IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 24, Issue 11, Series. 7 (November. 2019) 16-37 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org DOI: 10.9790/0837-2411071637 www.iosrjournals.org 16 |Page The Practice of Dapa Making: A Case Studyfrom Trashiyangtse in Bhutan Sonam Wangdi * , Yezer * , Peljor Galay * , Tashi Jamtsho * , Kezang Choki ** & Dorji Phuntsho *1 * Lecturers/Researchers, Centre for Archaeology &Historical Research **Student, History, Dept. of Arts and Humanities Sherubtse College, Kanglung, Royal University of Bhutan Abstract: Deeply woven into every facet of Bhutanese lives, the traditional arts and crafts forms an essential part of Bhutan‟s cultural heritage. Highly attractive and decorative in its appearance, it retains purity and human attempts to perfection. Derived largely from Buddhism, it symbolically represents the Buddhist philosophy of Bhutan. Although historically mentioned to have existed even before the seventeenth century, it was only towards the late seventeenth century that these traditional arts and crafts were formally codified into ZorigChusum (Thirteen Traditional Art and Crafts) during the theocratic reign of the Fourth Druk Desi,Gyalse Tenzin Rabgye (1638-1694). Most of the Thirteen Traditional Arts and Crafts were predominantly practiced by the people of different region, portraying the regional socio-economic setup. Geographically located in eastern Bhutan, the Dzongkhag of Trashiyangtse takes a deep pride in its traditionally upheld practices of several traditional arts and crafts among which much of the social, religious, political and economic lives of the native population revolves around the traditionally prevalent practice of Wood-Turning. The traditional Wood-Turning now transformed into a highly economical commercial business, thereby accelerating the development of Trashiyangtse into traditional as well as commercial hub in Bhutan. Given these un-parallel traditional and economic significances not only in Trashiyangtse but also in whole of Bhutan, the written record on significant aspects of this traditionally and economically upheld practices of making wooden bowls is expected to contribute towards the national endeavor of preserving and promoting the traditionally wood turning craft of making Dapa. Therefore, a study on Dapa making culture is carried out through a Case Study incorporating Purposive Sampling based on interview and observation methods. Keywords:Cultural Heritage, Dapa, Procedures, Typology, Impact, and Challenges. --------------------------------------------------------------------------------------------------------------------------------------- Date of Submission: 11-11-2019 Date of Acceptance: 21-11-2019 --------------------------------------------------------------------------------------------------------------------------------------- I. INTRODUCTION 1.1. Study Area Locally referred to as ZorigChusum (Thirteen Traditional Art and Crafts)are deeply woven into Bhutanese way of life which is prominently practiced throughout the country. Trashiyangtse is traditionally known for the traditional practice of Shagzo (Wood-Turning) which is now vibrantly practiced by the native inhabitants of the district. One of the newest Dzongkhags in the country, Trashiyangtse was established as a distinct district in 1992. Located in the North Eastern part of the country, Trashiyangtse shares its border with Trashigang and Monger in the south, Lhuentse in the west, Indian state of Arunachal Pradesh in the east and Tibet autonomous region of China in the north. The Dzongkhag has an area of 1438 Sq.kms and is elevated at an altitude which ranges from 600 to 5400 meters above sea level. It is the ancient route between East and Western Bhutan. It has eight gewogs of Bumdeling, Khamdang, Ramjar, Toedtsho, Tongzhang, Ramjar, Jamkhar and Yangtse and these gewogs has forty one chiwogs in total. With 10, 286 male and 10, 588 female, the total population of Trashiyangtse as of 2016 is 20,874 (National Statics Bureau, 2018). It is ethnically and culturally diverse district and the inhabitants include Yangtseps, the region‟s indigenous dwellers, Ts hanglas, Bramis from Tawang, Khengpas from Zhemgang and Kurtoeps from Lhuentse. In the north, including Bumdeling and Toedtsho Gewogs, the native inhabitants speak Dzahala 1 , in the south, Tshangla 2 , the Lingua Franca of eastern Bhutan is spoken in Jamkhar, Khamdang and Ramjar Gewogs. The native residents of 1 Local dialect spoken by the people of Trashiyantse 2 Local dialect of eastern Bhutan.