Mar-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.

Every year, during the months of September to April, the festivals of Tshechu, Rabney, Mani, Me-wang, Choed-pa, Due-choed, Yak-choed, Drub and Drub-chen are conducted simultaneously at various heritage sites; Dzongs (fortresses), monasteries and temples in Bhutan. This event transforms the sites into decorated places filled with offerings in the shrines and the surroundings filled with the resonance of religious musical instruments. It also brings together monks and local communities to jointly perform propitiation and affirmation rituals for the patron deities, along with the presentation of various sacred mask dances. People gather with most enchanting dresses to receive the blessings, say prayers and enjoy the much-awaited festive event. \n\nThese sensational dances are generally called Gar-chham which derived from Buddhist terminology. The term gar-chham is composed of two verbs: gar and chham. The various gestures exhibited by the hands are called Gar, whereas the manner of the legs is called Chham. Gar\u0002chham is considered one of the means of liberation called thong-drol (liberation through seeing), as it helps to mature and realize the primordial Buddha-nature, and reminds one to engage in wholesome activities. In the 8th century, Guru Padmasambava, a great Buddhist tantric master introduced the Gar-chham concept in Bhutan and also into the Buddhist tradition in 737 AD. This concept was further popularized by Terton (The Treasurer Revealer) Pema Lingpa (1450-1521) by introducing many sacred mask dances, mostly performed by laymen (community members). These performances are called Boe-chham. Zhabdrung Ngawang Namgyal (1594-1651) also placed more emphasis on the importance of these dances and included them in the curricula of the central monastery under the title Gar-thig-yang-sum (Mask Dances, Proportions Mandala Drawing and Ritual Intonation) to embed them in the realm of cultural heritage. The gar-chhams performed by monks are called Tsun-chham. \n\nWhether Tsun-chham or Boe-chham, gar-chhams are generally divided into three broad categories: Trul-pai zu-thrul gi gar-chham (manifested mask dances), Ka-ter dag-nang gi gar-chham (visualized mask dances), and Nam-thar zhi-chol gi gar-chham (biography-based mask dances). The subjugation of evil spirits and the liberation of their impure soul into the realm of Buddhahood through manifestation into pacifying, enriching, magnetizing, and wrathful forms are called trul-pai zu-thrul gi gar-chham. An example of this dance is the dance of the Eight Manifestations of Guru Padmasambava. Similarly, ka-ter dag-nang gi gar-chham are the profound performances of the guardian deities witnessed during the intermediate state of all the sentient beings. Some examples of such performances are the mask dances introduced by Terton Pema Lingpa. Finally, Nam-thar zhi-chol gi gar-chham are performances identical to plays based on well-known biographies. These performances convey the righteous human values that lead to a harmonious life. One of the most popular plays is the mask dance of the Intermediate State after death.\n\nTsun-chham or Boe-chham can be easily distinguished from the masked dance costumes. The Tsun-chham usually wears a brocade tunic with long and wide sleeves, while the boe-chham performers wear more colorful garments made of brocade and silk. In addition to the central monastic institutions, there are indigenous gar-chhams in communities and private temples and monasteries throughout the country, where community members are usually involved in organizing the event, performing the mask dance and presenting folk dances to safeguard their \ntradition.\n

Every year, during the months of September to April, the festivals of Tshechu, Rabney, Mani, Me-wang, Choed-pa, Due-choed, Yak-choed, Drub and Drub-chen are conducted simultaneously at various heritage sites; Dzongs (fortresses), monasteries and temples in Bhutan. This event transforms the sites into decorated places filled with offerings in the shrines and the surroundings filled with the resonance of religious musical instruments. It also brings together monks and local communities to jointly perform propitiation and affirmation rituals for the patron deities, along with the presentation of various sacred mask dances. People gather with most enchanting dresses to receive the blessings, say prayers and enjoy the much-awaited festive event. \n\nThese sensational dances are generally called Gar-chham which derived from Buddhist terminology. The term gar-chham is composed of two verbs: gar and chham. The various gestures exhibited by the hands are called Gar, whereas the manner of the legs is called Chham. Gar\u0002chham is considered one of the means of liberation called thong-drol (liberation through seeing), as it helps to mature and realize the primordial Buddha-nature, and reminds one to engage in wholesome activities. In the 8th century, Guru Padmasambava, a great Buddhist tantric master introduced the Gar-chham concept in Bhutan and also into the Buddhist tradition in 737 AD. This concept was further popularized by Terton (The Treasurer Revealer) Pema Lingpa (1450-1521) by introducing many sacred mask dances, mostly performed by laymen (community members). These performances are called Boe-chham. Zhabdrung Ngawang Namgyal (1594-1651) also placed more emphasis on the importance of these dances and included them in the curricula of the central monastery under the title Gar-thig-yang-sum (Mask Dances, Proportions Mandala Drawing and Ritual Intonation) to embed them in the realm of cultural heritage. The gar-chhams performed by monks are called Tsun-chham. \n\nWhether Tsun-chham or Boe-chham, gar-chhams are generally divided into three broad categories: Trul-pai zu-thrul gi gar-chham (manifested mask dances), Ka-ter dag-nang gi gar-chham (visualized mask dances), and Nam-thar zhi-chol gi gar-chham (biography-based mask dances). The subjugation of evil spirits and the liberation of their impure soul into the realm of Buddhahood through manifestation into pacifying, enriching, magnetizing, and wrathful forms are called trul-pai zu-thrul gi gar-chham. An example of this dance is the dance of the Eight Manifestations of Guru Padmasambava. Similarly, ka-ter dag-nang gi gar-chham are the profound performances of the guardian deities visualized in the meditative state of a spiritual being. Some examples of such performances are the mask dances introduced by Terton Pema Lingpa. Finally, Nam-thar zhi-chol gi gar-chham are performances identical to plays based on well-known biographies. These performances convey the righteous human values that lead to a harmonious life. One of the most popular plays is the mask dance of the Intermediate State after death.\n\nTsun-chham or Boe-chham can be easily distinguished from the masked dance costumes. The Tsun-chham usually wears a brocade tunic with long and wide sleeves, while the boe-chham performers wear more colorful garments made of brocade and silk. In addition to the central monastic institutions, there are indigenous gar-chhams in communities and private temples and monasteries throughout the country, where community members are usually involved in organizing the event, performing the mask dance and presenting folk dances to safeguard their \ntradition.

Every year, during the months of September to April, the festivals of Tshechu, Rabney, Mani, Me-wang, Choed-pa, Due-choed, Yak-choed, Drub and Drub-chen are conducted simultaneously at various heritage sites; Dzongs (fortresses), monasteries and temples in Bhutan. This event transforms the sites into decorated places filled with offerings in the shrines and the surroundings filled with the resonance of religious musical instruments. It also brings together monks and local communities to jointly perform propitiation and affirmation rituals for the patron deities, along with the presentation of various sacred mask dances. People gather with most enchanting dresses to receive the blessings, say prayers and enjoy the much-awaited festive event. \n\nThese sensational dances are generally called Gar-chham which derived from Buddhist terminology. The term gar-chham is composed of two verbs: gar and chham. The various gestures exhibited by the hands are called Gar, whereas the manner of the legs is called Chham. Gar\u0002chham is considered one of the means of liberation called thong-drol (liberation through seeing), as it helps to mature and realize the primordial Buddha-nature, and reminds one to engage in wholesome activities. In the 8th century, Guru Padmasambava, a great Buddhist tantric master introduced the Gar-chham concept in Bhutan and also into the Buddhist tradition in 737 AD. This concept was further popularized by Terton (The Treasurer Revealer) Pema Lingpa (1450-1521) by introducing many sacred mask dances, mostly performed by laymen (community members). These performances are called Boe-chham. Zhabdrung Ngawang Namgyal (1594-1651) also placed more emphasis on the importance of these dances and included them in the curricula of the central monastery under the title Gar-thig-yang-sum (Mask Dances, Proportions Mandala Drawing and Ritual Intonation) to embed them in the realm of cultural heritage. The gar-chhams performed by monks are called Tsun-chham. \n\nWhether Tsun-chham or Boe-chham, gar-chhams are generally divided into three broad categories: Trul-pai zu-thrul gi gar-chham (manifested mask dances), Ka-ter dag-nang gi gar-chham (visualized mask dances), and Nam-thar zhi-chol gi gar-chham (biography-based mask dances). The subjugation of evil spirits and the liberation of their impure soul into the realm of Buddhahood through manifestation into pacifying, enriching, magnetizing, and wrathful forms are called trul-pai zu-thrul gi gar-chham. An example of this dance is the dance of the Eight Manifestations of Guru Padmasambava. Similarly, ka-ter dag-nang gi gar-chham are the profound performances of the guardian deities witnessed during the intermediate state of all the sentient beings. Some examples of such performances are the mask dances introduced by Terton Pema Lingpa. Finally, Nam-thar zhi-chol gi gar-chham are performances identical to plays based on well-known biographies. These performances convey the righteous human values that lead to a harmonious life. One of the most popular plays is the mask dance of the Intermediate State after death.\n\nTsun-chham or Boe-chham can be easily distinguished from the masked dance costumes. The Tsun-chham usually wears a brocade tunic with long and wide sleeves, while the boe-chham performers wear more colorful garments made of brocade and silk. In addition to the central monastic institutions, there are indigenous gar-chhams in communities and private temples and monasteries throughout the country, where community members are usually involved in organizing the event, performing the mask dance and presenting folk dances to safeguard their \ntradition.\n

It is a local festival based on the ancient tribal traditions of \nthe rural communities of Bokonbaev and Ton villages. The festival has been held since 2003 every year on the first Sunday in August. The elders of Bokonbaevo and Ton villages gather with young generation in the holy place of Manzhyly Ata to commemorate ancestors and pray to the spirit of the revered local holy sage and falconer Moitke ake, who lived in the Middle Ages and is considered the patron saint of these places. The elders lead the participants to worship the spirits of their ancestors to the holy place "Manzhyly-Ata", where a sacrificial animal - a ram - is cut on the grave of Moitka Ake. Old people tell the participants of the festival stories and legends connected with the holy place, sage Moitke Ake and his hunting birds - falcons. Hunters showcase the ancient traditions of falconry, local artists and artisans display their works and products related to the theme of traditions and spiritual values, traditional musicians and storytellers compete with each other in skill. The festival ends with a ritual meal with a "tul bata" - collective prayer of the festival participants for a blessing, addressed to the spirits of the ancestors.\n

It is a local festival based on the ancient tribal traditions of \nthe rural communities of Bokonbaev and Ton villages. The festival has been held since 2003 every year on the first Sunday in August. The elders of Bokonbaevo and Ton villages gather with young generation in the holy place of Manzhyly Ata to commemorate ancestors and pray to the spirit of the revered local holy sage and falconer Moitke ake, who lived in the Middle Ages and is considered the patron saint of these places. The elders lead the participants to worship the spirits of their ancestors to the holy place "Manzhyly-Ata", where a sacrificial animal - a ram - is cut on the grave of Moitka Ake. Old people tell the participants of the festival stories and legends connected with the holy place, sage Moitke Ake and his hunting birds - falcons. Hunters showcase the ancient traditions of falconry, local artists and artisans display their works and products related to the theme of traditions and spiritual values, traditional musicians and storytellers compete with each other in skill. The festival ends with a ritual meal with a "tul bata" - collective prayer of the festival participants for a blessing, addressed to the spirits of the ancestors.\n\n

It is a local festival based on the ancient tribal traditions of \nthe rural communities of Bokonbaev and Ton villages. The festival has been held since 2003 every year on the first Sunday in August. The elders of Bokonbaevo and Ton villages gather with young generation in the holy place of Manzhyly Ata to commemorate ancestors and pray to the spirit of the revered local holy sage and falconer Moitke ake, who lived in the Middle Ages and is considered the patron saint of these places. The elders lead the participants to worship the spirits of their ancestors to the holy place "Manzhyly-Ata", where a sacrificial animal - a ram - is cut on the grave of Moitka Ake. Old people tell the participants of the festival stories and legends connected with the holy place, sage Moitke Ake and his hunting birds - falcons. Hunters showcase the ancient traditions of falconry, local artists and artisans display their works and products related to the theme of traditions and spiritual values, traditional musicians and storytellers compete with each other in skill. The festival ends with a ritual meal with a "tul bata" - collective prayer of the festival participants for a blessing, addressed to the spirits of the ancestors.\n\n

It is a local festival based on the ancient tribal traditions of \nthe rural communities of Bokonbaev and Ton villages. The festival has been held since 2003 every year on the first Sunday in August. The elders of Bokonbaevo and Ton villages gather with young generation in the holy place of Manzhyly Ata to commemorate ancestors and pray to the spirit of the revered local holy sage and falconer Moitke ake, who lived in the Middle Ages and is considered the patron saint of these places. The elders lead the participants to worship the spirits of their ancestors to the holy place "Manzhyly-Ata", where a sacrificial animal - a ram - is cut on the grave of Moitka Ake. Old people tell the participants of the festival stories and legends connected with the holy place, sage Moitke Ake and his hunting birds - falcons. Hunters showcase the ancient traditions of falconry, local artists and artisans display their works and products related to the theme of traditions and spiritual values, traditional musicians and storytellers compete with each other in skill. The festival ends with a ritual meal with a "tul bata" - collective prayer of the festival participants for a blessing, addressed to the spirits of the ancestors.\n\n

NAYIT is an Arabic word. Eid means holiday. In the Islamic tradition, two Eids are officially celebrated as religious holidays: the great Eid or the Eid of Sacrifice (Arabic: Eid al-Kabir, Eid al-Adha) and the lesser Eid, or Eid of fasting (Arabic: Eid al-Sagheer, Eid al-Fitr). Eid al-Adha is associated with the pilgrimage and sacrifice, and Eid al-Fitr is about opening the mouth at the end of the month of Ramadan. Eid al-Adha is celebrated on the 10th day of Zu-l-Hijjah, and Eid al-Fitr is celebrated on the 1st day of Shawwal. Eid al-Fitr prayer in the mosque in the morning, giving al-Fitr charity (before the Eid al-Fitr prayer), and making sacrifices on Eid al-Fitr, etc. rites related to Islam arose. In many places, the local customs of the peoples are included in these Eid rituals: sharing food on the eve, wearing new clothes, giving "Hayt", going for a walk, visiting loved ones, etc. also joined.\n

NAYIT is an Arabic word. Eid means holiday. In the Islamic tradition, two Eids are officially celebrated as religious holidays: the great Eid or the Eid of Sacrifice (Arabic: Eid al-Kabir, Eid al-Adha) and the lesser Eid, or Eid of fasting (Arabic: Eid al-Sagheer, Eid al-Fitr). Eid al-Adha is associated with the pilgrimage and sacrifice, and Eid al-Fitr is about opening the mouth at the end of the month of Ramadan. Eid al-Adha is celebrated on the 10th day of Zu-l-Hijjah, and Eid al-Fitr is celebrated on the 1st day of Shawwal. Eid al-Fitr prayer in the mosque in the morning, giving al-Fitr charity (before the Eid al-Fitr prayer), and making sacrifices on Eid al-Fitr, etc. rites related to Islam arose. In many places, the local customs of the peoples are included in these Eid rituals: sharing food on the eve, wearing new clothes, giving "Hayt", going for a walk, visiting loved ones, etc. also joined.\n

NAYIT is an Arabic word. Eid means holiday. In the Islamic tradition, two Eids are officially celebrated as religious holidays: the great Eid or the Eid of Sacrifice (Arabic: Eid al-Kabir, Eid al-Adha) and the lesser Eid, or Eid of fasting (Arabic: Eid al-Sagheer, Eid al-Fitr). Eid al-Adha is associated with the pilgrimage and sacrifice, and Eid al-Fitr is about opening the mouth at the end of the month of Ramadan. Eid al-Adha is celebrated on the 10th day of Zu-l-Hijjah, and Eid al-Fitr is celebrated on the 1st day of Shawwal. Eid al-Fitr prayer in the mosque in the morning, giving al-Fitr charity (before the Eid al-Fitr prayer), and making sacrifices on Eid al-Fitr, etc. rites related to Islam arose. In many places, the local customs of the peoples are included in these Eid rituals: sharing food on the eve, wearing new clothes, giving "Hayt", going for a walk, visiting loved ones, etc. also joined.\n

NAYIT is an Arabic word. Eid means holiday. In the Islamic tradition, two Eids are officially celebrated as religious holidays: the great Eid or the Eid of Sacrifice (Arabic: Eid al-Kabir, Eid al-Adha) and the lesser Eid, or Eid of fasting (Arabic: Eid al-Sagheer, Eid al-Fitr). Eid al-Adha is associated with the pilgrimage and sacrifice, and Eid al-Fitr is about opening the mouth at the end of the month of Ramadan. Eid al-Adha is celebrated on the 10th day of Zu-l-Hijjah, and Eid al-Fitr is celebrated on the 1st day of Shawwal. Eid al-Fitr prayer in the mosque in the morning, giving al-Fitr charity (before the Eid al-Fitr prayer), and making sacrifices on Eid al-Fitr, etc. rites related to Islam arose. In many places, the local customs of the peoples are included in these Eid rituals: sharing food on the eve, wearing new clothes, giving "Hayt", going for a walk, visiting loved ones, etc. also joined.\n