Paro Festival - Choe Zhey Dance, Bhutan

The Choe Zhey, also known as dranyen Zhey, is a vibrant Bhutanese folk dance that blends lyrical storytelling with rhythmic movement, rooted in the spiritual and cultural legacy of Zhabdrung Ngawang Namgyel.

Composed during his meditation at Cheri Monastery, the dance is said to have been inspired by a mystical exchange between the Zhabdrung and a cuckoo perched in a sandalwood tree. This poetic dialogue is woven into the lyrics of the dance, which are sung by the performers as they move in coordinated steps. The dranyen, a traditional seven-stringed lute, typically provides the musical backbone, though in some performances—such as those at the Paro Festival—it may be symbolically carried rather than played.

On the fifth day of the Paro Tshechu, the Choe Zhey takes on heightened spiritual significance. With the Great Thongdrel of Guru Rinpoche still unfurled, the courtyard of Rinpung Dzong becomes a sanctified space where the dance is performed as a living prayer. The dancers, arranged in a line, move with solemn grace, their steps counted in rhythm with the song. Each performer wears a white scarf, or khadar, denoting their role—Drapoen, Yangpoen, or Jugpoen—and their place in the spiritual hierarchy of the dance. The choreography is precise yet expressive, reflecting both discipline and devotion.

A defining feature of the Choe Zhey is the Thoe, a ceremonial wreath worn on the head, symbolizing the dancer’s elevated spiritual status as a mahasiddhi—a mystic who has attained special powers. The colors of the Thoe vary by region and group, each hue carrying its own symbolic meaning, from protection to wisdom to compassion. This headgear transforms the dancers into vessels of spiritual energy, linking them to the lineage of enlightened masters and the sacred geography of Bhutan.

In the context of the Paro Festival, the Choe Zhey is more than a folk tradition—it is a ritual enactment of Bhutanese identity and faith. As the dancers sing and move beneath the gaze of the Thongdrel, their performance becomes a bridge between the earthly and the divine, echoing the original inspiration of the Zhabdrung and the timeless call of the cuckoo. It is a moment where history, myth, and devotion converge in song and step.

Dancers preparing for the performance, one plays dranyen
The dranyen, Bhutan’s traditional seven-stringed lute, plays a central role in the Choe Zhey dance, serving not only as a musical instrument but also as a symbol of spiritual leadership.

During the performance, the Drapoen—the lead dancer—carries the dranyen, guiding the rhythm and movement of the group. Its presence sets the tempo for the dancers’ steps and anchors the melodic structure of the Zhey song. Even when not actively played, the dranyen’s symbolic weight remains potent, representing the harmony between music, devotion, and discipline.
On the fifth day of the Paro Tshechu, the Choe Zhey dance takes on heightened ceremonial importance. With the sacred Thongdrel of Guru Rinpoche unfurled at dawn, the courtyard of Rinpung Dzong becomes a sanctified stage. Here, the Drapoen’s dranyen is often carried with reverence rather than strummed, emphasizing its spiritual rather than musical function. The dancer holding it leads the procession with solemn grace, his movements echoing centuries of tradition. The dranyen, in this context, becomes a vessel of continuity—linking the present performance to the original composition by Zhabdrung Ngawang Namgyel.
Crafted from wood and often adorned with intricate carvings, the dranyen’s design reflects Bhutanese aesthetics and spiritual symbolism. Its curved neck and dragon-head scroll are not merely decorative—they evoke protection and wisdom. During the Paro Festival, the instrument’s visual presence complements the dancers’ ornate costumes and the ceremonial Thoe wreaths they wear, creating a tableau that is both visually stunning and spiritually resonant.
Ultimately, the dranyen in the Choe Zhey is more than an instrument—it is a guiding force. Whether played or simply held, it embodies the rhythm of devotion and the legacy of Bhutanese culture. On the fifth day of the Paro Festival, its role is magnified, transforming the dance into a living prayer where every step, note, and gesture is infused with reverence.

The dance takes place in a circle
The Choe Zhey, Wochupai Zhey, and Zhungdra dances offer distinct symbolic and spiritual expressions of Bhutanese identity.

The Choe Zhey, composed by Zhabdrung Ngawang Namgyel, is deeply rooted in spiritual dialogue and mysticism. Performed by men in a line or semicircle, it is led by a dancer carrying the dranyen, a symbolic lute that guides the rhythm and invokes ancestral wisdom. The dancers wear ceremonial Thoe wreaths, signifying their status as mahasiddhis—mystics who have attained spiritual powers. This dance is a ritual of reverence, echoing the sacred exchange between the Zhabdrung and nature, and is performed with solemnity beneath the unfurled Thongdrel.
In contrast, the Wochupai Zhey is a folk dance that celebrates communal vitality and regional pride. Also performed by men in a circle, it features rapid rhythms and energetic choreography. The dancers wear white skirts, black vests, and green branch crowns, symbolizing purity, strength, and harmony with nature. Unlike the Choe Zhey’s spiritual introspection, Wochupai Zhey channels joy and unity, marking the transition from ritual to celebration. Its circular formation evokes the cyclical nature of life and the interconnectedness of the community, making it a vibrant offering to the deities and a reflection of local heritage.
Zhungdra, performed by women in a solemn line, stands apart in tone and formation. Its slow, contemplative movements and high-pitched vocal tones convey spiritual teachings and Buddhist allegories. The linear choreography symbolizes a spiritual journey—each dancer progressing along a path of devotion and enlightenment. The dancers’ traditional attire, with varied patterns and colors, adds a layer of personal and regional identity to the performance. Zhungdra is not just a dance but a meditative ritual, offering grace and introspection in the quiet morning light before the Thongdrel is taken down.
Together, these three dances form a spiritual triad that encapsulates Bhutan’s rich cultural tapestry. Choe Zhey invokes mystic wisdom, Wochupai Zhey celebrates communal joy, and Zhungdra embodies contemplative devotion. Their juxtaposition on the final day of the Paro Festival transforms the Dzong courtyard into a sacred space where movement, music, and meaning converge in harmony.