Airag is the fermented beverage from mare’s milk. This element includes a traditional method of making airag, its related equipment and objects such as khokhuur (cowhide vessel), buluur (paddle) and khovoo (kibble), and associated therewith social customs and rituals. The milking season for horses runs from mid June to early October. Daily milk yield of mares varies from 3 to 6 liters. The basic technique of making airag consists of milking mares and cooling fresh milked milk, and repeatedly churning milk in a khokhuur with starter left inside to assist its fermentation. The liquid must be churned 5000 and more times to make good fermented blend of airag. Mare’s milk undergoes fermentation by lactobacilli and lactic acid streptococci, producing ethanol, lactic acids and carbon dioxide. The airag - mildly alcoholic white beverage emits a delicious smell and its pleasant taste can make your mouth watery. For making the khokhuur, first, the cowhide is soaked and hide’s filament is removed, then it is dehydrated in the wind and fumigated. In such process, the cowhide turns to a white flexible leather. The khokhuur is made from this white leather and consists of mouth neck, corner, body and cords. The buluur is long-handled wooden paddle which is used for churning airag in khokhuur and furnished with bored blade of board at the end. Khokhuur can hold 40 to 100 liters of airag. Airag is used and served as a main and holy drink during various fests and in making offerings and ritual blessings.

Mongolia 2019

A cattle breeding is one of the ancient activities dealt by Uzbeks. It is the dominant animal husbandry industry specializing in breeding cattle for milk, beef, leather raw materials, as well as as a traction force. Even the holy book of Zoroastrianism, “Avesta”, calls upon careful attitude towards cattle, in particular, in relation to horses, bovine animals, sheep and goats. A cattle breeding was one of the main activities in mountainous, submontane and steppe areas of Uzbekistan. The essence of traditions, knowledge and skills related to cattle breeding and goals pursued by them, were always the same - they were aimed at breeding animals, protecting them from various diseases, predators and thieves, preventing their loss, etc.

Horse game, goatsnatching. A kind of traditional sport which popular in Central Asia.

The Masked Dance of the Drametse community is a sacred dance performed during the Drametse festival in honor of Guru Padmasambhava, a Buddhist master. The dance performance also commemorates the founder of the Tegchok Namdroel Ogyen Choeling Monastery, Ani Choeten Zangmo; and venerable Khedurp Kuenga Gyeltshen (1505-/) who introduced the Masked Dance. These two are the eldest daughter and the fourth son respectively of the great treasure revealer, Terton Pema Lingpa (1450-1521). According to oral accounts, Drametse Ngacham was introduced in 1518, just three years before the death of Pema Lingpa. The name of the mask dance is derived from the Drametse village community, which falls within the Drametse gewog village block of Mongar Dzongkhag district in the eastern part of Bhutan. The term Ngacham refers to the dance implements held by performers, a hand-held circular flat drum and mallet. Tegchok Namdroel Ogyen Choeling Monastery was established in 1530. The three-day Drametse Tshechu festival takes place twice a year, organized by the monastery administration. The dancers include monks from the monastery as well as laymen. The origin of the mask dance, its characteristic choreography, masks, and costumes are specified in detail in the Kabum, Collected Works, of Pema Lingpa. Pema Lingpa have seven siblings and Sangdag is one of his sons who fathered Tenzin Chogyal and gave birth to Ani (Nun) Choeten Zangmo. Therefore, Ani Choeten Zangmo is the great grand daughter of Pema Lingpa. Though Ani Choeten Zangmo has no intention to indulge in the leading a family, she was forced to marry Yeshey Gyalpo, son of Sumthrang Choeje Sherab Drakpa. Driven by her destiny, she became renunciate and later established her permanent seat at Drametse where she recognized a place of peace and tranquility, Dra-me “No Obstructions” to her meditational practices at the summit of a Tse, small ridge. During her stay, her brother Kuenga Gyeltshen who is popularly known as Khedrub Kuenga Wangpo visited her. Kuenga Wangpo is highly revered by spiritual masters for his outstanding philosophical knowledge and realization of the true nature of mind, thus he was given a title of Khedrup, great and realized scholar. He encountered Guru Padmasambhava several times while in meditational states, and had visited Zangdok Pelri, the Copper Colored Mountain, spiritual realm of Guru Padmasambhava. While staying at Drametse, an auspicious event happened in his early morning meditation on the 17th day of the 8th month of Iron Male Tiger year 1530—while the Drametse Lhakhang Monastery was under construction. In this state, three khadroma celestial maidens with white complexion, decorated with colorful silken robes, ornaments and flower garlands, invited Kuenga Wangpo to Zangdok Pelri, saying they had come to take him for a tour of the realm’s palaces. He asked, “What should I take for the long journey?” The maiden responded, “While you are experiencing pure vision without doubts, come along with us.” They took him to the realm, and into a palace called Pema yoe ki Phodrang where Kuenga Wangpo saw King Indra Bhuti. Then the maidens took Kuenga Wangpo to the majestic palace of Zangdok Pelri, where he saw Guru Padmasambhava in a youthful form smiling and telling him “I am happy to see you here.” Instantly, Guru manifested to a Jalue, Rainbow Body, and thereupon Kuenga Wangpo was entertained by a splendid dance performed by many gods and goddesses transforming themselves into Dampa Rigja (Hundred Guardian Deities); forty-two peaceful forms, and others in wrathful appearance or in human form with various animals’ heads. All wore exquisite robes and a melodious sound of Choe-ngai dra, Buddhist teachings, resonated from the beating of their drums. It is also believed that the sound of the drum signifies victory over evils and celebrates joy as Buddha’s teachings flourish. Kuenga Wangpo was then told to introduce this dance in Jigten me-yul, the human realm, and that conducting the Masked Dance would liberate sentient beings. Coming out of this meditation, he jotted down the detailed choreography, masks, and costumes. The first introduction of this Masked Dance was at the sacred place of Drametse, thus giving it the name Drametse Ngacham. Due to the significance embedded in the dance, Zhabdrung Ngawang Namgyal (1594-1651) who unified Bhutan as a country, the successive Je Khenpo spiritual leaders, as well as the Druk Desi temporary leaders—these spiritual masters and farsighted monarchs all propagated the Masked Dance across various monasteries and Dzong fortresses around the country.

Bhutan 2008

‘Chuko atmay’ is played with ‘alchiks’ (dices). Participants draw a circle with a diameter of 3-5 meters. Alchiks are placed in the middle of the circle. Order of the game is determined by throwing of ‘saka’. Two shot lines are drawn one meter away from the circle from two sides. If an alchik is beaten out of the line after the first successful shot, other shots are carried out from the circle’s line. In case of unsuccessful shot, other player takes a turn. The player, which shots out the largest number of alchiks, wins. ‘Ordo’ is one of the most spread games of the Kyrgyz. The word ‘ordo’ itself means ‘khan’s bid’. The game reproduces a battle for the capture of bid and represents some kind of a military map. A circle drawn on the ground means the enemy territory, and opponents frame a plan of the battle. Skills of leading the right interior policy are in the basis of this game as well. Ordo is played by two teams (6-10 people at each team). Playing order of the game goes in the round or by using elimination principle. Duration of the game is about two hours. The essence of the game is to strike the khan’s ordo placed in the center of a circle (16 meters in diameter) with the abalak (bat), as well as to push khan himself and voivodes (generals) out of the circle. The team, which strikes the largest number of voivodes out of the circle, wins. ‘Kan talamay, Upai’ is a traditional game with dices of ovine knee joints ‘chuko’. Players are divided into two teams consisting of 2, 4 or more. The number of dices needed for the game vary from 13-37 or more. The purpose of the game is to collect as much upais as possible. The largest dice is determined as ‘khan’ and dyed into a vivid color. Starting player takes all dices in his joint palms, placing khan in the center, and scatters them all onto the carpet. The first player tries to strike the khan. If the target is hit, the player continues to play, and in case of a failure – the next player enters into the game. Shots are done by the dices with equal position. There are also special regulations

Craft of making felt carpet with wool of ships and sometimes wool of goats. Felt makers decorate the felt carpets with traditional ornaments and different co-lors.

Shagzo or the traditional art of woodturning is an ancient art that has been passed down for generations. Shagzo is vibrantly practised in Bhutan and the master artisans are known as Shagzopa. Bhutan’s abundant and wide range of woods like tashing (Juglans regia), hashing (Taxus baccata), baashing (Picea spinulosa), tsenden shing (Cupressus corneyana), sermaling shing (Acer camphellii) and etometo (Rhododendron arboretum) have enabled the Bhutanese Shagzopa to create a variety of exquisite functional and decorative products like turned wooden bowls, cups, plates, and containers of various shapes, sizes and colours unique to Bhutan. Skilled wood turners also craft traditional hand drums that are beaten during religious ceremonies. Since Bhutanese tradition is deeply rooted in the teachings of the Buddha, use of drums and drum sticks are a part of the rituals performed everywhere. Used in all religious ceremonies and rituals, the Bhutanese traditional drum known as Nga, and the Nge-tog (drumstick) are indispensable articles found in every temple, monastery and home. An ancient instrument of musical offering, the beatings of the Nga symbolizes the subjugation of evil, indicates the fluctuation of tunes and wordings, and regulates the pace of other instruments during rituals and propitiation ceremonies.

Kishuthara (The Silken Kira (Bhutanese women dress)), is a native intricate patterned silk textile particularly Khoma Gewog (block) under Lhuentse Dzongkhag (district) where it become the production hotspot of the Bhutanese woven textile in the country. Kishuthara adhere its origin from the Tibetan king Songsten Gampo’s (Reign: c. 618 – 650) wife, Ashi Jaza (Bhrikuti) who introduced the backstrap loom and weaving traditional wear in Bhutan. According to oral source, the design of Kishuthara was tweeted by the bird called Tsheringmo when Azhi Jaza was wondering about motif. The bird tweeted; “chi tu nee nun, nee thu sum nun” (pick one left two, pick two and left three”) Kishuthara- tema design was thus born. Thus, hereafter Azhi Jaza taught her weavers the procedure of weaving loom textile. Later, Khoma women were able to incooperate the patterns of Kishuthara while they were trading with Tibetan merchant. Additionally, in the eight century, during the visit of Guru Rinpoche and his consort Khandro Yeshey Tshogyel at Khoma, Khandro also blessed the progress of Kishuthara as villager’s livelihood and primary source of income. When Tibet was officially incorporated into the territory of China’s Yuan Dynasty during mid- 13th century, some Tibetan fled to Bhutan. Some steeled at Khoma and from there, villagers learnt the patterns of Kishuthara in full swing. Another source traces back to Azhi Jaza’s merchant Tshonpon Norbu Zangpo, the most influential trader around the world, once reached at Khoma for trading purpose. While staying at Khoma, he had fallen in love with one Khomapa girl and as a token of fidelity, he presented kushung to her. Kushung is the name of patterning technique in their local dialects and thara in tshangla dialect means kira. Then girl learnt the motif by looking at kushung and some believe that motif was taught by the same bird Tsheringmo to the girl. Kushung is later called as Kushuthara due to mispronunciation. On contrary, according to the textile Arts of Bhutan, by Susan S. Beans and Diana K Myers, kushuthara was flourishing as early as the 17th century, local noblewomen commissioned more elaborately kiras until kushuthara become a distinct regional fashion. Today Khoma people are depending mainly on Kishuthara as their livelihood because Kishuthara is the primary source for income generation thus, weaving the patterns of their life. Past few decades, people were engaged in farming and when agriculture season is over, women in group set up their backstrap looms in the harvested paddy field and sheltered by bamboo canopies. However, at present few household are engaged in faming activities while rest of the women are busy with Kishuthara throughout the year.

Beyond the daily harmonic life of the Lhop’s society, there lies an undisputed belief and idea on birth and death. Lhops have their own ways of interpreting the physiological and morphological processes of birth, growth, aging and death as it unfolds to them. As the child grows, she or he crosses different stages with status and roles and responsibilities in the community. They get educated in life skills and rituals of life. Their departure or separation is also honored with elaborate rituals. It is considered as a taboo for Lhops to accept a child from a female who has no approved partner in the community or outside mates from the community. Ideally, it is the cross-cousins only who can give birth to a legitimate child in the society, though marriages between different clans are now accepted. However, marrying out of the community continues to be strongly discouraged. From the moment cross-cousins partners are born in the family, their marital and issues are thereon legitimate in the community, and so is their new born child. Lhops has well and predetermined destined relationships when it comes to the copulation between male and female. Lhops believe that the copulation between male and female produces a child in which male contributes bone and female contributes flesh, but it does not mean that any male can impregnate a female, and be the father or husband of someone else. Cross cousins are referred to as Lhir-ra and Lhi-met, laterally meaning male and female seedling (Lhi- seedling, met- female, ra-male). They believe that the human body as a combination of flesh (sa) and bone (ruish).They believe that the male is like that of a seed (lhi) and rain (wai), while the female is like that of land or soil (boh) that holds the seed and rain water together to allow germination and growth, so as in the combination of bone from a male, and flesh from the female, that give rise to an individual. Cross cousins undergo an educational process of identifying their mates and their families. They slowly start to develop a mindset and behavior towards their growing age and body. Once they reach a mature age, they are encouraged to execute the marital rules and take up roles in the community. Male partners take residence in the wife’s households, and it is a matter of pride for the female to conceive and have him in her house.

Hai Ba Trung Temple, also known as Ha Loi Temple, Me Linh Commune, has a very important historical significance. This is the place to worship two national heroines, Trung Trac and Trung Nhi - the leaders of the uprising to overthrow the Han Dynasty and regain national independence and autonomy in 40 - 43 (AD). Trưng Sisters Temple Festival - Me Linh is held annually at the beginning of the first lunar month at the Temple to commemorate the two Ladies' contributions. The main festival opens from the 6th to the 10th of January with incense offering ceremonies, processions, sacrifices, palanquin handovers... Every 5 years, in years ending in 0 and 5, people will organize a palanquin procession of Hai Ba Trung with the four tutelary deities of Ha Loi village. From the 4th of January, local people will perform a bathing ceremony, changing the cover of the statue of the Queen. Then, on the 4th and 5th, the locals will hold a ritual to worship the Two Ladies at the village communal house with the village's tutelary god, the four generals (the brothers Do, Ho, Bach, and Hac who helped Thanh Tan Vien restore the Hung dynasty). In the procession of the Two Ladies from the Temple to the Communal House, there will be: 2 elephants, 2 horses, a team of young women wearing white shirts carrying the palanquin, a team of female guards wearing brown shirts, wearing leggings, carrying swords like soldiers in ancient times, and two teams of women carrying the two palanquins. In addition, there will be a team of men wearing blue ceremonial shirts with seals, a team of musicians, a team of money bearers, a team carrying flags, long swords, and eight treasures, umbrellas, and parasols, creating a solemn atmosphere for the festival. On the morning of the 6th, the villagers will send the Two Ladies back to the capital. The Trưng Sisters Temple Festival in Me Linh has its own unique feature, which is the palanquin handover ceremony. The procession will have the following order: Thanh Hoang palanquin and General Cot Tung will stand on both sides of the yard to pay respect to the Two Ladies returning to the capital. When leaving the Temple, Trung Trac palanquin will go first. When reaching the road to the village communal house, Trung Nhi palanquin will go first. When reaching the communal house gate, the elder palanquin will go first, the younger palanquin will go after. Both sides will welcome the two ladies. This ceremony symbolizes the image of the king returning from the capital Me Linh to visit the village. From the 7th to the 10th of January, the Trưng Sisters Temple Festival will include the ritual to pay respect to the six female generals, the blessing ritual, the banquet and the thanksgiving ritual. After the ritual, the festival will feature many folk games such as: swing, blindfolded goat catching, traditional wrestling... and performances reenacting the heroic feat when the two ladies sacrificed the flag to start the uprising, creating a bustling and joyful atmosphere for the festival. The festival contains noble humanistic values, educating the tradition of patriotism, the morality of drinking water and remembering its source.

Thagzo or the art of weaving is one of the oldest and widely used skills that have been practised for ages. The all-encompassing use of textiles represents prestige, artistic skills, discipline, determination, familial sentiments, tangible form of asset, and expressions of devotion towards the dharma. Bhutanese textiles are the product of knowledge and skills developed and nurtured over centuries of experiences and family traditions. Our textiles are valued and renowned for their richness of colour, sophistication and variation of patterns, including the intricate fibre preparation, dyeing, weaving, and embroidery techniques. This rich and complex art of weaving is an inseparable part of our culture and history. Today, the wide availability of imported fibres and dyes are transforming the palette, textures, and surface qualities of the clothes produced. There are more than eleven types of yarns and dyes including the five main colours (white, yellow, red, green and blue) and six subsidiary colours (orange, dark green, light yellowish green, pink, light white, blue and black). These different colours are woven in accordance with different designs and patterns. Women from central and eastern regions of Bhutan are famous for their weaving skills and each region produces their own specialty. a. Weaving with Designs and Patterns: Every textile product has a name that expresses its particular combination of colour, design, pattern and fibre. Weaving pattern is either stripes - vertical for men, and horizontal for women in cotton, silk or wool. Required extra designs are made by adding warp threads. Patterns like the vajra (thunderbolt), the swastika, the tree or the wheel, each has symbolic meanings. Although the symbols used in Bhutanese textiles are primarily of geometric nature, they also have deep religious meanings. Some common geometric symbols include the dorje (Vajra), the drame (nets), the phenphenma (butterflies), the phub (Kiliya), the yudrung (Swastika), and the shinglo (leaves). The drame or the eternal knot is a classic Buddhist symbol. The phenphenma is a symbol of butterfly and the eight-pointed star, while the dorje or the thunderbolt represents the indestructible powers of Buddhism. The phub or the rainbow is a triangle pattern in successive rainbow colours. When dorje symbol is incorporated within the phub symbol, the pattern becomes dorje\u0002phub. The shinglo symbol is used mostly on the royal and noble family dresses since this symbol is the most difficult to weave. The shinglo symbol represents the “tree of life”. The therpochay ( Jana chagri) or the China Wall pattern is usually seen next to the phub design on kiras. The therpochay symbol is believed to have been derived from the designs on Chinese brocade. The yudrung portrays the crossroads where the four directions meet. A yudrung represents the balancing forces of the universe, when rotating. The yudrung is an ancient pattern and its epicentre is considered a spiritual place. Yudrung is depicted on the royal thrikheb as the centre most design. Bhutanese weavers usually weave two types of textiles; the plain woven meaning kar chang, and the pattern woven textile called metochem. These are described below. a.1. Karchang: The plain woven textiles include pangtse, mathra, sethra, adang mathra, shardang thara, and pe sar. Plain woven clothes are worn at home or work since they are cheaper than the pattern-woven clothes. Mathra (red pattern) is a varicolored plaid woven on a maroon or red field, sometimes woven with stripes (khaja) at the edges. Sethra (gold pattern) is a plaid weave usually with yellow or orange field as the dominant colour. Sethra has two popular colour combinations; red with black or blue plaid on a white field; and yellow, white and black on an orange field. Sethra dokhana consists of black colour in it while buechapgi sethra does not contain black. Thara has horizontal stripes with white as a dominant field. Shardang thara has multicoloured stripes while Samkhongma have narrow red-and-blue stripes, and Mondre which has a similar pattern to Samkhongma is worn mainly by older people in rural areas. Kamtham Jadrima is a striped textile with colours of the rainbow. Kamtham thara consists of simple warp stripes or plaids, which are gifted to a religious person. Pesar (new design) is a modern innovation with small patterns in striped plain cloth. Yu tham or the country cloth which is made of wild silk or cotton is very popular in the rural areas. Kawley is a completely black fabric of wool, which is believed to have healing properties. a.2. Meto Chem: Aikapur and Ku shu thara are the two specific kinds of pattern-woven textiles. Pattern-woven clothes are considered special, and are valued and saved for special occasions like festivals, marriages and for New Year celebrations. Bhutanese weavers weave many different types of clothes with intricate designs such as leaves, birds, trees and other animal patterns. These are briefly explained below. Aikapur: Aikapur is a textile woven of cotton or silk, and appears to be embroidered. Aikapur has double faced pattern bands called hor which alternate with rows of plain weave; with always an odd number of legs ‘kangpa’ or cross hatches. A textile is referred to as a b-sampa (with three legs; b-napa (with five legs); b-zumpa (with seven legs); b-gupa (with nine legs); b-songhthurpa (with eleven legs); and b-songsampa (with thirteen legs). Aikapur is differentiated by the colour of the background thread, and the supplementary thread used. The common colours used in aikapur are: dromchu chema, literally meaning ‘little boxes’, with red, green, yellow, and white pattern bands. Mentse mathra is a material with a yellow base, and with red and green stripes. Montha has a blue or black background with red pattern bands between colourful stripes. Lungserma has green and red pattern bands on a yellow background. Shinglo or ‘tree of life’ patterns made on the fabric are used to assess the quality of an aikapur. The delicate branches and leaves of these trees are inspected when judging the quality of a textile. Kushu Thara: Kushu thara used to be considered aristocratic and the most prestigious dress for women. Ku shu thara is woven from vegetable dyed cotton and raw silk (bura) or entirely from silk. Ku shu thara has spectacular brocade design which take up to a year to weave. Ku shu thara is always embellished on a white base, and a similar kira with a blue or black background is called ngosham .Sapma, the continuous weft patterns, and tingma, the alternative weft patterns are used as base pattern for kushuthara, ngosham or shinglochem. Shinglochem can be either a gho or a kira, woven with alternate rows of warp pattern bands. b. Weaving Materials: Bhutanese produce fibres such as raw cotton, wool, nettle fibre, yak hair and bura (raw silk). The most expensive and the most valued fibre in Bhutan is raw silk. The Bhutanese do not kill the silk worms that remain inside after spinning its cocoon, but are left until they escape, which breaks the thread before it is unrolled. That is why, Bhutanese raw silk feels and looks relatively coarse compared to Indian and Chinese silk. Several types of yarn like seshu (cultivated from mulberry silk moth Bombayx mori), bura (produced by wild non-mulberry silk moth), namdru kuep (parachute silk), and varieties of silk imported from India are notable. b.1. Nettle: Nettle or stinging nettle, though now rarely used, is said to have been the original and chief fibre used by weavers in ancient Bhutan. Nettle fibre is coarse but strong and durable. That is why people in villages used it to weave sacks, bags, kurel, pagi, pakhi, bundi and tabden. Owing to its strength it is also used as bow string. Nettle is herbaceous flowering plant that grows in temperate and sub-tropical zone. The plant grows up to 2 meters in height with spiny stems and leaves and bears white to yellowish flowers. Nettle bark contains baste fibre which is strong, smooth and light. In Bhutan, nettle fibres are harvested in the months of October and November. After peeling the stems, the fibres are dried, and then cooked with ash for about 6 hours. The fibres are then washed with cold water, and beaten in order to remove the outer cover. After removing the outer cover, the fibres are dried and dyed with natural dyes. The nettle plants are shredded, and twisted into thin fibres using a drop spindle. Nettle fibres are used to weave bundi or carry bag. Bundi is usually woven with brocaded yudrung motif at the centre of the middle panel, on a white colour base. The bundi or carry bag consists of three lengths of cloth sewn together to form a square panel. Ropes on the diagonal sides of this piece are tied together to carry possessions and bedding. b.2. Wool: Yarns from yak, sheep and goat wool are spun using phang (drop spindle) and moved to a chaphang (spinning wheel). The herders of the high valleys of Merak and Sakteng weave shingka (tunic-style dresses), women’s jackets and belts. They also make hats, ropes, tents, and bags out of yak hair, and floor mats and blankets from sheep wool. The Layap women’s dress includes a black woollen jacket, a long woollen skirt, adorned with lot of jewels, which often include teaspoons. Women also wear conical bamboo hats with a bamboo spike at the top, held by beaded bands. Shingka, an ancient tunic-style textile that was woven with either a ngoshingkha (blue) or a laushingkha (red) wool base, was worn by a high lama during religious ceremonies. Char khab, woven from wool (of yak or sheep) either on a pedal loom or back strap loom is used for protection from snow, cold, and rain. It is water-resistant and an essential item for the herders in cold the region. Sephu charkhab (rain cloaks from Sephu) is a colourful textile with bands of green, blue, white and orange. Bumthang and Trongsa were known for a woollen fabric called yathra, which was used as a cover from rain and cold. In the late 1990s, farmers in Trongsa had stopped raising sheep which inevitably put an end to the practise of weaving yathra. Yathra is used as bed covers, blankets, rain cloaks, cushion covers, sofa set covers, and as jackets for both men and women. b.3. Cotton: Kershing (cotton) is used to separate the cotton seeds, and then fluff out to make it ready for spinning into yarn with the help of a wooden spindle or spinning wheel. Usually cotton woven with traditional designs on white background, chagsi pangkheb was put on laps to wipe hands before and after meals by persons of higher positions. In the early days, Bhutanese women used to put on an apron-like wear called dongkheb as a sign of respect while approaching the king or a high official. Phechung is a cotton woven carry bag woven but its usage is now limited to ceremonial receptions along with chagsi pangkheb. Thrikheb (throne cover) is a rare textile used as the King’s throne cover. It is also used for the lamas during religious ceremonies. Chephur gyaltshen (banner with frills), gyaltshen (pair of cylindrical hangings with valance), bumgho (bumpa covers), kheb and tenkheb (altar covers),phen (pair of triangular topped hangings) and chephur (a pair of cylindrical hangings) are some of the other cloth products that are used in altars and monasteries. Hingthub is a time-consuming but highly cherished textile woven for loved ones or for use by the weaver or their ‘lord’. The finer product demonstrates the dedication of the weaver. It is also used by the weaver’s family or to stitch outer attire for statues or as wall hangings. Today most of the yarns for weaving like raw silk, cotton and acrylic are imported while some of the yarn is spun and processed locally. The availability of cheap machine spun yarns from India has overtaken the local cotton cultivation. b.4. Types of Loom: There are three types of looms used by weavers in Bhutan. Traditionally pangthag was the most commonly used loom for weaving larger size garments. The smaller version of this loom called kethag is used for weaving narrow items like belts. In the 1970s, another type of loom called thri-thag (khri-thags) was adopted from India. This loom gained popularity in the growing urban centres. This later type is a horizontal loom with pedals. Each region has a speciality in terms of designs and types. Kurtoe is known for Ku shu thara, while marthra and serthra are mostly produced in Bumthang. Trashigang district is well known for weaving aikapur, while pangkheb and montha come from Kheng. b.5. Dyes: Bhutanese weavers consider the coordination of pleasing colours more important than the designs, patterns and techniques. Strong taboos are associated with the dyeing process and the weavers are very particular about colour shades. They believe that malevolent spirits, certain weather conditions, strangers or pregnant women can ruin the dye. Like the weaving techniques, the recipes for dyeing are closely guarded family secrets and the formula is usually passed down from mother to daughter. There are a number of dye-yielding plants. Weavers obtain dyes using simple methods from barks, flowers, fruits, leaves, and roots of plants, and minerals. Today, chemical or synthetic dyes called tsho-sar are easily available while the natural dye is called tsho nying. They are easily recognisable by their hue. Some of the natural dyes obtained from plants are described below. - Indigo: Shades of green, purple, blue and black are obtained from leaves of trees locally called yangshaba (Strobilanthus flaccidifolius) in Tshangla dialect. Indigo (lndigofera spp.) plants are cultivated in household gardens as a source of blue dye. Alum earths, sour fruits, and dug shing (Symplocos) leaves are used as a mordant in dyeing to fix the colouring matter. Indigo plant leaves are fermented for two weeks, and then passed through acidic ash water. - Lac: Jatsho (Lacifer lacca) is an organic dye that produces colours ranging from pink to deep red. Lac is boiled in water until it becomes sticky dough. The pulp is mixed with roasted wheat and allowed to ferment for 10 days. The selected yarn is then put into the boiling mixture until the colour gets absorbed. Churoo (Phyllanthusemblica) is used as a fixating element in dye. - Madder: Dried stems and leaves of madder called tsoe (Rubia cordifolia) are chopped into small pieces. This material is boiled together with the yarn to produce several colours ranging from pink to deep red. It is good for dyeing raw silk, cotton and wool. Madder can be preserved in dry place for years. The ripe berries of berberis, locally called kepatsang (Berberis aristata) are used as a source of red colour, while the barks of nut of the walnut tree can be used to obtain orange colour in woollen yarns. - Pangtse: Leaves from pangtse shing (Symplocos paniculata) are gathered from the forest, which can be used fresh or dried, to make yellow colour .Pangtse leaves are boiled in water along with woollen yarns. The yarn is then allowed to drip. Sometimes, yung ga (Curcuma longa) or turmeric is also used to obtain a bright yellow colour. Lemon, also called churoo (Emblica officinalis), variety of other berries, herbs, plants, and roots are used along with alum mordant to boost colours in the yarn. However, since dyed yarns from India are available at cheaper price, only a few Bhutanese weavers practise the tradition of natural dyeing processes these days.

Kharphu (The White God Ritual) is celebrated every year on fourth month of Bhutanese calendar. Though meaning of Kharphu cannot be stated clearly but village older bearer believes Kharphu means “white god ritual” where no animal sacrifices are made. There are two types of Kharphu namely Gudpa (Extended) and Chunku (Abridged) which are observed consecutively every year. During a larger kharphu, dish called pan is prepared and served, and is observed for 3 days, while in smaller Kharphu pan (Wild betel leave fried) serving is skipped and is observed for two days. The origin of Kharphu and its story is has been transmitted verbally from generation to generation. Ex.Tshogpa Lhalungla is a descendent of one of the host family, he shared that as per the story he received from the older people of village that when the people settled in Chali as per their karmic action, during those days no matter how much they work, the grains and cereals were not enough to feed their family, food they eat didn’t contain nutrition, cloth they wear don’t provide the warmth, even they can’t sleep soundly. Then people gathered to discuss over it. During meeting one the villager pointed out that we don’t have a god to guide and protect us, and this may be the reason we have been suffering. Then all the villagers agreed that then need a god. Among them there was a man named Sherub, who is farsighted, knowledgeable and reliable man. Then villagers insisted him to go and receive god. He denied, saying he is incapable for this task. He said this task can be only accomplished by Gomchen phawang (Bat). Then sherub went in all the direction in search of bat but met with gods of four directions but couldn’t find bat. Then one of the god from four direction prophesied that bet is inside their village only, inside a cave call Asi-kaure draphy (cave) which shadow falls in water and water splashes on the walls of cave. And this place is believed to be located at the bottom of Kongla bra (Kongla cliff) at the end of Chali and still there are many bats in it. Bat was brought to the village and at first, bat also denied the villagers request but towards end of the day bat accepted but he said gift has to be taken for sons and daughters of god. For sons they arranged three armful of arrows and for daughters three Urka (Lether sack) full of Bakur (square shaped bamboo container). Then, bat made his journey towards north. After a long journey bat reached Tsampa, place believed to be located in Tibet, where god Gung-Lha-Lhapsang Gyelpo resides. Finally he could meet the god and shared his reason for visit. God criticize him about his face, legs and wings, so, he can return him alone, but he changed every criticism in positive way by saying “my rat like face is to sing a song for god father and mother, my skinny leg is to perform dance in front of god father and mother, my lathery wings is to fan your god father and mother. Bad couldn’t send back with all the means and strategies of god, finally promised to send one of his children. Gunglha lhapsang Gelpo has four daughter and four sons. He told to send one the daughter to god mother and she said to god to send one of his son. God father and mother had a very hot discussion over it. And they decided to roll a die, and god father lose the game and had to send his son along with bat to bless Chalipas (Residents of Chali). Here at Chali goat was received by Sherub along with the villagers. Since then Sherub was known as Bonpo pa Sherub, since it was a Bon Lha (God of Bon religion).And his descendent has to perform Bonpo Wanboo (Shaman). And Bonpodpa Sherub became host along with another rich household. And currently there is four household descendent holding as host during Kharphu. But, with passing time and generation Bonpodpa Sherub’s descendent couldn’t shoulder the responsibilities of Wanbu and is appointed one of the interested and capable people from their village. There is no as such rule to appoint Wanbu. There is unique lyric and tune from journey of god’s son of including all the places where till Chali, different household visiting household lyrics and blessing, farewell lyric and unique tones.