𝐋𝐨𝐰 𝐘𝐨𝐮𝐭𝐡 𝐓𝐮𝐫𝐧𝐨𝐮𝐭 𝐑𝐚𝐢𝐬𝐞𝐬 𝐂𝐨𝐧𝐜𝐞𝐫𝐧𝐬 𝐎𝐯𝐞𝐫 𝐅𝐮𝐭𝐮𝐫𝐞 𝐨𝐟 𝐓𝐫𝐚𝐝𝐢𝐭𝐢𝐨𝐧𝐚𝐥 𝐏𝐞𝐫𝐟𝐨𝐫𝐦𝐢𝐧𝐠 𝐀𝐫𝐭𝐬

…𝒚𝒐𝒖𝒕𝒉 𝒑𝒂𝒓𝒕𝒊𝒄𝒊𝒑𝒂𝒕𝒊𝒐𝒏 𝒊𝒏 𝒑𝒆𝒓𝒇𝒐𝒓𝒎𝒊𝒏𝒈 𝒂𝒓𝒕𝒔 𝒕𝒓𝒂𝒊𝒏𝒊𝒏𝒈 𝒓𝒆𝒎𝒂𝒊𝒏𝒔 𝒍𝒐𝒘 𝒅𝒆𝒔𝒑𝒊𝒕𝒆 𝒂𝒘𝒂𝒓𝒆𝒏𝒆𝒔𝒔 𝒆𝒇𝒇𝒐𝒓𝒕𝒔

By Kezang Choden

Despite the Royal Academy of Performing Arts (RAPA) being upgraded to the Royal Institute of Performing Arts (RIPA) and its ongoing efforts to safeguard Bhutan’s intangible cultural heritage, youth participation remains limited. RIPA has announced its upcoming training session three times through public notifications, but only a few young people have registered. This low response has raised concerns about the future of Bhutan’s traditional performing arts.

Officials from RIPA said the lack of youth involvement is discouraging, especially at a time when efforts to preserve cultural identity are being strengthened. They noted that without younger generations stepping forward, the continuity of traditional practices such as mask dances, folk songs, and classical musical instruments may be at risk.

The training sessions aim to provide participants with the skills and knowledge to carry forward these art forms while also presenting potential career opportunities. However, the current turnout indicates that these traditional disciplines may no longer appeal to today’s youth as they once did.

RIPA officials emphasized the need for support from families, schools, and policymakers to help encourage young people to engage with Bhutan’s cultural heritage. Greater awareness, they said, could play a key role in reversing the declining interest.

Phub Wangdi, the Officiating Principal of RIPA, expressed concern over the limited number of registrations for the upcoming training. “It is very disheartening to see that youths are not coming forward to register for the training. This clearly indicates a declining interest, and if the trend continues, our traditional performing arts might one day vanish,” he said.

He recalled that, in the past, training and performances were held at the same venue. This arrangement often caused students to miss academic classes and delayed examinations, which impacted their overall learning experience.
The institute continues to focus on mask dances, traditional and classical songs, and Bhutanese musical instruments. In response to changing interests, RIPA has also introduced modern musical elements such as guitar, piano, and drums into its curriculum. A dedicated Traditional Performing Arts and Music Division (TPAMD) has been established to further strengthen the institute’s mission.

Despite these efforts, participation from the younger generation remains low. Phub Wangdi stressed the importance of building awareness and urged broader support to preserve Bhutan’s cultural identity. He said, “Teaching driglam namzha is not only about maintaining discipline, but also about fostering pride in our cultural identity and values.”

Jigme Yoezer, a Driglam Specialist from the Department of Culture and Dzongkha Development, also expressed concern. He noted a growing influence of Western culture and music on Bhutanese youth. “Youths are no longer showing much interest in our traditional dances, songs, or customs,” he said. “They are more drawn to Western music and lifestyles, which is slowly eroding our cultural values.”

He warned that if timely interventions are not made through awareness and education, Bhutan risks losing aspects of its unique cultural identity. “Our traditional culture is not just about dances or dress,” he said. “It is the foundation of who we are as a nation. If we neglect it now, there will come a time when we may not be able to recover what we have lost.”

He urged agencies, schools, and communities to collaborate on cultural programs, workshops, and campaigns that highlight the importance of Bhutanese traditions. He added that instilling a sense of national pride must begin at an early age so that young people grow up with respect for their cultural roots.

Phub Wangdi also shared that alongside performing arts training, RIPA includes Dzongkha and English language classes in its curriculum. This approach is aimed at helping trainees effectively communicate and express the value of their cultural knowledge in both local and broader contexts.

The institute places significant importance on teaching driglam namzha, the traditional code of etiquette and conduct. Through this, students learn appropriate dress, respectful speech, and formal behavior expected in different settings. This holistic method ensures that graduates are not only skilled performers but also well-versed in Bhutanese cultural norms and values.

Despite repeated calls for enrollment, interest remains low. Cultural experts warn that this could lead to a shortage of skilled performers and practitioners, affecting both national festivals and religious ceremonies. Observers note that the growing appeal of global entertainment and digital platforms may be drawing youth away from traditional art forms.

To address this challenge, some have recommended awareness campaigns, incentives for trainees, and incorporating traditional arts into school curriculums as possible solutions. As Bhutan continues to modernize, preserving its cultural heritage remains essential. Without stronger engagement from the youth, the future of Bhutan’s traditional performing arts could be uncertain.