For Karma Wangda, 51, the excitement of participating in an archery tournament is almost like contesting an election.  The night before a match he can barely sleep, thinking about the next day’s competition.

This has always been the case, despite having participated in umpteen tournaments, starting in the village as a 12-year old boy, and later at the Changlimithang archery range in Thimphu as a civil servant.

By local standards, he can be categorised as a skilled archer, and usually plays the position of ‘ma’- the last to shoot in the traditional game of 11 archers a side.

But his love for the sport is not confined to aiming at the target 150m away, and doing the jig when an arrow hits. Karma also makes traditional bows and arrows, many of which have been used in competitions all across the country.

“I might have made more 3,000 bows and 3,000 pairs of arrows by now,” said the employee of the department of national properties, ministry of finance. “I started to make them soon after I came to Thimphu in 1985.”

Karma Wangda has a set of basic tools and materials, such as a plier, hammer, hacksaw, knives, coloured thread, sandpaper and glue locked in a cupboard at his office that he unlocks after five pm, once office timings are over, when such a situation arises.  He has another set at his home in Chang Jiji.

Self taught in the craft, Karma Wangda explained that the length of the “dha”, or arrow, is generally 80cm, weighing between 20g and 25g.  The shaft is made from a reed (hema) found in Damdara, (Phuentsholing) Chamgang (Thimphu) and also in Trashiyangtse.  But the best reed to make the yangka or excellent arrow is found in Jala, Wangdue, near water bodies in the forest. “A yangka reed to make a pair of arrows used to cost Nu 150 in the ‘90s; now it’s more than Nu 650 and rare,” Karma Wangda said.

Before a reed becomes an arrow, it is dried in the sun or above the traditional oven for about a month.

The pointed tip of the arrow or “dhacha”, which is a centimeter in diameter, is affixed to the shaft of the arrow with either sealing wax or lachu.  Fletching or feathering extends 12cm along the shaft.  There are four vanes of feathers on an arrow.  The feathers used are usually that of the pheasant, found on hilltops and gathered by yak herders.  The cost of the four feathers that make a pair of arrows is around Nu 650.

The nock cut into one end of the reed is 7mm in depth, where the bowstring fits when the bow is drawn.  After a reed has been properly dried, Karma takes at least a day to make a pair of arrows, which sell for Nu 1,300 in Thimphu.

Making the “zhu” or bow also requires drying the bamboo for several weeks.  The species of bamboo used for the traditional “Changzhu” and “Tapzhu” is called “zhushi”, and comes from Tabadamtay village in Dunang, in the southern foothills.

Today, there are two kinds of locally made bows in use by archers.  The Changzhu is a single stave bow made of bamboo; Tapzhu is made from two pieces of bamboo, held together by two iron bands in the middle.

The average length of the traditional bow is 72.5cm and weighs about 500g.  It tapers from 5cm in circumference in the centre to about a cm at the ends.  The bow is broadest at its belly, measuring 3.5cm, which forms the grip, or “jangshi”. 

The bow string, or “zhu-tha”, is made from the fibre of the giant stinging nettle, locally known as “zoeche”.  In recent years, though, jute string zhu-tha have also been used.

Such bowstrings, archers say may last through one contest, during which at least a hundred arrows are released.  This bowstring must withstand pressure of up to 60lbs.  When the bowstring is fixed, the bow is braced and drawn contrary to the natural curve of the bamboo.

The bows are sold for Nu 650.

Karma Wangda said that, in recent years, it has become very difficult to get the raw materials, such as the reed, the bamboo and the feathers required to make the dha and zhu. 

“This is because there are many more people today, who play archery with the traditional bow and arrow,” Karma Wangda said. “In fact, the traditional made arrows have already become more expensive that the compound bow arrows.”

This situation has compelled archers using traditional equipment to take care of the arrows.  In many homes, it is usually placed on one side of the altar.  And many archery enthusiasts are known to make the bow and arrow themselves like Ata Norbu, Pema Loday and Tenzin Wangchuk.

“During the practice sessions, most archers use the cheaper versions with the hen’s feathers,” said Tempa, an archer. “The best handmade arrows are saved for the real tournaments and matches during special occasions.”

Karma Wangda believes that taking part in archery increases one’s luck and fortunes and dispels misfortunes. “It’s like a wish fulfilling jewel,” he said.

Source Kuensel

Not far from the Northern borders of Bhutan lies the Land of Snow, Tibet. It is a country whose history, traditions, and culture, are intertwined with Bhutan’s; our strongest link to Tibet being is our religion, our Buddhist heritage. The Bhutanese and Tibetans have battled with each other sparring over territorial and religious issues, but we as neighbors cannot ignore Tibet’s struggle that has continued for decades now. As fellow Buddhists, it is hard to look away from the plight of a suffering people. Just to the north of us, Tibetans have been self-immolating.  They- mostly monks, but also nuns, mothers, wives, daughters, husbands and sons – have been dousing themselves in gasoline and setting their bodies aflame, while uttering the name of Dalia Lama; a beckoning for his presence back to their homeland. They also want and shout “Rangzen,” freedom for Tibet. Self-immolation has been viewed as a controversial way of drawing attention to a cause. While some claim it as violent, most Tibetans view it as a powerful and non-violent form of resistance. But self-immolation as a form of resistance and protest is not new. Alongside the Tibetan’s are the Tunisians. There have been 150 immolations in Tunisia since the fall of Ben Ali in the Arab Spring

In Tibet, Self-immolations have surged to a 109 deaths since 2009. This number is not just a statistical figure, but like Tunisia it is telling of a significant story that speaks of an increase in the intensity and desperation that Tibetans feel about the many decades of living under occupation and attempts of sinicization by the Chinese government. But news of self-immolations in Tibet rarely seems to hit the worldwide media’s attention, unlike suicide bombings or drone attacks. This is because the Chinese State controls the flow of information in and out of Tibet with an iron hand.  However as more and more images of bodies engulfed in flames slip through China’s iron grasps – with the Internet and cellular technology that is impossible to control – the world is compelled to pay attention to Tibet’s woes.

Nothing speaks more succinctly than the voices of people who are going through the storm in Tibet. “Storm in the Grasslands,” contains first- hand reports put together by the International Campaign For Tibet (ICT), and High Peaks Pure Earth is a blog maintained by the vociferous Tibetan writer Woeser who is currently under house arrest and writes from China despite constant surveillance. Woeser was recently awarded and recognized as a hero by the International Women’s Media Foundation. What immerges from these sources is that Tibetans are deeply aggrieved by China’s repeated attempts to destroy their Buddhist traditions, culture, language and dress; through intimidation, coercion and Patriotic Reeducation designed to alter Tibetans’ allegiance from the Dalai Lama and their strong Buddhist roots to the Communist party and the Chinese government. A young man laments: “Tibetans are not allowed to express their cultural identity, even in simple ways sometimes like wearing our own clothing. His Holiness is not allowed to come home. We have no rights to practice our religion properly, to pray at our temples, to live according to our religion. It is not possible to obtain a complete religious education and our hearts are broken by the way that monks and nuns are treated.”

Through historical accounts of unceasing and prolonged sufferings of the Tibetans under Chinese rule we can understand intimately their frustrations and yearning for freedom and independence. From the 1950’s and through the late 1990’s, Tibetans were routinely assassinated, massacred, imprisoned and intimidated. In 1998, Patriotic Education campaigns were forced on all Tibetans, and monks in particular were targeted as the Chinese Communist Party (CCP) views them as the institutionalized bearers of their religion and culture. The goal of these education campaigns was to purge the monks and the ordinary citizens of their allegiance to the Dalai Lama and their Buddhist roots. These campaigns were largely unpopular and ultimately failed to change the loyalties of the Tibetans. This failure engendered open and covert violence towards the people of Tibet who suffered further intimidation and repression. It is under these conditions that in 2008 – the year of the China Olympics – thousands of ordinary Tibetans organized a peaceful mass protest throughout the Tibetan plateau which ended with arrests, imprisonments, and the further clamping down of the entire Tibetan region. In February 2009, a month that marks the Tibetan New Year, Kirti monks of Ngaba were disallowed from performing their annual New Year prayer.  This prohibition of something so sacred and profound to the Tibetans became the cataclysmic event, igniting the first self-immolation of Tapey, a monk in Kirti monastery of Ngaba on February 27, 2009.

Ngaba has seen disproportionately the largest concentration of people, 39 in total, mostly monks who have self-immolated.

Ngaba now part of Sichuan province has a long and tumultuous history with the People’s Republic Of China (PRC). It was the first place of attack – owing to its proximity to the borders of China – by the Chinese before they occupied Tibet. However even before the war with PRC, Ngaba region faced many wars with several Chinese dynasties, instilling and nurturing the spirit of resistance to people who have had to defend their borders from invaders generation after generation.  It is therefore no surprise that as the Chinese Communist Party (CCP) continues to clamp down on the lay people and monks of Ngaba, the further the people of Ngaba will resist. Ngaba has seen, disproportionately the largest concentration of people, 39 in total, mostly monks who have self-immolated.

As compassionate fellow human beings and as people whose identities are inextricably linked because of our shared cultural practices and our Buddhist traditions, we as a Bhutanese should not ignore the developments happening just outside our borders. Furthermore, from the point of view of what is at stake for the future of Bhutan, we should also keep a sharp eye on the ecological destruction- taking place on the Tibetan plateau. Temperatures are rising rapidly in the Tibetan plateau where glaciers that feed some of our rivers – such as Kuri chhu and Amo Chhu – are drying up at an alarming pace. Environmentalists go as far to claim that at the rate of climate change, our Himalayan glaciers may disappear by 2035.   As we have seen in the past, our neighbors’ troubles have a habit of becoming our troubles.  For reasons of pragmatism and as fellow Buddhists, we cannot afford to ignore the predicament of our neighbors in the Land of Snow, Tibet.

]]> http://www.bhutantraveldesigners.com/news/ablaze-in-the-land-of-snow.html/feed 0 http://www.bhutantraveldesigners.com/news/the-bhutan-highlighted-bhutanese-culture.html http://www.bhutantraveldesigners.com/news/the-bhutan-highlighted-bhutanese-culture.html#comments Wed, 10 Apr 2013 09:33:18 +0000 admin http://www.bhutantraveldesigners.com/?p=857 From art, crafts, language, literature, music and films to spirituality, the government has taken numerous steps to preserve and promote Bhutanese culture, according to the State of the Nation report. The Prime Minister Lyonchhen Jigmi Y. Thinley in his recent state of the nation report delivery to parliament detailed the developments on these fronts. Choedhey [...]]]> From art, crafts, language, literature, music and films to spirituality, the government has taken numerous steps to preserve and promote Bhutanese culture, according to the State of the Nation report.

The Prime Minister Lyonchhen Jigmi Y. Thinley in his recent state of the nation report delivery to parliament detailed the developments on these fronts.

Choedhey Lhentshog (Commission for Religious Organizations) which was established in 2009 has registered 80 organizations till date.

Taking Bhutanese culture overseas, Bhutan was the star attraction at the 42nd Smithsonian Folk Festival – the biggest cultural festival in the world in Washington D.C. drawing 1.5mn people besides 40mn television viewers. Meanwhile, “The Dragon’s Gift: the Sacred Arts of Bhutan” exhibition bagged the tag as one of the most successful exhibitions of Buddhist Art in recent years, drawing millions of visitors in various American and European cities.

“The Peaceful Dragon Textile Arts from the Kingdom of Bhutan” exhibition was held in Germany while the Bhutan Garden received the Excellence Award at the Taipei International Flora Exposition in 2010. Further, a 74-day exposition of Sangay Oedhsung’s Tooth Relic of Zhung Dratsang was successfully displayed in four venues in Thailand.

Back home, over 500,000 Bhutanese received blessings from the relics of the Buddha and his two disciples, Saribu and Mougelgibu, which were brought from Bodh Gaya in October 2011.

Of monuments reconstructed and redeveloped, Semtokha Dzong was established as the Central Institute of Monastic Arts, and Trongsa Ta Dzong as the Tower of Trongsa Museum housing the treasures of the Wangchuck dynasty.

New Dzongs at Tsirang and Chukha were inaugurated while the construction of new Pemagatshel Dzong is underway. Likewise, the renovation and development of Paro, Lhuentsi and Dagana Dzongs are nearly complete while the Wangdue Dzong, tragically gutted in 2012, is to be rebuilt and restored to its former glory. Dechenphug Lhakhang complex, Pangrizampa Lhakhang and the new Astrology School, Wangditse Lhakhang, and Dechenphodrang Monastery were renovated and redeveloped. The government also supported the construction of the 169 ft. Shakyamuni Buddha Statue in Thimphu; the 148 ft. Guru Nangsi Zilnon Statue at Tangmachu, Lhuentsi, and the 45 ft. Walking Buddha Statue at the Centenary Park in Thimphu.

A guest house is being built at Rajgir in Bihar for the safety and convenience of Bhutanese pilgrims.

In performing arts, the Dochula Druk Wangyel Tshechu was inaugurated, and the Punakha Tshechu elaborated to reflect the life and legacy of Zhabdrung Ngawang Namgyel.

The National Museum and the Royal Academy for Performing Arts (RAPA) documented most mask dance traditions, folklores and songs of Bhutan. The museum also organized a permanent display to showcase the different types of mask dances performed around the country.

Meanwhile, a National Color Guard Ceremony has been initiated at Tashichhodzong and, likewise, a giant-sized flag flies at the Royal Bhutan Police (RBP) grounds to greet every person who enters or departs from the capital city.

The Dzongkha Development and Promotion Strategy Framework has been put in place besides which other initiatives to promote the national language included a national survey to assess the knowledge and standard of Dzongkha among class X students; compilations of a new edition of the Dzongkha grammar book and 2,000 traditional Dzongkha terminologies from villages around the country; pocket English-Dzongkha Pocket Dictionary for students; and, digital Dzongkha-English and English-Dzongkha dictionaries on mobile phones using Dzongkha keyboard and Android software.

Bhutan also witnessed growth in literary activities in the past five years with a large number of poets, writers and folk-lorics emerging to the fore. The National Book Registry issued ISBN numbers for 1,128 books since 2007 even as Mountain Echoes Festival has become an important annual event.

To promote indigenous arts and crafts, a platform for local weavers and designers to innovate, promote and showcase their talents has been created through festivals and competitions on craft and design under the royal patronage of Her Majesty the Queen Mother Sangay Choden Wangchuck.

The Agency for Promotion of Indigenous Crafts (APIC) was started to promote viable craft enterprises through well-designed and well-finished products that will cater to a niche market. The APIC helped set up Bhutan’s first ever Crafts Bazaar in Thimphu and launched the ‘Made in Bhutan Seal’ to help build “Brand Bhutan”.

A village lhakhang, according to the PM, is not only a place of worship but a community center that affords villagers a central reference point for their local history, flourishing of customs and traditions, and bonding to create vital community relationships. To this end, special grants were provided to several remote communities.

In film and music, Lyonchhen said Bhutanese films have edged out foreign products from the big screens, halting the “cultural onslaught through cinema halls and homes by the combined might of Hollywood and Bollywood”.  The credit, he said, goes to the Bhutanese youth who have “dared to dream and have done the country proud”.

The industry has produced close to 300 films since 1988, with average annual production reaching 30 films. Likewise, some 400 music albums are in the market. Meanwhile, the TV reality shows have not only provided a platform for discovery of otherwise latent talents but revitalized and popularized the Zhungdra and Boedra genres of Bhutan’s music traditions.

Lyonchhen said the leaders in the film and music industry have become the custodians of a distinct culture.

The Royal Manas National Park (RMNP) covering 1,057sqkm has been named as a world’s hotspot for wild felids.

The presence of six species of wild felids – golden cat, marbled cat, leopard cat, clouded leopard, common leopard and tiger – and 28 other species of terrestrial mammals were confirmed through camera traps in the park’s 74sqkm area.

Ugyen Wangchuck Institute of Conservation and Environment (UWICE) researcher, Tshering Tempa, said he chose the park to conduct the study in partnership with RMNP, University of Montana, Bhutan Foundation because of high tiger density and the park being productive compared with others.

Tempa said he used 60 camera traps fixed on poles at 30 stations.

“Each camera costs about USD 500 and for logistics it cost about Nu 500,000,” he said. Bhutan foundation funded all camera traps along with USD 2,000 to cover logistics costs.

Camera traps were first set up in November 2010 with batteries and memory checked twice every month.

Through 2,036 trap nights, of the six species of wild felids, leopard was the most common animal to be captured in almost all camera stations, while the Asiatic golden cat was the least common.

Camera traps were left for 60 days and trap nights were calculated based on camera stations.

“We set up two camera traps at each station so that we could not only capture the animal from both angles but also to check its stripes to differentiate one from the other,” Tempa said.

He said around 20 camera traps were damaged by elephants and 10 burned in forest fire.

“But luckily we could retrieve the data from the camera traps,” he said.  “The main challenge was the remoteness to set up the camera traps and requiring many field staff, especially with the park located along the borders.”

UWICE has 100 more camera traps.

The next step, its officials said would be to cover larger grounds of about 3,000 sqkm including the royal Manas park and Jigme Singye Wangchuck National Park. Though the study was not designed for estimating abundance, they detected 10 individual tigers, 20 individual common leopards and seven individual clouded leopards.

UWICE officials expect at least two other species, jungle cat Felis chaus and fishing cat Prionailurus viverrinus, that also inhabit the Manas park.

“We may not have detected the fishing cat because we did not place camera trap near their typical riverine habitat,” Tempa said. “If the objective of conservation is to save the greatest number of species from extinction, then focusing conservation efforts and resources in areas such as Manas will be most effective in meeting conservation objectives.”

In Tolstoy’s fable of The King and the Shirt, the king’s physicians gather round their ailing ruler in an attempt to find a cure for his mystery illness. After much discussion, one of them suggests that they set out to find the shirt of a happy man. “If we can find a happy man on this earth, and offer his shirt to the king to wear,” the physician says, “our king will be cured.”

This time last year, the United Nations declared that 20 March 2013 would be the first International Day of Happiness, and would “promote happiness as a universal goal and aspiration in the lives of human beings around the world”. The tiny nation of Bhutan played the role of the physician, suggesting that the search for genuine happiness might be the cure the international community so desperately needs.

In other versions of the philosophical tale, it is the king’s son who needs to be cured, as he spends his days gazing aimlessly out of the window. Recently, I was facilitating a workshop that was designed to explore happiness, empathy and compassion with a class of 13-year-olds. We imagined we were the king’s messengers searching the land for a happy person. Would such a person exist? What would he or she look like?

After a thorough search, the teenagers imagined that they had found not one but three happy people: one with lots of friends and family, who was the most popular choice; another who was smiling for no obvious reason–she won a couple of supporters; and a clown, who was chosen by one member of the group. It was interesting that no one came up with a happy person who was rich, famous or powerful, like the king himself.

The pupils did not bother looking for a shirt, but instead decided to take their three happy people back to the king’s palace so they could share their secrets for happiness with him. This was their advice: “Why not relax?” “Look on the bright side.” “Make friends, have a family.” “Be open and attentive to everyone’s needs.”

The UN’s Secretary-General, Ban Ki-moon, would no doubt be encouraged by the last of these statements, as his message on this first International Day of Happiness calls on us to make a commitment to inclusive and sustainable human development and helping others. So, too, would Mark Williamson and his colleagues at Action for Happiness, who are leading the celebrations and inviting everyone to pledge to create more happiness in the world.

As an educator, I have sometimes wondered whether we need the happiness agenda. Don’t we already have plenty of great visionary principles to learn about, and work towards? Human rights, the alleviation of poverty, sustainable development?

From an education perspective, however, the subject of happiness is interesting because it begins at home. It invites everyone to take care of themselves, both physically and mentally. And from my experience of giving space to teenagers so they can reflect on what happiness means for them, I have found that if they have a chance to ponder long enough about their own needs, they naturally move on to thinking about the needs of others.

The focus on our common humanity is not new in education. The theme of happiness is just one way to explore our relationship with others, pointing out that everyone has a unique way of experiencing suffering and well-being, and it is this very commonality that unites us.

But it does not stop there. A key dimension of the search of happiness is its economic and political implications, as we investigate whether policies can be based on comprehensive well-being indicators, rather than focusing solely on growing the economy. Findings such as the fact that mental health is the biggest single factor affecting happiness in any country bring a fresh perspective on our usual way of thinking.

So actually, happiness is a great way to explore the whole array of human dilemmas with young people. Five-year-olds can understand it; 13-year-olds can talk about it.

Let’s hope we adults can also do something about it.

In Tolstoy’s tale, the king’s messengers eventually found a man who considered himself happy. He had a roof over his head, food on his plate and had accomplished a good day’s work. The only thing was, he was so poor he did not have a shirt to give to the king.

It is not that there is no other space around the goenpa for them to practise.  But it’s believed that Gangsa Pang (ground) was the place where dances were first practiced, when the third reincarnation of Zhabdrung Ngawang Namgyal, Thuktrul Jigme Drakpa first introduced the Talo tshechu in 1708.

Carrying on the 305-year-old tradition, a group of 22 men and less than a dozen women have been on the ground since March 7 to practise for the upcoming annual Talo tshechu, which begins from March 19.

It is believed that Zhabdrung Jigme Drakpa would watch from his zimkhang (residence) window, when his gomchens (lay monk) and village women practised for the annual tshechu, one of the dancers, Lhendup, 57, said.

Those days, Zhabdrung’s attendants were mostly gomchens.

The zimkhang, which is considered as one of the most sacred rooms of the goenpa, overlooks the Gangsa Pang ground.

In his last 39 appearances as a dancer in the annual tshechu, Lhendup, who became a mask dancer from 18, said not a single dance has been performed at the goenpa’s courtyard without being routed from the Gangsa Pang. “I saw this legacy being followed since I was 18.”

On the first day of practice, the dancers gather at the geonpa’s main lhakhang (temple) for a Zhukdrel ceremony.  As they come out to walk down for practice, a pair of old trumpets is blown to inform the people and local deities about the practice.  After they reached Gangsa Pang, the group facing the zimkhang, offers chang phee (the first sacred offering) and starts their practice.

Before the tshechu begins, the group would bathe in the spring that flows below the Gangsa Pang, said Lhendup.  The spring, which is considered holy, will clean the defilement of body, speech and mind.

During the four-day annual tshechu, the dancers spend the nights in the goenpa and are not allowed to mingle with their spouses. “We’re held back from sleeping at home,” a folk dancer, Kinzang Wangmo, said. “Our leader keeps an eye on us even when we go to toilet.”

Kinzang Wangmo joined as a dancer when she was only 14.  Today, she leads the folk dance group. “In the last 34 years as a dancer, I haven’t spent a night at home during the tshechu,” she said. “It’s believed that dancers would skid, if we have sex during the tshechu.”

Despite being old, these dancers continue to actively participate in dancing to the songs composed by Zhabdrung.  They said most young girls in their village are in schools or towns and those, who aren’t, are not interested in becoming dancers.

Talo gup, Kinley, also shared his concern about youth losing interest in traditional values and cultures. “Our culture is being overshadowed by modernisation,” gup Kinley said. “Today, the young ones are mostly interested in foreign songs and dances.”

Day 01: Arrival
Flying in to the country’s only airport, in the beautiful Paro valley, the clear mountain air, forested ridges, imposing monasteries and welcoming Bhutanese people in their striking national dress, provides a breath-taking first impression.

On arrival at Paro airport, after immigration and custom formalities, your guide from Bhutan Travel Designers for the trip will receive you and transfer you to the

hotel in Paro. In the evening, you can stroll along Paro downtown to see the people and the local stores.

Altitude at Paro: 2300m.
Overnight:Hotel in Paro.

Day 02: Hike to Tiger’s Nest
Today, we hike up to the famous cliff-hermitage called Taktsang, the “Tiger’s Nest.” This monastic retreat is built into a sheer cliff face high above the Paro valley. Legend has it that the Tibetan Buddhist saint Padmasambhava flew across the Himalayas on the back of a tiger and landed here, bringing Buddhism to Bhutan. The trail to the monastery climbs through beautiful pine forest and an occasional grove of fluttering prayer flags.

After visiting what is known as one of the most venerated pilgrimage sites in the country, we will go off the beaten track further up to the temples that are on the hill tops above Tiger’s Nest. It’s so peaceful there and you can really communicate with nature as you enjoy the views from the top be it that of mountains or the valley. No wonder that some monks have chosen this place to meditate for their life!  To go down, we are following a different path that takes us through the pristine thick forest of oaks and rhododendrons festooned with Spanish mosses.

Approximate walking time: 06 hours. Altitude at Paro: 2300m.
Overnight: Hotel in Paro

Day 03: Chele La Ridge Hike
This morning, we will take a drive to Chele La (3750m), the highest motor able pass in the country and hike up along the meadow to Kung Karpo La (4100m). Weather permitting; we will enjoy the breathtaking views of the snowcapped mountains while walking above the tree line along the ridge that divides Paro and Ha valley. The short steep descent from the top will take us to the nunnery of Kila Gompa.  Here the nuns, called anims, live a life of contemplation and seclusion, with daily prayer and spiritual practice.  The temple itself is surrounded by numerous meditation huts, and many hidden caves lie inside the rocky cliffs.  The gompa is surrounded by a lush forest dominated by tall firs.  Sparkling mountain streams wind down the slopes, which are covered with a variety of wildflowers and plants.

About 30 anims, or nuns, live here, ranging in age from about 20 to 80 years.  The community is one of the oldest of seven nunneries in Bhutan, and was initially established in the early 9^th century as a meditation site.  After being destroyed by fire, the temple was rebuilt and officially established in 1986 as an anim dratshang (religious community of Buddhist nuns).

Kila Gompa is historically significant as a sacred meditation site.  Many renowned Buddhist saints have come here to find peace and seclusion.  The main temple houses ancient statues of Chenrezig (Avalokiteswara) and Guru Rinpoche (Padmasambhava) among others.

Life here is simple.  The day begins and ends with prayers.  The anims arise at 3 AM and study Buddhist scripture until 8 AM when they go to the temple for prayers.  The first simple meal of the day (rice, vegetables and tea) is eaten at 10 AM, after which studies continue until 9 PM when a simple supper is served.  The nuns retire after a final session of prayer.  Most of the nuns have given up properties and left their families to live with the bare minimum of material things.  Their studies and subsistence are supported by the government.

Some of the older nuns have retired into meditation, while many of the younger ones pursue basic Buddhist studies and perform religious ceremonies.  The course takes 5-6 years, after which they begin meditation, which can range from four months to three years.  One young nun, when asked why she had chosen this life, replied “There is peace in thinking about others, apart from yourself.”  Another said “If I was given back my youth, I would still choose this life but I would start it earlier.  I have never been more at peace with myself.”

The walk down from here to the road is lined with small white chortens and it will take us about an hour.

Approximate walking time: 05 hours. Altitude at Paro: 2300m.
Overnight: Hotel in Paro
Day 04: Paro -Thimphu (Hike to Cheri monastery)
A short drive through the countryside surrounding Thimphu brings us to the Jigme Dorji Wildlife Sanctuary, the largest protected area in the country. The park is home to several endangered species including the takin, snow leopard, blue sheep, tiger, red panda, and the Himalayan black bear. More than 300 species of birds have been cataloged within the park.

Our walk begins from the small village of Dodena. Our trail starts by crossing a covered bridge over the Thim chhu and we climb steadily to Cheri Goemba, a small monastery perched on the hill with a view over the ThimphuValley. Shabdrung Ngawang Namgyel built this monastery in 1620, and this is where the first community of monks in Bhutan was established. The monastery is considered very sacred as it contains the ashes of Tempi Nima, the father of the first Shabdrung of Bhutan, and beautiful frescoes of Buddhist saints. Shabdrung also spent three years in retreat here and it’s a renowned meditation place even today.

After our visit to the monastery, we descend back the way we came, keeping our eyes open for the goral (wild goat) that are often spotted on the cliffs nearby. Back at the village of Dodena we will have picnic lunch along the clean and unpolluted ThimphuRiver. After lunch, we follow a riverside trail via Begana to Cabesa, home to the Choki School of Arts. The ChokiSchool is private and provides free skills-related education in the traditional arts and crafts of Bhutan to Bhutanese children who are unable to attend or complete their formal education. After visiting the school we continue along the riverside trail and pass through small rural villages before returning to Thimphu.

Approximate walking time: 03 hours. Altitude at Thimphu: 2300m.
Overnight: Hotel in Thimphu

Day 05: Thimphu
Today’s sightseeing in Thimphu includes; Visit to the Institute of Traditional Medicine; Bhutan has long and rich tradition of medicine based on natural remedies derived mainly from plants and earth, and some animals. This institute has facility for out patients, training, research and production of traditional medicine. The courses to become traditional doctors, called drungtsho, entail six to eight years of strenuous study after high school. The institute has an exhibition room that imparts excellent look into the tradition.

Visit to the School of Traditional Arts and Crafts, the school offers an six-year course in the techniques of traditional art in religious and secular paintings, woodcarving, clay sculpture and traditional mask making. One can see students working through progressive levels practicing precise rules of Bhutanese art. The school also has a showroom from where student works are sold at very reasonable price compared to town for same quality of work.

Visit to the FolkHeritageMuseum; established in 2001, this is an interesting museum housed in a very old traditional house. The museum is a walk through the fast changing rural tradition, habits and skills, and those of the past. They organize special exhibitions annually on select subject pertaining to Bhutanese heritage.

After lunch, you can have free time on your own to walk along the street to see the people and the local stores.

In the evening, take a drive for about an hour along the east-west highway till Dochu La Pass (3050m). From here one can have a spectacular view of the Himalayas to the north when the sky is clear. The pass is marked by 108 chortens (Stupa) which are Buddhist reliquaries, memorials to the teachings of the Buddha. Sometimes actual relics of the Buddha or revered monks are inserted into the dome of the stupa, but whether or not there are relics inside, the stupas mark the landscape with reminders of the Buddha’s teachings.

Approximate driving time: 01 hour. Altitude at Dochu La: 3050m.
Overnight: hotel at Dochu La.

Day 06: Hike to Lungchotse Lhakhang
If the weather favors us, it will be a bonus to see the sun rise over the eastern end of Himalaya at around 5 in the morning.

The location of the 18^th century Lungchotse Lhakhang is perfect for a day hike from here. For those who do not fancy walking for hours seeking solitude and peace of mind yet would like to have that, this is the place to go. It is a perfect place to enjoy the bounties of nature. On a clear sunny day one can see the entire Bhutan Himalaya with its snow covered peaks. The sunset from Lungchotse with different colors playing against the sky is a splendid spectacle. The view from the ridge as the sun sets over the rolling hills remains etched in mind for a long time.

The way to the Lungchotse Lhakhang is no less striking. It is a gentle 02 hour uphill walk from Dochu La. The route is well shaded with rhododendron trees growing in abundance all over the place. The path is well padded with fallen leaves. In May and June when the flowers are in bloom it is a magical trek amidst the various hues of white, red, pink and purple.

They say heaven is a place on earth – perhaps Lungchotse is one such place. Anyway it is as close as you can get to in a day!

Getting back on to the road, after a short drive on the way to Punakha, we will stop at the Royal Botanical Garden and see the varieties of plants or we can find out the name of plants that we did not know on the hike.

Approximate walking time: 04 hours. Altitude at Punakha: 1300m.
Overnight: Hotel in Punakha

Day 07: Punakha
Next in line is a short hike to Khamsum Yulley Namgyal Chorten in the northern part of the valley. Newly built and it is a more elaborate version of the Memorial Chorten in Thimphu. It has an astounding work of frescoes and intricate statues.

After lunch, we will take a drive for about an half hour to Yebisa, take hike to Khamsun Yulluy Namgyel Chorten.

Approximate walking time: 01 hours. Altitude at Punakha: 1300m.
Overnight: Hotel  in Punakha.
Day 08: Punakha – Gangtey
After breakfast, drive to Wangduephodrang and visit the Dzong which is perched on a spur at the confluence of two rivers. The position of the Dzong is remarkable as it completely covers the spur and commands an impressive view both up and down the valley. Wangdue district is famous for its fine bamboo work, stone carvings, and the slate which is mined up the valley a few kilometers from the town.

Then drive up a winding mountain road through oak and rhododendron forest, and over a high pass down into the Phobjikha valley, surely one of the loveliest high altitude valleys in Bhutan. Phobjikha is one of Bhutan’s few glacial valleys, and chosen winter home of black necked cranes, migrating from the Tibetan plateau. Explore Phobjikha valley and also visit Gangtey Gonpa (Monastery), the only Nyingmapa monastery in western Bhutan.

Approximate driving time: 03 hours. Altitude at Gangtey: 3000m.
Overnight: Hotel in Gangtey.
Day 09: Gangtey – Paro
Morning walk to explore the village, then return to Thimphu (about 05 hours drive). From Gangtey, the road gradually descends into the balmy Punakha valley, and then begins a long climb back up to the Dochu La, where a stunning field of white chortensand colorful prayer flags send blessings up to the Himalayan sky; snow peaks line the horizon.  From the La, it is only another hour to Thimphu.  Stop here for lunch, then continue to Paro (just under 2 hrs), one of the most beautiful valleys in Bhutan with its slate-roofed farmhouses, graceful willow trees and rushing glacial river beneath snow covered peaks. Afternoon visit to Kyichu Lhakhang, one of the 108 temples constructed by the Tibetan king Songtsen Gampo (only three remain), and one of the two oldest in Bhutan (the other is Jambe Lhakhang in Bumthang).  Kyichu is built in a manner similar to the Jokhang in Lhasa.  Inside there is a great golden image of Buddha Shakyamuni.

Approximate driving time: 05 hours. Altitude at Paro: 2300m.
Overnight: Hotel in Paro

Day 10: Departure
After breakfast in the hotel, drive to the airport in time to catch up your onward flight. Your escort from Bhutan Travel Designers will bid you farewell and soon the remote and legendary DragonKingdom disappears again behind its guardian mountains.

TASHI DELEK & GOOD LUCK!

Druk Wangyal Tshechu is truly an artistic masterpiece! The visual and aural grandeur is enhanced by the richness of costumes and performances that reflect the artist’s great imagination and innovation. The setting of the festival is a spacious and open ground done in a concave shape against the natural backdrop of great Himalayan ranges. It was cloudy yesterday but the effect the clouds produced was magical as performers appear to step right out of them and dissolve into them after each performance.

There is no doubt that everyone who witnessed the Tshechu was exposed to a different kind of tshechu-experience. On the one hand, it differs from mainstream tshechus in many aspects such as content, choregraphy, themes, music, costumes and indeed the narrative. On the other hand, it has elements that are faithful to what a tshechu essentially is.

I was struck by a few important aspects of this Tshechu. First, women are part of mask dance performances although they did not wear masks. Performed by artists from Royal Academy of Performing Arts (RAPA), these women assume significant role alongside mask dancers especially in two dances associated with Milarepa and Tshering Chenga (see below) . Thus they transcend their traditional roles during tshechus as folk singers and dancers. Second, the very first performance of the tshechu was put on by women. They kick-start the tshechu by performing Azhe Lhamoby playing drums (nga). The Tshechu brochure presents it as a folk dance. But I think it is far more than that. Third, public display of what may be described as lewd gestures is generally associated with atsaras or clowns and never a part of the main dances. In the dance of gadpo ganmo, lewd gestures were integrated as part of the choreography. It may have to do with folk origins of the dance but certainly integrating such gestures into the choreography injects freshness into the tshechu atmosphere and challenges assumptions of everyday tshechu audience.

The narrative of the Tshechu unfolds through three categories of dances. The first and third category has three dances each while the second category has two dances. Except for the dance of first category, those of the other two are generally punctuated by spectacular and innovative dances performed by RAPA artists. The first category of dances is devoted to an episode in Milarepa’s life that depicts his pacification of five rock-demons or Tshering Chenga and their conversion as Dharma Protectors. Among the most memorable images from this category that remain etched in our minds for a long time is that of the artist role-playing Milarepa. Braving the bitter cold of Dochula in just an undergarment, his yogic exercises of generating inner heat and the power of his levitations leave the tshechu-audience dumbfounded.

The second category of dances represents Dharma Protectors such as Maza Damsum and Goenm Chamdrel Sum. The dance of Legoen Jarog Dongchen creates the impression of larger-than-life ravens circling the sky in front of us as performers engage in energetic dances flapping their wings attached to glittering costumes. Legoen Jarog Dongchen is the Dharma Protector who has a raven face.

The third category, which is the most innovative of all dances and indeed the core dances of this Tshechu, sees the heroes (representing members of Bhutan’s armed forces) going to war, engaging in combat and staging a victorious return. The masks, costumes, accessories and choreography of the dance and dancers reveal such richness of artistic creativity that completely mesmerizes and engages the audience.

The three categories of dances do not stand in isolation of the other. They are aspects of the same narrative and hence, interconnected. The narrative is not just in the dances but inscribed in the beautiful and inspiring murals and monuments of Dochula. It concerns a national experience and memory of a recent event that will undoubtedly stand out as a landmark in our history. Therefore, it is important that we witness and experience Druk Wangyal Tshechu by appreciating its context and locale.

Owing to the freezing cold of Dochula, many people commented that this festival would be better enjoyed in Spring or Autumn. However, I do not think that the choice of December 13 has been made without taking into consideration the cold winter. On this day, in 2003, the Royal Government of Bhutan issued a 48-hour ultimatum to Indian separatist groups such as United Liberation Front of Assam, National Democratic Front of Bodoland and Kamtapur Liberation Organization, who have holed up in forests of Southern Bhutan and refused to leave despite years of peaceful talk and negotiations. The ultimatum was not heeded and Bhutan’s armed forces personally led by His Majesty the Fourth King Jigme Singye Wangchuck commenced military operations two days later, on 15^th December. By 17^th December, Bhutan’s national day, all the camps set up by the militants have been captured, ammunitions seized and militants dislodged. The Royal Bhutan Army under the command of His Majesty the Fourth King emerged victorious.

It is this historic victory that the Druk Wangyal Tshechu commemorates in honour of His Majesty the Fourth King and members of the armed forces. Much ahead of the Tshechu, Her Majesty the Queen Mother first built 108 stupas called Druk Wangyal Choetens and then the monastery called Druk Wangyal Lhakhang. The stupas, monastery and the festival all pay tribute to the visionary leadership and sacrifice of His Majesty the Fourth King.

Like his great-great-grandfather Desi Jigme Namgyal, who took on an external enemy (the British) in 1864 by launching attacks from Dewathang in South-eastern Bhutan, His Majesty the Fourth King also launched military operations from there. On the murals of Druk Wangyal Lhakhang can be seen, amongst others, scenes depicting His Majesty leading the armed forces through the tropical jungles of Southern Bhutan. All of them wear green ghos. The artists that perform the dance of Combat of the Heroes at the Tshechu also wear green ghos. The military victory has deeply strengthened Bhutan’s security. His Majesty the Fourth King is truly a protector of his country and people. Therefore the monuments, murals and dances celebrating His Majesty as a protector are indeed fitting tributes.

I have mentioned above that the first category of dances at the Tshechu enacts Milarepa’s pacification and conversion of Tshering Chenga. This is because one of the main deities enshrined in the goenkhang of Druk Wangyal Lhakhang is that of Tshering Chenga.

The three Dharma Protectors known as Goenm Chamdrel Sum are also revered as Bhutan’s protective deities. They are Pal Yeshey Goenpo, Legoen Jarog Dongchen and Palden Lhamo. There are historical reasons as to why they are regarded thus. Before and after the founding of the Bhutanese state by Zhabdrung Ngawang Namgyal in the 17^th century, he had to overcome many external aggressions launched by Tibetans and Tibeto-Mongol forces. He was assisted in his wars to defend the newly-founded state by these Dharma Protectors. There are sites and monuments dedicated to moments when they appeared before him vowing to take on the enemy.

One painting on the murals of Druk Wangyal Lhakhang depicts a flying raven dropping a part of human body in front of His Majesty the Fourth King, who sits in meditation. I understand this to suggest the raven-faced protector, Legoen Jorog Dongchen assuring the elimination of the enemy before the commencement of military operations. So I read a close link between the meaning of this painting, the dance of Legoen Jarog Dongchen and dance of Goenm Chamdrel Sum performed in the second category.

Druk Wangyal Tshechu began last year. This was the second festival. However, Her Majesty the Queen Mother took three main dances of the third category this year for the people of Punakha during Punakha Domchoe and for those of Tashigang during Tashigang Tshechu. No doubt that the people of other dzongkhags who were there during those two occasions have also witnessed these dances. The uniqueness of this festival and the significance of its historical context will increasingly draw more and more people to Dochula in spite of the cold.

On its own, the Tshechu is an annual event commemorating a very historic moment in the life of our Kingdom personified in the sacrifices of His Majesty the Fourth King particularly during the 2003 military operations. However, everyday commemoration of that moment takes place throughout the year as both Bhutanese and foreigners visit Druk Wangyal Choetens and Lhakhang daily, admire these monuments, pray there, and be inspired both by their spirituality and historical context.

Like all Bhutanese, I feel deeply thankful to Her Majesty the Queen Mother Azhi Dorji Wangmo Wangchuck for spearheading the creation of structural, mural and peformative masterpieces at Dochula that pay tribute to a visionary monarch. All of them are already part of our rich historical and cultural legacy. I am already looking forward to be there next year!

wangduedzong

Wangduephodrang Dzong: Zhabdrung Ngawang Namgyel was at Chimi lhakhang in Punakha when he met a bedraggled old man, who described the ridge in present day Wangduephodrang as a ‘sleeping elephant’.

He told Zhabdrung that his aspiration to unify the country would be realised if he built a dzong on the neck of the ridge.

Divining the old man to be Yeshey Goenpo, one of the supreme guardian deities of the country, Zhabdrung took his suggestion seriously, and deputed a noble to scout the area.

As the emissary drew close to the place, he saw four ravens circling the air above the ridge.  When he reached there, the birds flew away in the four directions, north, south, east and west.  On returning to Chimi lhakhang, he related what he had seen.

Taking this as a good omen, Zhabdrung immediately set forth to construct a dzong on the spur, overlooking the confluence of the Dangchu and the Punatshangchu rivers.  The people of Wang and Shar Da Gye were believed to have been involved in the construction, along with the people of Rinchengang, who were skilled masons.

This is the legend behind the building of Wangduephodrang dzong as the provincial capital of the Sha district in 1638.  It is the third oldest dzong in the country that the Zhabdrung built.

There is another legend on the building of Wangduephodrang dzong.  It says that when Zhabdrung arrived at the confluence, he saw a little boy building a sandcastle.  The boy’s name was Wangdue, and therefore he decided to name the dzong Wangduephodrang or Wangdue palace.

Around 1683, the dzong was said to have been enlarged by the fourth Desi Tenzin Rabgye, who added another two storeys to the four-storey utse built by Zhabdrung.

Many years later, after the clergy was properly institutionalised, the 10th Je Khenpo came to live in the dzong and enlarged it.

In 1837, the dzong was destroyed by a major fire and later rebuilt.  During the time of Lam Neten Pelden Singye, the dzong was also damaged by a severe earthquake in 1897.

Much later emerges a powerful local lord with the title of Wangzop.  Kawang Sangye, as he was called, extended the dzong towards the old Gangtoe Thangka township.  Another Wangzop, Acho Boep, commissioned constructions that further elongated the dzong, and gave its present shape.

As testimony to the three major additions on the original edifice, there are three doorways and three courtyards in the dzong.  The first gate is the entrance, the second leads to the inner sanctum of the dzong, and the third opens out into the deep interior of this historic structure.

One of the finest descriptions of Wangduephodrang dzong is in the form of lozey, the ballad of Pemi Tshewang Tashi, which says the dzong, situated on the lap of Khujuk mountains, neck of Sumthuet bridge where Dzongothang has been levelled, Thangochoten has been constructed, chorten and mani are being circumambulated, the mani, in clockwise direction, is rotated, the Gayshing is in profuse blossom, the tail of the dzong ends on cliff, the cliff is braced by the river lake, the river lake is beautified by turquoises, the turquoises are offered as mandala, and the dzong is painted white.

Pemi Tshewang Tashi, who led the expedition to help Trongsa Penlop Dungkar Gyeltshen against Choje Pem Tenzin of Jakar in 1875, was the chamberlain of Wangdue Dzongpon Ang Druk Nim.

Some renovations were carried out between 1997 and 2003.  The internal electrical wiring system was replaced, the drainage system improved, the DYT hall, office and dzongkhag store were rebuilt, the lam neten’s and monks’ residences and their kitchen renovated and a new toilet built.

The dzong also suffered minor damage in the 2011 September earthquake.

Major renovation work began in January this year, after its 196 monks were moved to the new drasha (hostel) built outside the dzong in November last year.

About Nu 84M of the total budget of Nu 200M fund provided by the government of India was spent on the two drashas.

The remaining Nu116M budget for the Wangduephodrang dzong conservation project was to renovate the fortress’s main structure, which comprises 15 temples, the administration block, 60 units of rooms for lams, lopons and a dratshang office.

Source: Kuensel.