From cranes to conservation problems
Winter in Phobjikha valley brings different experiences. The space becomes quieter, fewer tourists, and the pace of life slows down. Everyday images appear more clearly: livestock grazing in the field, children sitting behind trucks waving when passing by.
The silence is only broken when the call of the black-necked cranes echoes. This bird usually appears in flocks, foraging in the fields and swamps in the valley. When there is movement, the whole flock simultaneously spreads their wings to fly up, then quickly descends at a further distance.
Black-necked cranes are considered a symbol of longevity and peace in Bhutanese culture. Every year, from the end of October, they leave the Tibetan plateau to avoid the harsh winter, flying back to Bhutan to hide. The vast swamp area of Phobjikha valley is one of the most important stops.
To protect this bird, many measures have been implemented in the area. The Black Crane Education Center managed by the Royal Society for Conservation of Nature (RSPN) allows monitoring and studying their behaviors. The Phobjikha sanctuary is not only for cranes but also protects many other vulnerable animals.
Conservation measures are implemented synchronously, from undergrounding power lines to avoid collisions with birds, managing waste, to organizing education programs for local communities. In addition, ecotourism and homestay models are also being developed in the direction of reducing environmental impact.
A notable activity is the Black Crane Festival, held in November every year. The festival features traditional dances combined with conservation propaganda. According to winter counting data 2024 - 2025, the number of recorded cranes reached the highest level ever.
Currently, everyone understands why it is necessary to conserve black-necked crane," naturalist Karma Lodhen Wangmo said.
However, new challenges are also emerging. The development of tourism and the increasing use of chemicals in agriculture are putting pressure on the cranes' habitat. The problem is how to maintain economic activity without affecting the ecosystem.
The story of preservation is also reflected in cultural life. In Bhutan's capital Thimphu, the image of black cranes is included in handicraft weaving products. Some collections use bird sounds to create patterns, combined with natural dyes, contributing to maintaining traditional crafts.
Preserving and conserving culture
Besides nature, Bhutan is facing the requirement to preserve cultural heritage in the modern context. Located between China and India, this country chooses its own development path, focusing on balance and social welfare.
Based on the philosophy of National Total Happiness, Bhutan pursues responsible growth, maintaining more than 70% of its forest area and is a country with negative carbon emissions.
However, the modernization process also entails changes in life. Young people are increasingly exposed to international cultural trends, while some traditional skills are at risk of fading away.
In that context, the museum system is considered an important tool to preserve and transmit heritage. Bhutan is implementing programs to innovate the role of museums, turning them into cultural living spaces instead of just display places.
Ms. Tshering Uden Penjor - Director of the museum department of the Dzongkha Department of Culture and Development, said: "Many Bhutanese still think museums are places for tourists, but we also want local people to care and cherish our heritage.
At the Bhutanese National Museum in Paro, an upgrade program is underway. The museum plans to add outdoor performance spaces and modern presentation forms, including digital exhibitions and 3D technology.
In Trongsa district, some new ideas are also being implemented at the Royal Heritage Museum. The surrounding forest space is integrated into the sightseeing route, combining sound experiences about migratory birds, in order to link nature with cultural education.
An important goal is to attract local people, especially young people. Education programs, youth embassy networks and community activities are being implemented to increase engagement with heritage.
We want young people to come to these spaces, participate in creativity and contribute to society," Ms. Penjor said.
In addition, artists and artisans are also encouraged to participate in museum spaces. On-site cooperation, exhibition and creation programs help connect traditional art with modern life.
Artist Pema Choejay, 40 years old, brings Bhutanese folk and natural culture motifs and materials into paintings about mountains, life and Buddhism. He currently lives in Paro, where he runs a thangka painting space - a painting hanging in temples and Buddhist worship spaces in Tibet, a unique form of Buddhist art.
He believes that even young Bhutanese people living abroad do not always fully understand the meaning of art and traditional crafts. In the context of artificial intelligence and mass production development, maintaining these values becomes even more necessary.
