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Women Entertainers of Drayangs in Bhutan: a Feminist Intersectional Analysis of Body Labour

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Women Entertainers of Drayangs in Bhutan: a Feminist Intersectional Analysis of Body Labour Women Entertainers of Drayangs in Bhutan: A Feminist Intersectional Analysis of Body Labour MSc. Thesis in Management, Economics and Consumer Studies (MME) Tshering Lhamo Women Entertainers of Drayangs in Bhutan: A Feminist Intersectional Analysis of Body Labour Tshering Lhamo Msc. Thesis in Management, Economics and Consumer Studies (MME) February 2013 Examiner Supervisor Dr.MPM (Margreet) Chizu Sato Assistant Professor Lecturer Wageningen University Wageningen University ABSTRACT This research explores the subjectivity of the women entertainers who work in the Drayangs, modern day entertainment centres in Bhutan particularly in the capital city, Thimphu. Drayangs in the recent times had come under intense criticism and has been scrutinised for eroding Bhutanese cultural values, where alcohol and drugs were openly consumed and networking for sex took place. The objective of this research was to study: 1) how the women entertainers exercise their agency by deploying the theory of body labour through an intersectional analysis and 2) how women entertainers are victimised of economic and sexual exploitation. Through this research, it put to test the sensational claims made in the media, politics and in the social context. The findings are the results of largely semi structured interviews and observations of the respondents. It was evident from the analysis that women entertainers were victims of sexual and economic exploitation yet perform body labour. Agency of women entertainers as the ability to define their goals and act upon them are but limited at the work place. The women entertainers do no more than flirt with the male customers inside the Drayangs however sexual exploitation cannot be completely written off as some indicated of sexual arrangements outside the Drayangs although Drayangs now operate under regulations. Contrary to the usual stereotypes of women working in such industries as immoral and of low character, people fail to understand that these very women are also working to send remittances to their parents, making good out of their lives and surviving economically in the face of the globalising economy that undervalues and underpays women at all levels. Key words: Bhutan, entertainment, intersectionality, body labour, agency, exploitation i PREFACE AND ACKNOWLEDGEMENT I owe my thanks to many individuals and organisations that have rendered their support and help in making this master thesis possible. I would like to thank the Netherlands Organisation for International Cooperation in Higher Education for giving me this opportunity to pursue my master’s in Wageningen University. I owe a great deal to my respondents. Without their consent to take part in this study, this thesis would not have been possible. I would like to thank women entertainers, the owners and the male customers who took part in the interview and filled the questionnaire. I will remain forever indebted to my supervisor, Chizu Sato for her unflinching support throughout the process of my writing the thesis and extending her help beyond. She was instrumental in giving life and shape to my thesis through her valuable critique and feedback. I would also like to thank Mr. Peter Tamas for rendering his support and guiding me during my proposal writing, helping me construct questions and also for trying his best to help me with ATALS ti. I would like to thank Dasho Dzongda for approving my research in the Drayangs in Thimphu Dzongkhag. I am grateful to Mr. Phuntsho Dhendup of the Ministry of Labour and Human Resources in Bhutan for sharing the inspection report on Drayangs in Thimphu and Paro. I am also grateful to Mr. Tandin Wangdi, Cultural Officer, Thimphu dzongkhag for his support in the administrative procedures. I owe my thanks to Ms. Ymke Koperberg who supported me in many ways as well. Finally, I would like to take this opportunity to thank my family and friends who helped me during my thesis for their prayers, support, love and kindness. ii Contents ABSTRACT ............................................................................................................................................ i PREFACE AND ACKNOWLEDGEMENT ........................................................................................ii LIST OF FIGURES AND TABLES ..................................................................................................... v LIST OF ACRONYMS AND ABBREVIATIONS ............................................................................. vi 1. INTRODUCTION ......................................................................................................................... 1 1.1 Background on the Drayangs in Bhutan ........................................................................................ 2 1.2 Representation of women entertainers in the dominant discourses ............................................... 4 1.2.1 Hybridization of Bhutanese Tradition and Culture ................................................................ 5 1.2.2 Women entertainers as Victims of Sexual and Economic Exploitation ................................. 6 1.2.3 Promoters of Traditions and culture of Bhutan ...................................................................... 8 1.2.4 Women as professional entertainers ....................................................................................... 9 1.2.5 Women entertainers as Economic actors ................................................................................ 9 1.3 Problem statement and justification ............................................................................................ 11 1.4 Objectives .................................................................................................................................... 12 1.5 Research questions ...................................................................................................................... 13 1.6 Outline of the thesis ..................................................................................................................... 13 2. RESEARCH METHODOLOGY AND METHODS ................................................................ 15 2.1 Theoretical Framework ............................................................................................................... 15 2.2 Conceptual Framework ............................................................................................................... 23 2.3 Research methods ........................................................................................................................ 24 2.3.1 Literature review .................................................................................................................. 25 2.3.2 Sample selection ................................................................................................................... 25 2.3.3 Observations ......................................................................................................................... 25 2.3.4 Semi Structured interviews ................................................................................................... 26 2.3.5 Questionnaires ...................................................................................................................... 28 2.3.6 Analysis Method ................................................................................................................... 28 2.3.7 Self reflexivity ...................................................................................................................... 29 2.4 Study Area ................................................................................................................................... 29 3. RESULTS AND ANALYSIS .......................................................................................................... 33 3.1 General findings .......................................................................................................................... 33 3.1.1 Location of Drayangs .......................................................................................................... 33 3.1.2 Ambience of the Drayangs ................................................................................................... 34 3.1.3 Demographic characteristics of the women entertainers ...................................................... 39 iii 3.1.4 Contract signing .................................................................................................................. 43 3.1.5 Patrons of the Drayangs........................................................................................................ 43 3.1.6 Profitability of the business .................................................................................................. 47 3.2 Body labour ................................................................................................................................. 47 3.3 Agency of women entertainers .................................................................................................... 65 3.4 Exploitation of women entertainers............................................................................................. 70 3.4.1 Sexual exploitation ............................................................................................................... 71 3.4.2 Economic Exploitation ......................................................................................................... 80 4. CONCLUSION ...............................................................................................................................
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