The Boongthing

By Denmit Lepcha

“History is the past events that have unfolded and documentation of that is the method to preserve those stories to retell to the future generations the glory of those times. Both are of utmost importance in this generation where most of us don’t know where we belong and are going through an identity crisis.” Denmit Lepcha

“ᰋᰨᰊᰩᰮᰠᰪᰵᰌᰨᰛᰬ ᰎᰪᰳᰋᰨᰓᰫ ᰣᰦᰊᰤᰰᰶᰀᰦᰳᰃᰪᰮ. ᰠᰛᰬᰛᰤᰬᰮ ᰣᰶᰠᰦ ᰋᰨ ᰀᰤᰩᰱᰋᰨᰍᰪᰰ ᰌᰪᰰ ᰉᰬᰳᰡᰴᰜᰦ ᰃᰪᰮ. ᰣᰦᰛᰬᰌᰨ ᰕᰦᰳᰊᰩᰵ ᰜᰩᰮᰕᰤᰫ ᰣᰶ ᰃᰪᰮ ᰠᰓᰦ ᰊᰗᰳᰶ ᰣᰨᰋᰦᰠᰦ ᰣᰦᰛᰧᰵᰶ ᰣᰦᰕᰤᰫᰵ ᰣᰪᰰ ᰣᰶ ᰠᰪᰵᰎᰴᰛᰤᰬᰮ ᰃᰤᰶᰜᰪᰵ ᰜᰦᰳᰓᰫ ᰀᰪᰱᰙᰩᰵ ᰠᰴᰛᰤᰬᰮ ᰜᰩᰌᰨᰜᰦ ᰌᰪᰰᰓᰧᰶᰡᰴ ᰃᰪᰮ. ᰠᰓᰦ ᰠᰊᰤᰬᰳ ᰀᰦᰌᰨᰕᰫᰠᰴ ᰊᰌᰨ ᰋᰤᰦᰭᰊᰩ ᰠᰓᰦᰃᰪᰮᰎᰫ ᰚᰴᰜᰦ ᰕᰋᰤᰦᰭᰢᰪᰵᰍᰪ ᰣᰦᰛᰬᰍᰪ ᰋᰤᰦᰭᰊᰩ ᰣᰦᰃᰤᰫᰲᰠᰦ ᰜᰩᰮᰕᰤᰫ ᰑᰥᰤᰩᰰ ᰢᰦᰮᰓᰫᰃᰪᰮ.” ᰌᰤᰬᰰᰕᰧᰳ ᰜᰬᰱᰆᰦ

Knowledge Keepers behind the expression

Aku Phur Tshering Lepcha

Introduction

Sacred landscape holds endless meanings for different individuals.

But before exploring the vast and endless stories outside eager to be heard, waiting to be told. I had to slow down, listen to my own voice, directing me towards my little home, in tea circles with the members of my family and look into the shamanistic practices in my own family.


ᰝᰦᰰᰈᰬᰵ

ᰕᰌᰫᰭᰓᰫ ᰕᰪᰛᰤᰬᰯᰠᰴᰠᰦ ᰊᰰᰶᰀᰦ ᰗᰩᰵᰝᰧᰳᰓᰫ ᰜᰤᰦᰵᰈᰨᰊᰩᰵ ᰎᰴᰍᰪᰰ ᰣᰦᰃᰤᰦᰱ ᰕᰎᰦᰯᰍᰪᰓᰫ ᰣᰦᰅᰦᰳᰎᰴ ᰋᰨᰋᰩᰮᰓᰫ ᰅᰫᰰᰡᰨ. ᰡᰬᰰᰜᰦ ᰠᰦᰭᰙᰩᰳᰜᰦ ᰜᰤᰦᰵᰀᰦ ᰛᰩᰵᰅᰦᰰ ᰉᰧᰶᰓᰫᰠᰴᰛᰤᰬᰮ ᰣᰦᰊᰧᰮᰶ ᰣᰪᰰ ᰣᰦᰝᰥᰤᰬᰰ ᰠᰪᰵ ᰣᰦᰛᰬᰠᰦ ᰣᰦᰌᰩᰵ-ᰣᰦᰀᰨᰲ ᰕᰦᰳᰓᰧᰶᰡᰴ ᰍᰝᰦᰰ ᰀᰠᰪ ᰉᰪᰮᰛᰤᰬᰮ ᰊᰌᰨᰀᰩᰰ ᰎᰪᰭᰜᰪᰵ ᰀᰠᰪ ᰜᰧᰶ ᰙᰦᰘᰩᰵᰠᰦ ᰣᰩᰵᰌᰫᰠᰴ ᰌᰤᰬᰱᰀᰦ ᰆᰩ ᰋᰴᰜᰪᰵ ᰜᰧᰶᰀᰦ ᰅᰫᰰᰢᰦᰮᰓᰫ ᰓᰩᰵᰋᰧᰵᰶᰠᰦ ᰞᰦᰱᰈᰩᰵ ᰎᰴᰛᰤᰬᰮ ᰅᰭᰶ ᰅᰦᰰᰉᰧᰶ ᰕ.

Family conversations with elders

slow down, don’t stress
be patient
ask a lot of questions
It’s not just the words, it’s also the facial expressions and a lot.
Memories are always a good triggering point.
experience and treasure the vibe

ᰃᰦᰰᰓᰫᰠᰴᰌᰤᰬᰱ ᰙᰦᰘᰩᰵᰠᰦ ᰣᰦᰛᰧᰵᰶ ᰣᰦᰎᰦᰳᰎᰴ-

ᰠᰌᰪ ᰕᰦᰳ ᰠᰦᰭᰍᰳᰶ ᰕᰕᰦᰳ
ᰙᰫᰮᰍᰪ ᰓᰦᰮ
ᰣᰦᰟᰤᰬᰳᰎᰴ ᰣᰦᰃᰤᰦᰱ ᰟᰤᰬᰳ
ᰘᰪᰭᰎᰩᰳ ᰎᰴᰀᰊᰦᰱ ᰣᰃᰨᰰᰠᰦ ᰣᰦᰛᰬᰛᰬ ᰣᰦᰁᰬᰮᰎᰴᰠᰦ ᰠᰦᰭᰒᰶᰜᰳᰶ ᰣᰪᰰ ᰣᰶᰍᰬᰰ ᰣᰦᰃᰤᰦᰱ ᰃᰪᰮ.
ᰠᰦᰭᰍᰩᰰ ᰎᰴ ᰍᰶᰜᰦ ᰣᰦᰛᰤᰫᰮ ᰊᰧᰮᰶᰈᰩᰭᰠᰦ ᰣᰦᰈᰬᰵ ᰃᰪᰮ.
ᰠᰦᰭᰟᰤᰩᰵ ᰎᰴᰛᰤᰬᰮ ᰙᰳᰶᰌᰩᰭ ᰣᰪᰰ ᰕᰤᰫᰵᰃᰦᰳ ᰡᰨ.

I watched Aku Phur Tshering as he cut the bark of a banana tree to put some coal for the saong (incense from trees).

He would see the fortune using some rice and would come up with conclusions as to what further steps needed to be taken for the cure of the disease.

ᰣᰦᰀᰫ ᰐᰫᰲᰇᰧᰶᰛᰧᰵᰶ ᰍᰪᰰ ᰀᰪᰲᰌᰨᰵ ᰀᰫᰵᰠᰦ ᰀᰫᰵᰎᰧᰶ ᰊᰤᰩᰳᰓᰦᰰ ᰣᰶᰏᰴᰀᰦ ᰕᰧᰶᰝᰤᰨᰯᰀᰦᰮ ᰋᰦᰱᰓᰦᰰ ᰠᰩᰵᰀᰦᰰᰢᰦᰮᰓᰫ ᰃᰨᰍᰪᰰ ᰅᰭᰶᰋᰨᰕ. ᰠᰛᰬᰀᰦ ᰙᰨᰝᰤᰪᰠᰦ ᰙᰪᰲᰋᰦᰱ ᰕᰦᰳᰓᰦᰰ ᰀᰤᰩᰰ ᰅᰭᰶᰓᰦ, ᰜᰦᰳᰓᰫ ᰊᰗᰳᰶᰀᰦ ᰣᰦᰌᰩᰭ ᰀ᰷ᰥᰩᰭ ᰡᰴᰠᰦ ᰊᰰᰶᰀᰦ ᰡᰫ, ᰠᰛᰬ ᰠᰜᰨᰮ ᰕᰦᰳᰍᰪ ᰋᰩᰲᰜᰩᰮ ᰏᰤᰶᰃᰦᰳᰓᰫ ᰣᰨᰛᰬᰃᰪᰰ ᰡᰧᰶᰢᰦᰮᰓᰫ ᰘᰫᰌᰧᰶ ᰣᰦᰀᰫᰜᰤᰦᰵ ᰇᰫᰭᰢᰳᰶ ᰉᰧᰮᰓᰫ ᰃᰪᰮ.

He started to chant his mantra in a seated position talking to spiritual beings to leave the woman alone. He asked the sick woman to spit on a coin and ask her to throw the coin into the fire. Putting into the fire a mix of sang, tea leaves and butter.

At the end of the puja he asked them to buy loongdao dum for raising of prayer flags to prevent tok (bad luck).

ᰊᰣᰤᰪᰕᰫᰠᰦ ᰣᰦᰎᰧᰯᰛᰤᰬᰮ ᰜᰤᰩᰳᰍᰩᰵᰣᰨ ᰚᰴᰜᰧᰶᰍᰪ ᰓᰦᰮᰋᰨ ᰙᰪᰱᰊᰩ ᰀᰦᰌᰨ ᰣᰦᰀᰫᰍᰪᰰ ᰃᰫᰲᰕᰫ ᰋᰬᰵᰡᰴ ᰈᰬᰵ ᰕ. ᰌᰩᰭᰅᰦᰰ ᰉᰧᰶᰓᰫ ᰊᰣᰤᰪᰕᰫ ᰍᰬᰓᰫᰛᰤᰬᰮ ᰀᰩᰮᰝᰤᰪᰎᰴᰀᰦ ᰌᰤᰫᰭᰊᰤᰫᰭ ᰀᰩᰰᰓᰦᰰ ᰣᰨᰛᰬᰀᰩᰮᰛᰤᰬᰮ ᰕᰧᰶᰍᰩᰵᰀᰦ ᰟᰦᰀᰩᰰ ᰕ. ᰣᰶᰍᰪ ᰕᰩᰲ ᰆᰩ ᰉᰩᰮ ᰣᰪᰰ ᰠᰩᰵᰛᰤᰬᰮ ᰕᰧᰶᰀᰦ ᰅᰦᰰᰡᰨ ᰛᰪᰮᰑᰦᰳᰠᰦ ᰡᰪᰈᰩᰭᰀᰦ ᰜᰧᰶᰙᰦᰘᰩᰵᰛᰤᰬᰮ ᰜᰨᰵᰌᰨᰌᰫᰮ ᰎᰦᰲᰀᰩᰰᰓᰦᰰ ᰣᰦᰌᰩᰭ-ᰣᰦᰍᰩᰳ ᰣᰪᰰ ᰊᰨᰭᰜᰩᰮ ᰛᰴᰌᰩᰭ ᰡᰴᰠᰦ ᰊᰰᰶᰀᰦ ᰣᰨᰛᰬ ᰜᰨᰵᰌᰨᰌᰫᰮ ᰜᰫᰀᰩᰰ ᰡᰨ.

Items used in the puja (rituals)

ᰛᰪᰮᰑᰦᰳᰀᰦ ᰙᰪᰲᰋᰦᰱ ᰕᰦᰳᰢᰦᰮᰓᰫ ᰀ᰷ᰥᰩᰵᰛᰩᰯ ᰎᰴ

mor ᰕᰩᰲ (butter)

saong ᰠᰩᰵ (incense)

ta ee ᰊᰣᰧᰶ (flour)

chyo lop ᰆᰩᰜᰩᰱ (tea leaves)

ung ᰣᰫᰵ (water)

kom hyu ᰀᰩᰮᰝᰤᰪ (coin)

zo ᰙᰨ (rice)

ci ᰆᰧᰶ (millet beer)

Interview with the Boonthing. Findings from the interaction

ᰓᰩᰵᰋᰧᰵᰶᰌᰤᰬᰱᰀᰦ ᰓᰩᰵᰌᰪᰰ ᰌᰤᰫᰯᰘᰳᰶ. ᰓᰬᰭᰎᰬᰳᰜᰩᰮ ᰋᰫᰱᰋᰨᰓᰫ ᰌᰩᰵᰏᰤᰶᰎᰴ

1. When did you start practising Shamanism and how ?
I was chosen by Rumdaar (god) to carry the practices of his family at the age of 20. I got to know that I was a shaman by seeing the changes in my body or loong gyaok (delirium of initiation).

᱁. ᰓᰨᰵᰋᰧᰵᰶᰠᰦ ᰣᰤᰨᰭᰛᰬ ᰠᰋᰦ ᰣᰪᰰ ᰠᰜᰨᰮ ᰞᰦᰱᰈᰩᰵ ᰕᰦᰳᰡᰴ ᰈᰬᰵᰋᰨᰓᰫ ᰃᰩ?

ᰛᰪᰮᰌᰦᰲ ᰙᰦᰘᰩᰵᰠᰦ ᰞᰦᰱᰈᰩᰵ ᰎᰴ ᰜᰫᰵᰜᰩᰰ ᰡᰴᰠᰦ ᰊᰰᰶᰀᰦ ᰀᰠᰪᰮ ᰛᰪᰮᰌᰦᰲᰍᰪᰰ ᰃᰨ ᰍᰦᰮ ᱂᱀ ᰂᰦᰉᰤᰬᰳ ᰅᰫᰰᰓᰦᰌᰨ ᰡᰬᰮᰋᰨᰓᰫ ᰃᰪᰮ ᰣᰪᰰ ᰀᰠᰪ ᰕᰪᰙᰪᰀᰦ ᰣᰦᰃᰤᰫᰲ ᰣᰦᰟᰦᰵ ᰅᰫᰰᰢᰦᰮᰓᰫ ᰡᰧᰶᰓᰦᰌᰨ ᰃᰨᰛᰬ ᰓᰨᰵᰋᰧᰵᰶ ᰅᰫᰰᰋᰨᰓᰫ ᰚᰮᰶᰂᰪᰳ ᰕ.

2. Who is your teacher and what did he teach you?
I can say that I am a self taught man as my teacher Ajo Poa from Savong, Phamtan, passed away. I could only be mentored for 4 months by him.

᱂. ᰣᰦᰌᰨᰠᰦ ᰜᰨᰎᰰᰶᰛᰬ ᰊᰫᰃᰩ ᰣᰪᰰ ᰡᰫ ᰜᰫᰵᰞᰦᰱᰃᰩ?

ᰜᰦᰟᰨ ᰑᰜᰧᰶ ᰊᰤᰬᰳ ᰠᰦᰟᰴ ᰐᰦᰮᰊᰦᰮᰠᰦ ᰀᰠᰪ ᰋᰬᰓᰫ ᰣᰦᰈᰨ ᰎᰦᰢᰨᰍᰪᰰ ᰀᰠᰪᰮ ᰡᰩᰱᰌᰪᰰᰊᰩᰱ ᰕᰦᰳᰓᰫ ᰣᰶᰍᰪ ᰣᰦᰜᰬᰮᰛᰬ ᰃᰨᰍᰪᰰ ᰊᰌᰨᰌᰨ ᰞᰦᰱᰈᰩᰵ ᰕᰦᰳᰍᰪ ᰣᰦᰛᰬ ᰎᰬᰀᰩᰰ ᰜᰦᰳᰋᰨᰓᰫ ᰃᰪᰮ.

3. Our great grandfather was a páwo, what does páwo mean? Are you a páwo?
páwo means power in Lepcha. In the words of Bongthing, páwo means head Boongthing. He also practices the rituals of a Poa but compared to the powers of my great grandfather, he is not very skilled or as powerful.

᱃.ᰀᰦᰚᰫᰠᰦ ᰊᰧᰮᰓᰫ ᰋᰤᰫᰵᰛᰬ ᰎᰦᰢᰨ ᰉᰧᰶᰢᰦᰮᰓᰫ ᰃᰪᰮ. ᰎᰦᰢᰨ ᰜᰧᰰᰓᰫᰛᰬ ᰡᰫᰃᰩ? ᰣᰪᰰ ᰝᰩᰜᰦ ᰎᰦᰢᰨᰌᰨ ᰃᰩ?

ᰛᰩᰵ ᰣᰦᰛᰧᰵᰶᰀᰦ ᰎᰦᰢᰨ ᰜᰧᰰᰓᰫᰛᰬ ᰓᰩᰵᰢᰳᰶᰃᰪᰮ. ᰓᰨᰵᰋᰧᰵᰶᰠᰦ ᰘᰪᰭᰎᰩᰳᰀᰦ ᰎᰦᰢᰨ ᰜᰧᰰᰓᰫᰛᰬ ᰊᰧᰮᰓᰫ ᰚᰦᰵᰍᰬ ᰣᰦᰋᰤᰦᰭ ᰓᰨᰵᰋᰧᰵᰶ ᰃᰪᰮ . ᰝᰪᰍᰪᰰᰜᰦ ᰎᰨᰠᰦ ᰣᰦᰠᰶ ᰣᰦᰑᰦᰳᰎᰴ ᰞᰦᰱᰈᰩᰵ ᰕᰦᰳᰡᰨ ᰡᰬᰰᰜᰦ ᰀᰠᰪ ᰊᰧᰮᰓᰫ ᰋᰤᰫᰵᰠᰦ ᰓᰩᰵᰢᰳᰶᰌᰤᰬᰱ ᰌᰤᰫᰯᰘᰳᰶ ᰕᰦᰳᰓᰦ ᰝᰪᰛᰬ ᰀᰦᰮ ᰣᰦᰕᰦᰰ ᰉᰧᰮᰓᰫ ᰣᰪᰰ ᰣᰨᰊᰤᰬᰳ ᰣᰦᰕᰤᰬᰯ-ᰣᰦᰚᰴ ᰚᰴᰍᰬ ᰀᰕᰩᰲ ᰕᰉᰧᰰᰓᰫ ᰚᰮᰶᰂᰪᰳ ᰡᰨ.

4. What are you skilled at? What are your powers as a boongthing?
My main powers or Shakti is Ókbú, which means mântâr in Nepali.

᱄. ᰝᰩᰛᰬ ᰡᰫᰀᰦ ᰀᰕᰩᰲ ᰉᰧᰮᰓᰫ ᰃᰩ? ᰓᰨᰵᰋᰧᰵᰶᰙᰴ ᰣᰦᰌᰨᰜᰤᰦᰵ ᰡᰫ ᰂᰤᰪᰀᰩ ᰉᰧᰶ?

ᰀᰠᰪᰠᰦ ᰣᰦᰕᰩᰓᰫ ᰂᰤᰪᰀᰩ ᰓᰩᰵᰢᰳᰶᰛᰬ ᰣᰨᰭᰓᰫ ᰃᰪᰮ ᰠᰛᰬᰛᰤᰬᰮ ᰜᰫᰮ ᰣᰦᰛᰧᰵᰶᰀᰦ ᰚᰴᰜᰧᰶᰡᰨ.

5. Aku, what is the yearly puja you do?
I offer prayers to the Sagi rum (the god of power and strength and the protective god of the búngthing) on a yearly basis. It is my Gyaop Rum.

᱅. ᰀᰦᰚᰫᰍᰪᰰ ᰍᰦᰮ ᰗᰪᰵᰘᰩᰵᰌᰨ ᰛᰪᰮᰑᰦᰳ ᰠᰛᰬᰛᰤᰬᰮ ᰑᰦᰳᰡᰨ?

ᰃᰨᰛᰬ ᰍᰦᰮ ᰍᰦᰵᰊᰦᰲᰌᰨ ᰠᰨᰃᰧᰶᰛᰪᰮ ᰓᰩᰵᰢᰳᰶ ᰣᰪᰰ ᰂᰤᰪᰀᰩᰠᰦ ᰛᰪᰮ ᰠᰛᰬᰍᰪᰰ ᰓᰨᰵᰋᰧᰵᰶᰛᰤᰬᰮ ᰃᰤᰶᰍᰪ ᰋᰨᰡᰨ, ᰛᰤᰬᰮ ᰕᰪᰰᰜᰩᰮ ᰊᰩᰱᰡᰨ. ᰣᰦᰛᰬᰛᰬ ᰀᰠᰪᰠᰦ ᰃᰤᰩᰱᰛᰪᰮ ᰃᰪᰮ.

6. What are the different rumfaat you do?
During births I do Ágek rumfát and during dead to take the souls of the Lepchas to the other side, it is our duty. We do sunglyón (death ceremony ) mári fi mú .

᱆. ᰣᰦᰠᰲᰶ ᰛᰪᰮᰑᰦᰳᰎᰴᰛᰬ ᰡᰫ-ᰡᰫ ᰕᰦᰳᰡᰨ?

ᰣᰦᰃᰤᰬᰭ ᰊᰗᰳᰶᰀᰦ ᰣᰦᰃᰤᰬᰭ ᰛᰪᰮᰑᰦᰳ, ᰣᰦᰕᰦᰭ ᰊᰗᰳᰶᰀᰦ ᰠᰪᰵᰜᰤᰨᰰ ᰊᰧᰮᰶᰛᰬ ᰕᰦᰳᰡᰨ ᰠᰛᰬᰀᰦ ᰛᰩᰵᰀᰪᰱᰠᰴᰠᰦ ᰣᰦᰎᰧᰯᰛᰤᰬᰮ ᰣᰦᰠᰲᰶ ᰠᰫᰀᰩᰰᰜᰩᰮ ᰏᰤᰶᰃᰦᰳᰡᰧᰶᰓᰫ ᰀᰦᰚᰫ ᰓᰨᰵᰋᰧᰵᰶᰠᰴᰠᰦ ᰣᰤᰨᰭᰃᰤᰬᰰ ᰅᰫᰰᰡᰨ.

7. What is the creation story of our family?
We are Namchumus. There is a mountain called Namchu mu chu in Namchu Tukdam. I haven’t been there myself but we also have a lake. We we were born in Lingmo Partam. ( ground) .

᱇. ᰀᰦᰚᰫ ᰙᰦᰘᰩᰵᰠᰦ ᰣᰦᰣᰧᰳ-ᰣᰦᰌᰤᰬ ᰠᰪᰵᰛᰬ ᰡᰫᰃᰩ?

ᰀᰦᰚᰫᰛᰬ ᰍᰦᰮᰆᰫᰕᰫ ᰎᰫᰘᰨᰠᰦ ᰃᰪᰮ ᰍᰦᰮᰆᰫ ᰊᰪᰭᰌᰦᰮ ᰆᰫᰀᰦᰳ ᰉᰧᰶ,ᰠᰛᰬᰛᰤᰬᰮ ᰍᰦᰮᰆᰫᰕᰫᰆᰫ ᰚᰴᰜᰧᰶᰡᰨ, ᰃᰨᰌᰨᰠᰪᰮᰛᰬ ᰣᰦᰓᰧᰶ ᰍᰩᰵᰋᰩ ᰕᰉᰧᰰ ᰡᰬᰰᰜᰦ ᰀᰦᰚᰫᰜᰤᰦᰵ ᰣᰫᰵᰌᰶ ᰑᰦᰳᰜᰦ ᰉᰧᰶ ᰣᰪᰰ ᰀᰦᰚᰫᰠᰦ ᰣᰦᰃᰤᰬᰭᰛᰬ ᰜᰧᰵᰕᰶ ᰎᰪᰲᰊᰦᰮᰀᰦ ᰅᰫᰰᰋᰨᰓᰫ ᰃᰪᰮ.

8. What message do you have towards the future generation ?
Long live the Lepchas, may they have a long life. marum aathok.

᱈. ᰣᰧᰭᰙᰶ ᰕᰧᰋᰫᰭᰠᰴᰠᰦ ᰊᰰᰶᰀᰦ ᰣᰦᰀᰫᰜᰩᰮ ᰜᰰᰶᰠᰫᰳ ᰡᰫᰉᰧᰶ?

ᰛᰩᰵ ᰕᰧᰃᰧᰳᰶᰠᰴᰠᰦ ᰣᰦᰛᰧᰵᰶ ᰣᰦᰓᰴ ᰣᰦᰝᰥᰤᰬᰰ ᰊᰗᰳᰶᰊᰤᰬᰳ ᰙᰫᰓᰦᰮᰀᰩᰰ ᰣᰪᰰ ᰝᰪᰚᰫᰠᰦ ᰘᰪ ᰎᰓᰦᰲ ᰣᰦᰛᰤᰫᰮ ᰅᰫᰰᰊᰀᰦ ᰕᰪᰛᰪᰮ ᰣᰦᰋᰩᰭ.

9. Why do you think this practice of shamanism is important?
We have to do our rum faat, our power is decreasing day by day and is not like in the olden times. It is because we are not carrying out our duties. People are leaving this practice. It is important for our identity.

᱉. ᰣᰦᰌᰨᰠᰦ ᰠᰦᰭᰆᰧᰰᰀᰦ ᰓᰨᰵᰋᰧᰵᰶᰠᰦ ᰞᰦᰱᰈᰩᰵ ᰎᰴ ᰡᰫᰕᰦᰳᰍᰪ ᰊᰰᰶᰆᰬᰰᰓᰫ ᰉᰧᰶ ᰃᰩ?

ᰀᰦᰚᰫ ᰛᰩᰵ ᰕᰧᰃᰧᰳᰠᰦ ᰓᰩᰵᰢᰳᰶᰛᰬ ᰣᰤᰦᰠᰦᰙᰴ ᰕᰉᰧᰰ, ᰉᰧᰮᰶ ᰕᰇᰩᰭᰌᰨ ᰣᰦᰕᰦᰰ ᰅᰫᰰᰜᰪᰵ ᰍᰩᰵᰟᰦᰮ , ᰣᰦᰛᰬ ᰃᰪᰰ ᰅᰫᰰᰡᰧᰶᰓᰫᰠᰦ ᰊᰪᰰᰌᰩᰭᰛᰬ ᰀᰦᰚᰫᰍᰪᰰ ᰊᰌᰨᰠᰦ ᰣᰤᰨᰭᰃᰤᰬᰰᰎᰴ ᰜᰫᰵᰜᰩᰰ ᰕᰋᰨᰰ ᰣᰪᰰ ᰕᰪᰛᰩ ᰠᰴᰍᰪᰰ ᰞᰦᰱᰈᰩᰵ ᰣᰦᰛᰬ ᰜᰤᰩᰳᰜᰪᰵ ᰍᰩᰵᰟᰦᰮ ᰣᰶᰍᰪ ᰕᰦᰳᰓᰦ ᰀᰦᰚᰫᰍᰪᰰ ᰛᰪᰮᰑᰦᰳᰎᰴ ᰕᰦᰳᰃᰦᰳᰡᰨ. ᰣᰦᰛᰬᰛᰬ ᰀᰦᰚᰫ ᰛᰩᰵ ᰕᰧᰃᰧᰳᰶᰠᰴᰠᰦ ᰋᰤᰦᰭᰊᰩᰠᰦ ᰊᰰᰶᰀᰦ ᰣᰦᰕᰩᰓᰫ ᰊᰰᰶᰆᰬᰰᰓᰫ ᰉᰧᰶ ᰕ.

Inspiration for the medium used in the project

After much confusion and delima, there were a couple of mediums I wanted to choose for the presentation of my story collected. One of them was photography and videography, other was the urge to create something out of my own hands. I started working on the presentation and with words, photographs and videos I told the story of shamanism practice in my family.

Back in school I used to be interested in weaving, needlework etc, and the process of creating something out of scratch was so fun and rewarding. Hence I decided to make a dream catcher, as I could use different coloured threads to represent different elements in shamanism and I could also hang different items that was used in rum faats. I made a big one with an iron ring in a span of two days and when ot was done I was very satisfied with my submission. In the end I had used all the mediums I had wished to.

Lorem ipsum dolor sit amet, at mei dolore tritani repudiandae. In his nemore temporibus consequuntur, vim ad prima vivendum consetetur. Viderer feugiat at pro, mea aperiam

ᰎᰬᰃ᰷ᰥᰧᰭᰠᰦ ᰓᰬᰭᰜᰩᰮ ᰎᰴᰀᰦ ᰈᰪᰲᰋᰦᰱ ᰅᰫᰰᰋᰨᰓᰫ ᰠᰦᰭᰊᰩᰱ-ᰠᰦᰭᰈᰬᰳᰎᰴ

ᰃᰨᰍᰪᰰ ᰃᰤᰨᰮᰋᰨᰓᰫ ᰠᰪᰵᰛᰤᰬᰮ ᰎᰥᰤᰦᰉᰤᰬᰳᰡᰴᰠᰦ ᰊᰰᰶᰀᰦ ᰜᰩᰮᰕᰤᰫᰎᰴ ᰣᰦᰃᰤᰦᰱ ᰉᰧᰮᰓᰫ ᰠᰛᰬᰀᰦ ᰀᰦᰳᰛᰬ ᰕᰪᰎᰩᰲᰀᰫᰭᰜᰳᰶ( ) ᰣᰪᰰ ᰣᰦᰠᰲᰶᰛᰬ ᰟᰧᰶᰃ᰷ᰥᰤᰨᰃᰥᰦᰑᰧᰶ ᰣᰪᰰ ᰛᰪᰵᰠᰲᰶᰀᰦᰛᰬ ᰃᰨ ᰊᰌᰨ ᰣᰦᰀᰶᰜᰩᰮ ᰡᰫᰀᰦᰳ ᰙᰫᰭᰡᰧᰶᰓᰫ ᰠᰮᰶᰉᰧᰮᰓᰫ ᰀᰠᰪ ᰙᰦᰘᰩᰵᰀᰦ ᰎᰥᰤᰦᰋᰩᰮᰓᰫ ᰓᰨᰵᰋᰧᰵᰶᰠᰦ ᰞᰦᰱᰈᰩᰵ ᰠᰪᰵᰎᰴᰛᰤᰬᰮ ᰘᰪᰭᰎᰩᰳ ᰕᰎᰩᰲ ᰣᰪᰰ ᰟᰧᰃ᰷ᰥᰤᰨ ᰎᰴᰠᰦ ᰜᰩᰮᰕᰤᰫᰜᰩᰮ ᰃᰨᰍᰪᰰ ᰎᰥᰤᰦ ᰉᰤᰬᰳᰜᰳᰶᰠᰦ ᰣᰦᰈᰬᰵ ᰕᰦᰳ ᰕ.

ᰚᰰᰶᰋᰩ ᰊᰗᰳᰶᰀᰦ ᰀᰠᰪᰮ ᰀ᰷ᰥᰩᰰᰎᰤᰩᰯᰜᰩᰮ ᰡᰫᰛᰧᰶ ᰙᰫᰭᰡᰧᰶᰓᰫ ᰣᰪᰰ ᰀᰧᰶᰜᰩᰮ ᰡᰫᰛᰧᰶ ᰋᰤᰬᰲᰓᰦᰰ ᰋᰦᰮᰎᰴ ᰙᰫᰭᰏᰤᰶᰡᰧᰶᰓᰫ ᰜᰩᰮᰕᰤᰫᰎᰴᰠᰦ ᰠᰮᰶᰋᰧᰭᰶ ᰣᰦᰃᰤᰦᰱ ᰉᰧᰮᰓᰫ ᰃᰪᰮ. ᰣᰨᰓᰧᰶᰜᰩᰮ ᰃᰨᰍᰪᰰ ᰕᰩᰵᰗᰦᰮᰡᰧᰶᰓᰫ ᰙᰫᰭᰡᰴ ᰊᰤᰬᰰ-ᰊᰤᰬᰰ ᰕᰦᰳ ᰠᰛᰬᰀᰦ ᰃᰨ ᰕᰌᰫᰭᰓᰫ ᰘᰨᰠᰦ ᰀᰧᰶᰎᰴᰠᰦ ᰙᰪᰲᰋᰦᰱ ᰕᰦᰳᰓᰦᰰ ᰓᰨᰵᰋᰧᰵᰶᰠᰦ ᰞᰦᰱᰈᰩᰵ ᰎᰴᰀᰦ ᰕᰌᰫᰭᰓᰫ ᰋᰦᰮᰊᰫᰵᰎᰴᰛᰤᰬᰮ ᰘᰩᰱᰃᰤᰬᰰ ᰕᰦᰳᰂᰪᰳ, ᰣᰪᰰ ᰌᰤᰬᰱ-ᰌᰤᰬᰱᰀᰦ ᰛᰪᰮᰑᰦᰳᰀᰦ ᰙᰪᰲᰋᰦᰱ ᰅᰫᰰᰢᰦᰮᰓᰫ ᰕᰌᰫᰭᰓᰫ ᰀ᰷ᰥᰩᰵᰛᰩᰯ ᰎᰴᰛᰤᰬᰮᰜᰦ ᰝᰤᰩᰰᰂᰪᰳᰡᰨ, ᰣᰨᰓᰧᰶᰜᰩᰮ ᰃᰨᰍᰪᰰ ᰠᰪᰭᰉᰧᰮ ᰉᰤᰬᰳ ᰝᰥᰤᰬᰰᰘᰳᰶᰀᰦ ᰎᰪᰰᰈᰬᰵ ᰟᰦᰲᰀᰤᰪᰱᰠᰦ ᰣᰦᰊᰧᰮᰶᰓᰫ ᰕᰩᰵ ᰗᰦᰮᰡᰧᰶᰓᰫ ᰀᰦᰳ ᰙᰫᰭ ᰕ . ᰣᰦᰛᰬ ᰙᰫᰭᰜᰤᰬᰯᰍᰪ ᰣᰦᰜᰨᰰ ᰀᰠᰪ ᰠᰮᰶ ᰠᰦᰭᰌᰧᰮ ᰅᰫᰰ ᰣᰪᰰ ᰡᰪᰈᰩᰭᰀᰦ ᰃᰨᰍᰪᰰ ᰠᰦᰭᰆᰧᰰᰓᰫ ᰃᰪᰰ ᰜᰩᰮᰕᰤᰫᰎᰴ ᰛᰤᰬᰮ ᰙᰪᰲᰋᰦᰱᰀᰦ ᰓᰪᰜᰦᰳ ᰂᰪᰳ ᰕ.

My project

01 Beads 02 Khada 03 Natural elements 04 Mirror 05 Lepcha Badge 06 Strands

The beads used in the dream catcher are called a Phengboo (chanting beads or rosary ), Aku’s beads are different ones with the claws of birds. These beads are also used by Buddhists.

The dream catcher is wrapped in a white khada used in rituals generally by Buddhists.

The elements of nature are portrayed by a shell (water), bird feather (air), a stone (land), flowers used in rituals. The leaf is pashór (elephant grass, broom plant), one of the plants used by shamans. There is an iron piece hanging from one of the strands to show how boongthing can lick red hot iron while they are possessed by their shamanic power.

Towards the centre of the weave, there is a mirror that has been attached in order to reflect that the boongthing can see with clarity fortune, ( good or bad), which an ordinary person cannot.

When you flip the dream catcher in the centre there is a Lepcha badge, symbolising my identity as a Lepcha woman. It reads as Mootunci Aocooley Mootunci is another word for Lepchas and Aacooley is composed of 3 words- Aa means Aa-gek which a Lepcha is born or created, Chu means the place of origin of the Lepcha clan and lay-ep means the door that leads a person after death to poomju (source).

The lengths of the strands falling down are uneven to show my own confusion and lack of knowledge on the subject. But despite that the urge to learn and connect with our sacred lands is like a home calling us, no matter how distant we are.For it is the roots that connects us.

᱁. ᰜᰤᰦᰭᰛᰤᰦᰵ ᱂. ᰂᰦᰌᰦ ᰣᰦᰣᰧᰳ-ᰣᰦᰌᰤᰬᰠᰦ ᰋᰦᰮᰊᰫᰮ – ᰣᰦᰑᰦᰳ ᱄. ᰕᰧᰜᰫᰵ ᱅. ᰛᰩᰵᰠᰦ ᰘᰩᰭᰎᰩᰲ ᱆. ᰀᰧ

ᰕᰩᰵ ᰗᰦᰮᰡᰧᰶᰓᰫᰀᰦ ᰙᰪᰲᰋᰦᰱ ᰕᰦᰳᰋᰨᰓᰫ ᰜᰤᰦᰭᰛᰤᰦᰵᰛᰤᰬᰮ ᰐᰬᰵᰓᰫ ᰃᰫᰲᰕᰫ ᰜᰤᰦᰭᰚᰴ ᰜᰧᰶᰡᰨ. ᰣᰦᰀᰫᰠᰦ ᰜᰤᰦᰭᰛᰬ ᰕᰌᰫᰭᰓᰫ ᰉᰧᰶ ᰠᰛᰬᰛᰬ ᰑᰨᰠᰦ ᰎᰪᰰᰆᰧᰶᰜᰩᰮ ᰙᰫᰭᰋᰨᰓᰫ ᰉᰧᰶ ᰕ. ᰣᰦᰛᰬ ᰜᰤᰦᰭᰛᰤᰦᰵᰛᰤᰬᰮ ᰠᰦᰵᰃᰤᰬ ᰠᰩᰵᰃᰤᰩ ᰕᰶᰓᰫᰠᰴ ᰍᰪᰰᰜᰦ ᰟᰧᰭᰡᰨ.

ᰕᰩᰵ ᰗᰦᰮ ᰡᰧᰶᰓᰫ ᰣᰦᰛᰬᰛᰤᰬᰮ ᰣᰦᰌᰫᰮ ᰂᰦᰌᰦᰠᰦ ᰎᰥᰩᰭᰓᰦᰰ ᰠᰦᰵᰃᰤᰬ ᰠᰩᰵᰃᰤᰩ ᰕᰶᰓᰫ ᰠᰴᰍᰪᰰ ᰣᰦᰑᰦᰳ-ᰣᰦᰜᰤᰩᰳᰀᰦ ᰙᰪᰲᰋᰦᰱ ᰕᰦᰳᰡᰨ.

ᰣᰦᰜᰤᰩᰳᰀᰦ ᰙᰪᰲᰋᰦᰱ ᰅᰫᰰᰡᰧᰶᰓᰫ ᰣᰧᰳᰌᰤᰬᰠᰦ ᰋᰦᰮᰊᰫᰵᰎᰴᰀᰦ ᰌᰶᰊᰫᰵ ᰣᰫᰵ ᰑᰨᰎᰦᰵᰡᰨ ᰠᰪᰭᰕᰪᰳ ᰜᰴ ᰜᰤᰦᰵᰑᰦᰳ ᰣᰪᰰ ᰛᰧᰱᰶᰎᰴᰍᰪᰰ ᰀᰶᰕᰧᰶ ᰕᰦᰳᰋᰨᰓᰫ ᰉᰧᰶ ᰕ . ᰓᰨᰵᰋᰧᰵᰶᰠᰴᰍᰪᰰ ᰙᰪᰲᰋᰦᰱ ᰕᰦᰳᰢᰦᰮᰓᰫ ᰋᰦᰮᰔᰴᰀᰦ ᰎᰪᰡᰩᰲᰜᰦ ᰀᰦᰳᰃᰪᰮ. ᰣᰦᰛᰬᰀᰦ ᰜᰤᰦᰵᰀᰦᰳ ᰜᰩᰮ ᰎᰪᰰᰈᰬᰵᰠᰦ ᰀᰧᰭᰀᰥᰶᰛᰤᰬᰮ ᰃᰤᰰᰶᰋᰨᰓᰫ ᰉᰧᰶ, ᰠᰛᰬᰜᰩᰮ ᰓᰨᰵᰋᰧᰵᰶᰍᰪᰰ ᰢᰳᰶ ᰋᰫᰱᰢᰦᰮᰓᰫᰛᰬ ᰣᰦᰝᰥᰫᰮ ᰣᰦᰝᰤᰪᰲ ᰅᰪᰰᰋᰨᰓᰫ ᰎᰪᰰᰈᰬᰵᰜᰦ ᰜᰩᰭᰂᰪᰳ ᰡᰧᰶᰓᰫ ᰢᰳᰶᰛᰤᰬᰮ ᰉᰤᰬᰳᰂᰪᰳ ᰡᰨ.

ᰣᰨᰛᰬ ᰋᰤᰬᰲᰋᰩᰮᰓᰫ ᰣᰦᰓᰬᰭᰀᰦ ᰕᰧᰜᰫᰵ ᰀᰦᰳ ᰛᰤᰩᰱᰋᰨᰓᰫ ᰉᰧᰶ ᰠᰛᰬᰜᰩᰮ ᰓᰨᰵᰋᰧᰵᰶᰍᰪᰰ ᰣᰦᰛᰤᰫᰮ ᰚᰦᰵᰍᰬ ᰣᰦᰈᰬᰰ ᰘᰫᰌᰧᰶᰛᰤᰬᰮ ᰠᰶ-ᰠᰶᰜᰦ ᰕᰦᰳᰍᰪ ᰡᰧᰮᰶᰂᰪᰳ ᰠᰛᰬᰛᰤᰬᰮ ᰘᰦᰌᰬᰵᰓᰫ ᰕᰪᰛᰩᰍᰪᰰ ᰡᰧᰮᰶ ᰕᰂᰪᰳᰍᰬ.

ᰝᰩᰍᰪᰰ ᰠᰋᰦ ᰣᰦᰛᰬ ᰕᰩᰵ ᰗᰦᰮᰡᰧᰶᰓᰫᰛᰤᰬᰮ ᰣᰦᰓᰬᰭᰀᰦ ᰜᰤᰩᰭᰅᰭᰶ ᰣᰨᰓᰧᰶ ᰛᰩᰵᰠᰦ ᰘᰩᰭᰎᰩᰲ ᰀᰦᰳ ᰉᰧᰶ,ᰠᰛᰬ ᰍᰪᰰ ᰀᰠᰪ ᰋᰤᰦᰭᰊᰩᰛᰤᰬᰮ ᰛᰩᰵ ᰊᰣᰤᰪᰕᰫᰠᰦ ᰜᰤᰫᰀᰦ ᰊᰤᰬᰳ ᰓᰨᰋᰨᰓᰫ ᰉᰧᰶ ᰣᰦᰛᰬᰍᰪᰰᰛᰬ ᰕᰫᰊᰰᰶᰆᰧᰶ ᰣᰦᰆᰫᰜᰬ ᰜᰧᰶᰍᰪᰰ ᰚᰶᰡᰨ. ᰕᰫᰊᰰᰶᰆᰧᰶ ᰣᰦᰆᰫᰜᰬᰛᰬ ᰛᰩᰵᰀᰪᰱᰠᰴᰠᰦ ᰊᰰᰶᰀᰦ ᰣᰦᰠᰲᰶ ᰘᰪᰭᰎᰩᰳ ᰀᰦᰳᰃᰪᰮ ᰣᰪᰰ ᰣᰦᰛᰬᰛᰤᰬᰮ ᰘᰪᰭᰎᰩᰳ ᰠᰦᰮᰜᰩᰮ ᰙᰫᰭᰋᰨᰓᰫ ᰉᰧᰶ ᰠᰛᰬᰀᰦ ᰻ᰣᰦ᰻ ᰜᰧᰶᰓᰦ ᰣᰦᰃᰤᰬᰭ ᰻ᰆᰫ᰻ ᰜᰧᰶᰓᰦ ᰛᰩᰵ ᰕᰧᰃᰧᰳᰠᰦ ᰎᰫᰘᰨᰠᰦ ᰣᰧᰳᰛᰦᰮ ᰜᰤᰦᰵ ᰣᰪᰰ ᰻ᰜᰬ᰻ ᰜᰧᰶᰓᰦ ᰊᰪᰵᰟᰬᰵ ᰠᰛᰬᰜᰩᰮ ᰣᰦᰕᰦᰭ ᰣᰦᰜᰨᰰ ᰎᰫᰮᰙᰫᰀᰦ ᰜᰫᰵᰜᰩᰰᰡᰧᰶᰓᰫ ᰜᰩᰮ ᰃᰪᰮ.

ᰀᰧᰠᰦ ᰝᰥᰤᰬᰰᰜᰳᰶᰀᰦ ᰓᰦᰵᰜᰪᰵ ᰍᰩᰵᰋᰨᰓᰫᰛᰬ ᰀᰠᰪ ᰠᰦᰭᰟᰤᰩᰵᰜᰳᰶᰀᰦ ᰍᰦᰰᰘᰳᰶ ᰕᰙᰩᰭᰓᰫ ᰣᰪᰰ ᰎᰬᰊᰰᰶᰏᰴ ᰚᰮᰶᰊᰰᰶ ᰓᰦᰵᰋᰨᰓᰫᰍᰪᰰ ᰕᰦᰳᰓᰦ ᰃᰪᰮ. ᰡᰤᰬᰰᰜᰦ ᰡᰫ ᰠᰛᰬᰙᰴᰌᰨ ᰅᰫᰰ ᰃᰛᰫᰵᰜᰦ ᰊᰌᰨ ᰣᰦᰝᰧᰳᰓᰫ ᰜᰤᰦᰵᰑᰦᰳᰎᰴᰀᰦ ᰡᰨᰭᰡᰴ ᰣᰪᰰ ᰞᰦᰱ ᰚᰶᰡᰴᰛᰬ ᰊᰌᰨ ᰜᰧᰶᰜᰩᰮ ᰜᰧᰭᰋᰨᰓᰫᰙᰴ ᰃᰪᰮ. ᰀᰦᰚᰫ ᰠᰊᰤᰬᰳᰌᰨ ᰣᰦᰛᰪᰮ ᰉᰧᰶᰃᰨᰛᰫᰵᰜᰦ ᰊᰌᰨ ᰕᰧᰃᰧᰳᰶᰠᰦ ᰣᰦᰑᰤᰦᰍᰪᰰ ᰀᰦᰚᰫᰮ ᰡᰨᰭᰋᰩᰮᰓᰫ ᰉᰧᰶ.

Attending the sessions was the easy task, what lay ahead was a mountain of a task to climb. And with the kind of detachment I felt since childhood, living in hostels for as long as I remember. Getting back to the roots, collecting the stories of my ancestors and telling them in my own way was exciting, overwhelming and at times confusing. 

I also faced a lot of obstacles like everyone else but taking tiny steps, I was able to discover the magic in the ordinary. 

I still have a long way to go but with every step I take I hope to get one step closer to my ancestors.

ᰙᰫᰮᰗᰳᰶᰀᰦ ᰃᰤᰬᰰᰜᰤᰶᰡᰴᰛᰬ ᰣᰦᰈᰩᰮ ᰣᰤᰨᰭ ᰚᰪᰮᰓᰦ ᰡᰬᰰᰜᰦ ᰍᰝᰦᰰ ᰡᰫ ᰉᰬᰰᰋᰨᰉᰧᰶ ᰣᰨᰛᰬ ᰚᰶᰡᰴᰛᰬ ᰆᰫᰀᰦ ᰝᰥᰩᰰ ᰡᰴ ᰙᰴᰚᰪᰮᰓᰦ ,ᰣᰦᰆᰪᰮ ᰣᰧᰵᰓᰩᰵᰗᰳᰶ ᰊᰗᰳᰶᰌᰨᰀᰦ ᰝᰩᰠᰀ᰷ᰥᰬᰯᰀᰦ ᰓᰦᰮᰍᰪ ᰜᰤᰨᰭ ᰊᰌᰨ ᰕᰧᰃᰧᰳᰠᰦ ᰣᰦᰑᰤᰦᰌᰤᰬᰱ ᰓᰥᰬᰳᰋᰨ ᰙᰴ ᰉᰩᰵ ᰣᰦᰜᰦᰰ ᰀᰠᰪᰮ ᰠᰌᰪ-ᰠᰌᰪ ᰕᰦᰳᰜᰪᰵ ᰀᰠᰪ ᰉᰫᰋᰧᰵᰶᰠᰴᰠᰦ ᰠᰪᰵᰛᰤᰬᰮ ᰃᰤᰨᰮᰓᰦᰰ ᰀᰠᰪ ᰋᰩᰵᰀᰦ ᰝᰦᰚᰫᰮᰌᰨ ᰠᰦᰭᰃᰩ-ᰠᰦᰭᰗᰫᰮ ᰣᰪᰰ ᰃᰨᰓᰦ ᰠᰦᰭᰟᰨᰲ ᰜᰪᰵ ᰌᰪᰰᰓᰧᰶᰡᰨ.

ᰃᰨᰍᰪᰰᰜᰦ ᰣᰦᰠᰲᰶ ᰃᰪᰰᰙᰴ ᰣᰦᰃᰤᰦᰱᰌᰨ ᰣᰦᰃᰨᰭᰎᰴ ᰊᰤᰰᰶᰋᰨᰓᰫ ᰉᰧᰶ, ᰡᰬᰰᰜᰦ ᰣᰦᰆᰪᰮ-ᰣᰦᰆᰪᰮ ᰋᰨᰵᰃᰩᰮ ᰜᰤᰶᰓᰦᰰ ᰘᰦᰌᰬᰵᰓᰫ ᰕᰧᰭᰝᰥᰤᰫᰎᰴ ᰣᰦᰎᰥᰤᰩᰮ ᰕᰦᰳᰂᰪᰳ ᰋᰨᰓᰫ ᰉᰧᰶ, ᰣᰧᰭᰆᰦᰜᰦ ᰜᰤᰦᰵ ᰣᰦᰛᰪᰮ ᰍᰩᰵᰃᰦᰳᰡᰧᰶᰓᰫ ᰉᰧᰶ. ᰡᰬᰰᰜᰦ ᰀᰠᰪ ᰋᰨᰵᰃᰩᰮᰛᰤᰬᰮ ᰜᰤᰶᰓᰦ ᰀᰠᰪ ᰉᰫᰋᰧᰵᰶᰀᰩᰰ ᰎᰀᰤᰩᰀᰦᰳ ᰣᰦᰋᰩᰯ ᰂᰤᰶᰎᰫᰚᰴ ᰜᰧᰶᰍᰪᰰ ᰣᰦᰃ᰷ᰥᰩᰰ ᰣᰦᰊᰧᰮᰶ ᰉᰧᰶ ᰕ.

Thank you from Denmit

I am extremely grateful to all our mentors for guiding us in every step of the workshop :

Arundhati, Mikma Lepcha, Chewang Rinchen Lepcha, Kunga Tashi Lepcha, Dawa Lepcha, Dr Kachyo Lepcha, Alyen Foning, Tshela Lizum Lepcha, Pasang Lepcha, Dr Reep Pandi Lepcha, Usha Lachungpa, Ren Namgyal Lepcha, Dr Mona Chettri, Ren Ugen Palzor Lepcha, Chaya Namchu, Tshering Lepcha, Rachel Namchu, Minket Lepcha, Jenny Bentley

ᰀ᰷ᰥᰩᰭᰇᰧᰶ

ᰣᰤᰨᰭᰓᰤᰩᰵᰠᰣ ᰃᰪᰰ ᰎᰀᰤᰩ ᰎᰴᰀᰦ ᰀᰦᰚᰫ ᰣᰦᰜᰩᰰ ᰣᰦᰀᰶ ᰕᰦᰊᰓᰫ ᰃᰪᰰ ᰡᰩᰭᰌᰪᰰᰊᰩᰱᰓᰫᰠᰴᰛᰤᰬᰮ ᰃᰨ ᰐᰩᰭᰜᰦᰌᰨ ᰀ᰷ᰥᰩᰭᰇᰧᰶ ᰐᰪᰡᰨ.

ᰣᰦᰛᰫᰰᰌᰦᰊᰧᰶ ᰕᰧᰭᰕᰦ ᰛᰩᰵᰀᰪᰱ, ᰇᰧᰟᰦᰵ ᰛᰧᰰᰇᰤᰬᰰ ᰛᰩᰵᰀᰪᰱ, ᰀᰫᰵᰃᰦ ᰀ᰷ᰥᰦᰡᰧᰶ ᰛᰩᰵᰀᰪᰱ, ᰌᰦᰟᰦ ᰛᰩᰵᰀᰪᰱ, ᰃ᰷ᰥᰩᰭᰀ᰷ᰥᰩᰲ ᰀᰦᰇᰨ ᰛᰩᰵᰀᰪᰱ , ᰣᰦᰜᰤᰬᰰ ᰀᰨᰍᰧᰵᰶ ᰡᰧᰶᰜᰦ ᰜᰧᰶᰙᰫᰮ ᰛᰩᰵᰕᰧᰳ, ᰎᰦᰠᰦᰵ ᰛᰩᰵᰀᰪᰱ, ᰃ᰷ᰥᰩᰭᰀ᰷ᰥᰩᰲ ᰛᰧᰱᰶ ᰎᰪᰰᰌᰧᰶ ᰛᰩᰵᰕᰧᰳᰶ, ᰣᰫᰠᰦ ᰍᰦᰗᰫᰵᰎᰦ ,ᰛᰤᰬᰰ ᰍᰦᰮᰃᰤᰬᰯ ᰛᰩᰵᰀᰪᰱ, ᰃ᰷ᰥᰩᰭᰀ᰷ᰩᰲ ᰕᰩᰍᰦ ᰘᰬᰳᰛᰧᰶ ,ᰛᰤᰬᰰ ᰣᰫᰃᰤᰬᰰ ᰎᰦᰯᰙᰨᰲ ᰛᰩᰵᰀᰪᰱ, ᰘᰦᰚᰦ ᰍᰦᰮᰗᰫ ᰇᰧᰛᰧᰵᰶ ᰛᰩᰵᰀᰪᰱ, ᰛᰦᰀᰤᰬᰯ ᰍᰦᰮᰗᰫ, ᰕᰧᰰᰀᰤᰬᰳ ᰛᰩᰵᰕᰧᰳ, ᰙᰬᰍᰧᰶ ᰓᰬᰰᰊᰜᰧᰶ.

Dream catcher and documentation by Denmit Lepcha 

Translations by Meenamit Lepcha

Mentored by Minket Lepcha