Materials
mewang
ICH Materials 9
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Gunduri (Traditional Straw mat)
Gunduri is a straw mat, an agricultural byproduct consisting of the dry stalks of cereal plants after the grain and chaff have been removed. The temporary biodegradable products are made of natural material from the cereal crops such as barley, maize, oats, rice, rye, and wheat. It is used in villages and is locally made by the woman who has the skill to put it in a place. Whereas it is made of rice straw mostly in Tsirang, part of Dagana, Sarpang, and Samtse Dzongkhags. The making of the straw mats is carried out during the autumn season after the harvest of rice. It is also known as Gunduri in Lhotshamkha.
Bhutan -
Gunduri (Traditional Straw mat)
Gunduri is a straw mat, an agricultural byproduct consisting of the dry stalks of cereal plants after the grain and chaff have been removed. The temporary biodegradable products are made of natural material from the cereal crops such as barley, maize, oats, rice, rye, and wheat. It is used in villages and is locally made by the woman who has the skill to put it in a place. Whereas it is made of rice straw mostly in Tsirang, part of Dagana, Sarpang, and Samtse Dzongkhags. The making of the straw mats is carried out during the autumn season after the harvest of rice. It is also known as Gunduri in Lhotshamkha.
Bhutan -
Gunduri (Traditional Straw mat)
Gunduri is a straw mat, an agricultural byproduct consisting of the dry stalks of cereal plants after the grain and chaff have been removed. The temporary biodegradable products are made of natural material from the cereal crops such as barley, maize, oats, rice, rye, and wheat. It is used in villages and is locally made by the woman who has the skill to put it in a place. Whereas it is made of rice straw mostly in Tsirang, part of Dagana, Sarpang, and Samtse Dzongkhags. The making of the straw mats is carried out during the autumn season after the harvest of rice. It is also known as Gunduri in Lhotshamkha.
Southeast Asia -
Pawo/Jhakri (Shaman)
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.
Bhutan
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2010 Field Survey Report: Intangible Cultural Heritage Safeguarding Efforts in Bhutan
Based on the ICHCAP Field Survey on Intangible Cultural Heritage Safeguarding Efforts in some South Asian countries (2010–2013), this summary provides a brief overview on the ICH situation in Nepal, Bhutan, Bangladesh, Pakistan, and Sri Lanka . The summary focuses mainly on ICH safeguarding systems, safeguarding policies, and ICH inventories as well as on pending issues and the urgent safeguarding needs of these countries. Moreover, information on the main entities in charge of ICH safeguarding and opinions of each country on the issue of community involvement are provided. To give a quick overview these countries’ participation in ICH safeguarding at the international level, some additional information related to UNESCO is specified as well. Some information on the ICH safeguarding status of Pakistan is updated, based on Periodic Report No.00794/Pakistan on the implementation of the Convention and on the status of elements inscribed on the RL submitted to UNESCO on December 2012. \n\nThis survey report offers a large sample of the diverse ICH situations in South Asian countries. Each country has a different background on the issue of intangible heritage. Although all the participating countries are concerned about the threats facing ICH, most of the countries participating in the survey haven’t defined the ICH and haven’t established national ICH lists and/or ICH inventories.However, each country expresses a high degree of motivation and encouragement for safeguarding o ICH, sharing experiences, and cooperating internationally. A common point noticed among them is that they tend to pay more attention to traditional performing arts in comparison to other ICH domains. Apart from the main subject, information on the situation of intellectual property related to ICH safeguarding in each country is included. However, this issue is very briefly reflected, so it is necessary to go through the ICHCAP Field Survey on Intellectual Property Issues in the Process of ICH Information Building and Information Sharing (2011–2012) to obtain more comprehensive and concrete information on this topic.\n\n-Ratified the ICH Convention in 2005; conducted survey in 2010.\n-As of April 2013, has one element on the RL of UNESCO and no accredited NGOs.
Bhutan 2010 -
INTANGIBLE CULTURAL HERITAGE OF BHUTAN
The book describes different elements of Bhutanese intangible culture under five chapters. Learning, studying, promoting and transmitting the Bhutanese culture, and its essence — the intangible cultural heritage — is a sublime obligation for each and every Bhutanese today. This book will not only serve as a basic manual for the study of the ICH of Bhutan for the future generations, but also inspire them to renew and share their awareness of (and engagement in) the research of our culture and traditions.
Bhutan 2015 -
2016 Field Survey Report: Intangible Cultural Heritage Safeguarding Efforts in Bhutan
Based on the ICHCAP Field Survey on Intangible Cultural Heritage Safeguarding Efforts in some South Asian countries (2010–2013), this summary provides a brief overview on the ICH situation in Nepal, Bhutan, Bangladesh, Pakistan, and Sri Lanka . The summary focuses mainly on ICH safeguarding systems, safeguarding policies, and ICH inventories as well as on pending issues and the urgent safeguarding needs of these countries. Moreover, information on the main entities in charge of ICH safeguarding and opinions of each country on the issue of community involvement are provided. To give a quick overview these countries’ participation in ICH safeguarding at the international level, some additional information related to UNESCO is specified as well. Some information on the ICH safeguarding status of Pakistan is updated, based on Periodic Report No.00794/Pakistan on the implementation of the Convention and on the status of elements inscribed on the RL submitted to UNESCO on December 2012. \n\nThis survey report offers a large sample of the diverse ICH situations in South Asian countries. Each country has a different background on the issue of intangible heritage. Although all the participating countries are concerned about the threats facing ICH, most of the countries participating in the survey haven’t defined the ICH and haven’t established national ICH lists and/or ICH inventories.However, each country expresses a high degree of motivation and encouragement for safeguarding on ICH, sharing experiences, and cooperating internationally. A common point noticed among them is that they tend to pay more attention to traditional performing arts in comparison to other ICH domains. Apart from the main subject, information on the situation of intellectual property related to ICH safeguarding in each country is included. However, this issue is very briefly reflected, so it is necessary to go through the ICHCAP Field Survey on Intellectual Property Issues in the Process of ICH Information Building and Information Sharing (2011–2012) to obtain more comprehensive and concrete information on this topic.\n\n- Ratified the ICH Convention in 2005; conducted survey in 2010.\n- As of April 2013, has one element on the RL of UNESCO and no accredited NGOs.
Bhutan 2016
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Ging Tshogling Cham: Wrathful War DanceOne of the most entertaining mask dances is the Ging Tsholing Cham, where most of the audience, especially the children, are captivated by the intensifying drum beats and the fighting scene of the Cham ritual dance. The mask dance is also called Tro-ging, a local name, because it provides an entertaining presentation and performance for the audience. Ging represents the wrathful appearance of celestial beings, daka and dakinis; those dances are performed by laymen called Boecham pa. Whereas Tshogling is the emanation of guardian deities of Dharma protectors, including the Four Kings of the cardinal points and the Eight Classes of Gods and Goddesses; these roles are usually performed by Tsun cham pa monks. \n\nAccording to literary sources, the mask dance was introduced by Terton, treasure revealer, Pema Lingpa (1450-1521) after he saw the performance at Zangdok Pelri, the copper-colored mountain and spiritual realm of Guru Padmasambhava. Pema Lingpa, who was one of the fortunate incarnate beings of Guru Padmasambhava, met his enlightened master several times: when he predicted the future, when he gave him the list of treasures to be discovered in disguise, when he guided him to the sites to be discovered, and as he often invited him into his realm during meditation states and in dreams. On one such occasion, in the magnificent palace of Rang-jung Trulpai Phodrang, self-formed palace, he saw the Root Master manifesting in Ja-lue rainbow body or wisdom body, from which millions of his forms emerged, filling the three realms of the universe, which is beyond our imagination. Among the magical representations, the enlightened sages of India and Tibet sit in the right row and the scholars sit in the left row. In between them sit the 108 treasure discoverers, who are incarnations of Guru Padmasambhava and his 25 chief disciples. A cloud of gods and goddesses transformed into one hundred Dampa Rigja Protective Deities– forty-two peaceful forms, and fifty-eight in Ging wrathful appearance–they made various sensuous offerings, including the performance of Dorji-lugar Vajra Dances, dancing upon the air, rejoicing in the participation in the preaching of the coinage doctrine. \n\nOutside the entrance gate of the Four Directions are thousands of warriors from the Pho-jued and Mo-jued male and female classes of protecting deities, the Eight Classes of Gods and Goddesses, led by the kings of the Four Directions Tshoglings, who are getting ready to overcome obstacles to the sacred teachings. In the war scene between the Gings and the Tshoglings, the aggressive characters of the Tshoglings, and the drum beats of the Gings arouse a sense of fear in the obstacles and samaya oath breakers, guiding them to follow the righteous path of humanity.\n\nA similar performance was originally introduced by Guru Padmasambhava to aid Tibet’s King Thrisong Detsen (c. 755-797 or 804 AD). Padmasambhava used his supernatural powers at the great Samye Monastery in Tibet, he manifested in the form of Ging and Tshogling, producing an immense positive force to fight and subdue the evil spirits that hindered the construction of the monastery. With the obstacles overcome, the site became an important part of establishing the teachings of the Buddha in the region. \n\nAfter seeing the spectacular performance and realizing its benefits for the liberation of sentient beings, Pema Lingpa introduced the sacred mask dance to Jigten me-yul the human world, first at Korphu Temple, one of his seats in Trongsa, central Bhutan. There is still a saying that goes, "If you are not sure about the choreographies of Ging Tsholing or Tro-ging, you should visit Korphu Drub." Korphu Drub is the annual mask dance festival that coincides with the temple's dedication ceremony. \n\nDue to the importance of the dance, this mask dance was later introduced in most Tshechu, Rabney, Mewang, Mani, Drub, Drubchen (native names for the annual mask dance festival) of forts, monasteries and temples by Zhabdrung Ngawang Namgyal (1594-1651) who unified Bhutan as a country, the successive spiritual leaders of the Je Khenpo as well as the temporary leaders of the Druk Desi - these spiritual masters and far-sighted monarchs.YearNationBhutan
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Gar-chham: Mask Dance of BhutanEvery year, during the months of September to April, the festivals of Tshechu, Rabney, Mani, Mewang, 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. Garchham 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.\n\nIn the 8th century, Guru Padmasambava, a great Buddhist tantric master introduced the Garchham 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 garchham (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 tradition.\n\nGar-chham is one of the activities that primarily serve to drive away evil spirits that harm the lives of sentient beings, hinder the spread of the sacred teachings, liberate our souls and lead them to the path of enlightenment. Therefore, out of compassion, the supreme beings manifest themselves in various forms, depending on the character of the obstacles, and bring them to the righteous path. Such activity can be represented by the character of our parents, who sometimes burst into anger and at other times are so loving to their children. The purpose of showing such characters is basically to make us a good and helpful person who ultimately helps to create a harmonious community.\n\nPicture 1: Gar-chham © Yeshi Lhendup (Kharchhu Treldha Tshechu)\nPicture 2: Boe-chham © Yeshi Lhendup (Buli Mani)\nPicture 3: Tsun-chham © Yeshi Lhendup (Kurje Tshechu)\nPicture 4: Mask dance of the Intermediate State © Yeshi Lhendup (Buli Mani)Year2022NationBhutan