Dubbed a "living fossil" of Tibetan culture, Tibetan opera with its vivid facial masks, earthy dancing, raw singing and colorful costumes, is steeped in over 600 years of history. Compared with folk operas of other Chinese ethnic minorities, this has the longest history. It is popular among Tibetans in the Tibet Autonomous Region, Sichuan, Qinghai and Yunnan provinces.

Gyiari Village in Neqoin Town, 30 kilometers outside of Lhasa, capital of southwest China's Tibet Autonomous Region, is the cradle of Tibetan opera.

Qoinda is a 38-year-old Tibetan woman who leads the 25-member-strong Qomolang Tibetan Opera Troupe. She is something of a household name in nearby villages as well.

"The opera has been handed down through personal instruction from generation to generation in the village and was very popular throughout the region for several hundred years," Qoinda said, her voice full of pride.

"The oldest performer in my troupe is 75 years old and the youngest is only 14."

"There is an interesting legend about Tibetan opera," Qoinda continued.

"In the 14th century, a high-ranking monk and bridge builder named Thangthong Gyalpo decided to build iron bridges across all of the major rivers in Tibet to improve transportation and facilitate pilgrimages. To fund the project, Thangthong Gyalpo created a singing and dancing group comprised of seven beauties who danced while he played the drums. They performed throughout Tibet raising money for the bridge project. This is believed to be the source of the present Tibetan opera."

Tibetan opera became known in the local language as Ace Lhamo ("fairy sisters"), and Thangthong Gyalpo is considered the father of Tibetan opera.

Buddhist teachings and Tibetan history are the sources of inspiration for the art form. The traditional drama aspect is a combination of dances, chants, songs and masks.

The highlight of Tibetan opera must surely be the masks. A typical mask would have the Sun and Moon motifs on its forehead. The mask identifies the character in the opera: a red mask is the king; a green one the queen; a yellow mask is a lama or deity.

Performances are usually held to celebrate festivals such as Shoton or Tibetan yogurt festival.

During its 600 years of development, Tibetans created about 20 traditional repertoires, but unfortunately many of the scripts have been lost. Only names, and sometimes plots, are remembered today.

"During the Cultural Revolution (1966-76), Tibetan opera in my village almost all but vanished," Qoinda said. In order to salvage and preserve the unique art, the village invited well-known Tibetan opera experts from Lhasa, who were natives of the village, to return to the village and give lessons to fellow villagers.

After ten years of unremitting effort, Qoinda became the head of the village troupe and mastered all the skills necessary to perform the eight great classical Tibetan operas: Prince Nor-bzang, Maiden Vgro-ba-bzang-mo, Brothers Don-yod and Don-grub, Prince Dri-med-Kun-idan, Princess Wencheng, Gzugs-kyi-nyi-ma, Pad-ma-vod-vb, Maiden Shang-sa.

Qoinda and her troupe travel through Tibet every year, performing at important festivals and celebrations.

"I have been fascinated with Tibetan opera since I was a child. Every time I perform, I perform with my whole heart. I'm always deeply touched by the stories when I dance. I cry, I laugh; the opera has become a part of my life. I don't mean to make a living on it. I just love it and want more people to love it," Qoinda mused.

Although she doesn't hope to make a living from the opera, Qoinda still worries about the troupe's finances.

She said: "The village opera troupe offers no regular financial remuneration to performers. They are only paid when they perform, which is only during off-peak harvest seasons or at major religious festivals."

"The performers earn barely enough to cover their food and travel expenses during the performing season."

Qoinda added: "And this lack of funds means that the troupe can't afford to buy costumes for its members. The performers have to get their own."

The troupe has managed to accumulate about 100 costumes over the years. But this still isn't enough for them to perform all of the eight great Tibetan operas.

"We perform only three of the eight operas, although we have the ability to perform them all," Qoinda said with a sigh.

Qoinda hopes for more attention and financial support for Tibetan opera.

"For the moment, I don't have to worry about my members' enthusiasm. The 25 performers are mostly young people and joined the troupe to seek spiritual satisfaction," Qoinda said.

The government of Tibet has reportedly submitted an application to the country's cultural authorities nominating Tibetan opera as another Chinese candidate for inclusion as a human oral and intangible heritage on the World Heritage list of the United Nations Educational, Scientific and Cultural Organization (UNESCO).

"If Tibetan opera can be listed as a world heritage by UNESCO, this would support its preservation. At least, there might be more funding for its the protection," Qoinda said.

"I do believe that Tibetan opera is still and could be attractive to many people, not only in Tibet, but in other parts of China and across the world. Even if audiences don't understand the lyrics, the singing and dancing will bring the message across.

"I'm still optimistic about the future of Tibetan opera."

(China.org.cn by staff reporter Wang Qian, July 22, 2005)