…in the form of a dance festival 

Structured on the classical notion of a hero, the dance of heroes remembers the hero who lived to tell the tale of his conquest or struggle. It is a distinct dance that one gets to witness at the Druk Wangyal Tsechu on December 13 at Dochula in Thimphu.

Remembering the Great Fourth His Majesty who led the expedition of 2003, the Dance of the Heroes tells the tale of the heroes’ journey and return in three different parts: The Farewell of the heroes, The Combat of the heroes, and The Return of the Heroes. 

His Majesty returned, bringing peace and stability to his country and its people. 

The festival is designed to reenact and celebrate the tales of great deeds, sacrifices, and the bravery of heroes. In the classical notion sense, a hero is someone who responsibly, courageously, and skillfully carries the burden of a cause and, by fate, lives to share their story. 

The festival depicts soldiers as heroes and symbolises their ritualised movements as they march toward conflict areas with concern. It reflects the combat they engage in and culminates with their return, signifying the fulfilment of their objectives. The dance movements express a supplication to the protective deities for this achievement. 

As I observed this dance at the festival, each segment reminded me of the great leaders we are fortunate to have been born with. What better day to honour our heroes than December 17?

According to Dasho Karma Ura, president of the Centre for Bhutan and GNH Studies, things are remembered better when expressed in artistic forms. “When events are compressed into art, they are more likely to be remembered as aesthetic experiences. While conflict is often unavoidable and serves as a test of courage, presenting these events as mere facts turns them into military strategies.” However, when conveyed through rituals and artistic expressions, they allow for broader interpretations by the audience. 

Farewell of the heroes

The Farewell of the Heroes is a dance that portrays the departure of a hero and his warriors. This performance musically depicts the soldiers setting off into hostile territories to face unyielding enemies in the subtropical jungles of Bhutan’s southern hills. The masks of the dance are enough to give you the true sense of soldiers leaving for the war. 

As expressed in the guidebook of the Druk Wangyal Tsechu, Dasho Karma Ura mentioned that On December 13 2003, the lighting-fast campaign against the militants hiding in the jungles of southern Bhutan was launched. This was personally led by the Fourth Druk Gyalpo. “He had left the capital a few days earlier bidding farewell to his family and the Crown Prince, now the Fifth King. The mood in the country was one of suspense and anxiety.”

Therefore, the farewell of the heroes is a dramatised remembrance of this event. 

The stylised march vividly portrays soldiers as they prowl and crouch, their eyes scanning the surroundings for hidden threats and potential ambushes. Each cautious movement is calculated as they tread softly. Occasionally, a sudden noise causes them to halt and instinctively backtrack, tension etched on their faces as they remain alert to the dangers lurking just out of sight.

The spectators also hear the clanging of the cymbals. When I inquired about this, I was informed that the cymbals echo the rituals performed in various monasteries across the country to provide spiritual support to the combatants.

Combat of Heroes 

Lasting nearly 25 minutes, the combat of heroes depicts hand-to-hand combat, marches, and retreats. The performers, who are actual soldiers, dance in circular formations following a dramatised march.

The soldiers often scream and shout, creating a sense of combat that strikes at your heart regarding their struggles to protect their people. The soldiers dance with the motion of slicing the air with swords in all four directions. 

You cannot miss the soldiers dressed in this dance is a replica of what was worn during the battle in 2003. 

Returns of the heroes 

Who can forget the day when the Great Fourth and the team returned home after the battle? I was too young to understand everything at the time, but during the festival, when the combatants were honoured with ceremonial music upon their arrival, I felt a deep sense of satisfaction and happiness. It was comforting to know that they had brought us peace and stability in the country. During that moment, I expressed my gratitude to these heroes of ours.

In the return of the heroes, the performers wear white masks that symbolise joy and peace after winning the battle and returning home safely. This dance is designed to be light and celebratory in order to welcome the combatants.

The dance also includes elements similar to folk dance, signifying a peaceful moment. It concludes with dramatised movements of offering and thanking all the deities of the four directions that protected our heroes. 

The dance concludes with the shields displaying painted flowers (flip-side of the shield). The shield, a protective item, symbolises the need for safeguarding the flower, which represents peace.

Background

The Dochula Druk Wangyel Festival was produced to honour His Majesty the Fourth King Jigme Singye Wangchuck for his selfless service to Bhutan during his reign of almost 35 years (1972-2006), as stated in the guidebook of the tsechu. The event was established as an annual commemoration by the Royal Bhutan Army, honouring the remarkable heroism of our armed forces led by His Majesty.

“Its particular purpose is to celebrate the achievement and bravery of His Majesty and the Armed Forces during the military expedition of 2003 against foreign militants.”

The festival takes place every year on December 13 at the Druk Wangyel Lhakhang at Dochula. The inaugural performance was first held on December 13, 2011. The venue is associated with significant national landmarks, and the date marks the beginning of the military expedition in 2003.

Following Bhutanese tradition, the Dochula Druk Wangyel Festival is named after its location. The festival is a visual art, and to truly understand it, one must attend the tsechu to personally experience the story.

Contributed by 

Yangchen C Rinzin

Centre for Bhutan & GNH Studies