacute; dans le centre de Katmandou, pr&egrave;s de la place centrale (Durbar Square) entour&eacute;e de temples et de palais o&ugrave; se d&eacute;roulent les festivit&eacute;s. L&rsquo;h&ocirc;telier est un homme charmant qui aurait bien du m&eacute;tier &agrave; enseigner &agrave; ses coll&egrave;gues fran&ccedil;ais. Le premier jour, il m&rsquo;invite &agrave; par&shy;&shy;tager son repas n&eacute;palais compos&eacute; d&rsquo;un plat de riz blanc arros&eacute; de &ldquo;Dal&rdquo;, sauce &agrave; base de lentilles, d&rsquo;une soupe chinoise avec des &ldquo;Momos&rdquo;, sortes de raviolis fourr&eacute;s &agrave; la viande. Le tout accompagn&eacute; de &ldquo;Chang&rdquo;, un alcool de riz qui a un go&ucirc;t de cidre, et qui monte d&rsquo;un coup &agrave; la t&ecirc;te. Il me demande de signer son livre d&rsquo;or. Plut&ocirc;t un de ses livres d&rsquo;or, car il en a cinq. V&eacute;ritables sources d&rsquo;informations, ces gros bouquins renferment des citations, des signatures (certaines de pop stars des sixties), des adresses et des photos qui feraient p&acirc;lir de jalousie un agent des Renseignements G&eacute;n&eacute;raux ou un policier parisien de la Brigade des m&oelig;urs et des stup&eacute;fiants. Mais, &ldquo;officiellement&rdquo;, la consommation de la drogue douce (opium, haschisch), que l&rsquo;on trouvait dans des &ldquo;Government Shops&rdquo; (boutiques agr&eacute;&eacute;es par le gouvernement), sera interdite apr&egrave;s 1973.&nbsp; Katmandou, c&rsquo;est aussi le lieu de vacances des Europ&eacute;ens ais&eacute;s de tous pays, install&eacute;s &agrave; Goa en Inde. Ils y font un s&eacute;jour, tous les ans, entre juin et octobre, pour fuir la mousson indienne. On les voit, l&rsquo;apr&egrave;s-midi, aller d&rsquo;une bo&icirc;te &agrave; une autre, d&rsquo;une p&acirc;tisserie &agrave; un restaurant. Boire du &ldquo;Lahssi&rdquo;, sorte de yaourt liquide et mousseux, ou manger des g&acirc;teaux &agrave; l&rsquo;opium dans les &ldquo;Pie Shops&rdquo;. Beaucoup fument la &ldquo;Ganja&rdquo;, red, green ou gold, l&rsquo;herbe locale. &ldquo;Tu sais, me dit un voyageur, cette herbe n&rsquo;est pas tr&egrave;s forte, c&rsquo;est une herbe brute que les N&eacute;palais ne trient m&ecirc;me pas et que les enfants, ici, fument d&egrave;s l&rsquo;&acirc;ge de huit ans.&rdquo; Ce n&rsquo;est peut-&ecirc;tre pas tr&egrave;s fort, mais, en passant dans New Road (le quartier des ambassades), une jeune Fran&ccedil;aise, habill&eacute;e d&rsquo;un pyjama n&eacute;palais de grosse toile couleur vert pomme, rie aux larmes en regardant son compagnon, un gar&ccedil;on brun : &ldquo;Je te vois tout petit, petit. Tu es ridicule, de plus en plus petit.&rdquo; Il est vrai qu&rsquo;il n&rsquo;est pas tr&egrave;s grand, un m&egrave;tre soixante-cinq environ, mais pas au point d&rsquo;&ecirc;tre consid&eacute;r&eacute; comme un nain ! &ldquo;Tu es gros comme une poule, comme un &oelig;uf, reprit la blonde en riant de plus belle. Tu disparais dans un tourbillon. Qu&rsquo;est-ce qu&rsquo;il m&rsquo;arrive ? Je n&rsquo;entends plus. J&rsquo;ai des tampons de coton dans mes oreilles.&rdquo; En continuant son &eacute;trange monologue, elle a travers&eacute; la rue pour entrer dans la Coop&eacute;rative Suisse d&eacute;guster du gruy&egrave;re n&eacute;palais. Souvent, des enfants me proposent de changer des dollars au taux du march&eacute; noir, d&rsquo;acheter des peintures (&ldquo;Thanka&rdquo;) et des bijoux anciens tib&eacute;tains ou, bien s&ucirc;r, de l&rsquo;herbe du pays.&nbsp; Une roupie cinquante n&eacute;palaise le &ldquo;Tola&rdquo;, soit onze grammes, soixante-dix centimes d&rsquo;un nouveau franc [onze centimes d&rsquo;euro].&nbsp; &Agrave; la sortie ouest de Katmandou, en haut d&rsquo;une des innombrables collines de la vall&eacute;e, j&rsquo;ai vu un spectacle plus proche de l&rsquo;univers surr&eacute;aliste de J&eacute;r&ocirc;me Bosch que de la r&eacute;alit&eacute; du 20e si&egrave;cle. Je suis arriv&eacute;e au &ldquo;Monkey Temple&rdquo;, le Temple aux Singes, Swayam&shy;bunath. J&rsquo;y acc&egrave;de en montant plusieurs centaines de marches, accompagn&eacute;e d&rsquo;un vieillard et d&rsquo;un enfant jouant des airs folkloriques sur des minuscules violons rustiques &ldquo;Saranghi&rdquo; de leur fabrication. J&rsquo;y croise des dizaines et des centaines de singes. Certains, les plus jeunes, descendent la rampe de l&rsquo;escalier sur leurs derri&egrave;res rouges. D&rsquo;autres, assis en file &ldquo;indienne&rdquo; &ndash; et c&rsquo;est l&agrave;, semble-t-il, leur plus grande occupation &ndash; se retirent, du bout des ongles, les puces de leur cr&acirc;ne. <br />Apr&egrave;s avoir crois&eacute; un nombre incalculable de petits temples et de grands Bouddhas assis, peints en jaune, je pose le pied sur la plateforme centrale, l&agrave; o&ugrave; le spectacle permanent concurrence le domaine du r&ecirc;ve. Une foule de lamas, pr&ecirc;tres Tib&eacute;tains r&eacute;fugi&eacute;s, drap&eacute;s dans leurs toges oranges, le cr&acirc;ne enti&egrave;rement ras&eacute; et le sourire perp&eacute;tuellement m&eacute;ditatif, tourne inlassablement autour d&rsquo;un temple &agrave; d&ocirc;me dor&eacute;, en psalmodiant des pri&egrave;res. Au passage, instinctivement, ils font virevolter le cercle des moulins &agrave; pri&egrave;res enfil&eacute;s, comme un immense collier, autour du &ldquo;Stupa&rdquo;, l&rsquo;&eacute;difice sacr&eacute;. En haut du monument, deux grands yeux peints bleu ciel surveillent, s&eacute;rieusement, leur man&egrave;ge. Dans un grouillement de vaches sacr&eacute;es rachitiques, de chiens &agrave; demi crev&eacute;s, de pigeons, de canards, de gros corbeaux et d&rsquo;enfants tous nus, un p&egrave;lerin &ldquo;Saddhou&rdquo;, religieux aux cheveux longs, me propose pour dix roupies, quelques cinq francs [soit soixante-seize centimes d&rsquo;euro], une fortune pour lui, son collier &agrave; pri&egrave;re en bois de santal. Des Bouddhistes offrent des fleurs et du riz aux diff&eacute;rentes divinit&eacute;s log&eacute;es dans des niches, que des singes voleurs et affam&eacute;s subtilisent aussit&ocirc;t. Je suis donc, &agrave; Katmandou, au d&eacute;but des f&ecirc;tes d&eacute;di&eacute;es au dieu Indra. Pour c&eacute;l&eacute;brer cette divinit&eacute; qui incarne l&rsquo;eau du ciel, pour la remercier de la future mousson abondante qui permettra aux buffles noirs de trouver encore de l&rsquo;herbe grasse, pour accueillir aussi de nouvelles r&eacute;coltes, le peuple n&eacute;palais, les Bouddhistes comme les Hindouistes, danse, chante, prie et joue de la musique. Mais Indra signifie aussi &ldquo;le Roi des Dieux&rdquo; et c&rsquo;est &eacute;galement le surnom du roi du N&eacute;pal, monarque absolu. Ce Festival c&eacute;l&egrave;bre, ainsi, le renforcement de son pouvoir. C&rsquo;est aussi l&rsquo;occasion d&rsquo;acclamer la Vierge Sacr&eacute;e, la Kumari, ou D&eacute;esse Vivante, qui sortira exceptionnellement de son palais dont l&rsquo;entr&eacute;e est gard&eacute;e par deux lions de pierre. Les cinq pr&ecirc;tres, qui l&rsquo;avaient d&eacute;sign&eacute;e, accompagnent la fillette dans toutes les processions. Le moment crucial de ces journ&eacute;es de liesse est l&rsquo;instant o&ugrave; le roi [alors Mahendra Bir Bikram Shah], accompagn&eacute; de sa famille et entour&eacute; de tous les ambassadeurs des pays amis et voisins (URSS, Chine et Inde), se prosterne &agrave; ses pieds pour recevoir sa b&eacute;n&eacute;diction quand elle lui appose, du bout du doigt, le Point Rouge, la &ldquo;Tika&rdquo;, sur le front. Cette c&eacute;r&eacute;monie symbolise, pour le peuple, la l&eacute;gitimit&eacute; de la royaut&eacute;. Apr&egrave;s le d&eacute;part du roi, des milliers de fid&egrave;les tentent d&rsquo;approcher la petite vierge pour l&rsquo;apercevoir, assise sur son tr&ocirc;ne dor&eacute;, prot&eacute;g&eacute;e ici par de grands lions de cuivre, et pour recevoir &eacute;galement sa b&eacute;n&eacute;diction. <br />La Kumari est ador&eacute;e comme si elle &eacute;tait la vraie D&eacute;esse Taleju, protectrice ancestrale des rois du N&eacute;pal. Une l&eacute;gende raconte&nbsp; comment cette pratique traditionnelle s&rsquo;est institu&eacute;e : au cours d&rsquo;une partie de d&eacute;s avec la D&eacute;esse, un ancien roi aurait eu des pens&eacute;es impures envers elle. Il aurait m&ecirc;me tent&eacute; de la s&eacute;duire. La D&eacute;esse, offens&eacute;e, aurait d&eacute;cid&eacute; de dispara&icirc;tre et de retirer sa protection. Apr&egrave;s une tr&egrave;s longues p&eacute;nitence, ce roi fut averti qu&rsquo;elle serait d&eacute;sormais pr&eacute;sente sous la forme charnelle d&rsquo;une petite fillette de la caste des orf&egrave;vres (c&rsquo;est une caste tr&egrave;s pauvre). Ce culte est maintenant pratiqu&eacute; depuis treize si&egrave;cles. Cette petite fille est s&eacute;lectionn&eacute;e vers l&rsquo;&acirc;ge de cinq ans. Elle doit avoir un corps sans d&eacute;faut avec trente deux signes pr&eacute;cis. Je vous en cite quelques-uns des plus caract&eacute;ristiques : ligne de la plante des pieds formant un cercle ; talons proportionn&eacute;s ; longs doigts de pieds ; cuisses de biche ; organes sexuels enfonc&eacute;s dans le bassin ; &eacute;paules rondes ; poitrine de lion ; longs bras ; langue petite et pro&shy;por&shy;tionn&eacute;e ; voix grave comme celle d&rsquo;un moineau ; t&ecirc;te ronde, etc. Une fois choisie, la Vierge sacr&eacute;e habitera dans son palais. L&agrave;, tous ses d&eacute;sirs seront exauc&eacute;s. Mais, elle ne devra jamais se blesser, ni trop bouger, ni jouer, afin de ne pas s&rsquo;&eacute;corcher. En effet, la vue de son sang mettrait fin &agrave; son caract&egrave;re sacr&eacute;. Elle est donc condamn&eacute;e &agrave; rester presque immobile. Et c&rsquo;est &agrave; l&rsquo;&acirc;ge de la pubert&eacute;, et des premi&egrave;res r&egrave;gles, que son r&egrave;gne prendra fin. Elle sera remplac&eacute;e par une nouvelle &eacute;lue. On la renverra dans sa famille, combl&eacute;e de cadeaux. Mais&hellip; en quelque sorte, maudite. Car, malheur &agrave; qui l&rsquo;&eacute;pouserait ! En effet, une superstition pr&eacute;tend que son mari mourrait dans les mois suivants. Alors, la malheureuse, ex D&eacute;esse Vivante, v&eacute;n&eacute;r&eacute;e dans son enfance, terminera sa vie la plupart du temps en solitaire et quelque peu n&eacute;vros&eacute;e, mais surtout dans l&rsquo;anonymat le plus complet. La f&ecirc;te d&eacute;bute, et une longue file de paysans et militaires tirent le tronc d&rsquo;un arbre abattu en l&rsquo;honneur d&rsquo;Indra. Un pr&ecirc;tre bouddhiste r&eacute;cite en chantant des textes en sanskrit et pr&eacute;pare ses offrandes, des enfants jouent avec des cerfs-volants de toutes les couleurs. Une procession se forme, et je la suis. Des hommes tendant des cordes, un m&acirc;t form&eacute; du tronc de l&rsquo;arbre est &eacute;lev&eacute;. Des soldats tirent des salves en l&rsquo;air avec leurs fusils. La foule chamarr&eacute;e applaudit. Les spectateurs d&eacute;posent alors des offrandes pr&egrave;s de l&rsquo;immense poteau. On d&eacute;couvre un gigantesque masque de bronze, cach&eacute; tout le reste de l&rsquo;ann&eacute;e par des croisillons de bois. Il s&rsquo;agit de Bhairava, forme la plus terrible de Shiva. Ce masque est fix&eacute; sur le mur arri&egrave;re de l&rsquo;ancien Palais Royal. Pendant huit nuits cons&eacute;cutives, le peuple se bousculera joyeusement pour tenter d&rsquo;avaler une gorg&eacute;e de bi&egrave;re de riz, consid&eacute;r&eacute;e comme don divin &ldquo;Prasad&rdquo;, qui jaillit d&rsquo;un tuyau dissimul&eacute; dans la bouche de la divinit&eacute;. On dit m&ecirc;me qu&rsquo;un petit poisson est m&ecirc;l&eacute; &agrave; la r&eacute;serve d&rsquo;alcool, et que celui qui pourra l&rsquo;attraper en buvant sera le plus heureux de la vall&eacute;e. C&rsquo;est en me m&ecirc;lant &agrave; cette foule, que des dizaines de mains ont fr&ocirc;l&eacute; toutes les parties de mon corps. Mes timides tentatives de protestations n&rsquo;ont pas diminu&eacute; les sourires qui illuminaient les visages.&nbsp; En vingt-quatre heures, le centre de Katmandou se transforme en th&eacute;&acirc;tre : je crois r&ecirc;ver. Les danses succ&egrave;dent aux processions, les airs de fl&ucirc;tes aux rythmes des cymbales ; et des tambours pr&eacute;c&egrave;dent et suivent toutes les c&eacute;r&eacute;monies. Un matin, la petite D&eacute;esse est promen&eacute;e dans un lourd chariot dor&eacute;, tir&eacute; par des dizaines de paysans &agrave; travers de la ville. Des musiciens et des danseurs masqu&eacute;s l&rsquo;accompagnent. La foule se presse pour l&rsquo;apercevoir. On lui lance des fleurs et des grains de riz. J&rsquo;ai du mal &agrave; l&rsquo;approcher, et encore plus &agrave; la photographier. <br />J&rsquo;apprendrais, par la suite, que c&rsquo;est strictement interdit. Une autre fois, des acteurs habill&eacute;s de corsages &agrave; paillettes et de pagnes en tissus pr&eacute;cieux, miment une danse du sabre. Ils portent de magnifiques masques en papier m&acirc;ch&eacute; de couleurs vives, repr&eacute;sentant des dieux. Leurs mouvements sont scand&eacute;s par une musique lancinante. La foule, de plus en plus importante, s&rsquo;agglutine sur les diff&eacute;rents niveaux des temples tout autour de la place de l&rsquo;ancien Palais Royal, comme sur d&rsquo;immenses gradins. Les toits des maisons en pagode sont noirs de monde. Les femmes ont rev&ecirc;tus leurs plus beaux saris, de couleurs fluo et brod&eacute;s de dorures. L&rsquo;encens et les parfums embaument l&rsquo;air. La D&eacute;esse Vivante appara&icirc;t &agrave; son balcon, coiff&eacute;e d&rsquo;une lourde tiare d&rsquo;or et de pierres pr&eacute;cieuses. Son front est orn&eacute; de la &ldquo;Tika&rdquo; rouge (le troisi&egrave;me &oelig;il), symbole de l&rsquo;&eacute;nergie f&eacute;minine et de la couleur du sang. Ses yeux sont soulign&eacute;s de grands traits de kh&ocirc;l noir. Les c&eacute;r&eacute;monies se poursuivent d&rsquo;une fa&ccedil;on d&eacute;sordonn&eacute;e, et je suis surprise de rencontrer, dans la cour d&rsquo;un temple, une bande de danseurs masqu&eacute;s mimant un combat des dieux dans un endroit presque d&eacute;sert. Ou, dans un coin de la place principale, le soir venu, un groupe de jeunes lettr&eacute;s et de vieillards chantant des pri&egrave;res, accroupis sur une estrade, devant des images saintes. Accompagn&eacute;s par un joueur d&rsquo;harmonium, ils frappent sur diff&eacute;rents instruments &agrave; percussions dont un tabla indien. Et ils racontent une l&eacute;gende d&eacute;di&eacute;e &agrave; Kali, D&eacute;esse de la destruction et de la renaissance, &eacute;clair&eacute;s par des bougies. Ces sc&egrave;nes se reproduiront tous les soirs.&nbsp; La D&eacute;esse sera promen&eacute;e trois jours de suite dans son chariot dor&eacute;. Ensuite, elle retournera dans son palais. Elle assistera de son balcon &agrave; la fin des festivit&eacute;s, actrice principale des c&eacute;r&eacute;monies. Le peuple veille tard le soir, et je croise souvent des gens ivres de bi&egrave;re et d&rsquo;alcool de riz, qui titubent et s&rsquo;affalent le long des chemins. Mais, au matin, tout recommence. Musiques et danses non-stop. Je regarde les danseurs, venus des diff&eacute;rents quartiers de la ville,&nbsp; arriver en bandes, ou les chanteurs participer &agrave; des concours de cantiques. Des enfants se r&eacute;unissent pour mimer en dansant des &eacute;pisodes du Mahabharata (l&rsquo;une des deux grandes &eacute;pop&eacute;es de l&rsquo;Inde ancienne avec le Ramayana). Le dernier soir, des hommes aux tiares fantastiques entra&icirc;nent la foule dans une cour de l&rsquo;ancien Palais pour ex&eacute;cuter une danse rituelle autour d&rsquo;un buffle. Sabres &agrave; la main, ils excitent l&rsquo;animal, comme au cours d&rsquo;une corrida, pendant un tr&egrave;s long moment, et ils finissent par lui trancher la t&ecirc;te&hellip; Au milieu de la nuit, un groupe d&rsquo;hommes abat le m&acirc;t &eacute;lev&eacute; le premier jour de la f&ecirc;te. Et quand le tronc tombe, la foule se pr&eacute;cipite pour arracher un morceau de fibre de l&rsquo;arbre sacr&eacute;. Puis, on tra&icirc;ne le reste de l&rsquo;arbre vers la rivi&egrave;re Vishnumati qui longe Katmandou, toujours en musique et en danses, afin de l&rsquo;immerger. Une derni&egrave;re salve, tir&eacute;e par les soldats de la Garde royale, annonce la fin des festivit&eacute;s qui auront dur&eacute; huit jours et huit nuits. Le calme revenu, le lendemain matin, je reste encore &eacute;blouie par le spectacle de ces derni&egrave;res journ&eacute;es. Et, longtemps, je me sentirai impr&eacute;gn&eacute;e par la magie de cette f&ecirc;te. Je peux encore, aujourd&rsquo;hui, me replonger facilement dans cette ambiance, par le souvenir des odeurs respir&eacute;es, l&rsquo;&eacute;cho des musiques caract&eacute;ristiques qui r&eacute;sonnent toujours &agrave; mes oreilles. Et surtout les visions inoubliables, d&rsquo;un autre monde et d&rsquo;un autre &acirc;ge.&nbsp; <br /><em>Sylvie Roman,</em>&nbsp; <br />Traffic n&deg; 3, d&eacute;cembre 1985&nbsp; <br /><em>Nota :</em> en ouverture du texte, page 4, la photo est celle du masque de Bhairava, la forme la plus terrible de Shiva.&nbsp; <br />Documentation : Sylvie Roman-Jouffa et Fran&ccedil;ois Jouffa ont relat&eacute; (textes et photos) leur voyage initiatique de 1969 en Inde et au N&eacute;pal, dans :&nbsp; <br />- Le quotidien L&rsquo;Aurore des mardi 14 octobre 1969, mercredi 15 octobre 1969, jeudi 16 octobre 1969 et vendredi 17 octobre 1969. <br />- Le mensuel Rock &amp; Folk n&deg; 34 de novembre 1969 et n&deg; 35 de d&eacute;cembre 1969. <br />- L&rsquo;hebdomadaire Pop Music - Superhebdo n&deg; 71 du 5 ao&ucirc;t 1971. <br />- Le mensuel Traffic n&deg; 3 de d&eacute;cembre 1985. <br />- Le livre Pourquoi n&rsquo;&ecirc;tes-vous pas hippie ?, Éditions La Palatine, 1970. <br />- Le livre La Culture Pop des ann&eacute;es 70 (le Pop-notes de Fran&ccedil;ois Jouffa), Éditions Spengler, 1994. <br />Des photos de Sylvie Jouffa en Inde et au N&eacute;pal sont parues dans le livre Les Ann&eacute;es Cool, une jeunesse de r&ecirc;ves, 1969-1979, Éditions du Panama, 2006.&nbsp; &Agrave; la suite des &eacute;missions radiophoniques comment&eacute;es par Fran&ccedil;ois Jouffa et illustr&eacute;es par ses documents musicaux, en octobre 1969, sur Europe n&deg; 1, en parall&egrave;le &agrave; la sortie du film &laquo;Les Chemins de Katmandou&raquo; (avec Renaud Verley, Jane Birkin et Serge Gainsbourg) r&eacute;alis&eacute; par Andr&eacute; Cayatte d&rsquo;apr&egrave;s le roman &eacute;ponyme de Ren&eacute; Barjavel, les disques Vogue avaient &eacute;dit&eacute; un 33 tours 30 cm de 44 minutes et 40 secondes, distribu&eacute; en mai 1970 et titr&eacute; Katmandou, musique folklorique et religieuse du N&eacute;pal. Enregistr&eacute; &agrave; Katmandou par Fran&ccedil;ois Jouffa (r&eacute;f&eacute;rence LVLX.501).&nbsp; <br /><span class=Soustitre>Le culte d&rsquo;Indra au N&eacute;pal</span> <br />Le culte d&rsquo;Indra, populaire au N&eacute;pal, plonge ses racines dans l&rsquo;Inde ancienne. Mais alors que sur sa terre d&rsquo;origine, il conna&icirc;t un certain d&eacute;sint&eacute;r&ecirc;t, ce depuis la naissance de l&rsquo;hindouisme, les N&eacute;palais continuent &agrave; rendre hommage au roi des dieux du panth&eacute;on v&eacute;dique, notamment lors de l&rsquo;Indrajatra qui t&eacute;moigne &agrave; la fois de la survivance de croyances indiennes pass&eacute;es et du syncr&eacute;tisme religieux qui fondent la sp&eacute;cificit&eacute; de la religion n&eacute;palaise.&nbsp; Les principaux aspects du dieu se sont constitu&eacute;s &agrave; partir d&rsquo;&eacute;l&eacute;ments &agrave; la fois historiques, philosophiques et mythologiques qui t&eacute;moignent de l&rsquo;&eacute;volution du rapport aux divinit&eacute;s. Comme bien souvent, la mythologie autour d&rsquo;Indra recouvre plusieurs r&eacute;alit&eacute;s &agrave; la fois ; elle peut &ecirc;tre per&ccedil;ue comme simple produit de l&rsquo;imaginaire, reflet partiel d&rsquo;une r&eacute;alit&eacute; historique, v&eacute;hicule d&rsquo;une v&eacute;rit&eacute; philosophique, ou comme moyen de d&eacute;crire les ph&eacute;nom&egrave;nes naturels. Plusieurs registres de lecture peuvent donc &ecirc;tre adopt&eacute;s. Fa&ccedil;onnant un dieu guerrier &agrave; leur image, les chefs militaires Indo-aryens adopt&egrave;rent le titre d&rsquo;Indra qui devait leur conf&eacute;rer une certaine l&eacute;gitimit&eacute; de r&egrave;gne. Signifiant &ldquo;chef&rdquo; &agrave; l&rsquo;origine, il fut par la suite associ&eacute; au principal dieu du panth&eacute;on v&eacute;dique, ce titre royal devenant alors le nom m&ecirc;me du souverain de ces dieux. L&rsquo;usage ancien du mot Indra a disparu en Inde, mais - jusqu&rsquo;&agrave; la proclamation r&eacute;cente de la R&eacute;publique d&eacute;mocratique f&eacute;d&eacute;rale du N&eacute;pal en 2008 et l&rsquo;abolition de la monarchie hindouiste - il persistait dans la Vall&eacute;e de Katmandou o&ugrave; les rois n&eacute;palais portaient parfois encore ce titre de &ldquo;chef&rdquo;. Il n&rsquo;est d&rsquo;ailleurs pas anodin de souligner que le mois de septembre &eacute;tait l&rsquo;&eacute;poque o&ugrave;, dans le N&eacute;pal m&eacute;di&eacute;val, les rois de la Vall&eacute;e avaient coutume de partir en guerre pour conqu&eacute;rir de nouvelles terres et soumettre les vassaux rebelles &agrave; leur autorit&eacute;.&nbsp;&nbsp; <br />La civilisation de l&rsquo;Indus, qui s&rsquo;est &eacute;panouie entre la seconde moiti&eacute; du IIIe mill&eacute;naire et les d&eacute;buts du IIe mill&eacute;naire av. J.-C., doit avoir consid&eacute;r&eacute; les ph&eacute;nom&egrave;nes naturels comme des entit&eacute;s divines ayant des qualit&eacute;s propres, mais pas encore une forme humanis&eacute;e.&nbsp; Avec l&rsquo;arriv&eacute;e des envahisseurs Indo-aryens, la situation &eacute;volua progressivement, ces derniers cherchant des formes supports pour l&rsquo;objet de leur d&eacute;votion. En effet, au cours&nbsp; de l&rsquo;&eacute;poque v&eacute;dique, se mit en forme un panth&eacute;on de divinit&eacute;s dont les traits se pr&eacute;cis&egrave;rent petit &agrave; petit avant d&rsquo;&ecirc;tre transcrits et assembl&eacute;s dans un corpus de textes r&eacute;dig&eacute;s en sanskrit, appel&eacute; le &laquo;Veda&raquo;, litt&eacute;ralement le &laquo;Savoir&raquo;. Indra, auquel est consacr&eacute; le plus grand nombre d&rsquo;hymnes dans le Rig-Veda, est le plus important des dieux des &eacute;l&eacute;ments. Grand ordonnateur du Ciel, il est dit qu&rsquo;&laquo;Indra, pour rendre toutes les choses visibles, a &eacute;lev&eacute; le soleil dans le ciel et a charg&eacute; d&rsquo;eau, le nuage&raquo; (Livre I, 7, 3). Mais le mythe le plus souvent &eacute;voqu&eacute; &agrave; son propos est celui du combat et de la mise &agrave; mort de Vrita, pr&eacute;sent&eacute; sous la forme d&rsquo;un dragon ou d&rsquo;un nuage : lors de l&rsquo;ass&egrave;chement de la terre, Indra se vit offrir en libation le soma, une plante li&eacute;e aux pratiques rituelles dont on tirait un breuvage enivrant. Dans cette ivresse, il partit en guerre contre Vrita, le d&eacute;mon de la s&eacute;cheresse, qu&rsquo;il mit &agrave; mort gr&acirc;ce &agrave; ses armes, le tonnerre et la foudre. Il se mit alors &agrave; pleuvoir, Indra avait ainsi sauv&eacute; la terre et ses habitants. Diverses interpr&eacute;&shy;tations, qui se compl&egrave;tent plus qu&rsquo;elles ne s&rsquo;excluent, ont &eacute;t&eacute; donn&eacute;es de ce combat. Pour certains, tel que Jan Gonda (Les religions de l&rsquo;Inde, I, V&eacute;disme et hindouisme ancien, Paris, 1979), il s&rsquo;agit d&rsquo;un mythe de cr&eacute;ation, ou plut&ocirc;t de re-cr&eacute;ation de l&rsquo;ordre de l&rsquo;univers, insistant ainsi sur sa dimension cosmique. D&rsquo;autres insistent davantage sur la signification de Vrita, qui se traduit par &laquo;r&eacute;sistance&raquo; en sanskrit, et de sa mise &agrave; mort qui t&eacute;moigne &agrave; la fois de la force des &eacute;l&eacute;ments du Ciel et de la prosp&eacute;rit&eacute; que ces derniers apportent aux hommes.&nbsp;&nbsp; Indra a d&eacute;pass&eacute; les fronti&egrave;res de la seule Inde ; on le retrouve notamment repr&eacute;sent&eacute; au Cambodge ou en Tha&iuml;lande pour des raisons qui semblent avant tout esth&eacute;tiques et narratives. Tel n&rsquo;est pas le cas au N&eacute;pal o&ugrave;, aujourd&rsquo;hui encore, l&rsquo;adoption d&rsquo;Indra est soulign&eacute;e par l&rsquo;importance accord&eacute;e &agrave; son culte.&nbsp;<br />Alors que, sur le sous-continent indien, le culte d&rsquo;Indra &ndash; devenu un dieu mineur du panth&eacute;on hindou &ndash; est tomb&eacute; en d&eacute;su&eacute;tude avec le d&eacute;clin du v&eacute;disme, il en va autrement dans la Vall&eacute;e de Katmandou o&ugrave; sa c&eacute;l&eacute;bration continue &agrave; rythmer la vie religieuse. L&rsquo;importance d&rsquo;Indra, le roi des dieux &agrave; l&rsquo;aspect guerrier, est ais&eacute;ment compr&eacute;hensible dans un syst&egrave;me de rivalit&eacute; constante entre chefferies. Pour autant, cela n&rsquo;explique pas en soi la survivance de ce culte ancien li&eacute; &agrave; la royaut&eacute; et l&rsquo;importance accord&eacute;e au dieu Vishnu en tant qu&rsquo;&eacute;quivalent divin du souverain sur terre, ce r&ocirc;le ayant le plus souvent &eacute;t&eacute; transf&eacute;r&eacute; du premier au second, comme c&rsquo;est le cas en Inde, sa m&egrave;re patrie. Consid&eacute;r&eacute; comme l&rsquo;un des dieux les plus populaires du N&eacute;pal, Indra est particuli&egrave;rement li&eacute; &agrave; la ville de Katmandou dont il est la divinit&eacute; patronale. Sa f&ecirc;te, qui a lieu chaque ann&eacute;e au mois de septembre durant environ neuf jours, aurait &eacute;t&eacute; institu&eacute;e au Xe si&egrave;cle par le roi Gunamakadeva qui aurait, dit-on, fond&eacute; la ville.&nbsp;&nbsp; Malgr&eacute; la relative pauvret&eacute; des sources dont nous disposons sur l&rsquo;histoire ancienne du N&eacute;pal &ndash; terme qui d&eacute;signait alors la seule Vall&eacute;e de Katmandou &ndash; il est possible que le choix de ce dieu v&eacute;dique ait &eacute;t&eacute; influenc&eacute;, tout au moins en partie, par des raisons climatiques. Les habitants de la Vall&eacute;e semblent avoir connu une p&eacute;riode de grave s&eacute;cheresse &agrave; la fin du Xe si&egrave;cle. Outre l&rsquo;adoption du dieu de l&rsquo;orage comme divinit&eacute; tut&eacute;laire de la ville de Katmandou sous le r&egrave;gne de Gunamakadeva (980-998), nous savons d&rsquo;apr&egrave;s les sources textuelles que son successeur, le roi Narendradeva (998-999), introduisit le culte d&rsquo;Avalokiteshvara Rouge, divinit&eacute; principale de la ville de Patan, et qu&rsquo;ainsi il sauva le pays de la s&eacute;cheresse et assura la prosp&eacute;rit&eacute; des r&eacute;coltes.&nbsp;&nbsp; <br />Des nombreuses f&ecirc;tes religieuses que conna&icirc;t le pays, l&rsquo;Indrajatra est sans doute la plus populaire. A cette occasion, le dieu de la pluie qui accorde la mousson est invoqu&eacute; pour la prosp&eacute;rit&eacute; ainsi apport&eacute;e aux agriculteurs, mais c&rsquo;est aussi pour les N&eacute;palais l&rsquo;anniversaire de la d&eacute;tention d&rsquo;Indra que leurs anc&ecirc;tres avaient fait prisonniers. Une l&eacute;gende raconte, en effet, que le roi des dieux est apparu un jour dans la Vall&eacute;e de Katmandou pour y cueillir des fleurs qu&rsquo;il voulait offrir &agrave; sa m&egrave;re. Mais ce faisant, dans un jardin, il fut pris pour un vulgaire voleur. Aussi resta-t-il pieds et poings li&eacute;s jusqu&rsquo;&agrave; ce que sa m&egrave;re, inqui&egrave;te de son absence, descendit du ciel pour le chercher. Elle dut alors d&eacute;voiler l&rsquo;identit&eacute; divine de son fils et, en &eacute;change de sa lib&eacute;ration, elle promit de r&eacute;aliser deux miracles : celui de faire appara&icirc;tre la ros&eacute;e chaque matin et celui d&rsquo;accueillir au paradis les &acirc;mes de tous ceux qui d&eacute;c&eacute;deraient dans l&rsquo;ann&eacute;e. Outre l&rsquo;int&eacute;gration du culte des morts et d&rsquo;&eacute;l&eacute;ments locaux au culte du dieu d&rsquo;origine v&eacute;dique, les r&eacute;jouissances allient &eacute;galement la figure de la Kumari royale et la forme terrible de Shiva. Mais, par del&agrave; l&rsquo;arbitraire apparent de ces associations de divinit&eacute;s issues de l&rsquo;Inde v&eacute;dique et brahmanique, de croyances locales et de cultes ancestraux, se dessine un ensemble coh&eacute;rent de valeurs, partag&eacute;es avec l&rsquo;Inde, qui mettent en exergue l&rsquo;importance du monarque universel dans le maintien du dharma qui n&rsquo;est autre que l&rsquo;ordre socio-cosmique. L&rsquo;unit&eacute; des festivit&eacute;s semble en effet avoir &eacute;t&eacute; pens&eacute;e autour du concept, bien connu en Inde, de monarque universel qui justifie l&rsquo;association des entit&eacute;s r&eacute;unies en raison de la similitude ou de la compl&eacute;&shy;mentarit&eacute; des notions qu&rsquo;elles v&eacute;hiculent.&nbsp; Le monarque universel d&eacute;signe commun&eacute;ment le souverain, qui appartient aux kshatriya, la caste des guerriers, et dont le r&ocirc;le est &agrave; la fois de prot&eacute;ger ses sujets par les armes et de leur apporter la prosp&eacute;rit&eacute;, essentiellement en maintenant un certain &eacute;quilibre entre les mondes gr&acirc;ce &agrave; l&rsquo;observance de rites qu&rsquo;il lui incombe de respecter.&nbsp; Tout monarque r&eacute;gnant g&eacute;n&eacute;ralement sur un territoire, sa figure est traditionnellement associ&eacute;e &agrave; une divinit&eacute; f&eacute;minine qui en est la protectrice et qui, dans la Vall&eacute;e de Katmandou, est incarn&eacute;e par la petite D&eacute;esse Vivante, elle-m&ecirc;me repr&eacute;sentante de la d&eacute;esse Taleju sur terre. Veillant sur le royaume du souverain qu&rsquo;elle prot&egrave;ge, ces divinit&eacute;s f&eacute;minines sont aussi per&ccedil;ues, de fa&ccedil;on all&eacute;gorique, comme les &eacute;pouses n&eacute;cessaires des rois, la royaut&eacute; ne pouvant se concevoir sans un territoire. Cette association, fort ancienne, d&rsquo;un domaine et d&rsquo;une divinit&eacute; f&eacute;minine aux c&ocirc;t&eacute;s du roi, s&rsquo;explique par le r&ocirc;le tr&egrave;s t&ocirc;t conf&eacute;r&eacute; &agrave; certaines d&eacute;esses consid&eacute;r&eacute;es comme les protectrices divines du territoire. Ce sont encore ces divinit&eacute;s f&eacute;minines qui renouvellent la l&eacute;gitimit&eacute; du pouvoir royal en apposant, en l&rsquo;esp&egrave;ce, un signe b&eacute;n&eacute;fique sur le front du souverain n&eacute;palais.&nbsp; <br />Si le Festival d&rsquo;Indra constitue un admirable exemple de syncr&eacute;tisme religieux, les repr&eacute;sentations mat&eacute;rielles du dieu t&eacute;moignent &eacute;galement d&rsquo;un m&eacute;lange, voire d&rsquo;un m&eacute;tissage des cultures. Indra peut &ecirc;tre &eacute;voqu&eacute; de multiples fa&ccedil;ons, par un simple poteau sacrificiel en bois, des effigies en chiffon du dieu, sa banni&egrave;re rouge brod&eacute;e d&rsquo;or... sans oublier les images traditionnelles d&rsquo;Indra, celles qui le montrent avec au moins l&rsquo;un de ses attributs dont le plus r&eacute;pandu est le foudre, avec ou sans sa monture, l&rsquo;&eacute;l&eacute;phant royal Airavata, parfois compar&eacute; &agrave; un nuage. Mais d&rsquo;autres formes du dieu, sp&eacute;cifiques aux ateliers n&eacute;palais, sont issues de la l&eacute;gende locale sur la d&eacute;tention d&rsquo;Indra. Outre les petites statuettes en bois du dieu entour&eacute;es de ficelles qui rappellent sa captivit&eacute;, les statues d&rsquo;Indra aux bras tendus et marqu&eacute;s de signes religieux sur le front, aux mains et aux pieds, sont consacr&eacute;es &agrave; la m&eacute;moire des anc&ecirc;tres d&eacute;funts. Au XVIIIe si&egrave;cle, alors qu&rsquo;ils visit&egrave;rent la Vall&eacute;e, des moines capucins qui virent ces effigies, les bras tendus, pens&egrave;rent se trouver face &agrave; des repr&eacute;sentations du Christ. L&rsquo;anecdote peut faire sourire, mais elle r&eacute;v&egrave;le n&eacute;anmoins la difficult&eacute; des Occidentaux &agrave; porter un regard neuf sur des&nbsp; civilisations qui leur &eacute;taient alors inconnues.&nbsp;&nbsp; Vers le XIIIe si&egrave;cle, des sectes tantriques qui ont associ&eacute; la figure de Bhairava, la forme la plus terrible de Shiva, au dieu guerrier Indra ont ainsi cr&eacute;&eacute;, au N&eacute;pal, un lien &eacute;troit entre les deux redoutables divinit&eacute;s. On remarquera, par ailleurs, qu&rsquo;outre leur aspect guerrier, Bhairava &laquo;Celui qui &eacute;pouvante&raquo;, partage avec Indra une autre facette, plus rarement &eacute;voqu&eacute;e au sujet du dieu d&rsquo;origine v&eacute;dique, qui est celle de l&rsquo;exc&egrave;s, de l&rsquo;abus, de la d&eacute;cadence. Cela se traduit, notamment, par le fait qu&rsquo;au cours de l&rsquo;Indrajatra, ce soit de la bouche du masque imposant de Bhairava que coule le flot d&rsquo;alcool de riz. Parmi les autres signes de l&rsquo;exag&eacute;ration rituelle que partagent les deux dieux, on notera &eacute;galement les plaisirs charnels, qui se traduisent par l&rsquo;&eacute;rotisme des repr&eacute;sentations, la violence ou bien la d&eacute;mesure de l&rsquo;asc&egrave;se. <br /><em>Susie Jouffa</em> <br />&copy; 2009 FRÉMEAUX &amp; ASSOCIÉS&nbsp; <br /><span class=Soustitre><span class=Soustitre2>CD n&deg;1</span>. Un voyage musical &ndash; Dur&eacute;e : 53 minutes 05 secondes</span> <br />Chaque plage est num&eacute;rot&eacute;e et peut s&rsquo;&eacute;couter s&eacute;par&eacute;ment. Mais, pour donner l&rsquo;illusion d&rsquo;&ecirc;tre embarqu&eacute; dans un voyage musical, pour se retrouver plong&eacute; dans l&rsquo;atmosph&egrave;re sonore de la f&ecirc;te de la petite D&eacute;esse Vivante, lors du Fes&shy;tival Indrajatra, en septembre 1969, il nous a sembl&eacute; agr&eacute;able d&rsquo;encha&icirc;ner tous les morceaux. Ouvrez les oreilles, fermez les yeux !&nbsp; &ensp;<br /><strong>1. Au Temple aux Singes de Swayambunath</strong>, un pr&ecirc;tre bouddhiste Guvaju r&eacute;cite des textes sanskrits et pr&eacute;pare ses offrandes parmi des enfants qui jouent au cerf-volant (1&rsquo;49&rdquo;).&nbsp; &ensp;<br /><strong>2. Se succ&egrave;dent les gongs des pr&ecirc;tres tib&eacute;tains</strong> (0&rsquo;35&rdquo;). &ensp;<br /><strong>3. Aux alentours du temple</strong>, c&rsquo;est un enchantement de chants d&rsquo;oiseaux (0&rsquo;33&rdquo;). &ensp;<br /><strong>4. En ville, derri&egrave;re le Palais Royal</strong>, de la bouche du gigantesque masque de bronze de Bhairava, &ldquo;le Terrible&rdquo;, divinit&eacute; commune aux Hindous et aux Bouddhistes de Katmandou, jaillit un alcool de riz blanc et mousseux au son des longues trompes Baha qui excitent la foule enivr&eacute;e (1&rsquo;11&rdquo;). &ensp;<br /><strong>5. Des ruraux</strong>, habill&eacute;s de toiles de jute couleur de la terre qu&rsquo;ils cultivent, prot&egrave;gent la petite D&eacute;esse Vivante en lui jouant de la fl&ucirc;te Muhali rythm&eacute;e par des petites cymbales en laiton Jhyali et des tambours Dholak. Coiff&eacute;s de masques effrayants o&ugrave; le rouge domine, sabre au poing, bracelets de corail et clochettes aux chevilles, ils miment en gestes saccad&eacute;s les batailles entre les bons et les mauvais esprits par des danses Mahankale (8&rsquo;21&rdquo;). &ensp;<br /><strong>6. Des pr&ecirc;tres tib&eacute;tains</strong> &eacute;gr&egrave;nent inlassablement leurs colliers &agrave; pri&egrave;re en souriant sous le portrait du dala&iuml;-lama exil&eacute; en Inde depuis maintenant dix ans (1&rsquo;11&rdquo;). &ensp;<br /><strong>7. Plus de huit mille Tib&eacute;tains</strong> sont alors r&eacute;fugi&eacute;s au N&eacute;pal. Plusieurs centaines d&rsquo;entre eux ont reconstitu&eacute; un de leurs villages &agrave; Jawalakhel. Des femmes, de tous &acirc;ges, fabriquent des tapis en chantant et en priant pour des jours meilleurs, au rythme de leurs petits maillets qui tendent les fils color&eacute;s de laine tiss&eacute;s (3&rsquo;25&rdquo;). &ensp;<br /><strong>8. Le jour se l&egrave;ve</strong> au son des fl&ucirc;tes et des petites cymbales Bavu quand les p&eacute;lerins empruntent le chemin de terre qui monte vers la colline de Swayambunath, pour aller se prosterner et m&eacute;diter sous le regard protecteur des quatre paires d&rsquo;yeux peints de Bouddha, sans compter quatre fois le troisi&egrave;me &oelig;il (0&rsquo;51&rdquo;). &ensp;<br /><strong>9. Des mendiants des ruelles</strong> du vieux Katmandou chantent en s&rsquo;accompagnant d&rsquo;une vi&egrave;le Saranghi &agrave; quatre cordes (2&rsquo;23&rdquo;).&nbsp; <br /><strong>10. Plusieurs hommes, gliss&eacute;s sous une large toile grise</strong> surmont&eacute;e d&rsquo;une t&ecirc;te de Ganesh, le dieu hindou &agrave; t&ecirc;te d&rsquo;&eacute;l&eacute;phant, imitent la course du pachyderme dans le labyrinthe des rues du Bazar, riant quand ils renversent sur leur passage des N&eacute;palais &eacute;m&eacute;ch&eacute;s qui titubent (1&rsquo;02&rdquo;). <br /><strong>11. Deux gar&ccedil;onnets aveugles</strong> qu&eacute;mandent l&rsquo;aum&ocirc;ne, rythmant au Tabla le nom de Narayana, leur dieu protecteur, une des formes de Vishnou (1&rsquo;59&rdquo;). <br /><strong>12. Sur la place du march&eacute;</strong>, des chanteurs attirent les badauds et se font de la publicit&eacute; pour vendre les livrets des airs populaires qu&rsquo;ils ont compos&eacute;s (1&rsquo;54&rdquo;). <br /><strong>13. En s&rsquo;accompagnant</strong> de petites cymbales, au milieu du flot des automobiles de la New Road, un baladin raconte un passage du Ramayana, l&rsquo;&eacute;pop&eacute;e hindouiste du demi-dieu Rama et de son &eacute;pouse Sita captur&eacute;e par le prince des d&eacute;mons Ravana (1&rsquo;24&rdquo;). <br /><strong>14. Un chansonnier des rues</strong> improvise une critique acerbe des fonctionnaires, dans un m&eacute;lange chant&eacute; de n&eacute;palais et d&rsquo;anglais, tout en se frappant le torse (1&rsquo;44&rdquo;). <br /><strong>15. Cette musique Dhintala Singtang</strong> symbolise le travail d&rsquo;une divinit&eacute; qui r&eacute;ussit &agrave; achever un monstre g&eacute;ant qui terrorisait la population. Pour perp&eacute;tuer ce mythe, des hommes de la caste des Duiya mettent &agrave; mort des buffles sp&eacute;cialement &eacute;lev&eacute;s pour le sacrifice (0&rsquo;56&rdquo;). <br /><strong>16. La Kumari Royale</strong>, petite D&eacute;esse Vivante, est promen&eacute;e sur son lourd char dor&eacute; tir&eacute; par des dizaines de paysans. L&rsquo;orchestre rituel Jyapu se compose de trompes droites en cuivre Penta, tambours &agrave; deux peaux lac&eacute;es Dhymaya, cymbales Bhusya et gongs en bronze Tainai. Des hommes, portant des masques de divi&shy;nit&eacute;s, leur ouvrent le chemin &agrave; travers une foule respectueuse mais bruyante (1&rsquo;35&rdquo;). <br /><strong>17. En fin de journ&eacute;e</strong>, la nuit tomb&eacute;e, des jeunes lettr&eacute;s comme des vieillards interpr&egrave;tent des chants po&eacute;tiques d&eacute;votionnels Bhazan sur le parvis d&rsquo;un temple. Éclair&eacute;s par des torches, accroupis sur une estrade devant des images pieuses, entra&icirc;n&eacute;s par un harmonium, ils rythment sur diff&eacute;rentes percussions un air d&eacute;di&eacute; &agrave; Kali la Noire, d&eacute;esse m&egrave;re destructrice et cr&eacute;atrice &agrave; la fois (2&rsquo;31&rdquo;). <br /><strong>18. La petite D&eacute;esse Vivante</strong>, toujours port&eacute;e avec d&eacute;f&eacute;rence, revient vers son palais apr&egrave;s avoir pu rendre visite &agrave; ses parents, des artisans du peuple Newar. Notons que les fillettes sacr&eacute;es sont issues de familles de pr&ecirc;tres bouddhistes, une forme d&rsquo;int&eacute;gration &agrave; la fois religieuse et politique. Les musiciens sont maintenant sous l&rsquo;effet de la marijuana Ganja et du haschisch Charas, ce qui s&rsquo;entend nettement dans leur fa&ccedil;on al&eacute;atoire de jouer (2&rsquo;26&rdquo;). <br /><strong>19. Chants folkloriques et religieux</strong>, liesse populaire, toux et probl&egrave;mes de poumons en altitude (5&rsquo;16&rdquo;). <br /><strong>20. Malgr&eacute; le bruit de la circulation automobile</strong> dans la ville nouvelle et les aboiements de chiens, une mendiante s&rsquo;accompagne &agrave; l&rsquo;harmonium pour d&rsquo;interminables chansons d&rsquo;amour &agrave; la mode, nettement influenc&eacute;es par les musiques modernes des films indiens. &Agrave; ce sujet, le po&egrave;te indien Rabindranath Tagore &eacute;crivait dans Souvenirs d&rsquo;enfance : &laquo;&Agrave; cette &eacute;poque, l&rsquo;harmonium n&rsquo;avait pas encore ruin&eacute; la musique de notre pays&raquo;. Un extrait de ce morceau avait &eacute;t&eacute; utilis&eacute; dans la B.O. du film &laquo;La Bonzesse&raquo; r&eacute;alis&eacute; &agrave; Paris et au Sri Lanka en 1973 par Fran&ccedil;ois Jouffa avec Sylvie Meyer dans le r&ocirc;le de la nonne bouddhiste (9&rsquo;00&rdquo;). <br /><strong>21. Fin de ce voyage musical</strong> hallucinant dans un espace-temps de l&rsquo;ordre du merveilleux et du fantastique.&nbsp; Sylvie et Fran&ccedil;ois sont dans un cyclo-pousse Rickhaw, Sylvie tombe dans un g&acirc;teau de fleurs de pavot. Qu&rsquo;est-ce qui reste ? Pince-moi : &laquo;Le r&ecirc;ve est fini&raquo;, comme l&rsquo;affirmera John Lennon quelques mois plus tard dans sa chanson God (3&rsquo;04&rdquo;).&nbsp;&nbsp; <br /><span class=Soustitre><span class=Soustitre2>CD n&deg; 2</span>. Documents parl&eacute;s &ndash; Dur&eacute;e : 61 minutes 15 secondes</span> <br />Quarante ans apr&egrave;s ces enregistrements de septembre-octobre 1969, &agrave; Katmandou au N&eacute;pal pour l&rsquo;un, &agrave; Agra en Inde pour l&rsquo;autre, il nous a sembl&eacute; int&eacute;ressant de les graver dans leurs dur&eacute;es originelles et, surtout, sous leurs formes initiales. Fran&ccedil;ois Jouffa &eacute;tait reporter &agrave; Europe n&deg;1 depuis d&eacute;j&agrave; six ans mais, &agrave; l&rsquo;&eacute;poque, il ne destinait pas ces deux interviews &agrave; la radio. Et, bien s&ucirc;r, il ne pouvait pas imaginer que, au XXIe si&egrave;cle, ses enregistrements in situ deviendraient l&rsquo;objet d&rsquo;un double disque compact. Pour Jouffa, il s&rsquo;agissait simplement non pas tant de poser correctement les bonnes questions &agrave; ses interlocuteurs, que de les mettre en confiance afin d&rsquo;en obtenir des informations qu&rsquo;il pourra utiliser pour ses articles dans la presse &eacute;crite quotidienne et mensuelle. C&rsquo;est pour garder la fra&icirc;cheur et l&rsquo;innocence des documents qu&rsquo;aujourd&rsquo;hui, nous n&rsquo;avons effectu&eacute; aucun montage et que nous avons pr&eacute;f&eacute;r&eacute; laisser les silences, les h&eacute;sitations, les bafouillages comme les craquements de micro. Mais, aussi, les chants d&rsquo;oiseaux autour du mausol&eacute;e d&rsquo;Agra.&nbsp;&nbsp;&nbsp; <br /><strong>1. Daniel Omn&egrave;s</strong>, consul de France &agrave; Katmandou au N&eacute;pal. L&rsquo;entretien s&rsquo;est pass&eacute; dans son bureau de l&rsquo;ambassade. En poste depuis d&eacute;cembre 1967, il offre l&rsquo;aide de la R&eacute;publique aux beatniks et hippies en difficult&eacute;s morales et financi&egrave;res. &Agrave; 28 ans, avec ses lunettes &agrave; montures d&rsquo;acier, ce jeune diplomate ressemble &agrave; un pion bienveillant de lyc&eacute;e. Juste apr&egrave;s Mai 68, il a assist&eacute; au d&eacute;barquement, dans la capitale du N&eacute;pal, d&rsquo;&eacute;tudiants d&eacute;sorient&eacute;s en qu&ecirc;te d&rsquo;un &ldquo;ailleurs&rdquo; et d&rsquo;un &ldquo;absolu&rdquo; en Orient, mais qui ont vu leurs illusions se fracasser contre les murs de l&rsquo;Himalaya. Fin de voyage et mauvais trip ! Il est notable que l&rsquo;une des jeunes r&eacute;fugi&eacute;es de l&rsquo;ambassade, dont parlait alors le consul, n&rsquo;&eacute;tait autre que Charlotte, la propre fille de Pierre Viansson-Pont&eacute;, le journaliste qui titrait &ldquo;Quand la France s&rsquo;ennuie&rdquo; son &eacute;ditorial dans Le Monde du 15 mars 1968, ne discernant pas dans sa propre famille la contre-culture en marche, quelques semaines avant le mai de la r&eacute;volte (plages 1 &agrave; 6 - dur&eacute;e totale : 30&rsquo;30).&nbsp;&nbsp; <br /><strong>2. Christian Heck</strong>, &eacute;tudiant de Strasbourg, voyageur, boursier Zellidja. La conversation informelle a eu lieu devant le Taj Mahal &agrave; Agra en Inde. Les &ldquo;Chemins de Katmandou&rdquo; n&rsquo;avaient pas tous &eacute;t&eacute; des voies sans issues. Parmi les jeunes Routards crois&eacute;s &agrave; cette &eacute;poque : Robert soignait les l&eacute;preux du mouroir de M&egrave;re Teresa &agrave; Calcutta, Jean &eacute;tudiait l&rsquo;architecture des temples n&eacute;palais, Philippe se perfectionnait en sanskrit &agrave; B&eacute;nar&egrave;s, Jean-Paul, s&eacute;minariste de Marseille, faisait la tourn&eacute;e des f&ecirc;tes musulmanes du Rajasthan. Et, surtout, Christian Heck, 19 ans, rencontr&eacute; alors dans le jardin du mausol&eacute;e Taj Mahal &agrave; Agra en Inde : cet &eacute;tudiant de Strasbourg avait re&ccedil;u une bourse de l&rsquo;association Zellidja pour un voyage d&rsquo;&eacute;tudes sur les Ashrams de l&rsquo;Inde du nord. Sympathique et brillant jeune homme, il est devenu, ensuite, un universitaire reconnu. Aujourd&rsquo;hui, professeur d&rsquo;histoire de l&rsquo;art &agrave; l&rsquo;Universit&eacute; de Lille 3, Membre senior de l&rsquo;Institut Universitaire de France (Chaire d&rsquo;iconographie m&eacute;di&eacute;vale), il est l&rsquo;auteur de nombreux textes de r&eacute;f&eacute;rence, comme L&rsquo;Échelle c&eacute;leste dans l&rsquo;art du Moyen &Acirc;ge (Flammarion, 1997). Un bel itin&eacute;raire pour celui qui, &ldquo;sur la route&rdquo;, nous disait : &laquo; On ne sait jamais tr&egrave;s bien ce qu&rsquo;on recherche quand on n&rsquo;a pas trouv&eacute;. &raquo; (plages 7 &agrave; 12 - dur&eacute;e totale : 30&rsquo;45).&nbsp;&nbsp;&nbsp; <br />Textes 2009 : Sylvie Jouffa, Fran&ccedil;ois Jouffa et Susie Jouffa. <br />Photos : Sylvie Roman-Jouffa et Fran&ccedil;ois Jouffa en 1969. <br />Enregistrements par Fran&ccedil;ois Jouffa en septembre-octobre 1969 sur Radiola avec micro Beyer adapt&eacute; et cassettes Philips made in Austria.&nbsp; <br />Copie en 1970 au Studio de l&rsquo;&eacute;mission Salut les Copains &agrave; Europe n&deg;1 sur bandes magn&eacute;tiques Pyral par Martial Courtois.&nbsp; <br />Montage et mixage en 2008 au studio Art &amp; Son par Alexis Frenkel.&nbsp; <br />Conseillers artistiques et techniques en 2009 : Alexis Jouffa &amp; Benjamin Goldenstein.&nbsp;&nbsp;&nbsp; <br /><span class=Soustitre><em>english notes</em></span><br /><strong>The Festival of Indra (Indrajatra) and the celebration of the little Living Goddess</strong> <br /><strong><em>Introduction by the publisher</em></strong> <br />&lsquo;I was in Kathmandu in 1969 and I think I haven&rsquo;t pulled myself together yet; I still didn&rsquo;t get over it.&rsquo; This quotation of Fran&ccedil;ois Jouffa is taken from the website of the French publisher Tallandier who issued the ultimate and complete History of Rock. Its author has the peculiarity of being both a historian of song and pop music and an ethnomusicologist specialist in the knowledge of Asia&rsquo;s culture. And it is thanks to Kathmandu! If his discography is by now rich of about forty albums, LPs and CDs, he recorded in situ it is, as a matter of fact, owing to the discovery of the Eastern world in the late 60&rsquo;s. At that time a few young Westerners were setting off, on the road to Kathmandu, in order to get wrapped in the spiritual discoveries brought to light by Alexandra David-N&eacute;el. But it was also in order to experience the adventures of a fascinating graphic novel by Herg&eacute;: while sitting on the steps of a temple with Sylvie, his companion, Fran&ccedil;ois began to weep with emotion when he realized he was as in a drawn-strip, page 12 of Tintin in Tibet.&nbsp; While he was a young reporter for the French radio station Europe n&deg;1, he recorded every sounds during his trip with a minicassette (a new technology at that time) hidden in a small Indian shoulder bag. Then, as the musical and hallucinatory experiences of the Beatles were becoming fashionable, a record company got interested in the various folk and religious music he had recorded and brought from that part of the world, although frequented at that time only by high-level sportsmen. Many years later it was a new shed of tears, of joy that time, when Jimmy Page, the &lsquo;guitar hero&rsquo; of Led Zeppelin, confirmed to Fran&ccedil;ois Jouffa, for whom it was beyond belief, that his vinyl of about forty minutes had been both for him and the singer Robert Plant a bedside disc when they were composing Kashmir, great international success and starting point of the world pop music fashion. The media fallout of the trip undertaken by the young and newly formed Jouffa couple (it was in fact their&hellip; honeymoon) to the land of the Living Goddess has had influenced a whole generation. As a proof of it, Philippe Gloaguen wrote in his memories, G&eacute;n&eacute;ration Routard, how much he had been &lsquo;impressed&rsquo; by the accounts Fran&ccedil;ois Jouffa told on the radio. In his Manuel du Routard, the famous travel guide for French backpackers, he wrote straight: &lsquo;Fran&ccedil;ois Jouffa is to ethnomusicology as Gutenberg is to typography.&rsquo;&nbsp; Exactly forty years after these recordings, Fr&eacute;meaux &amp; Associ&eacute;s are proud to present, for the first time, the complete set of captured sounds that had been preserved all along this initiatory trip out of time and out of space. <br /><em>Claude Colombini &amp; Patrick Fr&eacute;meaux</em>&nbsp; <br />&lsquo;What I wished was to explore the Buddha&rsquo;s native country, to see the setting in which arose the ideas that made him become a Buddha. You will tell me that the past twenty-five centuries have probably changed that setting. It is obvious but not as much as one may think. Life goes slow in the East, especially in the distant regions, like Nepal, that are cut off from civilization.&rsquo; <br /><em>Alexandra David-N&eacute;el</em>, Journal de Voyage. Lettres &agrave; son mari, 14th of December 1912&nbsp; <br />&lsquo;That smile of the Nepalese, the most exquisite I know, exquisite, not excessive, not perturbing, but delightful, without ulterior motives, pure&rsquo;. <br /><em>Henri Michaux</em>, Un Barbare en Asie, 1933&nbsp; <br />Captain Haddock: &lsquo;Is that thing a trumpet? I suppose you blow in here&hellip; - POOAA Captain Haddock: &lsquo;Oh, sorry!&rsquo;&nbsp; <br /><em>Herg&eacute;</em>, Tintin in Tibet, 1962&nbsp; <br />&lsquo;I won&rsquo;t let anyone do my water duty. Each morning, I carry the two plastic jerry cans from the Bazar de l&rsquo;H&ocirc;tel-de-Ville [in Paris, France] to the house of the living goddess in which is located the nearest fountain. The Olympus is outdated! I will have to tell my grandchildren: I used to draw water in the residence of a goddess, no metaphor, a living goddess. [&hellip;] I wish I could see the divine little virgin.&rsquo; <br /><em>Jack Thieuloy</em>, India of Main Road, 1971.&nbsp; <br /><span class=Soustitre>Kathmandu 69</span> <br />The little Living Goddess do exists; I met her in Kathmandu in Nepal. The first time I saw her, she appeared furtively through the wooden carved window of her apartment built within the wing of the ancient Royal Palace. What struck me the most in the architecture of the residence was the wealth of its adornment. The whole of the construction was like a puzzle made of wood and in which all the rooms perfectly fit together. According to the local tradition, neither nails nor glue were used to build it. The sacred Kumari (virgin), alternative term to designate the Living Goddess, is an eight-year-old little girl, quite pretty, mysterious, impassive and dressed with brocade and wearing a golden crown. Her eyes, heavily made-up seemed to stare sadly at the sky, maybe looking for kites (the most widespread toys in Nepal) guided by children of her age above the roofs of the pagodas. But her, the little recluse, was not allowed to play&hellip;&nbsp; When I arrived in Kathmandu I had a shock, an enchanting shock&hellip; Promptly one can only feel immersed in a medieval world where everything seems to have been preserved for ages.&nbsp; It was only in 1953 that the Nepalese country opened up to foreigners. It wasn&rsquo;t only a trip into space, it was also an incursion in the time dimension.&nbsp; The most striking feature of the Nepalese lies in the eyes of its inhabitants who are filled with generosity and kindness. They are peaceful and seem to be devoid of any aggressiveness.&nbsp; Their faces always reveal a radiant smile. The only inconvenience lies in the propensity of their wandering hands to explore the female foreigners&rsquo; breast and bottom. While yet keeping a disarming smile on their faces. After a fascinating trip through India I arrived in Nepal in September 1969. It was the beginning of the full-moon period, a few days before the most spectacular demonstration in Nepal, the Festival of Indra (Indrajatra), in which the Living Goddess comes out from her palace where she is otherwise locked up the rest of the year. I fully enjoyed the celebration. It wasn&rsquo;t on TV but it was for real. The show was in the street, in Technicolor and in Dolby Stereo. The whole country is regulated by a hundred feasts that punctuate the annual calendar (i.e. almost one out of three days). And as any feast it implies music, dances, rites and processions. The whole of the parade was dressed in sumptuous bright-coloured costumes enhanced by gorgeous masks of evil spirits.&nbsp; <br />At the end of the monsoon I left India where I had suffered physically and psychologically from the season&rsquo;s dampness, from the lack of food and above all, from the surrounding poverty. In the alleys of the old city of Kathmandu, the people seemed happier, or at least less in need, than their Indian fellows as they didn&rsquo;t follow me in formed groups to ask a &lsquo;backshish&rsquo; or beg for some money.&nbsp; The weather was cooler than in India. Finally, the food was excellent and there were a great number of Chinese, Nepalese and Tibetan restaurants. Between soups and vegetables one could eat the very nourishing buffalo steak.&nbsp; In short, it was a rebirth!&nbsp; For all these reasons, Nepal appeared to me as heaven on earth, especially compared to the hell that had been India to me. As I see it Kathmandu could be compared to Chamonix in the French Alps with a little something of Tintin in Tibet. It looked like Chamonix but with temples all around and, surrounding the city as far as the eye could see, the Himalayan chain was forming a white and sky-blued necklace around the valley. The contrast with India was so striking that everything seemed wonderful, even the wet bed of Camp Hotel, an average haven for &lsquo;filthy rich freaks&rsquo;, well located in the centre of Kathmandu, near the central place (Durbar Square) all around which were the temples and the palaces where took place the festivities and celebrations. The innkeeper was a nice man who could have taught his work to his French colleagues. The first day, he invited me to share his Nepalese meal that consisted in a plate of plain rice served with &lsquo;Dal&rsquo;, a dish essentially made of lentils, and a Chinese soup with &lsquo;Momos&rsquo;, a kind of raviolis filled with meat. The lunch ended with a glass of &lsquo;Chang&rsquo;, a rice wine tasting like cidre that instantly went to my head. He then asked me to sign his gold book, or I shall say, one of his five gold books. These were real sources of information as they contained quotations, signatures (some by pop stars of the sixties), addresses and pictures that could have made green with envy agents of the Intelligence Bureau or French policemen of the vice and drug squad. &lsquo;Officially&rsquo; the consumption of light drugs (opium, hashish) we used to find in the authorized &lsquo;Government Shops&rsquo; was to be forbidden after 1973.&nbsp; <br />Kathmandu was also the place where the well-off Europeans living in Goa, India, used to spend their holidays. Each year, they stayed there, between June and October, in order to avoid the Indian monsoon. One could have seen them, in the afternoon, going from a hippy bar to another and from a cake shop to a restaurant. They usually drank &lsquo;Lahssi&rsquo;, a sort of liquid and frothy yogurt, and ate opium cakes in the &lsquo;Pie Shops&rsquo;. Many of them smoke the whether red, green or golden &lsquo;Ganja&rsquo;, which is the local weed. Once, a traveller told me &lsquo;You know, that pot is quite light. It&rsquo;s a natural and unselected weed that children start smoking at eight.&rsquo; Although it may not have been strong, while going through New Road, the embassy area, a young French lady dressed in a Nepalese pyjama cut in an apple-green coarse fabric was laughing her head off at the sight of her dark-haired companion: &lsquo;You&rsquo;re small, so small. It&rsquo;s ridiculous how tiny you can get.&rsquo; It is true he was not quite tall, around sixty-five inches, but he could not, at any rate, have been considered a dwarf! &lsquo;You&rsquo;re fat as a chicken, as an egg&rsquo;, carried on the blond who was laughing with a renewed vigour. &lsquo;You seem to disappear in a whirl. What&rsquo;s happening to me? I cannot hear anymore. I have cloth ears&rsquo;. While she was keeping on with her weird monologue, she crossed the street in order to enjoy a Nepalese made Swiss cheese at the Swiss Cooperative. Quite often, children offered me to change dollars at the black market&rsquo;s rate, to buy some paintings (&lsquo;thangka&rsquo;), ancient Tibetan jewelleries and, of course, local grass. Eleven grams (the Nepalese &lsquo;Tola&rsquo;) for one rupee and a half, that is to say seventy centimes of the French former currency [eleven cents in Euros]. On the East road, on top of one of the countless hills of the valley, I saw a scene closer to Hieronymus Bosch surrealist world than to the reality of the 20th century. It was at the Monkey Temple, the Swayambunath, that I had reached after having climbed thousands of steps accompanied by an old man and a child both playing some folkloric tunes with a small rustic violin, a &lsquo;Saranghi&rsquo;. There I came across dozens and hundreds of monkeys. Some of them, the youngest ones, were sliding on their red butts over the stairs&rsquo; railing. Others, seating in a single line, seemed to devote most of their time to remove the louses from each other&rsquo;s head.&nbsp; <br />After I had came across a countless number of small temples and big yellow-painted seated Buddhas, I finally reached the central platform from which the show was so amazing that I couldn&rsquo;t say if I was actually daydreaming or not: a circle of lamas, the Tibetan refugee priests wrapped in their orange robe, a constant meditative smile on their faces and their head shaved, was tirelessly circumambulating around a temple, essentially consisting in a round mound, while chanting prayers. The procession formed like a huge necklace around the st&ucirc;pa, the sacred building, as they had their prayer wheels twirl. On top of the monument, two huge painted eyes kept watching over the merry-go-round. In the swarming ambience of scrawny but sacred cows, dogs almost dead, pigeons, ducks, ravens and naked children, a &lsquo;Saddhu&rsquo;, a religious pilgrim with long hair offered me to buy his prayer beads made in sandalwood for ten rupees, about five francs [seventy six cents in Euros], a real fortune for him. To the divinities sheltered in the niches the Buddhists offered flowers and rice that were immediately robbed by the starving monkeys. So, I was in Kathmandu, at the beginning of the feast dedicated to the god Indra, a divinity tightly linked to the water element. He is invoked in order to assure the rain that will bring a favourable monsoon and will make possible for the black buffaloes to have fresh grass and the people to obtain new harvests. In order to celebrate this divinity, both the Buddhists and the Hindus, dance, sing, pray and play music. And, as Indra is also the &lsquo;king of the gods&rsquo;, the kings of Nepal used to present themselves as the equivalent of the god on earth. The Festival is the occasion for the king to re-establish the legitimacy of his power. It also gives the opportunity to acclaim the sacred virgin, the Kumari or Living Goddess who is allowed, only for that event, to come out from her palace whose entrance is kept by two lions made of stone. During all of the procession, the five priests who had chosen the little girl stayed along with her. The most important moment of the festival was when king Mahendra Bir Bikram Shah, surrounded by his family and the ambassadors of the allied and near States (USSR, China and India) bowed down at her feet in order to receive her benediction, it was when she marked his forehead with the &lsquo;Tika&rsquo;, the traditional red dot. To the Nepalese people the ceremony is a symbol of royal legitimacy. After the king had left, thousands of devotees managed to come closer to the little virgin in order to catch sight of her, while she was seating on her golden throne and protected by big copper lions, and to receive her benediction as well. The Kumari is worshipped as though she were the real Goddess Taleju, the ancestral protector of the kings of Nepal. A tale explains how the custom has been established: while playing at dice, an ancient king is said to have had impure thoughts towards her and to have tried to seduce her. Offended, the Goddess would have had decided to disappear and to&nbsp; withdraw her protection. After a very long penance, the king got informed that the Goddess would appear, from then on, as a little girl from the lower cast amidst the goldsmith. The cult has now been practiced for thirteen centuries. <br />The little girl is chosen at the age of five.&nbsp; Her body needs to be defaultless and to bear 32 signs among which the most distinctive features are: the line of the arch foot forming a circle, proportionate heels, long toes, doe-shaped legs, sexual organs embedded in the pelvis, round shoulders, a lion chest, long arms, a small but proportionate tongue, a deep-voice like the one of a sparrow, a round head, etc. After being chosen, the sacred virgin lives in her palace, where all her wishes are being fulfilled. But as she has to never be harmed, she cannot play and has to stand still. The sight of blood would indeed put an end to her sacred character. She is therefore condemned to remain almost immobile. It is the age of puberty, when she starts having her periods, that puts an end to her reign. She is then be replaced by a new chosen child and sent back to her family with plenty of presents. But she will remain&hellip; cursed. According to a superstition, the ex-Living Goddesses,&nbsp; worshipped during their childhood, will end up their lives alone and somewhat neurotic, and above all unknown and unremarked as it is believe that none of their husbands would survive long after their marriage. The Festival had just begun when a long line of peasants and servicemen pulled the trunk of a tree that had been cut down in honour of Indra. A Buddhist priest was reciting prayers in Sanskrit while preparing the offerings, and children were playing with colourful kites. I followed the procession that had just taken form. The post, consisting in the trunk of the tree, had been erected with the help of ropes. Some soldiers fired a salute with their rifles. The brightly coloured crowd began to applaud. Some participants laid offers at the bottom of the huge post. Concealed behind&nbsp; a wooden crosspiece all along the rest of&nbsp; the year, a gigantic bronze mask was being&nbsp; disclosed for the occasion. It was Bhairava, the most terrible form of Shiva. The mask was fixed at the rear wall of the ancient Royal Palace. During eight consecutive nights, everyone joyfully jostled at each other while trying to swallow a gulp of rice bear - which is&nbsp; considered as a divine gift, &lsquo;Prasad&rsquo; - gushing out from a pipe hidden in the divinity&rsquo;s mouth. A little fish is said to live in the alcohol tank and it is believed that if someone had the chance to capture it while drinking that person would become the happiest inhabitant of the valley. While mingling with the crowd, dozens of hands brushed against each part of my body. My timid attempts to protest had no effect on all the surrounding smiles. <br />Within 24 hours, the centre of Kathmandu had turned into a big theatre: it was like a dream. The dances were followed by the processions, the flute melodies by the rhythm of the cymbals; and the drums preceded and followed all the ceremonies. One morning, the little goddess had been taken out for a ride on her heavy golden chariot pulled by dozens of peasants through the city. Masked musicians and dancers accompanied her. The crowd hurried in order to see her. Flowers and rice were thrown at her. It was hard to approach her and even more harder to take photographs but, I did learn it after, it was strictly banned. At another moment, actors wearing glittering tops and loincloths made of precious fabric had mimed the sabre dance. Their vivid-coloured masks of papier-m&acirc;ch&eacute; were representing the gods. Their movements were accentuated by the insistent music. The growing number of people crowded together on the different levels of the temples surrounding the forefront of the ancient Royal Palace as well as on the huge benches. The houses&rsquo; roofs in the shape of a pagoda were teeming with people. Women were dressed in their most beautiful saris. The air was balmy with incenses and fragrances.&nbsp; The Living Goddess appeared on the balcony, wearing a heavy headpiece in gold ornamented with precious stones. Her forehead was adorned by the blood-coloured &lsquo;Tika&rsquo; (the third eye), the symbol of the female energy. Her eyes were lined with black kohl. Although the ceremonies kept going on it was no longer coordinated. I was surprised to see in the courtyard of a temple a group of masked dancers simulating the battle of the gods in that almost empty place. Or to see, in the evening, at a corner of the main square, the gathering of young intellectuals and elders saying prayers and squatting on a platform in front of holy pictures. Accompanied by a harmonium, others were playing different percussion instruments like the Indian tabla. By candlelight, they were also narrating the&nbsp; legend of Kali, the Goddess of destruction and creation.&nbsp; <br />Such animations occurred each night. The Living Goddess had been taken out on her golden chariot three days in a row. Although she was the main character of the festivities, she was brought back into her palace from which balcony she attended the last part of the ceremony. As most of the Nepalese were used to stay up until late at night, it was quite frequent to see drunken people lurching along the roads before they collapsed. But in the morning everything started anew. Non-stop music and dances. I was watching the dancers who came in groups from different areas of the city, or the singers taking part in a contest. Some children, gathered together, were dancing a sequence of the Mah&acirc;bh&acirc;rata (one of the two great epics of Ancient India with the Ram&acirc;y&acirc;na). The last night of the festival, men with tremendous headdresses dragged the crowd towards the courtyard of the ancient Royal palace where they performed a ritual dance around a buffalo. As bullfight in the Western world, they managed to excite the animal until they actually cut its head off with the sabre they were holding in one hand. In the middle of the night, the post erected on the first day was being cut down. Once the trunk had fallen on the ground, the mob rushed at it and ripped a piece off in order to save a part of the sacred tree. Afterwards, while the music and the dancing were still going on, what was left of the tree was being dragged to the Vishnumati river that runs along the city of Kathmandu where it was to be sunken. The last salvo fired by the officers of the Royal guard announced the end of the&nbsp; festivities that had longed for eight days and eight nights. The next morning the calm was back but the show I had witnessed the last few days dazzled me with its magic, and that was to last for a long time. Up to the present day the memory of the smells I had breathed, the local music still echoing in my head and, most of all, the visions I had of a another world of other times, made it possible to bring back to life the souvenir I have from that experience. <br /><em>Sylvie Roman</em>,&nbsp;Traffic n&deg;3, December 1985&nbsp; <br /><strong>Documentation</strong> <br />Sylvie Roman-Jouffa and Fran&ccedil;ois Jouffa gave an account (texts and pictures) of their 1969 initiatory trip in India and Nepal, in: <br />- The daily paper L&rsquo;Aurore of Tuesday, the 14th of October 1969 ; Wednesday, the 15th of October 1969 ; Thursday, the 16th of October 1969 and Friday, the 17th of October 1969. <br />- The monthly Rock &amp; Folk n&deg; 34 in November 1969 and n&deg;35 in December 1969. <br />- The weekly Pop Music &ndash; Superhebdo n&deg;71 on the 5th of August 1971. <br />- The monthly Traffic n&deg;3 in December 1985. <br />- The book Pourquoi n&rsquo;&ecirc;tes-vous pas hippie? Editions La Palatine, 1970. <br />- The book La Culture Pop des ann&eacute;es 70 (le pop-notes de Fran&ccedil;ois Jouffa), Editions Spengler, 1994. <br />Some photographs shot by Sylvie Jouffa in India and in Nepal were published in the book Les Ann&eacute;es Cool, une jeunesse de r&ecirc;ves, 1969-1979, Editions du Panama, 2006. Following the radiophonic shows Fran&ccedil;ois Jouffa had commented and illustrated by his own melodic documents, in October 1969, on Europe n&deg;1, and contemporarily to the release of the film &lsquo;The Road to Katmandu&rsquo; or &lsquo;Dirty Dolls in Katmandu&rsquo; (with Renaud Verley, Jane Birkin and Serge Gainsbourg) directed by Andr&eacute; Cayatte and based on Ren&eacute; Barjavel&rsquo;s eponymous novel, the record company Vogue produced a long play vinyl (44 minutes and 40 seconds) distributed in May 1970 and entitled Katmandou, musique folklorique et reli&shy;gieuse du N&eacute;pal. Enregistr&eacute; &agrave; Katmandou par Fran&ccedil;ois Jouffa (reference LVLX.501).&nbsp; <br /><span class=Soustitre>The worship of Indra in Nepal</span>&nbsp; <br />The cult of Indra, quite popular in Nepal, has its roots in Ancient India. Whereas its practice has declined in its country, since the rise of Hinduism, the inhabitants of the Valley of Kathmandu continue to pay tribute to the king of the Vedic gods. Indrajatra, the Festival dedicated to Indra, gives evidence of the survival of ancient Indian beliefs and of the religious syncretism that constitute the main basis of the Nepalese religion.&nbsp; The main features of the god had been composed from historical, philosophical and mythological elements that are quite meaningful as to the evolution of the relation to god. As it is often the case, the mythology relating to Indra encompasses several realities at the same time; it can be understood as a mere product from the imagination, an allusion to an aspect of history, an instrument to convey a philosophical truth or as a mean to describe and understand the natural phenomenon. It can be comprehended in several ways. Forging a warrior god to their image, the Indo-Aryan military chiefs had coined the term Indra, meaning &lsquo;chief&rsquo;, as a royal title bestowing legitimacy upon its holder. After its systematic association with the main Vedic god, Indra became the name of the king of the kings. Although the primary use of the word is out-dated in India, the title had been kept in Nepal until the recent proclamation of the Federal Democratic Republic in 2008 and the end of the last Hindu monarchy. By the way, it is significant to mention that the Festival dedicated to the warrior god is in September for, in Medieval times, at that same period, the Nepalese kings used to wage wars in order to capture new lands and submit the rebellious vassals to their authority.&nbsp;&nbsp; <br />The Indus civilisation - that had flourished between the second half of the third millennium and the very beginning of the second millennium B.C. - might have considered the natural phenomenon as divine entities with their own features, not yet embodied in hominoid forms. The situation evolved progressively with the arrival of the Indo-Aryan invaders for they were trying to think to the proper supports and forms that would suit their devotion. As a matter of fact, it was during the Vedic period that a pantheon of gods took its shape; in the course of time, the features of each divine character increased in accuracy before it was to be transcribed in Sanskrit and gathered in a corpus of texts known as the Veda, meaning literally &lsquo;Knowledge&rsquo;. Indra, to whom is dedicated the greatest number of hymns in the Rig Veda, is the most important god of the elements. As the great master of the Sky, it is said that &lsquo;Indra, in order to make things visible, has lifted the sun up into the sky and has filled with water, the cloud&rsquo; (Book I, 7, 3). But the myth which is the more often brought up about Indra is the battle against Vrita, the latter being presented whether like a dragon whether like a cloud: while the Earth was drying out, Indra drank the ritual plant, Soma, before his fight with Vrita - that signifies &ldquo;resistance&rdquo; in Sanskrit - who was retaining all the water. It began to rain at the end of it. Indra had saved the earth and its inhabitants. Several interpretations, that are not exclusive, have been given about that fight. It can be seen as myth of creation, or shall I say a myth of re-creation of the order of the universe, thus stressing on its cosmic dimension. One can also highlight the way the demon of drought is killed which is meant to show both the strength of the Sky elements and the prosperity these elements bring to people.&nbsp; Indra has crossed the boundaries of India; one can see the god represented in Cambodia or in Thailand the foremost reasons being essentially esthetical and narrative. Such is not the case in Nepal where, the importance of Indra &ndash; still nowadays &ndash; is emphasized by the importance given to its cult. Whereas the worship of Indra - now considered as a minor Hindu god - is no longer practiced in India since the Vedic religion has declined, its celebration still regulates the religious life of the Nepalese people. The importance of the archetypal warrior god, king of the gods, can easily be understood in a context of rival chiefdoms. However, it doesn&rsquo;t explain the survival of that ancient cult linked to royalty and the importance given to the god Vishnu as the divine counterpart of the king on earth; most of the time, like in India, that function has been transferred from the former god to the latter. As one of the most popular gods in Nepal and as the patron of the city of Kathmandu, Indra is especially linked to that town. Its annual festival is said to have been established during the Xth century by king Gunamakadeva who is also considered as the founder of the city itself.&nbsp;&nbsp; <br />Despite the relative poverty of the sources of information we have on the ancient history of Nepal - term that used to designate the only Valley of Kathmandu - it is possible that the adoption of the Vedic god Indra had been influenced, in some ways, by climatic conditions. The inhabitants of the Valley seem, indeed, to have undergone a long and harsh period of drought at the end of the Xth century. Beside the adoption of the king of Thunder as the tutelary god of the city of Kathmandu under the reign of Gunamakadeva (980-998), we know from textual sources that his successor to the throne, king Narendradeva (998-999) introduced a cult dedicated to Avalokiteshvara The Red, the tutelary divinity of the city of Patan and that, doing so, he had saved the country from drought and had brought thriving harvests to his people.&nbsp; Amongst the numerous religious ceremonies of the Nepalese country, the Fest dedicated to Indra is the most popular one. For that occasion, homage is paid to the rain god that grants the monsoon that brings prosperity to the farmers and the peasants. But it is also, for the Nepalese people, the anniversary of Indra&rsquo;s captivity by their ancestors. According to a legend, the king of the gods once appeared in the Valley of Kathmandu in order to pick up some flowers for his mother. But, while doing so, in a garden, he was mistaken for a vulgar thief. He, therefore, had remained tied up until her mother, worried by his long absence, came down on earth to look for her son. In exchange of his liberation, she had to reveal his divine identity and to accomplish two miracles: to bring dew each morning and to accept in heaven the souls of all the ones would die within the year. In addition to the integration of the worship of the dead and local elements to the worship of the Vedic god, the celebration also includes the royal Kumari and the most terrible form of Shiva. In despite the apparent arbitrariness of the association of Vedic and Brahmanical gods, local beliefs and ancestral worship, a coherent set of values is brought out that gives importance to the universal monarch whose role is to maintain dharma, the socio-cosmic order. The unity of the festi&shy;vities seem, indeed, to stem from this concept, shared with India. As a matter of fact, the notion of universal king explains the asso&shy;ciation of such entities gathered in one single Fest because of the notions they convey.&nbsp;&nbsp; <br />The universal monarch can be defined as a sovereign, belonging to the kshatriya, the warrior cast, and whose main role is to protect his people with his army and to bring prosperity, essentially by maintaining harmony between the different worlds thanks to the observance of rites.&nbsp; As monarchs usually reign over a territory, they are traditionally associated to a feminine divinity who protects the kingdom. In the Valley of Kathmandu, she is embodied in the little Living Goddess who also represents the goddess Taleju on earth. Watching over the realm of the sovereign she protects, the feminine protectors of the territory are also identified as the allegorical spouses of the kings, kingship being unconceivable with no land. The association of a domain and a feminine divinity at the side of the king is quite ancient. The feminine divinities also have the power to renew the king&rsquo;s legitimacy, as it is the case here, by marking the forehead of the Nepalese king with a red dot.&nbsp; If the Festival dedicated to Indra is a great example of religious syncretism, the material representations of the god also give testimony of the combination, not to say, the merging of cultures. Indra can be evoked in several ways, by a mere sacrificial post made of wood, rag dolls of the god, his red banner embroidered with golden thread&hellip; and, of course, the traditional representations of Indra, those in which he is shown with at least one of his attributes, the most common one being the vajra, and with his mount, the royal white elephant, Airavata, who is sometimes compared to a cloud. But other forms of the god, specific to the Nepalese workshops, are inspired by the local legend of the detention of Indra.&nbsp; In addition to the wooden statuettes of the god trussed up, the statues of Indra, arms stretched on each side, with religious signs on the forehead, the hands and the feet, are dedicated to the ancestors&rsquo; memory. In the XVIIIth century, while they were visiting the Valley, Capuchin monks thought they had found representations of the Christ when they saw the stretched-armed god. It may appear anecdotic but it reveals the difficulty of the Westerners to have a fresh look on civilizations that were, at the time, unknown to them.&nbsp; In the XIIIth century, followers of the tantric school have associated the figure of Bhairava, the most terrible form of Shiva, to the warrior god Indra, thus creating a link in Nepal between the two dangerous divinities. It is also worthy of noting that both gods have a link with eroticism, abuse and decadence that can explain the stream of alcohol gushing out from the mouth of Bhairava&rsquo;s imposing mask during&nbsp; Indra&rsquo;s Fest. Among the other signs of ritual exaggeration both gods have in common are the sensual pleasures that are depicted in the erotic representations, violence and excessive ascetism. <br /><em>Susie Jouffa</em> <br />&copy; 2009 FRÉMEAUX &amp; ASSOCIÉS&nbsp; <br /><span class=Soustitre><span class=Soustitre2>CD n&deg;1</span>. A musical trip &ndash; Total playing time: 53 minutes 05 seconds</span> <br />Each track is numbered and can be listened to separately. But in order to have the illusion to be taken in a musical trip and to get fully immersed in the musical atmosphere of the Living Goddess feast during Indra&rsquo;s&nbsp; Festival (Indrajatra) in September 1969, we thought it would be more pleasant to have a continuous and unbroken succession of tracks. Open your ears and shut yours eyes!&nbsp; &ensp;<br /><strong>1. A the Monkey Temple</strong>, the Swayambunath, the buddhist priest Guvaju is reciting texts in Sanskrit while he is preparing the offerings amidst children playing with kites (1&rsquo;49&rsquo;&rsquo;). &ensp;<br /><strong>2. Then follows the gongs of the Tibetan priests</strong> (0&rsquo;35&rsquo;&rsquo;). &ensp;<br /><strong>3. In the surrounding area around the temple</strong>, one can hear the enchanting bird songs (0&rsquo;33&rsquo;&rsquo;). &ensp;<br /><strong>4. Within the city</strong>, at the rear of the Royal Palace, from the mouth of the huge bronze mask of Bhairava, &lsquo;the Terrible&rsquo; &ndash; a divinity shared both by Hindus and Buddhists in Kathmandu &ndash; is gushing out the white and bubbly rice wine at the sound of the long Baha horns that excite the inebriated crowd (1&rsquo;11&rsquo;&rsquo;). &ensp;<br /><strong>5. Peasants</strong>, dressed in hessian cloths coloured by the soil they cultivate, are protecting the Living Goddess by playing the Muhali flute to the beat of the Jhyali little brass cymbals and the Dholak drums. With a sabre in one hand, frightening masks of essentially red colour, coral armlets and anklets with little bells, they practice the Mahankale dances by miming in a jerky way the battles between the good and the evil spirits (8&rsquo;21&rsquo;&rsquo;). &ensp;<br /><strong>6. While they tirelessly tell their beads</strong>, some Tibetan priests have a smile on their face at the sight of the picture of the Dalai Lama who has now been exiled in India for ten years (1&rsquo;11&rsquo;&rsquo;). &ensp;<br /><strong>7. More than eight thousand Tibetans</strong> then took refuge in Nepal. Hundreds of them have recreated their familiar village in Jawalakhel. While weaving rugs and carpets, women of all ages are singing and praying for the advent of a better day, to the beat of the mallets used to tighten together the colourful woollen threads (3&rsquo;25&rsquo;&rsquo;). &ensp;<br /><strong>8. The day had already begun</strong> with the sound of flutes and small cymbals Bavu when the pilgrims took the path leading to the hill of Swayambunath where they prostrated themselves before meditating beneath the four pairs of painted eyes of the Buddha, not to mention his four third-eyes (0&rsquo;51&rsquo;&rsquo;). &ensp;<br /><strong>9. Beggars</strong>, in the alleys of the old Kathmandu, singing and playing the four-stringed viol &lsquo;Sarangi&rsquo; (2&rsquo;23&rsquo;&rsquo;). <br /><strong>10. Several men hidden</strong> under a large and grey blanket surmounted by the head of Ganesha, the Hindu god with an elephant head, are making a parody of the pachyderm running through the intricated alleys of the Bazar and laugh when they happen to bump into fuddled Nepalese people (1&rsquo;02&rsquo;&rsquo;). <br /><strong>11. Two blind little boys</strong> are asking for charity while praising the name of Narayana, their protective god and one of the many forms of Vishnu, to the rhythm of a tabla (1&rsquo;59&rsquo;&rsquo;). <br /><strong>12. On the market place</strong>, singers making their own advertisement attract onlookers by selling booklets containing the folk tunes they had composed (1&rsquo;54&rsquo;&rsquo;). <br /><strong>13. While accompanying</strong> <strong>himself</strong> on little cymbals in the midst of New Road&rsquo;s stream cars, a wandering entertainer is narrating an excerpt from the Ramayana, the Hindu epic about the adventures of the half-god Rama whose wife, Sita, had been kidnapped by Ravana, the lord of the demons (1&rsquo;24&rsquo;&rsquo;). <br /><strong>14. While hitting his chest,</strong> a street artist improvises a bitter criticism about the civil servants in a song combining Nepalese and English words (1&rsquo;44&rsquo;&rsquo;). <br /><strong>15. The Dhintala Singtang music</strong> praises the achievement of the god who has managed to destroy the evil creatures that had terrified the population. In order to perpetuate the myth, members of the Duiya cast put to death buffaloes especially reared for that purpose (0,56&rsquo;&rsquo;). <br /><strong>16. The royal Kumari</strong>, the little Living Goddess, is parading on a her heavy golden chariot pulled by a dozen peasants. The ritual orchestra is composed of straight horns made of brass, Penta, and drums with two laced up skins, Dhymaya, cymbals Bhusya and bronze gongs, Tainai. Some men wearing masks with the head of gods open the way through the respectful but clamouring crowd (1&rsquo;35&rsquo;&rsquo;).&nbsp; <br /><strong>17. In the end of the day</strong>, when the night was dark, young and old intellectuals sing devotional poetry in front of the temple. Squatting on a platform in front of pious pictures and enthralled by a melodic harmonium, they beat the tempo on different percussion instruments thus producing a tune dedicated to Kali the Black, the mother goddess both of destruction and creation (2&rsquo;32&rsquo;&rsquo;). <br /><strong>18. The little Living Goddess</strong>, always carried with deference, returns to her palace after a visit to her parents, artisans from the Newari people. It is noteworthy of mentioning that the sacred girls are chosen among Buddhist priests&rsquo; families for a better religious and political integration of their community. As one can hear from the inaccuracy of the tune, the musicians are now under the influence of marihuana Ganja and hashish Charas (2&rsquo;26&rsquo;&rsquo;).&nbsp; <br /><strong>19. Folkloric and religious songs</strong>, popular festivities, cough and lungs health problems in high altitude (5&rsquo;16&rsquo;&rsquo;). <br /><strong>20. In despite the noise coming from the car traffic</strong> of the new town and the dogs&rsquo; barking, a begging woman singing endless love songs in fashion &ndash; clearly influenced by the modern music of Indian films &ndash; accom&shy;panied herself on a harmonium. About that subject, the Indian poet Rabindranath Tagore wrote in My Boyhood Days (1943): &lsquo;In that time, the harmonium had not yet ruined our country&rsquo;s music&rsquo;. An extract had been used in the soundtrack of the film La Bonzesse shot in Paris and in Sri Lanka in 1973 and directed by Fran&ccedil;ois Jouffa, with Sylvie Meyer playing the part of the Buddhist nun (9&rsquo;00&rsquo;&rsquo;). <br /><strong>21. End of the musical and hallucinatory trip</strong> into that wonderful and fantastic parallel space-time. If Sylvie and Fran&ccedil;ois were in a rickshaw and Sylvie jumped out in a poppy cake, who would be left? Pinch me: as John Lennon said a few months after in his song God, &lsquo;The dream is over&rsquo; (3&rsquo;04&rsquo;&rsquo;).&nbsp;&nbsp;&nbsp; <br /><span class=Soustitre><span class=Soustitre2>CD n&deg;2</span>. Spoken archives &ndash; Total playing time : 61&nbsp; minutes 15 seconds</span> <br />Forty years after the 1969 recordings, in Kathmandu, Nepal, for one and in Agra, India, for the other, we thought it was more interesting to burn them all in their entirety and, most of all, in their initial forms. At the time, Fran&ccedil;ois Jouffa, who was already a reporter at Europe n&deg;1 for six years, didn&rsquo;t plan to use them in the framework of the French radio. And, of course, he couldn&rsquo;t have imagined that, in the XXIth century, the sounds he had captured in situ would turn into a double CD. For Jouffa, it was less a matter of asking the right questions to his interlocutors than to put them at ease in order to obtain some useful information to write articles in daily and monthly magazines. In order to keep the original freshness and innocence of the sound documents, we have decided not to resort to sound montage and thus to keep the silences, the hesitations, the spluttering as well as the cracking sounds of the microphone. And also the bird songs around Agra&rsquo;s mausoleum.&nbsp; &ensp;<br /><strong>1. Daniel Omn&egrave;s</strong>, French consul in Kathmandu, Nepal. The interview took place in his office in the embassy. Daniel Omn&egrave;s who had been holding the post since December 1967 was to offer the help of the French Republic to the beatniks and the hippies in moral and financial difficulties. At the age of 28 the young diplomat wearing steel-framed glasses looked like an understanding high school supervisor.&nbsp; Right after the events of May 68 he witnessed the mass arrival in the capital of Nepal of confused and disoriented students in quest of absoluteness in the East. But their illusions crashed against the rock face of the Himalaya. End of the trip and bad trip! It is noteworthy to mention that one of the young refugees in the embassy &ndash; about whom the consul talked to us &ndash; was no other than Charlotte, the own daughter of Pierre Viansson-Pont&eacute;, the well-known journalist who wrote in Le Monde, on the 15th of May, 1968, an article entitled &lsquo;Quand la France s&rsquo;ennuie&rsquo; (When France gets bored) while he had not perceived within his own family the on-going counter-culture a few weeks before May&rsquo;s revolt (tracks 1 to 6 - total time : 30&rsquo;30).&nbsp; &ensp; <br /><strong>2. Christian Heck</strong>, French student from Strasbourg, globetrotter, Zellidja scholarship holder. The informal conversation occured in front of the Taj Mahal in Agra, India. All &lsquo;The Roads to Kathmandu&rsquo; had not been a no way out. Among the young backpackers we met at that time there was: Robert who took care of the lepers in the dying place of Mother Teresa in Calcutta, Jean who studied the architecture of the Nepalese temples, Philippe who was improving his Sanskrit skills in Benares, and Jean-Paul a seminarian from Marseille who was doing the rounds of the Muslim celebrations all through the Rajasthan. And, above all, there was Christian Heck, 19 years old, whom we met in the garden of the Taj Mahal, the great mausoleum in Agra, India: this student from Strasbourg had received from the association Zellidja a grant for the study of the North India&rsquo;s ashrams. The nice and brilliant young man then became a respected scholar. He is now a professor of art history at the University of Lille 3, a Senior Member of the Institut Universitaire de France (in hold of the Medieval Iconography chair), and the author of several texts of reference, as L&rsquo;Echelle c&eacute;leste dans l&rsquo;art du Moyen Age (The celestial ladder in Medieval art), Flammarion, 1997. A great itinerary for the one who, &lsquo;on the road&rsquo;, told us: &lsquo;One doesn&rsquo;t know what to look for before having found it&rsquo; (tracks 7 to 12 - total time : 30&rsquo;45).&nbsp; <br />Texts 2009: Sylvie Jouffa, Fran&ccedil;ois Jouffa and Susie Jouffa. <br />English translation: Susie Jouffa. <br />Photos: Sylvie Roman-Jouffa and Fran&ccedil;ois Jouffa in 1969. Recordings by Fran&ccedil;ois Jouffa in September-October 1969 on a Radiola with an adapted Beyer microphone and Philips minicassette tapes made in Austria.&nbsp; <br />Copy in 1970 in the studio of the radio teenager show Salut les Copains, at Europe n&deg;1, on magnetic-tapes Pyral by Martial Courtois.&nbsp; <br />Editing and mastering in 2008 at the studio Art &amp; Son by Alexis Frenkel. <br />Artistic and Technical advisors in 2009: Alexis Jouffa &amp; Benjamin Goldenstein.<br /></span></p><p align=justify><br /><p align=justify><span class=Source>CD Katmandou 1969 &copy; Fr&eacute;meaux &amp; Associ&eacute;s (fr&eacute;meaux, fr&eacute;maux, fr&eacute;mau, fr&eacute;maud, fr&eacute;mault, fr&eacute;mo, fr&eacute;mont, fermeaux, fremeaux, fremaux, fremau, fremaud, fremault, fremo, fremont, CD audio, 78 tours, disques anciens, CD &agrave; acheter, &eacute;couter des vieux enregistrements, albums, r&eacute;&eacute;ditions, anthologies ou int&eacute;grales sont disponibles sous forme de CD et par t&eacute;l&eacute;chargement.)</span></p><br />* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * <br /><span class=Soustitre2>Fran&ccedil;ois Jouffa</span><br /><strong><em>par Lib&eacute;ration<br /></em></strong></p><p align=justify><br />&quot;Fran&ccedil;ois Jouffa a quitt&eacute; son bureau d'Europe 1. De cette pi&egrave;ce, rock'n roll hall of fame un peu d&eacute;suet, c'est tout un pan de l'histoire d'Europe 1 qu'il faut d&eacute;m&eacute;nager. Des m&egrave;tres carr&eacute;s de photos r&eacute;p&egrave;tent l'image d'un petit jeune homme au regard clair, bras prolong&eacute; d'un micro, visage &eacute;clabouss&eacute; par l'aura des Jim Morrisson, Bob Dylan, Mick Jagger, Cloclo, Eddy, Johnny et les autres. Sur les &eacute;tag&egrave;res, quelques-uns des trente volumes &eacute;dit&eacute;s &agrave; partir de 75 &shy; l'Age d'or du y&eacute;y&eacute;, de la &laquo; pop music &raquo;, les Stories de Johnny, des Stones ou d'Elvis&nbsp;mart&egrave;lent ce pass&eacute; dans lequel beaucoup l'ont finalement class&eacute;. <br />Sur la porte d'entr&eacute;e, un article claironne toujours: &laquo; Jouffa revient sur Europe 1. &raquo; Anachronique consolation: le Petit Prince de la radio (il a d&eacute;but&eacute; sur Europe &agrave; 12 ans en interpr&eacute;tant le texte de Saint-Exup&eacute;ry) vient d'&ecirc;tre d&eacute;barqu&eacute; de sa plan&egrave;te. La direction de la station lui a sucr&eacute;, vendredi dernier, l'&eacute;mission Vinyl Fraise, la derni&egrave;re qu'il animait, chaque jour, depuis cinq ans. Certains de ses homologues l'enterrent sans larmes ni bouquets: &laquo; C'&eacute;tait d&eacute;j&agrave; un miracle qu'il ait tenu jusque-l&agrave; avec son filon, les ann&eacute;es 60 et 70. On ne peut pas toujours vivre sur un gimmick du pass&eacute;... &raquo; Jouffa, c'&eacute;tait le Tintin parisien au pays du rock'n roll, devenu chantre de l'&egrave;re flower power. Le temps du rock, pour lui, s'est arr&ecirc;t&eacute; en 1977. &laquo; Quand le mouvement punk a d&eacute;barqu&eacute;, j'&eacute;tais au bord de la d&eacute;pression, et avec la cold-wave, c'&eacute;tait encore pire: de la musique grise, sans &acirc;me... &raquo; Alors il s'est r&eacute;fugi&eacute; dans la p&eacute;riode 60-75. De cette &eacute;poque dont il fut un t&eacute;moin actif, il est devenu peu &agrave; peu le conteur. A la vie comme au micro, il se souvient, d&eacute;m&ecirc;le les entrelacs de son exp&eacute;rience... au risque de b&acirc;tir lui-m&ecirc;me le placard qui lui ouvre aujourd'hui ses portes. En 1963, &agrave; 19 ans, Fran&ccedil;ois Jouffa entre &agrave; la r&eacute;daction d'Europe 1 comme reporter. L'explosion du rock anglo-saxon percute sauvagement la France, il en capte les d&eacute;tonations. Un an plus tard, les Beatles atterrissent au Bourget. Il les accueille au bas de la passerelle, micro &agrave; la main, et offre &agrave; Europe 1 la premi&egrave;re interview des Fab Four en fran&ccedil;ais. Pendant les ann&eacute;es qui suivent, il n'est pas une voix des artificiers des sixties qui n'&eacute;choue, un jour ou l'autre, sur les bandes de son Nagra. <br />Parall&egrave;lement, bombard&eacute; sur tous les fronts par la r&eacute;daction d'Europe, il explore de l'int&eacute;rieur le laboratoire d'id&eacute;es des ann&eacute;es 60, persuad&eacute; que le constat de Viansson-Pont&eacute; (&laquo; La France s'ennuie &raquo;) n'est qu'une marque de l'aveuglement d'une g&eacute;n&eacute;ration d&eacute;pass&eacute;e. En mai 1967, dans son fanzine Bande &agrave; part (BAP), il pr&ocirc;ne la r&eacute;volte &laquo; dans une vaste campagne de bonheur &raquo;, faute de voir &laquo; les jeunes ouvriers, comme les &eacute;tudiants, face au monde professionnel et sans travail, se d&eacute;cha&icirc;ner &raquo;. En 68, juste avant l'explosion de mai, il se fait &eacute;carter de l'&eacute;mission Campus, relais &laquo; des nouveaux courants culturels qui submergent le monde des adulte s&raquo;, pour avoir invit&eacute; des &eacute;tudiants gauchistes allemands, dont certains deviendront membre de la bande &agrave; Baader. Envoy&eacute; sur les barricades, il d&eacute;couvre les joies du reportage &agrave; chaud: &laquo; Les manifestants nous traitaient de radio-flics et la police de radio-&eacute;meutes! &raquo; Emport&eacute; par son &eacute;lan, il va m&ecirc;me s'essayer au cin&eacute;ma. En 1973, il tourne la Bonzesse, parcours sulfureux d'une &eacute;tudiante qui finit par trouver le Nirvana &agrave; Ceylan. Le film appara&icirc;t &agrave; l'affiche du Georges V en 1974, apr&egrave;s un an d'interdiction en salle: &laquo; Quand Giscard est descendu les Champs-Elys&eacute;es, une photo parue dans France-Soir l'a montr&eacute; devant l'affiche. &raquo; Certains y verront &laquo;le film qui a fait sauter la censure&raquo;. Aujourd'hui, Jouffa ne refuse jamais une balade au pays des souvenirs. Dans Vinyl Fraise, c'&eacute;tait m&ecirc;me son unique ambition. Mais s'il est un voyage dont il n'est jamais revenu, c'est celui qui l'a men&eacute; &agrave; Katmandou, en 1969, avec sa femme Sylvie. Equip&eacute; d'un petit magn&eacute;to, il traque la couleur locale (ambiances orientales, chants traditionnels) dont les jeunes Occidentaux se d&eacute;lectent. Un 33 tours sera &eacute;dit&eacute; peu apr&egrave;s son retour. L'an dernier, le producteur de Led Zeppelin lui a rappel&eacute; que &laquo; Jimmy Page et ses acolytes baignaient dans ce reportage au moment o&ugrave; ils composaient Kashmir! &raquo;. <br /></p><p align=justify>Depuis, Fran&ccedil;ois Jouffa a sillonn&eacute; Bali, la Tha&iuml;lande, le Vi&ecirc;t-nam, la Birmanie, le Triangle d'Or. A chaque retour, il produit un album de musique ethnique, accompagn&eacute; de notes de voyage. Une activit&eacute; peu r&eacute;mun&eacute;ratrice, qu'il aimerait prolonger au micro: &laquo; Plut&ocirc;t que de raconter pour la centi&egrave;me fois ma nuit avec Dylan, je pourrais faire une &eacute;mission passionnante sur le voyage, les musiques et les gens que l'on d&eacute;couvre. Sur la route, on croise des backpackers (routards) passionnants, des Kerouac d'aujourd'hui. J'ai propos&eacute; l'id&eacute;e, mais personne n'en a voulu jusqu'&agrave; pr&eacute;sent... &raquo; Mais, pour la plupart, Jouffa reste le sp&eacute;cialiste des y&eacute;y&eacute;s, le biographe de Johnny, le gentil animateur de Vinyl Fraise. C'est celui-l&agrave; qu'Europe 1 a d&eacute;cid&eacute; de mettre au clou avec ses photos, la moquette orange &agrave; l'&eacute;tage de son duplex, le petit combi VW marqu&eacute; du sigle Peace and Love qui d&eacute;corait son bureau. Enlever Jouffa d'Europe, c'est un signal tr&egrave;s clair: la station de la rue Fran&ccedil;ois-Ier fait sa mue de fin de si&egrave;cle, et personne n'est &agrave; l'abri, les voix historiques pas plus que les autres. &laquo; Ce n'est m&ecirc;me plus une page qui se tourne, a conclu un journaliste venu voir la derni&egrave;re de Vinyl Fraise, c'est la fin du livre. &raquo; Fran&ccedil;ois Jouffa avoue que la suppression de son &eacute;mission l'a laiss&eacute; prostr&eacute;. Que faire maintenant, alors que tous les programmes radio sont boucl&eacute;s? Rester digne... Quand il a vu une assistante, elle aussi &eacute;vinc&eacute;e, fondre en larmes en sortant des locaux, rue Fran&ccedil;ois-Ier, il l'a entra&icirc;n&eacute;e plus loin. &laquo; Viens, ils ne m&eacute;ritent m&ecirc;me pas de te voir pleurer... &raquo;&nbsp; Petit Prince &eacute;ject&eacute; d'Europe 1, pi&eacute;g&eacute; par son identification &agrave; une &eacute;poque engloutie via une station ingrate, Jouffa se demande aujourd'hui que faire. Il d&eacute;nonce la formation de ghettos dans le paysage radio, lui, le pur produit du format g&eacute;n&eacute;raliste, toujours en se r&eacute;f&eacute;rant aux sixties : &laquo; Quand j'&eacute;tudiais l'audiovisuel &agrave; Seattle, en 1962, j'&eacute;tais outr&eacute; qu'il y ait des radios diff&eacute;rentes pour les Noirs, pour les Juifs, les jeunes, les vieux. Mais c'est ce qui se passe aujourd'hui en France ! Comment les communaut&eacute;s pourraient-elles s'entendre si elles ne se rencontrent pas ? &raquo; Il s'en prend &eacute;galement au &laquo; ton humiliant de certains jeunes animateurs. On peut me traiter de baba sur le retour, mais je revendique une philosophie d'espoir, de gratification du public, d&eacute;truire un auditeur &agrave; l'antenne pour faire rire les autres est vraiment trop facile &raquo;. Alors Jouffa cite Ferr&eacute;, &laquo; Les modes se d&eacute;modent&raquo;, r&eacute;p&egrave;te que le public sera toujours passionn&eacute; d'entendre une &eacute;poque racont&eacute;e par ses t&eacute;moins. Plus que jamais, il r&ecirc;ve de voyage, se replonge dans des bandes magn&eacute;tiques ramen&eacute;es du Vi&ecirc;t-nam (la sortie de l'album est pr&eacute;vue pour 1997), pr&eacute;pare son prochain p&eacute;riple au Cambodge. En Tha&iuml;lande, il a r&eacute;cemment d&eacute;couvert la techno. &laquo; &Ccedil;a m'a rappel&eacute; les percussions de Ceylan, la transe balinaise, le rock progressif, King Crimson... &raquo;&quot;<br /><em>Guillaume BARA</em> - &copy; Lib&eacute;ration<br />Cr&eacute;dit photo : &copy;&nbsp; Sylvie Jouffa</p></span>"
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      "dwf_livret" => "<h3>Music of Tibet - FA5069</h3><p align=justify><span class=Soustitre2>THE DEBEN BHATTACHARYA COLLECTION</span><br /><span class=Soustitre2>Music of Tibet</span><br /><span class=Texte>Au cours de l&rsquo;ann&eacute;e 1975, Deben Bhattacharya s&rsquo;est rendu au Sikkim. C&rsquo;&eacute;tait une &eacute;poque troubl&eacute;e sur le plan politique puisque le Sikkim &eacute;tait en train d&rsquo;&ecirc;tre rattach&eacute; &agrave; l&rsquo;Inde. Cependant, la communaut&eacute; indienne semblait peu affect&eacute;e par ces troubles. A Gangtok, les &eacute;coliers chantaient et dansaient volontiers pour Deben Bhattacharya qui enregistrait avec son Nagra. Deben Bhattacharya a &eacute;galement visit&eacute; le monast&egrave;re de Rumtek et a eu le privil&egrave;ge de rencontrer le Karmapa, ou chef spirituel. Les jeunes lamas v&ecirc;tus </span><br /><span class=Texte>de robes rouges couraient dans le mo&shy;nast&egrave;re avec des sourires espi&egrave;gles. Ils se pr&eacute;paraient &agrave; devenir moines mais n&rsquo;avaient pas perdu l&rsquo;esprit joueur des jeunes gar&ccedil;ons. Son exp&eacute;rience fut semblable lorsqu&rsquo;il se rendit dans d&rsquo;autres r&eacute;gions de l&rsquo;Himalaya pour enregistrer et r&eacute;aliser deux documentaires. A Dha&shy;ramshala, les jeunes lamas jouaient en se suspendant aux branches des arbres ce qui les amusait beaucoup. </span><br /><span class=Texte>Ces tib&eacute;tains ont toujours v&eacute;cu en Inde, en pr&eacute;servant leur mode de vie et leur pratiques religieuses. Pourtant, quand les Chinois envahirent le Tibet en 1959 et occup&egrave;rent le pays sans rencontrer aucune r&eacute;sistance, environ 100 000 tib&eacute;tains s&rsquo;enfuirent pour suivre leur chef spirituel, le Dala&iuml;-lama, en Inde. Ils y furent accueillis comme les habitants d&rsquo;un pays voisin et ami. Avant 1959, il y avait plus de 3000 grands monast&egrave;res et 200 000 moines au Tibet, mais la plupart de ces monast&egrave;res furent d&eacute;truits &agrave; la suite de l&rsquo;occupation chinoise. Aujourd&rsquo;hui, les r&eacute;fugi&eacute;s tib&eacute;tains en Inde ont &eacute;tabli une centaine de monast&egrave;res. La musique pr&eacute;sent&eacute;e sur ce CD a &eacute;t&eacute; enregistr&eacute;e dans des temples et des monast&egrave;res tib&eacute;tains en Inde, construits avant et apr&egrave;s l&rsquo;occupation chinoise du Tibet.</span><br /><span class=Texte>Il y a &eacute;galement sur ce CD, en plus de la musique sacr&eacute;e, des enregistrements de musique populaire r&eacute;alis&eacute;s dans des &eacute;coles du Sikkim en 1975.</span><br /><span class=Texte>Pendant ses voyages de 1979, Deben Bhattacharya a r&eacute;alis&eacute; deux films: </span><br /><span class=Texte>&ldquo;Le chant du Lama&rdquo; et &ldquo;Echos du Tibet&rdquo; qui font partie d&rsquo;une s&eacute;rie de 22 films intitul&eacute;e &ldquo;Aspects de l&rsquo;Asie&rdquo;.</span><br /><span class=Texte>La musique traditionnelle tib&eacute;taine, qu&rsquo;elle soit sacr&eacute;e ou profane, joue un r&ocirc;le pr&eacute;cis dans la vie quotidienne. Elle a permis aux Tib&eacute;tains de lutter contre le d&eacute;sespoir et les a aid&eacute;s &agrave; pr&eacute;server leur dignit&eacute; et leur respect d&rsquo;eux-m&ecirc;mes. Au cours de la premi&egrave;re moiti&eacute; du septi&egrave;me si&egrave;cle, le roi tib&eacute;tain Song-Tsen-Gampo fit de grands efforts pour favoriser l&rsquo;introduction et l&rsquo;installation du bouddhisme indien au Tibet. Il envoya en Inde des sp&eacute;cialistes &eacute;tudier l&rsquo;approche indienne de la vie spirituelle et de la vie mat&eacute;rielle. De c&eacute;l&egrave;bres savants bouddhistes furent invit&eacute;s au Tibet, entre les 7e et 13e si&egrave;cles, comme h&ocirc;tes des rois tib&eacute;tains qui tentaient d&rsquo;infl&eacute;chir le pouvoir des anciens pr&ecirc;tres B&ouml;ns, issus du chamanisme. Ces derniers exer&ccedil;aient une grande influence sur la population en exploitant leur peur du surnaturel. Malgr&eacute; l&rsquo;&eacute;panouissement du bouddhisme au Tibet, la religion B&ouml;n ne disparu pas compl&egrave;tement. Les deux religions se m&eacute;lang&egrave;rent tout en conser&shy;vant chacune une identit&eacute; distincte. Les &eacute;volutions des diff&eacute;rentes sectes lamas illustrent cette p&eacute;riode historique int&eacute;ressante durant laquelle le Boud&shy;dhisme et le B&ouml;n v&eacute;curent c&ocirc;te &agrave; c&ocirc;te.</span><br /><span class=Texte>L&rsquo;alphabet tib&eacute;tain d&rsquo;aujourd&rsquo;hui, les arts religieux et l&rsquo;architecture furent introduits au Tibet durant cette p&eacute;riode: cette culture a continu&eacute; de s&rsquo;&eacute;panouir pendant plusieurs si&egrave;cles. Cette longue p&eacute;riode d&rsquo;&eacute;changes continus entre le Tibet et l&rsquo;Inde, qui dura pendant treize si&egrave;cles d&rsquo;affil&eacute;s, ne semble marqu&eacute;e par aucune discorde ou conflit entre les deux pays. Aujourd&rsquo;hui, les Tib&eacute;tains sont consid&eacute;r&eacute;s comme les autres Indiens et font partie d&rsquo;une population qui compte un million de personnes.</span><br /><span class=Soustitre2>La musique sacr&eacute;e tib&eacute;taine</span><br /><span class=Texte>Comme au Tibet, la musique des monast&egrave;res et des temples construits en Inde consiste en r&eacute;citations et chants de textes religieux et enseignements des grands ma&icirc;tres du pass&eacute;. Des citations de ces enseignements sont inscrites sur des banderoles et des roues de pri&egrave;res, que l&rsquo;on trouve pr&egrave;s des temples et des maisons. Les bouddhistes ne prient pas pour obtenir des bienfaits mat&eacute;riels. Les chants repr&eacute;sentent les enseignements de Bouddha et leur interpr&eacute;tation par des savants et des adeptes v&eacute;n&eacute;r&eacute;s. Ils constituent ainsi un vaste ensemble de litt&eacute;rature th&eacute;ologique et ont contribu&eacute; &agrave; l&rsquo;&eacute;volution d&rsquo;un grand nombre de sectes au Tibet, chacune suivant un chemin sp&eacute;cifique trac&eacute; par un enseignant particulier. L&rsquo;entra&icirc;nement &agrave; la r&eacute;citation commence &agrave; un jeune &acirc;ge. La discipline monastique stricte encourage les jeunes novices &agrave; apprendre les textes religieux et les enseignements par c&oelig;ur.</span><br /><span class=Texte>Le Bouddhisme est une religion de congr&eacute;gation et la musique des temples est aust&egrave;re et bas&eacute;e sur la r&eacute;citation. Le ser&shy;vice au temple commence par la r&eacute;citation du &laquo;trisharanam&raquo;, les trois maisons ou points centraux du Bouddhisme, qui disent:</span><br /><span class=Texte>&laquo;Buddham sharanam gacchami,</span><br /><span class=Texte>dhammam sharanam gacchami,</span><br /><span class=Texte>sangham sharanam gacchami&raquo;</span><br /><span class=Texte>&laquo;Je cherche refuge en Bouddha</span><br /><span class=Texte>Je cherche refuge en dhamma &nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>(la foi)</span><br /><span class=Texte>Je cherche refuge en sangha (l&rsquo;union des moines).&raquo;</span><br /><span class=Texte>Le chant et la r&eacute;citation des textes sacr&eacute;s sont ponctu&eacute;s p&eacute;riodiquement par des interludes instrumentaux jou&eacute;s sur des instruments &agrave; vents et des percussions qui r&eacute;sonnent.</span><br /><span class=Soustitre2>La musique populaire tib&eacute;taine</span><br /><span class=Texte>Les chansons et les danses pr&eacute;sentes sur ce CD ont &eacute;t&eacute; enregistr&eacute;es en 1975 &agrave; l&rsquo;&eacute;cole Enchey de Gangtok, au Sikkim. Des gar&ccedil;ons et des filles chantaient et dansaient joyeusement pour Deben Bhattacharya qui enregistrait. Les changements politiques et les &eacute;v&eacute;nements locaux ne semblaient pas affecter les &eacute;coliers. Leur chants et leurs danses refl&egrave;tent leur amour de leur pays et de ses traditions.</span><br /><span class=Soustitre2>Les instruments</span><br /><span class=Texte>Les temples de l&rsquo;Himalaya indien sont exactement les m&ecirc;mes que ceux du Tibet, le Tibet &eacute;tant un pays de montagnes, la population emploie des instruments &agrave; r&eacute;verb&eacute;ration pour la musique de temple. Ils se peut que ces derniers trouvent leur origine dans le chamanisme. Les instruments ne sont pas utilis&eacute;s pour accompagner les voix, mais comme ponctuation, comme pour accorder un repos &agrave; la voix et un temps de m&eacute;ditation sur les mots sacr&eacute;s. Il y a aussi un autre aspect &agrave; ces instruments: tandis que la voix chante les textes sacr&eacute;s, les instruments s&rsquo;en font l&rsquo;&eacute;cho pour que le monde entier puisse les entendre. </span><br /><span class=Texte>Les instruments jou&eacute;s dans le temple et lors des c&eacute;r&eacute;monies monastiques sont les suivants :</span><br /><span class=Texte><strong>Dung-chen:</strong> trompe conique du Tibet, g&eacute;n&eacute;ralement en cuivre rouge et d&eacute;cor&eacute;e d&rsquo;argent. Le tube conique du Dung-chen varie en longueur, entre un m&egrave;tre et demi et deux m&egrave;tres. Pour &ecirc;tre jou&eacute;, il doit &ecirc;tre pos&eacute; &agrave; terre ou sur un support. Certains des Dung-chen utilis&eacute;s par les Tib&eacute;tains en Inde ont une forme semblable &agrave; un t&eacute;lescope ce qui les rend plus faciles &agrave; transporter. C&rsquo;est un excellent instrument &agrave; &eacute;cho.</span><br /><span class=Texte><strong>Gyaling: </strong>instrument en roseau &agrave; double hampe qui ressemble au Shehnai indien. Le Gyaling est utilis&eacute; dans la musique des temples pour apporter un phras&eacute; m&eacute;lo&shy;dique pendant les interludes ins&shy;tru&shy;mentaux.</span><br /><strong><br /></strong><span class=Texte><strong>Rkan-dun: </strong>fabriqu&eacute; &agrave; partir d&rsquo;os humains (le f&eacute;mur), le pipeau Rkan-dun est jou&eacute; par certaines sectes telles que les Drugpa-ka-gyu pendant leurs c&eacute;r&eacute;monies du temple.</span><br /><span class=Texte><strong>Nga:</strong> tambour biface, en forme de roue, le Nga est jou&eacute; avec un b&acirc;tonnet incurv&eacute; en bois. Bien que les deux faces soient couvertes de peau de yak, une seule peut &ecirc;tre frapp&eacute;e &agrave; la fois. Il est parfois jou&eacute; avec deux b&acirc;tonnets, l&rsquo;un frapp&eacute; sur le corps en bois, l&rsquo;autre sur la peau tendue.</span><br /><strong><br /></strong><span class=Texte><strong>Daru:</strong> semblable au Damaru indien, le tambour Daru a une forme de sablier et est jou&eacute; avec une paire de cordes attach&eacute;es &agrave; sa taille &eacute;troite.</span><br /><span class=Texte><strong>Rolmo: </strong>paire de grandes cymbales de bronze.</span><br /><span class=Texte><strong>Singyen</strong>: paire de cymbales accroch&eacute;es au doigt, en bronze.</span><br /><span class=Texte>Tilpo: cloche jou&eacute;e &agrave; la main, en bronze ou en cuivre.</span><br /><strong><br /></strong><span class=Texte><strong>Lingbu:</strong> fl&ucirc;te de bambou transversale &agrave; six trous.</span><br /><span class=Texte><strong>Arga:</strong> clochette accroch&eacute;e &agrave; la cheville.</span><br /><span class=Texte><strong>Tingsha:</strong> petite cymbale frapp&eacute;e avec un b&acirc;tonnet &agrave; t&ecirc;te m&eacute;tallique.</span><br /><span class=Texte>Les danses et les chansons populaires tib&eacute;taines sont accompagn&eacute;es de certains de ces instruments.</span><br /><span class=Soustitre2>TITRES <br /></span><br /><strong><span class=Texte>1/ Jensey. </span></strong><br /><span class=Texte>C&eacute;r&eacute;monie du feu ex&eacute;cut&eacute;e par Gelugpa (la Secte jaune) en m&eacute;moire des morts et conduite par le grand Lama de Kalimpong (Himalaya oriental). Des offrandes de riz, de graines, de beurre cuit, d&rsquo;une herbe sp&eacute;cifique et de morceaux de papier sur lesquels &eacute;taient inscrits le nom des morts &eacute;taient dispers&eacute;s au dessus d&rsquo;un autel o&ugrave; br&ucirc;laient de hautes flammes. Pendant la c&eacute;r&eacute;monie, une procession fun&eacute;raire s&rsquo;approcha du grand Lama pour recevoir sa b&eacute;n&eacute;diction avant la cr&eacute;mation. Les chant consistent principalement en la r&eacute;citation des noms des disparus. Les interludes instrumentaux sont jou&eacute;s sur un Gyaling, un Nga, un Rolmo et un Tilpo.</span><br /><span class=Texte>La c&eacute;r&eacute;monie f&ucirc;t enregistr&eacute;e au monast&egrave;re de Ghoom en 1979, au Darjeeling, Himalaya oriental.</span><br /><strong><span class=Texte>2/ Lecture des textes sacr&eacute;s par les lamas du principal monast&egrave;re tib&eacute;tain de Dharamshala, si&egrave;ge du Dala&iuml; lama en Inde.</span></strong><br /><span class=Texte>Reprise alternativement par diff&eacute;rents moines, cette lecture est ininterrompue vingt-quatre heures durant et se poursuit ainsi pendant plusieurs mois. Il s&rsquo;agit d&rsquo;un &eacute;v&eacute;nement annuel.</span><br /><span class=Texte>Enregistr&eacute; &agrave; Dharamshala, en Octobre 1979.</span><br /><strong><span class=Texte>3/ Trois moines en pri&egrave;re &agrave; Sarnath.</span></strong><br /><span class=Texte>C&eacute;r&eacute;monie du matin en louange &agrave; Bouddha et &agrave; ses id&eacute;aux, au temple de la secte de Mahayana &agrave; Sarnath. C&rsquo;est &agrave; Sarnath que Bouddha a fait son premier sermon, il y a 2500 ans. Plusieurs sectes bouddhistes du monde entier y ont construit des temples et des sanctuaires en t&eacute;moignage de leur v&eacute;n&eacute;ration pour Bouddha.</span><br /><span class=Texte>Enregistr&eacute; dans un temple &agrave; Sarnath, en 1979.</span><br /><strong><span class=Texte>4/ C&eacute;r&eacute;monie du temple de la secte Drugpa-ka-gyu.</span></strong><br /><span class=Texte>Cette c&eacute;l&eacute;bration annuelle du 10e jour du mois lunaire est la comm&eacute;moration de la naissance du moine indien Padma&shy;sambhava. Invit&eacute; par le dirigeant du Tibet, son s&eacute;jour marque l&rsquo;introduction du bouddhisme dans le pays. Cet anniversaire c&eacute;l&eacute;br&eacute; par la secte Drugpa-ka-gyu fut introduit en Inde depuis le Tibet Oriental. La r&eacute;citation des mots sacr&eacute;s est ponctu&eacute;e de moments de musique instrumentale, jou&eacute;e sur des Dung-chen, deux Rkan-duns, un Gyaling, un Nga et un Rolmo.</span><br /><span class=Texte>Enregistr&eacute; en Octobre 1979 au temple Drugpa-ka-gyu, &agrave; Tashijong, Himalya central.</span><br /><strong><span class=Texte>5/ Tucho Dawe Duchi.</span></strong><br /><span class=Texte>Pri&egrave;re de l&rsquo;apr&egrave;s-midi au monast&egrave;re de Rumtek.</span><br /><span class=Texte>Bien que ces textes puissent &ecirc;tre r&eacute;cit&eacute;s &agrave; n&rsquo;importe quelle heure du jour ou de la nuit, cet enregistrement repr&eacute;sente la pri&egrave;re de l&rsquo;apr&egrave;s-midi qui se tient au temple du monast&egrave;re de la Secte du Chapeau Rouge &agrave; Rumtek. Les lamas tib&eacute;tains de la secte du Chapeau Rouge qui vivent dans ce monast&egrave;re sont entretenus par le roi de Bhutan. La r&eacute;citation est ponctu&eacute;e par une musique jou&eacute;e sur les instruments suivants: une paire de Gyaling, un Nga, un Daru, le Singyen et un Tilpo. Ceci n&rsquo;est qu&rsquo;un court extrait d&rsquo;une c&eacute;r&eacute;monie qui dure presque deux heures.</span><br /><span class=Texte>Enregistr&eacute; en Avril 1975 &agrave; Rumtek, Sikkim, Himalaya oriental.</span><br /><strong><span class=Texte>6/ Ema Linchey.</span></strong><br /><span class=Texte>Danse tib&eacute;taine ex&eacute;cut&eacute;e par 6 filles et 6 gar&ccedil;ons. Il s&rsquo;agit d&rsquo;une danse populaire religieuse accompagn&eacute;e par 3 Lingbu (fl&ucirc;te transversale &agrave; six trous).</span><br /><span class=Texte>Enregistr&eacute; &agrave; l&rsquo;&eacute;cole Enchey, &agrave; Gangtok, Sikkim, le 6 Avril 1975.</span><br /><strong><span class=Texte>7/ Danse populaire Khampa.</span></strong><br /><span class=Texte>Traditionnellement ex&eacute;cut&eacute;e par les Tib&eacute;tains qui vivent dans le district de Khamp. 6 filles et 6 gar&ccedil;ons dansent, tandis que 7 filles et 1 gar&ccedil;on de l&rsquo;&eacute;cole Enchey les accompagnent avec une chanson intitul&eacute;e &ldquo;Utta utta Lhasa Ling Lautta&rdquo;. Le th&egrave;me de la chanson est la louange du merveilleux paysage de Lhasa. Les instruments sont les suivants : une paire de cymbales (Rolmo), une clochette de cheville (Arga) et une cymbale frapp&eacute;e avec une b&acirc;tonnent &agrave; t&ecirc;te de m&eacute;tal (Tingsha).</span><br /><span class=Texte>Enregistr&eacute; &agrave; l&rsquo;&eacute;cole Enchey, Gangtok, Sikkim, en Avril 1975.</span><br /><strong><span class=Texte>8/ Chant patriotique Khampa.</span></strong><br /><span class=Texte>Chant tib&eacute;tain exprimant des voeux de bonheur pour le pays.</span><br /><span class=Texte>Enregistr&eacute; &agrave; l&rsquo;&eacute;cole Enchey, Gangtok, Sikkim, en Avril 1975.</span><br /><strong><span class=Texte>9/ Chanson Khampa Tashi </span></strong><br /><span class=Texte>Chant&eacute;e &agrave; la fin du programme, cette chanson apporte sa b&eacute;n&eacute;diction &agrave; tous.</span><br /><span class=Texte>Enregistr&eacute;e &agrave; l&rsquo;&eacute;cole Enchey, Gangtok, Sikkim, en Avril 1975.</span><br /><strong><span class=Texte>10/ Les conques r&eacute;sonnent.</span></strong><br /><span class=Texte>Deux jeunes moines soufflent dans les coquillages &agrave; Dharamshala.</span><br /><span class=Texte>Enregistr&eacute; &agrave; Dharamshala en 1979.</span><br /><span class=Soustitre><br />Jharna Bose-Bhattacharya</span><br /><span class=Texte>&copy; FRÉMEAUX &amp; ASSOCIÉS, GROUPE FRÉMEAUX COLOMBINI SA, 2003</span><br /><span class=Soustitre2>THE DEBEN BHATTACHARYA COLLECTION</span><br /><span class=Soustitre2>Music of Tibet</span><br /><span class=Texte>During the year 1975, Deben Bhattacharya traveled to Sikkim. This was a moment of political turmoil as Sikkim was being merged to India. However, the Indian community there seemed rather unaffected by the troubles. In Gangtok the schools proudly presented their songs and dances before the Nagra recorder. Besides the schools Deben Bhattacharya visited the Rumtek monastery and had the privilege of meeting the Karmapa, or spiritual leader. Young lamas in red robes ran around with mischievous smiles. They were growing up to be monks but had not lost their boyish playfulness.</span><br /><span class=Texte>Similar was his experience when, in 1979, he traveled to other parts of the Himalayas to record and shoot two documentary films. In Dharamshala, the young lamas were hanging from the branches of trees having a great time.</span><br /><span class=Texte>These Tibetans have always lived in India maintaining their lifestyle and their religious practices. However, when the Chinese invaded Tibet in 1959 and occupied the country without any resistance, about 100 000 Tibetans followed their spiritual and temporal leader the Dalai Lama into exile to India. They were welcomed as people from a friendly and neighboring country. Before 1959 there used to be over 3 000 large monasteries and over 200 000 monks in Tibet but the majority of these monasteries have been destroyed since the Chinese occupation. Today, the Tibetan refugees in India have established about one hundred monasteries. </span><br /><span class=Texte>The music in this CD was recorded in the Tibetan temples and monasteries in India, both before and after the Chinese occupation of their country. Apart from the sacred music, the folk music on this CD was recorded in a school in Sikkim in 1975.</span><br /><span class=Texte>Deben Bhattachaya made two films during his travels in 1979 : - &lsquo;The Chanting Lama&rsquo; and &lsquo;Echoes from Tibet&rsquo; which belong to a series of 22 films called &ldquo;Asian Insights&rdquo;. Sacred or secular, the music from the living tradition in Tibet serves a definite function in everyday life. It has also sustained the Tibetans in their despair and helped them retain their self-respect and dignity as refugees in a foreign land. A steady organized effort in introducing Buddhism from India into Tibet was initiated during the first half of the seventh century by the Tibetan King Song-Tsen-Gampo. He sent specialists to India to study the Indian approach to spiritual and material life. Renowned Buddhist scholars and monks were invited to Tibet between the 7th and the 13th centuries as guests of the Tibetan kings who were trying to curb the power of the shamanists, the old &lsquo;Bon&rsquo; priests. They exerted great influence over the population by exploiting their fear of the supernatural. Although Buddhism flourished in Tibet, &lsquo;Bon&rsquo; did not die. Both religions mingled with one another but retained their separate identities. The evolution of different lamaistic sects illustrated this interesting historical situation where Buddhism and Bon lived side by side. The current Tibetan alphabet, the religious arts and architecture were introduced into Tibet during this period and this culture continued to flourish for centuries. During the long continuous contact that has lasted for thirteen centuries between Tibet and India, we have no historical evidence of any discord or conflict between the two countries. The Tibetans live as Indians, as an integral part of a population which counts a billion people.</span><br /><span class=Soustitre2>Tibetan sacred music</span><br /><span class=Texte>As in Tibet, the music of the monasteries and temples built in India consists of chants and recitations of the religious texts and teachings of the great masters of the past. Quotations from these teachings are inscribed on flags and on prayer wheels, which are found near temples and dwellings. Buddhists do not pray for material benefits. The chants represent Buddha&rsquo;s teachings as well as their interpretation by revered scholars and devotees. These have given rise to a vast repository of theological literature and contributed to the evolution of a large number of sects in Tibet, each following a specific path charted by a particular teacher. The training in recitation starts at an early age.&nbsp; Strict monastic discipline encourages young novices to learn religious texts and teachings by heart. Buddhism is a congregational religion and it&rsquo;s temple music is austere and recitational. The temple service begins with the recitation of the &lsquo;trisharanam&rsquo;, the three shelters or focal points of Buddhism, which say:</span><br /><span class=Texte>&lsquo;Buddham sharanam gacchami, </span><br /><span class=Texte>dhammam sharanam gacchami, </span><br /><span class=Texte>sangham sharanam gacchami.&rsquo; :</span><br /><span class=Texte>I seek refuge in the Buddha, </span><br /><span class=Texte>I seek refuge in dhamma (faith), </span><br /><span class=Texte>I seek refuge in the sangha (the union of monks). </span><br /><span class=Texte>The chants and recitations of the sacred texts are periodically punctuated by ins&shy;trumental interludes consisting of echoing wind instruments and drums.</span><br /><span class=Soustitre2>Tibetan folk music</span><br /><span class=Texte>The folk songs and dance music presented in this CD were recorded in 1975 at the Enchey school in Gangtok, Sikkim. The boys and girls sang and danced, performing before Deben Bhattacharya. while he recorded. The political changes and local events did not seem to affect the school children. Their songs and dances reflect their love for their country and it&rsquo;s traditions.</span><br /><span class=Soustitre2>The instruments</span><br /><span class=Texte>The temples in the Indian Himalayas are just as they are in Tibet. Being a mountain country, Tibet employs echo generating instruments for its temple music. These may have developed from its shamanistic roots. The instruments are not used for accompanying the voice but as a punctuation, as if to give the voice a rest while allowing time to meditate upon the sacred words. This has also another aspect: while the voice chants the sacred texts, the instruments echo them for the world to hear. The instruments played&nbsp; for the temple and monastic ceremonies are described below:</span><br /><span class=Texte><strong>Dung - chen</strong> - a conical trumpet from Tibet, usually made of red copper and decorated with silver. The conical tube of the Dung - chen varies in length from one and a half to two meters. When played, it has to be supported or rested on the earth. Some of the Dung-chens used by the Tibetans in India are made in telescopic form for the convenience of transportation. It is an excellent instrument for generating echoes.</span><br /><strong><br /></strong><span class=Texte><strong>Gyaling:</strong> A double reed instrument resembling the Indian Shahnai. The Gyaling is used in temple music for providing melodic phrases during the musical interludes.</span><br /><span class=Texte><strong>Rkan-dun: </strong>Made of human thighbones, the bone - pipe, Rkan - dun, is played by certain sects such as the Drughpa-ka-gyu during their temple ceremonies.</span><br /><span class=Texte><strong>Nga: </strong>A wheel shaped double-headed drum, the Nga is played with a curved wooden stick. Although both heads of&nbsp; the drum are covered with Yak- skin, only one of the heads is played at a time. It is sometimes beaten with 2 sticks one on the wooden body and one on the skin.</span><br /><span class=Texte><strong>Daru : </strong>Similar to the Indian Damaru, the Daru has an &ldquo;hourglass&rdquo; figure and is played with a couple of knotted strings tied to it&rsquo;s narrow waist.</span><br /><span class=Texte><strong>Rolmo: </strong>A pair of large cymbals made of brass.</span><br /><span class=Texte><strong>Singyen:</strong> A pair of finger cymbals made of bronze</span><br /><span class=Texte><strong>Tilpo: </strong>A hand bell made of brass or bronze. </span><br /><span class=Texte><strong>Lingbu:</strong> Transverse bamboo flute with 6 holes.</span><br /><span class=Texte><strong>Arga: </strong>Ankle bell.</span><br /><span class=Texte><strong>Tingsha:</strong> A small cymbal struck with a brass- headed stick.</span><br /><span class=Texte>Tibetan dance and songs are accompanied by some of these above instruments</span>.<br /><span class=Soustitre2>TITLES</span><br /><span class=Texte><strong>1) Jensey : Fire ceremony performed by the Gelugpa (Yellow sect) in memory of the dead and conducted by the chief Lama of Kalimpong in the Eastern Himalayas.</strong> Offerings of rice, grains, cooked butter, a special type of grass and pieces of paper bearing the names of the deceased were cast onto an alter of blazing fire. During the ceremony, a funeral procession came to the chief Lama for his blessing before cremation. The chanting consists mainly of reciting the names of the deceased. The instrumental interludes are played on the Gyaling, a Nga, A Rolmo and a Tilpo.</span><br /><span class=Texte>The ceremony was recorded in the Ghoom monastery in 1979 in Darjeeling in the Eastern Himalayas.</span><br /><strong><br /></strong><span class=Texte><strong>2) Reading of the sacred texts by the Lamas of the main Tibetan temple in Dharamshala, the seat of Dalai Lama in India.</strong> Taken in turn by different monks, the reading continues around the clock and lasts for several months. This is an annual event. Recorded in Dharamshala, October 1979.</span><br /><span class=Texte><strong>3) Monks at prayer in Sarnath.</strong> Morning ceremony in praise of Buddha and his ideals in the temple of the Mahayana sect in Sarnath. Buddha is known to have delivered his first sermon in Sarnath 2500 years ago. A number of Buddhist sects from all over the world have also built temples and shrines in Sarnath as an expression of their reverence to Buddha. This was recorded in a temple at Sarnath in 1979.</span><br /><span class=Texte><strong>4) Temple ceremony of the Drugpa-Ka-Gyu sect.&nbsp;</strong> This annual occasion on the 10th day of the Lunar month is to commemorate the birthday of the Indian scholar monk Padmasambhava. His invitation by the ruler of the country resulted in the introduction of Buddhism to Tibet. Celebrated by the Drugpa-ka- gyu sect that came to India from Eastern Tibet. The recitations of the sacred words are alternated with instrumental music provided by a pair of Dung-chens, a couple of Rkan-duns, the Gyaling, the Nga and the Rolmo. Recorded in October 1979 at the Drupa-ka-gyu temple at Tashijong in the Midwestern Himalayas.</span><br /><span class=Texte><strong>5) Tucho Dawe Duchi: afternoon prayer at Rumtek monastery.</strong> Although these texts can be recited at any hour of the day or night, this recording represents the afternoon ceremony held at the Tibetan monastic temple of the Red Hat sect in Rumtek. The Tibetan Lamas of the Red Hat sect living in the Rumtek monastery are sustained by the king of Bhutan. The recitation is punctuated by music provided by the following instruments, a pair of Gyalings, a Nga, a Daru, the Singyen and a Tilpo. This is a short extract from a ceremony. which lasts almost two hours. Recorded in Rumtek, Sikkim in the Eastern Himalayas in April 1975.</span><br /><span class=Texte><strong>6) Ema Linchey. Tibetan dance per&shy;formed by 6 girls and 6 boys.</strong> It is a religious folk dance accompanied by 3 Lingbu (Transverse flute with 6 holes). Recorded at Enchey school, Gangtok, Sikkim on April 15, 1975.</span><br /><span class=Texte><strong>7) Khampa folk dance.</strong> Traditionally performed by Tibetans who live in the Kham district. Six girls and six boys dance while seven girls and one boy from the Enchey school accompany them with a song called &laquo;UTTA UTTA LHASA LING LAUTTA&raquo;. The theme of the song is in praise of the beautiful landscape of Lhasa. The ins&shy;truments are :1 pair of Cymbals (Rolmo), one ankle bell (Arga) and one cymbal with a brass headed stick (Tingsha). Recorded at Enchey school, Gangtok, Sikkim in April 1975.</span><br /><span class=Texte><strong>8) Khampa Patriotic song.</strong> A Tibetan song expressing good wishes for the country. Recorded at Enchey school, Gangtok, Sikkim in April 1975.</span><br /><strong><br /></strong><span class=Texte><strong>9) Khampa Tashi song. </strong>Sung at the end of the program, expressing blessings to all. Recorded at Enchey school, Gangtok, Sikkim in April 1975.</span><br /><span class=Texte><strong>10) Conch shell blowing. </strong>The shells blown by two young monks at Dha&shy;ramshala. Recorded at Dharamshala in 1979.</span><br /><span class=Texte>Jharna Bose-Bhattacharya</span><br /><span class=Texte>&copy; FRÉMEAUX &amp; ASSOCIÉS, GROUPE FRÉMEAUX COLOMBINI SA, 2003</span><br /><span class=Soustitre2>Deben Bhattacharya</span><br /><span class=Texte>Le domaine de pr&eacute;dilection de Deben Bhattacharya est la collection, le tournage et l&rsquo;enregistrement de la musique folklorique, la chanson, la danse ainsi que la musique classique en Asie et en Europe.</span><br /><span class=Texte>Depuis 1955, il a r&eacute;alis&eacute; des films &eacute;ducatifs, des documentaires, des disques, des brochures, des &eacute;missions radiophoniques et des concerts en direct relatifs &agrave; ses recherches. Il a &eacute;galement &eacute;dit&eacute; des traductions de la po&eacute;sie m&eacute;di&eacute;vale de l&rsquo;Inde.</span><br /><span class=Texte>Entre 1967 et 1974, il a produit des films &eacute;ducatifs, des disques, des brochures et des concerts pour des &eacute;coles et des universit&eacute;s en Su&egrave;de, sponsoris&eacute; par l&rsquo;institut d&rsquo;&eacute;tat de la musique &eacute;du&shy;cative: Rikskonsorter.</span><br /><span class=Texte>Ses travaux ont &eacute;galement consist&eacute; en documentaires pour la t&eacute;l&eacute;vision ainsi que des &eacute;missions sur le folklore, les tra&shy;ditions... pour : &bull; British Broadcasting Corporation, Londres &bull; Svorigos Radio, Stockholm &bull; Norsk Rikskringkasting, Oslo &bull; B.R.T. - 3, Bruxelles &bull; Filmes ARGO (Decca), Londres &bull; Seabourne Enterprise Ltd., R.U. &bull; D&rsquo;autres stations de radio en Asie et en Europe.</span><br /><span class=Texte>Deben Bhattacharya a r&eacute;alis&eacute; plus de 130 disques de musique folklorique et classique, enregistr&eacute;s dans pr&egrave;s de trente pays en Asie et en Europe. Ces disques sont sortis sous les &eacute;tiquettes suivantes : &bull;&ensp;Philips, Baarn, Hollande &bull; ARGO (Decca), Londres &bull; HMV &amp; Columbia, Londres &bull; Angel Records &amp; Westminster Records, New York &bull; OCORA, Disque BAM, Disque AZ, Contrepoint, Paris &bull; Supraphone, Prague &bull; HMV, Calcutta &bull; Nippon Records, Tokyo.</span><br /><span class=Texte>Deben Bhattacharya est &eacute;galement l&rsquo;auteur de livres de traduction de la po&eacute;sie m&eacute;di&eacute;vale indienne. Ces ouvrages ont &eacute;t&eacute; pr&eacute;par&eacute;s pour la s&eacute;rie de l&rsquo;UNESCO, East-West Major Works, publi&eacute;s simultan&eacute;ment en Angleterre et aux Etats-Unis par G. Allen &amp; Unwin, Londres, et par le Grove Press, New York, ainsi que Hind Pocket Books, New Delhi. Les titres comprennent : &bull; Love Songs of Vidyapati &bull; Love Songs of Chandidas &bull; The Mirror of the Sky: songs of the bards of Bengal &bull; Songs of Krishna.</span><br /><span class=Texte>Deben Bhattacharya fait para&icirc;tre en 1997, une collection de coffrets th&eacute;matiques chez Fr&eacute;meaux &amp; Associ&eacute;s, regroupant ses meilleurs enregistrements de Musique du Monde et dot&eacute;s de livrets qui constituent un appareil critique de documentation incomparable.</span><br /><span class=Texte>Deben est d&eacute;c&eacute;d&eacute; le 23 juillet 2001 &agrave; Paris.</span><br /><span class=Texte>Deben Bhattacharya is a specialist in collecting, filming and recording traditional music, song and dance in Asia, Europe and North Africa.</span><br /><span class=Texte>Since 1955 he has been producing documentary films, records, illustrated books and radio pro&shy;grammes related to many aspects of his subject of research. </span><br /><span class=Texte>His films for TV and programmes for radio on traditional music and rural life and customs have been broadcast by: &bull; the BBC, Thames Television, Channel Four, London &bull; WDR-Music TV, Cologne &bull; Sveriges Radio/TV, Stockholm &bull; BRT-3, Brussels &bull; Doordarshan-TV, Calcutta &bull; English TV, Singapore &bull; and various other radio and television stations in Asia and Europe.</span><br /><span class=Texte>Deben Bhattacharya has produced more than 130 albums of traditional music recorded in about thirty countries of Asia and Europe.&nbsp; These albums have been released by: &bull; Philips, Baarn, Holland &bull; ARGO (Decca Group), London &bull; HMV &amp; Columbia, London &bull; Angel Records &amp; Westminster, New York &bull; OCCORA, Disque BAM, Contrepoint, Paris &bull; Supraphone, Prague &bull; HMV, Calcutta &bull; Nippon-Westminster &amp; King Records, Tokyo.</span><br /><span class=Texte>In addition, Deben Bhattacharya is the author of books of translations of Indian medieval poetry and songs.&nbsp; These publications have been prepared for the UNESCO&rsquo;s East-West Major Works series published simultaneously in England and the USA by G. Allen &amp; Unwin, London, and by the Grove Press, New York, and by Hind Pocket Books, New Delhi.&nbsp; The titles include: &bull; Love Songs of Vidyapati &bull; Love Songs of Chandidas &bull; The Mirror of the Sky/Songs of the Bards of Bengal &bull; Songs of Krishna.</span><br /><span class=Texte>Deben Bhattacharya released a new thematic collection in a&nbsp; double Cd Set, published by Fr&eacute;meaux &amp; Associ&eacute;s, with booklet comprising essential documentary and musicological information.</span><br /><span class=Texte>Deben died on July 23, 2001 in Paris.</span><br /><span class=Texte>&ldquo;Deben Bhattacharya est un de ces collecteurs de musiques sans lesquels notre monde n&rsquo;aurait peut-&ecirc;tre plus de m&eacute;moire&rdquo;.</span><br /><span class=Soustitre>B. 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