One of the most entertaining mask dances is the Ging Tsholing Cham, a dramatic ritual dance in which the intensity of the drum beat captures the audience attention. This beat intensifies leading into a fight scene beloved by children in particular. The mask dance is also locally known as Tro-ging, or entertaining dance in local Nabji dialect, for its entertaining presentation and performance. The dance is performed by two sets of performers. Boecham pa dancers are laymen trained in the dances, the regalia gives them the wrathful appearance of celestial beings known as Ging, which includes daka and dakini sky spirits. Monastic dancers, called Tsun cham pa, take on the role of the Tsholing emanation of guardian deities and Dharma protectors. These include the Four Kings of the cardinal points and the Eight Classes of Gods and Goddesses; these roles are usually performed by monks. According to literary sources, the mask dance was introduced by Tertön, treasure revealer, Pema Lingpa (1450-1521). In a vision he entered the spiritual realm of Guru Padmasambhava, known as Zangdok Pelri, the copper-colored mountain. There he saw this dance being performed and was able to transmit the dance to this realm. Pema Lingpa, who had a strong connection to Guru Padmasambhava across many lifetimes, met his enlightened master several times. On these occasions, Guru Padmasambhava conveyed predictions for the future; gave Pema Lingpa the list of treasures to be discovered in disguise; guided him to discover sacred sites; and often invited him into his realm during meditation states and dreams. On this particular occasion, Pema Lingpa came to Zangdok Pelri and found Rang-jung Trulpai Phodrang, the magnificent self-arising palace. There he saw the Guru Padmasambhava manifesting in a rainbow body from which millions of his forms emerged, filling the three realms of the universe, multiplying beyond our imagination. This is known as Ja-lue rainbow body or wisdom body. Among these magical representations, Pema Lingpa saw the enlightened sages of India and Tibet sit in the right row and the scholars sit in the left row. In between them sat the 108 treasure discoverers, who are incarnations of Guru Padmasambhava and his 25 chief disciples. Overhead, a cloud of gods and goddesses transformed into one hundred Dampa Rigja Protective Deities– forty-two took peaceful forms, and fifty-eight took Ging wrathful appearance. These deities made various sensuous offerings, including the performance of Dorji-lugar Vajra Dances, dancing upon the air, rejoicing in the doctrine. Outside the entrance gate of the palace, in each 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 who are Tshoglings, getting ready to overcome obstacles to the sacred teachings. In the war scene between the Gings and the Tshoglings, the drum beats of the Gings arouse a sense of fear in the obstacles and samaya oath breakers, the Tshoglings aggressively guide them to follow the righteous path of humanity. The vibrating sound produced by the beating of the drums symbolizes the Choe-ngai dra, the Buddhist teachings. A 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 demons subdued, Samye became an important part of establishing the teachings of the Buddha in the region. When Pema Lingpa saw the spectacular performance he realized its benefits for the liberation of sentient beings. At Korphu Temple, Trongsa, one of his seats in central Bhutan, Pema Lingpa introduced the sacred mask dance to Jigten me-yul the human realm. Korphu Drub is the annual mask dance festival that coincides with the temple's dedication ceremony, and continues this dance tradition. There is still a saying that goes, "If you are not sure about the choreographies of Ging Tsholing, you should visit Korphu Drub." Due to the importance of the dance, Zhabdrung Ngawang Namgyal (1594-1651) who unified Bhutan later spread this mask dance to most annual mask dance festivals. The successive Je Khenpo spiritual leaders as well as the Druk Desi temporary continued this legacy.

Yoga is a time honoured Indian holistic system of personal, physical, mental and spiritual wellness focused on all-round unification of body, mind and soul. Traditionally handed down over the centuries from teacher –Guru to disciple –Shishya, who after attaining mastery become a Guru to teach others. While Indian mythology traces the origin of yoga to the God Shiva as the first teacher its presence is well documented in Indian textual tradition from the Rigveda dated between c. 1500–1200 BCE to Satapatha Brahmana texts of 300 BCE to the philosophical treatises of the Upanishads – Mundaka and the Bhagvad Gita dated before fifth or fourth century BCE. The sage Patanjali systematised the text in his treatise -Yogasutras dated 400 CE while many other great sages and Yoga masters contributed to the furtherance of the system and its practice through their writings. The practice of Yoga leads to the union of individual consciousness with universal consciousness to attain harmony between the elements. The aim of Yoga is to realize the inner self, to mitigate all kinds of sufferings and to pave way for attaining the state of liberation. Yoga practices include Yama or five abstentions, Niyama-five observances, Asana –postures, Pranayama -Suspending Breath, Pratyahara –Abstraction, Dharana –Concentration, Dhyana –Meditation, Samadhi - Full integrated consciousness, Bandhas –Lock, Mudras – Gestures, Shat-karmas - Cleansing practices, Yukta-ahara - Holistic food, Yukta Karma -Right Action and MantraJapa -Chanting sacred words. Yogic practices have helped many millions learn to maintain a balanced way of life.

India 2016

Sericulture and Silk Craftsmanship refers to the craftsmanship applied in traditional sericulture, silk dyeing and weaving process, which has been handed down from generation to generation, and relevant folk-customs derived thereby. China’s sericulture and silk craftsmanship boasts a history of 5000 years. The silk fragments, preliminary loom and potteries decorated with silkworm patterns excavated from sites dating 4000 years ago in the Taihu Lake area; demonstrate the time-honoured history of the sericulture and silk production in the region. Alongside the historical process, traditional manufacturing craftsmanship develops, and the main elements include: Mulberry planting: including cultivation of mulberry seedling, mulberry trimming, and various methods of engraftment; Silkworm production: including the selection, hybridization, and breeding of silkworm eggs, incubation, instruments for silkworm rearing, control of the temperature and humidity, and frame mounting methods; Silk reeling: including sorting and stripping of cocoons, ways for preserving the cocoons such as drying and salting, temperature control and process for boiling the cocoons, facilities and techniques for silk reeling, etc; Silk floss making: including techniques of water rinsing and tearing; Weaving tools: including various looms such as treadle looms, multi-shaft and multi-treadle patterning looms, lesser draw looms, greater draw looms, etc, and arrangement of heddle drafts and programming of patterns on draw looms; Design and weaving of fabrics: including the design and weaving of various structures and patterns, such as the Shuanglin silk damask which is calendared by stamp rocks, the Hang gauze with warps crossed, the Shu silk with warp-faced patterns, the Song-style silk in lampas weave, and Kesi woven in tapestry structures.

China 2009

Aitys is a contest centred on improvised oral poetry spoken or sung to the accompaniment of traditional musical instruments – the Kazakh dombra. Two performers (akyns) compete with one other to improvise verses on topical themes in a battle of wits that alternates between humorous ripostes and penetrating philosophical reflections. During the competition, the performers sit opposite one another improvising a dialogue on topics chosen by the audience. The winner is the performer considered to have demonstrated the best musical skills, rhythm, originality, resourcefulness, wisdom and wit. The most meaningful and witty expressions often become popular sayings. The element is practiced on a variety of occasions, ranging from local festivities to nationwide events, where practitioners often use the contest to raise important social issues. Although it was traditionally performed only by men, many women now participate in Aitys and use the contest to express women’s aspirations and viewpoints. Akyns compete with each other without any preparation, minutely composing poems mutual answers to questions of concern to society. Deep philosophical reflections in the witty, bubbly manner often turn into a form of poetic ridicule and criticism. Akyns compete in their resourcefulness and originality.

Kazakhstan 2015

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices. Experts believe that Mak Yong appeared well before the Islamization of the country. It was performed as a royal theatre under the direct patronage of the Kelantan Sultanate until the 1920s. Hence, the tradition was perpetuated in a rural context without forsaking the numerous refinements acquired at court, such as sophisticated costume design. A typical Mak Yong performance opens with an offering followed by dances, acting and music as well as improvised monologues and dialogues. A single story can be presented over several consecutive nights in a series of three-hour performances. In the traditional village setting, the performances are held on a temporary open stage built of wood and palm leaves. The audience sits on three sides of the stage, the fourth side being reserved for the orchestra consisting of a three-stringed spiked fiddle (rebab), a pair of doubleheaded barrel drums (gendang) and hanging knobbed gongs (tetawak). Most roles are performed by women, and the stories are based on ancient Malay folk tales peopled with royal characters, divinities and clowns. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance and spirit possession.

Malaysia 2008

Falconry is the traditional art and practice of keeping, training and flying falcons to take quarry in its natural state, and has been practised for more than 4000 years. It is one of the oldest relationships between human and bird. It probably evolved in the steppes of Asia, and spread via cultural and trade links to other countries, first to Europe, North Africa and East Asia and later in the 16th century to the rest of the world. The practice of falconry in early and medieval periods of history is documented in many parts of the world. The falcon and her prey have evolved together over millions of years; their interaction is an age-old drama. The falconer’s task is to bring the actors together on nature’s stage. Falconry as intangible cultural heritage is integrated into communities as a social recreational practice and a means of connecting with nature. Originally a way of obtaining food, falconry has acquired other values over the centuries, and is identified with camaraderie, sharing, and expressions of freedom. Nowadays falconry is practised by people of all ages in local communities in more than eighty countries. Falconry expresses itself in multiple cultural domains, in particular ‘social practices, rituals and festive events’, as well as ‘knowledge and practices concerning nature and the universe’. These include traditional skills, traditional knowledge about the biology and behaviour of birds and the environment, the making of traditional falconry equipment, as well as linguistic and artistic expressions found in idioms, painting, sculpture, poetry, rituals and music. Falconry has its own set of culturally-shaped traditions and ethics; while falconers come from different backgrounds, they share universal values, traditions and practices. Falconry is transmitted from generation to generation as a cultural tradition by a variety of means, such as mentoring, learning within families, or formalized training in clubs and schools. The process of transmitting falconry heritage activates not only the historical memory of the falconry community but also enriches its cultural identity. In recent times falconry has seen a renaissance. Falconry provides modern man with links to nature and strengthens local identities. It is an important cultural symbol in many countries. The modern practice of falconry aims at safeguarding not only falcons, quarry, and habitats but also the practice itself as a living cultural tradition.

United Arab Emirates,Austria,Belgium,Czech Republic,Germany,Spain,France,Hungary,Italy,South Korea,Kazakhstan,Morocco,Mongolia,Pakistan,Portugal,Qatar,Saudi Arabia,Syria 2016

The Watertight-Bulkhead Technology of Chinese Junks is an age-old craft for the construction of ocean-going vessels with watertight compartments in South China’s Fujian Province. The vessels are made mainly of camphor, pine and fir timber, and assembled through use of traditional carpenters’ tools. They are built by applying the key technologies of rabbet-jointing planks together and caulking the seams between the planks with ramie, lime and tung oil. A master craftsman designs and directs the whole process. A large number of craftsmen work in close coordination to build solidly rabbeted ocean-going vessels consisting of multiple independently watertight cabins. The core technology for building such vessels is called The Watertight-Bulkhead Technology of Chinese Junks. Watertight bulkheads are the most important step in building Chinese junks. To start with, the craftsmen build an integral hull by joining the vessel’s bilge and sides. The hull is then divided into cabins according to the function and size of the ship. The whole process is manual. Planks are rabbet-jointed together. And then interlocked to the bilge and on to frames or held with crampons. Ramie fibber, lime and tung oil are mixed in the proper proportion to wedge into any gaps between planks and make the cabins waterproof. The tools are largely those used by traditional Chinese carpenters, such as axes, carpenter’s ink markers, hand drills, rulers, maces, pit saws, chisels and planers. Chinese junks are subdivided into multiple watertight cabins. If in the course of navigation one or two cabins are accidentally damaged, seawater will not flood other cabins. The vessel will not sink, but remain afloat. This greatly improves navigation safety. This technology has been widely used over the centuries in fishing vessels, cargo ships, warships, and diplomatic vessels. In particular, Fujian’s ocean-going cargo ships sailing along the Maritime Silk Road during the Song and Yuan dynasties, and the fleets commanded by Ming Dynasty navigator Zheng He in his seven voyages to the West, fully adopted this technology. The technology has served as a bridge and unifier in the exchange between Eastern and Western civilizations. In the late 18th century this technology was finally adopted in the West. Since then Watertight bulkheads have become an important structural element in modern ship design, remain so today and have greatly enhanced navigation safety.

China 2010

The Hezhen people, once known as “Hejen,” have long inhabited the reaches of the significant “three rivers”—Amur River (Heilongjiang), Sungari River (Songhuajiang), and Ussri River (Wusulijiang)—in northeast China. With a population of approximately 4600 people, they are one of the smallest ethnic minorities in China. Yimakan storytelling is a multi-canto oral genre performed in the Hezhen language, or “Nanay” in linguistic terms, which belongs to the Manchu-Tungusic branch of the Altaic language family. It can be traced back many centuries, and is closely connected with the Hezhen people's life-world, which depends for its existence on fishing and hunting. In China, the Hezhen Yimakan Storytelling was first reported by Ling Chunsheng, an anthropologist, in his work entitled, The Hezhen People Living in the Lower Reaches of the Sungari River, in 1934. Yimakan storytelling varies in themes and story-pattern, and resembles an extended narrative tradition celebrating heroic feats and tribal alliances. The ‘mergen’ or hero is perhaps the most iconic and enduring superhero ever created, and likewise heroic narratives, centering on depicting ancient warriors, are also among the most popular tales. The basic storyline is devoted to narrating how the hero becomes the tribal chieftain after enduring many trials and tribulations, and how he finally rehabilitates the Hezhens’ homeland, leading his people to undertake a peaceful life. So far, one of the most ancient stories is the Sirdalu Mergen, which is considered “the very first heroic story since the creation of the world” by local people. Other stories take shape at later stages, such as Antu Mergen, Mandu Mergen, and Shensu Mergen. Apart from heroic narratives, other stories about hunting and fishing, beauty and bravery, love and wisdom, local knowledge and daily chores can also be found, such as Gimtekewe Anaburan and Muzhurin Mergen. Thus far about fifty cantos have been recorded, including Mandu Mergen, Yargu, Shirgu, and Princess Yingtu Flying to the Moon, etc. The episodes of Mandu Mergen may last as long as 8 to 9 hours. The Yimakan performance is a mixture of singing and narrating, and is conducted by an experienced storyteller, with no instrumental accompaniment. Generally speaking, the tradition can be roughly divided into two types: ‘sagdi jarimku’ and ‘uskuli jarimku,’ or BIG SONG and SMALL SONG, respectively, in terms of thematic content and the length of the storytelling. The Big Songs are longer, dealing primarily with heroic stories and creation myths, and they occur mostly in the form of narration; the Small Songs are shorter, depicting love stories, fishing and hunting lifestyles, and the like, and they are rendered with specific melodies. The solo voice of storytelling differs according to gender and age. For this reason, youth melodies, elderly melodies, female melodies, and similar phenomena, can be applied to particular characters and plots. Melodies of narration typically vary from place to place and continually adapt to match up with the given scene and ad hoc plots, thus producing a vivid spectrum of narrative tones in combination of the sonorous or prolonged strains, slow or quick movements. The formulaic singing and reciting can be identified as “traditional” in many facets, though improvisational elements are still quite common and vary according to the level of emotive interaction between storyteller and audience. The traditional performers of Yimakan, called ‘Yimakanqi mafa,’ are usually amateurs, trained in a master-apprentice relationship by a clan or a family. During the first half of the 20th century, master storytellers emerged in rapid succession within a clan or a family. At present, however, outsiders are more and more often accepted for apprenticeship. In the Hezhen context, Yimakanqi mafa refers to a personage with high language skills and a quick mind, who is thus highly respected by the folk. Being a small group of wordsmiths, they can smoothly improvise during the performance, while carefully following the traditional story-patterns, motifs and formulaic diction. Embedded within its society and culture, Yimakan has been the major form of entertainment in the native regions. The Hezhens always enjoy listening to this storytelling during hunting and fishing, upon wedding or house-building ceremonies, and on feast and festival occasions. In particular, the cold and long winter has traditionally ushered in a special time for storytelling. Accordingly, the oral storytelling, as a cultural complex, has been deeply ingrained in the Hezhens’ hearts. In current times, it also supplies a vehicle for younger generations to learn about their history and culture, while opening a window for outsiders to access the Hezhen communities. Since there is no writing system available for these particular communities, Yimakan plays a key role in preserving Hezhens’ past through oral means. This traditional storytelling, as an ideological form of living oral history, reflects the Hezhens’ historical development, social situatedness, and conceptual systems, along with vivid portrayals of daily life, nature worship, shamanic practice, customs, folkways, and remnants of matriarchal kinship, and to a certain extent has made up for the few written records of the Hezhens that exist. It not only manifests almost all aspects of their cultural creativities, but also plays a core function in maintaining the Hezhens’ mother tongue—a ‘severely endangered language’ as reported in ATLAS OF THE WORLD’S LANGUAGES IN DANGER (UNESCO 2010, p.54)—as well. Through practicing Yimakan, the Hezhens’ everyday language, sacred songs, and divine chants have been easier to keep intact, and the transmission and development of the mother tongue has become a more realistic possibility to cultural resurgence. By and large, Yimakan storytelling will undoubtedly have a profound influence on the Hezhens’ traditions, history, values, and ethos. Since it has long been the major carrier of the Hezhens’ historic memory and cultural expression, this time-honoured oral tradition possesses irreplaceable social functions for enhancing ethnic cohesion and identity. Furthermore, having linked the past to the present through an unbroken corpus of living memory and culture, Yimakan serves as a treasure house for the maintenance of the Hezhen language. For all of these reasons, Yimakan presents a specific example of a living and thriving cultural diversity that is under threat of extinction.

China 2011

‘Ak terek – Kok terek’ (“white poplar — green poplar”) is a fun and exciting game for children. Two teams line up against each other at a distance of 20 meters in one line, holding hands. The team that starts the game asks another team: “White poplar- green poplar. Which of us do you want?” The other team, having consulted, answers to the question in the same way: “We want (name of the player) to join us”. The player who is called by the team runs up and tries to break the chain between any two members. If he succeeds, he takes one player from the opposing team to his own. In case of failure - he remains in this team himself. Then the teams switch the roles, and the game continues. The winning team is the one who took away more of the ‘opponent’ players. In the southern Kyrgyzstan, the game is called Chartek. In Alai region it is called El Chabar. `Kachma top` (means escaping/dodging the ball). It is a traditional Kyrgyz game for children and adolescents somewhat similar to baseball. The game participants are divided into two teams. On a field measuring 50x100m, a line (maaru) is marked at both ends. By drawing lots, an offensive team (team of hitters) is appointed, which positions itself on the court. The ball server (pitcher) is selected (the ball is rolled up from animal fur). Then the order of hitters is established. The hitter enters the line, picks up a meter-long stick and strikes the tossed ball. Hitting as hard as possible, he must run to the opposite line. Then the players change. ‘Tak teke’ is an old, traditional wooden dancing goat puppet, which is put to life by the movement of the player’s fingers. ‘Tak teke’ was performed during celebrations or in a free time. The vertical stick was installed by hinges on the surface of a small table. A small wooden figure of the goat was attached to the stick. This stick, under the table, acceded to the strings of komuz (musical instrument) by the streaks. During the performance on komuz, the goat figure moves with a melody. `Besh tash` also known as top tash a game of five stones or group of stones. It is one of the ancient games that is mentioned in the Manas epic. This game is played by young girls in small groups of 2-6 people. A game is played with 5 pebbles with smooth surface. Each player performs a series of throwing and catching exercises with those pebbles. Exercises get more and more challenging from level to level. There are usually 7 levels but players can improvise and add extra levels based on mutual agreement.

Traditions of telling humorous and satirical stories about Khoja Nasreddin - a folklore character of the peoples of the Muslim East. Khoja Nasreddin is a collective image devoid of spatial and temporal boundaries. He is a connecting link in a chain of cultural phenomena that are far from each other; in the end, he constitutes a single cultural layer. The first appearance of anecdotes about Khoja Nasreddin dates back to the 10th century. The literary character of Nasreddin is eclectic and combines in himself the image of a sage and a simpleton at the same time, an internally contradictory image of an antihero, a vagabond, a free-thinker, a rebel, a fool, a holy fool, a sly man, a rogue and even a cynical philosopher, a subtle scientist-theologian and a Sufi. He makes fun of human vices, misers, bigots, hypocrites, bribe judges, etc.

Uzbekistan 2022

The obligatory ritual for all men, marking adulthood, is usually held from the end of winter to the end of January of the following year. If the person dies before the ceremony, the family will do it before the funeral. Usually there are 3 levels: 3, 7 and 12 lights. The shaman presides over the ceremony with an interplay of musical instruments, costumes, and offerings. It includes a lot of rituals according to the process: Presenting ceremony of the person receiving the ceremony, Ceremony of giving and lowering of lamps, Ceremony of naming of Dharma names, Ceremony of delivering the sound of soldiers and rice to feed the army, Ceremony of crossing the bridge, Ceremony of granting worshiping tools, The ceremony of imparting the magic power, the ceremony of worshiping the sun god, the ceremony of red silk, also known as the second wedding ceremony, the ceremony of worshiping the rice souls, the ceremony of visiting heaven or the second birth ceremony, the Ascension Ceremony.

The Masked Dance of the Drametse community is a sacred dance performed during the Drametse festival in honor of Guru Padmasambhava, a Buddhist master. The dance also commemorates several significant figures in the monastery lineage: founder of the Tegchok Namdroel Ogyen Choeling Monastery, Ani Choeten Zangmo (late 15th cen); and venerable Khedurp Kuenga Gyeltshen (1505-/) who introduced the Masked Dance. These two are the eldest daughter and the fourth son respectively of the great treasure revealer, Tertön Pema Lingpa (1450-1521). According to oral accounts, the Drametse Ngacham in 1518, just three years before Pema Lingpa’s death. The name of the mask dance is derived from the Drametse village community, which falls within the Drametse gewog, village block, of Mongar Dzongkhag district in the eastern part of Bhutan. The term Ngacham refers to the dance implements held by performers, a hand-held circular flat drum and mallet. Ani Choeten Zangmo established the Tegchok Namdroel Ogyen Choeling Monastery in 1530. The three-day Drametse Tshechu festival takes place twice a year, organized by the monastery administration. The dancers include monks as well as laymen. The origin of the mask dance, its characteristic choreography, masks, and costumes are specified by Pema Lingpa in detail in his Kabum, Collected Works. Pema Lingpa had seven children, including a son Sangdag, the father of both Tenzin Chogyal and Choeten Zangmo. She also took monastic vows as a nun, earning the title Ani. Therefore, Ani Choeten Zangmo is the granddaughter of Pema Lingpa. Though Ani Choeten Zangmo had no intention to start family, she was forced to marry Yeshey Gyalpo, son of Sumthrang Choeje Sherab Drakpa. Nevertheless, driven by her destiny, she later became a renunciate and established her permanent seat at Drametse where she recognized a place of peace and tranquility. She named it Dra-me “No Obstructions” to her meditational practices, at the summit of a Tse, small ridge. During her stay, her brother Kuenga Gyeltshen who is popularly known as Khedrub Kuenga Wangpo visited her. Kuenga Wangpo is highly revered by spiritual masters for his outstanding philosophical knowledge and realization of the true nature of mind, thus he was given a title of Khedrup, great and realized scholar. In meditational states he met Guru Padmasambhava several times and visited his spiritual realm, Zangdok Pelri, the Copper Colored Mountain. While staying at Drametse, Khedrup was practicing his early morning meditation on the 17th day of the 8th month of Iron Male Tiger year 1530—while the Drametse Lhakhang Monastery was under construction. In this state, three khadroma celestial maidens appeared to him with white complexion, decorated with colorful silken robes, ornaments and flower garlands. They invited Kuenga Wangpo to Zangdok Pelri, to take a tour of the palaces of the realm. He asked, “What should I take for the long journey?” The maiden responded, “While you are experiencing pure vision without doubts, come along with us.” They took him to the realm, and into a palace called Pema yoe ki Phodrang, Kuenga Wangpo saw King Indra Bhuti. Then the maidens took Kuenga Wangpo to the majestic palace of Zangdok Pelri, where he saw Guru Padmasambhava in a youthful form smiling and telling him “I am happy to see you here.” Instantly, Guru manifested to a Jalue, Rainbow Body, and dazzled Kuenga Wangpo with a splendid dance performed by many gods and goddesses transforming themselves into Dampa Rigja, the Hundred Guardian Deities; forty-two peaceful forms, and fifty-eight in wrathful appearance or in human form with various animals’ heads. All wore exquisite robes and a melodious sound of their drum beats resonated with Choe-ngai dra, Buddhist teachings. It is also believed that the sound of the drum signifies victory over evils and celebrates joy as Buddha’s teachings flourish. Kuenga Wangpo was then told to introduce this dance in Jigten me-yul, the human realm, and that conducting the Masked Dance would liberate sentient beings. Coming out of this meditation, he jotted down the detailed choreography, masks, and costumes. The first introduction of this Masked Dance was at the sacred place of Drametse, thus giving it the name Drametse Ngacham. Due to the significance embedded in the dance, successive spiritual masters and farsighted monarchs suchas Zhabdrung Ngawang Namgyal (1594-1651) propagated the Masked Dance at monasteries and Dzong fortresses around the country.

Bhutan 2008