𝐏𝐫𝐞𝐬𝐞𝐫𝐯𝐢𝐧𝐠 𝐭𝐡𝐞 𝐒𝐨𝐧𝐠 𝐨𝐟 𝐇𝐞𝐫𝐢𝐭𝐚𝐠𝐞 𝐚𝐬 “𝐒𝐡𝐚𝐦 𝐒𝐡𝐚𝐦 𝐃𝐨𝐥𝐞𝐩” 𝐅𝐚𝐜𝐞𝐬 𝐎𝐛𝐥𝐢𝐯𝐢𝐨𝐧

…𝒂𝒔 𝒎𝒐𝒅𝒆𝒓𝒏 𝒊𝒏𝒇𝒍𝒖𝒆𝒏𝒄𝒆𝒔 𝒕𝒉𝒓𝒆𝒂𝒕𝒆𝒏 𝒄𝒖𝒍𝒕𝒖𝒓𝒂𝒍 𝒕𝒓𝒂𝒅𝒊𝒕𝒊𝒐𝒏𝒔, 𝒚𝒐𝒖𝒕𝒉 𝒎𝒖𝒔𝒕 𝒔𝒕𝒆𝒑 𝒖𝒑 𝒕𝒐 𝒔𝒂𝒇𝒆𝒈𝒖𝒂𝒓𝒅 𝒄𝒐𝒖𝒏𝒕𝒓𝒚’𝒔 𝒇𝒐𝒍𝒌 𝒔𝒐𝒏𝒈𝒔 𝒇𝒐𝒓 𝒇𝒖𝒕𝒖𝒓𝒆 𝒈𝒆𝒏𝒆𝒓𝒂𝒕𝒊𝒐𝒏𝒔.

By Lhendup Wangmo

As global pop culture and urban migration continue to shape the interests of youth, traditional folk songs like “Sham Sham Dolep” risk being forgotten. Once central to festivals and community gatherings, this cherished song- and other cultural practices- are fading into obscurity. In a rapidly evolving world, preserving these traditions has never been more urgent. The youth must take a leading role in safeguarding their heritage, ensuring that symbols like “Sham Sham Dolep” are passed down to future generations.

Tshewang Dorji, Senior Culture Officer from Dagana Dzongkhag, spoke passionately about the dwindling popularity of local folk songs, with a special focus on the well-known “Sham Sham Dolep.” According to Dorji, “Sham Sham Dolep” was passed down through generations from their foreparents and is an integral part of their heritage.

“The folk songs, including ‘Sham Sham Dolep,’ have been soothing for many, not just in their melody but also in their lyrics,” said Dorji. “However, as the world evolves and mindsets change, the significance of these traditions is slowly fading away. The influence of social media and advanced technology has shifted the focus for many youths, pushing these cultural practices further into obscurity.”

Dorji highlighted that while some elder individuals continue to preserve these traditions, the role of the younger generation is critical to their survival. He added, “If we don’t take steps to educate the youth about the importance of our cultural heritage, songs like ‘Sham Sham Dolep’ will likely disappear soon.”

He also pointed out the need for greater investment in promoting cultural preservation. “In terms of making these songs popular, we need a budget. If the folk songs become catchy and are made appealing to this generation, they will be appreciated by every new generation,” Dorji explained, urging for a broader societal shift toward investing in cultural initiatives.

Dorji’s emphasis on youth engagement was clear when he noted the rich diversity of Bhutan’s cultural identity, particularly within its individual gewogs. He expressed pride in the heritage of his own community, saying, “In every gewog, we have our own traditions, but no one else will preserve them if we don’t take action. For example, when we say we are from Khebisa, we take great pride in our ‘Sham Sham Dolep’ folk song. It’s a symbol of who we are.”

Tshewang Dorji concluded by urging youth to take ownership of their cultural legacy and to actively work to preserve traditions for future generations. “It’s up to the youth now to ensure that our traditions live on,” he said. “We must all work together to preserve these invaluable aspects of our culture.”

Ugyen Dorji, the former Gup (village head) of Khebisa Gewog, also shared his insights about the origins and significance of the folk song. According to Ugyen Dorji, the song is not just a cultural expression, but a heritage deeply tied to the history of Dagana Dzongkhag, particularly Khebisa Gewog.

“There is no ‘Sham Sham Dolep’ in other Dzongkhags. This song truly originates from Dagana, specifically from Khebisa Gewog, and more precisely from Pagser Chiwog,” Ugyen Dorji explained. “Not only is it connected to the people, but it is also tied to the history of Zhabdrung Jigme Choegyel. It is said that the song is dedicated to him.”

Ugyen Dorji recounted the historical significance of the song, noting that it is linked to an Nagtshang Lhakhang (temple) at Gangkha, where Zhabdrung Jigme Choegyel’s walking stick and seat were preserved. “There’s a story that the Lhakhang, which once cared for Zhabdrung’s artifacts, was burned down, and with it, the script of the song was lost. The elderly people in the area say that Zhabdrung himself composed the song,” he said.

Despite the loss of some records, the tradition of “Sham Sham Dolep” has continued through oral transmission, with some local officials researching the folk song to prevent it from fading into obscurity. “It’s been eight years since ‘Sham Sham Dolep’ was actively practiced in Dagana Primary School. We are proud to have continued this tradition in the school, and I hope the younger generation will take up the responsibility to preserve it,” said Dorji.

The importance of youth involvement in cultural preservation was echoed by Tshewang Dorji, Senior Culture Officer of Dagana Dzongkhag, who stressed that “Sham Sham Dolep” is at risk of fading as modern technology and social media take precedence in the lives of young people.

“If we do not act now, songs like ‘Sham Sham Dolep’ may disappear soon,” Tshewang Dorji cautioned. “We need the youth to understand and appreciate their cultural heritage, as they are the key to its preservation.”
Another important point raised was the need for funding and initiatives that would make traditional songs appealing to younger audiences. As Ugyen Dorji put it, “If we invest in making these folk songs more popular and tune them to modern sensibilities, they will become catchy and loved by this generation. If that happens, future generations will continue to honor them.”

Tshewang Dorji agreed, stressing that each gewog has its own distinct culture and traditions that should not be allowed to fade into history. “For us in Khebisa, ‘Sham Sham Dolep’ is a symbol of pride. It tells the story of our people, our history, and our connection to Zhabdrung Jigme Choegyal,” said Tshewang Dorji.

“The youth must actively engage in preserving and promoting our folk songs, like ‘Sham Sham Dolep,’ for the sake of our culture and heritage,” Tshewang Dorji urged. “We need their enthusiasm and energy to carry these traditions forward.”

Sonam Choden, a 69-year-old villager from Pagser Chiwog, also reflected on the song’s fading presence in his life. “When I was young, we would always hear ‘Sham Sham Dolep’ being sung during ceremonies. It’s a song with a story behind it, a story that connects us to Zhabdrung and to the sacred places here in Khebisa. Now, it is hard to even find young people who know the lyrics, let alone understand its deeper meaning. This song is part of who we are, but I fear it might vanish if the younger generation doesn’t learn to value it.”

Pema Lhamo, a 62-year-old villager from Khebisa, shared her memories of singing “Sham Sham Dolep” during community gatherings. “I remember singing this song at every festival and special occasion,” she said. “It was more than just a song; it brought our community together. The elders would teach us the lyrics, and we’d sing it as one voice. Today, I worry that the younger ones no longer sing it as we did. They are too focused on their phones and the world beyond our village.”

Yeshey Dorji, a local from Khebisa Gewog, shared the remarkable origins of the song and emphasized the critical role youth must play in preserving such traditions.
“Yes, ‘Sham Sham Dolep’ was originally composed by Zhabdrung Jigme Choegyal at Nagtshang, near Gangkha Lhakhang,” Yeshey Dorji explained. “It’s said that Zhabdrung composed this religious song while sitting on a flat stone beneath a tree in this area, a tree that holds great significance. Villagers believe that this tree sheds its leaves when contaminated by the filth of death or birth. What’s truly unique about the tree is that when one side sheds its leaves, the other side remains evergreen. This tree is unlike any other in Dagana, and the villagers view it as sacred.”

The tree’s connection to the composition of “Sham Sham Dolep” adds a profound layer to the song’s meaning, representing purity, spirituality, and continuity. “The tree, the stone, and the song are all part of our living history,” Yeshey Dorji said. “It is a story that connects our community to Zhabdrung and to the sacredness of this land.”

However, despite the historical and cultural significance of “Sham Sham Dolep,” Yeshey Dorji voiced concern over its fading popularity, particularly among the younger generation. “Many of our youth are more focused on modern technology, social media, and global trends,” he said. “Our traditions, like ‘Sham Sham Dolep,’ are slowly being overshadowed by these influences. If we don’t actively teach our children and encourage them to learn about their heritage, this beautiful song, along with other important cultural elements, might disappear.”

Dorji urged that now is the time for the youth of Khebisa, and of Bhutan as a whole, to take ownership of their cultural legacy. “Our young people need to learn about the origins and meaning behind songs like ‘Sham Sham Dolep,’” he said. “This song is part of our identity. It’s our duty to preserve it—not only for ourselves, but for future generations. It hasn’t gained the popularity it deserves, and it’s up to the youth to change that. They have the energy, the passion, and the platforms to make these traditions resonate again.”

Yeshey Dorji further highlighted that teaching youth to sing and practice “Sham Sham Dolep” should be integrated into schools and community programs. “If we want the younger generation to continue these traditions, we must actively involve them. Schools, cultural programs, and community gatherings are key to ensuring that this heritage is passed on,” he said.

The call to action is clear: for the cultural traditions of Dagana, and Bhutan as a whole, to thrive, the youth must step forward. Both Yeshey Dorji and Tshewang Dorji agree that preserving “Sham Sham Dolep” is not just about remembering the past but about actively carrying it forward in the present and future.

“Without the youth, our culture has no future. They must take up the mantle to preserve and celebrate these songs, and make them part of the vibrant, living tradition of Bhutan,” Yeshey Dorji said.

Tashi Dorji, a 17-year-old student from Khebisa, said, “I have heard ‘Sham Sham Dolep’ from my grandparents, especially during festivals. They always tell us about its history and its connection to Zhabdrung. To be honest, I didn’t really understand it when I was younger, but now I see how important it is for our community. We should learn these songs and carry them forward.”

Phuntsho Wangmo, a 23-year-old college student, also echoed similar sentiments. “I remember my grandmother singing ‘Sham Sham Dolep’ to me when I was little. She told me it was a song of our ancestors, composed by Zhabdrung. I have always loved hearing it, and I know it’s part of who we are as a people. I think the younger generation needs to make an effort to learn these songs because they are what define us. If we don’t, who will?”

Dorji Wangchuk, a 22-year-old college student, shared his thoughts on the changing times and the challenge of preserving tradition in the face of modern distractions. “We live in an age where everything is fast-paced and digital. But our culture has been passed down through generations. My grandfather often told me about ‘Sham Sham Dolep,’ and I have seen how much it means to the elders. It’s time we embrace this heritage, learn the songs, and make them known again. We can use social media and technology to spread our culture, but we need to learn it first.”

Sangay Lhamo, a 16-year-old high school student, emphasized the importance of involving youth in cultural preservation. “I have been hearing the song at school and in the village, but we need more programs where we can learn about our traditions in a deeper way. I think if our parents and teachers encourage us more, we will get more interested in these kinds of songs and stories.”

As young people continue to migrate to towns in search of modern opportunities, there is a growing concern that cultural treasures like “Sham Sham Dolep” could become a faint echo of the past. With the pull of technology, social media, and urban life, the deep-rooted melodies of Bhutan’s heritage may be drowned out by the noise of the present. However, as leaders like Yeshey Dorji and Tshewang Dorji urge, the youth must think twice before letting these traditions slip away. By embracing their cultural identity and ensuring the preservation of such folk songs, they can ensure that the music of their ancestors continues to resonate for generations to come, not as a relic, but as a living, breathing part of their community’s soul.