Absolutely gorgeous song. Beautiful ladies too. I love Bhutan. I am going to Bhutan for vacation and may be marry a bhutanese woman. They are so beautiful.
Keep it up.This is as genuine as it gets. When you do something without pretension and which truly comes from your heart ( culturally) then there is poetry!
Thanks, sounds great, interesting, nice capture with the back ground and presentation and just different. I wonder just what the words are to the songs.
Samyeki Salang: A Song of Western Bhutan “Samyeki Salang” (བསམ་ཡས་ཀྱི་ས་བླང་) is a song belonging to the zhungdra (གཞུང་སྒྲ་) genre of Bhutanese music, and one that is traditionally sung in the Talo community of Punakha district in western Bhutan. It is believed to have been originally composed to celebrate the construction of the Talo temple, which is regarded as a replica of Samye, the first Buddhist monastery of Tibet built in the 8th century. Talo Sa-nga Choling is a well-known religious centre of western Bhutan. The site was founded by Jigme Sengay, the fourth Thritrul incarnation of Tenzin Rabgay (1638-1696), the fourth Desi ruler of Bhutan. However, Talo Sa-nga Choling became famous after Jigme Drakpa II (1791-1830), the third incarnation of Zhabdrung Ngawang Namgyal (1594-1651), the founder of Bhutan, made it his seat. Jigme Drakpa II also adopted the tutelary deity Pehar as the main protector deity of Talo. The subsequent Zhabdrung incarnations, Jigme Norbu (1831-1861), Jigme Chogyal (1862-1904) and Jigme Dorji (1905-1931) also used Talo Sa-nga Choling as their main seat, making Talo not only one of the most important religious establishments in the country but also a political centre from where the Zhabdrung incarnations used their power to rule Bhutan. After constructing the temple of Talo Sa-nga Choling, Jigme Drakpa II instituted the tshechu (ཚེས་བཅུ་) festival of Talo for which he also introduced its mask dances. According to the local oral accounts, it was during the time of his successor Zhabdrung Jigme Norbu that the repertoire of songs, which are now well known in Talo, were introduced during the religious ceremony of the festival. Zhabdrung Jigme Norbu’s brother, Sonam Dhendup, who came with him to Talo from Drametse in eastern Bhutan, was an eminent statesman. Also known as Kusho Drametse, Sonam Dhendup was a leading public figure in his time. He is credited with dictating the Talo songs and with the formal introduction and arrangement of songs for Talo’s festival proceedings. Among some fifty songs which are recorded in Talo’s historical festival document, three songs known as “Manisum” (མ་ཎི་གསུམ་) or three manis of Talo are considered special for their spiritual significance: “Samyeki Salang”, “Drukpai Dungjud” (འབྲུག་པའི་གདུང་བརྒྱུད་), and “Thowa Gangitse” (མཐོ་བ་གངས་ཀྱི་རྩེ་). These three songs are sung in the presence of the remains of Jigme Drakpa II and his successors as the last songs during the respective religious ceremonies on the first, second, and third day of the festival. On the first day, the singing ends with the auspicious verses of “Samyeki Salang”. In the past, the songs were allowed to be formally performed only during the festival and strictly in the traditional style. The singers are admitted to the temple, made to drink the water for purification, and also instructed to visualize themselves as female offering deities. The performance of these songs was thus considered a sacred spiritual practice. “Samyeki Salang” describes the construction of Tibet’s Samye temple, which was the hub of Himalayan Buddhist activity in the 8th century and the venue for introduction of Buddhist monasticism in Tibet, training young Tibetans in Buddhism, and translating the bulk of Buddhist teachings from Indian languages into Tibetan. It is also the site where Padmasambhava, Śāntarakṣita, and many other Indian and Tibetan masters are said to have given many Buddhist teachings, including those on highly esoteric topics. Thus, Samye is among the most important sites of the Buddhist Himalayas. Given this stature, it is understandable that Jigme Drakpa II associated his new temple of Talo with Samye. He is said to have brought a statue from Samye to serve as Talo’s main relic, in addition to adopting Samye’s deity Pehar as Talo’s main tutelary deity. Although we cannot ascertain if the song refers to the Samye in Tibet or to the monastery in Talo, it is clear that a strong association between the two was established in the public consciousness and perhaps a deliberate effort was made to conflate the two. Thus, the song, which is ostensibly about the construction of Talo by local residence, makes explicit reference to Samye. It gives a rough chronology of the work as recorded in folk narratives. The following is a rough sample translation of the first two verses with the chorus: བསམ་ཡས་ཀྱི་ས་བླང་སྨོ། །གང་གི་ལོ་ལ་བླང་ཡོད་པའི། །བསམ་ཡས་ཀྱི་ས་བླང་སྨོ།། བྱི་བའི་ལོ་ལ་བླང་ཡོད་པའི། ས་བསལ་བ་བྱི་བའི་ལོ་ལ་སྨོ། །བྱི་བའི་ལོ་ལ་སེལ་ཡོད།། ཨོཾ་སངས་ལ་མ་ཎི་པངྨེ་ཧཱུ་ཞེས་པའི། ། བདག་ལ་ཨོཾ་སངས་མ་ཎི་མ་ཎི་པངྨེ་ཧཱུ། ། བསམ་ཡས་ཀྱི་གྱམ་ལ་སྨོ། །གང་གི་ལོ་ལ་བཙུགས་ཡོད་པའི། །བསམ་ཡས་ཀྱི་གྱམ་ལོ་སྨོ། ། གྱམ་བཙུག་པ་གླང་གི་ལོ་ལ་སྨོ། །གྱམ་བཙུགས་པ་གླང་གི་ལོ་ལ་སྨོ། །གླང་གི་ལོ་ལ་བཙུགས་ཡོད།། ཨོཾ་སངས་ལ་མ་ཎི་པངྨེ་ཧཱུ་ཞེས་པའི། ། བདག་ལ་ཨོཾ་སངས་མ་ཎི་མ་ཎི་པངྨེ་ཧཱུ། ། The appropriation of the land of Samye, Which year was it appropriated? The appropriation of the land of Samye, The appropriation took place in the Mouse year. The land has been cleared in the Mouse year. Oṃ sangla maṇi padme huṃ For me, oṃ sangla maṇi maṇi padme huṃ The foundation stone of Samye, Which year was it laid? The foundation stone of Samye, The foundation stone was laid in the Ox year. Oṃ sangla maṇi padme huṃ For me, oṃ sangla maṇi maṇi padme huṃ The song enumerates the phases of temple construction from obtaining the land, clearing the earth to lay a foundation, erecting the pillars, doors, winders, ceiling, roof, and turret of the temple. Each major phase corresponds to a year with associated animal sign. Thus, it is more of a literary composition than a record of the actual work as the various phases of work may not have exactly taken a year. However, the song provides us clear evidence of the Bhutanese folk awareness of the Samye temple and its construction, which was considered as a sacred project, as well as an interest in replicating the process on a local scale. “Samyeki Salang”, along with the other two songs from the zhungdra or dangrim (གདངས་རིངམོ་) category, is today considered part of Talo’s intangible cultural and artistic heritage. After its incorporation into the festival during Jigme Norbu’s time, his successor and grandnephew Jigme Chogyal strengthened the legacy by promoting the songs and making them official elements of the tshechu programme. A lead singer is selected to carry on the tradition. According to local memory, the song has passed successively from Rinchen Pelzom through to Changlom, Sangay Budar, Nagley Gyalmo, Sangay Kunley, Wangmoli, Jampal, and Bagam, to Rinchen Dolma, who is the lead singer today. Today, the songs have also spread from Talo to other parts of Bhutan and is commonly sung on mass media and during state functions. Karma Phuntsho (with notes from Sonam Chophel). Karma Phuntsho is a social thinker and worker, the President of the Loden Foundation and the author of many books and articles including The History of Bhutan. Sonam Chophel was a researcher in Shejun Agency for Bhutan’s Cultural Documentation and Research.
the stringed instrument accompanying, for the person who asked, is called dramnyen. this is a traditional instrument throughout the himalayan world. in tibet it has 6 strings, but in bhutan it has 7 and a special sound. in tibet, traditionally the best dramnyen players were tibetan muslim. this instrument is held in the hands of goddess yangchen lhamo (saraswati), so it's equivalent to the indian vina.
No hablo ingles solo castellano y kechua ;... si pudieran traducir la letra; porque la música es bellísima... saludos desde Maca _Caylloma _Arequipa - Peru
✿♥✿♥ LIFE & LIBERATION OF PADMASAMBHAVA , Canto 65 describes the signs of respect for Samye monastery :"Whoever offers incense to Samye will awaken attention & obtain great riches." Thank you for uploading this beautiful song. English translation should be published in description. In Wisdom without borders ✿♥✿♥
@intellectbug I would learn the complete reason why there are bhutanese refugees before calling anyone a moron. That way I wouldn't appear so ignorant. However, anyone here calling people names in the first place probably has a lot of learning to do.
![Bhutanese Song- Tshering Choki [Pinky] || Juke Box](http://i.ytimg.com/vi/WDQEoa5p8Uc/mqdefault.jpg)
Thanks for your 🙏🙏🙏🌾🌻⚘️
Absolutely gorgeous song. Beautiful ladies too. I love Bhutan. I am going to Bhutan for vacation and may be marry a bhutanese woman. They are so beautiful.
Bhutanes are the happiest people. . .really lucky!
Islam didn’t reach here. May God bless Bhutanese and preserve their unique culture and their peace and happiness!!!
The song is wonderful. The voice of madam Pema is rocking. Proud of you girls.
Incredibly beautiful -- the singing, the costumes, the dancers, and the wonderful spiritual tradition that inspired the music. Thank you.
The voices are so beautiful. Bhutanese songs are like korean traditional songs.
God bless Bhutan.
Wonderfful location, colourful costume and pleasant dancers and graceful movements, beautiful song.
7 Singing Sisters of Dharma! Beautiful melody and there's a beautiful stupa in the background, too
WITH LOVE FROM FAR AWAY BULGARIA
Thanx kotadaza for posting this inspiration from the ages!! Very morally uplifting ^^^^
God bless this human race and this Earth!
This is fantastic! Though I can understand Zhongha but I can feel the depth of the song......tashideelekh!!!
Love
Keep it up.This is as genuine as it gets.
When you do something without pretension and which truly comes from your heart ( culturally) then there is poetry!
this song helps to keep culture of Bhutan in shape,, thanks for sharing
Thanks, sounds great, interesting, nice capture with the back ground and presentation and just different. I wonder just what the words are to the songs.
Samyeki Salang: A Song of Western Bhutan
“Samyeki Salang” (བསམ་ཡས་ཀྱི་ས་བླང་) is a song belonging to the zhungdra (གཞུང་སྒྲ་) genre of Bhutanese music, and one that is traditionally sung in the Talo community of Punakha district in western Bhutan. It is believed to have been originally composed to celebrate the construction of the Talo temple, which is regarded as a replica of Samye, the first Buddhist monastery of Tibet built in the 8th century.
Talo Sa-nga Choling is a well-known religious centre of western Bhutan. The site was founded by Jigme Sengay, the fourth Thritrul incarnation of Tenzin Rabgay (1638-1696), the fourth Desi ruler of Bhutan. However, Talo Sa-nga Choling became famous after Jigme Drakpa II (1791-1830), the third incarnation of Zhabdrung Ngawang Namgyal (1594-1651), the founder of Bhutan, made it his seat. Jigme Drakpa II also adopted the tutelary deity Pehar as the main protector deity of Talo. The subsequent Zhabdrung incarnations, Jigme Norbu (1831-1861), Jigme Chogyal (1862-1904) and Jigme Dorji (1905-1931) also used Talo Sa-nga Choling as their main seat, making Talo not only one of the most important religious establishments in the country but also a political centre from where the Zhabdrung incarnations used their power to rule Bhutan.
After constructing the temple of Talo Sa-nga Choling, Jigme Drakpa II instituted the tshechu (ཚེས་བཅུ་) festival of Talo for which he also introduced its mask dances. According to the local oral accounts, it was during the time of his successor Zhabdrung Jigme Norbu that the repertoire of songs, which are now well known in Talo, were introduced during the religious ceremony of the festival. Zhabdrung Jigme Norbu’s brother, Sonam Dhendup, who came with him to Talo from Drametse in eastern Bhutan, was an eminent statesman. Also known as Kusho Drametse, Sonam Dhendup was a leading public figure in his time. He is credited with dictating the Talo songs and with the formal introduction and arrangement of songs for Talo’s festival proceedings. Among some fifty songs which are recorded in Talo’s historical festival document, three songs known as “Manisum” (མ་ཎི་གསུམ་) or three manis of Talo are considered special for their spiritual significance: “Samyeki Salang”, “Drukpai Dungjud” (འབྲུག་པའི་གདུང་བརྒྱུད་), and “Thowa Gangitse” (མཐོ་བ་གངས་ཀྱི་རྩེ་). These three songs are sung in the presence of the remains of Jigme Drakpa II and his successors as the last songs during the respective religious ceremonies on the first, second, and third day of the festival.
On the first day, the singing ends with the auspicious verses of “Samyeki Salang”. In the past, the songs were allowed to be formally performed only during the festival and strictly in the traditional style. The singers are admitted to the temple, made to drink the water for purification, and also instructed to visualize themselves as female offering deities. The performance of these songs was thus considered a sacred spiritual practice.
“Samyeki Salang” describes the construction of Tibet’s Samye temple, which was the hub of Himalayan Buddhist activity in the 8th century and the venue for introduction of Buddhist monasticism in Tibet, training young Tibetans in Buddhism, and translating the bulk of Buddhist teachings from Indian languages into Tibetan. It is also the site where Padmasambhava, Śāntarakṣita, and many other Indian and Tibetan masters are said to have given many Buddhist teachings, including those on highly esoteric topics. Thus, Samye is among the most important sites of the Buddhist Himalayas.
Given this stature, it is understandable that Jigme Drakpa II associated his new temple of Talo with Samye. He is said to have brought a statue from Samye to serve as Talo’s main relic, in addition to adopting Samye’s deity Pehar as Talo’s main tutelary deity. Although we cannot ascertain if the song refers to the Samye in Tibet or to the monastery in Talo, it is clear that a strong association between the two was established in the public consciousness and perhaps a deliberate effort was made to conflate the two. Thus, the song, which is ostensibly about the construction of Talo by local residence, makes explicit reference to Samye. It gives a rough chronology of the work as recorded in folk narratives. The following is a rough sample translation of the first two verses with the chorus:
བསམ་ཡས་ཀྱི་ས་བླང་སྨོ། །གང་གི་ལོ་ལ་བླང་ཡོད་པའི། །བསམ་ཡས་ཀྱི་ས་བླང་སྨོ།།
བྱི་བའི་ལོ་ལ་བླང་ཡོད་པའི། ས་བསལ་བ་བྱི་བའི་ལོ་ལ་སྨོ། །བྱི་བའི་ལོ་ལ་སེལ་ཡོད།།
ཨོཾ་སངས་ལ་མ་ཎི་པངྨེ་ཧཱུ་ཞེས་པའི། །
བདག་ལ་ཨོཾ་སངས་མ་ཎི་མ་ཎི་པངྨེ་ཧཱུ། །
བསམ་ཡས་ཀྱི་གྱམ་ལ་སྨོ། །གང་གི་ལོ་ལ་བཙུགས་ཡོད་པའི། །བསམ་ཡས་ཀྱི་གྱམ་ལོ་སྨོ། །
གྱམ་བཙུག་པ་གླང་གི་ལོ་ལ་སྨོ། །གྱམ་བཙུགས་པ་གླང་གི་ལོ་ལ་སྨོ། །གླང་གི་ལོ་ལ་བཙུགས་ཡོད།།
ཨོཾ་སངས་ལ་མ་ཎི་པངྨེ་ཧཱུ་ཞེས་པའི། །
བདག་ལ་ཨོཾ་སངས་མ་ཎི་མ་ཎི་པངྨེ་ཧཱུ། །
The appropriation of the land of Samye,
Which year was it appropriated?
The appropriation of the land of Samye,
The appropriation took place in the Mouse year.
The land has been cleared in the Mouse year.
Oṃ sangla maṇi padme huṃ
For me, oṃ sangla maṇi maṇi padme huṃ
The foundation stone of Samye,
Which year was it laid?
The foundation stone of Samye,
The foundation stone was laid in the Ox year.
Oṃ sangla maṇi padme huṃ
For me, oṃ sangla maṇi maṇi padme huṃ
The song enumerates the phases of temple construction from obtaining the land, clearing the earth to lay a foundation, erecting the pillars, doors, winders, ceiling, roof, and turret of the temple. Each major phase corresponds to a year with associated animal sign. Thus, it is more of a literary composition than a record of the actual work as the various phases of work may not have exactly taken a year. However, the song provides us clear evidence of the Bhutanese folk awareness of the Samye temple and its construction, which was considered as a sacred project, as well as an interest in replicating the process on a local scale.
“Samyeki Salang”, along with the other two songs from the zhungdra or dangrim (གདངས་རིངམོ་) category, is today considered part of Talo’s intangible cultural and artistic heritage. After its incorporation into the festival during Jigme Norbu’s time, his successor and grandnephew Jigme Chogyal strengthened the legacy by promoting the songs and making them official elements of the tshechu programme. A lead singer is selected to carry on the tradition. According to local memory, the song has passed successively from Rinchen Pelzom through to Changlom, Sangay Budar, Nagley Gyalmo, Sangay Kunley, Wangmoli, Jampal, and Bagam, to Rinchen Dolma, who is the lead singer today. Today, the songs have also spread from Talo to other parts of Bhutan and is commonly sung on mass media and during state functions.
Karma Phuntsho (with notes from Sonam Chophel). Karma Phuntsho is a social thinker and worker, the President of the Loden Foundation and the author of many books and articles including The History of Bhutan. Sonam Chophel was a researcher in Shejun Agency for Bhutan’s Cultural Documentation and Research.
very very good song, I like it
When i listen bhutanise songs i feel familiar to you peoples.
Really nice
great song
the stringed instrument accompanying, for the person who asked, is called dramnyen. this is a traditional instrument throughout the himalayan world. in tibet it has 6 strings, but in bhutan it has 7 and a special sound. in tibet, traditionally the best dramnyen players were tibetan muslim. this instrument is held in the hands of goddess yangchen lhamo (saraswati), so it's equivalent to the indian vina.
Whoa awesome
No hablo ingles solo castellano y kechua ;... si pudieran traducir la letra; porque la música es bellísima... saludos desde Maca _Caylloma _Arequipa - Peru
Hi kotadaza, where are located? Are u a Butanese and located in Bhutan? Anyway thanks. Very nice.
what instrument is that? the string insturment?
absolutely gorgeous! does anyone know the name of the group/lead singer? i tried to google the displayed name, but couldn't find anything.
i like this video
Sajanlama
Lal
✿♥✿♥ LIFE & LIBERATION OF PADMASAMBHAVA , Canto 65 describes the signs of respect for Samye monastery :"Whoever offers incense to Samye will awaken attention & obtain great riches." Thank you for uploading this beautiful song. English translation should be published in description. In Wisdom without borders ✿♥✿♥
@intellectbug I would learn the complete reason why there are bhutanese refugees before calling anyone a moron. That way I wouldn't appear so ignorant. However, anyone here calling people names in the first place probably has a lot of learning to do.