Gunduri is a straw mat, an agricultural byproduct consisting of the dry stalks of cereal plants after the grain and chaff have been removed. The temporary biodegradable products are made of natural material from the cereal crops such as barley, maize, oats, rice, rye, and wheat. It is used in villages and is locally made by the woman who has the skill to put it in a place. Whereas it is made of rice straw mostly in Tsirang, part of Dagana, Sarpang, and Samtse Dzongkhags. The making of the straw mats is carried out during the autumn season after the harvest of rice. It is also known as Gunduri in Lhotshamkha. The Gunduri making in Semjong gewog under Tsirang dzongkhag is still one of the unique cultures and traditions they have been practicing for so long. They prefer to use Gunduri because of their culture and tradition which have been preserved for so long. Mr. Singh Bir Pradhan, 81 years old from upper Dzomling shared that they had used the Gunduri mat during the involvement of many people like marriage ceremonies, funeral rites, and when there was a celebration in the village. Due to the change in time, the practice of making Gunduri is declining because of available cheap carpets in the market. People prefer to use the Gunduri mat because of its comfortableness and convenient in many ways but it takes time, patience and lots of practice. These days people hardly practice the Gunduri making in Semjong gewog but however they still use the Gunduri mat that are woven aforetime which are in a good condition.

The famous King Drimed Kuenden (previous life of the historical Buddha in the Vassantara Jakata) on exile, known for his altruistic, and compassionate acts that even gave away his own family members, visited Black Mountain (Jowo Durzhing). On the way he gave away his horse to an old man, and hence the name Taktse came into existence. Bhutan is a multilingual country where approximately 19 local dialects are commonly spoken. Mangduep kha is one of the local dialects commonly spoken in Trongsa and some parts of Wangduephodrang. The term Mangdue was derived from the place being able to grow any kind of crops and cereals. The local dialect Magdue kha is still used for communication in 3 gewogs (Nubi, Tangsibji and Drakten) under Trongsa Dzongkhag.

Bibaha/Vivah has been in practice for hundreds of years with its first documentation in one of the Hindu epics. As per the epic, the first official marriage was celebrated between Lord Ram and Sita (Hindhu gods). It was also practiced by RISHIS, the great saints who existed in the Ganges valley civilization, before it reached down to the common people. This practice came down in line through religious texts and personals, in the eight different types mentioned above. The Bibaha/Vivah system then spread into other parts of the world with migrating people.

Darshey is a traditional practice where a man holding a khadar (auspicious white scarf ) in his outstretched hands faces the seated crowd, and makes auspicious speeches at a ceremonial function, usually during religious and social occasions. (The origin of the tradition is attributed to Zhabdrung Ngawang Namgyal (1594-1651) when he introduced this practice during the consecration ceremony of Punakha Dzong in 1639.) The tradition, however, may vary slightly from village to village in the use of language and presentation such as making speeches decked with maxims or simply narratives. The worldly tradition of Darshey does not require to be sung like Gurma (Religious songs), Lu or Tsammo (Songs without choreographies) but is expressed more or less like a recitation. Darshey is usually performed during auspicious occasions. Atsara (masked clown) also makes similar speeches during Tshechus (Annual Mask Dance Festivals). Generally, ordinary people perceive Atsara as a comedian that appears during tshechus in the midst of mask dancers wearing a funny mask, usually holding a phallus and a rattle in his hands to entertain the audience. However, the word came from the Sanskrit term achāriya; a title attached to a great spiritual teacher, who can claim his place among the 84 Mahasiddhas, representing all those who have within one lifetime attained direct realisation of the Buddha’s teachings. Their appearance as clowns represents our ignorance through which we fail to see the ultimate truth. That is why our forefathers had regarded the senior atsaras as the embodiment of guardian deities and sublime beings. During such gatherings as tshechu all the dignitaries such as spiritual masters and monks, ministers, secretaries, merchants and the laities give them money as a mark of their appreciation. In return, the atsara also gives auspicious narration in the form of concluding words, which is a unique aspect of Bhutanese culture. Unfortunately, this good aspect of the atsara’s auspicious narration is now on the verge of disappearing.

Due-za was a Bon Ritual that was once practiced in Yurung Gewog (block) under Pemagatshel Dzongkhag (district). It was believed to have been brought from Tibet by the ancestors. There is no written or oral record of the preceders, however, Lopen Kapai was the last holder of the ritual according to the informants. Every three years in between the third and fourth lunar months, people from three gewogs namely, Yurung, Khominang, and Thungo would gather in a place called Aring in Lawung village. They would hold the ritual and do the same offerings to the local deities for a week. To make the offering, the men are grouped into three age groups; the strong adult men, the middle-aged, and the children. The people would know their duties and prepare for the ritual. The adult men would hunt deer, reindeer, and other large animals. The middle-aged men would fish from the rivers and the boys would catch birds. Meanwhile, the women would roast the cereals and grind. They only cast head of their catch for the offering. The remaining carcass was either left in the jungle or the hunters kept it for themselves as per the informant. They never consumed the meat of their catch during the ceremony. They prepared the altar led by Lopen (Master) Kapai (shrine) and the heads of the animals were displayed in it. The locals did not have a particular deity but would seek protection from the Dangling deity and Abi Jomo. Lopen would recite mantras while making the offerings. After the offering, four people would join their hands by crisscrossing to take a seat and a person would mount on it. He will be raised above and carried around. He would holler out ‘Wayo Wayo’ or ‘Bae Bae’ led by the Lopen and the people would join in the hollering. Every person would have roasted flour (Kapchi in local dialect) in their Gho (Bhutanese male dress) or Kira (Bhutanese female dress) pockets. They would take out a handful and force-feed to the nearest person for fun. People would prepare their best cuisines and have a potluck culture along with the local liquors; Ara, Bangchang, and Singchang. All entrances would be sealed and no Buddhist practitioners were allowed to enter and participate in the ritual. In case a practitioner entered unknowingly, it was believed a bad omen would befall the community and hence, would be blamed and dealt with accordingly. Accumulation of merits or carrying out virtuous acts by the members were prohibited. Dueza was said to have been performed for ages but the head of the village realized it to be immoral and against Buddhism. Upon discussion, the people agreed to cease the practice. They put forward an application to the Home Minister, Late Lyonpo Tamzing Jagar on the thirteenth lunar date of December 1966 to officially release an order to stop the practice. The order was declared on the fifteenth lunar date of December 1966. The great transition appeared after the kago (the blessings) from the three great Buddhist masters of the time, Gyalwang Karmapa Rangjung Rigpai Dorji, Kyabji Duejom Rinpoche Jigdral Yeshey Dorji, and Kyabji Dilgo Khyentse Rinpoche.

Abi (Grandma) and Meme (Grandpa) is a native story about the local deity of a Durung Chiwog under Yangnyer Gewog in Trashigang. Durung is one of the farthest chiwog (Community) under the gewog (block) and is a native place and origin of the story. There are different information regarding the origin of Abi and Meme as a local deity of the community. One of source tells that Abi Sangay Lhamo and Meme Gempola were believed to be from Demkhar Village, a village located downhill of gewog centre under Darjeling chewog. Whereas another source states that Meme Gempola was from Demkhar and Abi was from Narang under monger gewog today. However, another oral transmission also states that Meme and Abi were from Zhangzhung, Tibet and they descended to the Durung due to internal conflict with the leader of Zhangzhung. Today, people also believe that the great grandparents of Abi and Meme must have moved and settled from Tibet creating the confusion to these days that Abi and Meme were from Zhangzhung (Tibet). One source emphasize that they had a daughter called Sangay Dema and she went to Woongkhar, a village at Drametse and got married there. Later, Abi and Meme went to her place to attend the death rituals of their late grandchild. Another source also states that Abi and Meme went there to attend death rituals of their relatives. While returning back after attending the rituals, they spend night beneath the cave at Dochurkhaktang near Sengderi, located at downstream between Durung and Narang. At night, the flood washed Abi and Meme from the place killing them on the way. Therefore, it is believed that both are born to Donesphu (large stone) as deity in the place presently below Durung village. It is believed that they protect and have control of land from Boe-Lhasa to Jagar-Dorjiden. Moreover, one of the religious texts (Soelkha text) states that Abi and Meme have control of land and people from Lha (Deity) Wogmay till Jagar Dorjiden.

Sing-si is a type of oil/ghee produced manually. It is purely made with locally available materials and doesn’t mix any imported ingredients unlike the oil which are available in the market today. The main ingredient used is the Se-lung- a black small oily seed. Its scientific name is Parasassafras Confertiflora. The Se-lung tree is either wild or domesticated. Usually, in bygone days, it is believed that almost many villages had a trend of processing Sing-si, however, the trend wasn’t famous unlike Thongsa village under Chongshing Gewog (block) in Pemagatshel. According to grandma Nimdaza who is seventy-four years old, processing of Sing-si was part and parcel of their lives and members from every household were engaged in performing chores of Singsi production. Further she says that the labor contribution was also done depending upon the number of members present in the household. More than one worker was engaged from the household which had more family members. The materials needed were –Tsir (a small bamboo basket), Mar-kang (wooden block), plank, stones, Neetong-ma (pestle), frying pan, Luu (pounding stone). The Sing-si was used mainly for offering butter lamps. Other secondary uses were for human and animal consumption. Humans consumed it as there weren't imported oils available those days in the shops.

Thuen-pa pun-zhi (The Four Noble Friends) is a spiritual tale originating from the Jakarta Tales of Lord Buddha. It is one of the most popular tales, both spoken and depicted in pictures on the walls of dzongs (fortresses), monasteries, temples and individual homes to promote harmony, cohesion, unity and a life of integrity. The fable is narrated as follows: In a dense forest in the country of Kashi once lived a Partridge, a Rabbit, a Monkey and an Elephant, who despite their different sizes and species became incredible friends. The reason is that they have the same feeling of love and kindness for each other. Every day they helped each other find food and wholeheartedly shared everything they found. One day they spoke to each other, "Although we have been friends for so long, we don't know who is the oldest and who is the youngest among us. We should begin to respect our elders and treat our younger friends with kindness, so we must examine ourselves." Amazingly, all the friends agreed to their joint proposal. The next day, everyone gathered near a giant Banyan tree (Ficus benghalensis). For the test, the partridge allowed prompted his friends, "Look at this tree." And asked, "Which of us saw the tree first?" First the elephant answered, "When I was small and lived with my mother's herd, I saw the tree, and it was just as big as I am." The monkey followed his giant friend and said, "I also saw the tree, and it was as big as my body." And the rabbit said, "I saw the tree as a sapling with only two tender leaves, and I licked the dew drops off those freshly grown leaves." After hearing these coincidences, the other friends except the partridge acknowledged the hierarchy of age. But surprisingly, the partridge, though the smallest, said, "I am the one who nibbled the juicy banyan fruit, and it is the tree that grew from the seed I left on the ground." Knowing who was the eldest among them, the elephant paid respect to his three other friends, and similarly the monkey honored the rabbit and the partridge; and the rabbit honored the partridge because he was the oldest and most senior friend. After that, the eldest got the first part of the food they got, and then they maintained the hierarchy. When they went on threatening journeys, the youngest carried the elder, the monkey carried the rabbit, and finally the partridge enjoyed the privilege of reserving the highest seat. On another occasion, the members again discussed why we should not try, besides respecting ourselves, to do at least some virtuous deeds. Partridge voluntarily stood up and suggested, "Until now, we have intentionally or unintentionally fed on the lives of other animals. Being a predator is an unvirtuous act, so let's cultivate being herbivores." Immediately others spoke up, "Although we can avoid taking life, we sometimes feed on what is not really ours. This is an act of possession that is not granted or by permission, so from now on we will not commit ourselves to having anything that is not given or offered." They then agreed not to be possessed of food, sexual misconduct and, untruthfulness, and finally to renounce the consumption of intoxicants, especially alcohol. The four friends committed themselves to the Basic Five Virtuous Law they imposed on each other. One day, the oldest friend, the partridge, asked the rest of his friends, "Let's make other mates besides ourselves abide by our rules, who among us can bring your friends into the Law?" The monkey replied, "I can make all my fellows to abide." Similarly, the rabbit and the elephant also assured their friends to follow the rules. Gradually, all the animals obeyed the fundamental law, which led to the occurrence of favorable weather that not only brought abundant fruits and harvests to the animal world, but also enabled mankind to live in harmony. The king, fascinated by the unusual auspicious signs, called his queens, ministers, young men and merchants to inquire about the cause of this good luck, but unfortunately no one could give an answer. One day the king met a Hermit who lived in the seclusion of the forest and could predict everything, and asked him the same question. The hermit said, "All these auspicious signs are due to the virtuous behavior of the animals that live in your forest." Although the king was surprised by this news and wanted to see the animals, the Hermit urged the king to make his countrymen obey the law of animals; not to kill, not to steal, not to commit misconduct, not to be dishonest, and not to engage in the consumption of intoxicants. As advised, the King got all his citizens to obey the law, which had actually been established by the Four Noble Animal Friends. Finally, the king, the people and the animals experienced an unattainable peace, tranquility and blissful life in the present and enjoyed it even after their deaths as heavenly beings

In the Lhotsam (Southern Bhutanese) community, baby shower is an event observed on the eleventh day after the birth of a baby, which is generally understood as the naming of the new born baby. In fact, the act of performing “Nauran” relates to Hindu Holy Scriptures and it is done as a cultural and religious mandate. It is performed by all casts like the Rai, Gurung, Ghalley, Chhetri or Brahmins in Hindu religion following the same process on the eleventh day which is regarded auspicious.

Rigma Chudruk Cham is a pacifying dance, performed solely by monks wearing exquisite costumes to represent the sixteen goddesses that make various offerings to enlightened beings. Generally, the dance has two types: Rigma Chudruk Cham and Rigma Chudruk Nga Cham. Though the costumes are identical, these dances can be easily differentiated by the instruments they use. The first Rigma Chudruk Cham performs with Drilbu, bell, and Daru or Damaru, a small two-headed drum. The latter dance exclusively plays Nga drums with Ne-tok, drum-stick. The dance is known by various names across different Buddhist traditions: Rigma Chudruk Cham; Khandro-mai Cham Dance of Dakinis; Zhe-wai Cham pacifying dance; Dorji Lhamo chudruk sixteen Vajra Dakinis; Choe-pai Lhamo Chudruk Sixteen Offering Goddesses; and Dodyon-gi Lhamo Chudruk Sixteen Pleasurable Goddesses. The sixteen goddesses not only bestow wisdom but also entertain and bring enjoyable offerings to the enlightened spiritual beings. These goddesses are generally classified into three groups: Outer, Inner, Secret Offering Goddesses. The first group consists of four members: 1. Gegmo-ma, Skt. Lasya, Goddess of Grace 2. Threngwa-ma, Skt. Mala, Garland Goddess 3. Lu-ma, Skt. Gita, Singer 4. Gar-ma, Skt. Nirti, Dancer The second group has also four members: 1. Meto-ma, skt. Pushpe, Flower Offering Goddess 2. Dhugpe-ma, Skt. Dhupa, Incense Offering Goddess 3. Nangsel-ma, Skt. Aloka, Lamp offering Goddess 4. Drichab-ma, Perfume Offering Goddess The third group has five goddesses: 1. Piwang-ma, Violin player 2. Lingbu-ma, flute player 3. Ngadum-ma, Drum player 4. Zanga-ma, Skt. Muranyyaze, Clay-drum player 5. Zuk Dorji-ma, Skt. Vajra Dakini, Vajra Form Goddess The last group has three. 1. Ro Dorj- ma, Taste Vajra Goddess 2. Rek-ja Dorji ma, Feeling Vajra Goddess 3. Choying Dorji ma, Skt. Dharmadatu Vajra Dakini, Vajra Goddess of unfabricated awareness.

The Gesar epic recounts the sacred deeds of the hero King Gesar, while unfolding a broad spectrum of oral genres, embedded hundreds of myth, legend, folktale, ballad, and proverb in narrative framework of “beads on a string,” namely “Gesar Epic Cycle,” demonstrating the sheer monumentality and vitality of verbal arts. So far we found the earliest manuscript is The Battle Between Vjang Regality and Gling Regality, which dated to the 14th century, while the earliest Mongolian woodblock version titled “Geser Khan, Guardian Lord of the Ten Directions,” was published in Beijing in 1716. As of today, there are over 120 different oral cantos on record. Not counting the texts in prose, the portions in verse alone are total over one million lines excluding different variations, indicating that the living oral epic continues to expand. As the creators and inheritors of the heroic song, the Tibetan singers and storytellers are traditionally classified in several ways by how they learn and master the epic. In oral performances, they invoke a flexible genre of bcad-lhug-spel-ma, namely ‘prosimetrum,’ by melding concisely worded prose with lyrical verse and over 80 melodies of music in responding to different contexts. They often use a variety of skills that include gestures, facial expressions, postures, and verbal sound effects to enhance the singing artistry. Among their meaningful props, the hat, bronze mirror, and costume are shaped in special ways to symbolize the traditional cosmology and aesthetics. In Mongolian tradition however, the epic singing is handed down professionally from master to apprentice. Performances usually feature musical accompaniment by stringed instruments called the “horse head fiddle” (morin khuur) and the “four stringed spiked fiddle” (hugur). The two major singing styles, “improvised melodic singing” (holboga) and “musical storytelling” (bensen ulger), are combined with oral narratives, which highlight vocal singing with deep, broad, and melodious sounds skilfully utilized as needed. Gesar epic performances play important roles in rites of passage, festival ceremonies and religious rituals in communities concerned. For instance, when a child is born, passages about King Gesar’s descending to the world are sung. The epic also reflects Tibet’s native Bon religion, in respect to beliefs, rituals, theology, divination, and so on. Moreover, the epic singing itself usually accompanies with specific ritualized practices, for example, smoke offering, meditation devoting, and spirit possessed. Hence, the epic is not only the dominant means for communicating with the hero, gods, ancestors, and members of society, but also the major entertainment in rural communities. The epic performers have acted as traditional educators who enable people understanding genealogy and history, astronomy and geography, zoology and botany, arts and crafts, medicine and treatment through their storytelling. Concrete narratives focusing on origins of nature and universe are incorporated in numerous episodes called Ode, such as Ode to Mountain, Ode to Sword, etc., revealing that the epic itself a continuum of experiential knowledge in response to their environment, their interaction with nature, universe, and history. As a Tibetan proverb goes, “On every person’s lips there is a canto of King Gesar.” It has been a constant inspiration for other art forms, including traditional forms such as Thangka painting, Tibetan opera, and Cham masked dance, as well as contemporary arts, which provides peoples and young generations a sense of cultural identity and historical continuity, while reflecting credit on the common cultural legacy, shared by generations, serves as a really all-embracing encyclopedia for the general public.

China 2009

Lhaboen is performed in the villages of Taktse and Eusa, Drakten gewog under Trongsa. In Dzongkhag (National language) ‘Lha’ stands for deity or god and ‘boen’ for “Bon”. During Lhaboen the people perform rituals to summon their local deities Yueltsen Dorji Draktsen, Menmo Trashi Wangzom and Lhachen Wodhey Gungyel to their village inside the Lhachim (Temporary house prepared for the deities). The people express the words of gratitude for constantly guiding them and protecting them from all the ill effects of disasters and calamities. The important event is carried out every year where all the people congregate to pray for the wellbeing of its people, animals and crops. The main performer is the phajo accompanied by the elderly people of the village. The women dances, children and other villagers enjoys the day. The 3-day Lhaboen festival is performed annually. The main purpose of the festival is to bring peace, harmony, foster good fortune, and fulfil the desired wishes of the people in the community. In the past people used to please their dieties by offering fresh meat from the slaughtered cows or ox which is now replaced by the meat available in the meat shop. The community stopped slaughtering of animals long time back.