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My wife and I recently returned from our second tour of Bhutan in a year. Once again we enjoyed touring the nation that values "Gross National Happiness". This second tour gave us the opportunity to tour some different locations in the Buddhist Himalayan nation as well as opportunities to revisit locales, events, and people that we had enjoyed on our previous trip.
As I have written in previous blogs, I like to travel to special places more than once. I find that you begin to understand a culture, place as well as people only on subsequent journeys. The first tour provides an introduction and a basis for further study and appreciation.
For this return tour of Bhutan, I had created a list, prior to our departure, of twenty photography goals to achieve. I typically develop a list of priorities and goals for photography as well as sightseeing prior to each of our journeys. I find that doing such planning and scheduling, helps to achieve goals and assists in keeping me focused as well as mentally organized. It is often easy to become confused and overwhelmed when on tour of exotic lands. Pre-planning and developing goals provides some direction and structure.
The goals for this tour were:
1. Levitating Cham Dancers
2. Eyes of Dancers Inside of Masks
3. Young Monks Reciting/Chanting
4. Elderly People at Prayer Wheels in temple
5. Temple Ceiling Paintings
6. People Lighting/Worshiping at Butter Lamps
7. Monk Filling Butter Lamps
8. Unfurling tapestry on closing day of Domkhar Festival
9. Cham Dancers Getting Dressed
10. Cham Costumes, Masks, and Instruments
11. Religious Paraphernalia In Window Light
12. Monk At Shrine
13. Monk's Afternoon Debates
14. Masks at Handicraft Center
15. People Painting Thangkas
16. People Carving Wood
17. People Doing Handicrafts
18. Indian Road Workers
19. Traditional House Roof - Wood & Rocks
20. Milky Way
These photography goals were developed from my experiences on the previous tour last Spring as well as to try out some new techniques and skills that I had studied in the past year. I was also planning on obtaining some photos for a couple of projects that I have in mind.
1. LEVITATING CHAM DANCERS
Last year, I was able to capture moments when Cham performers leaped into the air and appeared to be suspended between the Earth and the Heavens. In my studies of Cham I have learned that these movements, like every movement, have significant religious significance. For this tour, I wanted to capture and share more of those moments, special moments when the performer appeared to be levitating.
2. EYES OF DANCERS INSIDE OF MASKS
Performers wear costumes and masks to transform themselves into the deity or manifestations of the Cham that they are performing. The dancers also use mediation to become the deity or manifestation. Although the masks have eyes, for the vast majority of the masks, the performers see out of the mask's mouth rather than the mask's eyes. I am intrigued with the dichotomy of the performer becoming a deity or manifestation but, for me, still being a man beneath it all. For me, this dichotomy is best illustrated by showing the performer's eyes beneath the mask. During last year's tour, I was able to get some photographs - eyes beneath the masks while dancing and eyes in posed portraits. For this trip, I wanted to focus more on shots of eyes beneath the mask while performing.
3. YOUNG MONKS RECITING/CHANTING
Living in Southeast Asia and being married to a devout Buddhist, I have many occasions to witness and document the lives of boy Monks. Again I am fascinated by the dichotomy of "holy men" and of "boys being boys". On the previous tour of Bhutan, I had a very personal moment photographing young monks chanting and reciting mantras at a temple. For this second tour, I want to photograph a similar scene if not recreate that moment.
I had taken a photograph of that special moment on last year's tour and I was carrying a print to give the young Monk on this tour. We inquired about the young Monk in the small village where the temple was located and determined that the boy was still a Monk at the temple. Upon arrival at the temple, we discovered that things had changed ... a reminder of the Buddhist tenet that "Life is change". The room where the young Monks study, recite, and chant was no longer accessible to outsiders. The door was closed and the windows were covered. Signs on the door indicated that the Monks were not to be disturbed. Fortunately we found some young Monks outside the room. They recognized the young Monk in my photograph and agreed to give it to him.
Fortunately, we were able to photograph some young Monks at a new locale, for us, during a puja.
4. ELDERLY PEOPLE AT PRAYER WHEELS IN TEMPLE
Throughout Bhutan, you will encounter prayer wheels. Prayer wheels come in a myriad sizes. In addition to size, the prayer wheels have various means of propulsion. Some are rotated by merely rotating the wrist. Some are spun by rotating its shaft with the palm of the hand. Others are rotated by pulling on a cord suspended from the rim of the wheel. I have seen some prayer wheels that had a circular handrail at the base that you grab to turn the wheel. My favorite type of prayer wheels are propelled by water.
Everyone turns prayer wheels in Bhutan. However I like, best of all, to photograph elderly people spinning the prayer wheels.
5. TEMPLE CEILING PAINTINGS
I was not able to take any photographs of the mandalas painted on the ceilings of many of the temples in Bhutan. This year we had a slightly different itinerary than the one that we followed last spring. Although our new itinerary presented new opportunities for photographs, some previous opportunities were not available.
6. PEOPLE LIGHTING/WORSHIPING AT BUTTER LAMPS
One of the rituals of Buddhism in Bhutan is to light butter lamps. Butter lamps are brass receptacles that resemble goblets that were originally filled with Yak butter but today most likely filled with vegetable or palm oil. Last year, at a mountain pass rest stop, I took some photos of people worshiping by lighting some butter lamps. Taking the shots was difficult due to the confined space of the room and the relative darkness. This year I had a wide angle fast lens to take such photos. I wanted to document the darkness of the room - darkness from lack of lighting except for the lamps and windows, as well as from soot deposits from years of thousands of burning lamps. I wanted to better capture the solemness of such a ritual.
7. MONK FILLING BUTTER LAMPS
Last year, I witnessed a Monk filling butter lamps in a special room at a temple. I was not allowed to photograph him. I was impressed with the scene and wanted other opportunities to document such moments. My attitude for this trip was that there are other Monks and perhaps they would be cooperative. As it turned out, this year's tour did not take us to that temple or any other temple where Monks were filling butter lamps. In another example of the late 20th century philosopher, Mick Jagger's mantra "You can't always get what you want But if you try sometime you find You get what you need"
I tried and I got photographs of the proprietor of the mountain pass rest stop filling the butter lamps.
A very important part of Tshechus, religious festivals in Bhutan, is unfurling a a large tapestry called a thondrol. It is believed that merely looking at the tapestry provides merit and blessings to the people.
We arrived at the festival this year just after the thondrol had been unfurled. However we were able to observe the veneration of it by Monks and laypeople.
9. CHAM CHAM DANCERS GETTING DRESSED
Our tour of Bhutan allows us special access to the dressing room of the Domkhar Festival. One by one we are escorted into the room where the cham dancers dress and prepare prior to exiting on to the performance ground. In addition to observing the performers "backstage", we are able to photograph the masks, instruments, and costumes that are used for the various sacred dances. Besides getting dressed, the performers warm up and practice the intricate movements required for each specific cham. During this time they also focus and meditate to transform themselves into the embodiment of the deity for their performance.
10. CHAM COSTUMES, MASKS, AND INSTRUMENTS
In addition to being able to photograph cham masks in the Domkhar Festival dressing room, we had the privilege to photograph them at a monastery along our tour route in Eastern Bhutan.
The masks are of deities and manifestations central to each cham. The masks also represent various human traits such as stubbornness, greed, compassion, wisdom ...
11. RELIGIOUS PARAPHERNALIA IN WINDOW LIGHT
12. MONK AT SHRINE
I had a specific goal of photographing a Monk at a shrine for this trip. I had in mind the shrine at the Domkhar Festival. Last year I took some photos but I was too polite to get the exact shots that I prefer. I now have more confidence to politely ensure that I get my shots. This year I chose to not go into the shrine, preferring to maintain my location outside at the performance ground for the Chams.
Unexpectedly, and most fortunately, I was able to get some photographs at a temple and much more importantly - during a puja. Duang and I returned to a temple where I had spent 2 hours and Duang had spent 6 hours attending a special ritual last year. This year we were immediately recognized and welcomed by the Monks who were once again having a special ritual. We were welcomed and the Monks had us sit at one of their worship stations. They clued us into what to do during the 3 hour ritual. It was a wonderful experience for both of us. Photographs are not allowed in the temple, or photographs of the Guru. Early into the ritual, the Monks motioned to me to take photographs. I motioned back that I understood that photography was not allowed. They reassured me that it was OK even to photograph the Guru. I took some photos that I treasure but out of respect will not share.
13. MONK'S AFTERNOON DEBATES
Last year we were unable to witness the afternoon Monk debates at Lhodrak Kharchu Goemba in Jakar due to heavy rain. My goal this year, weather permitting, was to photograph the highly animated debates. In the adapted words of Robert Burns in "To A Mouse" ... "The best-laid plans of mice and men often go awry." My goal was my plan, however Duang and my itinerary did not take us to Jakar this year. The tour group went there but we went on to another town further afield and to the north. As I often say ... "Another reason why we need to return".
14. MASKS AT HANDICRAFT CENTER
We did not get to stop at the Handicraft Center in Zungney Village on this tour. We had higher priorities and it was complicated by our stay at a different hotel this year. With the opportunities afforded to photograph masks at other locations this year, this specific goal was no longer relevant.
15. PEOPLE PAINTING THANGKAS
There is a special school in Thimphu, National Institute for Zorig Chusum, often referred to as School of 13 Traditional Arts. We were not able to visit it last year since it is closed on Sunday. This year it was on the top of our list and was the first sight that we visited upon arrival in Bhutan.
Students spend 4 to 6 years taking courses specializing in woodcarving, painting, sculpting clay, and embroidery.
Thangkas are religious pictures painted typically on canvas. They are bright, colorful, and intricate.
16. PEOPLE CARVING WOOD
17. PEOPLE DOING HANDICRAFTS
18. INDIAN ROAD WORKERS
Bhutan is shrinking each day. Locations are getting closer and closer. The distances remain basically the same, but the time between places along with the ease of travel is continually improving. Duang and I were shocked and to a certain degree, dismayed, at the differences in just one year. The road improvement program and paving of the West/East highway is astounding. Hours have been cut from the driving time from some of the points along our tour route. There is more traffic in the Eastern part of Bhutan. This "progress" is attributable to the scores of road workers from southern India. These workers were found all along the West/East highway last year working along the cliffs and mountain sides carving a second lane as well as paving the roadway. They lived in primitive camps in the wilderness. For me they seemed to be the "silent people, the invisible people". I wanted upon my return to photograph them.
19. TRADITIONAL HOUSE ROOF - WOOD & ROCKS
Traditional Bhutanese architecture is wood roofs held down with stones. Bhutan is 71% forested and the Constitution requires that a minimum 60% of Bhutan's forests remain. Each Bhutanese household is allowed to harvest a certain amount of trees for their home and household use. The selection and harvest is regulated and controlled by Forest Rangers. Due to the amount of forests, roofs composed of long wood shingles were traditional. Today, with concerns to conserve resources and a desire to maintain a low carbon footprint, these wood roofs are becoming scarce. Wood roofs are being replaced by corrugated metal roofs. The King provides the metal roofs free to the households.
20. MILKY WAY
I am constantly looking to learn and utilize different skills as well as techniques for my photography. Since Bhutan has many areas of "dark sky", I intended to try some astro-photography on the tour. Photos of the Milky Way was my goal, but I knew that due to our schedule the opportunities would be difficult. The new moon is the best time to photograph the Milky Way. We were not going to be in Bhutan during the new moon. As it turned out the phase of the moon did not matter for this tour. The Monsoon Season had arrived early this year in Bhutan. If it was not raining, the skies were heavily overcast throughout our tour - not conducive to photographing the Moon, stars, let alone the Milky Way..
Well this year's tour was great. We saw many wonderful things. We saw some new sights, reunited with many people and met many new people. Just as in life, everything did not go exactly as we planned or even hoped. However, just as in life, we were able to make the most of it and thoroughly enjoyed it. The key to happy traveling as well as to a happy life is to adapt to change rather than resisting it. Always do your best based upon what you know at the time. Appreciate what you have and do not fret or obsess over what you don't have.
