LUNANA: A YAK IN THE CLASSROOM

Bhutan, 2019, 110 minutes, Colour.

Sherab Dorji, Ugyen Norbu Lhendup, Kelden Lhamo Gurung, Pem Sam.

Directed by Pawo Choyninng Dorji.

Have we seen any films from Bhutan? In the late 90s, there was the popular film, The Cup (with Australian connections). In fact, Lunana has some Australian connections and some scenes in Sydney. (A recommendation for those interested, Wikipedia has an entry with a list of all films from Bhutan in alphabetical order with the year of release.)

Yes, at about the 60^th minute of the running time, a big black yak, Norbu by name, does take his place in the classroom and settles there, out of the cold, supply of grass to eat, supplying dung for necessary fires, serving as a reality check as well as a symbol. But, more of that later.

Very few of us are likely to visit Bhutan, high mountains, surrounded by China and India. So, apart from National Geographic documentaries, here is a wonderful opportunity – to see something of life in the capital city, Thimpu, a lot of the modern 21^st-century there, social media, music and clubs, the influence of the West, Hollywood references… But, some traditional elderly people. The film also offers the opportunity to visit the countryside, the majestic mountain scenery, forests and rivers, and one of the most remote villages and schools in the world, up in the mountains, Lunana.

The way we visit is by accompanying, but being invited to identify with, the central character, a young man, a government teacher on a five-year contract, Ugyen, whose dream is to migrate to Australia, already setting in process his Visa application. He does not want to be a teacher. He wants to be a singer.

Ugyen is played by Sherab Dorji, his only films so far (as is the case with the rest of the cast, many of whom come from the high mountains). Ugyen is, reluctantly, appointed to Lunana, an eight day journey from the capital. We share his reluctant journey, at first by bus, but then on foot, camping out, the touch of the primitive, but his listening to his music app. He is met by two yak-herders, courteous as are all the members of the village, respecting the ancient religious traditions, Ugyen bypassing them, a secular 21^st-century type.

Everything in the village is primitive, outside toilet (though the yak-herders have brought him toilet paper rather than local leaves), a difficult fire, needing yak dung cakes to get it started, and practically nothing in the rather open classroom. He is instantly ready to go back!

But, we have already realised that this is one of those films that reminds us that 21^st-century Western-style, self-preoccupied hedonism, lack of awareness of those less privileged, needs to be challenged. There is more to life, we need to respond to those who are needy. The children are nice, attentive – and Ugyen postpones his departure. The locals make a blackboard and chalk for him, lessons improve, there is singing, his friend from the capital sends a box full of resources and a new ball to play with, time passes, the children respond, the local chief is supportive, there is a charming young woman, a singer, who suggests that Ugyen may have been a yak in a previous life, a creature who is very dependent – and it is she who urges the yak in the classroom.

Winter comes. Will he leave? Will he stay? What about Australia? All these questions are answered – but, a touch of the harmless spoiler, he finds himself in Sydney singing at a club, the self-preoccupied somewhat hedonistic young people do not listen to him. He sings instead one of his own songs… And that is where the screenplay leaves us, to make up our own minds about what we Think Is decisions about his future will be.

A humanistic film with social conscience, with charm, and with challenge to altruism.

1. A film from Bhutan? Audience awareness of the country, its culture?
2. An opportunity for an audience to visit Bhutan, the capital, city life and people, Asian influences, Western influences? A visit to the vast countryside, the track to the mountain village, forests, rivers? The remote village, the high altitude, the buildings, the way of life?
3. The musical score, the Western songs, the traditional songs?
4. 21^st-century culture in Asia, the traditions, the secularism of the capital, lifestyle, the different generations, nightclubs, dress, Hollywood references? The contrast with the yak herders, coming down from the mountain village, the halfway point, buying essentials, mod cons for the teacher? The simple way of life in the mountains, herding, cooking, crops in the fields, the children? The need for teaching? The teacher “touching the future”?
5. Ugyen and his story, his background, the death of his parents, living with his grandmother, tensions with her, yet his love for her and missing her in the mountains? Working for the government, teacher training, his contract, for years, not wanting to teach, the brochure on Australia, setting the Visa application in motion? His hopes? Life in the city, friends, girlfriend, modern, phones, social media, music, his singing?
6. The interview, the official, sending him to the mountains? His farewell, his grandmother, his good friend working on the Visa? The bus, listening to the music, reaching the halfway point, meeting the yak herders?
7. The trek, the mountains, his being weary, the camping, days and nights, the ritual at the mountain pass, the local religions, respect for the ancestors and the powers? His being totally secular?
8. Arrival at the village, the leader and the people there to meet him, the two hours walk? His first impressions of the village, his room, basic, the toilet, outside, about toilet paper and leaves, frugal? The classroom, no blackboard, the trunk with his predecessors teaching aids? His not wanting to be there, wanting to return home?
9. The class captain, waking him up, going to the class, the national anthem, the flag, loyalty to the King? The class, the names, hopes? Dismissing the class, going to the mountains, the encounter with Soldan, her song? The leader visiting him, the conversations? His story, singer, the death of his wife, stopping singing? The yak herders, meeting the wives? The class captain, her alcoholic father?
10. The second class, the children’s names, the paper, the pencils, the maths tables, later lessons, English words, his sending down to his friends, the resources, the posters, using the traditional paper from his windows when paper ran out? The response of the children, the play, the new ball? Outside, singing? The bonding between teacher and students?
11. Soldan, the stories about the yaks, the Buffalo and the yak, Soldan suggesting that the teacher was something like a yak, in a previous life, the literal yak in the classroom, Norbu, settling in, against the cold, the importance of yak dung, his having to learn how to light a fire?
12. Time passing, his becoming part of the village, winter coming, his decision about leaving, the leader, the guides, ready, his packing, departure, Soldan and the song, the Farewell? Going down the mountain?
13. The news of his visa, the final scenes in Australia, the club, just like the club in Bhutan, not listening to his singing, his paws, attention, singing the local song, the effect on him, and film leaving it to the audience to decide what his final decision would be?