Beh, Early morning military manoeuvres and warrior dances, Punakha Drubchen: Day FourAdditional title: Martial Dance
NamesCore of Culture (Organization) (Producer)Core of Culture (Organization) (Donor)
Bhutan Dance Project, Core of Culture
Dates / OriginDate Created: 2005
Library locationsJerome Robbins Dance DivisionShelf locator: *MGZIDF 767
TopicsDance -- BhutanFolk dancing -- BhutanDance -- Religious aspects -- BuddhismRites & ceremonies -- BhutanDzongs -- Bhutan -- Punakha (District)Punakha (Bhutan : District)Festivals -- BhutanRitual and ceremonial dancing -- Bhutan
GenresFilmed danceFilmed performances
NotesContent: Programme for the Punakha Drubchen: Day Four (Feb. 16, 2005). Early morning Circumambulation of Punakha Dzong by the Pazaps of the Eight Gewogs as a memorial to the events of the Zhabdrung's time when they combated Tibetan troops. Beh Martial Dances outside the Dzong for each group of Pazaps.Venue: Videotaped around the Punakha Dzong (around the outside of the Dzong), on Feb. 16, 2005.Acquisition: Gift; Core of Culture. NN-PDBiographical/historical: Pungthang Dechen Phodrang Dzong (The Palace of Great Bliss) in Punakha was constructed by Zhabdrung Ngawang Namgyel in 1637-38 and is of great historical significance. Located on a stretch of land where two rivers, the Phochu and Mochu, coverage, the Dzong appears as great anchored ship. It was here that the Zhabdrung died in 1651. Again, it was here that the first hereditary Monarch of Bhutan, King Ugyen Wangchuck, was enthroned just over one hundred years ago, on Dec. 17, 1907. Punakha served as the winter capital of the Kingdom until 1955, (after which the capital moved to Thimphu) and Punakha Dzong continues to be the winter residence of the Central Monastic Authority (CMA) the main monk body of the Drukpa Kagyu School.
Physical DescriptionBorn digitalExtent: 1 video file (ca. 64 min.) : sound, color
DescriptionLemah and Beh describe kinds of martial dances - often performed at tsechus and during certain rituals. The Lemah is a dance particularly associated with Punakha, and normally describes how the eight pazap groups are called to Punakha to take part in the celebrations remembering the famous victory over the Tibetan army under the Zhabdrung in 1639 - a memorial particularly associated with the Punakha Drubchen. Punakha was the seat of the Zhabdrung, and before the Punakha Drubchen could start all the Penlops (from Trongsa, Paro and Dagana) and Dzongpoens (Wangdue, thimphu etc.) had to pay taxes (bulwa or byu) (see the scene in the Coming of the Zhabdrung, 2005). The words sung in the Lemah dance contains a narration describing the whole story associated with the paying of these taxes and the other things associated with those times. It's rather like the Tam in Ngangbi Lhakhang, giving a description of those times. Each group singing Lemah will have a praise-song to their particular deities, for example the Bab Lemah (from Thimphu (Babesa)) talks of the deity from Semtokha - which is Legung Djarok Dongchen - the Raven-headed Mahakala. To paraphrase the words: It is an auspicious time here, and everything is as it should be. We have come to Punakha, together with our deity, the Raven-headed Mahakala from Semtokha to participate in the Drubchen. Last year we had a wonderful time at the Drubchen, and this year we will do the same at this time of the auspicious waxing energies of the first part of the month. Extracted from Punakha Drubchen and Tsechu - Published by RAPA. All eight Lemah songs are reproduced in this booklet. The Beh dances were introduced by the Zhabdrung after the victory over the Tibetan forces in 1639. They are much more martial in aspect, and more wrathful in their wording. Each of the eight Gewogs has its own Beh wording. To refer again to the Bab Gewog: When Mahakala becomes incensed with anger, he turns into the wrathful Raven-Headed Mahakala, and then he roars like a thunder-dragon; that is when his shouting voice most protects the Buddhism of of Bhutan. All evil spirits are vanquished....Beware!!!! (these last words are shouted as a war-cry). Extracted from Punakha Drubchen and Tsechu - Published by RAPA. All eight Beh songs are reproduced in this booklet. The Picture shows four of the eight Gewogs an early morning Pazap display of martial prowess and vigour. Here the Zinpoen (leader of one pazap group) is escorted to the end of the two files of pazaps, where he performs the Beh song/dance of his group - the Mewong group of Pazaps from Thimphu. The Yanpoen (or Lemah singer) watches from the left.Pazaps circumambulate the Dzong in the early morning, before splitting into two camps where they perform Lemah and Beh dances. There are eight Pazap groups that represent the Eight Gewogs that traditionally supplied warriors to protect the Zhabdrung. After circumambulating the Dzong in pre-dawn darkness, the group divides into two camps and each of the four Gewog cohorts performs martial song and dances that are particular to it.The Punakha Drubchen is one of the most sacred festivals in Bhutan. This Drubchen is dedicated to Yeshey Goenpo (Mahakala) one of the three Protector Deities of Bhutan. The first two days of the Drubchen see dances taking place inside the Dukang Shrine amongst monks, witnessed only by elected officials of the Government and VIP guests. Whilst Core of Culture were allowed to witness these highly-protected rituals and the sacred dances that accompany them, filming was not allowed. The dances of the third and final day take place before the public, outside, in the main courtyard of the Dzong.
Type of ResourceMoving image
IdentifiersNYPL catalog ID (B-number): b19825555Universal Unique Identifier (UUID): f9a6c920-e7ef-0130-16d9-3c075448cc4b
Copyright NoticeCore of Culture
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