The 2019 Sub-Regional Meeting for Intangible Cultural Heritage Safeguarding in South Asia: ICH in Education: Towards Joint Collaboration for Promoting ICH in Formal and Non-Formal Education jointly organized by ICHCAP and UNESCO Dhaka Office, was held from 24 to 26 June 2019 in Dhaka, Bangladesh.\n\nThis report is composed of nineteen presentation papers delivered at the meeting by national representatives, NGOs, and UNESCO Offices in Bangkok and Dhaka. In addition, the outcome document of the meeting is also affixed to put it on record the adopted recommendations of the participants in moving forward together.

Tarayana Foundation was founded by Her Majesty the Queen Mother Ashi Dorji Wangmo Wangchuk and formally launched on 4 May 2003, by His Majesty King Jigme Khesar Namgyel Wangchuk, the then Crown Prince. The Foundation believes in maximizing happiness and harmony among all Bhutanese people by providing opportunities for life improvement to the vulnerable communities in Bhutan. By helping these communities, members learn and integrate new skills. Tarayana Foundation promotes self-empowerment and emphasizes the importance of serving each other.

Bhutan is considered one of the culturally and spiritually richest countries in the world. Culture and traditions being resultant of the evolution of human civilization, they have developed according to the socioeconomic needs and conditions of the Bhutanese people, as well as within the physical and environmental constraints and opportunities of the place or the region. But most importantly, their origin is deeply rooted in Buddhism.

Lhayee Lugar, literally meaning Dancers of Heaven, is one of the oldest organizations in entertainment business and certified by the Government of Bhutan. The cultural troupe was formed in 2008. They feel that preservation and promotion of indigenous Bhutanese culture is one of the four pillars that constitute the development philosophy of Gross National Happiness laid out by the King of Bhutan. They think that preservation and promotion of traditional values, crafts, artists’ sensibility, songs, dances and music add to the uniqueness to cultural heritage. Their aim is to keep the traditional songs, dances and music of Bhutan alive through performances in Bhutan and abroad

Lhamo’i Drubchen, or colloquially Lhamo’i Dromche (with a corrupted form drubchen), is a grand religious ritual and mask dance dedicated to Palden Lhamo, the principal female guardian deity of Mahayana Buddhism. It is conducted in Thimphu Dzong (Thimphu Fortress) by Zhung Dratshang (Central Monastic Body) and is the most highlighted annual event that takes place before the monastic body leaves for the summer residence in Punakha Dzong.

The Agency for Promotion of Indigenous Craft (APIC) was established in July 2011. APIC is responsible for the execution of the arts and crafts activities under the Accelerating Bhutanese Socio-Economic Development (ABSD) program funded by the Royal Government of Bhutan (RGoB) with support from other relevant agencies like UNDP and Government of India (GoI). The agency is responsible for enhancing the products range through research and propagating product and design ideas to artisans or Ministry of Micro, Small and Medium Enterprises (MSMEs), promoting design banks and raw material banks for quality production, facilitating cluster development for crafts sector, and marketing and management of craft outlets in Bhutan.

Marriage in a Bhutanese context is a social event that encompasses several Buddhist rituals; it does not end simply with exchanging vows and rings and kissing the bride. The centuries-old traditions in Bhutanese marriage ceremonies are much richer and involved; however, despite this, these traditions have been disappearing over the years.

As of now, Bhutan is widely known in the world that stands out as a country in the world living traditions, rich traditions as well as daily unique practices by the people which evinces peculiarities of the Bhutanese culture. Thus, People of Bhutan not only take pride in its rich culture and traditional values which serves not only a national identity proving bondage within the people of the different communities in the country. Bhutanese culture gives identity that has protected and sustained independency between the two giant countries; Republic of China and India since time immemorial. Preservation of ICH has been one of the core objectives ever since the country had embraced the economic development plan in early 1960s.\n

Harmony, social cohesion, integrity, peace and tranquility and unity are; all outcome of good social networking system with core human value. And negative impacts are also inevitable if it is the organization’s aim and objective. But, information-sharing is the fundamental prerequisite for the aforementioned subject as it is a key ingredient for organizations seeking to remain competitive and dynamic. Ever since the human beings had entered the threshold of civilization, the tradition of networking had evolved simultaneously. The historical records explicitly exhibit unbelievable information of both tangible and intangible records. For example; tangible cultural heritage– the figures of the Seven Wonders of the World and the intangible accounts- the imperial figures, legends and myths living even today are the outcome of social networking system. Had there been no networking system, there may not be anything recorded at present but, unless someone has extraordinary capabilities or god-like strength and power.

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. \n\nDarshey 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.\n\nDuring 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.

The Dance of the Drums of Drametse, also known as Drametse Ngacham, is a popular mask dance performed throughout Bhutan. It was first introduced in the sixteenth century by Khedup Kuenga Wangpo, son of Terton Pema Lingpa. It is a unique Bhutanese cultural expression and reflects the cultural and spiritual identity of Bhutan. Until the late nineteenth century, the dance remained confined to the Drametse community under the patronage of Thegchog Ogyen Namdroel Choeling. Later it was introduced to other parts of the country. Today, Drametse Nagacham is performed in almost all local festivals and celebrations. In November 2005, at the Third Proclamation of Masterpieces of the Oral and Intangible Heritage of Humanity, UNESCO proclaimed it a Masterpiece.

Colloquially, a mask often used in artistic mask dance performances to disguise or hide the original appearance is called “Baab” in Dzongkha (Bhutanese language) and in many local dialects. Baab is not only used for masquerade, but represents the appearance and expression of enlightened beings, celestial beings, guardian deities, and some extraordinary human beings who have helped to shape meaningful human life and promote harmonious living, which is why it is also referred to by the honorific title Zhal baab (face mask). Baab comes in many forms, appearances, complexions and with exceptional features that represent transcendent religious meanings and significance. Baab is the product of an art that requires several skills such as religious knowledge including proper proportions, biodiversity as the basic raw materials are woods, craftsmanship, blacksmithing in making tools and finally painting to give the mask the final structure.\n\nAccording to historical texts, the Baab tradition and the performance of the mask dance, usually called Gar-cham, was introduced to Bhutan by Guru Padmasambava in the early 8 th century. Later, it was further developed by eminent Buddhist masters, especially Terton (discoverer of the hidden treasure) Pema Lingpa (1450-1521), who introduced many sacred mask dances and passed on the art of Baab making, which is still recognized and known today for his contribution to the enrichment of Bhutan’s indigenous art and culture. His exceptional art of Baab making and mask dances was later recognized by Zhabdrung Ngawang Namgyal (1594-1651), the head of the state government, and included as one of the of Bhutan’s intangible cultural heritage domain of arts and crafts. Thereafter, the Baab tradition was maintained and enjoyed increasing popularity after the heads of the state government, chief abbots and successive monarchs introduced and authorized other private religious institutions to organize Tshe-chu, Drub-chen, Chod-pa, Rab-ne, Me-wang, Ma-ni, Due-chod (mask dance festivals), etc. throughout the country.\n\nColloquially, a mask often used in artistic mask dance performances to disguise or hide the original appearance is called “Baab” in Dzongkha (Bhutanese language) and in many local dialects. Baab is not only used for masquerade, but represents the appearance and expression of enlightened beings, celestial beings, guardian deities, and some extraordinary human beings who have helped to shape meaningful human life and promote harmonious living, which is why it is also referred to by the honorific title Zhal baab (face mask). Baab comes in many forms, appearances, complexions and with exceptional features that represent transcendent religious meanings and significance. Baab is the product of an art that requires several skills such as religious knowledge including proper proportions, biodiversity as the basic raw materials are woods, craftsmanship, blacksmithing in making tools and finally painting to give the mask the final structure.\n\nAccording to historical texts, the Baab tradition and the performance of the mask dance, usually called Gar-cham, was introduced to Bhutan by Guru Padmasambava in the early 8 th century. Later, it was further developed by eminent Buddhist masters, especially Terton (discoverer of the hidden treasure) Pema Lingpa (1450-1521), who introduced many sacred mask dances and passed on the art of Baab making, which is still recognized and known today for his contribution to the enrichment of Bhutan’s indigenous art and culture. His exceptional art of Baab making and mask dances was later recognized by Zhabdrung Ngawang Namgyal (1594-1651), the head of the state government, and included as one of the of Bhutan’s intangible cultural heritage domain of arts and crafts. Thereafter, the Baab tradition was maintained and enjoyed increasing popularity after the heads of the state government, chief abbots and successive monarchs introduced and authorized other private religious institutions to organize Tshe-chu, Drub-chen, Chod-pa, Rab-ne, Me-wang, Ma-ni, Due-chod (mask dance festivals), etc. throughout the country.\n\nIn general, the manifestations of Baab can be summarized as; Baab of deities and gods, animals and extraordinary human beings. It is firmly believed that the masks of the deities and gods manifest themselves in various emotional appearances such as; graceful, heroic, abominable, wrathful, compassionate, comical, wondrous, terrifying and petrifying. These expressions can also be divided into four categories: peaceful, inspiring, empowering and angry.\n\nBaab comes in different colors and with unusual features that remind of victory over emotional poisons that disturb the peace and tranquility of both one’s own and others and worldly affairs. The white color represents serenity and overcoming anger, the yellow represents inspiration and overcoming ego, the red represents strength and overcoming attachments, the green represents anger and overcoming envy, the blue represents inaction and overcoming ignorance, and the black represents neutrality and abiding in the ultimate emptiness. Similarly, the extraordinary characteristics are;\n\n1. Five-syllable headgear: embodiment of five transcended Buddhas.\n2. Five-Skull Headgear: Triumph over the five emotional poisons and possession of the five transcendental wisdoms.\n3. Opened mouth: feasting on the malignant obstacles.\n4. Rolled tongue: making palate noises after feasting.\n5. Four fangs: overcoming birth and death.\n6. Bitten off lower lip: expression of anger out of pity.\n7. Flaming beard and eyebrows: burning of negative actions and impurities.\n8. Gazing three eyes: seeing the past, present and future activities.\n\nThere are three types of masks made by Bhutanese artisans: Re baab (paper and cloth mask), Shing baab (wooden mask) and Sing-phye baab (mask made of a mixture of sawdust). However, the former two are ancient technical craft, while the latter is a newer product used mainly for commercial or decorative purposes. Traditionally, Baab are used only for the actual performance or kept as relics after the consecration ceremony has been performed by spiritual masters. It is believed that if these items are not blessed, they are as good as toys and are haunted by the spirits, causing harm to society.\n\nphoto 1 : Wangzhing Rabney, Lhuntse © Drungtsho Jigme Singye \nphoto 2 : Trongsa Dzong © Yeshi Lhednup\nphoto 3 : Shing-baab Wangzhing Rabney, Lhuntse © Drungtsho Jigme Singy\nphoto 4 : Baab ,Tamzhing Phagla Tshechu, Bumthang © Yeshi Lhendup\nphoto 5 : Wangzhing Rabney, Lhuntse © Drungtsho Jigme Singye\nphoto 6 : Trongsa Dzong © Yeshi Lhednup