Information about Culture of Leh Ladakh

When one talks of Ladakh's culture, it is the West Tibetan influence — dominant up to the late medieval period — that comes immediately to mind, after which we see the influx of Islamic and Hindu traditions. Ladakh is divided into clearly defined cultural zones. West of Mulbekh lies the Islamic centre of Kargil. It incorporates many aspects of the lifestyle of the Kashmir valley and some of the Indus valley; east of Mulbekh is the Buddhist citadel, Leh, with its treasured monasteries and murals, vast altars and gilded icons, brocaded fabrics, illuminated manuscripts and masterpieces in metal-work. 

Ladakhi crafts reflect the splendor of nature's tints, using rust-red, ochre and umber from the fossil-rich rocks, amethyst, lapis and turquoise to embellish these tones, and the gold of the sunrise or the smoky purple of twilight to reflect the life giving forces. Spinning and weaving of wool, metal work, wood carving and thangka paintings have been the favoured crafts. But Ladakhis seem to prefer dance, music and literature to the patient and dedicated commitment demanded by crafts. The arts of Ladakh are closely related to Buddhism and its precursor Bon Chos.This is the sacred backdrop to what we now consider a secular tradition. 

Music and dance

Ladakh's religious dance remains within the Tibetan tradition whereas the social dances, Pome-chas, danced by women, and Pu-che-chas, danced by men, are being developed for the stage. But they are seen best in their natural setting at a village wedding or an archery contest. Buddhist society, though open and free, does not have a strong formal educational system, because the monastic tradition dominates. Dance has traditionally filled this hiatus, offering an informal avenue for teaching social norms. 

Music in the mountains arises from nature like a plaintive sigh; it's not the structured achievement of a formal system evolved by societies with a long urban history. No social event or activity — sowing or harvesting, a wedding or a festival — is complete without music. In the past, music was not a form of entertainment; it was either part of a religious ceremony or related to the life of the people. But musicians who earlier had easy access to local patronage, are entertainers today, having joined the stream of migrants to the township after the closure of the old trade routes interrupted the dispersal of goods and services. 

The most vital Ladakhi musical form is Lha-ringa, which consists of 360 tunes. It is only played at Shey for the dance of the oracle at the time of the pre-harvest celebrations. Parts of the Lha-ringa are played at all auspicious occasions, particularly when there is a ceremonial feast for incarnate lamas. Specific ceremonial music is connected with the arrival and departure of dignitaries. Exorcists use it to overpower evil spirits and sports-lovers to express their appreciation. 

Earlier, when the Namgyal kings were more than just Jagirdars of Stok, concerts were held on the roof of Leh Palace At Lo-car (New Year) and Dos-mo-che (the winter fpctivall -v. Noble ladies danced the Khatuk-chermo celebrating the glory of Ladakh and the dynasty. The Khan-mon, the royal musicians, played the music. Although the Khatuk-chermo festival has now been altered to cater to the modern tourist, it is only a shadow of the rich tradition of Ladakh's popular culture. 

For more information about culture of Leh Ladakh and Leh Ladakh tour packages contact Swan Tours one of the leading travel agents in India.