Mipam Rinpoche is somewhat remarkable as a Nyingma luminary for the extent to which he did not emphasize the body of revealed or ‘treasure’ (terma) texts which form such an important part of Nyingma teachings. Mipam’s stress on the kama or orally-transmitted-as-opposed-to-revealed portion of the Nyingma canon notwithstanding, he was nonetheless versed in and deeply appreciative of terma teachings. The prayer below is one small example that points to Mipam’s familiarity and respect for revealed traditions. Mipam possessed considerable medical learning and was acquainted with the cycle of revealed teachings known as the Yuthok Nyingthig, the ‘Heart-essence of Yuthok’. This terma cycle refers to a comprehensive collection of teachings on Tibetan Tantric Buddhism which were transmitted via ‘pure vision’ in the twelfth century to Yuthok Yonten Gonpo the Younger, the father of Tibetan traditional medicine. These teachings comprise a unique corpus of instructions on esoteric Tantric Buddhist yoga and alchemy, meditation and ritual practices which are specifically geared towards physicians Continue reading →
A few weeks ago I travelled to Washington D.C. for the first time to attend the American Anthropological Association annual meeting, which is one of the largest conferences for anthropologists in the U.S. and maybe the world (that said, while the conference is decidedly more international than the title might imply, it’s also a lot less international than some attendees seem to think, so let’s just go with that there were over 7000 attendees there, presenting and networking over five days from sunrise to sundown, and more gaudy scarves crammed into a single hotel space than you could shake a Margaret Mead wizard staff at)
For the conference this year (which was christened ‘Anthropology Matters’) I organized a panel titled ‘Reframing Ritual and Ritualizing Return: Where, When, and How Religion Matters’. Theorizing religious difference has been a concern of anthropology since the very beginnings of the discipline, but it’s still quite rare to find whole panels devoted to ‘religion’ at the AAA. Continue reading →
A week or few ago, Sky Press’s newest publication, The Weapon of Light: Introduction to Ati Yoga Meditation by Tibetan traditional doctor and tantric yogi Dr Nida Chenagtsang was released for sale. Since I helped with editing and translation for this book, you would think I would have thought to mention it on this blog, but distracted by other things as I was, I forgot to make an announcement. So, since ‘The Weapon of Light’ is actually quite a special little book, I thought I’d make a post about it now. Continue reading →
(Crushed marble sculptural installation ‘Flying Dakini’ 2014, by artist Agnes Arellano)
The other day I got sucked into a Facebook comment thread which got me thinking about the connection between translation strategies and the ways that practitioners think about and actually practice religious texts. To give you a little context, the thread was about spirit conjuration procedures and offering practices as found in Western magical traditions, and as the discussion unfolded I found myself reflecting upon the way that certain key technical terms often found in Tibetan sadhanas or tantric ritual manuals have been translated into English.
Translation is a double-edged process – to translate a thing involves both drawing it near and holding it apart. Depending on the circumstances, understanding can arise as much from domesticating a term in a target language as it can from choosing to hold onto a word’s strangeness through a literal translation. What is lost and gained, for example, when we translate the Sanskrit Dakini/Tibetan Khandroma – a tantric goddess – with a loaded Judeo-Christian-Islamic term like angel, and what is obscured, what is illuminated when we opt for say, a literal translation of the Tibetan term (khandroma, mkha’ ‘gro ma) ‘femalesky-goer’? Continue reading →
Today, I used Hozier’s song ‘Take me to Church’ as part of an English listening exercise with some Tibetan students. I chose the song strategically: it is loaded with Christian and sexual themes but also reframes these in surprising, perhaps even blasphemous ways. I figured that the song could provide a good lesson in how important cultural background can be for language comprehension and offer a nice parallel with things the students were more familiar with as Tibetan Buddhists: in this case, the much celebrated if somewhat scandalous poetry of Tsangyang Gyatso, the sixth Dalai Lama, who in the early 18th century bucking the bonds of his royal, monastic education, returned his vows of celibacy and wrote erotic poems laden with tantric Buddhist religious imagery.