FOLK SONGS

Songs, music and dances are integral parts of Bhutanese culture not only as mere forms of entertainment and celebration but also as highly refined works of art reflecting the values and standards of Bhutanese society. They have deeper spiritual significance and merit at two different levels:

• First, by virtue of merely singing and dancing, and consequently bringing joy and happiness, it is believed that one would be reborn in the realm of the gods.
  
  
• Second, songs and dances, like mask dances, are hymns and forms of offerings to the gods. If a singer or dancer is fully conscious of the spirituality of the songs and dances, they can serve as means of liberation and attainment of ultimate happiness.

The great lamas and Buddhist Scholars who composed lyrics always thought that songs and dances must ultimately contribute to human happiness. Therefore, the lyrics dwell mostly on religious themes. An important aspect of Bhutanese folk songs is the social and historical information they contain. They are commentaries on and descriptions of dzongs, monastries, lhakhangs and sites of pilgrimages, as well as of ordinary houses. A few are travelogues.

Classificaton and Origin of Bhutanese Songs

Bhutanese songs can be classified conventionally into Traditional Songs and Rigsar. Traditional songs further classified into Zhungdra and Boedra.

• Zhungdra literally means Melody of the Centre or The Principle Melody. They are originated in the dzongs and spread to the villages. Zhungdra are performed by forming a line facing the altar and lamas or guests of honour, in a gesture of respect and workship.
  
  
• Boedra , the Melody of the Boed Garps or the Melody of Tibet is claimed to be popularised by Boed Garps (a category of medieval court servants who functioned as messengers and emissaries of local chieftains) and by pilgrims and traders who travelled to Tibet by imitating and adapting Tibetan sons.
  
  
• Rigsar, on the other hand, originated mostly in urban centres of Bhutan. Thus their origin is sociological rather than political or geographical. Rigsar lack the artistic depth and seriousness of traditional songs. With an abrupt break away from religious themes, it bears the similarity and association with English pop songs and songs of Hindi Films.

Songs may further be categorised into:

Dance Oriented:

• Zhungdra
• Boedra
• Yuedra
• Zhey
• Zheym

Vocal Songs:

• Tsangmo
• Alo
• Khorey
• Ausa

Songs can also be classified into religious songs and ordinary songs. Religious songs are not intended for social entertainment but for prayers and rituals. Composed by saints like Milarepa, their lyrics and melodies are designed to arouse the faith of the people in religion. All the songs can be generally categorized into:

• Lama Choetoed Ki Lu (songs of prayers and workship of Lamas)
• Choe dang Choed Drel Lu (religious songs)
• Gyalpoi Toed Lu (songs of praise for the king)
• Gyalkhab Ki Toed Lu (songs of praise for the country)
• dGa Lu (songs of happiness)
• Dzag Lu (love songs)
• Thrul Lu (songs of sorrow)
• Tashi Moen Lu (songs of good wishes)

Language of the Songs & their Context

Traditional songs are mostly verses and poetry in their own right written mostly in Chokey (the classical language of Bhutan). Since it can only be understood by a very limited section of the population, modern songs are composed in Dzongkha, the national language, which is easier to understand and therefore bear limited association with traditional themes and tunes.

Different songs are meant for different occasions and for different purposes. The context in which songs are sung is an important consideration. 'Don't sing sad songs at celebrations; happy songs at mournings; war song during marriages; don't sing love songs while an enemy is being subdued and don't sing songs at times of sickness and death.'

Musical Instruments

Instruments are not always played at singing and dancing in villages and informal gatherings. They are mostly used during formal public celebrations and at competitions.

Dramnyen (lute), Chiwang (fiddle) and Lim (flute) are the three main folk music instruments used. Yangchen (dulcimer) came into use only in the 50's. The materials used for making traditional musical instruments are very elementary and natural; wood, bamboo, silken thread and horse tails.

Values of Folk Songs

Traditional songs address a large section of the society. The morals and messages in them are not only conveyed to listeners and the people beyond the immediate audience; they also remind the singers themselves about the issues like the impermanence of life, relationships and the importance of religion.

1. Social & Religious Values

Bhutanese culture is deeply influenced by buddhism. Buddhism is the foundation of all social values. Since religious values permeate the morals, ethics and code of conduct of the Bhutanese, cultural and social values are often indistinguishable. One of the most dominant religious themes treated is the value of human life and the need to live it meaningfully. Phrases echoing these messages recur in most songs in one form or the other.

2. Environmental Values

Folk songs have also served as a medium of emphasizing the spiritual , economic and aesthetic importance of the natural world. This aspect of songs is even mre important and relevant to a society that is gradually becoming more urbanized and therefore, developing a very fragmented and economic view of the natural environment is important.