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ICH Elements 19
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Chinese calligraphy
Chinese calligraphy is an artistic practice that, while fulfilling the practical function of information exchange through writing Chinese characters with brushes, ink, and paper as the main tools and materials, conveys human contemplation of nature, society and life and thus reflects the unique character, spirit, temperament, interest, and philosophy of the Chinese people through special graphic symbols and writing rhythms. Along with the appearance and evolution of Chinese characters, Chinese calligraphy has developed for more than 3,000 years and become a symbol of Chinese culture. In its development, calligraphy has developed a complete set of theories and skills. The art has enjoyed orderly propagation and continuous development through personal instruction and documented records, and presented distinct features in correspondence the change of time and alteration of tools and materials. Chinese history has produced a large number of prestigious calligraphers, such as Wang Xizhi (303-361 A.D.), Yan Zhenqing (709-785 A.D.), and Su Shi (1037-1101 A.D.).
China 2009 -
Practices related to the Viet beliefs in the Mother Goddesses of Three Realms
The Viet Belief in Mother Goddesses of the Three Realms is a form of worshiping the Mother Goddesses of the realms of the universe: sky, water, mountains and forests. From the 16th century, this belief became a religious and cultural activity that had a profound effect on the social life of the people. The Princess Liễu Hạnh and other Mother Goddesses governing the sky, water, mountains and forests, together with historical and legendary figures have been worshiped by communities. Daily worship rites are performed by custodians at the temples. Practices related to the Việt belief in the Mother Goddesses of Three Realms, known as lên đồng spirit mediumship, in particular at Phủ Dầy temple (Kim Thái commune, Vụ Bản district, Nam Định province) where Princess Liễu Hạnh, a leading figure in the Mother Goddess cult, is venerated. It takes place from the 3rd day to the 10th day of the third lunar month with special folk performances such as arranging letters, procession of Buddhist scriptures. Traditional cultural costumes, music, dance, folk performances of lên đồng spirit mediumship clearly show the unique cultural identity of the Viet people.
Viet Nam 2016 -
National programme to safeguard the traditional art of calligraphy in Iran
The tradition of calligraphy has always been associated with the act of writing in Iran, and even when the writers had limited literacy, calligraphy and writing were still intricately linked. But with the advent of printing and the emergence of computer programmes and digital fonts, this art gradually declined and the emphasis on pure readability replaced the observance of both readability and aesthetics. This resulted in a decline in the appreciation of calligraphy among the new generations. The safeguarding of the Iranian calligraphic tradition thus became a major concern in the 1980s, and a national programme was developed for this purpose by non governmental organizations in collaboration with the government. This programme aimed to expand informal and formal public training in calligraphy, publish books and pamphlets, hold art exhibitions, and develop academic curricula, while promoting appropriate use of the calligraphic tradition in line with modern living conditions. Some of the work on this programme was started by the Iranian Calligraphers Association before the 1980s, and given its immense popularity, the public sector turned it into a national programme by redefining and coordinating it on a large scale based on the experiences of the public and private sectors.
Iran 2021 -
Kar-mey: Butter lamp Offering
Karmey: (Butter lamp Offering) during A-shey Lhamo Dance is an indigenous tradition practiced exclusively by women in the communities of Shingkhar, Somthrang, Pangkhar and Ura in Ura Gewog (block), Bumthang Dzongkhag (district). Colloquially, Karmey means offering butter lamps in all temples and monasteries in and around these communities. The element is closely related to an annual offering of Saang (smoke offering), popularly known as A-shey Lhamo which is normally conducted from 8th and 9th day of the 7th month of the lunar calendar. The Karmey program is the last and concluding event of the three-day A-shey Lhamo festival which is held on the 10th day of the 7th month coinciding the birth anniversary of Guru Padsambava. The origin of Karmey is identical to that of A-shey Lhamo, although A-shey Lhamo is considered a Bon-kar (transformed Bon practices) and the other explicitly a Buddhist tradition. The establishment of the A-shey Lhamo festival dates back to the reign of Dung Lhawang Rabgay (local ruler) of the Ura community, not long before the advent of the Dung caste system in Bhutan around the 10th and 11th centuries. It is said that the misfortune of shey-ned (diarrhoeal infection) spread among the children of the Ura community, and to cure such epidemic diseases, Dung Lhawang Drakpa introduced the performance of the A-shey Lhamo dance, an offering to appease the female local deity on the eighth and ninth days of the seventh month of the lunar calendar. For most Bon practitioners throughout the country, this is a special day when they make confirmation offerings to their respective deities and ask for blessings of peace and happiness for the individual as well as for the entire community, country and all sentient beings in the world. According to older members of these communities, they have noticed a decline and disappearance of this ancient practice over the years. They say that they remember crowds of women from communities like Ura, Pangkhar, Somthrang and even Singkhar singing and running to all the temples and monasteries to offer butter lamps and tshogs (offerings) and perform melodious folk dances right after the A-shey Lhamo festival was celebrated. There are also some native songs and dances that are sung and performed only on Karmey Day. It is believed that after the annual offering to the A-shey Lhamo deities according to the Bon Kar tradition, people also wanted to observe the Buddhist way of offering to the scattered temples and monasteries, which falls exactly on the 10th day of the month, which is revered as the birthday of Guru Padsambava, one of the highly revered saints who introduced Vajrayana Buddhism in the mid-8th century. However, over time, the villages of Somthrang and Pangkhar have discontinued this tradition along with the performance of A-shey Lhamo, and today Shingkhar and Ura are the only two communities that follow and maintain this tradition.
Bhutan -
Yig-par ko-ni: Woodblock Engraving
Yig-par koni is an adverb that means engraving of scripts which is the art of Xylography, one of the indigenous craftsmanship art of Bhutan. Script engraving is done using special wood locally called Tag-pa shing (Birch: Betula utilis) that flourishes at altitudes varying from 3000 to 4200 meters above sea level. Tag-pa shing can be easily identified by its bark that has a mix red and pink and brown colours alternatively across the trunk like that of a tiger’s skin thus got its name. The art is considered as one of the religious craftsmanship since its significance, production and usage are all connected to spiritualistic believes and purpose. In Bhutan, the presence of skills for making woodblock prints are seen in temples, monasteries and Dzongs (fortress) every part of the country in the form of biographies, excellent teachings of the Buddha printed from woodblocks. The earliest biography is that of Terton (Hidden treasure discoverer) Pema Lingpa (1450-1521), as prophesied by Guru Padmasambava, the epitome of the Secret Teachings of Tantric Buddhism. Terton Pema Lingpa was the last reincarnate of Princess Pema Sal (?), daughter of King Thrisong Deutsan of Tibet. Owing to the propensity of his previous lives, the Terton knew craft works without training, and dedicating his skills to ensure the continuity of the Buddha’s teachings, had made uncountable number woodblocks, available in the monasteries established by the Terton himself and by his sons as well as in the house of a number of his patrons that can be seen even today. Moreover, Thugse Dawa Gyaltshan (1499-1586), the son of Pema Lingpa, had also engraved as many as 614 woodblocks for the collected works and autobiography in memory of his father which is still preserved at the sacred place of Kunzang Drag, Bumthang Dzongkhag (district). After Terton Pema Lingpa and his heart son Thugse Dawa Gyaltshen had started the tradition of woodblock print, Choje Ngagwang Tenzin (1522-1590), the reincarnate of Gartoen who was the son of Phajo Drugom Zhigpo, engraved the biography of Phajo Drugom in about 1570 (C.E). Then, in the 17th century Zhabdrung Ngawang Namgyal, having satisfactorily completed all the activities related to the dual system and before he went into the final retreat (i.e. parinirvana), initiated a project to engrave the collected works of the omniscient Pema Karpo (1527-1592) and all the essential ones and its prints are distributed them to all the monasteries and sangha communities as dharma donations. He created of the seat of Je Khenpo as the overall head of sangha monasteries and ecclesiastical affairs and that of Desi, who functioned as the secular head of the country. He had also appointed officials to fit these high-ranking positions. The successive Je Khenpo and Desis ensured the practice, manage and spread of the teachings and the good system of administration, by engraving unlimited number of woodblocks prints in their respective areas which can be seen still today in all the historical monuments. However, due to the advancement of printing technologies, the National Library & Archives of Bhutan is the only institution that is upholding the xylography art in the country while the practice is turned its form to an oral account.
Bhutan -
Si: Calligraphy Pen
The term Si has dual connotation of referring to the Calligraphy pen as well as to the specific bamboo from which pen is crafted. According to Lopen (master) Wangdi Gyeltshen, a renown calligrapher of Central Monastic Body said that, there is also another reed locally called Tshi-nag (a reed with dark colour at its internode) which is available from Wangdi-tse monastery area in Thimphu. Actually, there is no specific origin of the Si as it came to exist simultaneously with the writing culture in Bhutan. Colloquially, all pens used for writing purposes are called as Myu-gu, which the name derived from its raw material Myug-ma (bamboo or reed). That is why any pen used for writing available in the market today, irrespective of what it is made of are commonly called Myu-gu (literally means reed pen). As there are different types of My-gu, thus, apart from the aforementioned Si, the pens are made from a wild fern called Kyer-ma is called Kyer-myug, and the ones made of quill is dro-myug, the nib made from metal is chag-myug. Similarly, sol-myug made from dead amber or charcoal, a talc stone is cut like a pencil for use -do-myug, the chalk comes in packets and used for educational purposes in schools is sa-myug. There are also pir-myug (brush pen) and lastly, the zha-myug, the lead pencil. Regarding the raw material; in Bhutan, Si is traditionally found at Chagdana in Toepai Gewog (Block) in Punakha, and near the Nag-tshang (Manor) at Drametse. It is also found in Kheng region of Zhemgang and at the Yarphel village of Trashi Yangtse district. Si is highly valued as being blessed by superior beings like Lord Manju Shri, Guru Rinpoche, the five classes of dakinis and the Dharma Lord Drukpa Kunleg (4155-1529). Si grows as big as normal bamboo, with short culm or internode, narrow lacuna and thick culm wall. They grow in heights of more than five arm-span. Both the plant and its leaves are generally yellowish. In ancient times, a writing pen was mainly a painting brush in China and in India it was made from the quill (moulted flight feather) of a peacock or other large bird. It is explained that the pen used traditionally in Tibet and Bhutan was made from the plant species called Si, which has thick nodes and grows mainly at lower altitudes. It is obvious that, if writing tradition is gradually disappearing, both the art of making Si as well as its usage is an inevitable element to be gone together. Due to the booming computing technologies and automatic printing machines, the writing along with Si related practices are being gradually driven out of its existence however, realizing its importance and for its revival, His Majesty’s Golden Scriptures Project and other similar projects being initiated by some individual Spiritual masters had help in revitalization of such tradition as well as involving calligrapher to carry on the writing and Si making culture amidst the emerging sophisticated technologies.
Bhutan -
Yak-lai: Propitiation of Yak god
A Bonkar (refined Bon religion that doesn’t involve animal sacrificial offering) traditional rite, Yak-lai is performed in some villages in Ura and Tang Gewogs (blocks) who owns la-nor (highland cattle) esp. Yaks. Colloquially, Yak-lai means ‘yak deity’ and if translated in Dzongkha (national tongue) it is called Yak Lha. However, the ritual is not strictly practiced by the Yak owners but, those households who owns tha-nor (normal cattle) also propitiate the god for prosperity of their livestock. The rite specifically invokes the yak deity Lha Wodue Gongjan, who is considered one of the principal deities of Bon who is believed the ultimate source of any blessings possesses supreme ability to fulfill the desires of worldly beings. Residents of Bumthang who have highland cattle, or otherwise practice animal husbandry take part in the three-day Yak-lai ritual every year. According to Bon tradition, Lha Wodue Gongjan is one of the nine principal deities; (sid pa chag pai lha gu) 1. Yabchen Wodue Gunggyal 2. Yarla Shambu 3. Nyenchen Thanglha 4. Gatod Jowo Chogchen 5. Machen Pomra 6. Jowo Yugyal 7. Kishod Zhoglha Chugpo 8. Shekar Jowo Tagoe 9. Tshanggi Noechin Gangwa Zangpo who are the creators of the world. Wodue Gongjan is known by several names: Ode Gungyal, Ode Pugyal, Pude Gungyal and Lhachen Gungyal. Amongst these deities, Ode Gungyal is described as the ancestor of all mountain deities and even he is regarded as the father of all gods and spirits dwelling in the world according to Samten Karmay, 1998. Culturally, residents of the Himalayas have long believed that the lofty snowcapped mountains that surround them are the dwellings of deities. In fact, the names of these gigantic peaks often reflect the name of the deity and thus mark these sites as sacred places. The designated holy peaks are called Lhachen Gangri Gu (Nine Majestic Mountains). In Bhutan, from the time immemorial, many elderly village residents who believes and practices shamanism rituals and rites share the traditional perspective that Lha Chenpo Wodue Gongjan is the principal god placed at the highest seat, and is highly respected by both the shaman and the yak herders as well as normal cattle herders on the day of Yak-lai. If he is invoked and propitiated, he will bless us with domestic animals, yaks, wealth, long life, cloth, favourable weather, and many other essential things that we want in life. Elders further shared that the most productive female yaks have the suffix jan (e.g. Kar-jan or Mar-jan) added to their names, the suffix being derived from the last syllable of Wodue Gongjan, which marks the animals as having been blessed by the deity, as manifested in their abundant milk. Yak-lai used to be widely practiced for three days within a range of dates; specifically, on the three most auspicious consecutive days between the 15th and 30th days of the seventh lunar month by the highlanders of Ura and Tang Gewogs, however, it is now at risk due to several factors including economic development, modern education, rural-urban migration, Buddhist influences, and prohibition on the usage of Tsam-dro (pasture or grazing land). With the advent of wider-scale development, nomadic people are increasingly attracted to the greater income potential of modern life, rather than rearing animals in the wilderness and living in a smoky hut. Over the last two decades, semi-nomadic communities started selling off their yaks in hordes, in part due to the pressures of migration and enrolling of children in schools. The cultural propensity towards Buddhism also influenced and discouraged Bon practices such as Yak-lai. Another factor in the reduced number of yak herders could be that the ownership of tsamdro and Sok-shing (woodlot) were taken away by the government. While the government claimed that tsam-dro had always belonged to the state given that Thram (land ownership) holders did not have to pay tax for it, the highlanders claimed ownership as inherited property. Without tsam-dros, most highlanders face a shortage of grazing land and are forced to either sell their livestock or set them free (tshethar) in the wild, thus affecting Yak-lai and other practices. Yak rearing culture among herders in Tang Gewog has diminished markedly in the last decade due to a gradual shift from yak rearing to dairy farming. The dairy breeds provide more advantages in terms of earning income and management aspects, but as a result of this shift, Tang highlanders have gone nearly a decade without performing the Yak-lai ritual. Similar trends have also invaded the highlanders of Ura Gewog. Elderly locals say that, until 2000 there were 3 households in Somthrang, 8 in Pangkhar, 3 in Ura and finally 12 households in Shingkhar community having highland cattle i.e. Yaks and performance of Yak-lai ritual was so vibrant at that time. At present, only one man, Meme (grandfather) Kungla 74 (Dragon) from Pangkhar village, owns yak while others have disappeared gradually in recent years but, some few households from Ura community are also the last standing practitioners of the tradition.
Bhutan -
Nakjukjang (Bamboo Pyrography)
National Intangible Cultural Heritage, Republic of Korea Nakjukjang refers to bamboo pyrography or artisan with such skill. During the reign of King Sunjo (r. 1800-1834), Park Chang-gyu engaged in the practice, and it was maintained until the colonial period. The practice requires lots of experience and speed. Applications of bamboo pyrography are arrow shafts, acupuncture needle cases, sword handles, folding screens, tobacco pipes, handheld folding fans (particularly thick bamboo pieces forming the first and last sticks), pencil cases, etc. Shapes of butterflies are often used in handheld folding fans, with shapes of bats sometimes used as well. The demand for objects containing bamboo pyrography has decreased noticeably. The skill has been designated as important intangible cultural heritage for protection.
South Korea -
Gakjajang (Calligraphic Engraving)
National Intangible Cultural Heritage, Republic of Korea Gakjajang refers to the skill of engraving calligraphic letters to be used for wood printing blocks or to an artisan with such a skill. The oldest existing print done with wood blocks is the Great Dharani Sutra of Immaculate and Pure Light made in the Silla Period (circa 57 BC – 935 AD), while the wood blocks of the Tripitaka Koreana, made between 1236 and 1251 during the Goryeo Period, are regarded as the most outstanding still in existence. It became common practice to use hanging boards containing engraved characters in royal palaces and temples, and even in private houses. Towards the late Joseon Period (1392-1910), this once exquisite skill went into decline, but the reliance on the traditional practice of wood block printing remained high until it was pushed aside with the introduction of modern photography and printing technology during the colonial period.
South Korea -
Turkmen-style needlework art
In both Submitting States Turkmen-style needlework is an object of decorative applied art, combining the skills of a certain creative work on different types of fabric. In Turkmenistan, it is the national costumes of women, men, young people, boys, girls, elderly women and men. In Iran, it is mostly the costumes of the Iranian Turkmen enthic group living in the northen parts of Iran but nowadays, it is widely welcomed and used by all Iranians. In both Submitting States, Turkmen-Style needlework begins with the preparation of natural thin silk threads which intertwined together in three (3) layers and twisted into one thread, then straightened with a large needle and the excess is removed. After twisting the three layers separately, the thread itself acquires a kind of shine. The left and right sides are used to create the loops, the dimensions can vary as desired. Piercing the fabric with a thin needle with the right hand, a loop is created, which must be preserved until the next loop is created, held by the thumb of the left hand. Depending on the dominant hand of the Needlewomen, the looping process will happen in the reverse direction. This is the most common needlework style. There are also other Needlework styles that vary depending on the local creativity. Totally, there are seven skills called “Ilme”, “Basma”, “Pugtama”, “Jakhek”, “chekmek”, “El gayma”, “Chigme”. The patterns used, also reveal the territorial identity of the Needlewomen mostly in rural areas. The patterns also symbolise love, freindship, nature, strengnth, etc. Almost all of the needleworkers in both countries are women but in the related jobs such as making the needlework tools, men are also involved. There is no age limits for practicing the element. Traditionally, young girls do it when they are small children learning from their mothers and grandmothers through informal method as a necessary life skill. Its social functions and cultural meaning are wedding dress for bride and groom, used in funerals, cultural events e.g. Nowrouz/Nowruz Celebration, decorative parts of ordinary costumes including: scarfs, manteau, pants, shawls; accessories like headbands, wristbands, necklace, cosmetics bags, women’s wallets/bags/backpacks. Nowadays, this Human-Rights-friendly element is also utilised for contemporary home decorations e.g. table cloth, cushion/pillow sheets, bed covers, wall hangings, & etc.
Iran,Turkmenistan 2022 -
Choe-lhag-ni: Scripture Recitation
Choe-lhag-ni is a Dzongkha (National Language) term for recitation of Buddhist scriptures especially Sanskrit Tripitaka at the various religious institutions or at the individual houses by either a monk, lay monks or by ourselves. Reading scripture is not only one a virtuous act (ge-wi-la) in accumulating merits to oneself but also helps other to arouse faith and aids in realizing the Buddhahood nature. It also a ritual (rim-dro) which helps in clearing and overcoming the obstacles and hindrance created by malicious spirits our daily activities and purifies our sins and defilements as well. While conducting Choe-lhag-ni program, the reader or the reciter is normally called Choe-neb and Choe-yon or Jin-dha for sponsors and patrons. Normally, such program can be conducted or organized as an annual program or carryout as and when there are sicknesses or can when an astrologer or a Spiritual masters either advices or make divination. This Dharma activity is always conducted in consultation with astrologer or a Spiritual masters seeking favourable elements that coincides Lha-za (spirit/vital-day) and if not possible, then on the Sog-za (life-force day) of either a sick person or the main family member. Performing on that particular day is said to be more effective and beneficial than conducting on other days which are called Gang-tong (neutral days). It is instructed and also believed not to conduct any virtuous activities be it the Recitation of Scriptures on Shey-za (bad days) as it causes harm than benefiting oneself and the patrons. As mentioned above, recitation of whole set of Tripitaka comprise two sets namely; Kan-guyr (direct word of Buddha) with 99-108 volumes and Ten-gyur (its commentaries) with 200-228 volumes is a great and enormous activity which one need huge number of readers as well as enough financial assets for an individual therefore, Institutions such as; Monastic body, government’s initiative or a joint private individuals can only organize such program intendent for wellbeing of sentient beings and particularly to the people of the country. In a rare case, out of interest, benefit the sentient beings or to enlighten oneself, an individual sometimes engage themselves in reading whole Kan-gyur volumes. Normally, Buddhist followers who want to clear the unforeseen obstacles, ward off illnesses, counterforce mishaps and sometimes as a routine basis reads mostly either 16 volumes of Skt. Prajnaparamita (Perfection of wisdom Sutras) and more often the single volume called Do-mang or Zung-due, where there is numerous collection of important Buddhist texts. Reciters or readers can be a person or more depending on the sponsor’s wish nevertheless, often if the recitation is not in haste or an emergency then, a person will stay in the sponsor’s house until the completion of the scripture. But, in case a ritual of a sick person and have limited time, the patron will invite numbers of Reciters as to complete the whole set in a day. The tradition of reading Buddhist scriptures for wellbeing and performing meritorious deeds had been common from the days of Buddha Shakyamuni in India. Having translated these teachings translated into Tibetan as early as 7th century and thereafter, introduced the tradition of reading them. Later in the 8th century, when King Thrisong Detsan (755-797 or 804) was having the Indian Dharma translated into Tibetan, the translator Ba Ratna Manju (?) was translating the greater Prajnaparamita Sutra. In his dream, he saw the entire land of Tibet was filled with the scripture of Prajnaparamita. This was an omen that there would be purely Mahayana practitioners born in the land of Tibet. When looking at the Prajna of hearing and contemplating in the mountainous land of Tibet, though training was done in all the schools, the experiences in Drub-jue sing-ta-gyed (Eight Chariots of Practice Lineage) in all the four Schools of Dharma Tradition are essentially Mahayana, and particularly the practice in the Sa-ngag (Secret Mantra) is as per the prediction of this omen. When Ba Ratna Manju offered this to the King, the king was pleased, brushed his hand over his head and gave great rewards for his services. It also shows the King’s deep faith in the Prajnaparamita Sutra. As much as his faith in this outstanding text among all the excellent teachings, it was King Thrisong Deutsan who had started the tradition of reading the scriptures in Tibet. It is said that the twelve volumes of Bum (hundred thousand stanza) scripts used to be read, from beginning to end every morning by dividing the scriptures among some 300 monks at Samye Monastery, Tibet. From Tibet, the tradition gradually flourished to the neighbouring countries including Bhutan which the people of Bhutan still practice the culture not only for remedial purpose but also to uphold the sacred doctrine and inculcating the faith to the future generations. However, the modernization couldn’t make much affect for this reading culture while it had somewhat impacted other ICH for its survival.
Bhutan -
Sang: A-shey Lhamo
A unique female-dominated performance held only on the 8th and 9th day of the 7th lunar month in the two communities of Ura-ma-krong (main village of Ura) and Shingkhar, the farthest settlement under Ura gewog (block) in Bumthang Dzongkhag (district). In Ura dialect, Intangible Cultural Heritage (ICH) is usually called Saang (smoke offering). It is said that in the old days, when there were yak herders who usually came from their village to raise the yaks at Purshey la (one of the mountains overlooking Ura village), they welcomed the female performers by burning sang at Korgang (the place believed to be the place where the deity descends or dwells and where the female performers circumambulate the stupa). Hence, community members refer to the festival as Sang or Sang na gai-sang (on the way to the Sang offering). Another interpretation states that the female participants begin their offering by making various medicinal herbs and other fresh offerings go up in smoke while appeasing the main female deity named A-shey Lhamo and her entourage, namely Gawa Lhamo, Kiba Lhamo, Champa Lhamo, and Dropa Lhamo. However, in addition to the aforementioned attendant goddesses, Shingkhar A-zhi (pronounced locally) Lhamo has Lam-dron Lhamo forming five attendant goddesses. Therefore, the festival and performance were called Sang from the first offering. The other name of the festival, A-shey Lhamo, is interpreted literally by outsiders and some learned community members as the lyrics of the religious song sung and danced in honor of the deity A-shey Lhamo. Colloquially, the term A-shey is addressed to either the queen or the elder sisters, and Lhamo is a general term for the divine goddess. The origin of Sang or A-shey Lhamo is that during the Dung Lhawang Rabgay (local ruler), not long before the emergence of the Dung caste system in Bhutan around the 10th-11th century, there was a misfortune of Shey-ned (diarrheal infection) that spread among the children of the Ura community. People sought the advice of their ruler as there was no tradition of performing rituals or treatments. Thus, Dung Lhawang introduced Drakpa, who had a divine bloodline, to appease the female local deity by performing dances. He composed the lyrics in the typical Ura dialect and ordered that they be performed by female members of the community. The Lord also determined the place: Pur-shey la (written Pur-gyal la) along with the things to be sacrificed and also the steps. Following the advice, the women performed the dance, which gradually helped the children recover from the epidemic. After that, the performance of A-shey Lhamo was practiced. According to the origin, A-shey Lhamo and the goddesses accompanying her are both the deities of the place and deities of the Bon khar tradition. Perhaps they are the other form of Tshering chey nga (the five sisters of longevity) who appeared in the Bon tradition before they were introduced by Guru Padsambava as the tutelary deity of Buddhism, just as many Bonpo deities were later transformed as protectors of the sacred teachings of the Buddha. In the poetry of A-shey Lhamo, it is mentioned that they reside in the high mountains Gang-toed thoen po. The road to their citadel is like a mule track, filled with the sweet fragrance of Ba-loo (Rhododendron ciliatum) and Su-loo (Rhododendron setosum). She delights in the first share of Mar-chang Ara (locally brewed wine) and Kara and Buram (honey and brown sugar) and sits down on the white sheepskin mat. She resides gracefully in a palace of precious gems with golden columns and silver windows. Apart from the above description of her residence, there is no text describing her appearance, only the names of her sisters and the goddess herself. This ICh element is still alive in Ura and Singkhar communities. However, there are some changes: The sang is now prepared and offered by themselves since there are no more highlanders at Pur-shey la, and the other is that, according to tradition, the sang is generally performed on the 8th and 9th day of the lunar month but, the community members decided to either coordinate the festival on 15th day if the time and weather is not favourable.
Bhutan