Elements
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Manage No, Sortation, Country, Writer ,Date, Copyright Manage No EE00002086 Country Bhutan ICH Domain Social practices, rituals, festive events Address Ura is one of the four gewogs located in the southern part of Bumthang Dzongkhag. It has ten cluster communities: Tangsi-bi, Shing-nyeer, Shingkhar, Pangkhar, Sum-thrang, Beteng, Tra-bi, Tar-zhong, Toepa and Cha-ri with a total of 301 households and 2288 residents. Of the ten cluster communities, only Ura-ma-krong, which includes the Tra-bi, Tar-zhong, Toepa and Cha-ri sub-clusters, and Shingkhar are the only two communities that uphold and practice the Sang or A-shey Lhamo festival. According to older villagers, the women of Pangkhar and Sum-thrang used to practice and celebrate la Sang on Mount Jab-thong, but have been abandoned and forgotten for nearly 40 years. Korgang is a special place on the top of Pur-shey la where artists used to dance. In the past, there was only a lab-tsa (a cairn decorated with prayer flags) here, which signified the dwelling place of a local deity and a road pass. This was replaced by the Nam-gyal Khang-zang stupa, newly built by the Ura community. The Korgang site is located directly under the stupa, where two or three prayer flags are placed and a table is prepared at the base. It is said that there is always a circumferential path without grass. The path seems to have been used so that it looks like an old trail. It is believed that the spirits circled the place every day and night, so the path looked like an old trail. Especially on A-shey Lhamo day, a footprint t of Ta- drey (female mule) usually appears in the middle of Korgang. The imprint of the footprint is visible and respected as Khandro mai zhab-je (the footprint of Dakini). The other performance site is in Rot-pay la, usually called Rot-phai, the dwelling place of a local deity located about 6-8 kilometers away on the left side of the community. It is said that the same group visits the designated ancient place and performs the same song and dance in honor of the deity of the place. However, it has been almost four decades since the women went as far as Chut-pey and made offerings from there, which is a clear sign of waning interest. They perform a similar dance of A-shey Lhamo and then return to the Lhakhang.Year of Designation 2016
| Description | A unique female-dominated performance held only on the 8th and 9th day of the 7th lunar month in the two communities of Ura-ma-krong (main village of Ura) and Shingkhar, the farthest settlement under Ura gewog (block) in Bumthang Dzongkhag (district). In Ura dialect, Intangible Cultural Heritage (ICH) is usually called Saang (smoke offering). It is said that in the old days, when there were yak herders who usually came from their village to raise the yaks at Purshey la (one of the mountains overlooking Ura village), they welcomed the female performers by burning sang at Korgang (the place believed to be the place where the deity descends or dwells and where the female performers circumambulate the stupa). Hence, community members refer to the festival as Sang or Sang na gai-sang (on the way to the Sang offering). Another interpretation states that the female participants begin their offering by making various medicinal herbs and other fresh offerings go up in smoke while appeasing the main female deity named A-shey Lhamo and her entourage, namely Gawa Lhamo, Kiba Lhamo, Champa Lhamo, and Dropa Lhamo. However, in addition to the aforementioned attendant goddesses, Shingkhar A-zhi (pronounced locally) Lhamo has Lam-dron Lhamo forming five attendant goddesses. Therefore, the festival and performance were called Sang from the first offering. The other name of the festival, A-shey Lhamo, is interpreted literally by outsiders and some learned community members as the lyrics of the religious song sung and danced in honor of the deity A-shey Lhamo. Colloquially, the term A-shey is addressed to either the queen or the elder sisters, and Lhamo is a general term for the divine goddess. The origin of Sang or A-shey Lhamo is that during the Dung Lhawang Rabgay (local ruler), not long before the emergence of the Dung caste system in Bhutan around the 10th-11th century, there was a misfortune of Shey-ned (diarrheal infection) that spread among the children of the Ura community. People sought the advice of their ruler as there was no tradition of performing rituals or treatments. Thus, Dung Lhawang introduced Drakpa, who had a divine bloodline, to appease the female local deity by performing dances. He composed the lyrics in the typical Ura dialect and ordered that they be performed by female members of the community. The Lord also determined the place: Pur-shey la (written Pur-gyal la) along with the things to be sacrificed and also the steps. Following the advice, the women performed the dance, which gradually helped the children recover from the epidemic. After that, the performance of A-shey Lhamo was practiced. According to the origin, A-shey Lhamo and the goddesses accompanying her are both the deities of the place and deities of the Bon khar tradition. Perhaps they are the other form of Tshering chey nga (the five sisters of longevity) who appeared in the Bon tradition before they were introduced by Guru Padsambava as the tutelary deity of Buddhism, just as many Bonpo deities were later transformed as protectors of the sacred teachings of the Buddha. In the poetry of A-shey Lhamo, it is mentioned that they reside in the high mountains Gang-toed thoen po. The road to their citadel is like a mule track, filled with the sweet fragrance of Ba-loo (Rhododendron ciliatum) and Su-loo (Rhododendron setosum). She delights in the first share of Mar-chang Ara (locally brewed wine) and Kara and Buram (honey and brown sugar) and sits down on the white sheepskin mat. She resides gracefully in a palace of precious gems with golden columns and silver windows. Apart from the above description of her residence, there is no text describing her appearance, only the names of her sisters and the goddess herself. This ICh element is still alive in Ura and Singkhar communities. However, there are some changes: The sang is now prepared and offered by themselves since there are no more highlanders at Pur-shey la, and the other is that, according to tradition, the sang is generally performed on the 8th and 9th day of the lunar month but, the community members decided to either coordinate the festival on 15th day if the time and weather is not favourable. |
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| Social and cultural significance | A-shey Lhamo is a ritual associated with women, which is performed in the form of a dance performance and can only be seen in the communities of Ura and Shingkhar in the Ura gewog. It is a traditional bon-kar ritual initiated by the women and girls of these two villages. The event helps to educate the youth about their cultural identity, remember, respect and bridge with the patron deities, and conveys the rich cultural tradition of their communities. A-shey Lhamo is not only an entertaining performance, but also an important ritual to appease the deity and a moment of thanksgiving for their spiritual help in eliminating the plague and blessing them with auspicious prosperity. If the tradition is interrupted, the community is afflicted by curses and various diseases that affect people, livestock and even the corpses. These adversaries or pho-tung (curses) are the result of the anger and displeasure of the spirits that have always been respected by the ancestors as protectors. |
| Transmission method | In the old days, when there were no written documents about A-shey Lhamo, the texts were exclusively transmitted orally from the older participants to the newcomers. Through this method of transmission, many indigenous terms were perhaps lost and new texts were added and incorporated. The texts were written exclusively in their respective dialects, and some terms of the classical Bhutanese language such as Lhamo, ney (place), Gang-toe (mountain), marching Ara (local wine to make offering), dhen (mat), Lam (path), Ney-po (deities) and Sang (smoke offering), etc. are frequently used in both texts. Recently, however, some of those concerned, such as Ugyen Lhamo (46), the leader of the female performers, have documented the texts of A-shey Lhamo and also some by some learned members of the community. Therefore, the younger generations have memorized the lyrics, melodious tune, choreographies and program series by imitating the older women and following their advice. A-shey Lhamo performance they do not need to consult an astrologer to look for an auspicious day, nor do they wait for a pleasant weather. In any case, the event must be held on the 8th day of the 7th month, as stated in the song lyrics "hor dha dun pi tshe gyed la". On the evening of the 7th day, the participants and supporters of A-shey Lhamo invite all the men and boys of the community and serve pudu (puta, buckwheat noodles). This is to thank them for helping them throughout their lives and supporting the event. On the 8th and 9th evenings, the women again serve ja (tea) and bang-chang (local wine). After three Phud-ma-khen are appointed, one on the day of A-shey Lhamo, the 8th day of the 7th month, led by Tsepon (leader), the Phud-ma-khen and other performers strong enough to walk to Pur-shey la summit begin their journey as early as 6:00 am. The tshog (sacrificial substances) are carefully placed in the rung (traditional bamboo basket) and one of them takes a drum. Immediately, the performers leave the community from the host's house towards the south, where there is an ancient path leading to Pur-shey la Korgang. However, the performers take strict care to ensure that the offerings and the performers do not have the smell of drib (impurities). When someone unknowingly participates in A-shey Lhamo at the Korgang, unexpected weather changes such as storms, rain and thick fog occur. These are signs and consequences of the local deity being provoked by defiled offerings or performers involved in impure activities. When everything is in order, there is a pleasant day with bright sunshine, resembling an auspicious day. After arriving at Khandro-pang, which is almost 4 kilometers from Ura, the performers prepare sang (smoke offering) and wash their heads, feet, and hands, with Phud-ma-khens in particular taking a bath, as they are the main girls who make tshog offerings. Then the performers begin singing the Tey-mo la and the Ashey Lhamo song, accompanied by the beating of the drum. Along the way, they also collect incense herbs for the Sang offering at Korgang. Once they arrive at the Pur-shey la korgang, the Phud-ma khens prepare various tshog offerings and display them beautifully on the table according to the leader's instructions. After setting up the tshog, the chant is also offered and the girls and women begin the performance by circling the altar. If there are many performers, they form two layers, and if there is only one countable number of participants, a single circle is enough for dancing. If the day is pleasant, they dance A-shey Lhamo three times and are satisfied and delighted with the beautiful scenery. If the weather is not good, they dance only once and quickly return to the community lhakhang. After lunch, they leave the tshog and other offerings at the korgang and then return to the community. They sing the same song and collect incense herbs for the host and Mar-zang Men-to (probably: Boschniakia himalaica) wrapped in a bodo (traditional women's shawl) and placed on the head on their way back. It is a traditional custom to wear the flower. It is also believed that the flower is a sacred thing on which the deity rests and is received in the community and in the lhakhang. When they arrive at Tok-phai, they take off their casual clothes and wear beautiful dresses with traditional ornaments. Usually older women who could not go to Pur-shey la join the group, increasing the number of participants. They form a single line, sing the Tey-mo la and the A-shey Lhamo song together, and keep walking straight toward the community lhakhang. Before entering the Lhakhang, they circle it three times and then enter the Lhakhang, where elderly villagers and some interested men are waiting impatiently to see the women's performance. Immediately they perform the A-shey Lhamo song, starting with quiet steps and getting faster towards the end. After the performance, they dance Bhutanese folk songs. Afterwards, they leave the lhakhang and go to the host's house. The participants then invite men and boys to the host's house to enjoy traditional sweet buckwheat noodles, called pudu but widely known as Puta. They are also served tea and nun-mang (dough made from roasted wheat) with Su-ja, a traditional butter tea. Later, everyone sings and dances folk songs together and then goes to their respective houses to sleep. On the 9th morning, not quite as early as the previous day, around 8:00 a.m., the performers make their way to Chud-pay to make offerings to the local deity of Rot-pay Sang, Tshogs and A-shey Lhamo and return to the community. |
| Community | Currently, the active practitioners of the element are the group of Ura, which is a single settlement with four divisions commonly known as Ura-do-zhi, namely Kris-pa, Tod-pa, Tarshong-ba and Charzhung-ba. The commune consists of 68 households with an approximate population of 340. According to the historical records, the definition of Ura is interpreted that U stands for Ugyen Guru (Guru Padsambava) and the following pair of letters is an abbreviation for ra-wa (fence or boundary) of the ridge, keeping the valley hidden from others. Therefore, the community is also known as Ur-bey, which literally means the hidden land of Guru Padsambava. However, according to bum thang lha'i sbas yul gyi bkod pa, written by Kunkhen Longchen pa (1308-1363), Ura is located in the middle direction between east and south. It is believed to be the last settlements of the Tsang people, a Tibetan immigrant group. Since the event is dedicated to the propitiation of deities by women, the practitioners or performers are a mix of girls and women. Ages range from ten or twelve years old who are strong enough to walk to Pur-shey la to older women who are interested and able to walk and perform. The text says "bu mo cho nagi sang cham," meaning that there should be at least fifteen female performers. According to the current dance director, Ugyen Lhamo, in earlier times twenty to twenty-five participants were more than the required number, which is considered an auspicious omen. However, due to modernization and youth involvement in the education system, the number of participants has decreased year by year and interest has waned. However, the community still manages to find at least 16-20 performers, including three or four teenage girls who are appointed as Phod-ma-khen (usually virgins who makes the actual offering). These three girls are the ones responsible for making the necessary offerings, while the others act only as advisors or dancers. The festival was first initiated by Dung Lhawang Drakpa, a local ruler believed to have a divine bloodline. He introduced to appease the female local deity by performing dances. He composed the lyrics in the typical Ura dialect and ordered that they be performed by female members of the community. The Lord also determined the place, Pur-shey la, as well as the items to be sacrificed and the steps. Following the advice, the women performed the dance, which gradually helped the children recover from the epidemic. However, the text of A-shey Lhamo is a mixture of Choekey (classical Bhutanese language) and the dialect of Ura. Data collected by: Mr. Yeshi Lhendup, NLAB |
Keyword
Information source
National Library and Archives of Bhutan
https://www.library.gov.bt/archive/Materials related to
Photos
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PI00006848
Sang: A-shey Lhamo
A unique female-dominated performance held only on the 8th and 9th day of the 7th lunar month in the two communities of Ura-ma-krong (main village of Ura) and Shingkhar, the farthest settlement under Ura gewog (block) in Bumthang Dzongkhag (district). In Ura dialect, Intangible Cultural Heritage (ICH) is usually called Saang (smoke offering). It is said that in the old days, when there were yak herders who usually came from their village to raise the yaks at Purshey la (one of the mountains overlooking Ura village), they welcomed the female performers by burning sang at Korgang (the place believed to be the place where the deity descends or dwells and where the female performers circumambulate the stupa). Hence, community members refer to the festival as Sang or Sang na gai-sang (on the way to the Sang offering). Another interpretation states that the female participants begin their offering by making various medicinal herbs and other fresh offerings go up in smoke while appeasing the main female deity named A-shey Lhamo and her entourage, namely Gawa Lhamo, Kiba Lhamo, Champa Lhamo, and Dropa Lhamo. However, in addition to the aforementioned attendant goddesses, Shingkhar A-zhi (pronounced locally) Lhamo has Lam-dron Lhamo forming five attendant goddesses. Therefore, the festival and performance were called Sang from the first offering. The other name of the festival, A-shey Lhamo, is interpreted literally by outsiders and some learned community members as the lyrics of the religious song sung and danced in honor of the deity A-shey Lhamo. Colloquially, the term A-shey is addressed to either the queen or the elder sisters, and Lhamo is a general term for the divine goddess. The origin of Sang or A-shey Lhamo is that during the Dung Lhawang Rabgay (local ruler), not long before the emergence of the Dung caste system in Bhutan around the 10th-11th century, there was a misfortune of Shey-ned (diarrheal infection) that spread among the children of the Ura community. People sought the advice of their ruler as there was no tradition of performing rituals or treatments. Thus, Dung Lhawang introduced Drakpa, who had a divine bloodline, to appease the female local deity by performing dances. He composed the lyrics in the typical Ura dialect and ordered that they be performed by female members of the community. The Lord also determined the place: Pur-shey la (written Pur-gyal la) along with the things to be sacrificed and also the steps. Following the advice, the women performed the dance, which gradually helped the children recover from the epidemic. After that, the performance of A-shey Lhamo was practiced. According to the origin, A-shey Lhamo and the goddesses accompanying her are both the deities of the place and deities of the Bon khar tradition. Perhaps they are the other form of Tshering chey nga (the five sisters of longevity) who appeared in the Bon tradition before they were introduced by Guru Padsambava as the tutelary deity of Buddhism, just as many Bonpo deities were later transformed as protectors of the sacred teachings of the Buddha. In the poetry of A-shey Lhamo, it is mentioned that they reside in the high mountains Gang-toed thoen po. The road to their citadel is like a mule track, filled with the sweet fragrance of Ba-loo (Rhododendron ciliatum) and Su-loo (Rhododendron setosum). She delights in the first share of Mar-chang Ara (locally brewed wine) and Kara and Buram (honey and brown sugar) and sits down on the white sheepskin mat. She resides gracefully in a palace of precious gems with golden columns and silver windows. Apart from the above description of her residence, there is no text describing her appearance, only the names of her sisters and the goddess herself.
Bhutan 2015 -
PI00006847
Sang: A-shey Lhamo
A unique female-dominated performance held only on the 8th and 9th day of the 7th lunar month in the two communities of Ura-ma-krong (main village of Ura) and Shingkhar, the farthest settlement under Ura gewog (block) in Bumthang Dzongkhag (district). In Ura dialect, Intangible Cultural Heritage (ICH) is usually called Saang (smoke offering). It is said that in the old days, when there were yak herders who usually came from their village to raise the yaks at Purshey la (one of the mountains overlooking Ura village), they welcomed the female performers by burning sang at Korgang (the place believed to be the place where the deity descends or dwells and where the female performers circumambulate the stupa). Hence, community members refer to the festival as Sang or Sang na gai-sang (on the way to the Sang offering). Another interpretation states that the female participants begin their offering by making various medicinal herbs and other fresh offerings go up in smoke while appeasing the main female deity named A-shey Lhamo and her entourage, namely Gawa Lhamo, Kiba Lhamo, Champa Lhamo, and Dropa Lhamo. However, in addition to the aforementioned attendant goddesses, Shingkhar A-zhi (pronounced locally) Lhamo has Lam-dron Lhamo forming five attendant goddesses. Therefore, the festival and performance were called Sang from the first offering. The other name of the festival, A-shey Lhamo, is interpreted literally by outsiders and some learned community members as the lyrics of the religious song sung and danced in honor of the deity A-shey Lhamo. Colloquially, the term A-shey is addressed to either the queen or the elder sisters, and Lhamo is a general term for the divine goddess. The origin of Sang or A-shey Lhamo is that during the Dung Lhawang Rabgay (local ruler), not long before the emergence of the Dung caste system in Bhutan around the 10th-11th century, there was a misfortune of Shey-ned (diarrheal infection) that spread among the children of the Ura community. People sought the advice of their ruler as there was no tradition of performing rituals or treatments. Thus, Dung Lhawang introduced Drakpa, who had a divine bloodline, to appease the female local deity by performing dances. He composed the lyrics in the typical Ura dialect and ordered that they be performed by female members of the community. The Lord also determined the place: Pur-shey la (written Pur-gyal la) along with the things to be sacrificed and also the steps. Following the advice, the women performed the dance, which gradually helped the children recover from the epidemic. After that, the performance of A-shey Lhamo was practiced. According to the origin, A-shey Lhamo and the goddesses accompanying her are both the deities of the place and deities of the Bon khar tradition. Perhaps they are the other form of Tshering chey nga (the five sisters of longevity) who appeared in the Bon tradition before they were introduced by Guru Padsambava as the tutelary deity of Buddhism, just as many Bonpo deities were later transformed as protectors of the sacred teachings of the Buddha. In the poetry of A-shey Lhamo, it is mentioned that they reside in the high mountains Gang-toed thoen po. The road to their citadel is like a mule track, filled with the sweet fragrance of Ba-loo (Rhododendron ciliatum) and Su-loo (Rhododendron setosum). She delights in the first share of Mar-chang Ara (locally brewed wine) and Kara and Buram (honey and brown sugar) and sits down on the white sheepskin mat. She resides gracefully in a palace of precious gems with golden columns and silver windows. Apart from the above description of her residence, there is no text describing her appearance, only the names of her sisters and the goddess herself.
Bhutan 2015 -
PI00006846
Sang: A-shey Lhamo
A unique female-dominated performance held only on the 8th and 9th day of the 7th lunar month in the two communities of Ura-ma-krong (main village of Ura) and Shingkhar, the farthest settlement under Ura gewog (block) in Bumthang Dzongkhag (district). In Ura dialect, Intangible Cultural Heritage (ICH) is usually called Saang (smoke offering). It is said that in the old days, when there were yak herders who usually came from their village to raise the yaks at Purshey la (one of the mountains overlooking Ura village), they welcomed the female performers by burning sang at Korgang (the place believed to be the place where the deity descends or dwells and where the female performers circumambulate the stupa). Hence, community members refer to the festival as Sang or Sang na gai-sang (on the way to the Sang offering). Another interpretation states that the female participants begin their offering by making various medicinal herbs and other fresh offerings go up in smoke while appeasing the main female deity named A-shey Lhamo and her entourage, namely Gawa Lhamo, Kiba Lhamo, Champa Lhamo, and Dropa Lhamo. However, in addition to the aforementioned attendant goddesses, Shingkhar A-zhi (pronounced locally) Lhamo has Lam-dron Lhamo forming five attendant goddesses. Therefore, the festival and performance were called Sang from the first offering. The other name of the festival, A-shey Lhamo, is interpreted literally by outsiders and some learned community members as the lyrics of the religious song sung and danced in honor of the deity A-shey Lhamo. Colloquially, the term A-shey is addressed to either the queen or the elder sisters, and Lhamo is a general term for the divine goddess. The origin of Sang or A-shey Lhamo is that during the Dung Lhawang Rabgay (local ruler), not long before the emergence of the Dung caste system in Bhutan around the 10th-11th century, there was a misfortune of Shey-ned (diarrheal infection) that spread among the children of the Ura community. People sought the advice of their ruler as there was no tradition of performing rituals or treatments. Thus, Dung Lhawang introduced Drakpa, who had a divine bloodline, to appease the female local deity by performing dances. He composed the lyrics in the typical Ura dialect and ordered that they be performed by female members of the community. The Lord also determined the place: Pur-shey la (written Pur-gyal la) along with the things to be sacrificed and also the steps. Following the advice, the women performed the dance, which gradually helped the children recover from the epidemic. After that, the performance of A-shey Lhamo was practiced. According to the origin, A-shey Lhamo and the goddesses accompanying her are both the deities of the place and deities of the Bon khar tradition. Perhaps they are the other form of Tshering chey nga (the five sisters of longevity) who appeared in the Bon tradition before they were introduced by Guru Padsambava as the tutelary deity of Buddhism, just as many Bonpo deities were later transformed as protectors of the sacred teachings of the Buddha. In the poetry of A-shey Lhamo, it is mentioned that they reside in the high mountains Gang-toed thoen po. The road to their citadel is like a mule track, filled with the sweet fragrance of Ba-loo (Rhododendron ciliatum) and Su-loo (Rhododendron setosum). She delights in the first share of Mar-chang Ara (locally brewed wine) and Kara and Buram (honey and brown sugar) and sits down on the white sheepskin mat. She resides gracefully in a palace of precious gems with golden columns and silver windows. Apart from the above description of her residence, there is no text describing her appearance, only the names of her sisters and the goddess herself.
Bhutan 2016