Gross National Happiness: Development Philosophy of Bhutan
Economists the world over has been arguing that the key to happiness is obtaining and enjoying material development. However, Bhutan tries to argue the case differently by advocating that amassing material growth does not necessarily lead to happiness. Defying this notion, Bhutan is now trying to measure progress is not by the popular idea of Gross Domestic Product but by through Gross National happiness.
His Majesty the third Druk Gyalpo Jigme Dorji Wangchuck expressed his view on the goals of development as making “the people prosperous and happy.” With this strong view in mind, the importance of “prosperity and happiness,” was highlighted in the King’s address on the occasion of Bhutan’s admission to the United Nations in 1971. This vision was further elaborated by the fourth Druk Gyalpo Jigme Singye Wangchuck who declared in the first years of his reign that “our country’s policy is to consolidate our sovereignty to achieve economic self-reliance, prosperity and happiness for our country and people.”
While the emphasis is placed on both, prosperity and happiness, the latter is considered of more significance. The fourth Druk Gyalpo emphasized that for Bhutan “Gross National Happiness,” is more important than “Gross National Product.” Thus, Gross National Happiness is now being fleshed out by a wide range of professionals, scholars and agencies across the world.
Concerned about the problems afflicting countries that focused only on economic growth, Druk Gyalpo Jigme Singye Wangchuck decided to make the nation’s priority not it’s Gross Domestic Product but Gross National Happiness. For this he suggested that the progress of the nation be measured by “Gross National Happiness.” He said that the rich are not always happy while the happy generally considered themselves rich. While conventional development models stressed on economic growth as the ultimate objective, the concept of Gross National Happiness claims to be based on the premise that true development of human society takes place when material and spiritual development occur side by side to complement and reinforce each other.
The four main pillars of Gross National Happiness are:
1. Equitable and equal socio-economic development,
2. Preservation and promotion of cultural and spiritual heritage,
3. Conservation of environment and,
4. Good governance which are interwoven, complementary, and consistent.
They embody national and local values, aesthetics, and spiritual traditions. As a result, we can see that the concept of Gross National Happiness is now being taken up by various other countries, following footsteps of Bhutan. This has led them to define prosperity in more enhanced terms and to actually measure people’s well being rather than measuring what they actually consume. Crucial to a better understanding of Gross National Happiness, is one its wider reach and awareness amongst other countries, two, and the various indices that has now been formulated to assess even material gains and lastly, the growing need to synthesis the moral with the cultural values as the core of any economic policy.
Gross National Happiness as a development paradigm has now made possible for Bhutan to take its developmental policies into the remote corners and include the far flung villagers into the development aspects by meeting their needs and accentuating the need to protect and preserve our rich environment and forest cover. The success of Gross National Happiness can be found in many areas besides developmental aspects. The policy of low volume but high value tourism has indeed assisted not only in the high revenue generation but in fact facilitated the promotion and preservation of our cultural values.
Further, the concept of Gross National Happiness has greatly enabled her in the pursuit of development, at the same time promoting happiness as the core philosophy of life. For the government, it has facilitated the drive towards self sufficiency and self reliance, the ultimate reduction in the gap between the rich and the poor and ensuring good governance and empowerment of her people.
Source: Tourism Council of Bhutan

The word Dzong is loosely translated means fortress. All the Dzongs were built at strategic points such as, at important crossroads, at the confluence of rivers and on mountain spurs. For over three hundred years they have served as an effective defense against any attack or invasion. That’s the reason the Dzongs wre built on the mountain spur overlooking and commanding the whole valley below. They were often surrounded by watch towers and observation posts situated higher up the hillsides. The Dzongs today serve the function of both administrative centers and religious monastic body.

Dzongs were first built in the twelfth century by Tibetan lama Gyalwa Lhanangpa, an important leader of the Lhapa Kagyu (a subsect of Kagyupa). Do Ngon Dzong (blue stone Dzong) where Dechen Phodrang stands today was built by him. There were many other lamas who came to Bhutan from Tibet and built the Dzongs. The Dzongs built before the arrival of Zhabdrung Ngawang Namgyal were used as monasteries. It was only in the seventeenth century after the Zhanbdrung Ngawang Namgyal, the Dzongs played a significant role in the history of Bhutan. Those Dzongs not only served as the effective defense but also became the important centers for administrative seats of the civil authority and the religious affairs. They became the symbol of Drukpa rule which Zhabdrung established in the country.

Almost all the Dzongs were built in the same way. They were designed as parallelograms divided into several courtyards, Dochhen which means large stone; the construction was mostly of beaten mud, stones and timber.  The sites chosen to build the Dzongs were always a commanding one and generally on the ridge overlooking the entrances to the valley with the primary object of defense.  In some cases where high ridges were had of water supply to the Dzongs, underground passages were built to connect them with the source of water. This can still be seen in the Dzongs like Jakar Dzong in Bumthang and now in ruined Drugyal Dzong.

In the course of the time of Penlops and Dzongpoens administered their respective areas from these Dzongs. People when there was outside invasion, would seek protection in the Dzongs.

Dzongs were also used as the store houses of national treasures, books and written records as well as weapons. Many of the Dzongs over the centuries were either burnt or damaged by earth quakes and floods, resulting in the loss of many national treasures and records. In times of famine, the Dzongs functioned as granaries in their respective valleys and helped to feed the starving people.

The Dzongs also played an important role in the religious life of the country.  Each Dzong had a central monastery to house the monks and carry out religious training. It was after the establishment of the hereditary monarchy in 1907 that the Dzongs were converted purely into administrative and monastic centers.

Today the major Dzongs arethe seats of district administration. they house the office of the civil administrators headed by Dzongdag and the district court headed by Drangpoen.

Dance and music play a very important part in the cultural life of the people of Bhutan. Each village and community has a rich tradition of dance which marks the passing seasons, communal occasions and shared experiences. We will look at the significance and the place of Chhams( Mask Dances) performed during the festivals through the history of the people of Bhutan.

Just like the building of the Dzongs and the setting up of the Chhoesi system, the dances have had a similar part to play in helping to unite the people. Through these dances, the ordinary people come to know their place in the history of the country. Chhams are usually performed during Tshechu festival.

The chhams were composed mainly to convey religious messages to people. Some were composed by Guru Rinpoche while others were created by Tertoen Pema Lingapa, Zhabdrung Rinpoche and other great saints. During the mask dances, the deities of the tantric teachings are invoked and through their power and blessings, misfortunes are removed. All evil spirits and demons which are preventing the spread of Chhoe (the doctrine) are suppressed so that the doctrine of Lord Buddha may flourish and bring joy and happiness to all beings.

Mask dances are performed by monks as well as by laymen. The following are some of the dances performed during the Tshechu festival.

Zhana Chham

The dancers of Zhana Chham wear wide tall black hats, traditional boots. The dancers assume the appearance of Neljorpas         (Yogis) and this way they subdue the enemies of the doctrine. This is done in order to lead the beings or spirits to Buddha’s teaching.          This dance is also performed as a ground purification rite during the construction of Dzongs, Lhakhangs and Chortens. The aim is to pacify the evil spirits of the ground and to take possession of the site from them.

The practices carried out during the dance are so special that just by seeing them one is purified. All obstacles to belief and understanding are removed. Because of its importance Zhabdrung Rinpoche used to perform this ritual himself.

The Tungam Chham

The dancers of Tungam Chham wear beautiful brocade dresses, traditional boots and a terrifying mask. The dance has a very deep symbolic meaning. A ritual sacrifice is carried out. The dances represent the gods. They draw in and encircle the evil spirits and capture them in a box. The chief dancer then destroys them by stabbing them with a Phurba (Ritual Dagger). The dancers therefore, not only save the world from the evil spirits but also free them from evil deeds.

Tungam Chham shows the terrifying form of Dorji Dragpo (Fierce Thunderbolt), Guru Rinpoche assumed in order to subdue the enemies of the doctrine.

Ging Tsholing Chham

This is a dance which combines two groups of characters namely Ging and Tsholing. The Tsholing dancers have long colorful brocade dresses and wear terrifying masks. The Ging dancers wear Tagshams(Tiger Skin Skirts) and terrifying dark blue (male) and red (female) masks with flag on top. Each Ging dancer carries a Nga (Drum) in his left hand and a drumstick in the right.

Ging Tsholing Chham was performed for the first time by Guru Rinpoche in order to subdue the demons that were preventing the construction of Samye monastery in Tibet. Guru Rinpoche, through his magical powers, transformed himself into various fierce forms of the protectors of the doctrine. He thus was not only able to subdue the demons but also secure their helps in constructing the monastery. These transformations of the Guru are manifested in the Ging and Tsholing chham.

During the Tshechus festival, Ging Tsholing is also performed to purify the area just before the display of Guru Tshengye and their retinue. Shrill whistles are sounded to chase away the evil spirits. The Ging dancers tap the spectators on the head with their drumstick to chase impurity out of them. The Tsholing dancers, after having destroyed the evil spirits symbolized by an image in black box, are chased away by the Ging. The Ging dancers stay behind and perform the dance of victory by beating the drums.

Guru Tshengye Chham

Guru Rinpoche assumed various forms in order to help all living beings. The dance of Guru Tshengye depicts his eight main manifestations. The display of the glorious deeds of the great Guru during the dance strengthens the faith of the   spectators.

The Guru Tshengye Chham begins with the appearance of Guru Dorji Drolo. The other manifestations follow him at regular intervals. All the eight manifestations wear long brocade dresses and individual masks. Guru Rinpoche himself finally enters the scene attended by other members of the retinue. He is accompanied by his two main consorts, namely Khando Mandarava on his right and Khando Yeshey Tshogyel on his left. The fairies or attendants are symbolized by children wearing white masks.

Guru Rinpoche takes his seat on the throne while his manifestations perform individual dances in turn and on completion, sit in a row near the Guru. The spectators, during the dance, prostate to Guru Rinpoche and receive blessings. It is also a sacred occasion for some of the spectators. They receive new name for their babies from the Guru.

The retinue also consists of Ringa Chudrug (sixteen fairies). They wear beautiful brocade dresses and carved bone ornamental aprons. They sing and dance in front of Guru Rinpoche and his manifestations. The annual Tshechu usually ends with Guru Tshegye dance.

Pachham

The Paccham dancers are dressed in knee length yellow skirts and Ringa (golden crowns) and they do not wear masks. They carry a Drilbu (a small bell) and a Tangte (a small drum) in each hand. This dance tells how Tertoen Pema Lingpa, in a vision, in the paradise of Zangdopelri. He saw this dance being performed by Pawos and Pamos who were leading the dead believers to the presence of Guru Rinpoche. Pema Lingpa introduced the same dance on earth in order to lead the devotees and followers to the paradise of Guru Rinpoche after their death.

Drametse Nga chham

Drametse Nga chham is performed by sixteen dancers, each wearing a mask representing either an animal or a bird. They have a Nga in their left hand and a drumstick in the right hand. They wear knee length yellow silk skirts.

Around the end of the fifteenth century, Lam Kuenga Gyeltshen, one of the descendants of Pema Lingpa, left Bumthang accompanied by his sister, Ani(anim) Choten Zangmo. They arrived and settled at Drametse in eastern Bhutan.

Kuenga Gyeltshen, in his vision during the meditation, arrived at Zangdopelri and met Guru Rinpoche. There, in his vision, the attendants of Guru Rinpoche transformed themselves into deities resembling the faces of different animals and birds and performed a dance.

Kuenga Gyeltshen watched the dance and established the tradition of this dance at Drametse. The dance is, therefore, popularly known as Drametse Nga Chham.

Shazam Chham

This dance is performed by four dancers wearing knee length silk skirts and stag masks. Guru Rinpoche subdued the Lung Lha (God of Wind) who was causing suffering to the people of the world. He rode on the Lung Lha’s stag and restored peace and happiness in the world.

Shazam Chham is, therefore, performed in gratitude to Guru Rinpoche for this.

Durdag Chham

Durdag Chham is the dance of the Lords of the Cremation Grounds and is performed by four dancers. They all wear white costumes and white skull masks.

According to the Buddhist belief, there are eight Cremation Grounds where Chhochongs (protectors of religion) live. Among the Chhochongs are the Duthrod Dagmos(Lords of the Cremation Grounds) who are bound by the oath to protect the doctrine from the demonic enemies.

Raksha Marchham

Raksha Marchham or the dance of the Judgment of the Dead is based on the Bardo Thoedroel(Book of the Dead), a text hidden by Guru Rinpoche and rediscovered later by Tertoen Karma Lingpa in the fourteenth Century. According to the Bardo Thodroel, when living beings die they wander in the Bardo (state between one’s death and rebirth). The Buddhas during the period manifest themselves into different forms and assemble to carry out the justice on the dead beings according to their deeds in their previous lives. While appearing in front of Shinje Chhokigap (Lord of Death) those beings who have lived their lives according to the doctrine are rewarded. On the other hand, sinners and non-believers of the doctrine have to pass through the frightening Bardo. For their sins, they face rebirths in different Nyelwa (hells) where they are tormented by the terrifying deities. These sinners have to endure their sentence until they are purified of all their sins and finally gain proper rebirth. The sentence may be spread over hundreds of years depending on the type of sin.

The judgment given depends on the different life styles in their previous lives. The judgment by the assembly of Buddhas is dramatized through the Raksha Marchham dance. The Buddhas manifest themselves into Shinje Chhoekigap, Lhakaap(white god), Dre Nagchung( black demon), Raksha Lango (the Ox-headed Justice Minister) and other deities wearing masks of different birds and animals.

Raksha Marchham is considered very special and it is believed that a person is partly purified from his or her sins every time he or she witnesses the dance. The main purpose of the dance is, to remind people to lead good lives so that they are delivered from the terrifying Bardo and are able to have happier times in their next lives.

It may be inevitable to accept the change yet Bhutan hopes to survive by clinging on to the old values that the rest of the world has lost.

Modernization is carefully planned and controlled to avoid the ravages of material development. The priorities are cautiously mapped so that the progress is balance between tradition and modernity.

The need to maintain its pristine environment, its rich culture, sacred heritage that influences the daily lifestyle of the people of Bhutan, is given priority as one of the four pillars of Gross National Happiness GNH which is initiated by the fourth Druk Gyalpo King Jigme Singye Wangchuk.  Bhutan is a small country sandwiched between two giant nations China and India yet Bhutan stands as different world.

The majestic snow capped peaks are some of the world’s highest unclimbed and the forest cover is rich with crystal clear glacial river conserved makes Bhutan a unique on this materialistic world.

One of the Pillars of Gross National Happiness GNH is the ‘Conservation of Environment’ which is expressed in the unique development philosophy of Bhutan. Conservation of Environment is one of the most important pillars and therefore, the government policy of High value low Volume tourism asks every visitor to be sensitive to environmental system. Bhutan has more than 72% forest cover and the National Environment Commission of Bhutan in cooperation of department of forestry has given more importance in the preservation of forest cover.

Tourism in Bhutan may be important as the revenue earner to support the country’s free education and health services yet it recognizes the importance of nature conservation for the future generation.

The government is also determined to safeguard its social, cultural and traditional system in the rapidly changing world to ensure that the people maintain the dignity against the onslaught of globalization and modernization.

Bhutan opened its door to Tourism only in 1974 and the government adapted to cautious tourism policy from the beginning to avoid the negative impacts that mass tourism could have on small country like Bhutan.  The High Value, low Volume Tourism asks visitors to pay a minimum of United States dollar 250 a day, an inclusive of payment for accommodation, meals, guide, travel and tourism development fund.

Tourism Council of Bhutan is clear in their stand that the high value low volume tourism  is right policy because Bhutan is too small for mass tourism.

After lunch enjoy afternoon sightseeing around Paro, including a visit to the Ta Dzong Museum housing many religious relics, works of art and handicrafts offering a great orientation into Bhutan’s historical, cultural, and religious past. Next, drive to, 7th Century Kyichu Lhakhang, one of the 108 temples constructed by the Tibetan king Songtsen Gampo. Kyichu is built in a manner similar to the Jokhang in Lhasa. Inside there is a great golden image of Buddha Shakyamuni.

Before dinner at the hotel there will be an orientation on Bhutanese etiquette by your guide. Overnight at your hotel in Paro.

DAY 02: PARO
After breakfast hike to Taktsang Monastery. The walk of approximately 1.5 to 2 hours uphill takes you almost a kilometre above the Paro valley floor (for those who cannot hike we will arrange a horse for transfer up to cafeteria). The view of Taktsang Monastery built on a sheer cliff face 900 metres above the valley floor is a spectacular sight. The Monastery is also an important pilgrim site for the Buddhists. The great Guru Rimpoche is said to have flown here on the back of a tigress when he brought the teachings of the Buddhist Dharma to Bhutan in the 8th Century. Nearby there is a teahouse where you can stop for refreshments before returning to Paro for lunch.

In the afternoon, attend the Paro festival. You will see locals dressed in their finest clothes who have walked from miles around to attend the festivities. They come to watch masked dances, to pray, and to feast. While the underlying purpose of the festival is spiritual, dances are more often like plays, telling stories where good triumphs over evil, or depicting significant historical events, especially surrounding the life of Bhutan’s patron saint, Padmasambhava (also known as Guru Rinpoche). There is inevitably a great deal of socialising as well. Overnight at your hotel in Paro.

DAY 03: PARO – THIMPHU
Wake up very early at 2.30am and drive to Paro Dzong to witness the thongdroel ceremony where a large religious painting of Guru Rinpoche made of cloth is unfurled on the side of the Dzong. This event signifies the final day of the annual festival. After some time spent resting back at the hotel, Drive to the capital, Thimphu (1.5 hours) following the Pachu River. You can stop on the way to take in the magnificent Tamchhog Lhakhang, the hereditary place of worship for Bhutan’s iron bridge builder. Overnight at your hotel in Thimphu.

DAY 04: THIMPHU
Once a rustic village sitting in a broad, fertile river valley, Thimphu is today the nation’s bustling capital. Enjoy a full day of sightseeing, including a visit to the National Memorial Chorten, completed by the Royal Queen Mother as a memorial stupa for the Third King who passed away in 1972. Continue on to 12th century Changangkha Temple, Zilukha Nunnery and The National Library housing the collection of Bhutanese scriptures dating back to the 8th century. If there is time, you may visit the nursing pen for the Takin, the national animal of Bhutan, and Tashichhodzong, ‘the fortress of the glorious religion’ housing some ministries, His Majesty’s secretariat, and the central monk body. If your visit to Thimphu coincides with the weekend, you can walk through the Thimphu Market (Open only from Friday until mid Sunday). Overnight at your hotel in Thimphu.

DAY 05: THIMPHU – TRONGSA
Drive from Thimphu to Trongsa (7-8 hrs) over the Dochu-La pass (3,100m) and Pele La pass (3,420m) on the Black Mountain range. Enroute visit beautiful Chendebji Chorten. The Chorten was erected in the 18th century. The imposing Trongsa Dzong can be viewed across a deep canyon to signal your approach to the town around a curving road. Trongsa is the ancestral home of Bhutan’s ruling dynasty. Overnight at your hotel in Trongsa.

DAY 06: TRONGSA – BUMTHANG
Morning visit to Trongsa Dzong, a masterpiece of Bhutanese architecture. Trongsa is the largest Dzong in Bhutan and the location of where the institution of monarchy in Bhutan began. The view from the Dzong is spectacular and one can see across the impressive landscape for many miles. Also visit the Ta Dzong museum housing an incredible collection of historical artefacts of the Royal Family and a range of traditional armour.

Afterwards proceed towards Bumthang (2.5 hrs), the spiritual heartland of the country. The road winds steeply up to Yo Yutung La Pass (3,400m) before descending down through dense coniferous forest to Chummey valley.

The Bumthang Valley is home to some of Bhutan’s oldest Palaces, Buddhist temples and monasteries. The valley’s barley fields, apple groves and meadows lay below huge hills which climb up towards the Himalayan mountain wall separating Bhutan from Tibet. Visit the 16th century Tamshing Lhakhang containing ancient Buddhist wall paintings, 7th Century Jambay Lhakhang and Kurje Lhakhang, one of the most sacred places in the kingdom where Bhutan’s patron saint Guru Rimpoche meditated. Overnight at your lodge in Jakar, Bumthang.

DAY 07: BUMTHANG
Enjoy a day exploring some of the many sites around Bumthang. The 16th century Tang Ugyen Chholing Palace stands features a museum containing an excellent overview of traditional rural life in Bhutan. Continue on to visit the pool of Mebartso (The Lake of Fire). It is here that Pemalingpa (founder of the Nyingmapa sect) is said to have found treasure hidden by Guru Rinpoche. Overnight at your lodge in Jakar, Bumthang.

DAY 08: BUMTHANG – PUNAKHA
Depart for Punakha, the ancient capital of Bhutan stopping along the way at Trongsa for lunch. On arrival, enjoy a stroll through the Punkha township. Overnight at your hotel in Punakha.

DAY 09: PUNAKHA
Visit Punakha Dzong, the “Palace of Great Happiness” built in 1637 by the Shabdrung, the ‘Unifier of Bhutan’ as predicted by the great Guru Rimpoche (Padmasambhava). It is situated at the confluence of the Mo Chu and Pho Chu (Mother and Father Rivers) and is the winter headquarters of the Je Khenpo and hundreds of monks who move en masse from Thimphu to this warmer location. The three story main temple of the Punakha Dzong is a breathtaking example of traditional architecture with four intricately embossed entrance pillars crafted from cypress and decorated in gold and silver. It was here on 17th December 1907, Bhutan’s first king was crowned.

Afterwards drive a short distance for a short walk to Chimi Lhakhang, temple of the Drukpa Kuenly who is also known as the Divine Madman. He inherited the Divine Madman title since he revolted against the orthodox Buddhism in his time. He taught the people that religion is an inner feeling and it’s not necessary that one should be an ordained monk. He is also considered a symbol of fertility and most childless couples go to his temple for blessing. Overnight at your hotel in Punakha/ Wangduephodrang.

DAY 10: PUNAKHA – PARO
In the morning drive to Yabesa village and hike to through ricefields and up to Khamsum Yueley Namgyal Chorten, built by her majesty the queen Ashi Tshering Yangdon Wangchuk. Perched high on a hill on the bank of the river, the Chorten houses paintings belonging to Nyingmapa Traditions. Afterwards drive back to Thimphu where you will have an opportunity to visit handicraft and souvenir stores. Afterwards proceed to Paro. Overnight at your hotel in Paro.

DAY 11: DEPART PARO
Breakfast in the hotel, then drive to the airport for flight to your onward destination.

Cost for foreigners USD 2,780 per person

Indian Nationals Rupees 7000×11 days = 77,000 per person

WHAT WE INCLUDE
• Bhutan Tourist Tariff Royalty & Visa fees.
• All private excursions and transfers in superior air-conditioned vehicle.
• Local English speaking guide/tour leader.
• Experienced driver.
• Accommodation in carefully selected, highest 3-4 stars  government approved hotels & guesthouses.
• All meals in Bhutan.
• All entrance fees and permits.

NOT INCLUDED:
• All personal expenses such as bars, beverages, laundry, telephone and tips.
• Medical / Travel Insurance.

• Airfares in and out of Bhutan including taxes

Prayer flags are made of coarse cotton and place at strategic places in the belief that the wind will carry the invocations and the messages on the flag down the rivers and valleys into the beyond.
wood carving in the shape of a traditional knife, forms the apex of the flag. It is held together by the khorlo, a carved wooden wheel. The Reldri represents the god of wisdom and the Khorlo the lotus, Prayer flags are raised on a pole that has the Reldri and the Khorlo at the top. The Reldri, a birthplace of Guru Rimpoche.

The people of Bhutan are religious and they believe that with each flutter, a flag releases the prayer printed on it into the air which in turn carries to the heavens. The more and stronger the prayer flags flab, the greater is its divine value. It is for this reason the prayer flags are positioned in the locations that catch strong wind on the high slopes of the mountains and hills.

Types of Flags
The Goendhars are the smallest flags, hung on the tops of the houses to invoke the protection of the guardian deity of the Bhutanese, Mahakala. The Goendhar is a plain white strip of cloth with red, green, blue and yellow strips running across it- representing various deities and elements.
The Lungdhar and the Manidhar line the ridges and the high grounds. Both have religious text printed on them. The Lungdhar or the Wind flag is raised by a person for the invocation of the gods, for good luck, on release from an illness or misfortune or as prayer and gratitude for an achievement or any other reason.
The Manidhar flag acts as prayers for the departed-for cleansing their sins. The largest flags are the Lhadhars or god flags that can be seen outside Dzongs and other important places and represents victory over evil.

Prayer flags are also placed around the sacred and important places like monasteries and dzongs to protect them with a shield of divinity.

The different colours used represent the five elements in nature such as red for fire, blue for water, yellow for earth, white for sky and green for vegetation and life. In fact prayer flag serves as the bridge between heaven and earth.

The flags put up for the dead differs from those flags put up for living. There are prayer flags for protection, prayer flags for good fortune, prayer flags for long life and also prayer flags to honor the local deities.

In Bhutan, you can expect to see prayer flags dotted by the hills side and along the roads all through the country.

EFFECTIVE
1 FEB 2010-27 MAR 2010

EFFECTIVE 28 MARCH
- 14 MAY 2010

EFFECTIVE 15 MAY -
30 OCT 2010

Driving time between various places in Bhutan;
The mode of transport within Bhutan is by motor vehicles only. There are no domestic airlines and trains. However, motor roads are well maintained and smooth and is connected with all important places. The mountainous terrain and winding roads restrict the average speed of vehicles to less than about 40km/hour