w SMITHSONIAN Folklifc Festivalzuu8 Bhutan: Land of the Thunder DragonNASA: Fifty Years and BeyondTexas: A Celebration of Music, Food, and Wine 9. The 2008 Smithsonian Folklife Festival Bhutan; Land or the inunder DragonNASA: Fifty Years and BeyondTexas: A Celebration of Music, Food, and Wine (Left) Dubbed the "Dancing Cowboy" by his devoted fans, conjunto accordionist MingoSaldivar is known for his vigorous performance style. Photo courtesy Texas Folklife Resources(Right) Educator astronaut candidates Dottie Metcalf-Lindenburger, Ricky Arnold, and Joe Acaba (with microphone) answer questions about their training in a webcast at NASA headquarters in Washington, D.C. Photo courtesy nasa (Left) Astronaut Heidemarie Stefanyshyn-Piper waves to the camera whileparticipating in extravehicular activity (EVA) as construction continues onthe International Space Station in September 2005. Photo courtesy nasa(Right) The annual community religious festivals (tsechus) celebrate the life ofGuru Rinpoche and the arrival of Buddhism in Bhutan. Photo by Andrew Connors The annual Smithsonian Folklife Festival bringstogether exemplary practitioners of diversetraditions from communities across the UnitedStates and around the world. The goal of theFestival is to encourage the vitality of thesetraditions by presenting them on the NationalMall so that tradition-bearers and the public can learn from one another and understand cultural differences in a respectful way. Smithsonian InstitutionCenter for FolkUfe and Cultural Heritage600 Maryland Avenue SW, Suite 2001Washington, D.C. 20024-2520 www.folklife.si.edu ? 2008 Smithsonian InstitutionISSN 1056-6805 Editor: Mary SeboldArt Director: Krystyn MacGregor ConfairProduction Manager:Joan ErdeskyGraphic Designer: Zaki GhulDesign Intern: Chloe Steinhofi-SmithPrinting: Gray Graphics, Maryland Smithsonian Foll- Bhutan is one of the world's smallest, most remote, and least knowncountries, but is also one of its most environmentally pristine andculturally ricfl. Photo by Julia Brennan M? Bhutan: Land of the Thunder Dragon 19 For centuries until the 196OS when roads madethe country accessible to the outside world, Bhutanwas known as a forbidden land. Its isolation wasnot a deliberate political or historical choice but a consequence of its geography. Compared to its neighbors, Bhutan's population density is quite low-about sixteen persons per square kilometer. Bhutan is still a predominantly agrarian country, with yypercent of the population dependent on agriculturefor its livelihood and all Bhutanese owning theirown land. However, because of geography, onlyabout 8 percent ot the land is arable. Forest coversapproximately 72 percent ot Bhutan's territory, andperpetual snows cover nearly 20 percent.Bhutan's topography has to a large extentshaped the history and way of life of theBhutanese people. The country can convenientlybe divided horizontally into three geographic areas. The foothills of the south, which risefrom the Indian plains to an altitude of i,soo meters, have thick broadleaf evergreen forests. fertile tarmland, and a relatively high populationdensity (at least by Bhutanese standards).The centra! temperate zone?cut oft from thefoothills by the high ranges of the Inner Himalayas-has a succession of valleys at altitudes ranging from1,500 to 3,500 meters. The hillsides are thicklyforested with blue pine and other conifers, oak.^^ -^ 20 Bhutan: Land of the Thunder Dragon magnolia, maple, birch, and rhododendron. Farmersgrow rice, millet, wheat, buckwheat, and maize, as well as cash crops like asparagus, mushrooms,potatoes, strawberries, apples, peaches, mandarm oranges, and cardamom. The capital Thimphuand most of Bhutan's major towns and monasticcommunities are located in this zone.Abov-e the temperate zone?at elevationsranging from 3,500 to 5,500 meters?there aresubalpine and alpine highlands that are ringed by thetowering snow-clad peaks of the Greater Himalayas,which include C'homolhan (7,300 meters) andBhutan's highest peak Gangkar Puensum (7,541meters). They are Bhutan's sacred mountains andmost have never been climbed. In the summermonths, the pastures are dotted with hercis ot vakand the distinctive black tents of the yak herders.Several elements of Bhutan's culture bringtogether its diverse, sometimes-isolated peoples.Bhutan's official language is Dzonkha, which isspoken mainly in western Bhutan. However, in addition to English, there are two other majorlanguages?Sharchopkha (spoken mainly in easternBhutan) and Nepali (spoken mostly in southernBhutan). There are also up to nineteen major dialects,which have survived in isolated valleys and villages cut off from neighboring areas by high mountains.Most Bhutanese continue to wear the traditional national dress?the kira for women and the glio formen. The kira is a rectangular piece of cloth aboutthe size of a single bed sheet. The art of weaving, (Above left) In Bhutan's agrarian society, people live very close tothe land that sustains them. Photo courtesy Bhutan Department of Tourism(Below left) Wedged between two of the world's largest countries(China and India) in the isolation of the eastern Himalayas, Bhutan'sgeography has allowed its people to live independently for more than a thousand years and has provided protected habitat for a dazzlingdiversity of rare plants and animals. Map courtesy National Geographic (Right) The traditional <;/ras worn by Bhutanese women feature complexdesigns and take many months to weave by hand.Photo courtesy Bhutan Department of Tourism which is done almost exclusively by women, ishighly developed; an elaborate ^'ira can take a wholeyear to weave. A kim is wrapped around the bodyand secured at the shoulders by a pair of silver clasps called koiiui and at the waist by a tight belt, a keyra. A wonjn (an inner blouse with long sleeves)and a tycko (an outer jacket) complete a woman's outfit. Unlike most Asian women, most Bhutanesehave short-cropped hair cut in a fringe across theforeheati (although some young women in Bhutan'semerging urban centers prefer longer hairstyles).The man's ^'/jD is a one-piece costume ratherlike a kimono with broad white cuffs. The ^^//c' ispulled up to knee length and fastened at the waistwith a tight-fitting belt that forms a deep pouch across the chest. This pouch is like a huge pocketand is used to carry all sorts ot things?money,important papers, a wooden bowl for cirinking tea,some hard cubes of dried cheese for snacking, andperhaps a little round box tor carrying doina (betel nut, wrapped in a paan leaf smeared with lime paste). fe-'M^iwHi ,ii -^)^ ?^'iii- Bhutan: Land of the Thunder Dragon A Meditation in Dance by Lopen Lugtaen Gyatso The most iniportant events in the Bhutanese calendar are reHgioiis festivals. The major ones,which attract enormous crowds, are the domclwe!.and tsechiii, held annually at the big monasteries anddzoiigs (enormous fortresses) all over the country.The dates vary from year to year, but most tsechiis areheld in autumn, which is a leisure period for farmers(although the very famous tsechti in the Paro Valley in western Bhutan is held m the spring). The highlightof a tsecliu is the religious dances performed by monksand laymen in fabulous costumes and masks. Clownsknown as atsaras,?often carrying large woodenphalluses?entertain the crowds with their slapstick routines in between the dances. Many individualhouseholds hold their own private annual prayers, or choku, followed by a feast for the whole village.Archery, or dlu:. is undoubtedly Bhutan's mostpopular sport. It is traditionally played with bamboobows and arrows and two small targets placedapproximately 145 meters apart at opposite ends of afield. (In international archery competition, the target is at a distance of only fift)' meters.) Every village has an archery ground, and at important matches, the twocompeting teams are supported by lively groups ofwomen "cheerleaders." On holidays, several archerymatches can be underway at once. More and morecommon are expensive imported bows with pulleysthat increase the speed and force of the arrows. They are coveted status symbols among Bhutanese archers,although traditional archers continue to use bamboobows and arrows with great skill. Khimt, or darts, isanother favorite sport played outdoors with the targetplaced at a distance of twenty meters. The drametse ngacham is a dance form that originated inBhutan five centuries ago. Today, the Institute of Language and Cultural Studies is documenting the dance. The following is a rare insight into the tantric Buddhist teachings of this meditation in dance. "If you know the purpose of the dance and what the dancers are visualizing, it is a very powerful experience," said a teacher at the Institute of Language and Cultural Studies. "Even the hair on my arm stands up as the trumpets, music, and intensity ofthe dance increase." The drametse ngacham, one of Bhutan's best-known maskeddances, was conceived in a powerful moment of intensive meditation. During a retreat, the dance came as a vision to a grandson of one of Bhutan's revered saints, Pema Lingpa. In his vision, Khedup Kuenga Gyaltshen saw three beautiful, celestial women {dakinis) dressed in silken gowns and adorned with garlands of precious stones. The celestial beings guidedhim to the abode of Guru Rinpoche, where the deities per-formed a dance. Guru Rinpoche, the eighth-century spiritualteacher who brought Buddhism to Bhutan, later instructedKhedup Kuenga Gyaltshen to introduce the dance to thehuman world for the benefit of all living beings. KhedupKuenga Gyaltshen noted the choreography of the dance and taught it at the Thegchog Ogyen Namdroel ChoelingMonastery in Drametse in eastern Bhutan. Sixteen people perform and ten others provide musicalaccompaniment in the drametse ngacham, making it theperfect example of Bhutanese masked dance. Refined artistic skills and a flawless balance between dancers and instrumen- talists result in fluid, uniform, and complex movements.Drametse ngacham has twenty-one parts and lasts morethan two and a half hours. The dancers wear spectacular, colorful costumes and masks representing real animals and mythical beings. All the masks symbolize the wrathful andpeaceful deities of the pure lands of celestial beings. Thedancers become manifestations of these deities. Time and space are instrumental in creating different versions of ngacham. For many years, the dance was performed in relative isolation in the Talo, Trongsa, and Gangteng Archery, Bhutan's national sport, provides frequent opportunitiesfor communities to gather for festive competitions. The holes found in bread box-sized targets, shot at a distance of 145 meters(approximately 475 feet), reflect the staggering accuracy ofBhutanese archers. Photo courtesy Bhutan Department of Touiism The drametse ngacham is a sacred masked dance that originated in central Bhutan more than 500 years ago. Inspired, according to Bhutanese Buddhists,by celestial performances in honor of Padmasambhava (Guru RInpoche), the dance is revered throughout Bhutan and has come to signify the nation. By witnessing the dance and listening attentively to the sound of the drums, believers may acquire some spiritual enlightenment. UNESCO recognized thedance as a masterpiece of Intangible cultural heritage In 2005. Photo courtesy Bhutan Department of Tourism monasteries in central and western Bhutan. Today, drametsengacham is widely performed in Bhutan; its choreography and meaning differ slightly from place to place. Visualization is critical to drametse ngacham. The dancerspicture the physical world, imagining it as the Buddha's land of magnificent glory, where all sentient beings are peaceful or wrathful deities with intrinsically pure, Buddha-like qualities.They visualize endless numbers of each deity, which slowly enterthem and all things mortal to transform all ordinary beings into extraordinary deities. Finally, the beings and the deities become one. All visions are seen as manifestations of deities, all sounds as divine speech beyond human understanding, and whatever appears in the mind as the great realization of ultimate reality.The dancers establish spiritual contact with the audience through this powerful visualization, which serves to transmit the awakening state of mind to all who are watching. The drametse ngacham is truly a meditative art form. The dancers must undergo rigorous training to achieve the right state of mind for the dance. This explains why the dancers and the ritual master have to complete a course in ngondro (preliminary meditation practice) and, if possible, a class in losum chogsurn(a three-year and three-month meditation retreat). The physicaldance itself requires years of training in order to attain perfect synchrony among dancers. Unlike other dances, the drametse ngacham transcends thephysical performance to become a means of enlightenment. It is a didactic way to impart the sacred Mahayana tantricteachings that epitomize the path to liberation and victory over negative and evil forces. The drametse ngacham is believed to destroy all evils and natural calamities to establish peace and harmony. Dancers cultivate a pure vision that reflects theBuddhist concept of direct liberation from samsara (world of suffering). The dance exudes a spiritual energy that permeatesthe whole atmosphere. The drametse ngacham is evidence of a unique living cultural expression. Its strong impact on society is articulated through its popularity in the whole of Bhutan and its dominance at most religious and secular ceremonies. The Bhutanese believe that thisdance has the power to cleanse all defilements and negative mental actions of the dancers and the audience. Bhutanese find the drametse ngacham spiritually empowering.They believe that a person has to see the dance at least once in life in order to be able to recognize the deities in the bardo?the intermediate state between life and death, where all thedeities that appear in the ngacham are present to lead thedeceased person to higher realms. The sacred texts state that,just by watching this dance, people can be liberated from rebirth or avoid rebirths in lower realms. Lopen Lugtaen Gyatso is the director of the Institute ofLanguage and Cultural Studies (ILCS). Under his stewardship,the ILCS has produced research on drametse ngacham (theDrum Dance from Drametse), which was designated byUNESCO in 2005 as a masterpiece of intangible culturalheritage. Lopen Lugtaen Gyatso, a scholar and monk, obtained a master's degree in Sanskrit from the University in Varanasi before joining the civil service of Bhutan. Btiutan: Land ot the Thunder Dragon 23 Bhutancse call their country Driik Yul (Land otthe Thunder Dragon). According to legend, nearly athousand years ago, a Tibetan monk heard thunderduring the consecration of a monastery. He believed it was the voice ofa druk (dragon), loudly proclainimg theButldha's teachings. Little is known about the early history of DrukYul, although archeological evidence suggests thatBhutan was inhabited as early as 2000 B.C.E. Oraltradition indicates that at the beginning of the firstmillennium, the country was inhabited by semi-nomadic herdsmen who moved with their hvestockfrom foothills to grazing grounds in higher valleysin the summer. Like other inhabitants of theHimalayan region, they were animists, many ofwhom followed the Bon religion, which held sacred trees, lakes, and mountains.By the eighth century C.E., with the advent ofBuddhism in the eastern Himalayas, Bhutan's historybecame closely entwined with religious figures andthe myths and legends associated with them. In the early seventh century, the Tibetan Buddhist kingSongtsen Gampo built the first temples in Bhutan. Butanother century passed before Buddhism actually tookhold in Bhutan, hi 747, the Indian saint and teacherGuru Padmasambhava first came to Bhutan. Legend says that he manifested himself riding a flying tigressand stayed in a meditation cave in a cliff in the ParoValley in western Bhutan (now the site ot the famousmonastery of Taktsang, or Tiger's Nest).Guru Padmasambhava?or Guru Rinpoche, ashe is more commonly known in Bhutan?was ahistorical figure, one still highly revered in Bhutan.He was born in Uddiyana in the present-day SwatValley of Pakistan and became a renowned sage in Indiaand Tibet. He visited many parts of Bhutan duringhis lifetime, performing miraculous feats and winningpeople over to Buddhism. During this period, manylocal deities became assimilated into the BhutaneseBuddhist pantheon (usually as the protecting deitiesof a particular village or vaDey). Many Bon practices,particularly those that hold nature sacreci in its many manifestations, have been integrated into the MahayanaBuddhism practiced in Bhutan. But there are still someisolated pockets in the country where the Bon rehgion,with its shamanistic practices, lives on. Bhutanese In the eighth century C.E., the Indian Buddhist Padmasambhava(popularly known as Guru Rinpoche) traveled to many places inBhutan while teaching Buddhism. He later meditated in a cave highabove Paro Valley, arriving (it is said) on the back of a flying tigress.The magnificent Taktsang, or Tiger's Nest, monastery, which clingsto the rock face thousands of feet above the valley floor, now memorializes the site of the cave. Photo by Preston Scott culture remains both deeply spiritual and robustly earthly, owing much to the reUgious traditions that haveinfluenced the country for more than a thousand years.Today, more than 2,000 temples and monasteriesthroughout Bhutan and the ubiquitous presence of red-robed monks indicate the important role thatBuddhism continues to play in almost every aspectof Bhutanese life. Every district in the country has a dziVif}. which houses the official local monasticcommunity, and several temples. And every villagehas a temple, around which the life of the community revolves. People of Nepali origin, who live mainly msouthern Bhutan, follow Hinduism, the other major religion in the country. 24 Bhutan: Land of the Thunder Dragon Three Marks of Faith by Karma Ura Bhutan is a deeply spiritual country, where religious customs strongly influence people's values. Three marks of faith shapethe Bhutanese personality. The first is prayer Prayer includes short, daily individual acts and liturgies led by monks or lay priests that continue for days. Thepurpose and duration of prayers vary greatly. Typically, prayers concern w/hat people desire in this life, but they may stretch intothe next life. Rituals and petitioning prayers are conductedfreguently to solicit gracious and compassionate actions fromprotector deities. Prayers may consist of mantras or sutras (theBuddha's teachings). They may be profoundly lyrical and non- sectarian or philosophical. Prayers may represent narrowinterests. But traditionally, most feature soul-lifting wishes forjustice and the well-being of all life-forms?the path that willlead them to happiness. As teachings, prayers should stimulate reflection and practice of the central values of Buddhism, such as compassion. Their function is ultimately to shake offthe believer's convoluted and cloudy conscience, which so easily relapses into individualistic self-centeredness. At a more sophisticated level, prayers help believers discover what Buddhistphilosophers have described as the "wisdom mind," which candistinguish between the ultimate reality of things and the mental constructions people take to be real. Another mark of faith, or shared trait among the Bhutanese, isthe spirit of volunteerism in the construction of community temples and the installation of spiritual offerings in temples. A 2004 national survey confirmed that no infrastructure activity required more communal labor than that required for construction and maintenance of temples. The annual labor contribution of eachhousehold to large and complex temples surpassed the voluntarylabor spent in building community schools and suspension bridges and safeguarding sources of drinking water And it explains theprofusion of temples all over the country. There are about 2,000 temples in Bhutan, which means thatpeople are never too far away from their objects of venera- tion. Serene statues are the centerpieces of temples. These statues contain scriptural teachings of the Buddha and body relics of eminent Buddhist masters. Thus, temples signify thepresence and representations of the Buddha and help toproject Buddhist insights. Stupas (Buddhist memorials that usually house holy relics) remind Buddhists to open their minds to understanding theinterdependence of everything, as explained by the teaching of Interdependent Origination. They should realize that everyperson can contribute to others' happiness and well-being andthat each person needs contributions from others to achievehappiness. Happiness depends on sustaining a pattern of giving in meaningful relationships. The third shared trait, or mark of faith, is the strong Bhutanesebelief in the wrongness of killing any life-form, including livestock and wildlife. In the ideal Buddhist world, even flies or rats, which can spread disease, should not be killed. Poultry, swine, fish, andbeef cattle should not be raised to feed human beings. In the real world, however, Bhutanese consume an increasing amount of meat as income rises. But they seem to feel morally more comfortable ifthe meat is imported or if others slaughter the animals. The futuredemands of an urban society may well clash with the very strong belief in not taking life, one of the virtues taught by the Buddha. Human behavior is a delicate, dynamic balance between the ideal and the pragmatic, between individual pursuits of happiness and social justice. Lay Buddhist ethics include constraints on individualbehavior and demands for social action. Together, they can shapethe basic relationship not only between individuals (as a respectfor human rights does), but also between individuals and other sentient beings (which human rights do not guarantee). Dasho Karma Ura is the director of the Centre for Bhutan Studies, a prolific writer, and an aficionado of fine art. Karma Ura studied at Magdalen College, Oxford, and the University of Edinburgh where he earned a master's degree in economics. A silk scarf (lotali) is worn as a sign of respect while polishing a statue of Guru Rinpoche in Gangtey Monastery. Guru Rinpoche is depictedholding a dorje (thunderbolt), which symbolizes the energy and strength required to defeat ignorance. Photo by John Betihoid Bhutan: Lana of tfie Thunder Dragon 25 While iinuh of the history of BhucnTs im-diowilperiod has been lost, because many historical recordswere destroyed in a series of fires and eartht]uakes,enough is known to provide an outhne ot major events. For most of the medieval period, Bhutan hadno dominant authority figure. A number ot local chieftains ruled the different valleys, and there was a great deal of conflict.in the early seventeenth century, ZhabdrungNgawang Nanigyel, an important Tibetan lama, unified the country for the first time. He exercisedhis authority through a series of (/cost's he built acrossthe country, established a code of laws, and helpedinstitutionalize many cultural and religious traditionsthat helped shape Bhutan's identity. He is widely regarded as the founder of modern Bhutan, hi 1907, an assembly of people's representatives, high officials,and important lamas unanimously elected UgyenWaiigchuck the first hereditary king of Bhutan, andhe was given the title Druk Gyalpo. His coronationday (December 17) is now Bhutan's National Day.His great grandson came to the throne in 1972.The young Fourth King's coronation two years laterfocused the world's attention on Bhutan, k brought theinternational media to the country for the first time.Photographs and articles published in internationaljournals projected Bhutan as a fairy-tale kingdom ruledby a dazzUngly handsome young king. Soon after his coronation, King Jigme Singye Wangchuck announcedhis philosophy for the future development of his country. He declared that Bhutan's growth and progress would be guided, as well as measured, not by its GrossDomestic Product but by its Gross National Happiness(GNH). It was a revolutionary concept and one thatinitially invited much skepticism from economistsand other development experts. GNH was a nice catchphrase, many of them said, but on what indexdo you measure happiness? Today, the success of hisGross National Happiness theory is widely recognizedand has become a model for economists and plannersthe world over.Put very simply, GNH is based on the convictionthat m.iterial wealth alone does not bring happiness or ensure the contentment and well-being of thepeople; economic growth and "modernization"should not be at the expense of the people's qualityof life or traditional values. To promote GNH, theBhutanese government has given priority to severalpolicy areas?equitable socio-economic developmentin which prosperity is shared by every region of thecountry and every segment of society; conservationand protection of the environment and the country'spristine natural resources; the preservation andpromotion of Bhutan's unique cultural heritage; andproviding good, responsive governance in which thepeople participate.The highest priority has been given to ruraldevelopment by making health care and education accessible to all, including those living in the mostremote villages; building roads and telecommunica-tions networks; launching livestock and agriculturaldevelopment plans and their associated industries; 26 Bhutan: Land of the Thunder Dragon and promoting tnuiitional handicrafts. All ot theseendeavors aim to improve rural livelihoods and createnew job opportunities.When Bhutan created its environmental protec-tion program, it kept in mind mistakes made by other countries in the neighborhood. Laws ensure that forest cover in Bhutan never drops below 60 percent andthat industrial and commercial activities do not causeenvironmental tieterioration or threaten wikllife. All ofBhutan's hydroelectric projects are run-ot-the-river ? no large dams cause ecological damage or submergehabitats. Such stringent eco-sensitive measures have not affected the profitabiUty of Bhutan's power projects.Instead, they now provide more than 40 percent ot the country's revenue and help ensure Bhutan's continuingeconomic prosperity and independence. Environmentaland cultural concerns have also resulted in the decisionto discourage unlimited mass tourism and to prevent e.xploitation of many of the country's rich natural resources (such as copper), which would destroy humanand natural habitats.Laws preserve the cultural traditions that giveBhutan its distinct identity. They encourage allBhutanese to wear traditional dress in public (whichhelps keep alive important weaving traditions) and strictly regulate the preservation and practice ot Bhutan's superb architecture and traditions. Regular governmentand monastic patronage and large projects for the restoration and renovation ot dzoiiqs, monasteries, and other historic structures guarantee that traditional artistsand craftspeople maintain the highest standards. GNH is based on the conviction that material wealth alone does not bring happiness or ensure thecontentment and well-being of the people; economic growth and "modernization" should not be atthe expense of the people's quality of life or traditional values. (Left) Paro Dzong, which was built in the 1640s, houses a monastic community and serves as the administrative seat of the Pare district in western Bhutan. The seventeenth-century dzong, a few miles from the national airport, is surrounded by the natural splendor of the EasternHimalayas. Some scenes from the 1 995 film tittle Buddha by Bernardo Bertolucci were filmed here. Photo courtesy Bhutan Department of Tourism(Upper right) Bhutan's Fourth King His Majesty Jigme Singye Wangchuck speaks with a young boy. The king was the world's youngest monarchwhen he ascended to the throne in 1972 at age sixteen. He is credited with setting Bhutan on the path to democracy before voluntarily retiring in December 2006. Photo courtesy Bhutan Department of Tourism(Lower right) The Bhutanese people developed their own cultural identity when Buddhism came to the region more than a thousand years ago. They also incorporated important cultural traditions from Tibet, Nepal, and India (as reflected by this Nepali-style stupa in central Bhutan). Photo courtesy Bhutan Department of Tourism Bhutan: Land of the Thunder Dragon 27 Bhutan's spiritual cultuiv permeates every aspectof life, including the government. Even in the twenty- first century, about 3,000 privately supported monksand other religious teachers continue to play an essential role in the life of the community by presiding over festivals and rites of passage and by providingguidance, advice, and solace. Bhutan also has lay monks, or qomchetis, who live with their families but have acquired the religious knowledge that allows themto conduct prayers and other religious ceremonies.They play a particularly important role in easternBhutan, where they travel from village to village toprovide services. Because monks are highly educated,greatly respected in Bhutanese society, and influentialin shaping opinion, they now play an important new role in national life: they are very effective agents of social change in family planning,AIDS awareness andprevention, and other fields of public health.For twenty-five years, providing responsiveand participatory governance has been a priority otBhutan's Fourth King. For example, in 1981 he beganthe process of decentralization and democratizationby giving each dzoiigkluig (district) in the country thepower to determine its own development priorities.In 1991 , he extended this decision-making power to the villages. Then, in 1998, he divested himself of his executive powers and transferred them to a councilof ministers. To protect the future well-being of the country, he also advanced a new law that gave theNational Assembly the power to call for a vote otconfidence in the king. In 2001, he called for a new constitution that would give Bhutan a two (or more)-party democratic electoral system, with an independentjudiciary and other important safeguards. In late200s, the king began visiting the districts to hear thepeople's opinions about the new draft constitution, allay their doubts, and personally explain to them whyhe believed the new constitution would give themgreater control over their own lives and destinies torthe benefit of the country.Despite the initial skepticism that GNH firstdrew from economists and other development experts(perhaps not unlike some of the reactions that ThomasJetTerson must have received when he inserted thewords "pursuit of happiness" into the U.S. Declarationof Independence), there is now concrete evidenceof its relevance in Bhutan. From 1985 to 2007, lifeexpectancy rose from forty-seven to sixty-six years.Literacy increased from 23 to 59.5 percent, andenrollment m primary schools reached 90 percent.There are now thirty hospitals m the country and176 basic health units. Bhutan has been named oneof the ten most important biodiversity hot spots inthe world and has been recognized for its exemplarymanagement ot natural resources.In 2008, the country will complete its transitionto democratic governance under the new constitutionand will celebrate 100 years of the monarchy withthe coronation of Bhutan's Fifth King (and first constitutional monarch). Bhutan does not want tokeep the outside world or the twenty-first century Bhutan's many monastic communities remain vital centers of learning and cultural life and provide important links between Bhutan's past,present, and future. Photo by Presion Scott 28 Bhutan: Land of the Thunder Dragon at bay. Like people every-where, the Bhutanese alsowant prosperity, but not at the expense ot cherishedtraditions and culture. Bhutan wants to introducemodern technology at its own pace and according to its own needs. This is why Bhutan waited until 19S3 tobuild an airport and start regular air services to Bhutan,whv It gradually increased the number ot foreigntourists from only 200 in 1974 to over 17,000 in 2006,and whv television was not introduced until 1999.People often wonder how long, in this age ofinformation technology and an increasingly globalizedeconomy, Bhutan can retain its distinct identity anddeeply spiritual culture. One only has to see how adeptly a Bhutanese monk uses the computer toprepare a scroll of 100,000 prayers to put inside aprayer wheel to reaUze that Bhutanese society is both vibrant and deeply rooted in tradition?that it has an extraordinary capacity to appreciate, absorb, and adaptnew ideas and effortlessly make them a part of theBhutanese way of life.Since Bhutan's Fourth King came to the throne as the worlds youngest monarch at the age of sixteenin 1972, Bhutan has enjoyed unprecedented progress. The 2008 coronation of His Majesty King Jigme Khesar NamgyelWangchuck, the Fifth Druk Gyalpo, will complete the transition todemocratic governance under Bhutan's new constitution and mark 1 00 years of the monarchy. Photo courtesy Kuensel Corporation His M.ijesty Jigme Singye Wangchuck, the Fatherof Bhutan's Democracy, retired in December 2006, entrusting his responsibilities to his beloved sonand able heir. His Majesty Jigme Khesar NamgyelWangchuck. His Majesty the Fifth King, will guidethe nation toward greater peace and prosperirv' andinto a new era in Bhutanese history. Her Majesty ihc Qiiccil cf BhnliW,Ashi Dorji Wani^iuoWangchuck, was born in 1955 //( Nobgang, western Bhutan,and ii>as educated in the Darjeeling district ofWest Bengal,India. She heads thcTarayana Foundation, which proi'ides tncdical, educational, and social support to people and couuiumitics lii'iug in the most remote areas oj Bhutan. This essay was adapted from Her Majesty's book.Treasures of the Thunder Dragon:A Portrait of Bhutan. Bhutan: Land of tfie Tfiunder Dragon 29 Zorig Chusum: Bhutan's Living Arts and Crafts by Dorjee Tshering and Thinley Wangchuk The artistic traditions of Bhutan have been kepX alive, promoted, and further developed because they are useful, ennobling, andinspirational. In fact, Bhutanese life and culture remain robust and richly colorful due in large part to the continued teaching and practice of zorig chusum (thirteen traditional arts). Zorig chusum include the follow/ing arts: yigzo (calligraphy), Ihazo(painting), jimzo (sculpture), lugzo (metal casting), troezo (gold- and silversmithing), shingzo (carpentry), tshemzo (tailoring and tapestry), rsharzo (bamboo and container work), shagzo (woodturning and lacquering), thagzo (weaving), dzazo (pottery), chakzo (blacksmithing), and dozo (masonry). Shagzo (paper making) and poezo (incense-stick making) are closely tied to and often practiced with the traditional arts of zorig chusum. Many Bhutanese arts and crafts have been practiced for centuries and, since the seventeenth century, have been fostered by greatbuilders of dzongs (fortresses). Historian Lam Nado wrote thatthe great unifier of Bhutan, the Zhabdrung, invited artists from neighboring countries to refine the arts of clay sculpturing, painting, and calligraphy; build the Punakha,Trashichodzong, and Wangduphodrang dzongs; and set a formal curriculum for The art of carving in Bhutan dates back many centuries. Artists engravewood or slate with images and texts to help communicate the Buddha'steachings. Photo by Pteston Scott monastic studies. Bhutan's fourth des/ (secular ruler) established a school of arts and crafts in the seventeenth century thatinstitutionalized zorig chusum. Since then, the visual arts havebeen carefully cultivated as the primary means for expression of Buddhist teachings, even in secular daily life. In contrast to many artistic traditions elsewhere, the visual arts of Bhutan were never considered merely decorative. While beauty is clearly cultivated and appreciated, the fundamental purpose ofthe arts in Bhutanese society is to express Buddhism and conveygenuine life experiences. Bhutanese textiles are some of the most coveted in the world. Each region of Bhutan has its own specialties, passed down through generations.Weavers still obtain dyes from locally available vegetables and minerals. Pieces include complex symbols and may take more than six months to weave. Photo courtesy Bhutan Department of Tourism 30 Bhutan: Land of the Thunder Dragon Throughout Bhutan today, you can see houses, temples, monaster- ies, government, and other public buildings that include elements of zor/g chusum. Buildings typically require masonry, carpentry, and carving expertise. They feature stone foundations, rammed-earth walls, and elaborately carved wooden structures, windows, doors,pediments, and stylized architectural embellishments. Because most Bhutanese buildings are wooden, they are easily painted with designs that symbolize harmony and good fortune. Important religious and government buildings usually feature murals, wall paintings, and sculptures that portray major religious and politicalfigures from Bhutanese history and Buddhism. They often display complex mandalas, richly designed compositions, and designs that represent understandings of the cosmos, life, and death. All around Bhutan, one can see zorig chusum in the colorful,intricate weaving of garments?women's kiras and men's ghos.The threads and dyes that color them are produced by hand from local and prized remote sources. Because most cloth in Bhutan was traditionally made by hand and woven (or stitched) thread-by-thread, textiles and related products have always been highly valued. Like the building arts, they have an important role in ritual life. For example, huge embroidered religious tapestries are hung outside on the final morning of the annual masked dance festivals in the country's many valleys. While many, if not most, zorig chusum have their origins in the monastic communities of Bhutan, they have been thoroughly incorporated into all aspects of Bhutanese society. In order topreserve and promote the thirteen arts and crafts, the RoyalGovernment of Bhutan established the Institute for Zorig Chusum in Thimphu in 1 971 . Another campus was subsequently opened in far eastern Bhutan in Trashiyangtse. The campuses create meaningful job opportunities for a new cadre of highly trainedBhutanese artisans and craftspeople. Thanks to the students who have received formal training in zorig chusum, Bhutan's rich cultural heritage enhances the lives of new generations of Bhutanese, as well as the experiences ofpeople who visit the kingdom. Some artists are beginning to explore other forms of artistic expression not traditionally practiced in Bhutan. These include filmmaking and other recently introduced visual arts. Bhutanese appreciate the artistic gifts and traditions of their visionary leaders and work to keep the arts alive andhealthy for the benefit of all. Dorjee Tshering became the director of the Department of Culture under the Ministry of Home and Cultural Affairs for the RoyalGovernment of Bhutan after working for many institutions ofhigher education in Bhutan and directing the National LibraryHe is on the curatorial team for the Festival's Bhutan program. Thinley Wangchuk is the director of the National Institute forZorig Chusum. He has extensive knowledge of Bhutanese craftsand trained in sword smithery in Germany. He is helping curatethe arts and crafts component of the Bhutan program. (Left) Thangkas are traditional Bhutanese paintings on cloth that are displayed during important ceremonies. They also occupy places of honor in homes,temples, monasteries, and even contemporary offices. The artist initially draws a complex grid of geometric lines on the cloth to organize the overall composition. Tliangka geometry is taught according to very strict artistic principles from which there is little deviation. For centuries, the visual arts haveplayed an important role in teaching basic Buddhist traditions in Bhutan. Photo by Preston Scott(Center and right) Bhutan's zorig chusum (thirteen traditional arts), which include clay sculpting (jimzo), still decorate major public structures, such asfortresses (dzongs) and temples, as well as houses. Photo (center) by Sean Riley, Photo (tight) by Preston Scott Bhutan: Land of the Thunder L. Reinforcing Culture: Tourism in Bhutan by Siok Sian Pek-Dorji From explorers to mountaineers, from environmental specialists to trekkers, from culture-hungry adventurers to seven-starjetsetters?Bhutan's tourism continues to evolve. Today, tourismplanners want to ensure that the kingdom's $18.5 millionindustry benefits not only the tour operators, but also the people. In 2007, just over 20,000 tourists visited Bhutan?a record.But Bhutan looks beyond numbers. Tourism is more than a source of hard currency. It is part of Bhutan's journey towarddevelopment, change, and the enlightened goal of GrossNational Happiness. "We see tourism as a means by whichwe can strengthen our values and our identity," said LhatuWangchuk, director general of tourism. "We've become more aware of the value of our own culture and our uniquenessbecause of the positive feedback from tourists." Based on evaluations from tourists and the experience of thepast four decades, the tourism department plans to involve thepeople, especially those from remote communities. In the past, cultural enthusiasts and trekkers came into contact only withtour operators. The average Bhutanese citizen, apart from the operators and a few handicraft manufacturers, benefited littlefrom the industry Lhatu Wangchuk talks about "community-based tourism." Even though tour operators have started taking tourists to smaller rural tsechus, because travelers complain thatthe larger festivals have become too "touristy," the departmentplans to do more. In a promising initiative, it has started to de- velop new trekking routes and areas in remote Zhemgang andKheng. Staff are training local people to manage campsites,guide, and cook for trekkers. The communities will also provide cultural entertainment for tourists and sell local handicrafts. The department is marketing Nabji Korphu, a pristine portion of the Jigme Singye Wangchuck National Park. The trail passesthrough small mountain villages (like Monpa) and broadleaf foreststhat are home to endangered wildlife, including the golden langur and Rufous-necked hornbill.With clear conservation regulationsthat restrain forestry activities, tourism is an environmentally sensitive, ideal source of income for the people. "Our people have always depended on the forest for their livelihood," said a village elder from Jangbi village. "With the area declared a national park,many of the inhabitants have to look for new ways to survive. Ihope that tourism will give the people additional income to support their daily life." Camping fees and other revenue will support a "community development fund" that will finance local irrigation channels, renovation of monasteries, and organization of tsechus.The fund will spread the earnings in a meaningful way. Bhutan's National Museum is housed in the historic Ta Dzong(watchtower), which is nestled in the hills above Paro Dzong. Its rounded, shell-shaped walls are an impressive accomplishment of seventeenth- century Bhutanese architects and builders. Phoio copyright Michael Tobias Feedback from tourists has inspired the department to issueguidelines for the development of infrastructure, facilities, campsites, and viewpoints. They will be built with traditional aesthetics in mind, use local materials and skills, and offer mod- ern comforts. "The challenge is getting greater," said Thuji Nadik, a tourism planner. "Today, we have close to 250 tour operators, and many more people are building tourism infrastructure with very little understanding of what is required." Progressive plan- ning, training, and education are essential to the new tourism policy. The Hotel Management and Tourism Training School, which will open in 2008, and several other government initia- tives will guarantee high-quality service and promote Bhutan's magical aura. The Tourism Act will protect the country's age-old spiritual, environmental, and cultural heritage. "We will not try to be someone or something else," said Lhatu Wangchuk. "If we lose our culture, our identity, our uniqueness,what do we have?" Tourism is not just a business. It is a part of the kingdom'sjourney on the middle path to progress. Tourists are guests ofthe Bhutanese people. They are asked to come to share, as well as to preserve what Bhutan has to offer. Siok Sian Pek-Dorji is a journalist who works independently on media and communication projects in Bhutan and is amember of the board of directors of the Bhutan BroadcastingService Corporation. 32 Bhutan: Land of the Thunder Dragon Further Reading Bhutan: The Thunder Dragon Comes To Washington BERTHOLD, JOHN. 2005. Bliiiraii: Ldiid of the lliuiidci D/,i(,'c>?).SoinerviUe; Wisdom Publications.Moiiogniph on Medicinal Plants oj Bhutan. 2006. Thimphu: histitiitL' ofTr.iditional Medicine Services.POMMARET, FRANCOISE AND CHRISTIAN SCHICKLGRUBER, EDS. 1997.Bhutan: MoHinaiu Fortress of the Csods. New Delhi:Bookwise (India) Fvt. Ltd.SONAM KINGA. 2005. Si>ealiin\; Statues. F/)'/)i,i> Rocks :lVritii{^s on Bhutanese History, .Myths, and Cuhure. Thimphu: DSBPublication. Treasures Of The Thunder Dragon ARIS, MICHAEL. 1994. The Raven Crow\i:The Orii;ins of Buddhist Monarchy in Bhutan. London: SerindiaPublications. ASHI DORJIWANGMOWANGCHUCK.1998. Of Rainbon-s andClouds: The Life of Yah Vi^yeit Dorji as Told to HisDaughter. London: Serindia Publications. .2006. Treasures of the TImnder Dragon :.-{ Portrait ('/ Bhutan. New York: Penguin Global.Immortal Lines: Speeches of the 4th Druh Gyalpo JigmeSingye ]]angchuck. 2007. Thimphu: Bhutan Times Ltd. A Meditation In Dance DA5H0 SITHEL DORJI. 2001. The Origin and Description ofBhutanese .Masked Di)/;f?. Thimphu: KMT Press. Three Marks Of Faith BARTHOLOMEW, TERESE TSE AND JOHN JOHNSTON, EDS. 2008. TheDragon's Ciift:'rhe Sacred .Arts of Bhutan. Chicago:Serindia Publications.KUNZANGCHODEN. 2005. The Circle of Karma. New Delhi:I'enguin 'Zubaan.NATIONAL MUSEUM. 2001. The Living Religious & Cultural Traditions ol 6/(((f