Materials
bhutan
ICH Materials 355
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ICH and Sustainable Development (Bhutanese)“ICH and Sustainable Development” summarizes the contributions of ICH to sustainable development based on three dimensions indicated in the action plan of the 2030 Agenda for Sustainable Development—inclusive social development, environmental sustainability, and inclusive economic development—and one prerequisite for sustainable development: peace and security.Year2017NationBhutan
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Atsarai Darshey-Oral textDarshey 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.Year2015NationBhutan
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Yak-lai-Oral textA 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.Year2015NationBhutan
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Chubja Tsanchoed- Oral narration textThe term Tsan-choed means invoking or appeasing the deity and making various offerings in honor of the deity. Chubja Tsan-choed is an event celebrated by the communities of Bje-shigang, Damchena, Chubja-kha and Hungrel-kha. On this occasion, people from these communities pay their respects to the deity by making offerings to it, thus asking for further protection from the deity for the following year. \n\nTsan is a local patron deity of a particular community who is worshipped by the people for their protection and welfare. These deities are often worshipped as Ke-lha (worshipped from birth as a protective deity) and Yue-lha (deity of a specific community). In addition to the specific dates designated to pacify the deity, people visit and offer prayers during illnesses, deaths, births, long journeys, or times of misfortune. The deity is also invoked by women who are barren and request the deity's blessing for a child. Often, after the woman becomes pregnant, the child relies on the deity for protection during its birth. \n\nChubja Tsan (local deity), known as Tashi Pema/Pema Dendup, is considered deaf but endowed with the power to bestow worldly blessings. According to oral sources, the reason for his deafness was that Chubja Tsan and the Tsan of Zache-kha village had conflicts and quarreled long ago (the cause is not known). The Zache-kha Tsan hit the Chubja Tsan on his ear and made him deaf, while in return the Chubja Tsan hit the Zhache-kha Tsan on his eyes and made him blind. For this reason, even today, the people from Zhache-kha light a fire during the Tsan-choed (ritual to invoke the local deities), while the people from Chubja have to make loud "oooo" sounds in front of the Tsan's home. And the people of the two communities do not visit each other's Lhakhangs (temples). \n\nThe timing of the Tsan-choed depends on the purpose of its patrons, but for Kay-lha it takes place twice a year; the first time immediately after the Paro Tshechu (Mask Dance Festival, which occurs in the third lunar month) and the second time during the autumn season. In the latter offering, a Phued (first share) of the harvest is usually offered to express gratitude for the blessing of a bountiful harvest while asking for his protection in the future.YearNot yet publishedNationBhutan
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ICH and Gender (Bhutanese)“ICH and Gender” introduces the mutual relationship between gender norms and ICH and emphasizes that understanding the intimacy between ICH and gender is important for effective ICH safeguarding and gender equality.Year2017NationBhutan
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Dharshey-Oral narration textDarshey 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.) \nThe 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.Year2015NationBhutan
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Creative Community: The Development of the Bhutanese Cultural IndustryThere is no doubt that countries with different cultures will recognize that culture and development are not only fundamental but also inevitable for sustainable economic development. The culture and development processes should be regarded as indistinguishable, like paired body parts such as wings, hands, and legs. Some historians and economists also believe that it is a problem if there is a difference between the pair, but not as much a problem as if there were no pair at all. The embedded cultural values and moral implications of individuals and communities are the basis for the socio-economic development of any nation.Year2023NationBhutan
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Mar-chang: Wine Oblation CeremonyMar-chang or wine oblation ceremony is an offering of Chang-phue (first share of wine) or offering of wine to invoke the glorious teacher, the four assemblages of deities, the dakas and dakinis (celestial beings) of the three realms, the dwellers of charnel grounds, guardians of directions, the local guardians (Kshetrapalas) and asking them to remove all obstacles so that the work may be accomplished successfully. On certain occasions, such as an elaborate Chib-dre ceremony, the Mar-chang offering is performed twice. The first offering takes place outdoors at the end of the Chib-dre procession while the second offering is made during the Zhug-dre phun-sum tshog-pa (Ceremonial setting) ceremony.\n\nPerformance of the Mar-chang ceremony is not limited to specific places but is held anywhere depending on the nature of the programme — be it in the temple, residence, courtyard, or in an open ground. The Mar-chang ceremony is in line with the traditional custom of presenting a guest with wine called Dong-chang (reception wine) in a container, the lip of which was decorated with three horns of butter (Yar-dron) on the guest’s first visit. This Dong-chang or Mar-chang gesture is to wish the guest a long life and success in all his endeavours. So, the act of offering first to the deities and then to the honoured guest is clearly depicted in ceremonial presentation. \n\nThe verses for the marchang ceremony were composed by Kunkhen Pema Karpo in the 16th century. During the ceremony, in accordance with the recitation of the verses by monks, the marchang is offered first to the lamas and deities, and then offered to the dignitary. After the Mar-chang is offered to the guest, it is followed by the offering of a small white flag. For the reigning monarch and the Head Abbot, instead of \nthe white flag, the National Flag of Bhutan is offered. The offering of flag symbolises victory over all the negative forces, and increases fortune and luck for the people.YearNationBhutan
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Ever wondered New year celebration in the Himalayas?Nepal is a country of Himalayas boasting the world’s tallest peak, Mt. Everest. Here different caste people live in harmony. Each caste has its language and culture. So, no wonder about having its own New Year as well. Before jumping towards the topic, I would like to introduce the people of the Himalayas. Sherpas, Gurungs, Tamangs, etc. are the biggest ethnic groups that live nearby the Himalayas. Sherpas, who are famous as mountaineers, live in the lap of mountains. Tamangs, Gurungs, etc. are other ethnicities that live in the mountain as well as hilly areas of Nepal. Apart from owning the beautiful snow-clad mountains, these ethnic groups also have their own culture and tradition which is celebrated by the whole Nepalese.\n\nAmong them, Losar is a major festival for the Buddhists people living in the Himalayas. ‘Lo’ means ‘year’ and ‘Sar’ means ‘new’, which means “New year” in the Tibetan language. Rather than Nepal, Losar is also celebrated in Tibet and Bhutan. It is celebrated on the first day of the Lunisolar Tibetan Calendar which falls in February or March according to the Gregorian Calendar. Nepal celebrates three different Losar and is called Tamu Losar, Sonam Losar, and Gyalpo Losar. Tamu Losar is celebrated by Gurung communities, Sonam Losar is celebrated by the Tamang communities whereas Gyalpo Losar is celebrated by the Sherpa community. Even these three Losar are celebrated on different dates, the way of celebrating it is very similar due to their similar lifestyle.\n\nOn Losar day or New Year, all people of the community wear their traditional costumes and gather in the square and celebrate it merrily. They sing their traditional songs, dance in their traditional style. They even celebrate by holding competitions for fun. Like all other festivals we celebrate, Losar is also a festival of family and relatives gathering. On this very day, traditional food is served to all guests who visit their homes. They even perform ritual activities to get relief from bad lucks and they also visit the Buddhist temple and chant their prayer for the prosperity of their family. During the festival, people forget the past thing and forgive each other by exchanging gifts. So, all can have their fresh new start with social harmony and with a new hope.\n\nThis day is a very important day for the young generations as they are learning not only their culture but also songs and dances too. Songs and dances are taught orally at the scene itself, and children learn them. Hence there is no doubt that Losar is a living heritage, that is transmitted from one generation to another generation.\n\nBut due to the rapid change of communities in Nepal, the celebration of Losar is deducting day by day. Young people are moving to the big cities and developed countries. New generations are not as involved as they used to be before. Therefore, to protect their culture and tradition, these ethnic group peoples are doing rallies in Katmandu on Losar day. All different caste people, who celebrate Losar, gather in the rally by wearing their traditional dress performing their cultural songs and dances, and enjoying the local food. They enjoy the whole day festival by doing cultural rallies, singing and dancing as well as making new friends.\n\nTo sum it up, Losar is more than a festival of New year. It is an Intangible Cultural Heritage. This festival brings new hope to the people who celebrate it. It is directly related to the lifestyle of the community as they gather and celebrated it together. But more than that it is a living heritage when they are practicing their songs and dances orally and teaching to the coming new generations. Since the Losar festival, as well as the songs and dances in the festivals, are not recorded, it may extinct at any time. Therefore, with its cultural significance, it is truly a Cultural Heritage of Nepal that should be safeguarded as soon as possible.\n\nphoto : Dance in Tamu Lhosar © Puskapuku123Year2022NationNepal
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The Many Faces of Ramayana through the Lens of Benoy K. BehlBenoy K. Behl is described as one of the great art historians of India by various media platforms. He has a record of taking more than 35, 000 photographs and producing more than 100 documentaries. It is possible to draw forth a comprehensive visual imagery of Buddhist art in India and other parts of Asia through his outputs over the years; a subject that is beautifully explored in his work.\n\nWith the support of the Ministry of External Affairs, Government of India, Benoy K. Behl has created another landmark project: a documentary on Ramayana as staged in India and beyond. Entitled Ramayana: The Great Epic of South and Southeast Asia, Behl’s most recent documentary had its world premiere at the Asian Art Museum in San Francisco, California on 3 December 2016.1. The documentary is generally a montage that presents Ramayana performances from nine countries such as Bhutan, Cambodia, India, Indonesia, Lao PDR, Nepal, Singapore, Sri Lanka, and Thailand. It decisively attests to the claim that there was indeed a close historical cultural contact between Hindu India and Asia; this is among other things crucial to say about the documentary.\n\nAs current discourse on contemporary cultural production tends to emphasize the importance of transnational and diasporic tendencies, it should be noted that Behl’s documentary reflects previous studies on Ramayana, specifically the account of it being seriously regarded outside India. For example, Santosh N. Desai, in the essay Ramayana—An Instrument of Historical Contact and Cultural Transmission between India and Asia2., provides a useful cartography about how Ramayana travelled from North and Northwest Asia to Southeast Asia. In addition, Desai states some important details about how Ramayana was recreated into a text once taken from its geographic and anthropological origins, deviating from the Valmiki original version.\n\nBehl’s documentary on Ramayana gives a capacious effort to bridge the cultural gap between understanding Ramayana as a literary text and appropriating it as a performance text. It speaks of how literature can be a medium of exchange, surviving ancient stories which in some ways have shaped taste and perception across lands and generations. More importantly, it captures the evolution of an old and transcendental text as it is staged and performed in many Asian countries. As each country featured in the documentary showcases an appropriation of Ramayana different from the rest in terms of theatrical elements, Behl’s documentary shows that performing arts can be a vehicle to share cultural differences.\n\nDocumenting the movement of a text that has always been a part of tradition—from how it was once told to how it is received in the present—is itself an act of preservation. It immortalizes the journey of inheritance and reinforces the ways in which individuals appreciate their cultural roots.\n\nPhoto : The Battle at Lanka, Ramayana © SahibdinYear2017NationIndia
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CHORA’NYINGBA: A FLAVOR FROM MERAK-SAKTENG COMMUNITYAt altitudes of 3,525 and 2,973 meters, the Merak and Sakteng communities, respectively, are two separate settlements, yet because of their identical culture and traditions, people tend to refer to these communities as a single entity, as one village. The two settlements are separated by a high pass called Nyak-cung La, and traversing this land involves a strenuous day-long trek between these two settlements. The people of these settlements are believed to have migrated from Tshona to Tibet in the fourteenth century, led by ’Lama Jarepa. Ever since their arrival, they have been wearing distinct dress and speaking a unique language, and they have become accustomed to the lifestyle associated with inhabiting the higher altitudes of eastern Bhutan and living as nomads.Year2013NationSouth Korea
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ICH Policy Brief MOVE 2023 AUG01 UNESCO Trends\n* ICH documentation training project for youth in Jordan\n* UNESCO highlighted Indigenous Youth as ‘Agents of Change for Self-determination’\n* CRIHAP organized the Capacity Building Workshop on Intangible Cultural Heritage for Youth\n* ICH NGO Forum supports accredited NGOs to recover from damage\n\n02 Asia-Pacific Trends\n* Uzbekistan leverages its ancient Silk Road heritage to boost domestic tourism\n* Bhutan launched a safeguarding project to preserve and popularize its folk songs\n* Aboriginal groups protest against Western Australia’s decision to abolish the amendment to the Aboriginal Cultural Heritage Act\n\n03 Korean Trends\n* The legal basis for the Korean New Heritage System has been established\n* 2023 Intangible Heritage Festival spotlights the new meaning of living heritage\n* CHA fosters non-designated intangible heritage to be key cultural resources in the area\n* National Heritage Digital Contents Contest to prospect new K=contentsYear2023NationSouth Korea