Monastic Dances :Sikkim’s famous mask dances are simply spectacular. Chaams are performed on ceremonial and festive occasions. Though these dances differ from one another in style and theme, but they all deal with the triumph of good over evil. Their origin lies in a dancing cult for exorcising malignant demons and human enemies. The Chaams performed during the new year ceremony expel evil from the land, while closing the old year and ushering in benevolence and good luck for the new. The dancers wear fearful dragon, animal and bird masks, dress in richly brocaded costumes and tread the measure to the sound of cymbals and trumpets.

The commencement of Chaam is announced from within the gompa by the steady drone of the kangling, an instrument like a trumpet. These notes are reciprocated by the deep muted thunder of the radong, long copper horns, blown from outside the gompa. Cymbals clash, and ceremonial drums and gongs sound in rhythmic unison and mark the start of the dance. Richly attired dancers file into the monastery courtyard and as they swirl in rich colour, incense bearers circulate among the audience, purifying the atmosphere. All this heralds the actual drama, whose principal figure is Mahakala, and it is his presence that invokes other protective deities. Elaborate costumes and masks are the hallmarks of the Dance of the Masquerades---Sha-Yak and Nam-Ding---where the dancers assume animal faces. Here, the masks of the stag, the yak, the tiger, the lion, the mythical winged garuda, walk in slow and measured steps, to the clash of cymbals and the sound of the trumpets, the dancers act out the destruction of apostasy symbolized by an effigy which is chopped to pieces and scattered. The scattered remains are not merely the annihilation of the diabolical forces, but they also constitute an offering, signifying the tantric union of wisdom, preaching and action and consecrated to the five Dhyani Buddhas.

The legend surrounding the origins of chaam is fascinating. In the 9th century, a devout and pious king in Tibet, Ral-Pa-Che, devoted much of his time to Buddhism. He had many important scriptures and commentaries translated into Tibetan. He also endowed the monasteries with the grant of lands. But there was also a malignant influence in the person of his brother, Lang Darma, who offered a reverse prayer to harm the faith. The treacherous prince instigated violence against the King and was instrumental in the murder of Ral-Pa-Chen, after which he ascended the throne. Once crowned, Lang Darma began his vicious efforts to uproot Buddhism. He desecrated monasteries, burned sacred scripts and books and persecuted the lamas.

This apostate king was assassinated in the third year of his reign by Lama Pal Dorjee. The Lama disguised himself as an itinerant Devil Dancer, within his ample sleeves he concealed a bow and arrow. His dancing got him the attention of the king, who summoned him to his presence. As the disguised lama drew near the king, he whipped out his bow and arrow and aimed the fatal shot. In the resultant chaos, the lama escaped on a black pony, with the king’s guard in hot pursuit. But he eluded capture by plunging into the Kyi-chu river. When he emerged on the other bank, the pony was snow-white and this miraculous transformation fooled the pursuers and the lama escaped unharmed. Within this story are the elements of the masked dance itself—the rooting out of apostasy, or evil; and the victory of good—all played out in a fierce and splendid drama whose echoes vibrate in the chaams of today.

The monastic dance costumes form an integral and fascinating part of the chaam. Rich brocade and satin with gold embroidery go into the making of the gown and cape. The latter bears the dorje, the thunderbolt sceptre which is a mystical symbol of Tibetan Buddhism. Down the back hangs the Gyab-dar, a cloth which falls from head gear to ankle and is tucked in at the waist. The robe is said to resemble that worn by Lama Pal Dorje when he killed the evil king, and thus has a symbolic meaning, that of the victory Good over Evil.

A Thangka is an elaborately hand painted religious scroll in brilliant colours drawn on fabric. It is not a mere decorative piece but a powerful aid to tantric meditation, a visual depiction to steady the mind and aid its focus. The themes of the thangkas relate to the Buddha and his life, as well as the lives of the Bodhisattvas, the Taras, the great saints and Buddhist masters. They also depict mystical concepts like the Wheel of Life, The Mandalas and the Tashi Taggye, the eight auspicious signs of Vajrayana which includes the lotus, the conch shell and the Dharmachakra. The colours used have great symbolic power. The two primary colours, red and yellow, suggest the difference between fire and life, material and immaterial, emotional and intellectual; orange, which unites red and yellow, symbolizes knowledge of the highest spirituality. The complimentary colour of blue with its passivity is of very positive nature and is associated with depth, purity and infinity. Green represents the vegetable aspects. The violet combines the most active red with the most passive blue. Thangkas are carried out in elaborate processions during festivals like the Saga Dawa and Lossar.

Sakewa: (Rai) Sakewa is one of the important festivals of Kirat Rai Community, which is celebrated annually in the month Baisak. The nine day long ceremony starts from the full moon day of Baisak, in which mother earth is worshipped. The Sakewa Puja is usually performed by the Nakchhong (priest) with the help of mongpas in a open place as community puja.

Tyohar : Just after fortnight of celebration of Dassai, Tyohar is celebrated. The day marks the return of Hindu God Ram to his capital after vanquishing Ravana in a bloody battle at Lanka. The day is also observed as Laxmi Puja, the festival of lights. Bhaitika is a unique feature of Tyohar festival in which sisters prays for the betterment and long life of their brothers.

Maghey Sakkranti: Like in other parts of the country, Maghey Sankranti is also observed in the month of January. It is celebrated on the first day of the month of Magh (January) continues for three days: It is one of the holy festivals of Hindus. Huge fairs are organised along the river banks and confluence of the rivers, Jorethang, Saramsa, Rorathang and Triveni are the important places where such fairs are held every year. The rituals are solemnised from dawn at the banks of the rivers, which is indeed a rare spectle to watch.

Sonam Losoong: Sonam Losoong is a New Year celebration of Sikkimese Bhutia, falls on the 1`8th day of 10th month of Tibetan Lunar Calendar, when the harvesting season is over. On the occasion pujas are performed for peace and prosperity for the new year. The festival continues for 15 days.. Kagyed dance (Monastic dance) preceds the Lossong festival. Nyempo Guzom, which also falls during Lossong, is considered most inauspicious occasion. And no good works or venture are made during the period.

Namsoong: Namsoong Festival is celebrated by the Lepchas of Sikkim which also coincides with the Sonam Lossong festival of Bhutias. According to Dungkit Karchu (Lepcha Calendar), Namsoong festival begins from 1st day of the "Kurneet Lovo", corresponding to the month of December/January every year. The festival continues for seven days.

Sunwar (Mukhia alias Koinch) Sagoon : This is a minor puja ceremony done twice a year by Natso with Syamboo, incense, Bospati to propitiate the Sunwar gods and spirits of the death ancestors.

Tamu Lochar (Gurung) Tamu Lochar is one of the traditional festivals of the Gurung Community. It marks the beginning of the Gurung New Year which falls on the 15th day of Pusa, according Vikram Sambat and 30th December in English Calendar. The festival is celebrated with the family and community as a whole.

Sonam Lochar (Tamang) Sonam Lochar is an important festival of Tamang community. The festival falls in the month January and February (Magha Sukla Pakcha) Spring saeason. Like other communities, the Tamangs also celebrate their festival with great joy and religious fervor which lasts for five to fifteen days from place to place.

Barahimzong (Mangar) Barahimizong is observed on the fifth day of Mangar Purnima. In Mangar language Barahi means God, Minaat or Mi means worship or prayer and 'Zong' means fort. The Barahimizong has been named affter the day of Mangar worship their forefathers or Kul DevtaasL

Losar (Tibetan New Year) Accoding to the Tibetan lunar calendar the first day of the first month of Tibetan Calendar corresponding with English Calendar the month of February-March. They offer prayers and welcome The New Year