Jhakri or Dhami is a local name for the person who does the traditional ritual to cure the patient. During ancient times, in the absence of medical science, people used to treat the patient through traditional therapy by performing a ritual known as Chhimta, Jhakri. The history of becoming a Jhakri is related to the story of Lord Shiva and his wife Parvati. Goddess Sati took birth on earth as the daughter of King Himavat and Queen Mena. Narad Muni, (a storyteller who carries news and enlightening wisdom) came to look at the baby and declared she is destined to marry Shiva. While growing up, she would lose herself thinking about Lord Shiva. So when Parvati was of marriageable age, she went to the Himalayas to perform penance and appease Lord Shiva and marry him. Lord Shiva was impressed by her devotion and knew about her desire, and he married her. \n\nAfter living together for years, one day Lord Shiva was seriously ill and couldn't be cured for so long. Gradually Lord Shiva came to know that the main cause was because of Parvati. She is believed to be witchcraft (Sondray in Dzongkha and Bogshi in Lhotshamkha). Then Lord Shiva shared with his in-law. His in-law conveyed the idea that her soul/mind will become cleansed if the witchcraft gets out of her soul. The situation was unfathomable to solve, in the course of time Lord Shiva and his in-law tried with an idea to cease the witchcraft of Parvati. One day Parvati was stirring over something out of her attention. Suddenly, his in-law shouted in front of her and said PHAAT!!! Perceptibly, she was horrified by sound and her witchcraft dissipated. So it is said that the evolution of Jhakri started from that moment. So this story was shared by most of the interviewees. \n\nMoreover, it has another continuous story to be shared as per Mr. Singh Bir Pradhan, a senior citizen of Dzomling chiwog. Once there came a person called Jangali (another name for Jhakri) to meet Lord Shiva who was seriously ill for so long. So Jangali sat to the right of Lord Shiva and Parvati to the left. Jangali came with the Tiger grass (Botanical name: Thysanolaena latifolia) to treat Shiva by using the leaves. The treatment was akin to showing the magic. Jangali swallowed that leaf in his mouth and showed it from his bottom. Then Parvati was asked to swallow the tiger grass leaf. As she swallowed the leaf, it stuck halfway down her throat, and was finding it difficult to swallow completely. Then the Jangali asked her to cough out the leaf with full force. When Parvati coughed out with full force the leaf came out and along with it witched. As a result, the leaf left a mark on Parvati’s teeth. So this is a story regarding the evolution of Jhakri.\n\nTo become a Jhakri is not the core profession of a person who can endure or learn it. Rather it's the prophecy given by Lord Shiva who has the virtue to treat people whenever they are sick. When a person who is destined to be a Jhakri, is born with the wisdom of Jhakri, he usually suffers from various illnesses at a young age. The symptoms include frequent stomach ache, headache, dizziness, back pain, and shivering body which cannot be controlled. In a few cases, the person destined to be a Jhakri even has hallucinations. They will not know the causes yet the illness continues for three to four years. According to Mr. Manbir Khadal, 65-year-old Jhakri said that if a person is destined to be a Jhakri, he behaves very strangely even when in the mother’s womb. He also added that Manbir’s mother had experienced extensive fetal movement and unusual shivering from the premature baby. \nThe divination of a Jhakri will be only born to the person who stays clean, mentally pure, and physically healthy. It sometimes can be related to a person reincarnated as a great lama or Truelku in Buddhism since Jhakri will also be able to predict the past life of a person. Mr. Manbir Khadal also says that with time Jhakri is rarely born. “The current Jhakris’ are all born before 1990. Some of them already immigrated to other countries after the 1990s problem in southern Bhutan”. \n\nLocals shared the importance of having Dhami in their locality because if the patient is sick for a long duration, they get other ways of treating when hospital medicine does not cure them. So, the practice of the Jhakri ritual is still believed and endured by the people across the country as per Deo Maya, the wife of Dhami Manbir Khadal. She says that if a person is suffering from dizziness, and back pain when they are grieved by the local deities/divinity, and if the illness is caused by the evil spirits, they instantly come to visit her husband to do the ritual. \n\nMr. Manbir Khadal had been living in his current village, that is lower Dzomling, for his entire life and his parents too. After he was recognized as a Jhakri, he treated countless patients from different parts of our country. From this we can conclude that the people balance their beliefs in both medical science and spiritual therapy. He said, “A few weeks ago, a quadriplegia (paralyzed from the waist down) girl with her family came to do the Jhakri ritual at my house. When she was coming down towards my house, her guardian was carrying her on his back. After doing the Jhakri ritual, she was alright and able to walk without support.” which means we can say that people still believe in the traditional healing therapy practice in this modern world.

The term Lha means God and Soel means Offering or prayer. The tradition is considered a Bon tradition because the ritual involves only Bon practices. \nAccording to Sam Van Schaik, the Bon tradition, also referred to as the Bonpo religion, probably originated in the eleventh century, as there is no evidence of systematic religion in Tibetan before the arrival of Buddhism, and it was in the eleventh century that the Bon tradition formulated its scriptures, mainly from Termas (hidden treasures) and visions of Tertons (treasure discoverers) such as Loden Nyingpo. Although the Bon Terma contain myths that Bon existed before the introduction of Buddhism to Tibet, "the 'old religion' was in fact a new religion." Some scholars consider Bon to be a distinct sub-school or religious order within Tibetan Buddhism.\n\nBon flourished in Tibet before Buddhism. Over time, Buddhism became more popular and Bon became less popular. The Bon tradition also existed in Bhutan before Buddhism took hold. Although the Bon tradition was not strongly recognized by the people of Bhutan, it still existed in every corner of the country, making this tradition one of the oldest in Bhutan.\n\nThe Bon practitioners in Wangdiphodrang Dzongkhag (district), such as the communities of Gaseng Tshogom, Khatoekha and Lhashing Tsawa, performed a common ritual known as Lhab-soel every three years. The ritual is organized by one of the Pawo (male shaman) and Neljorm/Pamo (female shaman) of each village. They alternate hosting the program every three years. The organizer of each year prepares the Lhasoel rituals. The tents are pitched near the organizer's house. The Lha-soel ritual takes two whole days.\n\nThe Bon tradition is based entirely on the belief that the earth, rocks, cliffs, trees, sun, moon, stars, etc. are the protectors, and therefore they take refuge and offer animals as sacrifices.\n\nIn an interview with 68-year-old shaman Aum (elderly woman) Kencho Om from Nakey-kha village in Sangbekha gewog, Haa Dzongkhag, who has been a Pamo for 25 years, it is said that the Pamos are identical to the Nyeljoms and are common throughout central and eastern Bhutan. They are the female mediums who are possessed by local deities. Their job is to diagnose and cure diseases through divination and rituals.\n\nIt is believed that Pamo continuously persists through the family line. When the practitioner mother dies, the spirit passes to her daughter. However, it depends on the decision of the deity or god to choose the legitimate wife among the daughters or granddaughters. Aum Kencho has no formal education, but they have somehow learned all the chanting that has been transmitted to them through their heredity. \n\nAccording to her, Pamo plays an important psychological and healing role in a rural society where the supernatural is a part of life (which normal people cannot do, such as mediate through the mind). The Bhutanese believe that illnesses are due to an imbalance in the various elements that make up the body, and that they are often caused by one of the numerous vengeful spirits associated with certain symptoms that consist of energy channels (Tsa), the wind channel (Lung), and the seed channel (Thig-le) in the human body. When these channels unbalance each other, it causes illness in people. \n\nThe Lha-soel is held at the beginning of the 6th month (July) and another in the 12th month (January) according to the Bhutanese calendar. It is performed twice a year (summer and winter). In summer, they perform a shortened ritual (Due-pa) in the evening, while in winter they perform a grand ritual (Gye-pa) that usually lasts from evening to the next morning. Although there is no specific time, the ritual is performed either on the 8th, 10th, 15th, 25th and 30th of the month.

Mak Yong is a traditional form of dance-drama that combines ritualistic spiritworship concerning Mak Hiang (Mother-Spirit, or the Paddy-Spirit). It has elements of acting, dancing, singing, songs, stories and dialogues. It is widely performed in Terengganu, Patani, Kelantan, Kedah, Perlis as well as at the Islands of Riau in Indonesia and Pattani of Southern Thailand.\nMak Yong is believed to be originated from the Malay Palace in Pattani about 400 years ago before making its way to the East Coast of Peninsular Nakatsua. In the 1920’s, Mak Yong was performed under the patronage of Kelantan Sultanate and therefore has assimilated the luxury of palace-style decorated costumes.\nUnfortunately, Mak Yong was banned by the Pan-Malaysian Islamic Party in 1991 under the allegation of animist and Hindu-Buddhist roots. The status of Mak Yong was recognized internationally after UNESCO declared Mak Yong as an"Masterpiece of the Oral and Intangible Heritage of Humanity" in 2005.\nThe performance often opens with the song “Mengadap Rebab,” followed with dancing and singing accompanied by traditional musical composition. There are twelve main stories in a Mak Yong performance: Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Panah, Raja Indera Dewa, Endeng Tejeli (Anak Raja Gondang, Batak Raja Gondang, Raja Bongsu Sakti), Raja Tangkai Hati, Gading Bertimang, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar dalam Negeri Ho Gading and Bentara Muda. In general, the stories are derived from local folktales about kings, deities and comic characters. Mak Yong has also been associated with traditional medicinal purposes in which shamans attempt to cure possessed patients through singing and dancing in ritualistic trance.\nEach story needs a duration of three hours to be fully performed. Most Mak Yong characters are played by female actors and is performed on a center stage surrounded by the audience. Audience sit around the three sides of the stage, while the fourth side is reserved for the musicians.

Mak Yong is a traditional form of dance-drama that combines ritualistic spiritworship concerning Mak Hiang (Mother-Spirit, or the Paddy-Spirit). It has elements of acting, dancing, singing, songs, stories and dialogues. It is widely performed in Terengganu, Patani, Kelantan, Kedah, Perlis as well as at the Islands of Riau in Indonesia and Pattani of Southern Thailand.\nMak Yong is believed to be originated from the Malay Palace in Pattani about 400 years ago before making its way to the East Coast of Peninsular Nakatsua. In the 1920’s, Mak Yong was performed under the patronage of Kelantan Sultanate and therefore has assimilated the luxury of palace-style decorated costumes.\nUnfortunately, Mak Yong was banned by the Pan-Malaysian Islamic Party in 1991 under the allegation of animist and Hindu-Buddhist roots. The status of Mak Yong was recognized internationally after UNESCO declared Mak Yong as an"Masterpiece of the Oral and Intangible Heritage of Humanity" in 2005.\nThe performance often opens with the song “Mengadap Rebab,” followed with dancing and singing accompanied by traditional musical composition. There are twelve main stories in a Mak Yong performance: Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Panah, Raja Indera Dewa, Endeng Tejeli (Anak Raja Gondang, Batak Raja Gondang, Raja Bongsu Sakti), Raja Tangkai Hati, Gading Bertimang, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar dalam Negeri Ho Gading and Bentara Muda. In general, the stories are derived from local folktales about kings, deities and comic characters. Mak Yong has also been associated with traditional medicinal purposes in which shamans attempt to cure possessed patients through singing and dancing in ritualistic trance.\nEach story needs a duration of three hours to be fully performed. Most Mak Yong characters are played by female actors and is performed on a center stage surrounded by the audience. Audience sit around the three sides of the stage, while the fourth side is reserved for the musicians.

Mak Yong is a traditional form of dance-drama that combines ritualistic spiritworship concerning Mak Hiang (Mother-Spirit, or the Paddy-Spirit). It has elements of acting, dancing, singing, songs, stories and dialogues. It is widely performed in Terengganu, Patani, Kelantan, Kedah, Perlis as well as at the Islands of Riau in Indonesia and Pattani of Southern Thailand.\nMak Yong is believed to be originated from the Malay Palace in Pattani about 400 years ago before making its way to the East Coast of Peninsular Nakatsua. In the 1920’s, Mak Yong was performed under the patronage of Kelantan Sultanate and therefore has assimilated the luxury of palace-style decorated costumes.\nUnfortunately, Mak Yong was banned by the Pan-Malaysian Islamic Party in 1991 under the allegation of animist and Hindu-Buddhist roots. The status of Mak Yong was recognized internationally after UNESCO declared Mak Yong as an"Masterpiece of the Oral and Intangible Heritage of Humanity" in 2005.\nThe performance often opens with the song “Mengadap Rebab,” followed with dancing and singing accompanied by traditional musical composition. There are twelve main stories in a Mak Yong performance: Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Panah, Raja Indera Dewa, Endeng Tejeli (Anak Raja Gondang, Batak Raja Gondang, Raja Bongsu Sakti), Raja Tangkai Hati, Gading Bertimang, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar dalam Negeri Ho Gading and Bentara Muda. In general, the stories are derived from local folktales about kings, deities and comic characters. Mak Yong has also been associated with traditional medicinal purposes in which shamans attempt to cure possessed patients through singing and dancing in ritualistic trance.\nEach story needs a duration of three hours to be fully performed. Most Mak Yong characters are played by female actors and is performed on a center stage surrounded by the audience. Audience sit around the three sides of the stage, while the fourth side is reserved for the musicians.

Mak Yong is a traditional form of dance-drama that combines ritualistic spiritworship concerning Mak Hiang (Mother-Spirit, or the Paddy-Spirit). It has elements of acting, dancing, singing, songs, stories and dialogues. It is widely performed in Terengganu, Patani, Kelantan, Kedah, Perlis as well as at the Islands of Riau in Indonesia and Pattani of Southern Thailand.\nMak Yong is believed to be originated from the Malay Palace in Pattani about 400 years ago before making its way to the East Coast of Peninsular Nakatsua. In the 1920’s, Mak Yong was performed under the patronage of Kelantan Sultanate and therefore has assimilated the luxury of palace-style decorated costumes.\nUnfortunately, Mak Yong was banned by the Pan-Malaysian Islamic Party in 1991 under the allegation of animist and Hindu-Buddhist roots. The status of Mak Yong was recognized internationally after UNESCO declared Mak Yong as an"Masterpiece of the Oral and Intangible Heritage of Humanity" in 2005.\nThe performance often opens with the song “Mengadap Rebab,” followed with dancing and singing accompanied by traditional musical composition. There are twelve main stories in a Mak Yong performance: Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Panah, Raja Indera Dewa, Endeng Tejeli (Anak Raja Gondang, Batak Raja Gondang, Raja Bongsu Sakti), Raja Tangkai Hati, Gading Bertimang, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar dalam Negeri Ho Gading and Bentara Muda. In general, the stories are derived from local folktales about kings, deities and comic characters. Mak Yong has also been associated with traditional medicinal purposes in which shamans attempt to cure possessed patients through singing and dancing in ritualistic trance.\nEach story needs a duration of three hours to be fully performed. Most Mak Yong characters are played by female actors and is performed on a center stage surrounded by the audience. Audience sit around the three sides of the stage, while the fourth side is reserved for the musicians.

This is a portion of the traditional Bhutanese masked dance of Cham, rearranged for a solo performer. It is a combination of the ‘Drum Dance’ which represents the victory of good over evil, and the ‘Hero’s Dance’ which contains a message to the god of peace and anger. In Bhutan, Buddhism is more than a religion, being a philosophy that guides its way of life and culture. In this culture of Buddhism, Cham is regarded one of the most unique elements of the Bhutanese Buddist heritage. ‘Cham’ which refers to a type of masked dance performed at rituals, is performed at the annual festivals of temples in the region. The people of Bhutan regard the act of viewing Cham as a spiritual experience, of release from worldly attachments.\n\nCham dancers wear traditional costumes made of silk in the 6 colors of red, white, yellow, green, blue and black. Each color stands for different aspects of nature, red for fire, energy and strength, white for water and peace, yellow for the ground, growth and elevation, green for air and finiteness, blue for the universe and infinity, and black for anger. The masks worn while dancing are carved from wood, depicting saints, wise men, guardian deities and legendary figures. The music is played using cymbals, drums, large and small copper horns, conches and bells.\n\nCharacteristics:\n∙An excerpt from a Cham (Bhutanese masked ritual dance) adapted for the stage\n\nPerformed by Tsering Dorji\nDirected by Tsering Dorji

This is a portion of the traditional Bhutanese masked dance of Cham, rearranged for a solo performer. It is a combination of the ‘Drum Dance’ which represents the victory of good over evil, and the ‘Hero’s Dance’ which contains a message to the god of peace and anger. In Bhutan, Buddhism is more than a religion, being a philosophy that guides its way of life and culture. In this culture of Buddhism, Cham is regarded one of the most unique elements of the Bhutanese Buddist heritage. ‘Cham’ which refers to a type of masked dance performed at rituals, is performed at the annual festivals of temples in the region. The people of Bhutan regard the act of viewing Cham as a spiritual experience, of release from worldly attachments.\n\nCham dancers wear traditional costumes made of silk in the 6 colors of red, white, yellow, green, blue and black. Each color stands for different aspects of nature, red for fire, energy and strength, white for water and peace, yellow for the ground, growth and elevation, green for air and finiteness, blue for the universe and infinity, and black for anger. The masks worn while dancing are carved from wood, depicting saints, wise men, guardian deities and legendary figures. The music is played using cymbals, drums, large and small copper horns, conches and bells.\n\nCharacteristics:\n∙An excerpt from a Cham (Bhutanese masked ritual dance) adapted for the stage\n\nPerformed by Tsering Dorji\nDirected by Tsering Dorji

This is a portion of the traditional Bhutanese masked dance of Cham, rearranged for a solo performer. It is a combination of the ‘Drum Dance’ which represents the victory of good over evil, and the ‘Hero’s Dance’ which contains a message to the god of peace and anger. In Bhutan, Buddhism is more than a religion, being a philosophy that guides its way of life and culture. In this culture of Buddhism, Cham is regarded one of the most unique elements of the Bhutanese Buddist heritage. ‘Cham’ which refers to a type of masked dance performed at rituals, is performed at the annual festivals of temples in the region. The people of Bhutan regard the act of viewing Cham as a spiritual experience, of release from worldly attachments.\n\nCham dancers wear traditional costumes made of silk in the 6 colors of red, white, yellow, green, blue and black. Each color stands for different aspects of nature, red for fire, energy and strength, white for water and peace, yellow for the ground, growth and elevation, green for air and finiteness, blue for the universe and infinity, and black for anger. The masks worn while dancing are carved from wood, depicting saints, wise men, guardian deities and legendary figures. The music is played using cymbals, drums, large and small copper horns, conches and bells.\n\nCharacteristics:\n∙An excerpt from a Cham (Bhutanese masked ritual dance) adapted for the stage\n\nPerformed by Tsering Dorji\nDirected by Tsering Dorji

This is a portion of the traditional Bhutanese masked dance of Cham, rearranged for a solo performer. It is a combination of the ‘Drum Dance’ which represents the victory of good over evil, and the ‘Hero’s Dance’ which contains a message to the god of peace and anger. In Bhutan, Buddhism is more than a religion, being a philosophy that guides its way of life and culture. In this culture of Buddhism, Cham is regarded one of the most unique elements of the Bhutanese Buddist heritage. ‘Cham’ which refers to a type of masked dance performed at rituals, is performed at the annual festivals of temples in the region. The people of Bhutan regard the act of viewing Cham as a spiritual experience, of release from worldly attachments.\n\nCham dancers wear traditional costumes made of silk in the 6 colors of red, white, yellow, green, blue and black. Each color stands for different aspects of nature, red for fire, energy and strength, white for water and peace, yellow for the ground, growth and elevation, green for air and finiteness, blue for the universe and infinity, and black for anger. The masks worn while dancing are carved from wood, depicting saints, wise men, guardian deities and legendary figures. The music is played using cymbals, drums, large and small copper horns, conches and bells.\n\nCharacteristics:\n∙An excerpt from a Cham (Bhutanese masked ritual dance) adapted for the stage\n\nPerformed by Tsering Dorji\nDirected by Tsering Dorji

This is a portion of the traditional Bhutanese masked dance of Cham, rearranged for a solo performer. It is a combination of the ‘Drum Dance’ which represents the victory of good over evil, and the ‘Hero’s Dance’ which contains a message to the god of peace and anger. In Bhutan, Buddhism is more than a religion, being a philosophy that guides its way of life and culture. In this culture of Buddhism, Cham is regarded one of the most unique elements of the Bhutanese Buddist heritage. ‘Cham’ which refers to a type of masked dance performed at rituals, is performed at the annual festivals of temples in the region. The people of Bhutan regard the act of viewing Cham as a spiritual experience, of release from worldly attachments.\n\nCham dancers wear traditional costumes made of silk in the 6 colors of red, white, yellow, green, blue and black. Each color stands for different aspects of nature, red for fire, energy and strength, white for water and peace, yellow for the ground, growth and elevation, green for air and finiteness, blue for the universe and infinity, and black for anger. The masks worn while dancing are carved from wood, depicting saints, wise men, guardian deities and legendary figures. The music is played using cymbals, drums, large and small copper horns, conches and bells.\n\nCharacteristics:\n∙An excerpt from a Cham (Bhutanese masked ritual dance) adapted for the stage\n\nPerformed by Tsering Dorji\nDirected by Tsering Dorji

"Datun Julud" means "long dance" in Dayak Kenyah language, "Hivan Joh" in Kayan, and "Arang Kadang" in Kelabit. It is traditionally danced by a group of ladies on ceremonious occasions, by the Orang Ulu people of Borneo. The Datun Julud was said to have been created by a Kenyah prince called Nyik Selung, to symbolise happiness and gratitude. A solo dancer, a barefooted woman, usually begins the dance, moving spontaneously with a fluid motion to emulate a hornbill in flight. Gracefully, gently, the dancer moves her arms, legs and torso, careful to keep her head erect and motionless so as to keep her earrings - heavy brass ornaments that dangle from elongated earlobes - from swaying too much. The dancer is usually dressed in a colourful sarong and an elaborate headdress, which is adorned with protruding tufts symbolising the deities. To represent the wings of the hornbill, she holds beautiful fans made out of the feathers of the sacred bird. After she is done, another woman takes her place, and this goes on until all the women in the longhouse have each taken their turn. On various occasions, the dance is performed by a group of up to four women. The Datun Julud is often accompanied by the beautiful sounds of the sape, a traditional lute peculiar to the Orang Ulu community or "upriver people" of central Borneo. Today, the Datun Julud has become a dance of formal entertainment that is often performed in the rumah panjang (longhouse) to greet visitors and tourists.