The former capital of Bhutan, Punakha hosts one of the country’s largest and most important tsechu festivals in March. The fort itself is also one of the must-see attractions of this former hermit kingdom.
Although Punakha ceased being the capital of Bhutan in 1955, it remains arguably the cultural heart of the country.
Pungthang Dewachen Phodrang (Palace of Great Happiness) or Punakha Dzong was constructed in 1637, and is probably Bhutan's finest.
Bhutan's annual tsechu (festival) held around the country are a window into its soul.
And like the dzong which hosts it, Punakha's tsechu is the country's biggest and maybe best.
It was much more about good luck than good timing that we were able to witness it.
People come from all over the country. These colourful lasses from the Layap ethnic group came from the very far east.
Bhutanese are forbidden by law from entering any dzong in anything other than traditional dress.
Although the young ones might pimp it up a bit.
People arrive early to grab the best vantage points up close.
Dances, presentations and performance take place in the main square, where people sit on mats 10 rows deep.
Others stand or sit around the edge of the courtyard.
As a foreigner, you'll likely understand little of the performances, but they are colourful and lively.
Musicians and dancers perform throughout the day in the square bound by the hall and other buildings.
Seated on a throne in a mask is, I believe, a man representing the founder of Punakha...but don't quote me.
This team of "astaras" are somewhat akin to court jesters. They run throughout the fort, in and out of performances, and accost spectators in the crowds.
Zhana Ngacham, or black hat/head dance is one of the day's more colourful dances.
It combines "zhana" (black hats) and "ngacham" (small drums), and is a tantric practice, symbolizing the liberation of beings and the victory of good over evil.
Ceremonies begin in the morning and run to late afternoon. People come and go, although those with the front row seats tend to stay.
Taking a break from the festivities, wandering through the crowd lands some great candid shots.
A second courtyard between the fort's two main buildings is an excellent spot to catch performers after they leave the stage.
And as Bhutanese must, by law, wear traditional dress here, there is no shortage of colour.
Bhutan also mandates tours for foreign visitors- no picking up a visa and doing it yourself.
We found this quite isolating, like we were cut off from normal life, by being in a car with a guide.
The Punakha tsechu was a rare opportunity to mingle with the locals. While language was of course a barrier, folks were generally pleased to have their picture taken.
We did witness some appalling tourist behavior, people going the long lense and snapping away without asking. But you don't get a smile like these that way.
Drametse Ngacham ("mask dance of the drums from Drametse") has its origins in eastern Bhutan, over 5 centuries ago, but has been performed across the country for over 150 years.
The vibrant performance features sixteen masked male dancers wearing monastic robes and masks of animals both real and mythical, and ten musicians.
One of the final performances of the day was the Shawa Shachi-dance of stag and hound, featuring masked dancers in colourful, swirling dress.
The dance-drama consists of two main chapters, usually performed over two days with each chapter lasting up to two hours.
This dance represents the conversion of a hunter named Gonpo Dorji to Buddhism by the great saint Jetsun Milarepa.
By the middle of our trip, I was already tuning out to the long explanations of each monastery's history and significance.
Given the substantial cost of a visit to Bhutan, it is worth timing a trip to take in at least one tsechu festival. It will probably be the highlight of the trip.