Remembering Lain Singh Bangdel

Razen Manandhar

 

God is mean. He seldom gives both a brush and a pen to one person. And he further gave the zeal, mission and craft to make a platform to present both brush and pen. The only person in our context with all these charecteristics is none other than Lain Singh Bangdel, a character of his own, who passed away last week on the very auspicious day of Vijaya Dashami.

 

Ramchandra might have conquered the invincible Rawana on this day, but time proved itself more powerful than Ramachandra himself and snatched away the Gift for Nepal and made such a void here that will be more than hard to fill up.

 

He was born in Darjeeling, India in 1924 in a middle class family. His parents never had dreamed of making him an internationally renowned artist scholar. After spending his school days at Government High School of Darjeeling and a  District Borad Scholarship took him to Government Collage of Arts and Crafts and from where he was graduated in 1945.

 

But instead of returning home to fulfil his father's dream, he stayed in Kolkota and tried his luck now and then. He worked for several advertising agencies, got sacked for being "incompetent". More than art teachers, he was trained by failures that also made him ambitious and provoked him to set his goal.

 

His firm ambition to become an artist made him one-month-long voyage to London and move to France, his ultimate destination in 1952. Since he was there without any concrete programme, mountains of difficulties were obvious. He lived in outskirts, in poorly heated rooms and he had to walk around the city to sell his early paintings. For almost two decades, he remained truly "an artist" in Paris and London, where he learned much more than the techniques of making strokes on empty canvass.

 

The dice was cast in 1961 when artist Bangdel got an opportunity to be introduced to His Late Majesty King Mahendra. Panchyati System was quite new and His Majesty was in search of personalities, who could show Modern Nepal to the world from different angles. The four-year old Royal Nepal Academy needed some artists to showcase Nepal's art. Though Nepal had been a treasure of art and architecture for millennia, and contemporary art has entered Nepal much earlier than Bangdel was born in an Indian town, he was granted membership of the Academy by the king himself. Thus, luck had it that his working place became Nepal, the country his ancestors had left generations ago.

 

The time was Panchayati, when the king's decision was considered all in all. Being a king-nominated member of the Academy was just different in those days. His well-maintained relation with his late majesty as well as his expertise made him vice-chancellor in 1974 and again the first non-royal chancellor in 1979 and worked as the head of the academy till 1989. He was fortunate to be remain in the highly powerful organisation of the scholars, backed by the state itself, for almost all of the Panchayati period. This was also the most productive days of his life—series of painting exhibitions and book publications he brought in this period, followed by dozens of decorations, were his achievement as well as Nepal's. Most of his books were published from the Academy where as some were published abroad.

 

Right after coming to Nepal, he exhibited his semi abstract paintings at Saraswati Sadan. It was the time when Jadadish Samsher and Genendra Bahadur Amatya had come up with abstract works so it will be exaggeration to call him pioneer of "modern art" but his ones were more sharpened with the addition of European outlook. Making a position in Nepal's art areana, where most of the aritists were submissive, shy and unexposed to Western world was not difficult for him.  He thus became an icon of modern art, with his characteristic of matching green with soothing blue and composing figures with cubic applications.

 

Establishment of Nepal Art Circle is Bandels another side of contribution. Founded to exhibit replicas of European art today stands as a government aided institutions, of which he was secretary till his last day. A group of artists, New Artists' Ciercle today are following his path.

 

Bangdel was born to be an artist but his contribution to literature of Nepali language was not less remarkable. He had published  'Bishwa Katha Sangraha' before he left for London. His life in London, France and Spain gave the literature of Nepali some remarkable volumes in different genres. Students of literature today remember him for his books, mainly Spain ko Samjhana, Muluk Bahira, Maitighar, Langadako Sathi, Bishwa ka Chha Mahan Kalakar and Rembrandt.

 

An unfogettable part of his contribution to Nepal is his deep study in Nepal's stone scupture, mosty of the early age. Bangdel might never had imagined that his small valley is rich with uncountable stone sculptures, some dating as early as the first century BC. His delegent study and interpretation opened a new age of studying Nepal's cultural heritage, or he at least open the window to Nepalis, who often boast of their legacy. His research produced Prachin Nepali Murtikalako Itihas (1982), Ancient Sculptures of Nepal (1982,India) Stolen Images of Nepal (1989) and Inventry of Stone Sulptures of the Kathmandu Valley (1995) are some of his books.

 

Despite all, he was constantly isolated form Nepali artists' circles, criticised of misusing his power and also as being undemocrtic to juniors. Still, his contributions to Nepal, Nepal's art, heritage and literature will be remembered and Nepalis will have to wait for long till some able person holds mission and power to replace his vacuity.

The Kathmandu Post

Shopping for helicopters

By RAZEN MANANDHAR 

How on earth can I convince the government that this peace-loving country is in dire need of helicopters, and more helicopters. I quote those intelligent geographers who now say that Nepal’s geography is complicated? In fact, it is true. If you don’t believe it, then take a round in a helicopter and look from above, you see hills and mountains only. OK. I have no Nepal-ko-graph.

You may say: if we need so many things in this world, why are we talking about helicopters only? You may add if we already have a dozen or so of such flying objects, then why do we ask for more? 

Everybody knows that the situation of this country is changing — day by day. In the past we used helicopters to carry foodstuff to remote areas, to take every successive prime minister on supersonic tours around the country during election campaigns, and we even used them to shower flowers during auspicious occasions. But such purposes do not get much attention these days as other pressing needs have come up. 

Now we need some more sophisticated helicopters to carry dead bodies of our security personnel to the capital. It is not unfamiliar that soldiers die in wars. It is so disappointing that we can’t bring the bodies back to Kathmandu in time to cremate them at Aryaghat. 

The bodies of our soldiers lie in remote areas for days. They deserve a better treatment. After all, they die during "search and destroy" operations. Just imagine how long they had searched for terrorist hideouts and how they put up against all odds before attaining Veergati. We the intelligent citizens — the political leaders, government staff and social workers -- must do something to pay tribute to the brave soldiers. 

Incidents take place so often and we have only a few helicopters. And you know, the ministers make it a point to visit the site after every terrorist attack. We can’t say "no" to them because most of the ministers are from those areas and it is an opportunity for them to meet their voters. All the helicopters are "house-full" these days. 

We swear, we won’t let anyone misuse the fund. We have a glorious record of successful aircraft purchasing. It’s amazing the people have become so pessimist that they smell fishy whenever we talk about buying any vehicle. 

While going for shopping, we should see that the helicopters must not be like those which do not fly even after making sacrifices, just like the recently purchased Indian helicopters or the much-hyped night vision chopper that is gathering dust inside a hanger because its "crucial parts" are not available in the local market. 

March 19, 2002

https://www.indybay.org/newsitems/2002/03/19/1189341.php

Bhaktapur Durbar Square

Heritage tour

By Razen Manandhar

Whenever one talks about the monument conservation in Nepal, he or she names Bhaktapur Durbar Square as a model — the way of protecting it and cashing benefit of conservation — all has set an example for the country itself.

When Henry Oldfield visited Nepal in 1880, Bhaktapur was "largest and most costly of any in Nipal." And Merry Slusser justly writes in her book —"For the moment, at least, Bhakpapur remains one of the remarkable treasures of the Kathmandu Valley — indeed, of the globe."

The indigenous settlements developed a city in Bhaktapur long before the Lichhivis came into power in the fifth century, the historians hypothesize, though, a few Lichhivi inscriptions and architectural remains have so far been frond from there. Still, we have names of ancients palaces like Tripura and Yuthunium, though we can’t locate where they might have stood in the mediaeval Bhaktapur.

Some historians believe that Bhaktapur is the oldest royal palace of the valley. Still, the oldest found inscription of 594 AD shows that it was a Drung (or big town) called Khopring (the city is still called Khwapa in the local Newar language).

Chronicle Gopalraj Banshavali states that King Ananda Dev established Bhaktapur state in 1146 AD. The predominantly Hindu state was developed in the 12th century and different kings, who came to Bhaktapur’s throne after it became a separate state of the valley in 1482 AD. By the 15th century, the state of Bhaktapur was surrounded by strong walls and moats to secure it from unfriendly neighbours (the wall and city boundary have disappeared). It is "traditionally" divided into two parts — upper and lower — that can be traced in the annual festival of Bisket Jatra even today.

The last three kings Jitamitra Malla, Bhupatindra Malla and Ranajita Malla (1673-1769 AD) were among the kings who contributed the most to decorate the royal square, which we see today.

Not only the palace area, but the whole of the city is full of midaeval temples and residential houses. The stone or brick-paved streets, brick-made houses and temples — all equally decorated with smooth bricks, tiled roofs, carved windows and doors, wooden struts or columns with designs of deities and animals and topped with gilded pinnacles.

Today, the fifty-five window palace is the centre of the protected monument zone. The main palace used to stand elegantly with 99 courtyards but now it has only half a dozen to possess. Mulchowk (supposedly the oldest remaining part of the palace), Bhairav Chowk, Ita Chowk, malati Chowk, Siddhi Chowk, Kumari Chowk are some of them.

After undergoing numerous stages of renovations, it still represents the complicated and miraculous Newari architecture and excellent wood carving, and extraordinary wall paintings. However, it has lost its original spectacle after it was restored following the collapse during the earthquake of 1934. The palace is waiting for renovation and the locals say dirty games among the contractors is the reason behind the delay.

The Yakhseshwor Temple, the Statue of King Bhupatindra Malla, Golden Gate, Taleju Temple, The Golden Spout, The Big Bell, Chyasilin Mandap, Siddhi Laxmi Temple, Vatsala Templeand Chaturbramha Mahavihar are the major monuments at the Bhaktapur Durbar Square.

Along with this we cannot neglect other landmark monuments which lie outside the Durbar Square. These include Nyatapola Temple, Bhairavnath Temple, Dattatraya Temple, Bhimsen Temple, Salan Ganesh Temple, Tekhacho Barahi Temple, Wakupati Narayan Temple, Chhuma Ganesh Temple, Nawadurga Temple, Rudrayani Temple, Mahalaxmi Temple, Hanuman Temple and Kamal Binayak Temple. Apart from that, the Peakock Window and Tucchimala Terracota Window and Talako Potter Square are other spectacles of the historic city.

Lokeshwor Mahavihar, Jyetvarna Mahavihar, Akandasheel Mahavihar, Lumbavarna Mahavihar, Mangal Dharma Mahavihar, Indravarna Mahavihar, Dhimottar Mahavihar, Adipadma Mahavihar, Bishow Mahavihar, Parasannashil Mahavihar, Dipankar Mahavihar, Manjuvarna Mahavihar, Yangalvarna Mahavihar, Chaurvarna Mahavihar, Jetvanr Mahavihar (Tekhacho), Jaya Kirti Mahavihar, Sukravarna Mahavihar, Sukravarna Mahavihar (Kwachukhusi) and Tom Baha are all indispensable parts of the cultural heritage of the city of Bhaktapur.

In the Durwar Square itself, three separate museums, for paintings (in the main palace wing), metal-craft (Chikamapa Math) and woodcraft (in Pujari Math) are allocated.

The efforts of the Bhaktapur Municipality in conservation of the cultural heritage is always appreciable. Kamal Binayak Pond, Bahare Pond, Bharwacho Gate, Jagannath Temple, Shiva Parvati Temple, Chhuma Ganesh Temple, Chaurabahi Monstery and other renovations are some major projects the municipality carried out last year. Of course, the much-criticised entrance fee is the bedrock of the renovations. The only demand the citizens have is that the renovation should not be only toursm promotion-centred, all the city should benefit from the money, not only the streets whey the tourists walk around.

TKP 011230

20001023 Ancient monument under army protection

2000 10 23 Ancient monument under army protection

20000806बुंगद्यवं छ्वयाहःगु पौ

- रा. मानन्धर

साप हे यःपिं स्वनिगःया किजाकेहेँपिं,

सकल प्राणीया उद्धार जुइमा । स्वस्वं स्वनिगः नं थौं गनं गन थ्यंने धुंकल – साप हे बांलाः । थ्व काय् मियाः च्यः न्यायेगु नीतिं हे स्वनिगः थपायकसं मसां थें झः झः धाःगु थें जिं तायेकाच्वना । तःदँ दयेधुंकल छिकपिनिगु नामय् पौ च्वयेगु इच्छा यानाच्वनागु तर छु याये किलं नःगु जाकि, नवःगु नीलः व बासि प्यारा ननं न्ह्याब्लें प्वाः स्याः । बिचाः याइपिनि द्यः तंगु रिपोर्ट जक बिउवँवं लिमलाः, अले झारे याइम्ह गुरुजुया नं न्हिं न्हिं बाः काःवनेमाः, उकिं म्ह सुख मदयाः पौ तकं च्वये मलानाच्वन ।

छिकपिन्सं सि हे सिउ, थुगुसीया जिगु जात्रा गज्याःगु जात्रा जुल धकाः । जिगु नुगलय् स्यात जुइ, जि तम्वल जुइ धकाः भ्याः भचा हे चिउताः तयादीम्वाः । छिकपिन्सं जितः व लुँ चुइकाहइगु खुसिइ वायेयंकामदिउ – थ्व हे लाख का ।

जिं सिउ, थौंकन्हय् न्हापा थें मखयेधुंकल । न्हापा द्यःतय् निंतिं मनूत म्वाइ, आः मनूतय् निंतिं द्यःत धस्वानाच्वनेमाः । थौंकन्हयया मनूत साप लिमलाः । गुलिस्यां छेँ बुँ मियाः जापानय् जा थूवनेमाः, गुलिस्यां कलाः काय् ख्वयेकाः भारतय् भारा सिउवनेमाः । थ्व सुकूगंगु स्वनिगलं सुयातं छुं नकेमफुत । उकिं थः जिउ थम्हं स्वये हे माल ।

थथे हे जुयाः थुगुसिइ जिं यक्व न्हून्हूगु खँत नं स्वये खन – जिगु न्ह्यःने गथांमुगःचित छ्वालि क्यंगु नं खन, गुलां भोटो क्यंगु नं खन । म्वाना जक च्वंसा छु छु स्वये दइतिनि धाइगु धात्थें खः खनी । आः ख्वपयतय्सं व यमितयसं जितः सालायंकूगु स्वयेत नं तःदँ पिइमालीमखुत जुइ ।

भुलचुक धइगु न्ह्याम्हेस्यां जुइ । जिगु नं जुल जुइ । सिइकं चायेकं ला अथे हेपाः मजुया थें च्वं । शिवपुरीयात सेनापुरी दयेकूगुलिं सिमा मन्त, वा वयेके मफुत । छेँय् छेँय् डीपबोरिङ्ग यायेवं बागमति नं बागःचा जुल । यानां जिक्व ला वा वयेकागु हे खः । वा हे वयेकूसां तुकुचा खुसिया सिथय् नगरपालिकां दयेकेबियातःगु ग्वाः पसः दुन धकाः छिकपिं हे रिपोर्ट याः झाइ । आः जिं छु यायेगु?

छु धाये, द्यःया सर्बय् नइम्ह गुथि संस्थानं नं याःगु हे खः । न्हिं न्हिं सुथय् ९ बजे जुलकि तःबहालय् हाजिर याः वनेमाः उमि । धर्म धलय् कर्म कपालय् जूगुलिं ज्या याइपिं बाराहीत व यँवाःतय् नं थौंकन्हय् खः दयेके धालकि छाःकिलं ल्हातिइ छाइगु । दोष ठेक्कापट्टायागु नं मखु – सारा देश हे ठेक्कां चले जू, जिगु खः दयेकेगु चले मजुइ धइगु खँ मखु । आः ला जिगु जात्रा वलकि जि म्हय् जिउ मदु – ग्वःकः ग्वःकः द्यवं हे फयाकाःथें च्वंक बचय् जुइ धुन – न्ह्याबलें जुइ ला ?

नुगलय् च्वंम्ह द्यः लुमंकाः धयादिसा – जि थम्हं वये धकाः वयागु मखु, छिकपिन्सं हे वा वयेकेमाल धकाः आसामंनिसें छक्का पंजा यानाः हयादिल । आः ट्यांकरं लः हयाबिल धायेवं जितः लिथु हःम्ह भाःतं थें हेबायचबाय् यानादी मजिउगु खः । जितः थौं तक नं जिमि मां आसामया जनता व अनया उग्रवादीत म्हगसय् वयाः सःताच्वनी । छिकपिन्त जि म्वाःल सा म्वाःल धयादिसँ, अन जितः वा धयाच्वंपिं दनि । लँ खर्च जक बियादिसँ, जि थः हे वने । तर छिकपिन्सं जितः छ्वयादीमखु धइगु जिं बांलाक सिउ । जिगु थ्व ख्वाःपाःचा ब्वयाः छिकपिन्सं दच्छिया गुलि कमाइ यानादी धइगु लेखा समितिं मस्वःसां जिं स्वयाच्वनागु दु । धन्दा कयादीमते, छिकपिनिगु फ्वनाः नयेगु धौभ्यगःचा जुयाः जि थन हे च्वनाच्वने ।

अथेसां जिके छगू उपाय दु । नगरपालिकायात धयाः दँयदसं जिगु जात्रा न्यायेकेत छगू टेण्डर पिकयादिसँ । द्यः हयेग्, खः दयेकेगु, देय् चाःहीकेगु , जावलाभ्वय् न्यायेकेगु, भोटो क्यनेगु व लित यंकेगु ब्याक्कं ज्या व कम्पनीयात बियादिसँ । अले जात्रा ज्वःछि जूगु कमाइ बुंगया पान्जुत, बाराहीत, यँवाःत, क्रेन, बुलडोजर थुवाःतयत व नगरपालिकायात भागं थछि इनादिसँ । बरु थ्व टेण्डर नेवाःतयत मलाकुसे खयत बाय् मस्र्यातयत लाकूसा बांलाइ – छाय् धाःसा उमिगु ज्या क्वातु, इलय् नं सिधः व सत्ते सत्ते, जितः छुं हे म्वाः । गंगु प्यारा व प्लाष्टिकया स्वां दुसा गाः । व स्वयाः ला नखुइ थ्यने न्ह्यः जिगु म्ह जक कुचा मजूसां गाः ।

थौंयात थुलि हे, मेगु लिपा ।

बुंग द्यः ।

Published in Sandhya Times on 2000 08 06. Later in www.newanolinenews.com

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A sketch of Lumbini development

Pachali Bhairav's assembly and victory* celebration

Razen Manandhar

The legend has it that Pachali Bhairav lived in Pharping with his family. It is believed that he was in love with a butcher’s widow who lived near Teku. Bhairav used to visit her by evening in human guise and stayed till dawn to fly to Kashi he and take a purifying dip before returning to his kingdom.

 The widow's inquisitive neighbours inquired her about the regular visitor. Because the neighbours compelled, she finally pleaded him to give his introduction. Bhairav tried to eschew it put he was obliged to show her his real face. Before that, he gave her some rice grains and said, “Don’t be afraid. After seeing me, throw it at me and I will become normal.”

Bhairav came up with Hercules-like size, stretching from heaven to hell. Alarming, the woman ran away with the rice grains in her hand. Bhairav 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 Woman is known as Ajima and their love son is the giant three-eyed deity seated on Bet. He carries trident, hand-drum and wind bowl and wears a moon over hair bunch, a snake, a garland of human skulls, and elephant-skin robe around his giant body. The artists have depicted his image in metal, wood, stone as well as boiled rice for tantric representations. Pachali, derived from the system of Panchali, is one among his dozens of aspects formulated by tantrics of the Kathmandu valley.

By the divine order, King Gunkamdeva built the Kathmandu city by 10th century and established the temple of Pachali Bhairav. Bhairav came and promised that he would visit him every twelve years and exchange the double-edged sword so that the king could possess the divine strength. The exact date of the commencement of this dance is still unknown. Yet, it is believed that the early King Amar Malla (1538 - 1560 AD) started this festival (or made it public). Legends aside, this is undoubtedly one among a few ancient stories, dramas or operas being played after a long gap but still, drawing the Nepalis’ as well as tourists’ attention each time. Besides this, there are twelve-year- festivals with similar dances from Thecho, Shikali (or Khokna), Bhadrakali, Holchok and some others too.

The mask dance is still awaited in the capital. People feel happy to have seen the auspices of charming dance being performed at traditional stone paved stages (dabuli),  or by roadside in front of temple etc. For the whole year the troupe, members of a particular traditional organization with above 30 members called guthi, becomes busy to give continuity to this pre-historic art of performance. ,

Preparation

On the dark night of Asadh, the chief leader and the chief priest of the guthi visit the Royal Palace with four balls of beetle nuts called gue-dan, for His Majesty’s permission to star the rehearsal.

Then the characters are i selected. All the to-be-dancers pray for success at the temple of Pachali Bhairay. This is the start of their 'divine life’ - the role-names are given to them, For the whole period, they bathe every day and eat only 'pure' foods. In the guthi house at Jyabahal, the elders repeat and the newcomers (who are to replace their elder family members) learn the basic steps as well as the mantras.

Bekhaman Mali, one of the caretakers of the troupe, says that it is not enough but God helps them. He adds the learning process is extremely difficult and the disciples must remember the power of God. The protagonist’s role-player throws a feast at his home in the meantime and at midnight, secret puja is organised with animal sacrifices.

On the seventh day of Vijaya Dashami, the role-players of Bhairav, Ajima, Barahi, Kumari and Ganesh take 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 the ninth day, the masks are brought from a particular artists’ family and decorated at the peeth. The pujais followed by the procession of the dancers to the ancient Royal Palace.

 

Exchange of sword

On the tenth day of Vijaya Dashami, the dancers with weapons, dazzling new dresses, heavy ornaments, garlands and of course colourful masks, visit the ancient palace and exchange their swords with the king. This takes place amid the tumultuous night, encircled by various traditional musicians, dancers as well as the loving king.

 

Performance

Then the series start. Before they appear, Ganesh gives black tika over the dancers’ foreheads and the masks. This makes them ready for the show. The first chance always goes to the residents of Bhimsensthan where King Amar Malla (the Thaku jujoo) used to reside. The regular performing stations are Bhimsensthan, Jyabahal, Hanuman Dhoka, Wotu, Naxal, Hadigaon, Chikamugal, Maru, Wonde, Tebahal and others.

 

The dance

The mask dance of the Gathus (the Newars family of floriculturists) deals with Pachali Bhairav, Ajima, Ganesh and many others in which the dancers enliven mythologies with colourful dresses , hypnotizing masks and rhythmic steps that activate along the traditional drums, norns and cymbals. Thej once-in-twelve year event has religious, cultural as well as aesthetic angles to analyze.

It comprises of twelve members: Bhairav (blue robed); Kumari, Barahi, Ajima or Chamunda (red robed); Rudrayani, Ganesh (white robed); Indrayani or Manmaiju (orange robed) Bramhayani (yellow robed) and Beshnovi (green robed). Among them, Rudrayani and optional character Shwet Bhairav are vegetarians. White robed Singhini and red robed Byangini guard the assembly. Moreover, the character of [Mahalaxmi] is not played and her small mask is hung with a stick. It is believed that opening of her eyes on the mask will lead the termination of the world.

One complete performance takes around 24 hours. Generally, it starts at late evening with a group dance. Then Pachali Bhiarav resumes puja dance that goes on till midnight. Including Bhairav-Ajima duet, almost all the characters present solos that may last for several hours. They exercise the most part of their bodies and each step has symbolic meaning.

They keep quivering and stay in a way hypnotized until they wear the mask and belt of tiny bells "ghangla" around their calves (a dancer says he does not feel he quivering and he himself does not believe he dances for hours). All the characters have different postures, steps and role in the group show. The dances convey the superiority of their existence in the world and on the other hand they pay homage to the goddess Navdurga, represented by a water-filled copper pitcher. The opera-like series of dances culminate with killing of the demon by Ajima. Then the mother goddess celebrates the victory by distributing rice wine and snacks to the participants as a housewife. Earlier, Sacrifices of buffaloes, sheep or ducks are done and the dancers, in spell, suckle the fresh blood right from the veins. They swallow dozens of crude eggs either.

Meantime, the comic interlude of Singhini and Byanghini adds much lighter touch in the dance. They quarrel and then start loving - they comb and feed each other affectionately. They ask for donations from the audience and those who tease them are to be punished lightly at the middle of the stage. Similarly, Barahi's distributing snacks to the audience also denotes some hints of participatory theory of the post-modernism.

 

The end

After performing the dance fora score of time, on the last day, that falls on July 6 (Bhalbhal Astami), a mysterious puja is resumed to tranquilize the gods, making the dancers virtually dead for anight. 53-year-old helper of the group Bhekhaman Mali, the Dho- Phomi Nayo, relates the cryptic happenings. On that night, all the dancers are decorated and brought at Dalachhi. A kind of special rice, known as see-ja (means rice for dead ones) is thrown at them and all becomes unconscious, as if dead. A complete funeral ritual is held for them and taken to Teku ghat. The guru comes and a sprinkle of water with mantra wakes them all up. A Mystic puja is done and the dancers place their maks on the pyre. The character for Bhairav sets the crematory fire on the masks. After four days, they all mourn for the death of the masks and thus the whole series of twelve-year-festival ends.

This article was published in The Kathmandu Post on 1999 July 4

*It was printed "viceroy" by mistake