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Tibetan Sacred Dance, A Journey into the Religious and Folk Traditions (review)

Tibetan Sacred Dance, A Journey into the Religious and Folk Traditions (review) Book Reviews 209 TIBETAN SACRED DANCE, A JOURNEY INTO THE RELIGIOUS AND FOLK TRADITIONS. By Ellen Pearlman. Rochester, Vt.: Inner Tradi- tions, 2002. viii + 192 pp. $29.95 (paper). There are two parts to this book. The first deals with the Tibetan sacred dance, or cham; the second, with the folk dance or Tibetan drama called achi lhamo. Both parts take up history, stories, performing techniques, music, and social context, such as occasions or festivals calling for performance. Personally, I found the second part on the achi lhamo especially interesting, and I thought that the author brought out the distinction between the cham, which is totally religious in function, and the somewhat more secular folk drama very well. She has done a very good job in conveying her enthusiasm and admiration for the beauty and depth of Tibetan culture, an enthusiasm I share. Ellen Pearlman tends to exaggerate the paucity of material in English, and there are some quite important works on Tibetan dance and drama lack- ing in the bibliography, such as those by Marion Duncan, who is not even men- tioned, and the great Italian Tibetologist Giuseppe Tucci, only one of whose translated works is listed. However, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Tibetan Sacred Dance, A Journey into the Religious and Folk Traditions (review)

Mackerras, Colin
Asian Theatre Journal , Volume 21 (2) – Jul 30, 2004
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Publisher
University of Hawai'I Press
Copyright
Copyright © 2004 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

Book Reviews 209 TIBETAN SACRED DANCE, A JOURNEY INTO THE RELIGIOUS AND FOLK TRADITIONS. By Ellen Pearlman. Rochester, Vt.: Inner Tradi- tions, 2002. viii + 192 pp. $29.95 (paper). There are two parts to this book. The first deals with the Tibetan sacred dance, or cham; the second, with the folk dance or Tibetan drama called achi lhamo. Both parts take up history, stories, performing techniques, music, and social context, such as occasions or festivals calling for performance. Personally, I found the second part on the achi lhamo especially interesting, and I thought that the author brought out the distinction between the cham, which is totally religious in function, and the somewhat more secular folk drama very well. She has done a very good job in conveying her enthusiasm and admiration for the beauty and depth of Tibetan culture, an enthusiasm I share. Ellen Pearlman tends to exaggerate the paucity of material in English, and there are some quite important works on Tibetan dance and drama lack- ing in the bibliography, such as those by Marion Duncan, who is not even men- tioned, and the great Italian Tibetologist Giuseppe Tucci, only one of whose translated works is listed. However,

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Jul 30, 2004

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