“We’re truly full of gratitude for this policy supporting folk art troupes. Finally we don’t need to worry about funding problems any more, and can focus on artistic development,” Nyima said. The grant enables him to pay each of his actors a daily wage of RMB 70, offering them monetary incentives and, more importantly, bestowing upon them the dignity and respect that they deserve.

“In old Tibet, artists were of the same social status as beggars. However, with national support we’ve been empowered,” he said. “Currently, we are happy that we can put on performances for neighboring temples and villages whenever invited without worrying about how much they pay us or even whether they pay us at all. In many cases we give free performances, but enjoy the process and have built ourselves a reputation.”

Nowadays, Nyima’s troupe puts on dozens of shows every year, making a splash at all kinds of religious events and festivals. They even have a new venue in their own village – the Yarlung Tashi Performance Hall – which was recently completed thanks to an allocation of RMB 6 million from the aid fund for Tibet.

Nyima is very optimistic about the future, but also expresses concerns about recruitment of players. As the popularity of this native opera surges, the pool of potential players have swollen. But they are mostly amateurs whose artistic quality varies wildly and who are occupied with farm work for most of the year. It takes generations’ and the whole public’s efforts to preserve and promote the centuries-old cultural legacy, ensuring its beauty can be appreciated by people in future ages.

Source: China Today