𝐀𝐧 𝐄𝐱𝐜𝐥𝐮𝐬𝐢𝐯𝐞 𝐰𝐢𝐭𝐡 𝐏𝐞𝐦𝐚 𝐒𝐚𝐦𝐝𝐫𝐮𝐩

Pema Samdrup is a seasoned Senior Instructor at the Royal Academy of Performing Arts (RAPA), where his journey began as a trainee in 1996. After completing his training, he worked as an artist and Junior Instructor before stepping into his current role. With deep expertise in traditional Bhutanese music and mask dance, Pema holds National Certificates II & III in Traditional Performing Arts and has received specialized training in Driglam Namzha (Bhutanese etiquette), Dzongkha Unicode, and Mask and Folk music.
Pema’s talent and passion have taken him to numerous regional and international cultural events, including the coronation of His Majesty the King and the Royal Wedding celebrations in 2008 and 2012. In 2010, he was honored with the Best Playback Singer award at the 11th National Film Awards. Beyond his traditional arts expertise, Pema is also a versatile artist with a passion for singing, composing music and lyrics, choreography, and even music video direction, shooting, and editing.

Q: Can you tell us about your earliest memory of music and singing? When did you first discover your passion for music?
A: I started singing at the age of 8, back in class three. I began singing in school choirs and listening to songs, which is when I really fell in love with music.

Q: Growing up, who were some of your musical influences, and how did they shape your style?
A: I was influenced by artists like AP Dopay, Lobay Dengo, Lobay Yeshi Wangchuk, and Jigme Drukpa. Their music was something I cherished- whether I was in school or in the village, I always had a small Speaqker with me to listen to their songs. They inspired me to pursue music, believing that it could shape my life in a positive way. Inspired by them, I also took up playing musical instruments, such as the Dramngyen.

Q: How many songs have you composed, and what kind of songs do you focus on?
A: I have composed over two songs, including school theme songs and a song expressing gratitude to His Majesty the King. I also wrote the lyrics for “Tashi Laybay,” though it didn’t become widely popular.

Q: Why do you think it’s important to modernize traditional music?
A: Modernizing music is crucial to keep the younger generation engaged. If we solely stick to old traditional styles, the youth might lose interest. We can modernize by adding dance elements and altering instruments without changing the essence of the music. For example, while the lyrics of Lungpa Chung shouldn’t be altered, we can adapt the music and create a corresponding dance.

Q: Some people blend guitar styles with Dramngyen. Do you think this could impact our traditional culture?
A: Mixing instruments like the guitar with the Dramngyen can be appealing to some, especially for younger people. However, we must preserve the unique qualities of both instruments. The guitar cannot replicate the distinct sound of the Dramngyen. While mixing both may sound nice at times, it’s important not to alter the Dramngyen style for the guitar, as it could impact our cultural integrity.

Q: Do you recall your first performance? How did you feel to sing in front of an audience?
A: My first performance was at Kungarabten Primary School during a competition where I sang a Zhungdra song. Initially, my teacher didn’t want to include me because I was small, but another teacher insisted I participate. I ended up winning first place with my performance of “Zhungdra Jazabala Medro.” That experience sparked my belief that music could shape my life and boosted my confidence, which encouraged me to continue singing.

Q: What is the significance of singing traditional songs?
A: Traditional songs hold deep meanings and carry blessings when sung. Singing them is an offering to the divine—thinking of powers like Pow for men and Pamo for women. It’s about wishing peace and freedom from suffering for all beings. Singing with pure thoughts brings blessings, and sometimes, when deeply connected to the song, it even brings tears.

Q: Do modern songs, like Rigser, carry blessings? What are your thoughts on the lyrics in contemporary music?
A: While modern songs like Rigser might not carry the same blessings as traditional ones, the intention behind the song is important. If the lyrics express positive messages, like gratitude to the country or His Majesty, they can bring blessings. However, some songs with negative language should be avoided, as they don’t align with positive intentions. Love songs are fine as long as they are respectful and positive.

Q: Today, even those who aren’t familiar with Naynga (poetry) can compose songs. But in the past, composing a song required a deep understanding of poetry. What are your thoughts on this shift?
A: In the past, songs were composed with indirect speech, using poetry that conveyed subtle meanings. Today, we often speak directly to the audience, and while that change has made songs easier to understand, it also means that the deeper poetic elements may not be as appreciated. That’s okay, as long as the music still conveys meaningful messages.

Q: When listening to songs, pronunciation can sometimes be an issue. What are your thoughts on this?
A: Mispronunciation can happen, especially when singers rely on lyrics during recording sessions. His Holiness the Je Khenpo has emphasized the importance of memorizing lyrics to avoid mispronunciations. I’ve also learned to memorize the words, as correct pronunciation is essential, both to preserve the song’s integrity and to receive blessings.

Q: You’ve sung many songs. Which one is your favorite?
A: My favorite is Zhungdra. As today’s youth focus more on modernization, there’s a risk that traditional songs might be forgotten. However, I still see appreciation for Zhungdra, and I dedicate myself fully to it. Among the Zhungdra songs, “Jazadola Medro” and “Sung Nyenpa Dra Ye Choba” are particularly meaningful to me, as they carry powerful blessings.

Q: Do you follow a specific process or ritual when composing a new song?
A: Yes, I have a ritual. Before I start composing, I always pray to Jetsün Jampaling Jamyang and the Goddess of Music, Yangchen Lhamo. I keep statues of both in my space, and their blessings help guide my creativity. I feel that without their blessing, the music wouldn’t flow in the right way.

Q: How have younger generations responded to traditional music over the years, and how do you keep it relevant?
A: To keep traditional music alive, it’s important to teach the younger generation. The programs you’ve created, along with support from parents, can help the youth understand the meaning and importance of these songs. For example, my daughter performed a song expressing gratitude to the King and the country, along with a matching dance. It’s up to the youth to decide whether they want to continue, but with proper guidance, they can find a deep connection to these traditions.

Message:

“If you believe you can do it, come forward. If you have an interest in singing traditional old songs, or songs composed by His Holiness the Je Khenpo, we invite you to directly participate. These songs hold deep meaning and cultural significance, and by participating, you not only connect with our rich heritage, but also contribute to preserving and sharing it with others.”