𝐅𝐀𝐁 𝐂𝐨𝐧𝐝𝐮𝐜𝐭𝐬 𝐖𝐨𝐫𝐤𝐬𝐡𝐨𝐩 𝐭𝐨 𝐄𝐧𝐡𝐚𝐧𝐜𝐞 𝐃𝐳𝐨𝐧𝐠𝐤𝐡𝐚 𝐔𝐬𝐚𝐠𝐞 𝐚𝐧𝐝 𝐏𝐫𝐨𝐦𝐨𝐭𝐞 𝐃𝐫𝐢𝐠𝐥𝐚𝐦 𝐍𝐚𝐦𝐳𝐡𝐚 𝐢𝐧 𝐁𝐡𝐮𝐭𝐚𝐧𝐞𝐬𝐞 𝐂𝐢𝐧𝐞𝐦𝐚

By Sonam Choden

The Film Association of Bhutan (FAB), with funding from the Bhutan InfoComm and Media Authority (BICMA) through the Economic Stimulus Programme, organized a comprehensive workshop aimed at promoting the use of the Dzongkha language and fostering the principles of Driglam Namzha within Bhutanese film industry. The workshop sought to equip filmmakers, actors, and industry professionals with the necessary skills to effectively communicate in Dzongkha while adhering to the national code of etiquette and conduct, Driglam Namzha. This initiative aligns with the broader goal of preserving Bhutan’s cultural heritage through film and elevating the standards of language use in the industry.

The workshop focused on critical aspects of film production, including scriptwriting, dialogue delivery, cultural nuances, and the integration of Driglam Namzha in filmmaking. By providing an immersive learning experience, participants developed a deeper understanding of the cultural values embedded in Driglam Namzha, empowering them to produce films that reflect Bhutan’s linguistic and cultural identity.

An official from BICMA emphasized the crucial role of Bhutanese cinema in preserving and promoting the nation’s culture and traditions. Recognizing film as a powerful medium for mass communication, the official highlighted its widespread influence in disseminating cultural values. The workshop aimed to enhance linguistic proficiency in films, improve scriptwriting, and foster greater cultural appreciation among audiences.

Success will be measured through improvements in Dzongkha proficiency among filmmakers, more authentic scriptwriting, and greater adherence to Driglam Namzha- resulting in culturally accurate narratives. These efforts are expected to lead to better dialogue delivery, increased audience engagement, and a stronger commitment to preserving Bhutanese cultural values. Ultimately, the initiative seeks to raise the international profile of Bhutanese cinema by ensuring it authentically represents the nation’s cultural and linguistic heritage.

Yeshi Tshering, president of the Film Association of Bhutan, underlined the critical role of films in preserving and promoting Bhutanese culture and language. He noted that films serve as a powerful medium for conveying cultural and linguistic knowledge, significantly impacting society.

“When producing a film, the goal is not only to cater to the local market but also to reach an international audience,” he explained. “It is essential to showcase Bhutan’s unique identity, which can be best represented through the Dzongkha language, the cultural practice of Driglam Namzha, and authentic storytelling.”

He cautioned that merely replicating films from other countries could lead to an erosion of Bhutan’s national identity.
Kinley Tshering, Associate Professor and Program Leader at Royal Thimphu College- who is also a scriptwriter and composer- pointed out common challenges in the improper use of Dzongkha, particularly in pronunciation, vocabulary, and grammar.

“While many people understand Dzongkha, its improper usage remains a widespread issue, not only within the film industry but across the broader population,” he said.

Pema Yangki, a mother and cinema enthusiast, expressed optimism about the FAB’s initiative to enhance Dzongkha usage and promote Driglam Namzha in films.

“I hope that through this initiative, my son will be exposed to more accurate language usage. Films are a valuable tool for education and language development,” she said.

She observed that her son often mimics dialogues from films, which highlights the importance of accurate language representation in cinema. She believes this initiative will not only improve linguistic quality in films but also inspire younger generations to take a deeper interest in learning Driglam Namzha.

Similarly, Leki 34 years old, a resident of Thimphu, emphasized the significance of Driglam Namzha in Bhutanese films and its potential impact on younger generations. She noted that Driglam Namzha, which embodies principles such as respect, humility, and proper social etiquette, plays a crucial role in shaping cultural identity.

Kinley stressed that individuals in influential roles- such as composers, reality show judges, actors, anchors, and singers- should model the correct use of Dzongkha.
“If these figures consistently use the language correctly, their influence would naturally guide the audience toward appropriate language practices, reducing the need for separate training or workshops,” he noted.

During the workshop, experts addressed key aspects such as scriptwriting, song composition, and the correct spelling of opening and closing credits. Kinley emphasized that films serve as a powerful platform for raising awareness and promoting the correct use of Dzongkha, contributing to its preservation and proper implementation in society.
Kezang Dorji, also known as Kazi, an actor and director, echoed similar sentiments. He stressed the importance of using proper Dzongkha in films, noting that actors hold significant influence over audiences, particularly youth.

“Improper use of Dzongkha, though sometimes humorous, can lead to the degradation of pronunciation and grammar,” he said. Kezang pointed out common errors, such as using the term “Gari” for a vehicle instead of the correct Dzongkha term “Lung Khor.” He emphasized the need for filmmakers to avoid incorrect translations from other languages, which distort the meaning and essence of Dzongkha.

Trashi K. Wangda, a casting director, art director, and actor, highlighted the significant influence of public figures in the film industry over younger generations, who often imitate their behaviors and speech.
“Even minor inaccuracies, when consistently presented on screen, can be adopted by audiences, thereby influencing societal norms and etiquette,” he said.

He acknowledged the challenges of achieving 100% Dzongkha utilization in films, especially with the frequent blending of Dzongkha and English. Some terms, he noted, lack direct equivalents in Dzongkha and must be conveyed in English to maintain clarity.

Zam, an actress, shared how the workshop significantly enhanced her understanding of performance, particularly in dialogue delivery.
“Despite my extensive experience in films, I had previously followed scripts without questioning the accuracy of the language used,” she admitted.

However, the workshop changed her approach, making her more mindful of correct terminology. She now feels confident identifying linguistic mistakes and believes that self-correction is vital for the industry. She emphasized the importance of such workshops for industry professionals and expressed gratitude for BICMA’s support.
The workshop marked a significant step toward addressing linguistic and cultural challenges in Bhutanese cinema. By refining linguistic skills and adhering to cultural principles, Bhutanese filmmakers can produce films that authentically reflect the country’s rich heritage.

The participation of influential industry figures is crucial in ensuring the success of these initiatives, as their language usage shapes societal norms. Moving forward, such efforts will contribute not only to the preservation of Bhutan’s cultural identity but also to enhancing its global presence through cinema.