Elements
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EE00002056
Nyenkha Kha (The dialect of some communities under Trangsa district)
The famous King Drimed Kuenden (previous life of the historical Buddha in the Vassantara Jakata) on exile, known for his altruistic, and compassionate acts that even gave away his own family members, visited Black Mountain (Jowo Durzhing). On the way he gave away his horse to an old man, and hence the name Taktse came into existence. Bhutan is a multilingual country where approximately 19 local dialects are commonly spoken. Mangduep kha is one of the local dialects commonly spoken in Trongsa and some parts of Wangduephodrang. The term Mangdue was derived from the place being able to grow any kind of crops and cereals. The local dialect Magdue kha is still used for communication in 3 gewogs (Nubi, Tangsibji and Drakten) under Trongsa Dzongkhag.
Bhutan -
EE00002445
Kumnab (Poems, lyrics)
Poetry is a collection of words that have a catchy ending, sometimes sweet, using a method of composition with rules. There are phrases and the number of syllables depends on the type of song. Poetry in the heart language of a poet can make the reader or listener excited, happy, sad, loving, angry, hateful and hurt. It is not clear when Khmer poetry originated, although in Cambodia there is evidence of Sanskrit poetry in pre-Angkor era inscriptions. On the other hand, Khmer poets learned poetry from Indian and the content is embedded with a deep religious philosophy, composed to praise the gods or the power of the king. The concept of writing is very different from Khmer poetry, which is a popular word written for entertainment, in which it describes the feelings, emotions, poets or other stories in daily life. The surviving and oldest Khmer language poem is the Reamker poem, which, through the study of words, was written between the 16th and 17th centuries and the poem "Angkor Wat" was composed by an aspirant in 1620 – song. The poem "Song" is found only in the first part of the Reamker story, which proves to be the oldest "remaining poem". Apart from this, the story of Reamker and the story of Angkor Wat is usually composed of three types of poems, namely, "Bat Pumnol" (or called "MohaChey"), * Poems "and" Bak kakete" and Prum kate.
Cambodia -
EE00002487
Munkeatha (Magic, Supernatural Powers)
Cambodians, as well as some other nations in the world, believe in "Acphek Tamacheat,’ "Supernatural" in English, or "Surnaturel" in French. It is believed that nature has a special and mysterious power that cannot be seen or explained. Around us, there are various kinds of in-humans such as ghosts, demons, and monsters ... who sometimes hurt people. Besides, those invisible inhuman, witchcraft can cause people to be in great pain, madness, delusion, or even death, so in order to escape or avoid those dark magics, one must find something to protect oneself and it is known as "Mun Keatha". Mun Keatha is a word for self-defense (can be Khmer or Pali) in times of emergency, such as during a war. As for those who know the magic, most of them are monks, priests or elders who have been ordained or through a family line. It is believed that the effective use of occultism depends on the obedience of each individual, for those who possess occultism also need to adhere to certain traditions. Keatha has more than that and there are so many types. Some Keathas can be recited with the mouth, while others can be ‘Saek’ or spread on things like oil, wax, perfume, etc… to apply on hair or body. Sometimes it is mixed with herbs or some plants and eaten to get the ingredients and magic into the body to heal from disease and have power. For example, Sbaek kong (can’t be hurt) is a combination of medicinal plants boiled together and is said to wake up the Keatha.
Cambodia -
EE00002066
Lozey: Lyrical Ballad
Lozey (lyrical ballad or witty narratives) is a form of oral expression, appropriately described as one of the ornaments of speech. According to the accounts of elderly citizens in the western districts, the origin of Lozey goes back to the 12th century coinciding with the arrival of Phajo Drugom Zhigpo (1148-1251). Often known as Togden Phajo, he was a Tibetan saint whose life and deeds are closely linked with the initial spread of the Drukpa School of teachings in Bhutan in accordance with the prophesy of Tsangpa Gyare (11611211), the founder of the Drukpa Kagyud Lineage. Phajo Drugom Zhigpo was followed by numerous Tibetan scholars who disseminated the teachings of the Buddha. Amongst these realised beings Zhabdrung Ngawang Namgyal (1594-1651) was the destined leader. He instituted the traditions based on the Buddhist values of Mi-choe tsangma chudrug (sixteen virtues for mundane practice) and reformed the old traditions, resulting in establishment of the dual system of government in Bhutan, whereby a temporal ruler coexists with the spiritual authority of the nation. Amongst those indigenous traditions, the songs Parshing mindru gyelmo and Zurchen gyi sheypa are the most popular in Bhutan and are sung especially during the construction of typical Bhutanese house made of rammed earth. These age old songs are solely sung by the people of central and western Bhutan. Parshing Mindru Gyelmo is an honorific name given to the wooden tools used for ramming earth, therefore the tools are respected and revered as an embodiment of Khandro Sonam Peldon, consort of Phajo Drugom Zhigpo. The song has many verses inviting the Parshing Mindru Gyelmo to visit from Tibet and concludes with propitious words of seeing her off back to Tibet during the consecration ceremony for the new house. Similarly, Zurchen gi sheypa (song sung during the installation of four phalluses on the four eaves of the house facing the four directions) is also sung on the day of the consecration ceremony. Two groups are formed for the singing of the songs, normally separate groups for males and females. There are often verbal skirmishes between the male and female groups. A quick-witted and verbally eloquent person may compose appropriate verses of response on the spot based on the nature of the opponents’ song. It is said that the verses of these songs are so long, “if sung till the end, it is believed that it could last for almost a day” as told by a few elderly citizens. There have been incidents in the past when the host family had to place a large Palla (bamboo container) of Ara (distilled home brew) down and request the verbally warring songsters to reconcile. However, these songs are actually a type of ballad or narrative poem to which a melody was added later. The recitation of Lozey is still widely practised in the western part of Bhutan and is regarded as an entertainment and enjoyment by one and old alike. There are variants of given names for Lozey, sometimes it is also written as Losel, but, there is no clue why, since both terms have their separate sets of definitions. According to Lopon Kunzang Thinley, chief researcher at KMT Press, Thimphu, Lozey is an art of speech which requires a unique skill in making rapid response. It requires constant flow like the hair on a horse’s neck, thus, the term ‘lo’ means statement and ‘ze’ refers to the neck hair, and in this context to the brilliance of the bantering back and forth. Lozey is defined as brilliant, intelligent, clever and bright. In both Dzongkha and Tibetan dictionaries, Lozey is defined as any prompt statement constructed in verse well decorated with rhetorical qualities of similes and metaphors according to the situation. Such qualities can only be attributed to intelligent, quick-thinking and witty persons. Lozey is of three kinds: popular lozey (which consist various subject and episodes occur depending on the moods and feelings), lojue lozey (a narrative, usually of epic dimension), and finally lozey labja (lozey associated with advice and guidance). Therefore, most often lozey dwells within these episodes; che toed (praising), nyen lu or zalu (romantic), dralu (odium), medlu (disgrace), trolu (joyful), cholu (sad), tse tshol (debating/challenging), trashi/monlu (supplication) and lozey labja (advice/guidance). Lozey labja is sometimes identical to kortam (innuendo or indirect statement). Lozey has no fixed length, but may be long or short, which entirely depends upon the depth of knowledge of a person, but generally the shortest will vary from three lines to fifteen. Short lozey are called lozey do thum while long ones are called lozey jun-ringm. However, loju lozey are historical accounts and regarded as the longest and some lojue lozey are accounts drawn from oral tradition of how the fortresses were constructed by Zhabdrung Nawang Namgyal. Lozey of each district has its own unique characteristics in style, language tone and recitation tune. Sometimes lozey can be used as means of debate or verbal skirmishes between people of different communities or villages, and between male and female. At least two participants are required for a lozey. After one has recited the initial verse, the other responds depending on the gist of the preceding verse. This is called Lozey khaejew (lozey competition) in Dzongkha. While reciting lozey, the rules are very simple. Depending on the type, if the opponent has good knowledge, he/she must respond with the same similes and metaphors that were used by the other. The challenge will continue until a winner or a draw is declared. In both cases, messages will be conveyed through eloquent usage of metaphors and symbols. The responses are never direct. Nevertheless, lozey can be used for both entertainment and wish-making in every aspect of life such as: Parshing gi she pa, Zurchen gi she pa, Dha she (description of Arrow), Gishey (description of Sword), Zo she (description of an Art), Shog da kuelwa (encouraging words while dragging large logs or boulders), Lang key (Praising words to the Oxen while ploughing), Che sho (making wishes while sowing seeds) and Bab she (wish-making while threshing rice) etc. A person who has the knowledge and skills is known as kham khe gyep (King of eloquence or an articulate person) in Dzongkha.
Bhutan -
EE00002195
Meri Pun-sum: The Three Brothers’ Hills
When you arrive in Haa, you are greeted by three giant identical hills rising steeply to the west, known as Miri Pun Sum, also styled as Miri Pun Suum or sometimes Me Rig Puen Sum: The Three Brothers Hills or The Three Sisters Hills. Located on the border between Kartshog and Uesu Gewog, one can admire the aligned hills in the middle of Haa Valley. For centuries, the Miri Pun Sum has been worshipped as the abode and embodiment of the Rig-sum Gonpo, Lords of the Three Families: with Jampleyang or Manjushiri on the left; Chenrizig or Avalokiteshvara in the middle; and Chana Dorje Vajrapani on the right. These three deities are considered the most important deities in the Vajrayana Buddhist pantheon, Miri Pun Sum symbolizes and emplaces them in the landscape, so they are worshipped as guardian deities protecting the Haa Valley. Legend has it that people suddenly appeared out of nowhere from Miri Pun Sum, and built the Lhakhang temple of Karpo and Nagpo, which stands in front of the three hills today. It is also believed that this sudden appearance of people from these three hills gave the place its name "Ha". Locals believe that the three hills themselves embody Buddhist powerful beings, and each is associated with a village as well. The people of the Bji and Kartshog Gewog village block are represented by the hill of Chana Dorji, the Vajrapani bodhisattva; they are known to be darker and tougher than their neighbors. While the notoriously meek people of the Uesu gewog are represented by the hill of Chenrizig, the Avaloketeshvara bodhisattva of compassion. Finally, Samar, Gakiling, and Sangbay gewogs are represented by the hill of Jampelyang, Manjushri bodhisattva of wisdom, to reflect their gentle, down-to-earth, and easygoing nature. People also believe that the collective welfare of Haaps depends on the condition of Miri Pun Sum, which is why the Haaps protect the three hills with great reverence. Locals believe that the Miri Pun Sum maintain peace in the valley. It is also believed that these three hills are responsible for rain, harvest, and prosperity of the families. Only when in the presence of these majestic hills can one truly fathom and appreciate this unique, fascinating landscape. Miri Pun Suum is considered a sacred landmark, revered by all Haaps with great respect and devotion. Since time immemorial, Haaps have offered Soel-kha propitiation rituals to Miri Pun Sum. In 2013, under the leadership of the Lhayul-kha people, the Haaps officially erected a Lha-chhim deity shrine in front of Miri Pun Sum to specifically perform Mang-chhoe, a great offering ritual for the welfare of the entire population, or Soel-kha for Miri Pun Sum. This Mang-chhoe is performed annually on the 30th day of the twelfth lunar month. The Lha-chhim is looked after by two administrators whose posts are filled alternately by the residents of Lhayulkha village.
Bhutan -
EE00002064
Atsarai Darshey: Recitation of Atsara (clown)
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. Darshey 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. During 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.
Bhutan -
EE00002105
Thuen-pa pun-zhi: The Four Noble Friends
Thuen-pa pun-zhi (The Four Noble Friends) is a spiritual tale originating from the Jakarta Tales of Lord Buddha. It is one of the most popular tales, both spoken and depicted in pictures on the walls of dzongs (fortresses), monasteries, temples and individual homes to promote harmony, cohesion, unity and a life of integrity. The fable is narrated as follows: In a dense forest in the country of Kashi once lived a Partridge, a Rabbit, a Monkey and an Elephant, who despite their different sizes and species became incredible friends. The reason is that they have the same feeling of love and kindness for each other. Every day they helped each other find food and wholeheartedly shared everything they found. One day they spoke to each other, "Although we have been friends for so long, we don't know who is the oldest and who is the youngest among us. We should begin to respect our elders and treat our younger friends with kindness, so we must examine ourselves." Amazingly, all the friends agreed to their joint proposal. The next day, everyone gathered near a giant Banyan tree (Ficus benghalensis). For the test, the partridge allowed prompted his friends, "Look at this tree." And asked, "Which of us saw the tree first?" First the elephant answered, "When I was small and lived with my mother's herd, I saw the tree, and it was just as big as I am." The monkey followed his giant friend and said, "I also saw the tree, and it was as big as my body." And the rabbit said, "I saw the tree as a sapling with only two tender leaves, and I licked the dew drops off those freshly grown leaves." After hearing these coincidences, the other friends except the partridge acknowledged the hierarchy of age. But surprisingly, the partridge, though the smallest, said, "I am the one who nibbled the juicy banyan fruit, and it is the tree that grew from the seed I left on the ground." Knowing who was the eldest among them, the elephant paid respect to his three other friends, and similarly the monkey honored the rabbit and the partridge; and the rabbit honored the partridge because he was the oldest and most senior friend. After that, the eldest got the first part of the food they got, and then they maintained the hierarchy. When they went on threatening journeys, the youngest carried the elder, the monkey carried the rabbit, and finally the partridge enjoyed the privilege of reserving the highest seat. On another occasion, the members again discussed why we should not try, besides respecting ourselves, to do at least some virtuous deeds. Partridge voluntarily stood up and suggested, "Until now, we have intentionally or unintentionally fed on the lives of other animals. Being a predator is an unvirtuous act, so let's cultivate being herbivores." Immediately others spoke up, "Although we can avoid taking life, we sometimes feed on what is not really ours. This is an act of possession that is not granted or by permission, so from now on we will not commit ourselves to having anything that is not given or offered." They then agreed not to be possessed of food, sexual misconduct and, untruthfulness, and finally to renounce the consumption of intoxicants, especially alcohol. The four friends committed themselves to the Basic Five Virtuous Law they imposed on each other. One day, the oldest friend, the partridge, asked the rest of his friends, "Let's make other mates besides ourselves abide by our rules, who among us can bring your friends into the Law?" The monkey replied, "I can make all my fellows to abide." Similarly, the rabbit and the elephant also assured their friends to follow the rules. Gradually, all the animals obeyed the fundamental law, which led to the occurrence of favorable weather that not only brought abundant fruits and harvests to the animal world, but also enabled mankind to live in harmony. The king, fascinated by the unusual auspicious signs, called his queens, ministers, young men and merchants to inquire about the cause of this good luck, but unfortunately no one could give an answer. One day the king met a Hermit who lived in the seclusion of the forest and could predict everything, and asked him the same question. The hermit said, "All these auspicious signs are due to the virtuous behavior of the animals that live in your forest." Although the king was surprised by this news and wanted to see the animals, the Hermit urged the king to make his countrymen obey the law of animals; not to kill, not to steal, not to commit misconduct, not to be dishonest, and not to engage in the consumption of intoxicants. As advised, the King got all his citizens to obey the law, which had actually been established by the Four Noble Animal Friends. Finally, the king, the people and the animals experienced an unattainable peace, tranquility and blissful life in the present and enjoyed it even after their deaths as heavenly beings
Bhutan -
EE00002065
Tsang mo: Ode
An oral game, Tsangmo or Tsam-mo is short and melodious poetry normally sung for entertainment by people of all ages in all the regions. It is also considered as one of the ornaments of speech. There are several very similar names for the game, with each having its own meaning and definition, according to the elderly village people; Tsam is a short poem either composed on the spot or learnt from elders or friends, which is recited to a melodious tune. Mo means divination or test. Therefore, it is a song sung to test the feelings of another person. In another version, it is also a song sung by individuals in a group, to make the same divination of feelings as above by a stick (Tsang) pointing to the personal items already collected from each of the participants, guided by the rhythms of the song. Another very similar name to that for the stick tsangmo indicates that this tradition may have been derived from U-tsang province of Tibet. However, some elderly villagers interviewed about the game thought that the terminology had nothing to do with U-tsang at all. Taking their local knowledge into account, it seems likely that the slight difference in nomenclature might just reflect a local dilution of the term which has crept in over time. Although there are different names given according to how the game is played, Bhutanese commonly refer to it as Tsangmo. Performance of the game is indigenous and unique to Bhutan, with the poetic songs passed down from our forefathers through the ages and often sung in the respective dialects of the singers’ districts. While singing Tsangmo, the lyrics are actually based on the moods and situation. For stick Tsangmo the rules are as follows: each male and female participant should place an item in the centre. A neutral person is assigned who either closes his eyes or sits facing away from the rest so that he does not know the owner of individual items. When one has finished his/her turn then the assigned neutral person will hold a stick and repeat the song once again. According to the beat of the song, he points at each item. Wherever the point of the stick remains when the song finishes, he makes a comment according to the meaning of the song, “whoever is the owner of the item is, the song’s message is (for example) Love. You are being loved by the singer, are you in love with him/her? If yes, you should tell him/her at the earliest possible.” The message is clearly conveyed through the use of metaphors in the form of a four-line verse with two couplets. Each couplet is self-contained. The first usually makes a statement or describes a situation. The second one makes a response. Then the owner is identified. Sometimes the owner may be the same sex as the singer in which case the group expresses its sympathy in chorus and ends in laughter. “In the old days people were also married through this divination game” explained a few elderly citizens. Apart from these rules, one does not have to stick to one form of expression. Participants can change the context of the lyrics as they desire. Since Ttsangmo is meant for fun, no individual is expected to get emotional at the message as the singer is also blind folded. Moreover, no one in the group clearly knows on whose item the stick will land at the end. General Tsangmo (i.e. not with the stick) is usually sung casually in a group, for example during celebrations, while on a walk, during the transplantation of paddy, weeding, collecting firewood, transporting manure in the fields, harvesting paddy, plantation of maize, harvesting maize and in a leisure period. This is an impromptu entertainment where you hone your skill in creating verses on the spot and also where you learn from and communicate with others. One person sings and another responds, the debate continuing until a winner or a draw is declared. This version of the oral game is played in an unstructured way so there are no particular rules. Today, the Bhutan Broadcasting Service arranges phone-in Tsangmo sessions (akin to talk-back radio) among listeners from different places and the participants either choose to reply to the previous singer or sing their own part without aiming at anyone in particular. Regarding the tune of Tsangmo, there are more than four types depending on custom, language and dialect. According to the knowledgeable citizens, while singing Tsangmo, the first participant must sing a stanza in praise of the Triple Gem or a divine being, as a way of making an offering. The subsequent participants may dwell on friendship, love, odium, discord, joy, sorrow as they like, and end with verses of supplication or good wishes.
Bhutan -
EE00002103
Baab: Mask
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. According 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. In 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. There 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.
Bhutan -
EE00001417
DARGILIK
A kind of folk poetry. It is consisted of two lines and is performed by women.
Tajikistan -
EE00002063
Dharshey: Narration/Recitation
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. That is why a person may begin Darshey with the phrase such as ‘wo la so la …’ and end his speech by offering words of good wishes and aspirations such as ‘… let us pray that we see each other’s countenance again and again in future.’ Depending upon the talents and level of education, the performer applies poetic elegance in the speech; Darshey is usually performed during auspicious occasions. Atsara (masked clown) also makes similar speeches during Tshechus (Annual Mask Dance Festivals). Bhutan has a unique tradition of stressing on Tendrel (the independent arising of auspicious events). Any occasion or event has to begin and end on a positive and hopeful note. Whether it is house construction, marriage, promotion, or an important project, a ceremonial inauguration in the beginning and a well-wishing conclusion are very important social values. Thus, Darshey is an important item in any ceremonial programme. Darshey means narration of scarf, especially presented by an eloquent person to the guest of honour adding some melody in order to enhance the auspiciousness of the ceremony. It is an indigenous oral expression practiced all over Bhutan. Depending on the languages, dialects and cultures, Darshey is also called Legshey (elegant saying/narration of auspiciousness), Khashey (art of speech) and sometimes Nangwa drub (verbal approval). Unlike Gurma, Lu and Tsammo, Darshey has no complex melody, rather, it all depends on the tone and rhythm of the recitation. Regarding the lyrics, the reciter uses appropriate words to meet the occasion, mostly decorating these with similes and other literary flourishes. There are no specific lyrics for Darshey, and the elegance of the recitation depends on the literary and musical talents of the reciter. Moreover, there is great cultural diversity in Darshey, as the length, flow and rhythm of individual Darshey vary from village to village and dialect to dialect. However, Darshey normally starts right after the ceremonial ritual. When it is time to offer khadar to the guest of honour, presiding guest, or whoever else is being honoured, an eloquent speaker holds a silken scarf and begins the Darshey by saying “wo la so la” and concludes with well-wishing prayers and aspirations to the guest of honour and everyone gathered. Sadly, Darshey is slowly disappearing from our cultural landscape these days.
Bhutan -
EE00002291
Udumvara: The Sacred Plant of Yangthang Monastery, Haa
"Udumvara/Udumbara" is a Sanskrit word meaning an auspicious flower of the sky. This type of flower is believed to bloom only once in 3000 years. In the Mahayana Buddhist scriptures (Arts, 2011), it is said that "Udumbara is the product of unwholesome and supernatural phenomena; it is a heavenly flower and does not exist in the mundane world." According to the Monlam dictionary, "In Tibetan, it is called Phag-chog or Tsher-zag. There is also a plant called Dud-jom-shing, which bears a flower that is unique and is called Udumvara because of its rarity in the world. Udumvara exists only when there is a living Buddha in the world. It has attractive colors and a sweet aroma that can spread over a large area. The plant is known for treating eye diseases, phytic abnormalities and is also known for other medicinal properties. Whether the flower is a specimen of its kind or an unknown plant, I have heard a few times that this plant grows in the Yangthang Goenpa area. There are various online sources or books written about the properties of Udumvara, one of the authors has the following to say about Udumvara; "Udumbara flowers are tiny white tulip-shaped flowers that grow on a white thread-like stem. The flowers have no leaves or roots and grow on anything" (Haddock, 2018). On the other hand, the udumvara growing in front of Yangthang Goenpa is different from the one in the online sources or images available online. The Udumvara seen at Yangthang Goenpa has a green color and my interviewees said that until today, no one is able to identify the species of this plant. Perhaps the plant was named by Drubthop itself because it is a very rare species of its kind. It was in 2015 when the plant bloomed in June just before His Majesty's visit to Yangthang Goenpa. Everyone was amazed when the five petals of this plant opened. According to Lopen Tshering Wangchuk, who has been in charge of the Goenpa for four years, he did not observe the plant's blooming. However, he believes that the plant blooms once a year, on the 15th day of the 4th month in the Bhutanese calendar. So far, propagation of the plant has been unsuccessful. Currently, the plant is well protected and surrounded by a tall structure to prevent visitors from stealing or touching it. He has heard from previous caretakers that the flower resembles a peony. The literature states that peony consists of 33 species, including annuals and perennials, all native to Central and East Asia, including eastern Tibet. The first indication is that Udumvara came to Yangthang Goenpa via Tibet. The Yangthang Zabdon Chholing Goenpa or Lhakhang is located at an altitude of 2920 meters above sea level and was founded by Lam Thinley Gyatsho, a follower of Lama Drakpa Gyatsho's disciple Lam Choeying Gyatsho, in the 17th century5. The Yangthang Goenpa has important cultural and religious significance not only for the Yangthang community, but for all Haaps in general. The Goenpa was rebuilt in 2012 under His Majesty's command after being damaged by an earthquake in 2011. All sacred artifacts are restored inside the Goenpa. The Goenpa consists of a two-story building; the top floor houses the Choe-long Trul-sum Lhakhang and the Lami Lhakhang, and the first floor is dedicated to the Chenrezig Lhakhang6. The inauguration of the Goenpa was performed by His Majesty and Gyaltsuen, led by His Eminence Dorji Lopon Kinley (also known as Sonam Jamtsho) from Zhung Dratshang. During this time, hundreds of people gathered and presented various cultural programs. His Majesty offered prayers for the safety and happiness of the country and its people. According to local oral sources, around the 15th century, a Tibetan saint named Drupthob Dondup was on a pilgrimage and took the seed of the plant Udumvara during his lifelong pilgrimage. According to an oral account, "he promised to sow the seed wherever he finished his journey. However, it was believed that he ended his lifelong pilgrimage at Yangthang Goenpa. He sowed the seed of Udumvara in front of the Lhakhang and also left behind a Tashigomang; (auspicious multiple doors). The Tashigomang is shown or displayed to the public only during a specific event. Such significance of the Goenpa attracts not only the locals but also visitors from other Dzongkhags. When tourists visit the Goenpa, they primarily ask about the Udumvara plant. On important occasions and events, many people come to receive offerings and blessings.
Bhutan