| Description |
Shagzo or the traditional art of woodturning is an ancient art that has been passed down for generations. Shagzo is vibrantly practised in Bhutan and the master artisans are known as Shagzopa. Bhutan’s abundant and wide range of woods like tashing (Juglans regia), hashing (Taxus baccata), baashing (Picea spinulosa), tsenden shing (Cupressus corneyana), sermaling shing (Acer camphellii) and etometo (Rhododendron arboretum) have enabled the Bhutanese Shagzopa to create a variety of exquisite functional and decorative products like turned wooden bowls, cups, plates, and containers of various shapes, sizes and colours unique to Bhutan. Skilled wood turners also craft traditional hand drums that are beaten during religious ceremonies.
Since Bhutanese tradition is deeply rooted in the teachings of the Buddha, use of drums and drum sticks are a part of the rituals performed everywhere. Used in all religious ceremonies and rituals, the Bhutanese traditional drum known as Nga, and the Nge-tog (drumstick) are indispensable articles found in every temple, monastery and home. An ancient instrument of musical offering, the beatings of the Nga symbolizes the subjugation of evil, indicates the fluctuation of tunes and wordings, and regulates the pace of other instruments during rituals and propitiation ceremonies.
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| Social and cultural significance |
Shagzopa are known for producing a variety of highly prized utilitarian wooden articles, turned with expertise from special wood burls and roots of trees. Most of these wooden articles, which come in different shapes, sizes and colours, are actually made to be used in daily life, apart from being good showpieces and souvenirs. Specially turned wooden articles are saved as family heirlooms. The prices of these articles are measured in terms of the quality of wood used, the quality of lacquer finish, uniqueness, size and colour. Traditional turned wooden articles are not only popular with the Bhutanese, but also with foreigners.
There is a Bhutanese saying, “do not beat the drum empty-handed (i.e. do not beat the drum for fun); and do not propitiate gods empty-mouthed” (i.e. do not propitiate gods without making any recitations). Therefore, drumming in Bhutanese cultural and religious context is sacrosanct.
Choe nga are those drums that are used in rituals and Cham nga are the small drums that are used by mask dancers. Also used in religious rituals, drums like Choedrum (large pellet drum) and Trangti do not have handles and are smaller. Sometime they use hand drums made of skull called Thoedrum. Bigger cylindrical drums like Bangna are used for communication and to dictate ceremonial processions. There is also the Nga chen (large-sized), Nga chung (small-sized), Ser nga (gold), Tshoen nga (color-decked), and Thoe drum (skull drum).
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| Transmission method |
Traditional Bhutanese drum making involves a number of artisans skilled in woodturning, woodcarving, leather and painting. Drum making involves the curving of the wood into a cylindrical shape, carving of the wooden rims, fixing the handles, painting and attaching skins.
Wood from Sengmaling shing (Acer camphellii) or Rawa shing (Toona ciliata or Cedrela toona) is cut into cylindrical shape. Wood from Sengmaling shing is soaked in water, boiled and then rolled into a round shape in heated sand. A drum made from Sengmaling shing is known as Pangoo. Drum makers find it easier to work with Rawa shing since it can be used without soaking or boiling. Drums made from Rawa shing wood are known as Brungoo, which has a slight bulge on its surface. Rims are carved on the cylindrical wood and painted with various prescribed mystic charms like dragon motifs, flowers and traditional symbols. The two sides of the drum are usually covered with goat, sheep or calf skin. The cylindrical wood is then attached to a handle with metallic embellishment. The handle represents a vajra bolt or vajra dagger (Dorje) and fits into a lotus-shaped stand. Shaped somewhat like a question mark, the Ngetog or the stick used for beating the drum is made from Rawa shing or cane.
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| Community |
In the month of February or March, roughly curved pieces of the wood is soaked in cold water for three months to rid the smell and to strengthen. The crude shaped wood pieces are, then dried over fire and left in the sun for about a month. These pieces are then boiled in water until they are straightened. The pieces are then left to dry completely in shade. The crude pieces of hardwood are then spun on the manual pedal lathe or the electrically operated motor lathe to craft. Electric motors enable a Shagzopa to power the tools to craft and produce three times as much as the pedal lathes.
The coarse leaves of Sogsom (Tsuga dumosa) shrub, which is a good substitute for sandpaper, are used to make the cup smooth. For the final touch, Shagzopa use an indigenous substance known as ‘Sey’ to lacquer black or red. Sey is applied only in the sun; and should be protected from the wind, since it dries out in the wind. If applied in the darkness or shade, the sey does not stick on the surface. Sey, extracted from the se-shing (Rhus succedanea) is considered as the soul of the turned wood articles. Bhutanese lacquering is applied by the thumb. High-quality articles have at least seven coats of lacquering and a medium-quality finish has four applications. Three coats of lacquering are applied for articles that are not particularly of good quality which soon wane away, and are damaged by insects. There are four types of Sey viz; Zhosey, Tsi sey, Tsagsey and Dzasey. Zhosey is known to be the best varnish. Tsisey is obtained from the seeds of Seyshing while Tsagsey is obtained from the bark of Seyshing.
Data collected by: Ms. Sonam Yangdon, NLAB
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