Neten Dorji
Pemagatshel-The metal design business in Pemagatshel is transforming the roles of women in rural Bhutan.
Karma Zangmo, a 39-year-old traditional design (tre) artist from Duwang, Pemagatshel, shares how her life has changed since mastering the art of crafting religious instruments like the duung and jaling.
During quieter moments at her shop, she skillfully carves intricate patterns onto metal sheets, her hands moving with the confidence of an expert. This delicate and precise work is carried out by many women from Tsebar and Duwang, showcasing their craftsmanship.
Tsebar is renowned for producing duungs and jalings. The tradition of crafting these exquisite instruments remains strong, with women focusing on intricate design work while men construct the instruments themselves.
This collaborative effort has greatly enriched Karma Zangmo’s life.
Initially, she was hesitant about stepping into this unfamiliar craft. Before starting her metal carving journey, she sought out skilled teachers to guide her through the process.
Bird’s-eye view of Pemagatshel Dzong
Karma Zangmo is now joined by more women, all equipped with the same portable tools. Their work starts in earnest. Women in Tsebar have shifted from weaving to tre because of its higher profitability, making it the most lucrative business in the village.
With over two decades of experience, Karma Zangmo has become a mentor to younger women eager to learn the art of tre design.
“I feel motivated to continue as I sharpen my skills. Women like me, who used to rely on our husbands for every small financial need, now have a different reality. I have been able to support my family and even save money,” says Karma Zangmo.
In addition to supporting their families, these women have gained the financial stability to take loans and start their own businesses. This newfound economic independence has empowered them significantly.
Karma Tshomo, another villager, began creating designs for religious instruments under the guidance of her grandfather, Chimi Dorji.
“There are limited income opportunities for women, and weaving is not very profitable,” explains Karma Tshomo. “Tre is the best option—it doesn’t involve physically demanding work outdoors like farming.”
The popularity of tre has spread beyond the village. Even wives of civil servants have learned the craft from these local women.
Dopthob Sangay Wangmo, a housewife from Narang in Mongar, shared her initial fascination with tre design. “When I first arrived here, I was amazed to see women sitting outside, crafting these beautiful designs. I wanted to learn, and now I can create some designs and earn a good income each month.”
There are two types of tre designs—traditional and modern. The newer designs allow women to earn around Nu 1,200 per piece, while the older patterns bring in about Nu 700. A skilled designer can typically complete two design plates per day.
For Tshering Yangki, a student who dropped out of school, mastering tre has provided a stable and comfortable life. After finishing her household chores, she dedicates her time to creating intricate patterns, which has become a reliable source of income.
“Most of the time, we had to rely on our husbands. This has changed now,” Tshering Yangki said.
Ugyen Dorji, a fellow villager, reflects on how Tsebar has evolved into a more equitable society, where both men and women have the opportunity to thrive.
“When women earn more, they can invest in themselves, their families, and their communities. This not only benefits individuals but also strengthens the local economy, paving the way for a brighter future for everyone,” he explains.
Today, in Tsebar, more than 30 women are involved in tre design, a growing craft that has reshaped the social and economic landscape of the village.