Culture Entertainment Clubs

Total Page:16

File Type:pdf, Size:1020Kb

Culture Entertainment Clubs Culture Entertainment Clubs Culture Entertainment Clubs 2017 1 Executive summary This report is a feasibility study on culture entertainment clubs in Bhutan. The proposed business will be mainly dealing with providing the entertainment services to people. The services are performing traditional dance, songs and music and even mask dances as well. The services will mainly be availed during the times of special events and occasions such as wedding ceremonies, inauguration ceremonies, and cultural shows, etc. With the modernization taking place, it is a crucial to preserve culture and traditions which has been passed down from our ancestors. (i) Justification of the Project: With the increased number in celebrations and occasions held in the country, and fewer number of culture entertainment providers, the proposed business found the urge to setup the business. (ii) Market Analysis: There is presently lesser number of culture entertainment clubs in Bhutan. Most of the people now are celebrating their birthdays, anniversary, promotion party and its now trending. (iii) Resources required: The equipment needed for this business are musical instruments such as, fiddle, flute, Dulcimer and Dramyen. It will be easily procured from the local seller who is very much expert in making those musical instruments. The other instruments like guitar, Drum sets, mic and mic stand will be procured from the Indian suppliers mention in detail below. (iv) Location of the Business: The location of the business should be in the main city, Thimphu, whereby most of the big events are held. The business will have one unit of apartment as a club at which the performances will be done. (v) Cultural Aspects: The entertainment service provided by the proposed business will fulfill one the pillars of “GNH” which is preservation and promotion of culture. It will not only promote the culture and tradition but will also show the unique identity of Bhutan. (vi) Implementation of the Project: The implementation of the project will take 12 months including pre-project activities. 1 Compiled By iBEST Consultancy Services Culture Entertainment Clubs 2017 (vii) Cost Presentation and Financial Analysis: Fixed Cost Nu. 321,500 Working capital Nu. 138,493 Total Investment Nu. 459,993 Break Even Point (BEP) 413 units Return On Investment (ROI) 173% Payback Period 3 year and 1 month The business achieves more than 173% ROI from its first year of production alone. The business will achieve its breakeven point at 413 units in 3 years and 1 month. It’s payback period will be 1 year and 8 months. 2 Compiled By iBEST Consultancy Services Culture Entertainment Clubs 2017 Contents 1 Executive summary ....................................................................................................................................... 1 2 Justification of the project ........................................................................................................................... 4 3 Market Analysis............................................................................................................................................. 5 3.3 Competitiveness of the project ............................................................................................................ 6 Culture oriented .......................................................................................................................................... 6 Location of the business .......................................................................................................................... 6 4 Resource............................................................................................................................................................ 6 4.1 Sources of raw material .................................................................................................................... 6 4.2 Suppliers Details for Modern Musical Instruments ............................................................... 7 5 Man power requirement and organization chart ................................................................................... 9 5.1 Specification of services provided by the business .................................................................. 10 6 Project Implementation Schedule ....................................................................................................... 12 7 Financial Analysis ...................................................................................................................................... 13 7.1 Total Project capital Costs ............................................................................................................. 13 7.2 Working Capital Costs..................................................................................................................... 14 7.3 Cost of Production per unit ........................................................................................................... 14 7.4 Human Resource cost ..................................................................................................................... 15 7.5 Marketing Cost ................................................................................................................................... 15 7.6 Project profit and Loss Statement .............................................................................................. 16 7.7 Projected Cash flow statement .................................................................................................... 17 7.8 Projected Balance sheet statement............................................................................................ 18 8 Financial Ratio analysis .......................................................................................................................... 19 8.1 Interest on loan ................................................................................................................................. 19 8.2 Break Even Point .............................................................................................................................. 19 8.3 Return on Investment ..................................................................................................................... 20 8.4 Net Present Value and Internal Rate of Return..................................................................... 20 9 Conclusion- Is project feasible ............................................................................................................. 21 10 Reference ................................................................................................................................................. 21 3 Compiled By iBEST Consultancy Services Culture Entertainment Clubs 2017 2 Justification of the project The need of the project One of the pillars of “Gross National Happiness” is a preservation and promotion of culture and tradition. The proposed business will focus on promoting this pillar and showcase the unique tradition and culture. Happiness is believed to be contributed by the preserving the culture. Developing cultural resilience, which can be understood as the culture’s capacity to maintain and develop cultural identity, knowledge and practices, and able to overcome challenges and difficulties from other norms and ideals. Cultural expression in Bhutan is as unique and sacred as the holy kingdom. Since there is growth in the number of organizing the events mainly wedding ceremonies, anniversaries, birthday parties, promotion, and other celebrations and occasion. There are only few performing art clubs like, Khuju Luyang, Lhayi Lugar, and Royal Academy for Performing Arts (RAPA), etc. Most of these venues do promote culture and tradition by performing folk dances and mask dances. The proposed business is unique as it provides band performance as well. It will be the collaboration of traditional folk songs with modern and contemporary musical instruments, which indeed will do a complete value addition. Competition Analysis The table mentioned below shows the competitors for this proposed business especially in Thimphu region and Paro. PERFORMING TROUPE Sl No. Name of the troupes Location 1 Lha-yee Lugar Performing Arts YDF, Simply Bhutan, Thimphu town 2 Khuju Luyang Changzamtog, Thimphu town 3 Yangchen Lugar Kichu, Paro 4 Tshangyang Dechen Pelter Paro 5 Minjung Luyang Thimphu town 4 Compiled By iBEST Consultancy Services Culture Entertainment Clubs 2017 6 Phuntsho Luyang Paro 7 Luma Doegar Thimphu town 8 Karma Phunsum Luyang Paro 3 Market Analysis 3.1 Demand vs. supply There are more than 17 drayangs alone in Thimphu and many other clubs such as Lhayi- lugar, Khuju Luyang, Kala Pingka. Even then it isn’t sufficient for the people residing over here in Thimphu. Thus the proposed business finds the greater demand for this business. 3.2 Pricing and Marketing Strategies Prices per Unit Year Performing traditional dances Performing Mask Dances Band Performance 1 5000 8000 10000 2 5000 8000 10000 3 5250 8400 10500 4 5513 8820 11025 5 5788 9261 11576 Note: The service charge has been increased by 5% starting from the third year. The service charge for the each service has been considered upon the market price of the competitors and existing clubs. Kuju Luyang, one of the competitors is basically the troupe of 12 performing a popular hour- long selection of religious, regional and folk songs and dances, including cham masked dances and songs from Laya and Sakteng, accompanied
Recommended publications
  • Showtime in Bhutan
    ARTS & REVIEWS // Showtime in Bhutan AARTI BETIGERI // DRUK SUPERSTAR, BHUTAN’S IDOL ESQUE TALENT SHOW, IS A CELEBRATION OF THE OLD AND AN OPPORTUNITY FOR THE MODERN AND UPWARDLY MOBILE 102 | THE CARAVAN | SEPTEMBER 2011 FEATURE t’s just 20 minutes to showtime. The studio is a hive of activity: at one end makeup artists attend to the drooping quiffs of the handful of middle-aged men sitting behind a semi-circular desk. They are the judges. At the other, stagehands pull at the lighting rig to make sure it is all directed squarely at the stage. On either side sit the contestants, nervously fidgeting as they await their turn, for on live television there is no Iroom for mistakes. It could be anywhere in the world, such has been the reach of the cultural juggernaut that is the Idol-era tele- vision singing competition, complete with its studio audi- ences and token harsh judge, strobe lighting and legions of fans. And here too in the once-reclusive Bhutan, the for- mat is hugely popular. Its homegrown talent show is called Druk Superstar—in the local language Dzongkha, Druk is the word for Bhutan—and has everyone glued to their tele- vision sets for six hours each weekend—three on Saturday and three on Sunday—for close to five months. The set is modest by international standards: the stage is on a raised platform draped in red carpet and a flimsy sheet of plastic is printed with the show’s name and logo, as well as the thunder dragon emblem that is one of Bhutan’s na- tional symbols, against a bright blue background.
    [Show full text]
  • Gross National Happiness in Bhutan: a Living Example of an Alternative Approach to Progress
    University of Pennsylvania ScholarlyCommons Social Impact Research Experience (SIRE) Wharton Undergraduate Research 9-2009 Gross National Happiness in Bhutan: A Living Example of an Alternative Approach to Progress Alejandro Adler University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/sire Part of the Business Commons, and the Social and Cultural Anthropology Commons Adler, Alejandro, "Gross National Happiness in Bhutan: A Living Example of an Alternative Approach to Progress" (2009). Social Impact Research Experience (SIRE). 1. https://repository.upenn.edu/sire/1 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/sire/1 For more information, please contact [email protected]. Gross National Happiness in Bhutan: A Living Example of an Alternative Approach to Progress Abstract As a society we care about what we measure, we use what we measure, and what we measure drives policies and society in a particular direction. We therefore need to measure progress correctly. If societies blindly accept GDP as their measure of progress, they might be trying to maximize the wrong indicator for society. In this paper I present Bhutan as a living example of a society that has opened a national dialogue about what progress means, and they have created the Gross National Happiness (GNH) index to reflect their understanding of progress. Furthermore, the political and economic architecture of Bhutan is structured around maximizing GNH rather than GDP. Institutions in Bhutan use the GNH index and a series of instruments of policy to construct policies that promote GNH. We can draw a number of lessons from the Bhutanese experiment, namely that each individual society should strive to answer the following three questions: • What does progress mean? • How do we develop indicators that measure progress? • How de we use indicators to shape policies and institutions? All societies seek to create wellbeing for individuals.
    [Show full text]
  • His Majesty Said That Bhutanese Do Not Have to Look Further Than Our Youth Today to Foresee the Future That Lies Ahead
    His Majesty said that Bhutanese do not have to look further than our youth today to foresee the future that lies ahead. The basic task of preparing for future be- gins in the classrooms and schools. For years the country’s focus has been main- ly on increasing the number of schools, teachers and students at the expense of the standard of education. His Majesty pointed out that immediate steps must be taken to address this shortcoming. His Majesty said that we should not be satisfied by comparing the present achievements with the past or at being able to match other countries. If Bhutan is to have a progressive and prosperous fu- ture, Bhutanese need to become more capable and exceed the standards of other countries given the limitations of size, population and resources. (Kuensel, 17 December 2020) SUBMITTED BY: Teachers Of Bhutan Volunteers (V-TOB) [email protected] www.vtob.org Mobile: 77438800 January,2021 Table of Contents Executive Summary 1 - 7 1. Purpose of Education 8 - 21 2. Technology in Education 22 - 32 3. Curriculum 33 - 45 4. Expectations 46 - 62 5. Teacher Education and Professional Growth 63 - 72 6. Transmission of Cultural Values and Traditions 73 - 91 7. Social and Emotional Learning 91 - 108 Annexure 109 - 111 PROCEEDINGS OF EduTALK BHUTAN 01: Together forward | January 1-7, 2021 EXECUTIVE SUMMARY Rationale The EduTALK Bhutan series was initiated by the Teachers of Bhutan Volunteers (V-TOB) following the 113th National Day Address by His Majesty the King. As the nation works towards measuring up to the Royal Command, V-TOB seeks to discuss the future of education through a series of conversations.
    [Show full text]
  • The Mangde Language ( ) in Bhutan Fuminobu Nishida མང་སྡེ་པའི་ཁ། 1
    BHUTAN JOURNAL OF RESEARCH & DEVELOPMENT Autumn 2013 Bhutan Journal of Research & Development CONTENTS The Mangde language ( ) in Bhutan Fuminobu Nishida མང་སྡེ་པའི་ཁ། 1 University autonomy and sustainability: Faculty perceptions on the sustained growth of the Royal University of Bhutan Samdrup Rigyal 17 Teaching, Learning and Planning Practices in Five Colleges of RUB: A Cross Case Analysis Deki C. Gyamtso and T.W. Maxwell 31 Exploring University Students’ Plagiarism Experiences: A Phenomenological Study Phuntsho Dorji, Nawang Phuntsho and Nima 43 Perception of Local Residents of Paro on Socio-Cultural Impacts of Tourism Umesh Jadhav, Tandin Chhophel, Manohar Ingale, Pawan Kumar Sharma, Karma Drukpa, Elangbam Haridev Singh, and Namrata Pradhan 55 Bhutanese Teachers’ Perceptions about Gross National Happiness in Education for Sustainable Development Paivi Ahonen, Dorji Thinley and Riitta-Liisa Korkeamäki 67 bjrd 1 BHUTAN JOURNAL OF RESEARCH & DEVELOPMENT Autumn 2013 2 bjrd BHUTAN JOURNAL OF RESEARCH & DEVELOPMENT Autumn 2013 The Mangde language (མང་སྡེ་པའི་ཁ།) in Bhutan FUMINOBU NISHIDA Abstract Mangde or, in Dzongkha, Mangdebi kha, is a language of the East Bodish group spoken in the Mangde river basin, onམང་སྡེ་པའི་ཁ། the eastern slopes of the Black Mountains of west central Bhutan and also in adjacent parts of the western Black Mountains. The language is also spoken in several villages to the east of the Mangdechu between Trongsa and Zh’ämgang. The language is also known by the names ’Nyenkha, Henkha and a slew of loconyms whereby the language is named after one of the villages where it is spoken. The Mangde speaking area is bounded to the west by Dzongkha, to the east by the Bumthang language, to the north by the Lakha speaking area, and to the south by the Kheng and Black Mountain Mönpa languages.
    [Show full text]
  • Gross National Happiness and It's Third Pillar: a Policy Analysis of The
    University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2011-01-01 Gross National Happiness and it's Third Pillar: A Policy Analysis of The hB utanese Broadcast Syatem Deki Palden Thinlay University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Mass Communication Commons, and the Public Policy Commons Recommended Citation Thinlay, Deki Palden, "Gross National Happiness and it's Third Pillar: A Policy Analysis of The hB utanese Broadcast Syatem" (2011). Open Access Theses & Dissertations. 2394. https://digitalcommons.utep.edu/open_etd/2394 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. GROSS NATIONAL HAPPINESS AND ITS THIRD PILLAR: A POLICY ANALYSIS OF THE BHUTANESE BROADCAST SYSTEM DEKI PALDEN THINLAY Department of Communication APPROVED: ___________________________________ Eduardo Barrera, Ph.D., Chair ___________________________________ Arvind Singhal, Ph.D. ___________________________________ Jose Villalobos, Ph.D. _____________________________ Benjamin C. Flores, Ph.D. Acting Dean of the Graduate School Copyright © By Deki Palden Thinlay 2011 GROSS NATIONAL HAPPINESS AND ITS THIRD PILLAR: A POLICY ANALYSIS OF THE BHUTANESE BROADCAST SYSTEM by DEKI PALDEN THINLAY THESIS Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Department of Communication THE UNIVERSITY OF TEXAS AT EL PASO December 2011 ACKNOWLEDGEMENTS First of all I would like to thank Dr.
    [Show full text]
  • Training on Safeguarding of Intangible Cultural Heritage: 1-5 February 2011, Japan
    1 Training on Safeguarding of Intangible Cultural Heritage: 1-5 February 2011, Japan A brief introduction on Bhutan Bhutan is a small Kingdom located in the eastern Himalayan region between India in the south and China in the north. Bhutanese terminology for Culture is lam-Sroel, a path paved by our illustrious forefathers, religious and political leaders. Ii is a small country rich in its varied culture, traditions, beliefs and life styles, Bhutanese culture is regarded as one of the most anci nt culture which is based on Buddhism. Bhutan was isolated from the rest of the world for many centuries, which inevit ly led to the development of her own culture, which can be considered as living culture now. The main strength of Bhutan lies rimarily in her rich culture heritage, the socio- economic characteristics are based on culture heritage which promote nation discipline. The customs, religious practice, dance and habits of dress and food are something unique. The promotion of Culture is one of the four pillars of the hutan’s unique development philosophy of ‘Gross National Happiness’. The Royal Government of Bhutan e mphasizes the need t conserve and preserve the culture heritage for the benefit of younger generations as national immortal treasure. The government has created cultural section in every district administration and appointed a cultural officer each particularly to preserve and promote the tangible and intangible culture heritage in the 20 districts in 2005. Types of Culture in the Country: In a broad sense, culture can be categorized into two groups. i.e Tangible and Intangible which are closely related to each other.
    [Show full text]
  • The Attributes and Values of Folk and Popular Songs
    THE ATTRIBUTES AND VALUES OF FOLK AND POPULAR SONGS Sonam Kinga* "Recalling the music competition at the clock tower on the eve of His Majesty's Birthday, it was so wonderful to see our young talents actually singing pure traditional songs called the Zhungdra...But as the rigsar turn came, it was a total disaster - tunes were either English or Hindi, the music was unharmonised and totally off beat...it was a very sad trend. What's happening to our culture, have our youngsters run out of tunes and words?"1 "The Thimphu crowd displayed the worst of urban stupidity when they ridiculed Zhungdra singers representing rural Thimphu during a music festival competition in 1995. Drunken youth booed and shouted down some very good classical artists".2 Introduction Popular songs and music, which came to be known as rigsar, began to develop in Bhutan in the late 1960s, and they have gradually become part of a new entertainment culture. There has been an unprecedented growth of lyricists, singers, musicians and composers who have, within a short period of time, created a market for themselves. However, the development of rigsar songs is not a logical continuation of the folk song tradition. There is an abrupt rupture between the nature and treatment of subject, theme, form, style, tune and music of the traditional folk song and rigsar. Greatly influenced by non-Bhutanese songs and music from the very beginning3, rigsar songs are not differentiated as culturally representative. They are very popular particularly among the urban youths. Young boys and girls in rural areas are increasingly learning and singing them.
    [Show full text]
  • Echoes of Folksongs in Bhutanese Literature in English Abstract I
    Echoes of Folksongs in Bhutanese Literature in English Chandra Shekhar Sharma* Abstract Folksongs are a part of Bhutanese culture, performed during festivals, celebrations and regular chores. Folksongs and dances are media of communication. To realize the role, place and importance of folksongs in Bhutanese life one’s involvement with Bhutanese people is important. This paper attempts to analyze the Bhutanese folksongs and their echoes in Bhutanese literature in English. The first part is a brief analysis of Bhutanese folksongs, and in the second part echoes of folksongs in popular Bhutanese non-fiction and prose fiction in English are analysed. I Bhutan is a small country sandwiched between India and China, but it is rich in folk traditions. It has a variety of humoristic folktales, numerous folksongs and dappled collection of dances. Songs, dances and archery live in the veins of Bhutanese people and society, and they together weave a unique cultural pattern. Folksongs and dances are not merely modes of entertainment, but have a message to instruct the common people. Some folksongs are purely vocal while others are accompanied by choreography. Some dances are social whereas others are religious, performed by lamas or monks in dzongs and monasteries especially during religious and auspicious occasions like tshechu. Religious and mask dances performed at dzongs and monasteries have fascinated foreigners, especially tourists, more than any other folk entertainment and genre. They are found quoted in various books in English by foreign authors. * Lecturer in English, College of Science and Technology, Royal Bhutan Institute of Technology. 102 Journal of Bhutan Studies Modernization and urbanization are two key factors that are adversely affecting the performance of folksongs.
    [Show full text]
  • Echoes of Folksongs in Bhutanese Literature in English
    Echoes of Folksongs in Bhutanese Literature in English Chandra Shekhar Sharma* Abstract Folksongs are a part of Bhutanese culture, performed during festivals, celebrations and regular chores. Folksongs and dances are media of communication. To realize the role, place and importance of folksongs in Bhutanese life one’s involvement with Bhutanese people is important. This paper attempts to analyze the Bhutanese folksongs and their echoes in Bhutanese literature in English. The first part is a brief analysis of Bhutanese folksongs, and in the second part echoes of folksongs in popular Bhutanese non-fiction and prose fiction in English are analysed. I Bhutan is a small country sandwiched between India and China, but it is rich in folk traditions. It has a variety of humoristic folktales, numerous folksongs and dappled collection of dances. Songs, dances and archery live in the veins of Bhutanese people and society, and they together weave a unique cultural pattern. Folksongs and dances are not merely modes of entertainment, but have a message to instruct the common people. Some folksongs are purely vocal while others are accompanied by choreography. Some dances are social whereas others are religious, performed by lamas or monks in dzongs and monasteries especially during religious and auspicious occasions like tshechu. Religious and mask dances performed at dzongs and monasteries have fascinated foreigners, especially tourists, more than any other folk entertainment and genre. They are found quoted in various books in English by foreign authors. * Lecturer in English, College of Science and Technology, Royal Bhutan Institute of Technology. 102 Journal of Bhutan Studies Modernization and urbanization are two key factors that are adversely affecting the performance of folksongs.
    [Show full text]
  • Media Impact Study 2003
    Media Impact Study 2003 Section A : Impact Study Section B : Survey Findings prepared by Siok Sian Pek MediaCom Consultants, Bhutan For The Ministry of Information and Communications Royal Government of Bhutan 2003 Acknowledgements This report was initiated by the Ministry of Information and Communications with financial support from Danida. The report was prepared between August and November, 2003 and is presented in two sections. Section A covers the background of the Bhutanese media in a global media perspective, analysis of media impact on society, and recommendations for the information sector and the media. Section B contains the survey findings. Many people have contributed to this report, too many to be named. As the author of the study, I would like to thank all the institutions and people who provided their views and comments on the media. I greatly appreciate their honesty and frankness and for spending time to share their thoughts and experiences. Siok Sian Pek Mediacom Consultants, Bhutan November 2003 Media Impact Study 2003 Section A: Impact Study Contents Section A: Impact Study Executive Summary i-x Chapter 1 Introduction 1-2 Chapter 2 The background of Bhutan’s development 3-4 Chapter 3 The study and methodology 5-6 3.1 Objectives 5 3.2 Methodology 5 Chapter 4 Policy, legislation and government structure 7-11 4.1 Policy 7 4.2 Legislation and existing regulations 8 4.3 Other regulations 10 4.4 Donor Support 11 4.5 The government’s information structure 11 Chapter 5 The Bhutanese media background 14-26 5.1 The Bhutanese
    [Show full text]
  • Why Can DPT Be Beaten? Constitutional Case
    November 27 The 2011 Journalist 1 Sunday The JournalistVol 2 Issue 48 27 Nov 2011 www.thejournalist.bt Nu 10 Can they be beaten? With more than 75 percent of the total votes in the 2008 elections, the Druk Phunsum Tshogpa (DPT) has now been in power for almost three and a half years. Does this mean the DPT is infallible? And does the party have as many supporters as before? Will the current Prime Minister lead the party for the next term? Or, has the party lost its ground and is now open for other players to stake their claim? Although all will be revealed in due course of time, Tshering Dorji of The Journalist tried to find out the answers to these questions. Why can’t DPT be beaten? The PM factor again The DPT’s biggest strength and asset has always been the Prime Minister. He was even seen as being invincible in the immedi- ate aftermath of the 2008 gen- eral elections. He may not be on the same pedestal today, but he is still head and shoulders above the rest. A perception survey conducted by The Journalist last week showed that he led in six out of 10 leadership indicators,- although his perceived fall in attributes such as integrity/char- acter, teamwork and as a doer (man of action) is some cause for concern. An unsuccessful PDP candidate from 2008 said that with the PM at the helm, the news is bad for everybody except the DPT. But the question is: will he or will he not come back in 2013? >> Cont.
    [Show full text]
  • 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.
    [Show full text]