BLASTING OF FARM ROAD FROM RANGJUNG TO JOENLA PAM VILLAGE







General Description

Plain detonators or blasting caps consist of an aluminum shell, closed at one end. The bottom of the shell is filled with a base charge of PETN and a primary charge on top of that. The primary charge, pickups the flame from the safety fuse and converts burning into detonation, initiating the base charge.

The strength of the detonator is expressed in numbers which No. 8 is the most widely used. Such a detonator contains approximately 9 mg of explosive charge.

Technical Characteristics

Strength:                                    No. 8

Shell Length:                             35 mm

Shell external diameter:        6.9 mm

Shell inner diameter:             6.2 mm

Application

Plain Detonators are used together with safety fuse to initiate cap sensitive explosives. Although the method is steadily replaced by other initiation methods, it is still the most simple and economical. It can be used in combination with other initiating devices like detonating cord or Non-electric detonator assemblies.

Before any use, plain detonators should always be examined to make sure they are dry and clear from other substances. The fuse should be cut vertically and inserted gently into the cap until it gets in contact with the primary charge (no air gap). It is recommended to use specially designed crimpers to adjust safety fuse into the cap.

Packaging

Plain detonators are packed in cardboard boxes of 100 PCs each.

Storage

Since the open end of the plain detonator is exposed to the environment, it should not be removed from the box prior to any use. Plain detonators are explosive blasting accessories and should be handled stored and used according to the national laws and regulations. They should be stored in a cool, dry, well-ventilated place.

Provided that storage conditions are appropriate, it is recommended to use plain detonators within 18 months.

Product shelf life expansion can be verified after examined by the supplier.

Classification

Commercial Name: Plain Detonators

Technical Name: Non-electric detonators

UN-number: 0029

Division/Compatibility Group: 1.1B



DETONATION CORD

By Standard Number 1926.908 - Use of detonating cord in U.S. DEPARTMENT OF LABOUR.

1926.908(a)
Care shall be taken to select a detonating cord consistent with the type and physical condition of the bore hole and stemming and the type of explosives used.

1926.908(b)
Detonating cord shall be handled and used with the same respect and care given other explosives.

1926.908(c)
The line of detonating cord extending out of a bore hole or from a charge shall be cut from the supply spool before loading the remainder of the bore hole or placing additional charges.

1926.908(d)
Detonating cord shall be handled and used with care to avoid damaging or severing the cord during and after loading and hooking-up.

1926.908(e)
Detonating cord connections shall be competent and positive in accordance with approved and recommended methods. Knot-type or other cord-to-cord connections shall be made only with detonating cord in which the explosive core is dry.

1926.908(f)
All detonating cord trunklines and branchlines shall be free of loops, sharp kinks, or angles that direct the cord back toward the oncoming line of detonation.

1926.908(g)
All detonating cord connections shall be inspected before firing the blast.

1926.908(h)
When detonating cord millisecond-delay connectors or short-interval-delay electric blasting caps are used with detonating cord, the practice shall conform strictly to the manufacturer's recommendations.

1926.908(i)
When connecting a blasting cap or an electric blasting cap to detonating cord, the cap shall be taped or otherwise attached securely along the side or the end of the detonating cord, with the end of the cap containing the explosive charge pointed in the direction in which the detonation is to proceed.

1926.908(j)
Detonators for firing the trunkline shall not be brought to the loading area nor attached to the detonating cord until everything else is in readiness for the blast.

SAFETY FUSE

Blasting with Safety Fuse.

(a) Safety Fuse Initiation System.

(1) Safety fuses shall not be ignited before explosive charges are in place.

Exception: Avalanche blasting.
(2) When blasting with safety fuse, consideration shall be given to the following: 

(A) the length and burning rate of the fuse; 
(B) the condition of the escape route; and, (C) the distance to a place of safety.

(3) Safety fuses shall not be used in any location, such as a shaft, raise or winz, where the lack of adequate nearby shelter and the distance of travel to a place of safety is such that there is a hazard to employees from flying rock and concussion.

(4) All safety fuses shall be cut sufficiently long to extend beyond the collar of the hole and in no case shall they be less than 3 feet in length.

NOTE: At the usual rate of burning, a 3-foot length of safety fuse will fire a shot in about 2 minutes.

(5) Only single shots shall be fired when using 3-foot safety fuses. If more than one fuse is to be lighted at one time, such fuses shall comply with subsection (6) of this section.

(6) When lighting safety fuse, the fuses shall be so timed that no charge will detonate until at least 2 minutes after the last fuse in the blast area has been ignited.

(7) No one employee shall be permitted to ignite more than 12 safety fuses in succession. When 2 or more safety fuses in a group are lighted as one, by means of igniter cord or other fuse-lighting device, they may be considered as one fuse for the purpose of the subsection.

(8) If more than 3 safety fuses are lighted at one time, no person shall be permitted to enter the blast area until after a period of time equal to 2 minutes for each foot in the length of the longest fuse in the round or 15 minutes, whichever is the longest time.

(9) At least two employees shall be present when lighting fuses.

Exception: Avalanche blasting.

(10) Fuses shall be lit with devices approved for such purposes.

(b) Shock Tube Initiation System.

(1) Connections with other initiation devices shall be secured in a manner which provides for uninterrupted propagation;

(2) Factory-made units shall be used as assembled and shall not be cut except that a single splice is permitted on the lead-in trunkline during dry conditions; and

(3) Connections between blast holes shall not be made until immediately prior to clearing the blast site when surface delay detonators are used.



PEMA CHODEN AWARDED





Congratulations!!!!

My daughter Pema Choden  holding an second position from Rangjung Primary School, Tashigang. We the Parents, family are proud of you. 

TASHI DELEK

Similarly congratulations and Tashi Delek the first, Third and fourth position.











RAISING LUNGTA

 




Another method of raising lungta is reciting KI KI SO SO LHA GYALO loudly.

MIPHAM RINPOCHE’S INSTRUCTION FOR RAISING LUNGTA

Say loudly “KI KI SO SO LHA GYALO” 

(may all the good forces be victorious)

According to Mipham Rinpoche’s pith instruction, while reciting you should let your eyes gaze into the sky, and put your awareness into your eyes, one-pointedly. 

Stare straight into the middle of the sky, piercingly into the sky. 

Then bring your gaze higher and higher, while merging your mind indivisibly with the sky. 

You have to really concentrate on that, and not let ordinary conceptual thoughts stain the mind. 

Consider that your lungta rises limitlessly. 

If you do that, there is no doubt your lungta will increase.

Dadar (མདའ་དར་) or Tsedar (ཚེ་དར་)

 






Dadar (མདའ་དར་) (Arrow Scarf) or Tsedar (ཚེ་དར་) longevity arrow

I am sure many of you have Dadar or Tsedar at your altar. It looks exactly like normal arrow but with typical Dacha (Iron tip). It is adorned with five silk color scarfs, brass mirror and some ornaments hanged on it.  It is generally used during the long-life blessing and also during wealth accumulation rituals.

So, Dadar is life-arrow to attract longevity and wealth. A divine arrow of the heroes and ḍakiṇis. A Lah-arrow of the protector deities. Dadar is the relic-arrow, which attracts the Dralha war gods. Dadar has auspiciousness for the charisma to rise. It has auspiciousness for the merits to flourish. 

Many Rinpoches  and Lamas uses this special flag to bless the devotees.

So what does this flag represent?

According to the Mipham Jamyang Namgyal (1846–1912) the symbolism of the Dadar and its parts is described in the following verses. Read carefully and understand it’s meaning.

༈མདའ་དར་རྟེན་འབྲེལ་ཀུན་འཛོམས་འདི། །གནས་མཆོག་རྣམས་ཀྱི་སྨྱུག་མ་ལ། །མདའ་མགོ་ལྔ་ཚོམ་ལྡན་པ་འདི། །རྒྱལ་བ་རིགས་ལྔའི་མཚོན་བྱེད་ཡིན། །དུག་ལྔ་གནོན་པའི་རྟེན་འབྲེལ་ཡོད། །

This Dadar endowed with all auspicious conditions, a bamboo from holy sites with five heads symbolizes the five families of the Buddhas, and holds the auspices to suppress the five poisons.

མདའ་སྐེད་ཚེགས་གསུམ་ལྡན་པ་འདི། །ཚེ་ལྷ་རྣམ་གསུམ་མཚོན་བྱེད་ཡིན། །འཆི་མེད་ཚེ་ཡི་རྟེན་འབྲེལ་ཡོད། །

The arrow body, which has three nodes, symbolizes the three Buddhas of longevity, and holds auspices for longevity and immortality.

མདའ་རྩེ་རྣོ་ངར་ལྕགས་ཀྱིས་བརྒྱན། །དཔའ་རྩལ་བརྟུལ་ཕོད་ཆེ་བ་དང་། །ཚེ་སྲོག་སྲ་བའི་རྟེན་འབྲེལ་ཡོད། །

The tip of the arrow being adorned with hard iron symbolizes valour, vigour and courage, and holds auspices for stable life and life force.

མདའ་སྟོང་དགུང་ལ་གཏད་པ་འདི། །མངའ་ཐང་དགུང་དང་མཉམ་པའི་བརྡ། །

The nock of the arrow rising towards the zenith is sign of one’s power becoming as high as the zenith.

དར་མཚོན་སྣ་ལྔས་བརྒྱན་པ་འདི། །མི་རྒྱུད་དར་ལས་འཇམ་པ་དང་། །མཁའ་འགྲོ་སྡེ་ལྔས་སྲུང་བར་མཚོན། །

The adornment with silk scarves of colours symbolizes the character of the people to be as soft as silk and the protection by the five kinds of ḍakiṇi spiritual beings.

ཐང་དཀར་ཐང་སྨུག་སྒྲོ་ཡིས་བརྒྱན། །དཔའ་བོ་དཔའ་མོ་མཚོན་པ་དང་། །ལམ་སྣ་བསུ་བའི་རྟེན་འབྲེལ་ཡོད། །

The ornamentation with feathers of a vulture indicates the heroic nature of people and holds the auspices of being well received on the path.

རྣོ་ངར་ལྕགས་ཀྱུས་བརྒྱན་པ་འདི། །ཆོས་སྐྱོང་སྲུང་མ་མཚོན་པ་དང་། །ལས་བཞི་འགྲུབ་པའི་རྟེན་འབྲེལ་ཡོད། །

The decoration with a hard iron tip symbolizes the protector deities, and holds auspices of accomplishing the four activities.

མདའ་ལ་མེ་ལོང་བཏགས་པ་འདི། །སྨེ་བ་དགུ་དང་སྤར་ཁ་བརྒྱད། །ལོ་བསྐོར་བཅུ་གཉིས་ཚང་བ་ཡིས། །སྲུང་བའི་རྟེན་འབྲེལ་མ་ཚང་མེད། །

The mirror on the arrow indicates the auspices of being protected by the nine mewa, eight parkha and twelve lokhor animal powers.

ཤེལ་གཡུ་དུང་གསུམ་བརྒྱན་པ་འདི། །དཀར་ཕྱོགས་ལྷ་ཀླུ་གཉེན་གསུམ་རྟེན། །ཁ་འཛིན་སྡོང་གྲོགས་འབྲལ་མེད་ཀྱིས། །མི་ནོར་ཟས་གསུམ་འཛོམས་པའི་བརྡ། །

The ornaments of crystal, turquoise and shell symbolize being protected by gods, ngen and naga spirits and of possessing people, food and cattle.

རིན་ཆེན་རིགས་ཀྱིས་བརྒྱན་པ་འདི། །འབྱུང་བཞིའི་བཅུད་གཡང་འགུག་པར་མཚོན། །

Being decorated with varieties of jewels symbolizes the attraction of the essences of the four elements.

ཚེ་གཡང་འགུག་པའི་ཚེ་མདའ་ཡིན། །དཔའ་བོ་མཁའ་འགྲོའི་ལྷ་མདའ་ཡིན། །ཆོས་སྐྱོང་སྲུང་མའི་བླ་མདའ་ཡིན། དགྲ་ལྷ་འཁོར་བའི་རྟེན་མདའ་ཡིན། །དབང་ཐང་དར་བའི་རྟེན་འབྲེལ་ཡོད། །བསོད་ནམས་རྒྱས་པའི་རྟེན་འབྲེལ་ཡོད།།བདེ་སྐྱིད་ཕུན་སུམས་ཚོགས་པར་ཤོག །།

This is life-arrow to attract longevity and wealth. This is divine arrow of the heroes and ḍakiṇis. This is Lah-arrow of the protector deities. This is the relic-arrow, which attracts the Dralha war gods. This has auspiciousness for the charisma to rise. This has auspiciousness for the merits to flourish. May peace and happiness prevail in abundance. 

Very special arrow indeed. Next time when you see Dadar, visualize the significance of its parts.


SUNGKI (Protection Cord)

 







SUNGKI (Protection Cord)

Monks and lamas typically prepare Sungki, which serve as protective cords. They select strings slightly longer than a foot, choosing from five key colors representing the elements: blue symbolizes the sky and space, white represents air and wind, red signifies fire, green embodies water, and yellow symbolizes earth.

In the center of the string, a knot is tied, and a mantra is blown into it. Many religious traditions involve this process, where a Rinpoche/Lama infuses an object with spiritual energy and blessings.

Lamas offer these blessed cords on significant occasions, and the blessed string is then placed around the neck of the recipient.

The cord symbolizes the protective embrace of the Lama's compassion, enabling you to carry your teacher with you even after their departure.

Legend suggests that these cords can bring good fortune or provide a form of protection to the wearer.

Sungki also serves as a reminder:

- of the commitment to Refuge Vows and living mindfully.

- of the dedication to Bodhisattva Vows, aiming to spread compassion and wisdom, and to guide beings toward Enlightenment.

- of the reception of additional teachings, emphasizing the ongoing journey of learning and the continuous quest for righteous actions.

However, during religious discussions, some devotees opt to prepare Sungki themselves, believing that merely making knots is sufficient to receive blessings. They then seek the blessing of the lama. However, this approach is not the correct method.

It is crucial that Sungki be entrusted to a monk or lama for knot tying. They will recite suitable mantras and imbue energy into each knot. Subsequently, the Sungki is presented to the head lama for blessings.

Indeed, it is a blessed thread. Once removed, it should be disposed of in a clean location.

HISTORY OF DESI JIGME NAMGYEL

 





Short History of Desi Jigme Namgyel

- Desi Jigme Namgyel was the first modern hero of our country and he was also forefather of the Wangchuck Dynasty . He lived at a time when the nation was devided and people were constantly fighting with one another. He served as 48th Druk Desi (Deb Nakpo) of Bhutan.

Parental Background 

- Desi Jigme Namgyel was born in 1825 in Khethangbi Naktshang in Lhuentse. His father, Pila Gonpo Wangyel, was the twelfth descendant of Terton Pema Lingpa (1450-1521) from the Dungkar Choje family. Jigme Namgyels mother was Sonam Pelzom, the daughter of one of the Pilas subjects at Jangsa in Lhuentse. Desi was having at least six names. When he was born, his parents called him as Samdrup. As he grew up, he was called Jigme Namgyel. In history, He is popularly known as Deb Nagpo. The British refferred to him as Black Regent, because he had dark complexion, he wore black gho and rode black hores. In record in Chungey Gonpa, he is referred to as Kusho Nagpo Gongsar Jigme Namgyel. His choeming (religious name) was Drime Sherab. 

Early Career

- Around 1843, he joined the Trongsa administration that governed Eastern Bhutan, which consisted then of Assam Duars. He rose rapidly through the ranks to become the Trongsa Penlop in 1853. 

While he was high official of Trongsa, Jigme Namgyel married Ashi Pema Choki, the daughter of the 8th Trongsa penlop (Tamzing Choji family), 

Dasho Ugyen Phuntsho, by his wife, Aum Rinchen Pelmo (a daughter of Sonam Drugyel, 31st druk Desi). His marriage to Sonam Choki further enhanced Jigme Namgyels noble lieage. The ancestry of Jigme Namgyels wife also went back to Pema Lingpa as she was the daughter of Tamzhing Choji.

Death

- In 1881, Desi Jigme Namgyel died, aged  55-56, at Semtokha Dzong in the Thimphu  valley (first built in 1629) from a fall from a yak. His 21-year-old son, then the Paro Penlop, Ugyen Wangchuck (1862-1926), conducted the grandest funeral bhutan had ever seen fir his father

- Bhutans History

HAAP NOBU WAS FIRST NATIONAL DRIVER IN BHUTAN

 

Haap Tshering Nob as a young boy
 

Agay Tshering Nob

Agay Tshering Tenzi

 

  

Haap Tshering Nob- from Talung.

~One of the earliest driver to drive a car in Bhutan.

During the time when our country was busy engaged in the construction of first national highway from Phuntsholing-Thimphu (1960s), most of our grandparents served in this project with sweat and tears. There were limited use of morden equipments that time. Agay Tshering Tenzi, from Sephu, Wangdue was mongst those who contributed selflessly in such nation building project.  He mostly works between Ganglakha-Jumja. 

Here, he confirms that the first driver to drive a motor car from the country was Haap Nobu who used to drive a Tata truck that time. Sadly he passed away last year.

**if you have more informations to share about agay Haap Tshering, you can write it in the comment box. 


Picture 1&2 contributed by: Karma Kaka

SHAZAM CHAM (ཤ་རྫམ་)






The Shazam  (ཤ་རྫམ་) or Stag dance is one of the well known dances in Bhutan which fall within the category of sachag (ས་བཅགས་) or dance of establishment of founding. The dance symbolizes the exorcism of negative forces and the purification and consecration of the venue for spiritual practice. The dance includes four dancers wearing masks of deer and holding swords. It is often performed as the first piece of dance in the day during a festival although this dance is now being adapted and performed for commercial purposes outside the traditional venues and events.

The culture of stag dance is common in many other parts of the Himalayas. In Tibet, the dance is often performed by a single dancer, who wears a large stag mask and heavy silk robe, and performs the ritual of ‘liberation’ (སྒྲོལ་བ་). While the Shazam dance in Bhutan also carries the same symbolism of tantric practice of ‘liberation’ of demonic forces and consecration of the space, it has only four dancers, who do not openly carry out the act of ‘liberation’ or ‘ritual killing’. The ritual of ‘liberation’ is one of the most esoteric and powerful practices of Vajrayāna Buddhism, which combines the altruism of Mahāyāna Buddhism to rescue all sentient beings from suffering and negative states of the mind and the exceptional expedient methods of secret tantras to do so. It even advocates using violent and terrifying methods out of ruthless compassion in order to tame unruly beings. Thus, in a ritual of ‘liberation’, the tantric master takes up a terrifying form externally to subjugate demonic forces and transform the negative energy into a positive one. Through the ritual, the consciousness of the target is said to be miraculously liberated while its ordinary personality is destroyed.

According to the Bhutanese dance scholars, the Shazam dance represents Padmasambhava’s taming of the king of western wind gods (ནུབ་ཕྱོགས་རླུང་ལྷའི་རྒྱལ་པོ་) who were in conflict with the gods of the north and causing a great turmoil and misery in the world. Padmasambhava is said to have tamed the god king and taken over his vehicle, which is a deer. However, nothing more is known about this story, and stag dance is also known in the Bon religion in Tibet. Thus, nothing definite can be said about origin of the stag dance, which is performed in a group in Bhutan. The use of the mask of stag in a dance which depicts the ritual of ‘liberation’ is almost certainly based on the idea of the stag-headed deity in the Buddhist tantras. The priest takes on the form of this deity through visualization and prayers and symbolically subdues the malevolent forces in a festive ritual. While the general origin of the stag dance is unclear, the introduction of the stag dance to Bhutan might have taken place from Lhodrak Karchu monatery in southern Tibet. The first Namkhai Nyingpo reincarnation, who was the lama of this monastery close to the Bhutanese border to the north, is said to have retrieved a hidden treasure of a mask of a stag and started a tradition of a white stag dance in his monastery.

The Shazam dancers wear the dorji gong (རྡོ་རྗེ་གོང་) adamantine shoulder cover and also the trab (ཀྲབ་) sash forming a cross over them for their torso. They wear a skirt of silk scarves of different colours, which are hung from a belt with the mentse designs covering the outside layer. They also wear pants with leopard stripes and skirts with tiger stripes underneath. They dance bare feet, regulated by the chief musician, who plays a pair of large boerol (བལ་རོལ་) cymbals off the dance stage. They wield swords, which signify wisdom, in their right hands and have nothing in their left. The mask of stags they wear have long antlers.

DURDAK CHAM



𝗗𝘂𝗿𝗱𝗮𝗸 𝗖𝗵𝗮𝗺: 𝗗𝗮𝗻𝗰𝗲 𝗼𝗳 𝘁𝗵𝗲 𝗖𝗵𝗮𝗿𝗻𝗲𝗹 𝗚𝗿𝗼𝘂𝗻𝗱 𝗠𝗮𝘀𝘁𝗲𝗿𝘀

The dance of skeletal figures called durdak is a common artistic performance in Bhutan and other parts of the Himalayas. The term durdak (དུར་བདག) refers to durtrö dakmo (དུར་ཁྲོད་ཀྱི་བདག་མོ་) or the overlord of the charnel grounds. It is believed that the charnel grounds are haunted places with powerful spirits, including both benevolent and malevolent ones. While there are many harmful and demonic spirits in the charnel grounds, the skeletal figures in the Durdak dance are said to represent powerful positive forces. Bhutanese scholars on cham dance claim that the dance characters are the divine protector Palden Lhamo in her manifestation as spirits of the charnel grounds. It may also be noted that one of the dharma protectors well known in Bhutan and Tibet is Zhingchong Durthrö Dakmo (ཞིང་སྐྱོང་དུར་ཁྲོད་བདག་མོ་), a female protector deity.

 While the culture and choreography of the Durdak dance developed in Tibet and Bhutan, the concept of durdak overlords of charnel grounds and tradition of charnel grounds as spiritual sites started in India. Even in the early days of Buddhism, charnel grounds, with their dead and decaying bodies, were considered powerful sites to develop the awareness of impermanence, death, and foulness and fragility of the human body to overcome the attachment to one’s life and body. When Vajrayāna Buddhism developed as a result of a syncretic exchange with the non-Buddhist traditions, particularly the Śaiva tradition of kapalika or skull bearers, the charnel grounds came to be seen as power spots for spiritual liberation. This was because the charnels grounds were often the sites where the Mahāsiddhas, the maverick founders of Vajrayāna who worked on the fringes of society, dwelled and carried out their antinomian spiritual practices to undo social prejudices and hierarchies.

 Subsequently, the tantric Buddhists came to believe in the eight powerful charnel grounds, which are among the sacred sites blessed by Heruka, the wrathful emanation of the Buddha. According to a Buddhist story common in Bhutan, the Buddha in the wrathful Heruka form is said to have tamed the destructive evil force of Rudra, who was causing great harm to the sentient beings. The Buddha miraculously liberated Rudra’s consciousness and slaughtered, blessed and scattered his physical corpse across the Indian landscape. The areas where the pieces of Rudra’s body landed are said to have been blessed in this process as power spots for tantric practice.

 Thus, charnel grounds were seen as potent sites for spiritual practices. Besides the belief in the sites as being blessed by the Heruka, the sites were also convenient places to live fully liberated and free lives outside the society and its conventions. It was conducive for the tantric ethos of breaking free of the social taboos, hierarchies and structures. The charnel grounds are also viewed as haunted places and thus a terrifying space to test one’s sense of attachment to oneself and spiritual courage to face death and causes of fear and death. Even today, many serious practitioners in Bhutan seek cremation grounds for their practice with the belief that they are haunted by spirits who can test one’s sense of spiritual ease.

 The Durdak dance represents the powerful spirits of the charnel grounds, particularly the positive ones, who aid a practitioner in overcoming the inner obstacles on the path to enlightenment. They destroy the inner obstacles of a spiritual practitioner, such as attachment, fear, prejudice, etc. and external obstructions posed by evil spirits. They trap these obstacles, particularly the ultimate devil of the ego, and bring them to be ritually exterminated through a practice of ritual killing called ‘liberation’ (དུར་བདག་). To indicate this, the Durdak dance is often performed with four dancers carrying a triangular vessel in the middle of a black rug. The vessel is laid in front of the wrathful Buddhas to be ritually killed or liberated.

 The dancers wear skeletal masks, which resemble a fleshless or skinless skull. The face has large ears and a three-piece tiara on the top. They wear a white jacket on the top and a white pair of trousers, loose white gloves and socks, all of which have red stripes showing shapes of bones. Over the jacket, the dancers wear the dorjé gong (རྡོ་རྗེ་གོང་) or the adamantine shoulder cover and the trab (ཀྲབ་) sash forming a cross over them. Over the white trousers in the lower part, silk scarves of different colours are hung from a belt with the mentse designs covering the outside layer. They have no hand implements but often enter the dance stage holding one corner of the square black rug on which the triangular vessel is placed. The dance movements are very agile, acrobatic and abrupt ones accompanied by the music of a small posing (སྤོ་སངས་) cymbal played in the background.

 Like most other dances, the Durdak dance is performed by the monks and lay priests of the monasteries and villages during the festival. In main state centres, it is performed by the members of the Royal Academy of Performing Arts or by state dancers. Young men often perform this dance.

Author: Lopen Dr Karma Phuntsho

PACHAM AT JOENLA UGYEN GATSHEL




Pacham dance was introduced by Pema Lingpa after witnessing such a dance in the Copper-coloured realm of Padmasambhava which he visited. Pema Lingpa’s own biography clearly records his visionary journey to Zangdo Pelri or the Copper-coloured realm of Padmasambhava and also his experience of spiritual figures of pawo and pamo performing music constantly in the abode of Padmasambhava

Ministers of Bhutan, 2024

 


བློན་ཆེན་དང་ བློན་པོ་གསརཔ་ཚུ།

༡་ བློན་ཆེན་ཚེ་རིང་སྟོབས་རྒྱས་- གསང་སྦས་ཁ་འདེམས་ཁོངས། ཧཱ།

༢་ སོ་ནམ་དང་སྒོ་ནོར་བློན་པོ་- ཡོན་ཏན་ཕུན་ཚོགས་་་ ཇོ་མོ་གཙང་ཁ་- མར་ཚ་ལ་འདེམས་ཁོངས། བསམ་གྲུབ་ལྗོངས་མཁར།

༣་ ཤེས་རིག་དང་ རིག་རྩལ་གོང་འཕེལ་བློན་པོ་ - ཌིམ་པཱལ་ ཐ་པ། ཨོ་རྒྱན་རྩེ་- འོད་གསལ་རྩེ་འདེམས་ཁོངས། བསམ་རྩེ།

༤་ རང་བཞིན་དང་ནུས་ཤུགས་བློན་པོ་-   མགོནམ་ཚེ་རིང་། རྡོ་དཀར་- ཤར་པ་འདེམས་ཁོངས། སྤ་རོ།

༥་ ཕྱི་འབྲེལ་དང་ཕྱིར་ཚོང་བློན་པོ་-   ཌི་ཨེན་ དུང་གེལ། ཕུན་ཚོགས་དཔལ་རི་འདེམས་ཁོངས་ བསམ་རྩེ།

༦་ དངུལ་རྩིས་བློན་པོ་- ལས་སྐྱིད་རྡོ་རྗེ། བར་རྡོ་- ཀྲོང་འདེམས་ཁོངས། གཞལམ་སྒང་།

༧་ གསོ་བ་བློན་པོ་- རྟ་མགྲིན་དབང་ཕྱུག། ཨ་ཐང་-ཐེ་ཚོ་འདེམས་ཁོངས། དབང་འདུས་ཕོ་བྲང་།

༨་ ནང་སྲིད་བློན་པོ་- ཚེ་རིང་། བྱང་ཐིམ་ཕུག་འདེམས་ཁོངས། ཐིམ་ཕུག།

༩་ བཟོ་གྲྭ་དང་ ཚོང་ ལཱ་གཡོག་བློན་པོ་- རྣམ་རྒྱལ་རྡོ་རྗེ། དཀར་སྦྱིས་- རྟ་ལོག་འདེམས་ཁོངས། སྤུ་ན་ཁ།

༡༠་ གཞི་རྟེན་མཁོ་ཆས་དང་སྐྱེལ་འདྲེན་བློན་པོ་-   ཅཱན་ད་ར་ བྷ་དུར་ གུ་རུང་། ལྷ་མོའི་རྫིང་ཁ་- བཀྲིས་སྡིང་འདེམས་ཁོངས། དར་དཀར་ནང།



ATSARA GOCHAM




Brief on Atsara Gocham Tamshing Lhendrup Chholing Tshechu by Khenpo Sonam Tashi, Principal of Pema Lingpa Central School པད་གླིང་དགེ་འདུན་སློབ་གྲྭ་ལྟེ་བ།




Joenla Ugyen Gatshel Lakhang begain with Atsara (Clown) Gocham, most common people think Atsara is widely Joker or playing in the ground, Atsara in Sanskrit called Lyopen Chhenpo, Nyeljorpa or Drubthopa.