Ceremonial Drum, Tshangkha Village
Welcome to Bhutan
Where Happiness Lives
Table of Con T en T s
Foreword by Peter Brown
Foreword and Acknowledgments by D. Francis
Foreword and Acknowledgments by N. Tshangkhap
Part I - Bhutan as Place
Bathed in beauty from rugged mountains to ancient architecture
Part II - Bhutanese People
Hard-working, committed, friendly, spiritual
Part III - Bhutanese Culture
Deeply Buddhist, traditional, supportive
Part IV - Bhutan’s Future
Bhutan’s children embrace tradition while welcoming advancement
Foreword
This is a joyful book, one full of life, energy and hope. David Francis’ title, Welcome to Bhutan, Where Happiness Lives is apt. A window has been opened for us, and as we journey page by page into the soul of this small magical kingdom, our moods lift. We experience the ethereal beauty, the joy, the wisdom and the tightly held community that is Bhutan. This is a country half the size of the state of Indiana, yet it’s a constitutional monarchy, governed by the principles of Mahayana Buddhism, and the only place on earth possessed of a GNHI – a Gross National Happiness Index. Bhutan is generally considered one of the happiest places on our planet.
And one stunning photograph after another tells the tale, and these pictures do not stand alone. They are buttressed by eloquent writing from Francis, and the poetic and spiritual words from his friend, the Bhutanese guide, Namgay Tshangkhap. These texts, along with a jaw-dropping visual narrative introduce us to the reality of Bhutan – a place our larger world would do well to emulate.
The book is divided into four sections: Bhutan as a Place, the Bhutanese People, Bhutanese Culture, and Bhutan’s Future. And as you will soon see, Bhutan is not only happy, it is remarkably beautiful. Perched high in the Himalayas between India and China, it seems to look out on all of eternity. Francis has a wonderfully precise eye, and his photographs are technical marvels.
And our introduction to the landscape is breathtaking. Distances are vast, and we are swept along winding mountain roads to the Dzongs (fortified monastic complexes) and then to agricultural terraces, working animals and Bhutanese towns – prayer flags fluttering as we pass. Francis uses his large format digital cameras to great effect here, and the details in these images reward close inspection. There is much to see on all levels.
And he clearly has a way with people as well (after all, he holds a Cullen Distinguished University Chair in Psychology at the University of Houston) and his portraits, both formal, and of people working, conversing and gathering seem natural and unforced. We sense the easy connection he has with his subjects. There is serenity here, peace and communal joy. And there is spectacular color as well. The white,
gold, red, and orange of the Dzongs, the brilliant clothing of the people and even the design work done on trucks and tractors is all upbeat. His portraits of working artists and papermakers are particularly personal, but village elders, monks, farmers, laborers, vendors, families, officials, teachers, and story tellers all make their appearances and spring to life on these pages.
And he has a way with time too, with split seconds even. Ceremonial gatherings include long intricate dances which are photographed in an almost athletic way. Here we find perfectly choreographed caught moments of brilliant costumes, with elaborate swirls, fierce masks and an always attentive Bhutanese audience in the background. (Tourism is tightly controlled.) Musical performers, drums and instruments are also revealed, and one can almost hear the pounding music. The interpretation of these dances provided by Namgay is very helpful.
And then there are the kids, the future of Bhutan. And they cluster as all children do – but quietly, pensively and peacefully. Their faces reflect the culture around them and from what we sense, Bhutan will be safe with them.
Francis’ book is a message of hope, of community and of a way of life that is protective of culture, individuals, animals and landscape. The Bhutanese seem to have gotten things right. They understand this and they are content, neither proving points nor attempting to improve on what they have achieved. From Francis’ report, there is peace and serenity, beauty and quiet mystery alive in Bhutan.
Foreword and Acknowledgments
by D. Francis
Bhutan has the reputation for being the happiest place in the world, and prides itself on its index of Gross National Happiness (GNH ). Whether Bhutan’s claim to the happiness pedestal is hype, government propaganda, or verifiable fact, Bhutan is a remarkable place! I visited Bhutan as part of a photography tour led by Peter Eastway and David Oliver, Australian Grand Master Photographers, in late fall 2019 just before the first cases of COVID-19 were reported. A small country, about one half the size of the Los Angeles Metropolitan Statistical Area at just over 14K square miles, Bhutan is nestled in the Himalayas near Nepal, but surrounded by India and Tibet, China. Bhutan prides itself on basing its governmental decisions on their impact on the collective happiness of the country; Bhutan is steeped in Buddhist tradition which commands respect for the environment and all creatures in it, discipline, and acceptance. Not surprisingly, over 90% of adults were vaccinated against COVID-19 within three weeks of the vaccine becoming available in Bhutan. Not that long ago, Bhutan was closed to the outside world. As it has opened up to tourism, Bhutan has also worked hard to hold onto its traditions while trying to build an infrastructure to allow a balance of modernization and tradition. I hope to show these forces at play in Bhutan, but also the Bhutanese willingness to hold onto their culture and traditions and their desire to remain a place of happiness.
At least four factors contribute to Bhutan’s charm and spirit: the place, the people, the culture, and the hopefulness that these elements will persist into the future as reflected through the children of Bhutan. This photo book explores these themes through four interdependent sections whose intersections make precise classification of individual images pointless.
It is difficult to say if my love of photography has taken me all over the world, or if my love for travel has taken my photography all over the world, but the two passions intertwine seamlessly. I have visited all 50 states in the US and all seven continents. I have had the good fortune to live outside the US for extended periods of time, experiences which taught me that embracing cultural and linguistic diversity are two of life’s great pleasures. The positive impact on my life of these extended experiences in foreign cultures cannot be overstated.
My photography is motivated out of a desire to capture images from my travels domestically and abroad that communicate a range of emotions and human experience. Although we use words to describe and sustain these feelings, they are borne directly out of our experiences and interactions with the environment and one another. Through the images I hope to recapture the emotional qualities of the experience and to create a similar experience for the viewer, drawing both on their memories of times past and their ability to imagine future experiences. Through these interactions with the viewer, I hope to inspire others to engage the world in positive ways, especially through travel and cultural exchange. As an academic, I have published extensively, but this photo book is a first for me, and marks a transition in a decades long pursuit of photography. I hope you find the images and texts worthy of your time, and that you feel inspired to visit them often.
My training in photography is informal and a bit haphazard. I have benefitted greatly from the writings of professional photographers, as well as from personal interaction with professional and amateur photographers, including the occasional workshop and webinar attendance, and a willingness to experiment.
This book would not have been possible without the support, encouragement, and guidance of others. I owe much to Peter Brown, professional photographer and Master Teacher, and the students in his Advanced Photography Workshop taught at the Glasscock School of Continuing Education. Peter and this group of accomplished amateur photographers could not be more supportive, and I am fortunate to have had the opportunity to learn from them and to subject this work to their scrutiny. I am also grateful to my friends and colleagues, David Myers, Siva Tian, and Rebecca Ang, accomplished researchers and photographers, whose work has inspired me to demand more of myself and to keep learning and creating. I would also like to thank, Fikry Botros and Blair Stauffer, who have helped me to see and contributed to the quality of the present work through their critiques and encouragement. Peter Eastway, David Oliver, and the group of Australian students, especially Steve and Jackie Wyatt, with whom I traveled to Bhutan, are owed special thanks. Steve and Jackie were the first
people I met on the trip and welcomed me with only minimal ribbing as the lone American. Steve gave me his seat on the plane when Mt. Everest came into view; seeing the photos and hearing the details of his ascent of the world’s highest mountain are indelible memories of my first trip to the Himalayas. At some level, my images reflect the warmth and acceptance of my photo guides and travel companions, and our Bhutanese hosts.
I would also like to thank my “Bhutanese” family, Namgay, and his team at Illuminating Tours Bhutan, and the people of Bhutan. I am especially grateful to Namgay for agreeing to collaborate with me on this work. His contributions to this joint effort have been transformative. In the pages that follow, the Overview and list of Featured Works at the start of each section are my effort to orient the reader to what follows; the remaining texts in each section appear courtesy of Namgay. These always appear in the Scala Pro Serif font to facilitate identification.
To all the Bhutanese people, thank you. Thank you all for sharing your beautiful home, and for making this trip so memorable, and for your immeasurable contributions to this book. Lastly, I would like to thank my parents, my siblings and their respective spouses, and my daughters, Heather and Ashleigh (my first photographic subjects), and my partner, Dr. Kristi Santi, whose constant support and encouragement have meant the world to me. I dedicate this book to them with all my love and gratitude.
Foreword and Acknowledgments
by N. Tshangkhap
Incredible beauty. Immense diversity. Immeasurable happiness. Every year, October 31, is a moment for all Bhutanese people to rejoice and find delight, for we have been bestowed with a king, our people’s king who leads us, inspires us, and protects us.
“Throughout my reign I will never rule you as a King. I will protect you as a parent, care for you as a brother and serve you as a son. I shall give you everything and keep nothing; I shall live such a life as a good human being that you may find it worthy to serve as an example for your children; I have no personal goals other than to fulfill your hopes and aspirations. I shall always serve you, day and night, in the spirit of kindness, justice, and equality.”
May peace and happiness always be the companion of Bhutanese people, and our Druk Gyalpo be the essence of our joy and happiness. Offering my humble prayers for the long life and good health of His Majesty The King.
Tashi Delek La!
This is my Bhutan, my Country. Saluting her heritage, history, culture, and traditional depth; celebrating her progress and potential. Proud to be born a Bhutanese and to have built a life here. Proud of what my country stands for. Thank you to our Majesties, past, and present.
Palden Drukpa Gyalo!
Bhutan as Place
What is it about mountains that encapsulates our greatest adventures and triumph? Humans have always been fascinated with mountains: admiring their beauty from afar and from their summits, attempting to reach the top of even the tallest and most treacherous mountains.
There you’ll find the place I love most in the world. The place where I grew thin from dreaming. You’ll see why a person would want to live there forever. Dawn, morning, mid-day, night: all the same, except for the changes in the air. The air changes the color of things there. And life whirs by as quiet as a murmur… the pure murmuring of life.
Jomolhari Bowl
Thimphu Centerpiece
Guru Rimpoche, Thimphu to Cheri
Bhutanese People
The Songs that We Sing, Sang and Sung
Back in the day, we would hear people singing to different kinds of songs while working in the field or herding their sheep and cows. The kind of songs they sang would depend on their mood, the weather, but mostly they would sing to their animals. While growing up in my village, I have seen a few animals weep from the songs that were sung to them. At least that’s what I would like to believe.
My cousin (page 77, Family Singing, Tshangkha Village), known for her melodious voice, sang upon my request to a group of photographers during a recent photo tour trip to my village. She is usually very shy and doesn’t sing publicly, but we were fortunate to hear her sing to us. Traditionally, Bhutanese people believe that singing and dancing bring joy and happiness, both in the present life and in the afterlife. She sang an old Bhutanese song with so much emotion and connection to the song that it made all of us shed a tear or two of joy and happiness. (To hear the song and my cousin’s beautiful voice, please visit: https://www.instagram.com/reel/B6FE91qgTeX/).
There are many in my village with such a melodious voice. We can hear them on different occasions. The end of lochoe (annual religious ritual) is often celebrated by songs and dances. People with good voice are usually called to perform at such occasions, thus giving them a chance to showcase their talent. Preparation of rice plantation is one such occasion. While ploughing a field, farmers often sing Lang Kay (glang skad), or sweet songs of encouragement. The ploughman’s song is perhaps the most widely known of all farm songs and one exclusively sung in the field. The song makes the work of the ploughman more enjoyable and relaxing. Whenever I see a farmer singing and ploughing, I always think of my cousins, Acho Gembo, Asha Tshewang Gyetshen and Asha Mani singing Lang Kay with their melodious voice mesmerizing everyone around them including the yoked bulls.
There was a time when you would wake up in the morning and you would hear soothing poetic tunes of the Lang Kay from all directions signaling the beginning of farm work and showcasing the beauty of our village life. From the past, as we leap to the future, ploughing with bullocks are declining and fast being replaced by modern tools, it is all too rare to find a ploughman singing the song.
Herding Livestock, Tshangkha Village
Grandpa, Tshangkha Village
Family Singing, Tshangkha Village
Bhutanese Culture
Twist and twirl, bend and bow, jump high and low-mask dance moves that are sacred, ritualistic, cultural, energized, percussive and inspirational.
Rooted in folktales, these mask dances have a narrative mixed with comedy and satire. It is performed in sacred masks and colour full attire and offer moral instructions relating to compassion for sentient beings and are held to bring merit to all who perceive them.
Watching mask dances in Buddhism can be a spiritually enriching, culturally enlightening, and emotionally evocative experience that deepens one’s understanding of both Buddhism and the broader cultural context in which it thrives.
Demonstration of a mask dance (right) performed by the monks of Trashigang monastic body during their tshechu (festival) today. Also, beautiful vibrant colours on a winter afternoon. I love it!
Chham - The cham dance’ is a lively masked and costumed dance associated with some sects of Tibetan Buddhism and Buddhist festivals. The dance is accompanied by music played by monks using traditional Tibetan instruments. Like the masked dances, the dances often offer moral instruction relating to compassion for sentient beings and are held to bring merit to all who perceive them.
Leap of Faith, Trashigang Tshechu
Monks in Motion (Diptych), Mongar
Service Preparations, Mongar Dzong
Relaxing Backstage, Mongar
In Buddhism, the clockwise direction is often associated with the path of dharma, or the teachings of Buddha. Circumambulating sacred objects or spaces in a clockwise direction is a common practice in many Buddhist traditions, symbolizing the flow of positive energy and spiritual progress.
Morning Ritual, Community Stupa
Candle Arrangement, Cheri Monastery
Modern Family Awaiting Monk’s Monthly Blessing, Paro Market
Momma’s Boy, Tshangkha Village
