Perched on the high cliffs Taktsang is referred to as the Tiger’s Nest, it has always inspired and awestruck many a visitor. “Trip to Bhutan is never complete without climbing to Taktsang”, says one tourist. Indeed it’s true as the journey turns into a pilgrimage and fills you up in spiritual bliss. For those not choosing the spiritual side it is the dramatic and the artistically structured monument that becomes a hiker’s delight. Let us take you to this magnificently set Buddhist relic hanging from a cliff. Feel the exhilaration of the uphill climb as you ascend more than two thousand feet from the valley floor.

The sport offers something for everyone: There is easy rafting for beginners and hair-raising runs for the veterans. Besides the rafts and the kayaks, Bhutanese agents also organize walking and trekking expeditions along the scenic river banks. The best time for rafting and kayaking is from March to April and November to December.

Safety

Bhutanese rafting and kayaking guides are well trained and will do everything to ensure that you enjoy the adventures minus the risks.

The rivers of Bhutan were first graded for water sports in 1997 by the experienced duo Gerry Mofatt and Peter Knowles at the invitation of the Royal Government, under the erstwhile Department of Tourism to survey potential routes.

They trained the first batch of Bhutanese river-guides and conducted surveys

Since then, other rivers have been surveyed including the Punatsang Chhu, Manas and Amo Chhu

TCB guidelines ensure that all operators use well maintained professional equipment and a reasonable guide-client ratio

Here are some of the Rafting and Kayaking Routes

Paro Chhu (Bondey – Isuna Bridge)

Location: Paro Valley, Western Bhutan

Length: Approximately 10 km (3 hours)

Difficulty: Class III-IV

Flow: About 500 cfs

Season: March – April

Craft: Kayaks recommended due to narrow and steep rapids

Upper Pho Chhu (Wangthangkha – Samdingkha)

Location: Punakha Valley, Western Bhutan

Length: Approximately 7 km (2 hours)

Difficulty: Class III-IV

Flow: 2000 -3000 cfs

Season: March – April, October – November

Craft: Kayaks and Rafts

Mo Chhu – Tashitang Devil’s Gorge Section (Tashithang- Below Punakha Dzong)

Location: Punakha Valley, Western Bhutan

Length: 12 km, 5 -7 hours with scouting

Difficulty: Class V

Flow: 1000 cfs

Season: February/December.

Craft: Kayaks only (too steep for rafts)

(Caution: higher than medium flows makes this run dangerous. High water runs not recommended for amateurs)

Mangde Chhu – Upper Section (Yundo Choling Palace- Langthel)

Location: Trongsa, Central Bhutan

Length: Approximately 5 km (2 hours with scouting)

Difficulty: Class IV

Flows: Approximately 3000 cfs

Season: March – April, November – December

Craft: Kayaks

For detail information on all of the Rafting and Kayaking routes please see our Rafting and Kayaking brochure which can be downloaded from ‘e-brochure’ page under ‘Bhutan’ page.

Day 1: (inside the dzong)

Dance of the Lord of Death and his Consort (Shinje Yab Yum)

Bodhisattva Manjusri – representing the wisdom of all Buddhas – takes on the appearance of the terrifying Lord of Death (Shinje). His wrathful buffalo face guards the four continents.

Dance of the Lords of the Cremation Grounds (Durdag)

A dance that takes place in cremation grounds. The dancers wear skull masks and represent protectors of the religion who live in the eight cremation grounds on the periphery of the symbolic Mt. Sumeru.

The Black Hat Dance (Shanag)

The black hat dancers assume the role of yogis with the power to subdue and create life. The dancers wear brocade robes, wide brimmed black hats and aprons with the face of a protective deity. This is an important dance that is also used in purification ceremonies during the construction of dzongs, temples, chortens.

Dance of the Drum from Dramitse (Dramitse Ngacham)

A dance inspired in meditation. The dance is a vision of Guru Rinpoche and his celestial palace, Zangdopelri. Here, Guru’s attendants are transformed into hundreds of peaceful and terrifying deities. The dance originated in Dramitse Monastery in eastern Bhutan and is considered a Bhutanese heritage.

Dance of the Eight Kinds of Spirits (Degye)

A dance of the gods of the three worlds (sky, earth, underground). The gods protect the doctrines of the Buddha and subdue the spirits who make the world unhappy. Endless happiness is recovered. The dance is performed by the gods (believed to be incarnated in the dancers themselves) to renew faith and wisdom.

Religious song (Chhoeshay)

This commemorates the opening of the gateway to the pilgrimage site of Tsari in eastern Tibet by the founder of the Drukpa School of Buddhism, Tsangpa Jarey.

Day 2: (outside the dzong)

Dance of the Lord of Death and his Consort (Shinje Yab Yum)

Bodhisattva Manjusri – representing the wisdom of all Buddhas – takes on the appearance of the terrifying Lord of Death (Shinje). His wrathful buffalo face guards the four continents.

Dance of the Black Hats with drums (Shanag Nga Cham)

A dance to signify the victory of religion over enemies. The sound of the drum represents religion itself.

Dance of the Three Kinds of Ging with sticks (Gingsum)

A dance signifying the subjugation of demons that are obstacles to religions. It takes place in Zangtopelri, the heavenly palace of Guru Rinpoche.

Dance of the Lords of the Cremation Grounds (Durdag)

A dance that takes place in cremation grounds. The dancers wear skull masks and represent protectors of the religion who live in the eight cremation grounds on the periphery of the symbolic Mt. Sumeru.

Dance of the Three Kinds of Ging with drums (Driging)

After the demons are vanquished, the gings with the drums dance with happiness. They beat the drums of religion and the dance is performed to bring good luck to all beings and to wish them happiness. This dance brings blessings to all who watch it.

Dance of the Stag and the Hounds (Shawa Shachi) – 1^st part

The dance tells a favourite tale of Milerepa who converts a hunter to Buddhism.

Day 3: Dance of the Lords of the Cremation Grounds (Durdag)

A dance that takes place in cremation grounds. The dancers wear skull masks and represent protectors of the religion who live in the eight cremation grounds on the periphery of the symbolic Mt. Sumeru.

Dance of the Terrifying Deities (Tungam)

Dressed in beautiful brocade and terrifying masks, this is a deeply symbolic dance where a sacrificial murder is performed. Guru Rinpoche appears in a wrathful manifestation to save the world. The dance is meant to show all beings the way to salvation.

Dance of the Heroes with six kinds of ornaments (Guan Drug Pawo)

The heroes hold six ornaments – five rings of bone ornaments and a small drum and bell in their hands. By their gestures and the sound of their melodies, the heroes lead sentient beings from the wheel of reincarnation along the path of liberation.

Kyecham is an accompanying dance to the next dance. The kyecham dancers wear knee-length yellow skirts, and animal masks.

Dance of the Noblemen and Ladies (Pholeg Moleg)

A comical play that depicts the life of King Norzang. The play is full of bawdy and rustic humour as two princes and two princesses, and old couple and clowns enact a story of misbehaviour, deceit, and mistrust. The story ends happily with the princes marrying the princesses and reconciliation takes place as a lesson to life.

Dance of the Stag and the Hounds – 2^nd part

This is a conclusion of the dance began on the second day. The saint Milarepa appears in a long white dress and converts the dogs, stag and the hunter with a song. The conversion is symbolised by the hunter and his dogs jumping a rope.

Day 4:

Dance of the Lord of Death and his Consort (Shinje Yab Yum)

Bodhisattva Manjusri – representing the wisdom of all Buddhas – takes on the appearance of the terrifying Lord of Death (Shinje). His wrathful buffalo face guards the four continents.

Dance of the Four Stags (Sha Tsam)

A dance that depicts Guru Rinpoche subduing the God of Wind who is believed to have created unhappiness on earth. Dancers dress as stags in yellow knee length dress and masks of the deer. The stag represents the mount of the God.

Dance of the Judgement of the Dead (Raksha Mangcham)

This dance is based on the Bardo (Book of the Dead). When beings die they wander in an intermediate state known as the bardo. They cross the bardo to meet their judgement by the Lord of Death. Also present is the white god and black demon who have been with every being from birth. The dance is like a play which depicts the judgement of a sinner and a virtuous man who goes to heaven.  The rakshas are the helpers of the Lord of Death.

Dance of the Drums from Dramitse (Dramitse Nga Cham)

A dance inspired in meditation. The dance is a vision of Guru Rinpoche and his celestial palace, Zangdopelri. Here, Guru’s attendants are transformed into hundreds of peaceful and terrifying deities. The dance originated in Dramitse Monastery in eastern Bhutan and is considered a Bhutanese heritage.

Day 5:

The great thangkha (thongdrel) is shown early in the morning followed by the Shugdrel ceremony.

Dance of the Heroes (Pacham)

A dance to lead believers in the human world into the presence of Guru Rinpoche.

Dance of the Ging and Tsholing

Guru Rinpoche initiated this dance during the consecration of the ancient Samye Monastery in Tibet. The dance is a purification ceremony. People whistle to chase away bad spirits. The ging, dressed in orange skirts and a terrifying mask, use their drumsticks to hit everyone on the head to drive out impurity. The tsoling represent protectors of the religion and are dressed in long colourful dresses and terrifying masks.

Dance of the Eight Manifestations of Guru Rinpoche (Guru Tshen Gye)

This dance is one of the highlights for Buddhist practitioners. The Guru appears in eight different forms in a dance that is also a play.

Dance of the Sixteen Fairies

After all eight manifestations appear, 16 fairies sing and perform two dances in front of the Guru. The fairies are Goddesses of Offerings who perform a dance to bring happiness. They are dressed in brocade dresses with carved bone ornaments. After these final songs, the manifestations go out in a long procession.

Religious Song (Chhoeshay)

This commemorates the opening of the gateway to the pilgrimage site of Tsari in eastern Tibet by the founder of the Drukpa School of Buddhism, Tsangpa Jarey.