Power to the People Enlightenment As Religion 3 William Rasch
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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. -
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. -
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. -
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. -
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. -
State of the Nation
ROYAL GOVERNMENT OF BHUTAN THIRD ANNUAL REPORT OF LYONCHHEN JIGMI YOESER THINLEY TO THE SEVENTH SESSION OF THE FIRST PARLIAMENT ON THE STATE OF THE NATION 1ST JULY 2011 THIMPHU Cabinet Secretariat Gyalyong Tshogkhang Thimphu Tel: +975-2-336667/321437 Fax: +975-2-336665/321438 URL: www.cabinet.gov.bt The Third Annual Report of the Prime Minister to the Seventh Session of the JULY 1, 2011 First Parliament on the State of the Nation TABLE OF CONTENTS INTRODUCTION 1 I. SIGNIFICANT EVENTS 4 1. Royal Announcement of the Engagement of His 4 Majesty the King 2. State Visits by His Majesty the King 4 3. Fourth Druk Gyalpo Inducted to Kyoto Hall of Fame, 5 Japan 4. Local Government Elections 5 5. 10th FYP Mid-Term Review 6 II. FIRST PILLAR: ENHANCING SUSTAINABLE AND 8 EQUITABLE SOCIO-ECONOMIC DEVELOPMENT 1. Macro-Economic State of the Nation 8 2. Minimum Programme: Poverty Eradication towards 9 Social and Economic Empowerment i. Motorable Road to Every Gewog Centre 10 ii. Electricity for Every Home 11 iii. Universal Primary School Enrollment 12 iv. Minimum of Three Doctors and Two Ambulances for Every Dzongkhag Hospital and All 12 Communities to have Easy Access to Basic Health Facilities v. Safe Drinking Water Supply for Every Home 12 vi. Mobile Phone Connectivity for Every 13 Community 3. Sector Progress and Achievements 13 i. Health Service 13 ii. Education 21 iii. Agriculture and Livestock 28 iv. Trade, Industry and Mines 34 v. Information and Communications 44 vi. Employment, Labour and Human Resource 48 Development vii. Works and Human Settlement 53 III. -
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. -
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 -
Songs of the Third King's Court
Songs of the Third King’s Court Legendary Performances from the First Studio Recordings of Traditional Bhutanese Vocal Music Songs of the Third King’s Court: Legendary Performances from the First Studio Recordings of Traditional Bhutanese Vocal Music The Story The Third King of Bhutan, His Majesty Jigme Dorji Wangchuck (1952- 1972), set Bhutan on the path to modernization, reorganizing Bhutanese society and transforming systems of education, transportation, agriculture and health care. Yet at the same time, he understood very well the value of Bhutan’s distinctive traditions to the identity and well-being of the nation. Although perhaps it is not widely known today, His Majesty held Bhutanese music and dance in particular esteem, and was a steadfast patron of these traditional arts. During the 1960s he sought out the most talented singers, musicians and dancers in the country and brought them to his court, where they played a prominent role in daily life. In 1968, His Majesty commanded his finest singers to make a gramophone recording. They traveled to Dum Dum Studios in Calcutta, India, to undertake the project, as gramophone recording technology was not yet available domestically. Dasho Drupon, an experienced leader who also played drangyen (Bhutanese lute), was in charge of the group. The respected dance instructor Drimpon Sonam Dorji served as assistant leader. In addition to Sonam Dorji, male vocalists included Bumtap Tawla, Nija Kado and Gyen Tawchu. Female vocalists included Tshewang Lham, Thinlem, Changzam Dagom, and Ani Lham. Additionally, the group included several instrumentalists: Khetu (chiwang), Dawpey (drangyen and flute), Tango Pem Namgay (drangyen) and Gyelwa Karmapas Drapa (flute). -
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. -
Diminishing Cultures of Bhutan: Costume of Merag Community Gengop Karchung Abstract
Diminishing Cultures of Bhutan: Costume of Merag Community Gengop Karchung Abstract Preservation and promotion of culture is one of the pillars of Bhutan’s development philosophy of Gross National Happiness. Besides, the Constitution of Kingdom of Bhutan enshrines a separate article on culture preservation. Hence, the culture has an outstanding recognition in the kingdom of Bhutan, which has been through generations intact. However, with the contemporary developments, such as economic development, information and communication technology, modernisation, regionalisation and also the so called globalisation, poses a great threat. The question arises that whether the tradition and culture of Bhutan or local communities can thrive in the years to come. Thus, this study, carried out based on secondary sources, interviews, and other oral history, brings out Bhutanese diminishing cultures in general and the costume of the Merag Community in particular,with a dawn of an each new day. As such, to address diminishing local heritages, the local indigenous groups should be given special attention through incentives to protect, preserve and promote their culture and should also be made aware of the importance of their indigenous heritage through education. So that, with the changing time, the degradation and dilution of some forms and values of such cultures are inevitable, its pace can be slowed down. Whereby, it provides time for research and documentation for the future generation, in case of its disappearance. Consequently, despite being deprived of living-culture, the identity, essence of the culture is and will be retained. 18 Gengop Karchung Introduction Bhutan, sandwiched between the Himalayan giants, has an approximate area of 38,394 sq. -
Echoes of Folksongs in Bhutanese Literature in English Chandra
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. 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 coUection 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 whUe others are accompanied by choreography. Some dances are social whereas others are reUgious, performed by lamas or monks in dzongs and monasteries especiaUy during religious and auspicious occasions like tshechu. ReUgious and mask dances performed at dzongs and monasteries have fascinated foreigners, especiaUy 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.