प्लासि बुरेया अल्केमि महलय्

 राजेन मानन्धर

निभाः क्यातुसेच्वं । अगस्टया सिचुगु फसं जिमित कुचुकुचु नकःवयेधुंकल । ज्यःनां यानाच्वँतले थौं जिपिं वनेगु रहस्यमय थाय्या बारे खासखुस चर्चा जुयाच्वन । फ्रान्स जक मखु मेमेगु देय्यापिं मनूत जिमिगु पुचलय् । अन वना धाःपिं सुं मदु, खालि जिं अथे ब्वनातया, थथे ब्वनातया धाइपिं जक । दक्व किताबी ज्ञान इउँवयाच्वंपिं जक । किताबय् खंगु आखः आः उमिगु मिखाय् न्हयःने हे प्याखं हूवयेत्यंगु दु ।

फ्रान्सया ग्रेजिल्योंया महललय् एस्पेरान्तोया विशेष कक्षाय् ब्वतिकायेत थी थी देसं वःपिं दक्व । जि छम्ह जक नेपाःमि अन । थौं २०१२ अगष्टया ६ ।

ज्यःनां सिधयेवं जिमिगु गाडी वन प्लसीबुरेया अल्केमि महल (Château du Plessis Bourre el’alchimie) पाखे । थौं ला जिपिं १७म्ह दु । गाडीइ जिमि गाइड ज्याकलिन नापं लाःगुलिं जिपिं वनेत्यनागु थाय् वा भचा भचा जानकारी कायेखन । अद्भुत, रहस्यमय, लाक्षणीक व प्रतिकात्मक अलंकारं छाय्पियातःगु व महलया ऐतिहासिक जक मखु, झीगु भासं धायेगु खःसा बोक्सी विद्याया केन्द्र नं खः हँ । म्ह म्हि हे झसंग वंक कनाहल वं । जि छकलं हे ह्यारि पोटरया बोक्सी विद्या सयेकेगु स्कुलय् थ्यन । जि नं आः च्वाफिइ फ्यतुनाः संसार चाःहिले मास्ति वल । व हे च्वाफिइ च्वनाः जि नं छकः नेपाः वना वयेथें जुयवल जितः । पतिंचाय् मत च्याकाः गथांमुगःचा माःवनेथें जुयावल जितः ।

थ्यन, दुहाँ वनेत १० यूरोया पुइँ हायेमाः । बांलाःगु अले स्वये बहगु जुयाः ला काल जुइ नि । झीथाय् व पुलिस व आर्मिया ततःग्वःगु गाडिं लँजुवातय्त थातामाथा याइगु हनुमानध्वाखाय् वनेत अले लँय् ध्यध्यपनाः सामान मिउवइपिन्त सामना यायेत ला न्हय्सः पुलेमाः धाःसा थनया थ्व सुन्दर पक्षयात वालास्वयेत म्वाःलीगु जुइफइमखु । अले हानं उलिमछि ध्यबा पुलेधुंकाः नं सेनातय् जा थुयाः नयेजिउथाय् पर्यटकतय्त नो इन्ट्रीया बोर्डतयाः दुतमकाइथाय् नं ला मदु जुइ नि ।

फोटोफिटो कायेगु ज्या ला जुयाच्वन । तर लँय्निसें जायावःगु कौतुहलताया निदान गन व गबले? थःत तबाय्त पिइका तयेमफुत ।

माइन ए ल्वा डिपार्टमेन्टया एक्वील कम्यूनय् अवस्थित थ्व महल जुजु लुइ झिंछम्हम्हस्या सल्लाहकार व अर्थमन्त्री झंबुरें सन् १४६८ निसें १४७२ दुने दयेकूगु जुयाच्वन । थ्व महल सन् १९११य् रिलेसाउट दि डालमाटीया ल्हातिइ लाःवनेवं थुकिया संरक्षणन्ह्यात । तर नं न्ह्यथनेमाःगु खँ ला छु धाःसा झिंन्यासःदँ पुलांगु थ्व महलया पिनेया स्वरुप थौंतक नं जिर्णोद्धार यायेम्वाःनि । सर्बसाधारण मनूत वयेदुसां थ्व थौं तक नं निजी स्वामित्वय् । न्ह्यःनं स्वयेबलय् स्वतजाःगु, हाकुगु औसत छेँय् दइगु स्लेटया पा अले जवंखवं त्याःचिंगु धरहरा दूगु व खरानीरंगया व महल आकर्षक खनेदु । सिउपिन्सं अन धयाच्वन — थ्व थाय्या ऐतिहासिक महत्व दूगु अले सुन्दर नं जूगुलिं थन थी थी देय्या नां दंगु फिल्मया शुटिङ नं जूगु दु हँ ।

पलख पियेवं जिमि गाइड वल । ल्हातिइ ८ इन्ची ति तःहाकःगु पुलांगु ताःचा छनछन संकाः नीनिदँ ति दुम्ह हिसिचा दुम्ह मय्जुं दक्वस्या ध्यान सालाकाल । जि जक मखु यक्वसित वयागु फ्रेन्च भासं कनाच्वंगु व महलया इतिहासं स्वयाः वयागु ल्वःवनापुसेच्वंगु म्हगः जक मखु, छिनछिनय् हिलीगु वयागु ल्हाः व म्हया मुद्रां सालाच्वन ।

विशाल प्यकुंलाःगु पुखूया दथुइ दयेकातःगु थ्व १५औं शताब्दीया मास्टरपीस महलय् वनेत दथुइ च्वंगु ताँपु पारयानाः वनेमाः । पुखू धइगु हे सुरक्षा । काचाक्क गनं नं सुं दुश्मन वयेमफइगु जुयाः हे उमि थःत पुखूया दथुइ सुरक्षित तायेकीगु जुइ । ताँपु नं क्वचाये न्ह्यः छकूचा सिँयागु मेगु ताँपु दु । मालकि मालकि व ताँपु जुयाबी, म्वालकि म्वालकि ध्वाखाया खापा जुयाबी — थज्याःगु ताँयात अन पों बास्कुलां (pont basculant वा अंग्रेजी भासं ड्रब्रिज drawbridge) धाइ । चसीचाम्ह व गाइड मय्जु मफु मफु व ताँ आः नं सञ्चालनय् वःनि धकाः क्यनेत सिखः ज्वनाः साल, जिपिं मध्ये फुपिं निम्हस्वम्हस्या नं ग्वहालि याः बलय् ध्वाखां पिने थसः पानाच्वंगु ताँ क्वाराक्वारा सनाहल ।

दुने चुकय् प्यतँजागू छेँ स्वखें घेरेयानातःगु दु । अनया अंगः, अंगलय् खानातःगु किपा आदि ला महत्वपूर्ण व सुन्दर जुहेजुल । झ्याःत ततःपाः (अन अक्सर महलय् ततःपाःगु झ्याः दइमखु । उकियात सुरक्षाया दृष्टिकोणं पाय्छि मजू धाइ) । उकिसं अनया गार्डत च्वनीगु धयातःगु छकू क्वथा थ्व महलया नुगःचु । थ्व महल हे थनया बँय्, अंगलय् व विषेशयाना धलिमय् च्वयातःगु रहस्यमय चित्रया कारण विश्वय् नांजाः । चित्रत नं स्वस्वं हे ख्वाःपा हिलावंथें — गबलें छु थें गबलें छु थें । गुम्ह मस्त थेंच्वं, गुम्ह काल्पनिक जनावरत थेंच्वं ।

थ्व महल आः नं सुयागुं निजी सम्पत्ति जुगुलिं थन गुगुं कथंया फोटो कायेमजिउ धकाः ला धयातःगु खः । तर दक्वसिया ल्हातिइ हे धयाथें मोबाइल वा क्यामेरा दु । पतिंचा सुम्क च्वनेमफु, कितिकिति सः वयाच्वन । दक्वस्या अनया हरेक अंगः, कुंचा, झ्याः, धलिंया किपा कयायंकेगु मनसुवा जिउसां मजिउसां पुवनाच्वन ।

रहस्यमय विद्वान झंबुरेया सुन्दर रचना — थुकियात संकेतिक भासं च्वयातःगु चित्र धाइ, अथवा थुकी दुने चिन्तामणि र अमृतया रहस्य सुलाच्वंगु दु धाइ — थ्व हे खः गुकिं मध्ययुगया शक्ति व रेनेसांयुगया सुन्दरतायात ल्वाकछ्याइ । थ्यंमथ्यं ८०ताजि स्वां, सिमा, वनजंगल, जनावर अले मनूया जादुइ चित्रण — थनया सःसिउपिं, वा धाये अबलय्या सिद्ध मनूतय्सं थःगु अध्ययनया उच्चतम विन्दुइ थ्यंकाः गुगु ज्ञान हासिलयाःगु खः उकियात गुप्त व सांकेतिक भासं च्वयाः लिपाया पुस्तायात हस्तान्तरण यानाथिकल । तर लिपाया पुस्तां तारिफ जक यायेसयेकल, कायेमफुत । पाय्छि झी नेवाःतय्गु यक्व धयाथें परम्परागत कला, शीप व ज्ञान थें ।

अल्केमी विज्ञान मखु । तर अन जुया वयाच्वंगु वैज्ञानिक प्रयोग, अनुसन्धान व आविष्कारयात सलंसः दँ तक चुनौती बियाच्वन । तन्त्र मन्त्र झीगु लागि तःधंगु खँ मदु । जामन गुभाजुया तन्त्रया बाखं झीसं मचाबलय् न्यनावयाच्वना । कनेगु खँ झीके मदुगु हे जा मखु तर उकियात मचाबाखंया मिखां बाहेक मेगु अथ उकी दुवालेगु झीके फुर्सद मदयाच्वन । झीत अन्धविश्वासं त्वःतल धाःसा अले थःगु पुर्खाया उपलब्धियात द्यः धकाः जाकिं कयेकेगु व कपाः दिकाः भागि जक यायेगु त्वःताः अध्ययन अनुसन्धान यात धाःसा कमसेकम स्वयम्भूया शान्तिपुलिइ दुने थज्याःगु रहस्यया भण्डार दु जुइ, उकिया अध्ययन यायेगु अले उकिया ज्ञान नेवाः, नेपालीत जक मखु विश्वय् हे क्यनेगु शक्ति झीके वइ ।

“जिं थ्व चित्रया बारे न्ह्याक्व धाःसां अपूर्ण हे जुइ । वंगु ५०० दँ निसें थ्व चित्रयात उल्था, ब्याख्या यायेत अले थुकिया पाखें लाभ कायेत यक्व मनूत लगे जुयाच्वंगु दु । जुया नं च्वनीतिनि जुइ,” गाइड मय्जुं थुलि धयाः रहस्यया धकिं मचायेकुसें जिमित मेथाय् यंकल ।

अनं जिपिं व महलया लाइब्रेरी, द्यनेगु क्वथा व च्यापेल वा प्रार्थना गृहलय् पलख ई बिकाः गुइँगुइँनीगु स्वहाने जुयाः पिहाँ वया ।

पिनेया सिचुगु फसं जिमित न्यन — “नाप लानावयेधुन ला अल्केमियात?”

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The mask dance of Pachali Bhairava of the Newars

Razen Manandhar

1. Background
Wearing a mask and dancing have been an important part of human civilization since ancient times. The use of masks at the time of performance of rituals as well the dance is seen in cultures of different parts of the world.
The use of masks in all places is the same — the mask helps the wearer to inherit the qualities of the deity or the superpower the mask represents. By wearing the mask, he feels a kind of transformation from a normal human being into the deity he is representing in the dance. He comes to a stage of trance and performs what seems unnatural for a normal being. According to Paul Robear, the President and Executive Director of the Cuyamungue Institute, people have been using the mask in shamanic tradition, while the earliest found mask could be 9,000 years old.
The tradition of mask dances is widespread. Still, some of the noteworthy traditions of mask dances are found in Bhutan, Indonesia, Ivory Coast (West Africa) and Ancient Greece. India’s Chhau Dance (from West Bengal, Jharkhand, and Odisha), Kathakali and Theyyam (from Kerala), Gambira Dance (from West Bengal) and Cham Dance (from Ladakh and Sikkim) use a variety of masks in the dance. Korean traditional mask dance drama, namely, Talchum, has been inscribed on the Representative List of the Intangible Cultural Heritage of Humanity of UNESCO in 2022.

2. Mask dances of Nepal
Nepal is a country rich in natural and cultural diversity. When we talk about cultural diversity, we come to note that mask dances are an important part of its intangible heritage. These dances are parts of the history, culture and art. They are often performed during religious festivals and ceremonies, and they also have spiritual connotations. The Newars are the ethnic people of the Kathmandu Valley, who have been practising mask dances in Nepal from time immemorial.
The Newar dancers perform a series of energetic movements, which are accompanied by loud music during special occasions. In most of the dances, the dancers remain in the stage of trance and manifest some supernatural powers as well. This is the reason people worship the deities as living deities during the dance.

3. Some major mask dances of the Newars.
The Newars are famous for their mask dances. There are scores of traditional, religious and historic mask dances of them. Some major mask dances are as it follows: Pachali Bhairava (Kathmandu), Bhadrakali (Kathmandu), Naradevi (Kathmandu), Devi or Dee (Kathmandu), Akash Bhairava or Sawabhaku (Kathmandu), Lakhe (Kathmandu), Kartik (Patan), Gana or Astamatrika (Patan), Rudrayani (Khokana), Harisiddhi (Jala), Bagh Bhairava, and Navadurga (Bhaktapur), Mahakali (Thimi), Bhairava (Thimi), Nil Barahi (Bode), Bramhayani (Chitlang), Bajrabarahi (Tistung), Bhairava (Pokhara). Among them, the dances of Pachali Bhairava, Bhadrakali, Naradevi, Akash Bhairava, Astamatrika, Rudrayani, Bagh Bhairava, Navadurga and Bajrabarahi are quite similar. They have similar characters with some minor variations. Unfortunately, many of the dances have been discontinued amid modernization and lack of support from the government.
This article will focus on the Pachali Bhairava Dance, which is officially called “ Barha Barse Pachali Bhairav Khadga Siddhi Jatra” and “Gathu Pyakhan” colloquially, that takes place once in 12 years and is performed in various localities of the Kathmandu Valley around 25 times in the period of around 10 months.

4. Philosophy
The dance is based on the unique and prehistoric philosophy of the Newars — of worshipping grandfathers and grandmothers. Newars are basically worshippers of their ancestors; Aja and Aji (grandfathers and grandmothers) have been their prime deities. The Newars believe that the grandfathers and grandmothers were simply human beings who later turned into deities.

Before learning about other established “religions”, they have been practising this worshipping for thousands of years. It seems, their deity grandfather and grandmother got Hindu or Sanskritized names Bhairava and Mahakali etc. quite later. Bhairava is in fact the wrathful aspect of the Shiva, the destroyer. Interestingly, Newars are more the worshippers of Bhairava than Shiva. In fact, the cult of Bhairava, who loves mystic and tantric worshipping, including animal sacrifices, is very famous among the Hindu Newars. And this is the reason some researchers have called this a “cultic” dance.

In addition, the Hindu religion of Newars has deities which found in the Hindu pantheon but in different forms. While common Hindus worship Indra, Barah, Narayan, Kaumar, Rudra and Bramha etc, the Newars have them in feminine form, that is, they worship Indrayani, Barahi, Narayani, Kaumari, Rudrayani and Bramhayani etc. They are all protector goddesses; most of them are wrathful and bloodthirsty.
And dances like this are found in most of the Newar settlements. When they go out of the valley, they take away at least this dance with them or start their version of it over there.

5. Myths
There is no quite clear historical documents to prove the making of this dance. It is in fact related to a shrine of Pachali Bhairav, located at Teku, by the bank of the river Bagmati. Now, an interesting myth reveals how this deity Pachali Bhairava came to live in that shrine.
The legend has it that Pachali Bhairavs lived in Pharping with his family. Some say Pachali is the name of one such sovereign who ruled from Pharping village near Chobhar Gorge. It is believed that he was in love with a Naini ( said to be a butcher’s daughter) who lived near Teku. Bhairava used to visit her by evening in human guise and stayed all night till dawn to fly to Kashi (India) where takes a purifying dip before returning to his kingdom.
The lady’s inquisitive neighbours inquired her about the regular visitor. Because the neighbours compelled, she finally pleaded with him to give his introduction. Bhairava tried to eschew it but he was obliged to show her his real face. Before coming to his real appearance, he gave her some rice grains and said, “After seeing me, throw this rice at me and I will become normal. Don’t be afraid.”
Bhairava came up with a Hercules-like size, stretching from heaven to hell. Terrified, the lady ran away with the rice grains in her hand. Bhairava followed her with a feeble hope that she would bring his guise back, just be disappointed. It became a bright morning and he had to hide himself in a haystack near the Bagmati river. The man is Pachali Bhairava and the woman is known as Ajima. Several variations of this myth can still be heard in the courtyards of aged local people.

6. History
The exact history of the temple of Pachali Bhairava as well as this dance is still unclear and confusing. Some manuscripts state that by the divine order, King Gunkama Deva (949 to 994 CE) built Kathmandu city by 10th century and established the temple of Pachali Bhairav. People believe that the dance was started as soon as Kathmandu was built.
However historical evidence does not match with these stories. A document has been found which states that a Dakshineshwar Mahadeva was established in the year 316 Nepal Era (equivalent to 1196 AD). This shrine is now assumed to be Pachali Bhairava. The dance started a bit later. The exact date of commencement of this dance is still unknown. According to historians, the early King Amar Malla (1530–1560 AD) started this festival (or it was there and he made it public).
This is undoubtedly one among a few ancient mask dances with stories and dramas being performed over long intervals of 12 years but still, it draws the attention of the Nepalis as well as tourists each occasion. The dance is still awaited in the capital. People feel happy to watch the auspices of charming dance being performed on dabuli (traditional stone paved stages), or by the roadside in front of the temple etc. Most of the time this dance is performed in open spaces because it needs larger ground coverage.

7. Preparation
Religious activities are the basis of this dance. Right from the beginning, the organizers as well as the would-be dancers engage themselves in appealing to the deities, transforming the divine power from the invisible deities to the dancers. This dance is particularly a responsibility of the Newars from Mali or Malakar community.
Most of the rituals are mystic, secret and tantric. Special guru guides all to follow the rituals and the practitioners are well warned that any missing and neglecting may cause fatal damage in the future. Obviously, the participants are all careful not to do anything that might offend the deities. For the whole year the “guthi”, that is troupe or the traditional organization with above 30 members, becomes busy to give continuity to this pre-historic art of performance.
On the night of Kamika Ekadashi (that is Sravana Krishna Ekadashi, approximately by the end of July), the chief leader and the chief priest of the guthi visit the Royal Palace with some balls of beetle nuts called “gway-dan”, for the invitation to participate on the first-day ritual of “Khadga Siddhi”. After this, the whole process of selection, training and rehearsal begins.
Then the characters are selected. All the to-be dancers pray for success at the temple of Pachali Bhairava. In most of the traditional Newari mask dances, the organizing committee or “guthi” is very strict. Each character has to play the same role for their whole life and they cannot deny this responsibility at any cost. This is why many dances have very old characters. However, the Pachali Bhairava dance has the freedom to play or to deny. The guru, or the chief trainer selects the candidates and decides who should play which role. The decision is based on the character’s age, interests and the guru’s choice. For example, the same person can play from a junior character to the protagonist’s role as he grows.
This is the start of their ‘divine life’ — the role names are given to them. For the whole period, they bathe every day, eat only ‘pure’ foods and they are called with their deity names; even the family members forget their actual names. In the society, they stand as “gods”.
A noted researcher of Newar culture, Gerard Toffin has stated — “Masked dances accompanied by music, chants and rituals are a key feature of Newar culture. Among them, dyaḥ pyākhã or gaṇa pyākhã, divine dances or god dramas, are basically of a religious nature and are part of the regular cult of supernatural deities.”

In the guthi house at Jyabahal, the elders repeat and the newcomers learn the dance steps as well as the mantras. The learning process is extremely difficult and the disciples must remember the power of God.
On Gathamuga, the “dyo salegu” is done and on Panchadan Charhe, the “dyo biyegu” is done. “Dyo brata” starts from Kaya Asthami. On the Mahasaptami, which is the seventh day of the Dashain, the would-be dancers go to five teerthasthals or particular shrines by the riverside to collect pure water. On this day, five major dancers take a bath, formulate the Dancing God Nrityanath into a water pot, hold puja at night and go to five different peeths (surrounding temple sites of the protecting Goddesses) in which five species are sacrificed.
On Mahasthami, the great secret puja is done overnight. On Mahanavami, the deities come down from the secret puja. On this day, the dancers go to the painter’s house to “steal away” the masks. Those masks are made and painted on every 12 years. The painters have to take the masks for special pujas before they leave them to be taken away.
On the day of Vijaya Dashami, the role-players of for the first time wear full dresses, and masks at Pachali Bhairava temple and proceed for the Khadga Siddhi.

8. Khadga Siddhi or the Exchange of the divine sword
Most of the mask dances of the Newars were established by the kings. And they remain patrons of the dances. Among others, this dance particularly should invite the king for a special ceremony of “Khadga Siddhi”. On the tenth day of Vijaya Dashami, the dancers with weapons, dazzling new dresses, heavy ornaments, garlands and of course the colourful masks, go to a station called “Bhutisaa” near the ancient palace of Hanumandhoka. There the king comes and exchanges his sword with the main character who is playing the role of Bhairava, amid the tumultuous night, encircled by various traditional musicians, and dancers as well as the loving king. It is said that this way, the king renews his divine power to rule the country and protect it from the enemies. Nepal became a federal republic on 28 May 2008 and afterwards, this tradition was discontinued. Instead, the ancient sword of King Gunakamadeva is brought and the Bhairava touches it.

9. Characters
This dance comprises 13 characters.
1. Pachali Bhairava : large mask, blue face, three eyes, black hair
2. Shweta Bhairava : white face, moustache, three eyes
3. Ajima or Kali : red face, three eyes, wrinkled face with points, red hair
4. Indrayani or Manamayju: orange face, orange dress, horizontal third eye
5. Barahi : red face, boar’s nose, red dress, three eyes, red hair
6. Narayani : green face, green dress, U-shape tika
7. Kaumari or Kumari : red face with marks, red dress, orange round tika
8. Rudrayani or Draupadi: white face, white dress, three eyes
9. Bramhayani : yellow face, yellow dress, U-shape tika
10. Ganesh : white face, white dress, three eyes
11. Singhini or Simbaa : white lion-faced, white dress, white hair
12. Byanghini or Dhumbaa : orange tiger-faced, red dress, white hair
13. Mahalaxmi: small orange face, three eyes (this deity is not included in dance)
Managing the whole organization, keeping the hierarchy of the characters, giving them due status and at the same time making them also work internally is a challenging task. Internal categorization of these characters is quite complicated. The characters are broadly categorized in three levels:
a) Adolescents: Ganesh, Singhini, Byanghini and Manmaiju.
b) Kitchen : Bramhayani, Rudrayani, Kumari and Narayani
c) Seniors : Bhairava, Ajima and Barahi

These groups are handled by three gurus as mentors. Khin (drum) guru controls Bhairava, Rudrayani, Singhini and Ganesha. Taa (Big cymbals) guru control Ajima, Kumari, Narayani and Indrayani. Baboo (small cymbals) guru controls Barahi, Bramhayani, Byanghini and Mahalaxmi. This is also a kind of family system. That is, each guru has the authority to choose the character for his cluster. Normally, all the characters are chosen below 40 years of age.
In fact, the same guthi has to conduct two separate dances — Pachali Bhairava and Lumari Bhadrakali — with minor variations at different times. The former has a male protagonist and in the latter, the female becomes a protagonist in the dance.

10. Series of Performances
Then the series of performances starts. Before they appear, Ganesh gives a black tika over the dancers’ foreheads and the masks. This makes them ready for the show. The first dance always goes to the residence of King Amar Malla (the Thaku jujoo) at Bhimsensthan. It is somehow the “grand rehearsal”. The regular performing stations are Makhan, Hanumandhoka, Janabahal, Lagan, Tokha, Maru, Jyabaha Dyo-chhen, Yala, Bichhe Bahal, Gophal, Hyumata, Naraa, Jyapu-tun (Musumbahal), Sankhu, Chakan Daboo, Wotu, Tehahal, Wonghal, Hanuman Dhoka (Nasal Chuka), Dalachhi, Brahma Tole (Shweta Bhairava), Jyabahal Dyochhen (Bida-khaa). After this the final show takes place.

11. The dance
Each performance lasts for two days and has around a dozen acts. These days, the dance starts on Friday afternoon and ends on Saturday afternoon. The ritual preparations begin in the morning. The locals of the area, where the dance is to take place visit the Dyo-chhen, with a big mass, including a variety of traditional drums. The masked role-players, preceded by the musicians, walk on the road with special movements. For the locals, they are indeed “walking gods”.
The series starts with a group dance. And Bhairava solo dance takes place. Then follow the dances of Ajima-Bhairava, Ajima-Bhairava-Barahi and many more. At the end, the Bhairava worships the Nawadurga and the session ends with a grand puja with animal sacrifices that come around midnight. The second day starts with the dance of Ganesha. Then follow the dances of Brahmayani, Rudrayani, Kumari, Narayani and Barahi. After that another round of Puja starts. Among them, Rudrayani is vegetarian. The performance of Sheweta Bhairava is optional; it needs special preparation for this performance. Moreover, the character of Mahalaxmi is not played by any character and her small mask is hung with a stick. It is believed that is she is played in the dance, she would seek human blood. The locals eagerly offer them rice grains, flowers and coins.
There are four steps — they are called “buluhu wanegu”, “bway wanegu”, “chudaya wanegu”, “manda chahilegu” and “chakuncha layegu”. These steps are organized in complicated ways in different characters’ roles. They have different postures, steps and roles in the group show. The dance conveys the superiority of their existence in the world and on the other hand they pay homage to the goddess Navadurga, represented by a water-filled copper pitcher. The climax of the dance is the mother goddess celebrating the victory by distributing rice wine to other characters during the dance.
Meantime, the comic interlude of Singhini and Byanghini adds a much lighter touch to the dance. While they dance, the audience is allowed to offer some donations to them. Some may just tease them by just showing the money and not giving. They are to be punished lightly in the middle of the stage. Some of their acts come with the narration from the guru’s side.
The dance is quite lengthy in today’s environment. The dance in which the dancers enliven mythologies with colourful masks and dresses, and rhythmic steps that activate along the hypnotizing traditional drums, cymbals and horns. The once-in-twelve-year event has religious, cultural as well as aesthetic angles to analyze.
The music has to start for the dance. It includes a two-sided drum, small cymbals, big cymbals and long metal horns. The musicians also are the trainers. The dancers greet each musician at the end of every scene.








12. Animal sacrifice
Right from the beginning of the preparation session, animal sacrifices take place in almost all major pujas. Chickens, geese, goats, sheep and buffalos are offered in the sacrifices. It is mandatory in all dance rounds. This is the part of the mystic tantric puja. And the characters are seen, in a trance, suckling blood from their veins. The organizers strictly prohibit the audience from taking pictures of the sacrifices. These days, people have some detachment from this practice and discussions are going on to discontinue this. But the organizers say this is wholly based on the tantric practice and any change in the process can be fatal to the dancers.

13. The end
After completing around two dozen performances, the special final performance takes place, probably in July. After a short period of dance, one among them throws some rice grains with tantric power on the body of the dancing characters and they suddenly fall unconscious. They are carried to the riverside where people conduct last rites. The characters are awakened; they pile up their masks on a pyre of wood. A special cremation takes place and the ashes are poured into the river. After four days, they all mourn the death of the masks and thus the whole series of twelve-year festivals ends.

14. Challenges
The time is changing. People have to live in a competitive society and every youth wants a career-oriented successful life. In this situation, nobody would like to “waste” their one year with masks, dances and unexplainable rules. This is wasted in two ways the involvement in the dance disturbs one’s studies or one cannot take a one-year year-long leave from the office and it has no future as it comes only once in 12 years. On top of all, most educated youths are going abroad for better opportunities. This is the reason, the dance organizers fear that it may discontinue next time as they are lacking young boys who are ready to sacrifice their one year in the name of preservation of culture in this modern society.
Secondly, the dance organizing team used to get a sufficient budget directly from the king’s palace when there was a monarchy. After the republican system was introduced, the government’s allocation of the budget for the dance has always been scanty and the team has to rely on local people’s contribution. In this way, a sense of anxiety has crept into the minds of the organizing gurus that the 500 or 1000-year-old intangible heritage of the Newars might end abruptly after a decade or two.

References:

· Interview with Bharat Mali, the spokesperson for the Jatra Byabasthapan Samiti for Nepa TV
Anderson, Mary M, The Festivals of Nepal (1971 AD). Calcutta: Rupa. Co.

· Basupasa, Kantipur (2053 BS). Kathmandu: Pasa Prakashan

· Divas, Prof. Tulsi (ed.), The Intangible Cultural Heritage of Nepal: Future Directions (2007 AD). Kathmandu: UNESCO Kathmandu Office.

· Majpuria, Trilok Chandra, Religions in Nepal (2008). Gwalior, M Devi.

· Manandhar San, Nepalmandalko Maulik Jatra Parampara (NS 1142). Kathmandu: Asthaganesh Publication.

· Mohan Koirala (ed.), Nepal Laghu Vishwakosh (2068 BS). Kathmandu: Nepal Pragya Pratishthan.

· Prajapati, Subhash Ram (ed.), The Masked Dances of Nepal (2006 AD). Thimi: Madhyapur Art Council

· Robear, Paul, Ancient Mask Dance Rituals — a worldwide phenomenon, https://www.cuyamungueinstitute.com/

· Sri Pachali Bhairav ya Sri Bhadralali Jhinidaya Khadgasiddhi Jatra (2081 BS). Kathmandu Sri Pachali Bhairab tatha Sro Bhadralali (Lumadhi) Ajimako 12 barshe Khadgasiddhi Jatra Guthi Byabasthapan Samiti.

· Toffin, Gérard, From Ritual to Theatre: Religious Drama of the Kathmandu Valley (1139 NS). Newa Prajna (Vol 1, No 3)

Published in “Smarika” of Sikkim Newar Guthi, Sikkim, India, November 2024.