PI00006848

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.

PI00006831

A Bonkar (refined Bon religion that doesn’t involve animal sacrificial offering) traditional rite, Yak-lai is performed in some villages in Ura and Tang Gewogs (blocks) who owns la-nor (highland cattle) esp. Yaks. Colloquially, Yak-lai means ‘yak deity’ and if translated in Dzongkha (national tongue) it is called Yak Lha. However, the ritual is not strictly practiced by the Yak owners but, those households who owns tha-nor (normal cattle) also propitiate the god for prosperity of their livestock. The rite specifically invokes the yak deity Lha Wodue Gongjan, who is considered one of the principal deities of Bon who is believed the ultimate source of any blessings possesses supreme ability to fulfill the desires of worldly beings. Residents of Bumthang who have highland cattle, or otherwise practice animal husbandry take part in the three-day Yak-lai ritual every year.

PI00006829

A Bonkar (refined Bon religion that doesn’t involve animal sacrificial offering) traditional rite, Yak-lai is performed in some villages in Ura and Tang Gewogs (blocks) who owns la-nor (highland cattle) esp. Yaks. Colloquially, Yak-lai means ‘yak deity’ and if translated in Dzongkha (national tongue) it is called Yak Lha. However, the ritual is not strictly practiced by the Yak owners but, those households who owns tha-nor (normal cattle) also propitiate the god for prosperity of their livestock. The rite specifically invokes the yak deity Lha Wodue Gongjan, who is considered one of the principal deities of Bon who is believed the ultimate source of any blessings possesses supreme ability to fulfill the desires of worldly beings. Residents of Bumthang who have highland cattle, or otherwise practice animal husbandry take part in the three-day Yak-lai ritual every year.

PI00006847

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.

PI00006846

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.

PI00006830

A Bonkar (refined Bon religion that doesn’t involve animal sacrificial offering) traditional rite, Yak-lai is performed in some villages in Ura and Tang Gewogs (blocks) who owns la-nor (highland cattle) esp. Yaks. Colloquially, Yak-lai means ‘yak deity’ and if translated in Dzongkha (national tongue) it is called Yak Lha. However, the ritual is not strictly practiced by the Yak owners but, those households who owns tha-nor (normal cattle) also propitiate the god for prosperity of their livestock. The rite specifically invokes the yak deity Lha Wodue Gongjan, who is considered one of the principal deities of Bon who is believed the ultimate source of any blessings possesses supreme ability to fulfill the desires of worldly beings. Residents of Bumthang who have highland cattle, or otherwise practice animal husbandry take part in the three-day Yak-lai ritual every year.