The Department of Culture and Dzongkha Development plans to evaluate grammar and languages of Dzongkha songs played in karaoke bars within Thimphu and few other districts, this year. Local song composers acknowledge that the song composition landscape has evolved in terms of language usage, format and tunes over time. Some artists said that though new ideas and creativity in the field need to be embraced, they said that they are concerned that some rigsar songs inappropriately deviate from the mainstream composition norms.
Though some senior artists in the industry appreciate the new-generation songs and music, they are equally worried that the growing practice of translating songs from other languages would affect the identity and originality of Bhutan’s music heritage.
Kuenley Tshering, a singer said “Some song composers while composing songs, they translate them directly from the source and the sequence are also translated in the same way without putting much thought in the meaning. These would affect our language and I doubt how it would be able to express the actual meaning of the original song as intended.”
Sherab Dorji, song composer said “For instance, different languages are used in one song. The number of words in each tune are also not consistent. New songs use some words that have to be usually broken down in a blended format. So, if there is proper usage of grammar and language, the songs would remain as a reference for our future generations.”
Young artists expressed interest in improving language and grammar in rigsar songs. They also said that they check pronunciation before recording their songs. They said that their songs are mostly structured in pop song format in which they use different tunes in different stanzas of the lyrics.
Lungten Wangchuk Karma, an artist said “Since I’m from the east, my Dzongkha pronunciation sometimes takes on a Tshangla accent when I sing. After performing, I discuss the mispronunciations with my friends and work on correcting them together. Generally, for writing lyrics, I use the languages we speak in our daily communication.”
Ngawang Thinley, another artist said “I am unable to incorporate Nyenga or poetry into my lyrics. If we could use it, the impact would be much greater. Since we rely on common words in our songs, there’s a limited vocabulary, and listeners may notice the repetition of words in most tracks. I feel that new songs are running out of fresh expressions. By learning to use poetic and proper Dzongkha, we could expand the reach of our music. I am doing my best to learn the proper language from my friends.”
The Traditional Performing Arts and Music division formerly known as Royal Academy of Performing Arts said that they have plans to guide aspiring artists in composing songs in accordance with literature.
Phub Wangdi, the Vice Principal said “We plan to evaluate and mentor aspiring songwriters and singers by teaching them the literary elements of songwriting. Even if it’s for entertainment, in the Bhutanese context, a song has both a ‘father’ and a ‘mother.’ The ‘father’ represents aspects such as choreography, attire, and the performer’s talent, while the ‘mother’ embodies the soothing quality, emotional delivery, and consistency of the singer’s voice. A song also has seven ‘siblings,’ which symbolise the various methods of composition.”
Although the Department of Culture and Dzongkha Development did not share the modus operandi on how to evaluate the songs, the chief language development officer said that the department intends to improve the usage of language and grammar appropriately in songwriting and singing.
Tashi Chezom
Edited by Kipchu
