Weekend in Paro

Day One: Exploring Paro

A couple of weekends ago, Emily and I headed off to Paro, which is the next valley area west of Thimphu. I had a midterm break, so we spent two nights at a beautiful old palace called Gangtey Palace (more to come on that later). We drove there with Doug and Janet (mentioned in previous posts) and, along the way, stopped to stroll into the countryside. 

Beautiful Paro Valley stretches out behind of a small Bhutanese-style stupa. 

Chilis dry in the sun in a typical Bhutanese village image.

A small shrine with mini-Chortens presented as offerings. 

Pumpkins line up near a farmhouse. 

More Paro Valley. 

A Bhutanese child peers out from inside a farm building. 

Emily, Janet, and Doug on our walk. 

Memorial flags fly on tall wooden poles and are placed in auspicious places
 to memorialize deceased relatives. 

An odd doorway marks the border between an apple orchard and the rice paddies beyond. 

When we arrived into the town of Paro, Emily and I had a late lunch at an excellent little cafe called Sonam Trophel Restaurant. As it turns out, there really isn't many other options for food in Paro, so we met up with Doug and Janet at the same restaurant for dinner. It was good both times. In between meals, Emily and I walked around Paro and discovered that it was about 90% handicraft and tourist shops. Apparently, Paro is quite a touristy place. Since we weren't technically "tourists," these got old rather quickly. The guide book had promised a nice little coffee shop off of the main square, but we never managed to find it. (Paro is a small town, so we can only assume that it has shut down.) Downtown Paro is nice looking, but pretty short on things to do in comparison to Thimphu. The draw for Paro Valley is the beautiful rice fields that sprawl out from the town, the magnificent dzong that overlooks them, the National Museum, and, of course, the Tiger's Nest Monastery.

The Paro Dzong.

Downtown Paro looking towards the dzong.
 I call this shot, "Dog symmetry in Paro." 

Day Two: Taktshang Goemba ["Tiger's Nest Monastery"]

On our full day in Paro, we decided to go up to Taktshang Goemba, known in English as the "Tiger's Nest Monastery." Taktshang is perhaps the most famous site in Bhutan and is widely photographed by professionals and amateurs alike. There is a good reason for this: it is a monastery perched atop a sheer drop of 1000 meters, clinging onto the wall of the mountain next to a picturesque waterfall. While many monasteries in Bhutan are located high up in the Himalayan hills and mountains, Taktshang is by far the most beautiful and unique.

The 'Tiger's Nest' is so named because in the 7th century, it is said that Guru Rinpoche (Padmasambhava, the father of Buddhism in Bhutan and Tibet) flew on the back of a flying tiger to subdue the local demon, Singey Samdrup, at the site where the monastery now stands. He then meditated there for three months. Because of this, the site has long been recognized as a ney [holy place] and was visited by the famous Milarepa in the 11th century and Zhabdrung Ngawang Namgyal  (the father of 'modern' Bhutan) meditated there in 1646. The monastery itself was built in 1692.

Because of its long history, famous visitors, and beauty, Taktshang is probably the most visited place in Bhutan. This means, of course, that the trail up to the monastery is fairly choked with tourists. What is interesting is that most tourists to Bhutan are older, since getting to Bhutan as a tourist takes quite a bit of money ($250/day) and time commitment that usually only comes when one is retired. Many tourists have mobility issues related to age, and Bhutan is a pretty unforgiving place for that. The trail up to Taktshang is two hours and 1200m (almost 4000ft) of uphill hiking that already starts at 2600m (8500ft). There are horses that you can rent that will take you up most of the way, but the last quarter is a steep and narrow staircase that is not suitable for horses ... and not that great for people either.

About halfway up, there is a set of prayer wheels and a tea house-restaurant called 'Cafeteria'. Getting tea from this place is fine, but I would not recommend getting the buffet lunch. For two people it was Nu900 ($17), which for American prices sounds like a great deal but in Bhutanese ngultrum it is an absolutely outrageous price! (That's the price you would pay at a fancy restaurant in Thimphu, not a mediocre place in the middle of the mountains.) We think in Bhutanese ngultrum now, since I only get paid Nu30,000/month ($565) and that's a very decent salary here. Obviously, the Cafeteria is set up to take advantage of the rich tourists from North America, Europe, Japan, and Korea.

We started early in the day, which is good because the trail is quite exposed and the sun can be fairly brutal at this altitude. Catching a ride on a tour bus from our hotel, we arrived at the trail head at around 8am. The fog wafting through the valley both helped shield the sun and provided a dramatic ambience to the monastery. And here I will let the pictures do the talking...

The start of the trail. 

This building houses a prayer wheel that is being turned by the
motion of the stream (a common sight in Bhutan). 

Emily turns some prayer wheels herself. 

Taktshang Goemba is revealed through the fog.

Prayer flags tangled up in the trees. 

The view into Paro Valley from the trail. 

Emily and I at the prime overlook. 

The waterfall that brushes past the monastery. 

The entrance to the monastery. Cameras are not allowed in any
monastery in Bhutan, so we had to leave it with the
police officers at the entrance. 

After exploring the monastery, which featured some very beautiful and impressive prayer rooms and a commanding view of the Paro Valley, we made our way back down the trail. Since we were not "tourists" per se, we were kind of the odd ones out at the trailhead because we didn't have any transportation and everyone else was being corralled by Bhutanese tour guides into private cars, vans, and buses. Our plan was to hitch a ride back into town with a tour bus, which eventually worked but it took some patience. 

When we finally got back to our hotel, we decided to splurge and had them prepare hot stone baths for us. A hot stone bath is a Bhutanese tradition where a large wooden tub is filled with water, hot stones from a fire are placed into a wooden compartment at one end of the tub, and fragrant herbs are placed into the water. At Gangtey Palace, the hot stone baths are located in a shed-like structure away from the main building. A man tended the fire and saw to the baths, and we were left alone to our baths, which were super hot! I could only stand it for about 15 minutes, although it did feel nice after a day of hiking. Emily managed to stay in for longer and enjoyed the experience very much. 

After the baths, we grabbed a drink at the hotel bar and happened upon a get-together for a tour group that was staying at the Palace. They were from all over the world, and were very friendly and we got to talking with them. They were very curious about us, since we were living here, and they had many questions about what it was like. We ate dinner at the hotel, which was nice but, again, overpriced. 

Day Three: Exploring the Palace 

On Sunday, our plans were to head back to Thimphu close to noon with Doug and Janet, so we had some time to spend exploring Gangtey Palace and its beautiful grounds. Gangtey Palace is the former residence of the Penlop of Paro, which is sort of like the district administrator. Penlops were usually from the relatively rare well-to-do families in different districts. Gangtey Palace is over one hundred years old, but it seemed much older than that since it was built in the traditional style with walls almost 10 feet thick! The Palace was featured in the April 1914 National Geographic article "Castles in the Sky." 

Gangtey Palace is known for its beautiful private prayer room, which many houses have here, but Gangtey's is quite elaborate. There is also a great view of the Paro Dzong, which you can see in the pictures below...

What was very helpful is that not only did we get a local rate in ngultrum, but we also got a discount because I work at RTC! Otherwise, staying at this place would be quite pricey.

Our bedroom.

Emily enjoying afternoon tea in our room.

The private prayer room at Gangtey Palace.

The courtyard. 

The other end of the courtyard, with the entrance to the restaurant and bar.

Looking out from the main entrance of the Palace. 

Paro town below us.

The main building of Gangtey Palace. 

A dragonfly in the Gangtey gardens.

Music in Bhutan

Modern Bhutan is filled with music.

It comes blaring out from the city buses and taxis, emanating from radios in the shops, bursting from cell phones tucked away inside of ghos, and unabashedly sung by the college students at the tops of their lungs as they walk to class or are hanging out with friends.

There is quite a bit of Western pop and rock 'n' roll to be had, as well as Indian Bollywood fare and the occasional hit from Japan or Korea; but the most popular form of music is Bhutanese rigsar. Rigsar literally translated means "new idea" and is mostly Bhutanese re-imaginings of Bollywood and Western music translated into Dzongkha or Sarchop. It can often be mistaken for Indian pop music if you can't make out the lyrics.

However, music is an ancient Bhutanese cultural tradition that can be divided into two broad categories:  religious and folk.

Religious music in Bhutan is in the Choekey language – when lyrics are present – which is Classical Tibetan and the language of the religious-class. Instruments used in Bhutanese religious music include the lingm and dungchen, which are small and very long brass trumpets respectively, along with various drums and cymbals. Religious music is featured prominently in puja rituals, chams [religious dances], and many other religious festivals and events (which are numerous here). Even to my musically-trained ear, the religious music sounds chaotic and entirely improvised. The drums may carry a slight beat, but the lingm and dungchen are not melodic instruments.

Folk music is in two categories: zhungdra and boedra. Zhungdra ["genuine sound"] is purely a Bhutanese form that has its origins from the 17th century. Boedra ["Tibet sound"] is newer and, obviously, was influenced from Tibet. Zhungdra music is slow and rhythm-free, while Boedra is faster and rhythmic. Instrumentation for Zhungdra usually includes the dranyen [Bhutanese dragon lute], Zur Lim [bamboo flute] and/or the dungkar lim [ocarina-like flute]. Boedra adds to this instrumentation items like the dulcimer, fiddle, mouth harp, various percussion such as the tabla, and perhaps an accordion or something similar. The instrumentation for Boedra is fairly open and subject to updates as other instruments have entered the culture.

By the way, I'm totally getting a Dranyen to bring home with me.

Several weeks ago, we were fortunate to be treated to a concert on campus by one of Bhutan's best folk ensembles: Aa-Yang. Jigme Drukpa is the leader of this group, and has performed Bhutanese music all over the world. The group plays a mixture of traditional zhungdra and boedra folksongs, as well as new compositions that are a fusion between the traditional and the modern.

The Aa-Yang Ensemble

Jigme Drukpa explains the music to the audience

Jigme Drukpa plays his Dranyen

One of the fusion elements to the ensemble: the Nepali harmonium

Listen to some samples (and buy the music if you like it) here.

Thimphu Tshechu

On September 27th, Matt and I attended the final day of the Thimphu Tshechu with three of our friends: Chris, Liz, and Samir. Tshechus are religious festivals that are held yearly across the country in temples, monasteries, and dzongs. The Thimphu Tshechu is held on the 9th-12th days of the eighth Bhutanese month at Tashichhodzong, which means "the fortress of the glorious religion". This dzong houses the offices of the Royal Government of Bhutan and the central monastic body. The throne room of the kind of Bhutan is also housed here. For centuries the Tshechu was held in the central courtyard of Tashichhodzong but due to increased attendance, a Tshechu stadium named Tendrel Thang ('Auspicious Ground') was built.

Walking to the dzong

Roof detail from inside Tendrel Thang

Painting detail under awning. Detailed painting like this is common on all
Bhutanese-style buildings, though is not usually this elaborate.

Looking out at the mountains from underneath an awning.

Entrance to the Tshechu stadium, Tendrel Thang

According to the booklet we purchased at the Tshechu called "Thimphu Tshechu: Sights and Sounds of Bhutan's Biggest Festival" (where I also got much of the background for this post), "Tshechu is not simply a festival conducted for entertainment; it is a series of sacred events choreographed to promote happiness yet with the intent to untimely cultivate an enlightened mind in all attendees. The festival is a sacred event conducted by fully ordained monks and enlightened masters."

During the Thimphu Tshechu, 24 folk songs and 25 religious mask dances (chhams) are performed. Some chhams are said to be composed by great saints and are meant to convey religious messages. During the dances, "the deities of the tantric teachings are invoked and through their power and blessings, misfortunes are removed." These dances are performed by monks wearing prescribed masks and costumes that are often ancient and are unique to each chham. The chhams are representative of a connection between spectators and dancers, who are believed to pass the spiritual powers to the faithful. The chhams and the Tshchu itself complement and exemplify Buddhist teachings and doctrines.

Below are photos of a few of the dances that we saw. The first two photos are of Pacham (Dance of the Heroes). Below these two photos is the description of the dance taken directly from the aforementioned booklet.

Pacham (Dance of the Heroes)

Pacham (Dance of the Heroes)

Costume: Knee-lenth skirt and golden crown. The dancers hold a small bell (Drilbu) and a small drum (Damaru).

More than once in his illustrious life as a treasure revealer, Pema Lingpa (1450-1521) experienced the vision of the divine palace of Guru Rinpoche known as Zangdo Peldri and many sacred dances exhibited in both wrathful and peaceful forms. Pena Pingpa was fascinated by these wonderful dances performed by enlightened beings.

This particular dance is usually performed for one of two occasions: either during the deity invocation ceremony or when welcoming important guests. During the supplication prayer, this dance is performed inside prayer halls and temples as a gesture to invoke and welcome Guru Rinpoche and his entourage. During this performance, the dancers do not wear makes but beautiful crowns adorned with the five syllables of the five Buddha Families, or alternately, the Five Dakini Syllables. These include, Om, Hum, Tram, Hri, and Ah or, in the case of the Dakinis, Mum, Lam, Mam, Pam and Tam.

Bhutanese folk dances are performed as interludes between mask dances

The next two photos are of Durdag (Dance of the Lords of the Cremation Grounds). Again, the description that follows the photos is from the booklet.

Durdag (Dance of the Lords of the Cremation Grounds) 

Durdag (Dance of the Lords of the Cremation Grounds) 

Costume: White skull masks, short skirts, white boots

Four dancers - emanations of Avalokiteshvara and Buddha Vajrahekura who dwell at the cemetery in order to help liberate departed consciousness - perform this dance. Some sources maintain they are the emanation of Lhamo Dudsolma (Mahakali). The completely white-colored costume exemplifies the purity of liberating both action and mind; even though their outer appearance is frightening, they have removed their attachement to outer form and appearances.

During the course of the performance, the dancers destroy an effigy and offer the remnants to the tutlary deities of the ten directions, This action liberates the negative spirits to the pure land. The dancers also shake their hands and stamp their feer in an act of both calling the spirits and subjugating them. They deeply band backward, touching the ground behind and beneath them with the tip of their mask. This action summons the earth deity to witness their power and subdue attachments and liberate the spirits of the deceased.

The next two pictures are of two different types of atsara, which I have seen translated as "festival clown". However, read the following excerpt from an article by Françoise Pommaret for a more accurate description of their importance at festivals.

"The atsara and their antics during the festival also illustrate this point. They are indispensable in the Bhutanese religious festival context. Their name itself derives from the Sanskrit acarya, philosophy masters, and they teach that masters can appear under any form, even as a bawdy jester. The atsara are there to assist the dancers, and entertain the public during or in the interval of rather solemn dances. Like a talk-show host on TV today, they transcend the hierarchy of the society and have a mass appeal with their mockeries and sexual jokes, but they know their limits in the context of Bhutanese society.

However, when they encounter foreigners during the festivals, they step into another world where they have no cultural references and therefore no boundaries. The way atsara perceive foreigners and how
foreigners perceive atsara is a reflection and distortion of each other's culture through mutual ignorance. If we speak in contemporary terms, for the foreigners the atsara are just clowns and their religious function is not apparent."

Pommaret, F. (2006). Dances in Bhutan: A traditional medium of information. Centre for Bhutan Studies. pp. 1-10.

It is common to give money (small bills) or other offerrings to the atsara that work the crowds. The crowd-atsara tell jokes, make fun of people, and certainly do act like the jesters that Pommaret described above. You might also take note that the atsara below has a large phallus dangling from his head. Other atsaras we saw were carrying large wooden penises and inflated condoms. As both Matt and I have alluded to in other posts, the phallus is an interesting and complex symbol in Bhutan. From a Western perspective, it can be interpreted as a symbol of masculinity and - perhaps - misogyny. However, the phallus, in Bhutan, is more accurately described as a symbol of luck and protection and is featured on the sides of buildings and also carried around as wooden talismans.

Atsara participating in Dance of the Lords of the Cremation Grounds

Atsara interacting with crowd

Me, Samir, Matt and Chris with an atsara

As you have probably gathered from the above descriptions, Tshechus are very important sacred events in the lives of the Bhutanese (it is considered a blessing to be able to attend). And the Thimphu Tshechu is the biggest of the year. According to the booklet it is "one of the most joyful and colorful occasions in the valley". People dress in their finest clothing which, if you are Bhutanese, must be a gho or kira adorned with either a kabney (for men) or a rachu (for women). We even saw a tourist get turned away because she was wearing a kira but not a rachu. Oops! If you want to go in, you have to go all in. Another tourist was turned away for wearing shorts.

Fellow spectators

Umbrellas are important for protection for the intense sun

Dressed to impress

And finally:

Matt and me at the Tshechu