The Practice of Dapa Making: a Case Studyfrom Trashiyangtse in Bhutan
Total Page：16
File Type：pdf, Size：1020Kb
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 24, Issue 11, Series. 7 (November. 2019) 16-37 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org The Practice of Dapa Making: A Case Studyfrom Trashiyangtse in Bhutan Sonam Wangdi*, Yezer*, Peljor Galay*, Tashi Jamtsho*, Kezang Choki**& Dorji Phuntsho*1 *Lecturers/Researchers, Centre for Archaeology &Historical Research **Student, History, Dept. of Arts and Humanities Sherubtse College, Kanglung, Royal University of Bhutan Abstract: Deeply woven into every facet of Bhutanese lives, the traditional arts and crafts forms an essential part of Bhutan‟s cultural heritage. Highly attractive and decorative in its appearance, it retains purity and human attempts to perfection. Derived largely from Buddhism, it symbolically represents the Buddhist philosophy of Bhutan. Although historically mentioned to have existed even before the seventeenth century, it was only towards the late seventeenth century that these traditional arts and crafts were formally codified into ZorigChusum (Thirteen Traditional Art and Crafts) during the theocratic reign of the Fourth Druk Desi,Gyalse Tenzin Rabgye (1638-1694). Most of the Thirteen Traditional Arts and Crafts were predominantly practiced by the people of different region, portraying the regional socio-economic setup. Geographically located in eastern Bhutan, the Dzongkhag of Trashiyangtse takes a deep pride in its traditionally upheld practices of several traditional arts and crafts among which much of the social, religious, political and economic lives of the native population revolves around the traditionally prevalent practice of Wood-Turning. The traditional Wood-Turning now transformed into a highly economical commercial business, thereby accelerating the development of Trashiyangtse into traditional as well as commercial hub in Bhutan. Given these un-parallel traditional and economic significances not only in Trashiyangtse but also in whole of Bhutan, the written record on significant aspects of this traditionally and economically upheld practices of making wooden bowls is expected to contribute towards the national endeavor of preserving and promoting the traditionally wood turning craft of making Dapa. Therefore, a study on Dapa making culture is carried out through a Case Study incorporating Purposive Sampling based on interview and observation methods. Keywords:Cultural Heritage, Dapa, Procedures, Typology, Impact, and Challenges. ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission: 11-11-2019 Date of Acceptance: 21-11-2019 ----------------------------------------------------------------------------------------------------------------------------- ---------- I. INTRODUCTION 1.1. Study Area Locally referred to as ZorigChusum (Thirteen Traditional Art and Crafts)are deeply woven into Bhutanese way of life which is prominently practiced throughout the country. Trashiyangtse is traditionally known for the traditional practice of Shagzo (Wood-Turning) which is now vibrantly practiced by the native inhabitants of the district. One of the newest Dzongkhags in the country, Trashiyangtse was established as a distinct district in 1992. Located in the North Eastern part of the country, Trashiyangtse shares its border with Trashigang and Monger in the south, Lhuentse in the west, Indian state of Arunachal Pradesh in the east and Tibet autonomous region of China in the north. The Dzongkhag has an area of 1438 Sq.kms and is elevated at an altitude which ranges from 600 to 5400 meters above sea level. It is the ancient route between East and Western Bhutan. It has eight gewogs of Bumdeling, Khamdang, Ramjar, Toedtsho, Tongzhang, Ramjar, Jamkhar and Yangtse and these gewogs has forty one chiwogs in total. With 10, 286 male and 10, 588 female, the total population of Trashiyangtse as of 2016 is 20,874 (National Statics Bureau, 2018). It is ethnically and culturally diverse district and the inhabitants include Yangtseps, the region‟s indigenous dwellers, Tshanglas, Bramis from Tawang, Khengpas from Zhemgang and Kurtoeps from Lhuentse. In the north, including Bumdeling and Toedtsho Gewogs, the native inhabitants speak Dzahala1, in the south, Tshangla2, the Lingua Franca of eastern Bhutan is spoken in Jamkhar, Khamdang and Ramjar Gewogs. The native residents of 1 Local dialect spoken by the people of Trashiyantse 2 Local dialect of eastern Bhutan. DOI: 10.9790/0837-2411071637 www.iosrjournals.org 16 |Page The Practice of Dapa Making: A Case Studyfrom Trashiyangtse in Bhutan Tongshang speak the local dialect called Chochangacha3. Trashiyangtse is a home to some of the country‟s important protected areas such as KholungChhu Wildlife Sanctuary which was established in 1993 and is integrated with the larger Bumdeling Wildlife Sanctuary. These two wildlife sanctuary engulfs the northern part of the district including Bumdeling, Yangtse and the neighboring regions (Tourism Council of Bhutan, 2018). The presence of Buddhist monumental sites of Chorten Kora, Rig sum Goenpo and Gomphug Kora (meditation cave of Buddhist Master, Guru Padma Sambhava) makes Trashiyangtse one of the religious tourist destinations in Bhutan. Added to this tourist attraction is the vibrant traditional practice of making Dapa, the main source of local livelihood. With growing number of craftsmen as a result of spiraling international and local demand, the economic transformation of this traditional craft into the main source of income for people‟s livelihood of Trashiyangtse has taken place. Although it is also practiced in Bumdeling Gewog, the traditional making Dapa is centrally practiced in Yangtse Gewog as a result of an easy access to nearby market. Yangste Gewog is located around the premises of Dzongkhag administration, Dzongkhag town and Chorten Kora, covering around two hundred sixty eight square kilometers. This practiced area of Dapa-Making has four hundred twenty four households and has five Chiwogs and the Chiwog‟s settlement is done on either side of Kholongchu basin. The Gewog has a mix of Kurtoep and Yangtsip speaking communities. A small section of the local population speaks Dzahala(local dialect). A common cereal crops cultivated in Yangtse Gewog are maize and paddy. With small scale cultivation in all Chiwogs, Lichen Chiwog is the main producer of the millet. Cabbage, Chili, cauliflower and potatoes are the most common vegetables cultivated in the Gewog. The cattle and poultry are reared by all households in Gewog in small scale and are carried out extensively in Rabdey Chiwog. 1.2. Significance of Problem and Statement Most of the craftsmen comes from Baney-Bhimkhar, Lichen andBayling Chiwogs (Resource inventory and Business opportunity for cottage and small industry under production and manufacturing sectors, 2015). With close proximity to main Yangtse town, the economic business of selling Dapa has become vibrant and is the major source of income for the people of Yangtse Gewog in particular.However, nothing at all is known by the people about its actual origin and evolution in Bhutan and Trashiyangtse in particular. And the historical origin and evolution of this traditional craft hold a deep significance in understanding its historical values. As it is practiced mainly in Yangtse, there is a general misconception that it is confined only to this Gewog. So, the study on the geographic pattern of its prevalence is crucial for one to understand the nature of its prevalence throughout Bhutan. Although one can see it being practiced in Yangtse, Bumdeling and in other regions to some extent, not much is known about the kind of raw materials being used in making Dapa and the detailed study on its raw materials paves way to understanding more about other aspects of this popular traditional product as it determines economic value, designs and other important fields. In the view of the fact that the certain skills and trainings are prerequisite in making Dapa, the exploratory study on its typical skills facilitates in perceiving the nature of the procedures followed in making Dapa. Although one can see the common practice of making Dapa but the actual procedures followed while making Dapa is hardly known by the people which portray its peculiar nature of production. With institute of ZorigChusum (Thirteen Traditional Art and Crafts) providing professional trainings on Dapa making craft, there are both professional and non-professional ways of producing Dapa being practiced in parallel but nothing is explored on how these two ways differ from one another and this distinction would help in understanding the kind of environment in which it is made. With change in time, there is a drastic change in the season during which Dapa are produced and the research focus on this seasonal nature of making Dapa would become highly instrumental in uncovering the factors responsible for the occurrence of such seasonal changes. Despite of the fact that the craft of making Dapa is traditionally practiced mostly by men, one could see more and more women getting involved in applying lacquer and other supplementary works. But the women‟s association with this male oriented traditional occupation is seen being marginalized in the society. So, the exploration on this aspect would serve its purpose in construing the significant role of women in uplifting this traditional craft in Bhutan. In the market, Dapa are seen in varied designs but almost all the people of Bhutan