Lakhey_Craft Documentation_2019-2

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Preface

One thing that Nepal is known for besides its

natural beauty is its beautiful traditional heritages

and lying within this city of beautiful heritage is

its diverse crafts and cultures. Something you see

commonly throughout the city is its handcrafted

beauty that you might see in shops or even the

windows of the houses. This craft and culture also

follow through to different dance forms of Nepal.

Among them, one of the most famous dance

forms is the Lakhey Dance. This dance connects

the craft with culture and history as well as aspects

of entertainment altogether. It shows the beauty

of the mask masking and the beautiful paintwork

on the masks that shows the vibrant and rich

craftsmanship of artisans in Nepal.

This documentation tries to understand this dance

form and the different crafts related to it, the

students had gone to Nepal where they talked

to the performers, caretakers, historians, and

lecturers to understand the dance form from

their perspective.

This documentation mentions the stories,

mythologies, and understanding from the

individuals that differ in their own way. It covers

all these aspects of the performance, from

the rituals, movements to the emotions and

feelings of the performers as well as the place

they come from and what it means to people. It

talks about performance as a craft in itself and

how it has evolved throughout history.

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Acknowledgment

Foremost, we would like to express our sincere

gratitude to our advisor and course mentor

Shimul Mehta Vyas for the continuous support

of our craft research and documentation, for her

patience, motivation, enthusiasm, and immense

knowledge. Her guidance helped us in our

research and writing of this craft document.

Besides our mentor, we would like to thank our

discipline lead Amresh Panigrahi, for his constant

support and encouragement.

Our sincere thanks also go to Mr. Bikash Ratna

Dhakhwa for providing us all the necessary

resources and contacts related to our craft.

Also we would thank him for giving us the

opportunity to witness and experience the

Lakhey Dance.

We thank the caretaker and performer of

Majipa Lakhey, Mr. Rajib Ranjit and Ritesh

Ranjit for cooperating with us and providing

us with all the necessary information about the

performance. We thank Mr. Uttam Ratna Shakya

and Rizan Maharjan for giving us the time to have a

conversation on the Mipwa Lakhey through which

we were able to gain many insights.

We would also like to thank Prof. Purna Kaji Shakya

for throwing the light on Paper Mache Mask

making and introducing us to the different artisans.

We thank Mr. Madan Shakya and his father Gyan

Kazi Shakya for showing us the traditional way of

clay mask making.

Last but not the least, we would like to thank the

Dhakhwa Family for their warm hospitality during

our research duration.

We would like to thank Gunjan Ahlawat for

his guidance towards the graphics on this

documentation. We would like to thank all our

classmates for their help and support during the

whole craft documentation.

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CONTENTS

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Background/ Overview of Performing

arts

Worldview

Similar dance forms nationally as well as

internationally (buddhist countries)

South east asian and indian sub

continent

Nepal

Geography

Mapping with tags

Area ov erview

People

Newar Community (details)

History

Religion -connection between Buddhism

and Hinduism

Culture

Occupation

Performing Arts in Kathmandu

-Different types of performing arts

Lakhey Dance

Introduction

Types of Lakhey Dance form

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Majipa Lakhey - The Significant one

-Introduction

Festival

About

Area review or surroundings

Importance of the festival

History

Mythology

Significance of the story / importance

of the dance form

The Performance

Dance form

Performers and their story

Movements

Related rituals

Importance of dance

Composition of dance

Dynamic elements in dance

choreography

Symbology and Materials

Masks

Jewellery

Costumes

Instruments

Symbology of colors, material, story

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Mipwa Lakhey- The Revived

Introduction

Festival

About


Importance of the festival

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History

Mythology

Significance of the story

importance of the dance form

The Performance

Dance form

Performers and their story

Movements

Related rituals

Change inW the performing arts

Dynamic elements in dance choreography

Materials and symbology

Masks

Jewelry

Costumes

Instruments

Symbology of colors, material, story.

The Play of Time

Current Relevance

Sign of national identity/ Cultural

Identity

Commercial aspects

Impacts

Arising Conflict

Insights

Appendix

Bibliography

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Chapter 1

Overview

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1.1. Overview of

Performing Arts

When we think of performing arts, we visualize

elegant movement with melodious music,

conveying something with body gestures and

expressions or rhythm of instruments which

have been played together to touch our souls,

or we could imagine a drama on open stage.

These are medium of communication and our

self expression. Performance is simply defined as

an event that involves a group of people, but this

is not always equated to a live performance in

front of an audience of thousands of individuals.

A performance can be personal and intimate or

social and culturally influenced. Performing arts

refers to forms of art in which artists use their

voices, bodies or inanimate objects to convey

artistic expression. The performing arts are a vital

and necessary part of our culture and society

and exist in many formal and informal settings.

Mask dancers perform during the last

day of Indra Jatra festival in Kathmandu

Since the beginning of our civilization, music,

dance and drama have been an integral aspect

of our culture. Initially, these art forms were used

as a medium of propagation for religion and

social reforms in which music and dance were

incorporated to gain popularity.

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Mask dances:

“The masked dance has its origin in a realm where

deep mystical and ecstatic experience can split

the consciousness of self and where a powerful

exhilaration disembodied and releases the human

part of this consciousness, but molds the spiritual

part into a new existence that is perceptible to the

senses and based on the physical.”

Mask dance is an exaggerated form of dance

where whole center of attraction becomes mask

as the mask represents different deities and

demon or some characters from religious stories.

Whoever wears a mask gives up his own identity

and takes on that of another. The dancer acts and

talks like the spirit which the mask represents.

The mask succeeds in concealing identity. It is a

device used by a dancer to heighten the effect

by putting aside his human facial expressions. He

borrows another expression. The dancer forgets

about his own expressions as he gives place for

other expression and he acquires different spirit

altogether. This other face with all its costume

and decoration is mask in dance. The beginnings

of the mask may be traced back to the early

period of dance decoration. Initially it consisted

of painting on a face and body to represent

the character or some other materials like rice

flour was used to exaggerate the expressions

to achieve the desired character. Materials like

glasses or a tuft of feathers which looks like a

bird's tail were used to highlight the character.

But wherever the dance carries with it a religious

significance, this adornment serves one or the

other of the two basic powers, in order to intensify

the magic charm by means of color, form and

material. On the one hand,The masks make

dancer to connect to different mystical world and

lift him out of his everyday consciousness of self

and make him free from himself. This brings him

in a state of joy and excitement. On the other

hand, the ornamentation emphasizes the mimetic

character of the image dance.

In these dance-dramas the most remarkable part

of the make-up is the use of the masks for certain

characters and the practice of coloring the face in

respect to others. The masks are larger than lifesize.

The features are exaggerated and sometimes

even deformed. The color schemes and designs

of the masks vary from simple to the complex

and depend on the type of the character to be

represented. The use of color reveals symbolic

values and their application is governed by the

sense of contrast.

Mask Dancers wearung different masks:

From left to right, Bhairav Dance, Lakhey

Dance, Mahakali Dance and Nilbarahi

Nach respectively.

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1.2. Worldview

Southeast Asia

Sri Lanka Masks

Dances of the Tibetan Lamas

The masked dances of the Tibetan Lamas are

ritualistic performances intended to exorcise

evil spirits, ward off harm, and to bring good

fortune. The dances take place within the grounds

of monasteries where hundreds of masks are

kept available for the performance. Very often,

before the ritual, there are offerings and chants

accompanied by the rhythmical beating of drums

and cymbals.

Animal Masks in the Cham Festival of

Bhutan.

Bhutan Sacred Dances

In Bhutan, sacred dances are part of both

religious and social life. They are performed

only by men and are considered as a public

blessing and an admonishment to lead a life

of kindness and purity. It is believed that one of

these dances was performed for the first time

by Heruka, a tantric god. In more recent times,

the origin of another dance is credited to Maha

Guru Padmasambhava, an important saint of

the eighth century who introduced Buddhism

into Bhutan and Tibet. The masks are the same

color as the dancers’ costumes and each of

them represents a different god or the head

of an animal or bird associated with the cult of

the god. They are made of papier-mache or

carved out of pinewood, then embellished with

symbolic decorations. When the mask is finished

it must be taken to the lama to be purified at a

ceremony of consecration. Some masks made

several centuries ago by venerated lamas,

are held so sacred they are only used once a

year and are never taken out of the monastery

(dzong) where they are kept.

In Sri Lanka, or Ceylon (the name the Sri Lankans

use in everyday language to refer to their country),

the traditional use of masks goes back to ancient

history. The Sanni Yakuma is a long sacred dance

performed to heal different illnesses. No one

knows how old it is nor its precise origins, but

legend associates the dance with Buddha himself,

which would date its roots to the sixth century

B.C. The Kolam is another well-known ceremony

in which masks are used. It seems to have

appeared later and at least parts of it may have

been imported from India. In the Tamil language,

the word kolam often means “representation,” or

“interpretation.” There are 24 forms of Rakshasas

but only a few are performed in Kolam dance.

According to ancient chronicles, Sri Lanka was

earlier ruled by a race of Rakshasas (devils) whose

king was Ravana of the legend Ramayana. These

Rakshasas were able to assume various forms

which now the masks depict. These masks include

the cobra mask, the mask of a bird and the mask of

the demon of death.

Another of the great masks legends represents

Dala Kumara, a prince from the north of India

who carried his beautiful sister into the forest and

ravished her. Consequently, she hung herself from

the branches of a tree and the prince, overcome by

despair, turned into a raving lunatic who behaved

so much like a wild animal that his teeth grew

into enormous fangs. To soothe him, the goddess

Pattini gave him the power to inflict human beings

with sickness and misery on the condition that

he cure them when they made him appropriate

offerings.

Srilankan Ceremonial Dance with one of

the Rakshasas with the cobra mask.

Different masks from the mask dances

in the Thimpu Festival, Bhutan

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North Asia

Bian Lian Chinese

Mask Dance

( ‘Face-Changing’)

It is an ancient Chinese dramatic art that is part of

the more general Sichuan opera. Performers wear

brightly colored costumes and move to quick,

dramatic music. They also wear vividly colored

masks, typically depicting well-known characters

from the opera, which they change from one face

to another almost instantaneously with the swipe

of a fan, a movement of the head, or wave of the

hand.

Tengu (Japanese mask)

Tengu is the fearsome demi-gods that protect

the mountains. These demon-like creatures are

depicted with red faces and angry expressions.

But their most obvious feature is a long, red

nose. In the past, tengu was more birdlike. As

they became human, that beak turned into a

nose but kept its long shape. Tengu masks are

used for Noh stage plays and certain Shinto

festivals. They’re also often used as decoration

since the tengu are thought to frighten bad

spirits and bring good luck.

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Kathakali Dance Performer

Indian Subcontinent

The ritualistic use of the masks is very much evident

in the Lama ritual dances of Ladakh and Arunachal

Pradesh. This Himalayan region is spotted with the

monasteries where the Lamas perform ritualistic

mask-dances. The theme of these dances centers

round the Buddha-legend and depicts the victory

of good over evil. The dances are accompanied by

musical chants and the costumes used are colorful

and very gorgeous. The masks of the demons

and the evil spirits are quite awe-inspiring and

fearsome. They are usually carved from a single

block of wood and are painted in bright colors.

They are also dramatically portrayed. Many such

masks are used in exorcism rites.

Some of the major living dance-drama traditions

make dramatic use of the mask. Among such

dance-drama traditions the Krishnattam of Kerala,

the Bhagavata Mela Nataka of Melattur in Tanjore

district, Tamilnad, the Kuchipudi dance-drama

of Andhra Pradesh, the Rasatila of Manipur,

the Ankiyanat of Assam, the Chhau dances of

Seraikella in Bihar and Purulia in West Bengal, the

Ramlila of Benares and Sahl Jatra of Orissa employ

masks for some of the characters. Of these dancedrama

forms, the traditions of Chhau dances in

Bihar and West Bengal use masks for all characters.

It is indeed a unique form where masks dominate.

An interesting feature of classical Indian dances

and dance-drama tradition is the use of color

make-up for depicting the types of characters

according to the class to which they belong.

The dancers do not wear masks but apply make-up

that has a fascinating mask-like quality. Katha- kali,

the sacred dance-drama of Kerala, has amazingly

developed this art of make-up. Similarly in

Yakshagana, the dance-drama of Mysore, the color

scheme is symbolic and highly complex.

African Mask dances:

During celebrations, initiations, crop harvesting,

war preparation, peace and trouble times, African

masks are worn by a chosen or initiated dancer.

It can be worn in three different ways: vertically

covering the face: as helmets, encasing the entire

head, and as a crest, resting upon the head, which

was commonly covered by a material as part of

the disguise. African masks often represent a spirit

and it is strongly believed that the spirit of the

ancestors possesses the wearer.

Ritual ceremonies generally depict deities, spirits

of ancestors, mythological beings, good and or

evil, the dead, animal spirits, and other beings

believed to have power over humanity. Masks

of human ancestors or totem ancestors (beings

or animals to which a clan or family traces its

ancestry) are often objects of family pride; when

they are regarded as the dwelling of the spirit

they represent, the masks may be honored with

ceremonies and gifts.

During the mask ceremony the dancer goes into

a deep trance, and during this state of mind he

“communicates” with his ancestors. A wise man or

translator sometimes accompanies the wearer of

the mask during the ritual. The dancer brings forth

messages of wisdom from his ancestors. Often

the messages are grunted utterances and the

translator will accurately decipher the meaning of

the message. Rituals and ceremonies are always

accompanied by songs, dance, and music played

with traditional African musical instruments.

Theyyam Dance Performer

Photo by Suchet Suwanmongkol

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Chapter 2

Nepal

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2.1.

Nepal:

Heaven on Earth

When we look at the world map and zoom

in to the Asian countries, one of the most

beautiful and diverse countries, we will

find is Nepal. Acquired by natural beauty

and culturally rich heritage , Nepal is sited

between India and Tibet. Nepal is known for

its temples and land of majestic Himalayan

mountain ranges. The most wonderful gift

Nepal has got from nature is Mt. Everest.

Nepal, often described as the Switzerland of

Asia is a small but exciting landlocked nation

as it is covered with Snow white Himalayan

Mountains and full of awe inspiring scenery.

One may describe Nepal in their own terms

but all definitions sum up to one word

“Beautiful”. Experiencing this “Heaven on

Earth” will get you constant switch of feelings

from enjoyable, rejuvenating and peaceful

to exciting and sensational. Nepal is blessed

with immense natural wonders that you

would not find anywhere in the world. In a

true sense, it is the paradise on earth and any

nature lover’s dream destination. Although

Nepal only covers 0.1% of global land but

considering the rich natural treasure it has in

stock for all, certainly visiting it once is not

enough to experience all of it.

On the contrary, once Nepal was an official

Hindu country now it strongly holds to its Tibetan

Buddhist influence. Nepal is equally a land of

diversity and colorful festivals. There are many

colorful festivals during monsoon season, which

are celebrated on the basis of lunar calendar.

Though Nepalese people are of different

religion, they live in Nepal harmoniously.

Kathmandu is the capital city of Nepaland also

it is a historic and cultural city of Newars. This

largest metropolitan city of Nepal hosts numerous

display of magnificent Newari art work in the

form of ancient temples as well as traditional

festival celebrations all year round. Kathmandu

is also the core of urban infrastructure

development of Nepal and the only gateway

to the tourism adventure in Nepal. This blend

of ancient culture and modern development

makes it a unique destination worth a visit. It is

an ancient cultural city full of time-worn temples

and the center for Tibetan Buddhism, offering

all kinds of tours and trekking to temple areas

and to the Himalayas. Kathmandu, the capital,

has a maze like old quarter filled with Hindu and

Buddhist shrine grounds at Pashupatinath.

The Annapurna Circuit

Helen Murry. “Nepali Culture”.pg.10.2000

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Hadigaun

Dhading

Kathmandu

Kirtipur

Khokana

Patan

Lalitpur

Bhaktapur

Lubhu

Bhojpur

2.2. Geography

Mapping with tags

The places marked depicts the newari

community and the areas where the lakhey

performances happen.

Kathmandu, Patan,Bhaktapur, Lubhu, Kirtipur,

Khokana, Hadigaun, Dhading, Bhojpur

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Girls wearing Hakku Patashi playing Dhime

Baja in Kathmandu Durbar Square.

Boys wearing traditional newari dress playing

the Dhime Instrument during a festival.

2.3. The Newars

of Kathmandu

One of the most ancient communities which

have made itself famous by a deep, varied

and voluminous contribution to the cultural

heritage of man is the semi-civilized Newar

community of Nepal. Very obscure in origin,

possessing a peculiar culture, mixed with

many tribal primitiveness, the Newars constitute

a most complicated racial type.

The Newars form one of the oldest living

groups, not only in Nepal but in the whole of

India. Their civilization goes back to a period

older than some of the very old sites in India.

Their contribution to the particular variety of

Asian art and architecture, popularly known as

Indo-Tibetan, is very profound. It should also

be noted that the Newari culture assimilated

settlers from outside as late as the thirteen

century A.D.

Newars have continued their age-old traditions

and practices and pride themselves as

the true custodians of the religion, culture,

and civilization of Nepal. The Kathmandu

Valley and surrounding territories constituted

the former Newar kingdom of Nepal Mandala.

Unlike other common-origin ethnic or caste

groups of Nepal, the Newars are regarded as

an example of a national community with a

relict identity, derived from an ethnically-diverse,

previously-existing polity.

The Newar community consists of various

strands of ethnic, racial, caste and religious

heterogeneity, as they are the descendants of

the diverse group of people that have lived

in Nepal Mandala since prehistoric times.

Indo-Aryan tribes like the Licchavis and Mallas

from respective Indian Mahajanapada (i.e.

Licchavis of Vajji and Malla) that arrived at

different periods eventually merged with the

local population by adopting their language

and customs. These tribes however retained

their Vedic culture and brought with them

their Sanskritic languages, social structure,

and Hindu religion, which was assimilated

with local cultures and gave rise to the current

Newar civilization.

The Newar rule in Nepal Mandala ended with

its conquest by the Gorkha Kingdom in 1768.

Newars are known for their contributions to

culture, art, and literature, trade, agriculture,

and cuisine. Today, they consistently rank as

the most economically, politically and socially

advanced community of Nepal.

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Religion

Nowhere does a complete harmony prevails

between divergent forms of worship as in

the valley of Kathmandu. It is as if all sections

understood the significance of this basic

unity of all shades of belief. There are no

Mohammedans amongst the Newars. But

the Buddhists and Hindus have been living

together in perfect harmony throughout the

ages. And to the surprise of all it only in the

valley of Kathmandu that a complete harmony

of worship has been possible and instances of

hostiles camps coming together in the temple

are pretty common.

A Sanatani Hindu Newar pays as much respect

to his deity as to the deity of the other sect

and vice versa. All temples in Nepal have

removed the taint of segregation. Taken as

such the Newars may appear neither wholly

Buddhists nor wholly Saivites.

They have been able to eliminate all discord

from their social life and to maintain amity

and concord between themselves. This is an

example that should draw the attention of

the diehard communalists.

The harmonious adjustment in the field

of religion can be traced to the trend of

historical development. The Newars have

always been subjected to invasions from

outside both culturally and politically and

Kathmandu has been visited by all kinds

of reformers. The tradition of teaching

dissimilar beliefs is too ingrained to be

brushed off. And today this has led to a

mixed form of worship where a perfect

type of communal understanding prevails.

Yet a stronger factor has been the effort of

the Tantrists who have welcomed devotees

irrespective of caste and creed. The Tantric

influence in Kathmandu has not been a

force of discrimination and isolation. It is

all-embracing and pervasive. Thus almost all

temples have come to adopt the mode of

worship following the Tantric system.

People of all castes , not accepting the

untouchables and of all creeds, including

Saivite Hindu Newars, have tenaciously

revered the Tantric rules. In return they have

been granted equality of rights to worship

in the temples, sometimes even in the face

of deep seated caste prejudices. It would

be a matter of extreme satisfaction to social

reformers to learn that for hundreds of years

the untouchables in the happy valley of

Kathmandu have been enjoying the right of

entry into the temples and that in some cases

they are installed as temple worshippers. All

that is due to the sole influence of Tantras

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Chapter 3

Performing

Arts

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3.1.

Performing Arts

Performing Arts in Kathmandu

Although Nepal is a small country, it has

126 castes and small ethnic groups, it is a

multicultural nation with a lot of dance forms.

With classical, traditional songs and music, a

dance will be completed.

There are 2 types of Nepal Traditional Dance:

Classical and Folk dances, in which classical

dances are based on the ancient classic,

which means that these dances have been

performed since ancient times with a longlasting

establishment, or the dances reaching

the highest standards. These dances are

performed according to classical music.

Nepal folk dances are based on folk songs

and music, which means that these dances

belong to a particular group or area. These

dances are performed according to folk

music. These dances are also a good source of

entertainment as well as an effective refresher.

Some of them are as follows:

- Lakhey dance

- Kartik Naach

- Astamatrika dance

- Navadurga dance

- Mahakali dance

- Mahalaxmi dance

- Bhairav dance

- Pulukisi dance (elephant dance)

- Sawabhakku

- Daitya Pyakhan and more

Kartik Naach

Two Masked dancers performing during the

Kartik Naach in Patan.

The Kartik Naach falls in the month of

Kartik (October-November) as among

other attributes the characteristic of Tantrik

power has acquired the name from Kartik

Mas(month). It is based on Narsimha’s

exploits as described on Vishnu Puran, a most

appropriate holy sourcebook, as it focuses on

describing the various incarnations of Lord

Vishnu.

Also, it is said that Kartik Nach is a tantric

masked dance done in honor of Lord Kumar.

The dance is performed as a thanksgiving

to Lord Kumar for his protection to the

community. Various incidents of the life of

Kartikeya (Kumar) are enacted in the Kartik

dance. Kumar also is known as Bhairava who

is the patron deity of Newar of Patan and

elsewhere. The gentler aspect of Kartikeya is

Kumar while Bhairava is fear-inspiring

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A Mahakali dance performer

stikes a pose for the camera.

Mahakali Dance

One of the most popular dance forms

performed in the Newar community is the

Mahakali dance, which enacts the tale of

goddesses Mahakali, Mahalaxmi, and Kumari

who once descended from heaven to battle

demons that were inflicting great despair

among humans. The music begins with the

distinctive sounds of the Shehnai (a double

reed tube-like instrument). Performance can

range from two and a half to three hours.

The annual, week-long Indra Jatra festival in

Kathmandu offers such an opportunity

.

The performance begins with the Mahakali

dance wherein the goddess’s wrath subdues

the demons. As the dance progresses to

the specter dance in which the demons’

whereabouts are displayed, the Sangram

(battle) dance follows Mahakali dance. The

demons’ victory dance to celebrate the

goddess’ presumed defeat follows, preceding

the skeleton dance. This is followed by the

Kumari dance, then the “Khyak” (supernatural

beings which frighten but are harmless

otherwise) dance at the end of which,

Mahalaxmi appears and is attacked by the

demons. It ends with a victory dance. This

dance portrays the ten days of Dashain,

arguably the biggest Hindu festival. It is a mix

of many dances.

The Mahalaxmi dance sees the goddess

Mahalaxmi dance around the “dabali”(courtyard)

with a weapon in her hand before taking her

Asana (seat) in the center. Then, to the beat of

the “madal” (a two-headed drum) she purifies

the site where “jamara” (sacred barley leaves) is

meant to be grown. The goddess then calls out to

the khyaks and skeletons who accompany her in

the dance, tempting them to feast on the yellowgreen

jamara. The Kumari dance follows, which

involves dancers depicting 55 animals, a specter,

two skeletons and two khyaks besides the Kumari.

The Kumari performs a dance depicting Shringar

(self-beautification) after which she offers liquor

to the specter, the khyaks and the skeletons and

finally drinks it herself, trembling with wrath. After

a serpentine dance and a war-like dance, the

performance ends with a celebratory dance by

the evil figures. The Devi daitya sangram dance

or the great battle between the goddesses and

the demons sees the demons arrive, jumping up

and down in the form of buffaloes. Stunned on

seeing the goddess Mahalaxmi and attacked by

her supporters, the devils fight back prompting

the goddess herself to battle the demons. As

the midnight hour – a time when the demons

are at their strongest - approaches, The goddess

cautions her followers to make

themselves invisible.

Mahalaxmi Dance

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Gaan Pyakhan

Bhairab Nach

Another popular dance form is the Bhairab

dance of which there are three types: the

“Swet” (white) Bhairab dance, the “Nilo”

(blue) Bhairab dance and the Bhairab Kali

dance. The first is performed at the end of

the Mahakali dance while the second is an

independent dance form performed during

Indra Jatra. The Bhairab Kali is an erotic dance

form depicting various Asanas (positions) as

described in the Kama Sutra. In its entity, the

dance between Bhairab and Kali deities lasts

for over an hour and portrays 84 Asanas.

The “Gaan Pyakhan” is staged in the royal court

of Mulchowk, inside Patan Durbar Square, Kartik

Dabali and Nakabail Tol. “Gaan” translates from

Newari as “Group” and “Pyakhan” translates

to “dance”. The dance begins from the night

of Ghatsthapana and is brought to a close

during the night of Ekadashi.The 350-year-old

traditional dance; Gaan: Pyakhan of Lalitpur also

known as Asta Matrika Naach. It almost continues

for 11 days in accordance with the centuries’ old

Dashain rituals.

Gaan Pyakhan is a traditional dance in which

the Shakyas and Bajracharyas from the Newari

community engaging actively. In this dance

form eight gods, namely, Kumari, Indirayeni,

Bhramayani, Maheswor, Barahi, Ganesh,

Chamunda and Mahalaxmi perform their

traditional dance rituals. But nowadays the

dance involves eight gods and goddesses and is

named asta, but originally, there were altogether

13 gods, including, Bhairav, Kumar, Simhini,

Vhyagrihi, Vaishnavi. It is believed that 350

years ago King Sri Nivasa Malla as he sat down

by the window of his palace at Patan Durbar

had noticed something peculiar. On a starry

night, he began hearing the tranquil melody of

“pauju” ( Anklets) slowly approaching, and from a

distance, he saw a group of individuals dancing

towards the palace. As he was wondering who

they might be. As they approached closer, he

could not fathom the beauty that his sights to

behold. The group which displayed a beautiful

dance was none other than the Asta Matrika’s

( Eight Mother Goddesses). Who danced their

way into the court of Mul Chowk. King Sri

Nivasa Malla, ran to the court to take blessings

and witness their divinity but as he reached

the palace square the Matrika’s had already

ascended. From that day onward Gaa Pyakhan

was started and it is celebrated till the date.

The Gaan Pyakha stands out from other masked

dances of Kathmandu Valley in terms of the

individuals who dance. Most masked dances

are performed by subjected lower castes of the

society whereas the Gaan Pyakha is performed

by the highest order of Buddhist castes

(Bajracharya and Shakya).

The Nava Durga dance is another dance form,

which like the Mahakali dance, has religious

connotations. King Subarna Malla (c. 1445

AD) of Bhaktapur introduced this dance in

honor of the nine manifestations of Durga

i.e. Mahakali, Kumari, Barahi, Brahmayani,

Maheswari, Vaishnavi, Indrayani, Mahalaxmi,

and Tripura Sundari. Of these, only seven

(the latter two being the exceptions) are

represented through dancers wearing

different clay masks. Mahalaxmi’s silver idol, in

a small chariot, leads the procession.

40

Two dieites dancing in Mulchowk (a

Courtyard) filled with dieties in Patan Durbar

Sqaure gathered all aroung with onlookers

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The white elephant makes its way through the

crowd during Indra Jatra festival in Kathmandu.

The two performers Sawa Bhaku, dancing and

going about its journey during Indra Jatra.

Pulu Kisi Dance

Pulu Kisi dance is a part of Indra Jatra. Kisi in

Newari language means an elephant. Pulu Kisi

is believed to be the carrier of Indra himself.

It is said that the elephant came down on

earth in search of Indra after he did not return

to the heavens.

To depict the elephant young groups of

people come under a clothed white elephant

structure and dance through the streets of

Kathmandu. People view the masked creature

with roar of excitement and laughter. From

time to time It does naughty and mischievous

things by running through the street knocking

anyone that comes in its path and swinging its

tail in an amazing manner.

Sawa-Bhaku Dance

Nepali masked dancers perform the Sawa

Bhaku dance during a chariot procession

for the Kumari, revered in Nepal as a living

goddess, on the main day of the Indra

Jatra festival at Basantapur Durbar Square

in Kathmandu. It is said that Sawa Bhaku

are the two attendants of Bhairav who is

representation of Lord Shiva’s aggression.

The performers makes its rounds along

the festival route, stopping at major street

squares to perform and receive offerings

from devotees. The dancers consist of

Bhairava (in blue) holding a sword and his

two attendants (in red). The ensemble is also

known informally as Dhin Nali Sintan after the

sound of their music

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Lakhey puppets on display in the

Kathmandu Durbar Square

3.2. Lakhey

Introduction

Lakhey is a Demon from Nepalese folklore. In

Newari Language, “La” means raw meat and

Khey comes from “Kha” which means heaps

and heaps or quantity. Thus Lakhey means

a demon that eats heaps and heaps of raw

meat. He is depicted with a ferocious face and

protruding fangs with fire near its mouth. Its

hair is usually thick and bulky in colors of Red.

Black and white. The red hair is mostly used

by the Majipa Lakhey which is one of the most

prominent Lakhey figures in Nepal whereas

the other Lakheys mostly use black and white

yak hair.

Lakheys are said to be demons who used to

live in the forests and later became protectors

to the townspeople. A female Lakhe is known

as Lasin. Lakhey is a prominent figure in the

traditional Newar culture of Nepal Mandala.

It is said that in every Newari community they

will have a Lakhey and God Bhimsen (God of

Commerce, Industry & Fortunes). Lakhey is

not only a source of entertainment but also an

introduction of lakhey is an introduction of the

Newari culture to everyone who witnesses the

dance form.

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A Thangka painting of

Wheel of Life in Buddhism.

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Lakhey in The Wheel of Life

According to Buddhism, “ The Buddhist Wheel

of Life” implies where the Lakhey comes from. It

represents concepts such as karma and rebirth.

In this wheel, there is a depiction of six loks

(realms) of samsara which means the wheel

or round of existence, which is used here to

mean going round and round from one place

to another in a circle. Birth in any of these

realms is based on one's karma, essentially the

moral causality that good actions bring good

results, and bad actions bad results. Since one’s

motive is critical for “goodness” or “badness,”

one’s thoughts become at least as important as

one’s actions (for example, accidentally killing

something is far less serious than intentional

killing). The world revolves around Karma,

so does the wheel of life. One's present life

reflects past choices, but one's present choices

are shaping the future. Only human beings

can make choices and acquire karma, which

means that one's human actions (good or bad)

determine one's future births. The six realms

are six different types of rebirth that beings can

enter into, each representing different types of

suffering. Samsara, or cyclic existence, refers to

the process of cycling through one rebirth after

another. These six realms are divided into three

higher realms and three lower realms.

The three higher realms are shown in the top

half of the circle; the higher realms consist of

"Dev lok"(the god realm), "Yachya lok" (the

demi-god realm) and "Manusya lok" (the human realm). The Devlok is shown in the top middle and

the Manusya lok and Yachyalok are on either side of the god realm.

Dev lok(heaven realm): In the heavens (there are many) beings are rewarded for past good deeds.

Life in heaven is a continual round of pleasure and enjoyment, with no suffering, anxiety, or

unfulfilled desires until the moment one is about to be reborn in another realm. And this is one of the

problems—life in heaven is extremely long but is ultimately impermanent, and one must inevitably

leave to take birth in another realm. To be born in heaven, one also needs to “spend” an enormous

amount of religious merit, and life there is so carefree that people do not incline to religious life. For

these reasons, religious authorities have discouraged seeking birth in heaven.

Yachya lok(Demigod realm): The Asuras are Demi-Gods committed to jealousy and are, not unlike

the bickering Gods of the Greek Parthenon are both good and evil. These Demi-Goods seem to like

to think they are Divine, but, having transcended the desire of the Human realm still somehow has

the Human ego firmly attached. They are Humans in God form, promoted yet still not heavenly. And

entirely drunk on power.

Manushya lok (Human realm): The human realm is the only one in which one’s choices (good or

bad) affect one’s future—in all the others, one is either being rewarded or punished for one’s actions

as a human being. One’s present human condition (e.g., wealth, social status, and physical and

psychological qualities) is based on one’s past karma, but one’s present choices also determine

one’s future (in this life, or a future life). As conscious moral agents, human beings have an agency

that the beings in other realms do not; this underscores the importance of moral action and spiritual

development.

The three lower realms are shown in the bottom half of the circle; the lower realms consist of the

"Narak lok" (the hell realm), "Pashu lok" (the animal realm) and the "Pret lok" (the hungry ghost

realm). The hell realm is shown in the bottom middle of the circle, with the animal realm and hungry

ghost realm on either side of the hell realm.

The Narak Lok(Hell realm): In a hell (there are many), one is punished for one’s evil actions. Buddhist

visions of hell often link particular punishments to particular sins, doubtless to warn the hearers.

One redeems one’s evil deeds through suffering-hunger and thirst, dismemberment, torture,

psychological distress, and so on.

The Pretlok(Hungry Ghost realm): As with the hells, beings in the preta realm redeems their past

misdeeds through suffering. Pretas are described as tormented by hunger and thirst. They are

described as spirits with tiny thin necks, through which they can never eat or drink enough to satisfy

themselves; this is described as the result of greed and stinginess in previous lives. Other torments

are psychological, since pretas remain in the places where they used to live, but cannot be seen by

the living (which brings feelings of frustration, isolation, and despair).

Pashu lok(Animal realm): Animal birth is seen as the result of past sins, and one redeems these

sins through suffering in animal form (being hunted, worked, driven, slaughtered, etc.), often for

thousands of consecutive births. Animal behavior is also run by instinct, which means that animals

cannot generate good karma, they are simply working off the bad. This suffering and lack of control

make birth as an animal undesirable. The conviction that animals are sentient beings also underlies

the prohibition on intentionally killing anything, which goes back to the Buddha’s earliest teaching.

So, Lakhey is said to come from the Yachyalok which is the demi-god realm. They have existed ever

since Gods have existed. Like Gods, Lakhey is also said to give blessings to people.

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Mythology

When we talk about mythology, we understand that it is a collection of myths, which especially

belongs to a particular religious or cultural tradition. It is a base story about the existence of a

historical entity. Stories that have been passed on from generation to generation. Stories that

make sense of something that would have otherwise been beyond belief.

Numerous mythology surrounds Lakheys. Lakheys which existed as long as Gods. They are

ferocious Demi Gods with certain powers instilled within them, which gives them the ability to

give blessings to people who do good to them and vise versa. There are alot of these stories of

Lakhey and Lasins in the Kathmandu Valley. Some which are good and some which are sinister.

Mythology 1.

Siddhi Sath Bhau was a businessman in

Kathmandu. Along with his 500 men, he went

to Tibet for a business trip. During those

times, there were no such things as hotels and

lodges. So the place they went to was the city of

Lasin and Lakheys. When they had visited, the

Lasins had changed their forms into beautiful

female human beings and would attract these

businessmen to live with them. They intended

to take care of them, feed them good food and

once they get fat they would devour them.

Days passed by and slowly the number of

businessmen started decreasing. One night,

in the flame, lit in the room of the Siddhi Sath

Bhau, “Karunamaya” ( a.k.a. Avalokiteśvara or

Padmapani is a bodhisattva who embodies the

compassion of all Buddhas) came into the form

of a flame to put some sense in him and make

him realize the situation.

He said “Siddhi Sath Bhau, How can you not see

that out of your 500 men only 5 are remaining?

The lady sleeping beside u is not who you think

she is, look at her legs, its toes are facing the

opposite direction and look at her face, she

has fangs coming out of her mouth. When you

wake up tomorrow morning, she will turn back

to the beautiful girl that you love but you can

no longer stay here. Wake up tomorrow early

morning and you have to get out from here with

you and your friends. A boat will be ready near

the river bank for your friends and I will send a

pegasus for you. All you have to do is not look

back at the girls no matter how much they plead

or cry. Inform your friends and make sure that

they do not look back no matter what. Only

by doing this the remaining of you will reach

Nepal safely.”

He woke up early in the morning and woke

his friends up, the Lasin had turned back into

the beautiful lady. He took them to the river

bank that connected Tibet and Nepal. As

Karunamaya said, there was a boat waiting

near the banks, he put his friends in the boat

and told them about the Lasin and warned

them not to look back. He climbed on the

Pegasus and recites OM MANI PADME HUM

(This six-syllable mantra that is the essence

of all Dharma—that’s the purest Dharma) and

finally, he reaches Nepal but when he saw

the boat, there was no one on it. The girl later

followed him to his home but did not get

entry into the house, the people said if you

were to enter into the community, she has

to bow to the “khalu” (the base wood of the

door frame) as a sign that when she enters

the door, she will follow the rules, customs,

culture, and traditions of her husband. And

so she enters, leaving her human flesh-eating

life and her previous rituals to follow her

husband’s culture.

Mythology 2.

Once upon a time in a place called Pimbahal,

there used to be a ground where lakheys

used to come and play. This place had water

shortages so one day a house caught on fire

and just like that 4-5 houses caught fire. So

seeing this problem, one of the tantric met up

with the Nayaa Lakhey and requested him that

as a sign of reimbursement for letting them play

in the ground for so many years, if he could fill

the land with water so that they will never face

such a problem in future. The lakhey agreed

and within the span of a night the pond was

prepared but early morning when the people

started coming out to go for puja, all the

lakheys started running away but one stayed

to complete the pond and after he was done,

he came in contact with a human and right

then and there as he bent and curled up on

the ground he turned into stone and became

“Siddha” meaning passed away. So do Good to

lakhey and they will also do good to you. They

will give you blessings and much more.

Lakhey Dance

Lakhey Dance is one of the most popular

dances of Nepal. Performers wearing a

Lakhe costume and mask perform dances

on the streets and city squares during

festivals. It is a performing art form consisting

of purposefully selected sequences of

movement, gestures and expressions. The

Lakhe dance is mainly characterized by wild

movements and thumping music.Having

aesthetic and symbolic value, this movement

is acknowledged as dance by performers and

observers within a Newar culture.

There are different types of Lakhey residing

in different parts of the city with their

characteristics:

- Majipa Lakhey comes out during the Indra

Jatra festival.

- Gunla Lakhey comes out during Gunla, the

10th month in the Nepal Sambat calendar

which corresponds to August.

- Michyāh Lākhey (meaning “fire burning

demon” in Nepal Bhasa) is a spirit who is said

to cause a fire by spontaneous combustion

wherever it resides. People possessed by - - -

-Michyāh Lakhe are also believed to cause a

fire.

- Minpu Lākhey also causes a fire

- Mipwa Lakhe- a recently revived lakhey

residing in Patan.

- Bukhya Lakhe- A lakhey that resides in the

fields.

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Chapter 4

Majipa

Lakhey

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4.1.

Majipa Lakhey:

The Significant One

Introduction

Majipa Lakhey and the Pulu Kishi

walking through the crowd of onlookers

during the Indra Jatra Festival in

Kathmandu Durbar Square.

One of the most striking features of the culture of

Kathmandu valley culture is its Lakhey. There are

several legends of Lakhey and Lasi in this valley of

myths, history and arts. The most famous Lakhey in

the valley is Majipa who appears every year during

the festival of Indra Jatra, the oldest festival of this

kind in the valley. Although he is a demon, he is

worshipped as a deity. City dwellers offer food

and ritual items to him as he moves through the

city accompanied by his musical band giving his

performance. Although Lakheys are known to eat

raw meat but Majipa Lakhey does not eat anything

raw. Everything that is offered to him has to be

boiled or fried.

The Lakhey stops at major crossroads and market

squares to perform on busy roads filled majorly

with a crowd of people who have come to witness

the festival. During the dance, a small boy is known

as Jhyalincha taunts the Lakhe making him chase

him in anger. Jhyalincha always manages to slip

into the crowd and escape.

A Majipa Lakhey performer

during his performance.

A Majipa Lakhey performering

with Jhalincha,

4.2. Festival

About

Indra Jatra

and its importance

Indra Jatra is the biggest religious street festival

in Kathmandu. During the Jatra, not only the old

durbar premises but the whole of adjoining city

stands as the stage where different performances

like the Jatra of Indra, Kumari and Bhairava along

with dances and dramas including the Lakhey

dance covers the whole stage. Amongst the most

sought after events in the festival is the dance

of Majipa Lakhey, one of the most intimidating

masked dances in the valley.

Although the celebration of Indra Jatra started

in the 10th century, this festival has several

importance. One of them being as a festival to

remember the deceased family member from the

past year. People also impersonate several gods

and goddesses by wearing the costumes and

does act through dancing in the street implying

different meaning.

Looking at the legend, there is a saying that

Lord Indra, who is a Hindu God as well as King of

heaven once came on earth disguising himself

as a farmer. He came in search of a flower parijat

(night jasmine) for his mother Basundhara to

perform a ritual. But he was seen and caught by

the people, while he was plucking the flowers

at Maruhiti, a sunken spout at Maru. The people

took him as a common thief and put him on

display in the town square of Maru in Kathmandu.

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Kathmandu is an incredibly diverse, historic city

with amazing architecture, exquisite wood carvings

and metal craft which showcase the skills of the

Newar artisans of centuries ago. Hinduism and

Buddhism have co-existed in Kathmandu valley

from time immemorial and the valley residents

make little distinction as they worship in both

Hindu and Buddhist shrines.

The Chariot procession

of Living Goddess Kumari

during the Indra Jatra Festival.

(In Jatra, this event is reenacted by an image of Indra with his hands bound on display at Maru and other

places in the festival.)

Indra’s mother got worried due to his long absence, so she came to Kathmandu as well and wandered

around looking for his son. (In Jatra, this event is commemorated by the procession of Dagin through the

city. Also, Pulukisi/Tanakisi, an impersonation of an elephant also runs around the town in search of his

master.)After the people realized that they had captured Lord Indra himself, they immediately released him.

Indra’s mother became grateful to the villagers for releasing her son, and she promised to provide enough

dew throughout the winter for the rich crop. The Lord of Heaven and his Goddess mother were honoured

and carried in a procession through the streets for a week, while the Ruler of Kathmandu held lavish feasts

and receptions in their honour. There is a belief that Kathmandu started to experience foggy morning from

this festival onwards because of this boon.

Since then each night of Indra Jatra, shrines and ancient palace buildings around Kathmandu Durbar

Square are aglow with oil wicks. Each night on the platform in front of the temple of the Living Goddess,

there is an enactment depicting the ten earthly incarnations of Lord Vishnu. Hundreds of worshippers crowd

about to see the elaborate costumes and realistic, painted masks, and to hear again the beloved stories of

Indra’s marvelous visit to earth.Nepalese folk dramas are presented around the city and ancient dances are

performed in the streets by the light flaming torches.

Rich costumes and gaudy maska depict demons and deities dancing with remarkable grace and stylized

precision.In contrast to the celebrating spectators, the dancers seem to be in a religious trance and are

thought to be possessed by the spirit of the deities they represent. Thus they are treated with great respect

and reverence.These festival has come down from past ages and has been maintained intact without the

least diminution in feeling. This,however, would not have been possible but for an institution which has

alone fostered the tradition of Newars. This institution called the "Guthi" is veritable treasury for the Newars

and it has endowed the Newari culture with the effective and necessary backing ,the financial grant.

Kathmandu is a city where ancient traditions

are zealously guarded while at the same time

embracing modern technology. Like any big city,

Kathmandu has seen rapid expansion in the last

decade, but despite the fast life of a metropolis,

its people remain refreshingly friendly towards

visitors. City life is enriched by endless ceremonial

processions and events that take to the streets now

and then, with throngs of devotees seeking joy in

spiritual celebrations. These religious festivals are

steeped in legend and are quite a spectacle with

chariot processions and masked dancers often

possessed by the spirits of deities.

The Durbar (palace) Square, a UNESCO World

Heritage Site lies in the heart of the city with the

old palace accompanied by many pagoda style

temples that boast of superb craftsmanship in

wood and metal. The Living Goddess’ residence

lies nearby and the famous Freak Street is a stone’s

throw away. Today tourists prefer Thamel which

has grown into a thriving tourist quarter, offering

everything from luxury to cheap hotels, bars and

eateries to travel agencies, money exchange

centres, massage parlours, night clubs, live

music, yoga and meditation classes and more.

International cuisine of every kind from Korean to

Italian, Chinese, Japanese, Thai, Indian to Mexican

and more are available within a square kilometre.

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4.3.History

Mythology

Myth 1.

A Lovestory

Myth 2.

A God for Ranjitkars

Myth 3.

Lakhey in Kantipurnagar

According to the text and records, around the 12th

century, Nuwakot was ruled by Thakuri Kings and

made up of small kingdom’s, during their reign, a

demon named lakhey fell in love with a young girl

from Ranjitkar caste in a “tole” (a certain area in the

community) in Majipat. The demon would change

into his human form to come to meet this girl

every evening. Some people found out about this

and it spread across like wildfire amongst people.

Soon enough the Thakuri Kings heard about this

occurrence, they sent their men to find the Lakhey

but failed in several attempts. To catch the Lakhey,

they called the Tantrics for help, so with their help

they were able to catch the Lakhey.

After being caught, the demon requested the

King to let him go and in return he would come to

perform his dance every day during Indra Jatra.

Hearing this the King let go of the Lakhey. This is

how the Majipat Lakhey came into being.

Another story claims that the lakhey was from a

place called Majipat in Kathmandu and he ended

up falling in love with a girl from the Jyapu Caste.

As both bring us back to Majipat, especially

Ranjitkar Family, all the stories are related to this

family. All the caretaking and performances are

done by this family.

Majipat Lakhey can be considered as a demon

by other people by in Majipat, this Lakhey is

considered to be a God. They also believe that this

Lakhey is a form of Tulja Bhavani which entered

from the Karnataka to Kathmandu.

Lakhey was not so lavish earlier times but during

the rule of Jay Prakash Malla (Malla Period) the

Lakhey dance becomes more lavish and taken

as a sign of entertainment and fun. During Indra

Jatra, a buffalo is sacrificed and the meat is then

consumed by the people in that guthi. At the end

of the Indrajatra, a feast is eaten by all the family

and closed ones connected to the lakhey.

After a few months, they started to trust Lakhey. In

the past, Kantipurnagar was a very small place, with

Basantapur in the center, Bhadrakali to the east,

Bishnumati in the west, Sorahkhutte to the north,

and Teku in the south. The Kantipurnagar citizens

did not allow the Lakhey inside, because they were

scared of him, so they only took Taleju’s kharga

with them, and left the Lakhey at the entrance.

Slowly, everything went back to normal, but after

a few months, the Lakhey started to cry every day.

People started feeling bad for him. Even though he

was a demon, they couldn’t let him cry every day

and night, so they talked to the king about him.

The king accepted the proposal and went to talk

to him. Upon the king’s asking, “Why are you

crying?” the Lakhey replied, “I am all alone here; I

want to live with the people, and I promise I won’t

hurt anyone.” The king questioned him, “What will

you eat if you don’t kill us?” The Lakhey answered

that he would just eat meat and eggs. Originally,

the Lakhey was not named until this point, so the

king named him LAKHEY (in Newari language,

“la” means meat, and “khey” means egg). He then

started to live in the area, but the people were

still afraid that he might eat them while they were

sleeping, but Lakhey was very earnest towards the

promise he made to Taleju and the king.

People got so apprehensive that they sent a child

to check if Lakhey would harm him or not. The

child went slowly to Lakhey and teased him, and

in return, Lakhey teased him back by chasing

him away. The boy got scared and returned to

the people, but after sometime, he went back to

Lakhey again and teased him again as if he was

enjoying this. Again, Lakhey teased him back by

running after him. But, after a few more rounds of

this, he got a bit irritated, and instinctively kicked

the boy three times and left him. That is how

the boy was named Jhyalincha, or to be more

accurate, Jhyallimachha (in Newari language,

“machha” means boy, and the word “jhyalli” was

used because he kept teasing Lakhey). This is why,

during the Lakhey dance, Lakhey kicks Jhyalinchha

three times when it is caught.

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Myth 4.

Kumari’s Guardian Lakhey

Selection of Kumari

Lakhey (in the Nepalese folklore),

the Protector of townspeople:

an illustration for the VNY 2020

Image ark campaign

Imageark

The king used to play paasa (gambling)

with Taleju, but one day, the king got drunk

and started flirting and passing lines at the

goddess. Taleju got offended by this, and

threatened to leave the place unprotected.

The king regretted what he had done and

begged for forgiveness. The goddess kept a

condition, saying, “If a girl or boy of Lagan

bahal and Killagal bahal get married and have

a girl, one of them, but only if she is a Shakya,

will be a Kumari.”

This is the tradition which is still going on,

and will continue in the future. Even Lakhey

was upset and wanted to leave with Goddess

Taleju, but she ordered him to guard the

Kumari and the kharga. Kumari Jatra is

observed for eight days, so the Lakhey wakes

up to protect Kumari and the kharga for eight

days, and sleeps for the rest 357 days. This

is how Yenya Puhni was started, and how

Lakhey turned into Majipa Lakhey Aju (Calm

Bhairav). Since then, this tradition has been

going on. But, it is to be noted that there is

no connection between Indra Jatra and Yenya

Puhni; it is just a coincidence that they take

place at the same time.

To select the kumari, a grueling process was

followed in the Bihar in Sundari Chowk in the Patan

Durbar Square.

Young girls around the area whose age is less

than 5 yrs were accumulated in this place, they

are seated inside there and then at 10 p.m. the

Acharya( the Priest)that worships the Taleju would

start doing the puja. For the puja, the biggest

Head of a goat is kept in front of the kids and on

the head, a “dwosalli” “palcha “( a big container to

eat a certain dish) is placed on the head with oil

and a big “itaa:”( a wick made from rolled cotton

fabric) is placed inside and lit. At the stroke of

midnight, the dead goat would start laughing, and

all the young girls would start crying or started

curling up because of fear. But the one who is to

be possessed by the god, will stand up at once and

grab the palcha, climb on the head of the goat and

start dancing. While dancing, the eyes of the goat

will start turning round and round and then when

it finally shuts its eyes, the light also shuts and that

means the Goddess had entered the body of the

young girl.

The goat represents Mahisasur, who once he sees

Bhagwati will start laughing and later on Bhagwati

will kill Mahisasur with his Trisul, the eyes turn

around due to his suffering and when it closes its

eyes, it represents the end of Mahisasur. This whole

story represents Bhagwati’s attack on Mahisasur

and his defeat.

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Myth 5.

Kamokamakshya

Taleju and the Lakhey

Majipa Lakhey Artwork by

Sangeet Vajracharya

Several years ago, when kings ruled over

Kantipurnagar (as Kathmandu was known then),

all the Jyapus (Newar farmers) of Kantipurnagar

were having trouble farming, because their corn

plants grew without kernels inside, and when

they grew paddy, there were no grains inside.

Then, the people decided to worship Goddess

Taleju, hoping that their problems would be

solved. Five Jyapus and some Gurjus went

to Kamokamakshya, vanquishing ghosts and

demons that they faced when traveling through

the jungle. They reached their destination at

Kamokamakshya Cave, where resided Taleju.

When they entered the cave, they saw numerous

Lakheys fighting with each other; some were

small, some tall, some huge, some tiny, and

some, stronger than the rest.

The Gurjus had a special power that could

make demons sleep with paddy grains, using

some magical words. In the end, there was this

huge, and the strongest and most dangerous,

Majipa Lakhey standing right in front of the door,

guarding the goddess. The powers of Gurju did

not have any effect on the Majipa Lakhey, and

he tried to kill them, so in fear, they called out to

Goddess Taleju for help. She stopped him and

let them in.

She listened to their troubles and understood

their situation. She said to them, “I can’t go with

you, I have these many children to take care

of, and if I leave this place, then they will go

everywhere and destroy the country. I won’t be

able to come, so if you take this kharga (sword)

with you, establish it and worship it, then the

crisis will end eventually.” She even asked

Majipa Lakhey to go with them, so that he would

protect them from other ghosts and demons.

The goddess bound him with a promise to never

harm any people. They all returned safely, with the

Lakhey guarding them.


They don’t usually say the story. Majipa lakhey is

said to come to Kathmandu with Taleju Bhawani. It

is said Majipa Lakhey fell in love with a “Jyapuni” (a

woman from the farmer caste of Newar).

Legend has it that the first Malla king brought the

Goddess Taleju Bhawani in Kathmandu where it is

enshrined. Lakhey, not finding his patron Goddess

Taleju, simply followed the footprints of the Malla

king and arrived in Nepal from the south. Later,

Goddess Taleju appeared as Living Goddess

Kumari and Lakhe continued to walk the chariots of

Kumari in this great festival.

If anyone has a problem Lakhey will help. He is said

to give blessings to people. A lot of people believe

this so a lot of people worship him like a God.

Importance of the dance form

The Majipa lakhey dance has been going on

since the Malla Period. It is a part of Nepali

history but now it has become a part of the

Nepali identity. This red ferocious figure is a

prominent thing that everyone remembers

either from their childhood or for foreigners

from their visit to Kathmandu.

You see this figure in a lot of Nepali

promotional videos and photographs as well.

This Majipa Lakhey shows a rich culture of

Nepal with musical instruments like dholak

and Bhusya. The dance form for which a lot

of people peep out their windows and watch

shows the cultural connection of people to

this historical dance form.

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The performer holds the mask and

shakes it left and right. The aggresive

head movement depict rage and power.

A puja is done on the mask

before the performance.

The initial performance right

after the lakhey comes out

of the lakhey house in the

Ranjitkar Tole (courtyard).

4.4. The

Performance

In the jammed square, the Lakhe wearing

a huge red wrathful mask makes demonic

movements on the rhythm of traditional Newari

beats of dhime (drum) and bhushya (cymbals).

The enormous red mask with protruding

fangs, jagged teeth, and a dark red wig is a

work of customary, meticulous Newari art. It is

accompanied by a matching red and golden

bhoto and full-length skirt. The dancers also tie

silk handkerchiefs around their wrists to add

color and vigor to the dance. With fast hand

movements, these silk handkerchiefs appear

as blurs and flashes of color. This dance is not

taught but is inherited by the dancer from the

spirit possessing the mask. The general belief

is that the spirit of the Lakhey resides in the

demonic mask. As the dancer puts the mask

on, the spirit takes over the dancer’s body and

dictates the movements.

On the 1st day of the Jatra ie. “Upaku” , the

performer goes first and foremost to the

Rajbhandari family. Before going out to perform

in public, Majipa Lakhe visits a place called

Rengal at Lagan to worship and receive the

blessing for a successful day ahead. Earlier,

“Jyapu” (a farmer clan in Newar) people

were responsible for taking care of Lakhey.

During the course of time, Jyapu finds this

practice difficult to carry out and handed over

to “Ranjitkars” (another Newar clan). To this

day, Lakhe visits Jyapu house to drink water

and light its “chirag” (oil torch) to begin the

procession.

But another story suggests that earlier, Jung

Bahadur Rana ,the 8th Prime Minister of Nepal

had gone of the country and was caught in a big

storm. A Rajbhandari was also accompanying

him at the time. So, he told Jung Bahadur to

think of Majipa Lakhey and he will be safe. So,

just like that, they kept chanting his name and

like that they crossed the storm safely. So the

Rajbhandari family had offered a diamond and

a golden tika to the mask. So he told them that,

I am offering you this but you have to my family

before anything to take the puja. So whichever

the story might be the Lakhey goes to Rengal

and then only goes to take puja in mourning

families and nowhere else to relieve the family

of their sorrow on the first day of Upaku.

On Day 2, Majipa Lakhey goes to different

places where he is called for puja and then on.

On Day 3, which is the Indra Jatra, he goes

straight to Basantapur from Lakhey Ghar and

goes wherever the kumari goes. After the

procession has ended, if time remains he will

go to a few more houses of closed ones to take

puja. It is said that if you give puja to the lakhey

all the evil, sorrow, or diseases or anything

as such will be eliminated. With the belief

of people, the situations of their house start

getting better, the problems they were having

get solved after the visit of the Majipa Lakhey.

On Day 4, it includes going to a different house

to take puja. If the performer needs to get

changed, they will change in one of the houses

where the people have called for the puja.

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A historical image of Majipa performing as the royal lakhey

surronded by government officials and guards

Source : Pinterest

Majipa as the royal lakhey

When Nepal used to be ruled by the kings, Majipa

Lkahey used to be called the royal lakhey. The

Lakhey used to be called the Narayantihi Palace to

perform for the Royal family.

During the performance, the royal family would sit

on a stage and the performance would happen on

the compound grounds. The performance would

be 10-15 mins each. Not only lakhey but other

deities were also invited to perform. Then later

when Birendra Bikram Shah was the king, they

would be on the balcony behind a black glass so

that they are able to see the performance but the

performers were not able to see them.

This stopped when the monarch was removed in

2008.

Dance Form

Lakhey Dance is a performing art form

consisting of purposefully selected sequences

of movement, gestures and expressions. This

movement has aesthetic and symbolic value, and

is acknowledged as dance by performers and

observers within a Newar culture.

People who are interested to be a lakhey will start

young. They will help the lakhey by holding their

pouches and maybe when they change they will

hold their bag of clothes and all. Lakhey dance

is mainly learned through observations. Even the

instruments are learned during the breaks the

lakhey takes and no official classes and practices

are held for playing the instruments. Every lakhey

dancer has to learn to play the instrument first

and observe the way the lakhey dances and then

when he is capable of doing the performance, he

is made to be a performer and made into a lakhey

during the night time.

There are Three elements of dance form which has

been followed by each dancer.

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There are three elements of the dance form which has been followed by each dancer.

1. Space:

Space refers to the area that the human body occupies. As lakhey dance is performed on the streets and

among crowd, Dancers are very aware of the space around them as they move through it. Movements

of Lakhey dance can be very large, taking up a great deal of space, or they can be small, taking up a tiny

amount of space. Shapes and movements can be executed on low, medium, or high levels. These shapes

and movements may be performed facing or traveling into different directions in the crowd: front and

back, sideways, diagonal or turning.In addition, movements can travel on various path way such as a circle,

a straight line, zigzag, a figure-eight, or a squiggle path.

2. Time:

Every movement that is done by a lakhey dancer takes a certain amount of time. Movements of lakhey can

be varied by changing the speed at which they are performed. Some movements can be fast while others

are slow, or some may be may be executed at medium speed. By varying the speed of movements, one

changes the tempo

of the dance.

Like some of the dance movements show fierceness of lakhey. These movements like shaking of head,

getting annoyed by Jhalincha, are done at high speed.When thinking of time, one may also consider

the rhythm or pulse of the movements. Following the beat of music of Dhime, dance movement may be

counted in a 4/4 time such as the rhythmic pattern of a march, Sometimes movements will have no basic

rhythm, but will be more free-flowing or arhythmic; however these moves would still take up a certain

amount of time. Sometimes movements will have no basic rhythm, but will be more free-flowing or

arhythmic; however these moves would still take up a certain amount of time.

3. Force:

Force in lakhey dance refers to the mount of energy it takes to execute a movement. Sharp, fast or heavy

movements which shows anger, require a great deal of energy, whereas soft, slow or light movements like

saluting poses require less energy. Fast and slow movements correlate to speed and time, but also involve

energy and force. It certainly takes more energy to run and jump within a short amount of time than to

leisurely saunter around the lane at a very slow pace.

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These three elements carried throughout the

dance performance. Mainly the Lakhey dance

consists of 3 steps. First is when he comes out

of the house. The second step is when he is

performing alone in the crowd and the third step

is when he performs with the Jhalincha.

In these 3 steps, there are 3 different emotions that

are being depicted in his performance and the

emotions are depicted through their dance step.

Those three different emotions are Happy which

will the movement of hands, Angry which will be

represented by the movement of the head and

Annoyed i.e. when he chases and runs. Behind the

Jhalincha. These are the 3 main steps for Lakhey.

It is always the same step, the performer has to

dance according to the beat.

The performance with Jhalincha is a little tricky

as there is always a crowd and they try to come

forward to click a video or a pic so the mask is

always worn on the top to prevent any mishap.

The lakhey kicks and chases the Jhalincha as a

sign that it is being annoyed by the Jhalincha.

Dance with the Jhalincha

As a part of the Lakhe dance, a teaser demon

called Jhyalincha agitates Lakhe and is

continuously chased by him. This is perhaps

the recreation of one of the many duels Lakhe

indulged in as part of the pact with the king. A

different version of the myth claims that Lakhe’s

dance is the punishment dictated by gods for his

illicit affair with the young girl.

Jhalinchha represents the kid that used to tease

Lakhey. But also Jhalinchha is a form of Akash

Bhairav, earlier Jhalincha used to wear a mask on

his head as a sign of the Akash Bhairav. It is said

that jhalincha is also a god. So he wears his mask

on the head where the mask is looking at the sky.

The movement of jhalincha includes a lot of hand

movements and running and it being chased by

the lakhey. Lakhey ends up not only chasing but

also kicking and hitting the jhalincha. The lakhey

shows irritation and anger during the performance

by shaking his head vigorously. The Jhalincha

also comes from the Ranjit family. Earlier it was my

brother then my uncle’s son and next year my son

will be the jhalincha.

Majipa Lakhey performing

with the Jhalincha.

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The care taker fitting the

mask on the head of the

performer.

The Caretaker and

the Performer

Rajib Ranjit - The Caretaker

Inheriting the Lakhey traditions and rituals from

his forefathers and uncle, 38 years old Rajib Ranjit

is the caretaker of the Majipa Lakhey.He has been

involved in this performance from when he first

became a jhalincha when he was just 5 years old.

And then later went on to become lakhey when he

was 13 yrs of age. But he could not follow being a

lakhey performer for long as his father

had expired.

Being a Majipa Lakhay has been happening in our

family ever since I can remember, it is an ancestral

activity that we follow. It can have its good and bad

sides but we follow it anyhow as it is something

our family has been doing for generations.

“I have to take care of all the rituals and

anything and everything related to the Mjipa

Lakhey. I am always with the lakhey throughout the

whole performance.

It is a hectic time during the Indra Jatra, we

end at 1-2 at night and I have to wake up at 6 and

get everything ready for the performance.

I sleep in the puja room for 1 month to

prevent anything bad from happening to the mask

and others.

Only my brother and I know how to tie the

“Pheta/Patuka” on the head of the performers.

Two people are required to prepare the lakhey.

I will be teaching this to someone else later on

so that our tradition is passed on. In order to do

the performance itself for a whole 8 days, budget

plays a major factor.

We need 2-3 lakhs for the whole 8-day

procession of the lakhey but the government only

gives 1 lakh sometimes, so we have to put money

from our own pockets.

Our family believes in this, that is why we

still continue to do it. Even if the budget is not

sufficient, he still continues to do it.“

Mr. Ranjit is optimistic that one day his son will

follow his footsteps to keep this family tradition

alive. His uncle, Mr. Laxmanram Ranjit, has retired

after 28 years as a care-taker of Lakhey.

The caretaker has to make sure the whole journey

of the lakhey goes smoothly without inferences

and disturbances. He also helps in adjustment of

the masks or any other element of the costume

when needed. The caretaker is the most crucial

part of the Majipa Lakhey. He organises, collects

funds to look after the entire execution of the

Lakhey dance. While the Dancer itself is very

significant for the entirety of the festival but the

caretaker’s duties goes even after the festival until

he retire from his duties.

The caretaker has to go along with the performer in order for

the performance and journey to go smoothly as well as in the

right sequence.

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1. Fitting of the head turban for the support and placement of

the mask.

2. The performers adjust the mask to prevent any discomfort.

3. The performer dances according to the beat of the dhime

Instrument. Majipa Lakhey has very few and simple steps that

the performer learn by oberservation.

Ritesh Lakhey- The Performer

A 32-year-old lakhey performer runs his own travel

agency in Kathmandu in the other times when he

is not doing the performance.

“I always saw the performance ever since

I was a kid. I was 26 years old when Rajib dai

motivated me to do

the performance.

During my first performance, it was hard for

me, I was very nervous and was not able to lift the

mask up as it was very heavy.

When I had to lift my head up, the mask

would pull my head down. But later on, as I

became a lakhey a couple more times, it got better

and I gained more experience and as a result, I am

able to carry it well.

Now, I have been doing the lakhey

performance for 7 yrs now. When the music starts

I just start dancing, doing the dance steps and I

don’t feel nervous or anything as such anymore.

I dance according to the beat and just enjoy the

performance.

I dance every day on Indra Jatra. There

are 4-5 dancers that come for the performance as

only one individual is not able to perform for the

1 2

whole day. I don’t feel anything while I am wearing

a dress. When I become the lakhey I get like an

Auto Power. We feel like it is the power of God.

Being a Maijpa Lakhey performer has also

become a part of my identity. People who know

me also call be Ritesh Lakhey. “

‘As long as he is lakhey there is no pain that

he feels, even if he steps on stones he doesn’t

feel that pain. The pain comes only after when

he takes off the mask and the clothing”

- Rajib Ranjit

A day in the life of a performer

Usually sleep at 2-3 am and then wake up at

9-10 am. The performance starts at 12-1 in the

afternoon. During this whole duration of Indra

Jatra, everyone sleeps in the Lakhey Ghar.

Everything happens mainly because of everyone

who believes in us, who believe in the culture and

our traditions.

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Laxman Ranjit- The Performer

A great warrior, a great Lakhey, a loving and

caring father and husband, who has been very

supportive of his son because he lost his wife in

the April 2015 earthquake, and also, lost himself

at that time, Laxman Ranjit has been a Lakhey for

eighteen years.

“Becoming Lakhey is something that is refreshing

for me; it is my dream come true. I was very small

and used to enjoy watching Lakhey dancing

around, I was fascinated by it. As a kid, I used

to carry chirag (a ball of fire to lead the way for

Lakhey) and at that time there was a king ruling

the country, so Lakhey and Pulunkishi were

entered inside Hanuman Dhoka in a charity show,

which used to be held at that time. But at that

time, a guy took the chirag from me to enter inside

with Lakhey, and left alone, no one let me inside,

so I cried a lot and I held a grudge to become

the greatest Lakhey ever and prove myself to

everyone,” he said.

He first became Lakhey at the age of sixteen.

“I was very excited and had a passion for it, and I

got so many compliments at my first performance,

which encouraged me to do more in the future.

Then on, every year, I became Lakhey, and felt like

this is a part of me.

When I put on the mask, there is some

external energy that comes within me, which gives

me strength. I don’t feel any pain while walking or

running, though I can see and feel everything and

know what I am doing.

Some people think that I have some Lakhey

spirit inside me, but sadly, it’s not true.”

Besides being a Lakhey, he is a police

officer and a weightlifter, too. But after the tragic

incident of April 23, 2015, he has been struggling

to move back into his life again. He has a son

named Aryan, who is ten years old and also a

Jhyalincha; he is the one who made him live

again.

“I am proud that I have been, and always

will be, the greatest Lakhey, which I always wanted

to be, and I am proud to serve the country by

saving our culture.” said Laxman.

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4

1 2

1. The puja is done on the mask after it comes back from being

repainted.

2. All the jewellery and the mask and the hair is put together

for the related rituals during the entire festival of Indra Jatra.

3

3. Just before they performer heads out for performance, a

puja is done and a tika is put on the mask.

4. People doing puja on the mask.

5. The fanily memner put tika on the performer before he puts

on the mask.

The Rituals

5

All Majipa Lakhe performers are required to pay

their visits to dance Goddess with respect to wear

Lakhey masks and costumes. They carefully plan

and prepare the eight-days performing schedule.

Three to four performers take turns for a

single-day performance. Surrounded by lit oil

lamps, Lakhe mask is worshipped and offered a

variety of food items in the belief that Lakhe must

be kept happy so it will provide blessings and

protect villagers from an outbreak of epidemic

diseases.

Before a performer wears the Majipa Lakhey

attire to be publicly displayed in the streets of

Kathmandu, it is first worshiped on its throne a day

after Bhadra Krishna. Lakhey and Jhyalincha masks

are brought out into the procession for mending,

grooming, and repainting for the upcoming Indra

Jatra Festival. It is kept in its throne until it is sent

to a craftsman “Chitrakar” (a painter) of the Newar

community. Similarly, yak hair is dyed, brushed

and fitted in a mask. This is a closed session

that public viewing is restricted except for the

guardians of Lakhey.

On this day, people who are involved in the

performance: the performers, friends, and family

are invited for Prashad . Usually, there are around

50-100 people. And Samay baji (an authentic

traditional dish of the Newar community) is fed to

everyone.

During the whole of the Indrajatra, everyone

stays in the Lakhey Ghar( Lakhey House) as

much as every floor is filled with the people

and the caretaker stays in the Puja Room for

a month so that nothing wrong happens. No

shoes are allowed in the room. If something is

not done right, the caretaker gets nightmares

and “tarsauna aucha”( some kind of paranormal

activity) happens, so we do puja and take care of

all the items. After the end of Indra Jatra, a feast

is celebrated where everyone who was involved

in the dance is invited. A day after the feast the

Majipa Lakhey is kept back in the box. A day after

the feast the whole house has to be left from top

to bottom. Only on the day after that, they enter

the house.

A buffalo is sacrificed in a temple near the area

called “MashaDega” and then it is brought back

to be roasted on fire and after which it is put in the

house in the storage area. During this process, no

one besides the family can enter the house.

It is said that on the day that the house is left, the

Majipa Lakhey comes inside the house, has a feast,

dances and then leaves. They are not allowed to

see or sneak into the house as it brings bad luck

to the person.

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Change in the

performance

While the main culture has stayed intact but

there are other elements that have been

changed in accordance with the present time.

Earlier it was said that Majipa Lakhey should not

cross a river. In olden times Majipa lakhey would

go to different places in the Kantipur, but now

as the Ranjitkat families have spread in different

places across the Kathmandu valley, they have

to cross the river to go take puja in their houses.

But when the cross the river, they do not play

their instruments and make sure that no sound

is made by the Ghangara. They have to cross

the river quietly. They take puja in Kathmandu

but not in Patan and Bhaktapur.

Most of the elements are still similar, only

some elements have changed such as the lights

carriers which were very pointed earlier and

were removed for safety purposes. Another

attribute that has changed is the physical ability

of people. Earlier people had a lot of stamina,

people used to work in fields all day and were

very active but it is not the same now. People

now have less stamina, so when the mask is

put up it makes it easier for the performer to

breathe. The mask is flat on the backside so it is

difficult to perform with it in front for hours on a

stretch.

Earlier the Guthiyars used to be a mix of family

members as well as other people as well but not

the “Guthi” consists of only the family members

and no one from the outside is involved.

Mainly Ranjit family becomes the lakhey for

the performance but now as a lot of Ranjit

families have shifted to different places so the

participation has decreased. Although they

have expanded the performers to different

caste, they claim to not have gone out of the

Newari community.

During Indra Jatra, Sawa Bakkhu also plays a

role as well as the Pulu Kisi. Earlier they were

not meant to be together. If they were to meet

a fight would break out. People used to fight

amongst each other but later our grandfathers

decided that there needs to be friendship and

unity among everyone. So later, a puja was

given to the Sawa Bhaku as well as the Pulu

Kishi. Prashad is given to the people of all the

three Guthis and the closed ones consisting

of 400 people for establishing peace between

them.

While Majipa lakhey dances alone in a crowd

of people who give way to him, he moves on

with his journey with a full red attire, he depicts

the emphasis on him. In a frame it looks like

something out of the ordinary life. Something

from a story. When we add the movements

to the frame, it becomes something we can’t

look away from.

The performance with jhalincha becomes a

different composition of dance. With another

character added to the performance, it is the

play of these characters within themselves

that changes the whole composition. The

Jhalincha character that constantly comes

in and out of the frame, leaves the lakhey

waiting and pondering. This is an interesting

composition of the lakhey dance.

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1

6

Composition of Dance

2

4

While Majipa lakhey dances alone in a crowd

of people who give way to him, he moves on

with his journey with a full red attire, he depicts

the emphasis on him. In a frame it looks like

something out of ordinary life. Something from a

story. When we add the movements to the frame,

it becomes something we can’t look away from.

The performance with jhalincha becomes a

different composition of dance. With another

character added to the performance, it is the play

of these characters within themselves that changes

the whole composition. The Jhalincha character

that constantly comes in and out of the frame,

leaves the lakhey waiting and pondering. This is an

interesting composition of the lakhey dance.

The dynamic elements of the dance

1 | 2 | 3 | 4 | 5 | 6.

All the images depict the differemt dance moves and

locations the Majipa Lakhey performs in during the 8 days of

the Indra Jatra festival.

3

5

The dynamic elements of the dance in the Majipa

lakhey dance is the aggressive movement of the

head and the chasing during the Jhalincha dance.

It gives a sense of a break from the normal and

continuous hand movements. With its full head of

big red hair, the head movement even makes the

onlookers feel the sense of fright. The perfect way

to depict the anger of Lakhey.

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4.5.

Symbology and

Materials

Masks

With white fangs coming out from its mouth,

flames drew around the eyes and mouth, this red

mask of the Lakhey is one of the most significant

parts of the whole costume. The mask is a sole

representation of the demon deity. In terms of

the Mask of Majipa Lakhey, it holds a different

story. People say that the mask of the lakhey is

possessed by the demon. With a staggering

weight of 15-20 kg, this mask of the Majipa Lakhey

only comes out once in a year. This mask which is

always red is the same mask that has been used

for a long time. Amongst all the Lakheys in Nepal,

you can distinctly differentiate Majipa Lakhey with

its big red hair.

The first time it comes out is the time of Bhadra

Krishna. It is taken out and then sent to the

Chitrakar the next day to be repainted or for repair

if there is any repair necessary. It comes back from

the Chitrakar a day after Bhadra Shukla and then

the same process is followed and everyone is

given Prashad.

On the day of Ekadashi, the hair is put on the

mask. And then on the Dwadasi, the Lakhey is

taken out for the performance. Other times it is

kept inside a terracotta box and not opened until

it’s the time of Indra Jatra. No one has seen what

is inside the box. Neither the caretaker nor did his

grandfather ever dared to look in the box.

Even in the process of taking the mask out, the

caretaker has to face the opposite direction to take

it out using only the hand that goes into the box.

This is a part of the tradition that the family follows.

There is some sort of power that comes with

the mask and the clothing. Otherwise, it is just

unimaginable for an average man to be dancing

barefoot for 2-3 hours with such a heavy object

while still moving on the road.

The mask is made up of clay and other different

mixtures and then enamel is painted on the top.

The repair and paint works are done every year.

The hair that is from a yak dyed in red color,

has also remained the same for generations.

Lakhey hair is considered to be like a Prashad. It

is believed that when you carry even a strand of

the lakhey hair no bad thing will happen to you.

No spirit will be able to touch you, no accidents or

mishaps will occur as well. But this is at the end of

the day just all a strong belief of people.

In this belief, people do tend to pull the hair of

the lakhey so that they might get a strand or two

but because it is such a heavy mask, even if it is

just a single strand being pulled, the performers

do feel it. When some of them pull it, their head

sometimes goes back and they do lose their

balance and that is why they end up having to kick

others to retain the balance.

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The Clay Mask:

Som Tamang: Traditional mask makers of Nepal

Purnakazi is a retired professor of sculpture in the Lalit Kala Campus.

In ancient context (nearly 600-700 years ago) artists used to use mud called ‘Gathi Cha’ which

was a kind of mud which was very fine, waxy and non sticky. One of the main characteristics of

this mud was, was its strength. This mud was as strong as cement and hard to melt once it had

dried. Artists used to mix it with jute, cotton and Lokta paper to give it additional strength.

Masks left to dry after the

application of the primer.

Takcha (a kind of primer)

made with clay and mard

Masks left to dry after the

application of takcha

Process of the Clay Mask:

The mold is made up

of cement.

The storage area of the clay.

Geecha (a type of clay) used

for the making of the mask.

Step 1: Sculpt the figure of the mask with the

details just like the way it has to be made and then

apply oil on it for the moulding process.

Step 2 : Then they make mould of the particular

mask with cement which is known as ‘Thasa’ and

then left to dry. The clay is taken out to releave the

mould of that mask.

Step 3 : To make a mask they mix a type of clay

“Geecha” mixed with paper and jute for added

strength.

Olden days they used clay called “Gathicha”

which was flexible in nature and had properties like

wax. But this is not available right now.Others might

also use maida flour and cotton to act as a binder

in a black soil. Once a mixture is ready they make a

dough out of clay.

Step 4: For huge masks, pour talcum powder all

over the cement mold and place the rolled clay

on it. The clay is properly adjusted in the mold so

that it could take the desired shape. For miniature

masks, clay is directly put into the mould and left to

dry.

Step 6: Clay is pressed and spread equally over

the mold with hands and smoothen it by applying

water. Proper finishing is given from the backside.

Step 7 : After finishing the mask, it is kept in the

sunlight for drying for nearly 1-1:30 hrs.

Step 8 : Once the mask is dried they take out the

mask out of the mold.

Step 9 : The next step is to strengthen the masks.

Initially, the front side of the mask is smoothed with

water and detailed out.

Step 10 : Then they apply 2 layers of Lokta paper

or newspaper on the mask with wheat flour glue or

the Takcha to strengthen the mask.

In ancient times ‘saras’ is used as a glue. It

used to make by boiling animal skin mostly of buff

and grease that comes out is used as a glue. This

glue was stinky.

Step 11 : The same process is done on the

backside of the mask also. This provides the

strength of the mask.

Step 12 : After applying the paper, the mask is kept

in the sun again for drying.

Step13 : The mask is colored and detailed. And

finally varnish is applied for the shine.

The mask is coated with a

primer before paitnting.

After the final painting is

done this is how it looks like.

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Gyan Kazi Shakya :

The experienced

mask maker in

Patan

Following his father’s footsteps, Gyan Kazi Shakya

is an 82 years artisan who used to make Paper

Mache masks using the traditional method.

His father Mulya Aju was very famous for mask

making. When we interviewed Gyan Kazi Shakya

he threw light on the old mask-making method.

“When I started making the paper mask, I

was 12-13 years old. even my brother used to do

it. To make this mask, we used to bring clay from

the river banks of Bagmati. Nowadays we get

the clay from the jug of houses i.e. underground

soil. while making the mask we used to use

terracotta moulds as it was easy to sculpt. now,

these terracotta moulds are replaced by cement

moulds. small detailings of masks, I do it with my

hands by pressing Lokta paper on the masks. in

my times, we used stone colours for painting the

mask. The stone colour was far better than the

colours we have these days. colours like acrylic or

posters colour do not last for a long time whereas

the stone colours get better as it gets older. Also

for painting, I make my brush by tying Khashi hair

(goat hair) on a twig. Nowadays I engage myself in

painting the masks.”

Two houses beside his father’s house, Madan

Shakya, son of Gyan Kazi Shakya showcases his

process of making clay mask in his shop.

As a business solely selling the clay masks itself

is not enough to help sustain a living. He works in

his free time when he has no customers.

Aside from supplying the astramatrika masks

to shops in tourists areas like thamel, he also

works on custom orders as well. These marks start

from NRP 600 and above and the pricing varies

according to the size and the masks.

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The Dhime and the Bhusya on display in the Patan Museum

situated in the Patan Durbar Square.

Jewelry & Costumes

Instruments

Symbology of Colors and Material

Source: ECS Nepal, Issue 191

All the Lakhey performers usually have a basic set

of costumes. The costume consists of:

Rumal(Handkerchief)- the multi-colored fabric

attached to the waist to the hands on the side.

Phetta - a 19-meter long soft cotton cloth that

is tied on the head by the caretaker in a special

manner which helps carry the weight of the mask

and the hair.

Clothing- Earlier the government used to give a

set of clothes every 3 years but now the devotees

offer the clothing for the lakhey.

Jewelry- The dress only consists of the Ghangara

(Ghungroo) as a form of jewelry that weighs about

5 kg. It is a set of bells that is tied on a belt. It is to

be worn on the waist of the lakhey. The bells have

remained the same since the earlier time with only

a change of the belt that gets ruined by sweat

and movement. When the bells go missing, the

caretaker has to buy it from the shop and replace

the previous missing bell. The caretaker states that

the golden bells had a nice sound to it but the

new ones don’t have such a nice sound.

The Instruments are one of the significant parts

of the dance as it provides the beat to which the

Lakhey will dance. There is no specific training

that is given to the players. Everyone learns from

observations and when someone wants to learn,

they are taught during the breaks the lakhey takes

while the performers get changed. By practicing

in these intervals, anyone can become the

instrument player.

For the instruments, “Dhimay Baja”(a kind of Drum)

and “Bhusya”(Cymbals) are used to produce a

beat. The instruments are made in the city itself.

The Bhusya is bought in the store whereas the

Dhimay Baja is custom made size of a drum that

only the Ranjitkar family owns especially for the

performance. The beats are played on a loop but

still it is a captivating sound which is heard by

people from a distant. Although it is just two

Instruments, they have a powerful beat and sound

to it.

The color red has been used widely in the mask

of all the Lakheys that we find in the country. The

color red depicts danger which is one of the major

reasons why the lakhey is mostly red. From his

clothes to the mask and hair in terms of Majipa

lakhey. It shows power and prominence as well as

the vibrancy of the colors. As the Lakhey is a fire

breathing demon, the yellow and oranges on its

face depict the fire in color.

The material of the clothes Lakhey wears is similar

to that of the clothes that are stitched for the

deities in the temple. The brocade fabric gives a

richness feel to the performer and it symbolizes

Lakhey being as equal to a deity in any temple.

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Chapter 5

Mipwa

Lakhey

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Mipwa lakhey throwing sawdust into the

fire for the performance in a courtyard near

Patan Durbar Square.

5.1.

Mipwa Lakhey:

The Revived

Introduction

Like Lakhey’s in other cities, Patan also as its

lakhey. It is called the Layaku Mipwa Lakhey.

Mipwa Lakhey is a recently revived lakhey in

the city of Patan. Started by the Kartik Nach

Preservation Committee in 2074 B.S., with a strong

sense of protecting the culture, Uttam Ratna

Shakya and his team comprising mostly of the

youth are moving forward strongly with this sense.

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5.2. Festival

About

Like Majipa Lakhye, Mipwa Lakhey also

has an important day that it comes out for a

performance. This day is the day of Gathamuga, it

is a unique festival of Newars in Kathmandu Valley.

One of the most ancient festivals of the Newa

community is ‘Gathamuga’ or ‘Gathemangal’. It

is celebrated on the fourteenth day of the dark

fortnight of the month Shrawan. It also marks the

beginning of the celebration of other festivals

Burning of the Gatha Muga in the Patan Durbar Sqaure.

Importance of the Festival

The Patan Durbar Square

Source: Pinterest

Area review or

surroundings

Located in the south-central part of Kathmandu

Valley, Lalitpur Metropolitan City, historically

known as Patan, this city is the third-largest city

of Nepal after Kathmandu and Pokhara. It is best

known for its rich cultural heritage, particularly for

its tradition of arts and crafts. It is called the city

of festivals and feast, fine ancient art, making of

metallic and stone carving statue.

A Galli (narrow street) near Patan Durbar Square

There are many myths attached to this festival.

One of them is that in ancient times the people

in the Kathmandu valley faced a shortage of

labor during the monsoon season to work in

the vast farmlands. So as a solution to this, with

the help of tantric ceremonies, they invoked

supernatural spirits in themselves that gave

them superhuman physical strength and

that helped them to work hard in the fields,

solving the shortage of labor. At the end of

the plantation season, the demons had to be

chased away from homes, which had to be

cleansed.

Another belief connected to this festival is

that there was a demon named ‘Ghantakarna’

who wore a pair of bells on his ears, hence his

name, wherein Ghanta means ‘bell’ and Karna

means ‘ears’. People were terrified and tired of

him as he used to steal children and women

and demanded money from the villagers.

They wanted to get rid of him so one day a

large number of frogs came to rescue them.

They started to croak together. This made

the demon agitated and he ran after them.

The frogs all jumped in the swamp and the

demon jumped along with them. They came

out of the swamp, but the demon drowned.

Some say Gathamuga and Ghantakarna are

two separate stories and what we celebrate on

this day is only Gathamuga.Giant sculptures

with paper masks, representing Gatha Muga

or Ghantakarna, made of wheat straw are

put up at crossroads of the main streets

which are burnt in the evening. It is believed

that crossroads are where the evil spirits

rendezvous. Handmade dolls are hung up on

these figures to burn the evil spirits. In the

evening, a person who acts as Ghantakarna

called ‘Aaju Jaya Ha’, applies paint all over

his body till he looks monstrous. He is then

served with beaten rice with curd under the

sculpture. He roams around the streets with a

burning torch of husk in his hands begging for

donation. The man moves around the sculpture

three times. Everyone drags the sculpture to

the nearby river. In this process, Aaju Jaya Ha

escapes on the way. Also from this very day, the

Lakhe dance begins.

The women clean their homes to remove any

traces of evil spirits left behind. In the evening

‘Bou Wayegu’ is performed. The eldest man of

the house carries out a tantric ritual by driving

three iron nails on top of the main door of

the house chanting mantras. Then white and

black mustard seeds sprinkled on coal fire in

a small clay pot is taken in all rooms of the

home which fills them with thick smoke which

is believed to drive away any lingering evil

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5.3. History

Mythology

The Gathemuga is made with

straw for the body and painted

face paper for the face.

Just like how the Majipa Lakhey of Kathmandu had a Jhalincha who represented kids who would tease

him similarly in this story the Jhalincha is not a kid but a frog.

One day on the farm, the lakhey does not get his food, so he ends up ruining the harvest. The frog tries

to distract the lakhey by annoying him, the lakhey warns him that he will stamp him with his big feet.

So the frog starts running and the lakhey would jump wherever the frog would jump like this the frog

successfully puts the lakhey in a ditch.

To protect the harvest in the fields of every Gun Punhi, people with fields have to feed the rice to the

frog so that it can protect the harvest in the fields.


spirit from the house. However, looking at it

from a scientific point of view the mustard

smoke acts as an insecticide to drive away any

insects that roam around during the monsoon

season. An offering of cooked rice or beaten

rice, husk and pieces of raw buffalo lungs

along with Gathamuga Swan which is a type

of flower, known as ‘Dronapuspa’ is placed at

the crossroads for the spirits thanking them

for their services and assuring that it will be

asked for again next year. Once these rituals

are over, people close all doors and windows

and no member of the family is allowed to go

out that night.

It is believed that sorcerers are very active that

night and they visit funeral grounds and other

places of worship to become more powerful.

Farmers on this day also offer rice and lentil

soup to frogs in gratitude for good rain and

for killing Ghantakarna. This ceremony is

known as Byan (frog) Ja (rice) Nakegu (feed)

meaning feeding rice to the frog.

People wear wrought iron metal rings on this

day which is believed to have the power to

safeguard people from ills and evil spirits.

Beyond legends and significance, the people of

Kathmandu Valley are going through a difficult

period to give continuity to this festival these

days. It is not a holiday. People do not have time

to spend one entire day in the courtyard.

It is also difficult to find reed and painted masks.

The growing traffic flow does not allow locals to

erect effigies in the crossroads. And the mass

of the immigrant population does not like this

festival and raises unnecessary objections. It is

difficult to find a boy who is ready to act as a

beggar and then perform the final rituals. In all

these circumstances, it is highly probable that

this festival will turn into a mere story in the

future.

According to the myths and stories that

have been passed down from generation to

generation, Mipwa Lakhey was able to maintain

their tradition through these stories. It is said

that men have to be afraid of the five elements

of nature: Air, Earth, Fire, Water, and Space.

These are terrifying natural elements that have

immense power.

Like others, Fire is one of the elements, humans

are very afraid of and that is why I have named it

Mipwa Lakhey. “Mipwa” meaning “Fire”, a lakhey

name that did not exist before.

Mipwa Lakhey is a Lakhey of the “Bu”, “Bu”

means field. Bukhya lakhey is a lakhey of the

field. Stories say that people should not go to

their fields in the day when the sun is at the peak

which is around noon. It is said that this is the

resting time of lakhey. So if we go at the time,

it is bad luck for us. Earlier it is believed that to

protect small kids, parents used to put a dot of

their saliva under their feet to signify that they

are unclean and not pure so that the lakhey

would not take them.

The lakhey has to be presented with a

“Khyabhwa” i.e. the food for lakhey. It is said

that one day a farmer forgot to put the food for

the lakhey so, people who went to the fields got

chased by it.These are the stories that connect

people from generation to generation. It helps

the community in maintaining the traditions as it

was and these stories are the main reasons, the

Mipwas lakhey exists now.

It was the stories of grandfather Asha Lal and

father, Dev Ratna Shakya through which he

learned about the lakhey who in an earlier

context used to able to breathe fire from its

mouth. He was able to chase away ghosts and

spirits (Pret). A ferocious and dangerous being

physically but would never harm humans. He

would bring peace to our household. That’s why

since it breathes fire, I name it Mipwa.

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Importance of the

Dance Form

Lakhey dance is one of the most significant

elements in the Newari Community. It is the

identity of the Newars. It not only saves the

tradition but also imparts it to the young crowd

who are the most exciting ones amongst the

audiences. The young crowd is the future of

taking our culture and traditions forward. With

the help of the performance, it raises interest and

excitement in the crowd. Without dance, we lose

our identity as a community. We lose a source of

our entertainment, something which is not from

a digital world but our folklore and our historical

stories. With the help of this youth, Mipwa Lakhey

came into existence. Mipwa is an example of a

revived lakhey, it represents the young men and

women who are striving behind it to save our

culture and tradition.

The Performance

In the olden context, different people in

the community would come together to

celebrate different festivals. But slowly

people started losing interest and the

performance disappeared. Different castes

like Napi, Kapalai, and Shakya castes were

involved in doing the lakhey performance

but as time passed on, the number of

people participating decreased and so did

their budget, so they had to stop doing the

performances. But now with the revived

lakhey mainly consisting of the youth, there is

a ray of hope.

The Mipwa Lakhey dance is done every year

in the Gathemuga. Besides the main day, the

performance is done in various events and

programs in different places in Kathmandu and

Patan.

Usually, young boys from age 14-15 come to be

a lakhey but it is preferable for a Lakhey to be

20-25 yrs of age, as the performer has to do a

lot of movement which requires a lot of stamina.

Due to this reason, smokers tend to usually get

dehydrated quicker while performing.

Mipwa lakhey chases the frog to depict the

story of the Mipwa lakhey in the streets of

patan.

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Mipwa lakhey beign invivted to perform in the 17th Handicraft

Trade Fair 2019.

The Performer is accompanied by his team who play the tune

using the Dhime and the Bhusya Instruments.

The performer makes his way through the fair dacing as he

goes through the various stalls and displays.

Dance Form

Lakhey Dance is a simple dance form with a very

limited number of steps that go in repetition.

The dance form goes according to the beat. The

Mipwa Lakhey has just a few steps of the hand,

feet, and the hips. Jumping, chasing steps and

hand movements are the major steps of the

dance. The hand movement is the most repeated

step among others. The movement depicts the

action of the demon eating meat. He grabs from

the left and then grabs from the right after he is

done he throws the leftover on the back saying

he is done with the piece.

A unique thing about Mipwa Lakhey is that it

keeps the crowd in its mind and does the dance

accordingly. It looks at all sides of the crowd to

make sure that the dance is visible by everyone

in the crowd.

As they are following the tradition, they are not

allowed to add new dance moves in the routine.

There might be minute changes but nothing

major can be changed. The movement remains

the same even with the different beats and

music. The Dance form depends on what the

host of the events want, sometimes only lakhey

is called and sometimes lakhey is called with the

Jhalincha in which more aggressive movements

are done.

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Mipwa lakhey and the frog

The Performers and

their story

Uttam Ratna Shakya-

The man behind Mipwa Lakhey

Uttam Ratna Shakya holding the mask of Mipwa Lakhey

in his home. Currently he is the care taker of the mask

and the costumes.

A statue supplier by profession, Uttam Ratna

Shakya is a 55-year man who strived for 12

years in order to revive the Lyaku Lakhey in

Patan.

I have been doing the Katik Naach since I

was 16 years old and working for lakhey for

nearly 12 yrs. I was involved in the Kartik Naach

Preservation Committee from 2049.Kartik Naach

Preservation Committee is a small institution that

was established in order to preserve one of the

most famous dance forms ‘Kartik Naach’ that was

started off by Siddhi Narsingh Malla. The main

idea behind promoting this dance form is to bring

all the existing Newari communities together and

treat each different Newar communities as equals.

It is a month-long dance that is performed in

Patan Durbar Square during the month of Kartik.

However, due to lack of resource persons and

lack of funds, this ritual was stopped, making the

intangible cultural heritage vulnerable.

This is where the preservation committee came

into action. KartikNaach Preservation Committee

is trying to preserve this dance for that reflects

and brings together all the different castes of

Newari communities. Situated in Patan Palace,

this preservation committee has been trying to

revive centuries-old KartikNaach of the Newar

Committee.

With the help of our team, I was able to revive the

lakhey dance in our community.

I had faced many challenges before introducing

the Mipwa Lakhey. For me to start it and share it

with everyone, I had to learn it all myself first. From

the performances to the music to the masks and

the costume, I have to start from scratch.

I started learning the dance form as well as the

different instruments but no one knew how to use

“Malpwi” and it was difficult to learn it myself, so

I ended up learning the beats for the “Dhimay”

and the “Bhusya” and taught it to the young fellow

team members. It was the same with the dance as

well. Soon enough we had a team ready to do the

performance.

In the year 2074 B.S., we had our first performance

on the day of Gathamuga. Many people

appreciated the performance and enjoyed it while

some elderly people had a lot of criticism for the

performance. We just wanted to save our

dying culture.

While performing we are very careful about using

fire. We only do it in open spaces with a kind of

powder called “Pecha” ( a kind of wood dust they

also use while making statues of deities) that we

throw in the fire for the dramatic effect.

When they perform on stage it is not as lavish fire

drama but just a candle to still signify fire.

We also perform in different events and then

the money that we get we distribute it to the

performers and then the rest to the committee.

Anyone willing to learn is free to come and learn

the dance forms. We don’t take money from them

as we make them a part of our team. When money

is involved, they will end up teaching others and

so on which is not a good thing. We are a team

and we remain a team.

Most of the lakhey dancers usually do not

participate as they have become too money

minded and without a certain amount of pay,

they will not perform. But we started with what

we believed in, money is also our concern but we

don’t let it overpower our thoughts and beliefs.

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Rizan Maharjan-The Performer

Rizan Mahrajan is a 22-year-old young man living

in the hearts of Patan with a strong sense of saving

our culture and tradition. A DJ by profession, Rizan

has also been an active member of the Kartik Nach

Committee for 8 years now. Starting with playing

the instruments, he also participates in the Kartik

Naach and now he also performs as a lakhey.

I saw my brother dancing and found it very

interesting so I followed in my brother’s footsteps.

A lot of stamina is needed when we do this

dance as there is a lot of jumping and aggressive

movements in the performance.

When we started in 2074, I started practicing in

the beginning, there were not many movements

besides jumping and chasing so it was not hard

for me to learn.

I was 13 years old when I started. The trainer used

to teach steps and I had to practice on my own.

I used to look at youtube videos as well. The first

time I danced, I was excited and very nervous as

I had to dance on stage. After the performance,

I felt weak and fell sick the very next day. But

now I have danced so many times that I am used

to it. Now I don’t have many problems postperformance.

I can perform for 3 hrs in a stretch

but if the performance lasts more than 5 hrs we do

take rest in between.

“My family does not support me. They don’t feel

that doing this performance puts food on the table.

But I want to save and revive our culture and that is

what I am doing.”

At the moment, there are 6 people in the

committee who can do the Lakhey dance so

every time there is a performance, according to

the availability of the person, one of these 6 will

volunteer to perform. Individually we dance 8-9

times a year.

To be capable enough to perform on the main

day that i.e. the Gathamuga, we have to do

performances in different events for 6-7 months.

In order to save the committee, we have to go

and perform in different events to earn money.

The government doesn’t even support it so we

are bound to do it. Usually, they take 10k for

performances but for the trade fairs, they take

8000 as it is also about promoting themselves and

the culture.

Earlier I used to do medical training and worked

in the medical field for 1 year but I left the job.

So while staying at home, my neighbor who was

an owner of his own sound system service told

me to learn whatever I wanted. One day I started

playing around with different equipment and

started learning them. This is how I started my

journey as a D.J. I usually D.J. at wedding parties

mostly. I have been a D.J. for 5 yrs now. I am able

to differentiate different tunes. I like playing new

songs and go with the flow.

Currently, there are a lot of Lakheys in the city

who don’t do the performance for cultural

purposes but mainly for the money. They do

a lot of backbiting and spreading rumors but

the committee stands their ground and doesn’t

believe in all of this. The committee does not get

involved in these gossips. Although these people

might be spreading negative vibes about the

committee they won’t let their words affect them

in any way and just let it pass by them.

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4 5 6

1 2

3

Getting ready

1. The caretaker and an individual helps in assembling the

costume together.

2. The individual helps in tying the rumal ( handkerchief) on

the arms.

3. Two individuals are required to roll the phetta for an easy

handling during the tying process.

7

4 | 5. depicts the cartaker tying the phetta on the head to

prevent any discomfort and pain from wearing the mask. I=the

cloth goes vertical around the head and then horizontal over

the forhead.

6. Another cloth is added for extra grip and secure all the hed

wrap in place.

7. Rizan Maharjan poses as he waits for the mask to be put on.

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8 9

12

11

8. The mask being fit by the caretaker.

9. The craetaker tying the knots considering the comfort of the

performer as well.

10. the back view after the mask is tied.

11. Two individuals are necessary to fir the hair behind the mask.

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14

12 | 13. The hair is a considered to be a little more complex to

be placed in behind the mask.

14. The finished look of the performer.

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Performer and his team waiting

for their turn to perform.

Related rituals

The first thing that is to be done, is worship

Goddess Natyashwori by doing a small puja. Every

time someone teaches the performers, a “kisli” (an

offering of rice grains, betel nut, and some money)

is offered to the Goddess. Along with this, basic

puja is always done every Thursday.

Something the teacher and the performer make

sure while practicing the performance is to not

to eat pork, chicken or egg. It is a part of the

rules and they like to stay within it to prevent any

mishap. During a performance, a simple puja

is done to the mask, incense sticks are lit and

wavered in front of the mask. If they were to follow

strict tantric regulations, there would be a puja

involved everyday which they were not keen to

get into. On the day of Gathamuga, They take the

“Bhindya Route” which starts from Sundhara goes

to Okubahal, then they take around and finally

come back to Durbar Square.

The team consists of the lakhey performer, two

individuals playing the Dholak, one playing the

Bhusya (Cymbal) and the caretaker who deals

with the organizers.

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Source : Pinterest

Change in the

performing arts

Earlier it was castes like Kapali, Napi, Shakya and

Maharjun doing the performance but now after the

revival of the dance, caste-like Tamrakar, Tandukar,

Shrestha, Mulmi and more are doing this. This

performance is basically a representation of the

Newari Community.

Not only in terms of the caste but there has also

been a change in the physical abilities of the

individuals. Earlier the performer used to be able

to go around the city by himself but now the

youth can’t go that distance alone. There is always

a change in between the journey. With uneven

roads covered with stones, puddles, and a lot of

dust, the performer walks barefoot so scratches

or wounds are bound to happen under their feet

but surprisingly the performer doesn’t realize it. It

is when they take off the mask and the dress, the

whole body starts aching and hurting and extreme

exhaustion takes over the performer.

Dynamic elements in

dance choreography

The fire play is the dynamic element in the

choreography of the Mipwa Lakhey. It depicts

the actual meaning of Mipwa that means fire. It is

also a reflection of the different sides of lakhey.

The demon who can breathe fire. The aspects of

this element include two individuals holding the

torch of fire in an angle and then the performer

throwing the wood dust onto the fire. The fire

adds thrill to the performance. Everybody is left in

nothing but awe with the performance.

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5.4.

Materials and

Symbology

Masks

Masks play the most important part of being

the performer. In the current context, a lot of

commercial lakhey masks are found in the

city but the mask used by Mipwa Lakhey is a

custom made copper mask. This mask was

made by looking into different varieties of

lakhey masks. By taking them as a reference,

the final mask of the Mipwa Lakhey was

designed by Uttam Ratna Shakya.

Mipwa Lakhey has two different masks. One

mask is used for the main event whereas

the other one is used for any kind of event.

Made by a Tamrakar in Tangal, it is made up

of copper and then enamel is painted onto it.

With the hair, the total weight of the mask is

around 6-7 kg.

The Front and back view of the Masks of the

Mipwa Lakhey and the Frog.

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Making of

Copper Mask

Copper mask making is a very traditional

method of making mask. First step of copper

mask making is to cut a thick 18 -22 gauge

copper sheet to the size( probably in round

shape) and design is drawn on it. Working

from the front on a traditional, floor mounted

anvil( Khalu) , the artists creates the basic

form by following the drawn outline with

rectangular-headed hammer (Thoyagu

Mugah).

The sheet is then turned over and the image

beaten out from the back-the process which

gives the technique its familiar French name,

“Repousse” (pushed again), but called as

‘Thajya’ in Newari. The process is repeated

front to back until the artist is satisfied with

the outcome and only then he will be ready to

move on to the next step.

A taffy-like substance called ‘jhau’ in Newari

(la in Nepali) is then concocted by heating a

mixture of mustard oil , resin and brick dust.

A board is thickly smeared with this material

and the work is embedded in it. The ‘la’ fills

all the hollow space behind the object, dries

solid and creates a firm base against which

the artist can work without risk of denting the

image. Using hammers, dies and punches the

details are roughed in.

With hammers , fine dies and punches the

artist further refines and finishes all the details

of the design. During this process the object

remains embedded in the ‘la’ matrix. By slight

warming the solidified matrix is softened

and image easily removed. It is finished

with enameling the mask. The mask is then

colored with vibrant colors.

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Source : Patan Museum located in the Patan

Durbar Sqaure.

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2 3

1

1.The process of the hammering

is done on the metal rod called

“Khalu”.

2.The Hammer is followed on the

empty sheet on copper to get the

form.

3.The mask start taking its form.

4.the hammering is done

5. Finishing of the mask

4 5

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1 2

4

Jewelry & Costumes

Instruments

Like any other Lakhey, this lakhey also has only the

“Ghangara” as its jewelry. Since it is a very recent

lakhey, his jewelry was also very recently made.

The bells were store-bought and stitched onto a

belt with alternating sizes. This piece of jewelry

helps in making the sound of the Lakhey.

Talking about the clothing of Lakhey, it dresses

up in a skirt and a top with a star in the middle

which is called “Khatkon”. This symbol of the start

is something that God’s usually have on their

back. There is also an apron on the front which

beautifies the clothing. In addition to the clothing,

there are four pieces of handkerchiefs that are

always tied on the hand as a sign that the lakhey

has to wipe his mouth after eating. But also the

handkerchief helps in amplifying the movement as

well. The fabric of the clothing is made of “Taas”

which is also known as Tibetan Brocade fabric.

Getting a performer ready takes about 30 minutes

with two people folding and tying different

elements to secure the costume in place. “Janni” (

a long piece of cotton fabric) is tied on the head, it

is to be tied tightly to prevent the performer from

getting any headaches. It is wrapped on the head

3 times. Once the dress is on, the performers do

get a sense of energy from which even if they did

not want to move will start wanting to move.

3

1. The belt with the bells is the

major jewellery of the costume.

The bells adds another level in

the movements as they make

their sounds in flow of the

movement..

2. The huge hair piece gives

the extravagant monstrous like

look to the lakhey.

3. The full outfit of the Mipwa

Lakhey.

4. The Dholak and the Cymbals

played by the lakhey group.

Instruments play a major role in the performance

as it gives the performer a beat to dance upon.

The very first thing that the players do is they bow

down to God and then to the instruments.

Dholak, Damoki, Dhime, and Dha are the

instruments used for the lakhey dance. Uttam

Ratna Shakya had learned all of these instruments

and is able to train the young members in the

committee as well.

In the olden time, Dholak and Maalpwi (Shehnai,

a subcontinental wind instrument of the oboe

class) were used for the lakhey dance but since

no one was interested in learning them, now

no one knows how to play them. Maalpwi has

died away, no one uses anymore. Now only

Dholak and Bhusya are used for the beat. These

two instruments are taught to everyone on the

committee.

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Chapter 6

The Play of

Tijme

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6.1. The Play of Time

Lakhey dance is a traditional dance form of

Nepal. This tradition that is being passed on from

generations to generations see no change in

the dance form but the surrounding is changing

drastically from ages.

Initially, Lakhey Dance was more of a ritualistic

dance form done during Indra Jatra. Now it is

a source of communication through which old

folklore could be passed on to the younger

generation. This dance form which is taken as a

mode of entertainment during the festival also

conveys ancient stories to the people of Nepal.

It shows the power of belief that the Nepalese

community has, it showcases a part of history.

Nepal is a country with a rich culture and heritage.

With the natural beauty that it posses, it has a

perfect blend of the culture around and within

nature. Lakhey Dance is becoming a symbol of

rich Nepalese culture for tourists who are lucky

enough to witness this dance during Indra Jatra.

It leaves a great visual impact on these people. A

powerful and mesmerizing memory that they got

to witness for themselves.

Lakhey has become an identity of Nepal through

advertisements and a number of commercials.

Lakhey seems to feature in a lot of Nepali tourism

promotion videos and other music videos.

There are some instances of digitalization

where people are making animations on lakhey

and depicting stories of it for the world to see.

Through digital media, the importance of lakhey is

spreading all over the world. Migrants from Nepal

have started carrying their traditions to different

countries like Australia, America and more.

Nepalese markets are filled with handcrafted

products. Among these crafts lakhey figure has

made it to a numerous number of crafts. Many

craftsmen have taken Lakhey as an inspiration

and they have started making crafts like puppets

of lakhey, masks of lakhey in varying sizes from

showpieces to as something as small as a fridge

magnet, lakhey as charms, and many other

decorative items can be found in the market.

Back in times, lakhey dance used to happen

only on a particular occasion but over a period,

this dance has also become commercialized.

Now people have the ability to invite a lakhey

to perform which is not only enjoyed by the

people anywhere but also it has become a source

of income for the performers. Majorly, due to

the migration of people, demand for lakhey

is increasing. Nepalese people who are living

outside, are also inviting Lakheys to perform

hence there is the commercialization of masks,

costumes and every other thing which is required

for lakhey.

Impact of Lakhey on society:

As lakhey dance has been performed since

ages it has created a huge impact on the

Nepalese society. This dance which was

majorly performed during Indra Jatra where

lots of people from different parts of Nepal

would come to witness this.

The major impact of this dance form is, it

connects the whole Newari community

together. Nowadays lakhey is more of a

medium of communication where it conveys

the history and makes the younger generation

aware of their own culture. Hence in a way,

it preserves the Newari culture. During Indra

Jatra, experiencing this dance performance is

a kind of visual treat to the eyes where people

can disconnect themselves from their busy

routine and witness the awe-inspiring and

refreshing dance forms.

Arising conflicts:

As every coin has two sides, there are

some conflicts arising related to cultural

performances. Though these are not directly

related to lakhey. Once the commercialization

happens, some people start expecting more

and hence it leads to exploitation of particular

craft or dance form. There are incidences

where this dance form was done just for

gaining profit, due to which the people who

are actually following a tradition loses its

importance. Whereas Majipa lakhey is known

for tantric rituals and it is strictly followed,

but it was recorded and used for different

purposes. hence it leads to the loss of cultural

importance.

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INSIGHTS

The documentation gave us an understanding of the rich Newari culture and the importance of the

dance form. It helped us to understand the connection between the simple forms of the dance to

the people and their emotions. The excitement or happiness they feel, the way they reminiscence to these

dances, the nostalgia they feel when we were taking the interviews showed just how much these dances meant

to them and how it left an impact within themselves.

Something we kept on hearing throughout our journey was that the quality of colors and the making of the

jewelry have degraded, “it is not like how it used to be earlier”. Although things might have gotten faster or

easier for usage but the degrading quality of different things in the current scenario where everything is massproduced,

nothing but expensive and without any kind of quality assurance. The quality is a big disappointment

to people who have worked with traditional materials.

Remarkably, people are still trying to save their culture and revive the dying ones. They are also trying to

inculcate the traditional aspects into the younger generations to save the culture.With determination and a clear

set of goals to revive a craft, we also learned that if just one person is striving for a particular craft revival and not

giving up on it, then there’s a chance of the craft to be revived. With the changing time, and commercialization

coming into the picture, the Lakhey dance has lived on through not only masks but also puppets, animations,

illustrations, display pieces or even something like a fridge magnet or stickers. It shows the importance and

prominence of the mask dances in the Nepalese communities.

While we were working in a group, one coming from the community itself and the other one an outsider who

is not connected to the culture at all also have different insights of our own. Coming from the same community

and having been witnessing the dance form from childhood. I never realized that it would have such stories

and mythologies surrounding it. I always knew it to be a part of the culture and a source of entertainment and

something to look forward to whenever there was a festival.

Being from a diverse country like India, I have seen many cultural differences in various parts of the country

, but experiencing Nepal was totally different. Nepalese people are so welcoming in nature. They have

got rich heritage. The communities in Nepal have preserved all the stories behind this heritage and they

relive it through these performing dances. Recreation of the mythological story, by keeping its ritualistic

and spiritualistic value intact, is mesmerizing. Also not only just they follow tradition, but also they have

preserved crafts associated with it, which is quite recomendable.

Though I have had a language issue, people whom I talked to were so supportive that they tried to explain

each and every aspect of Lakhay dance in a way that I could understand and relate to it. Also experiencing

the Lakhey performance live was astonishing. People who perform the Lakey dance, they perform it with

dedication. They get so involved in the process of prepping for dance to perform it, as if they were born

to do it, which is quite magnificent.

The whole experience made me realize why it is so important to preserve the wisdom of heritage and

knowledge you have got from your ancestors.

This documentation made me understand the nuances of the performing arts and the thought process, the

preperation goes behind the recraetion of such beautiful thing.

-Nidhi D.

I never really thought of the struggles of people behind the mask, the emotions they felt doing the dance form.

I always assumed that they will be happy and take pride in what they were doing. But to my dismay, I was wrong.

I never realized the problems they might have gone through or the struggles they were facing just for a dance

that was meant for others. I also realized that people don’t know the story behind the Lakhey. Everyone was just

okay with looking at it like its always been going. No one raised curiosity to know its story.

-Bishesta D.

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Our Journey

It all starded with teaming up, deciding the

topic, doing secondary research together to

dreaming about going to heavenly Nepal!

And finally the day arrived when we landed in

Nepal. It is a land beautiful sceneries and

heritage of culture, tradition and religions.

On the very first day of our tour we visited

nearby temples and some local wood mask

makers. In the temple we undestood the

hostory of it and significance of certain

rituals which were directly related to our

area of interest

Meanwhile we started taking appointments

of different people like performers of

Lakhey dance, mask makers of Lakhey

dance, Historian and other resourceful

people.

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We visited the trade fair, where the

performance of Mipwa Lakhey dance

was organized.It was a first and the live

experience of witnessing such performance.

Experience of Documenting this jawdropping

permomance was amazing. After the

performance we interviewed the performers

of the dance.

Visiting these people was

amazing. listning to their

journeys, their stories

was quite insightful. Its

mesmerizing, how these

people are so passionate

about preserving their

heritage in all possible

ways.

The whole journey of documenting this

performing art and nuances related to it, is

memorable!

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Glossary

• Admonishment-a firm warning or reprimand.

• Asana- posture or movement of the body

• Asta Matrika’s - Eight Mother Goddesss

• Asura - class of devine beings defined by

their opposition to the devas or gods.

• Avalokiteśvara- beings that have a physical

and psychological sensibility, which allows

them - in the same way as humans - to

experience pain and pleasure.

• Bairava- a Hindu Tantric deity worshiped

by Hindus. In Shaivism, he is a fierce

manifestation of Shiva associated with

annihilation.

• Bhusya- Cymbals

• Bu- Field

• Caste group-social group distinguished

by shared characteristics, such as rank,

economic wealth, or profession.

• Chhau-a semi classical Indian dance with

martial, tribal and folk traditions, with origins

in eastern India

• chirag (a ball of fire to lead the way for

Lakhey)

• Chitrakar- The newari caste known for

painting and mask making.

• Consecration- association with the sacred

• Bhusya-Cymbal- a musical instrument

consisting of a slightly concave round brass

plate which is either struck against another

one or struck with a stick to make a ringing

or clashing sound.

• Dashain- A festival originating from Nepal.

Also, in parts of India, it is called Dashera

• Dhime-a category of double-headed

cylindrical membranophone.

• Dholak-dholak is a two-headed hand-drum

• Dwosalli palcha -a big container to eat a

certain dish

• Ecstatic -feeling or expressing overwhelming

happiness or joyful excitement.

• Ekadashi- It is the eleventh lunar day of each

of the two lunar phases which occur in a

Hindu calendar month - the Shukla Pakṣa and

the Kṛiṣhṇa Pakṣa.

• Dagin- The procession of the goddess Dāgin

re-enacts Indra mother’s going around town

in search of her son.

• Daitya -In Hinduism, the Daityas are a clan or

race of Asura along with the Dānavas.

• Dabali- courtyard

• Disembodied - separated from or existing

without the body

• Gaan- Translates to Music in Newari

• Gathamuga- a festival that has been

celebrated by farmers in Kathmandu valley

since time immemorial as a means of bidding

formal farewell to other-worldly powers.

• Ghangara- bigger bells tied on the waist like

Ghungurooo

• Gorkha kingdom- Gorkha Kingdom was a

kingdom in the confederation of 24 Khas

states, known as Chaubisi Rajya, located in

the Indian subcontinent, present-day western

Nepal.

• Gurju-priests of the newari community

• Guthi-Guthi is a social organization that is

used to maintain the socio-economic order

of Nepalese society. The guṭhī system has

been in operation since the Licchavi era,

with the first practice being recorded in

scriptures on pillars erected at Changu

Narayan temple, which in itself is regarded

to be the oldest dated inscription of Nepal.

Currently, most of the guṭhīs are either

defunct or a vestigial representation of what

used to be the most powerful organized

community of the Newars. However, some

of these guṭhīs still exist with their own

purpose, and their functions are governed by

the internal unwritten rules; often kept secret

and revealed only to its members. During

the course of time, the male family members

(often the bloodline) of pre-existing

members are handed out the responsibilities

associated with the guṭhī.

•

• Heruka-Heruka is the name of a category

of wrathful deities, enlightened beings in

Vajrayana Buddhism that adopt a fierce

countenance to benefit sentient beings.

• Heterogeneity- the quality or state of being

diverse in character or content.

• itaa:- a wick made from rolled cotton fabric

• Jamara- is a home grown barley sprouts that

is a significant part of the Dashain festivals.

• Janni- a long piece of cotton fabric

• Jatra-It refers to the types of Newari Festivals

involving street festival or carnival.

• Jhalinchha- a teasing kid

• Jyapuni-a woman from the farmer caste of

Newar

• Kalyug-Age of Downfall, is the fourth and

final era in the spiritual evolution of man.

• Kama sutra- It is an ancient Indian Sanskrit

text on sexuality, eroticism and emotional

fulfillment in life.

• Kha-means heaps and heaps of something

• Khashi-goat hair

• Khyabhwa- the food for lakhey

• Kharga- sword

• Khatkon- a religious start symbol

• Khyak-Khyāh is a mythical humanoid creature

in Nepalese folklore. It is depicted as a fat,

hairy and short ape-like creature. Khyahs

appear in children’s stories popular in Newar

society. A friendly Khyah fills the home with

goodness while bad ones bring trouble

• kisli” (an offering of rice grains, betel nut,

and some money

• Kuldevta- the ancestral deity

• Kumari- the living goddess believed to be an

incarnation of Taleju.

• Kumari Pratha-The The worship of virgin

goddess Kumari who is famous living

goddess of Kathmandu Nepal.

• La- meat in Newari

• Lakhey-A meat-eating demon

• Lamas- Buddhist Monks

• Licchavi- an ancient kingdom on the

Indian subcontinent, which existed in the

Kathmandu Valley in modern-day Nepal from

approximately 400 to 750 CE

• Lok- realm

• Lokta paper-Nepalese handmade lokta

paper is made from the fibrous inner bark of

high elevation evergreen shrubs

• Machha- kid

• Madal- a folk musical instrument of Nepal.

The Madal is used mainly for rhythm-keeping

in Nepalese folk music. It is very popular and

widely used as a hand drum in Nepal. Devidaitya

• Mahajanapadas-they were a set of sixteen

kingdoms that existed in ancient India.

• Mahishasur- Mahishasura was a buffalo

demon in Hindu mythology.

• Malla- The Malla Dynasty was the ruling

dynasty of Kathmandu Valley from c. 1201–

1779 CE

• Malpwi- Shehnai, a subcontinental wind

instrument of the oboe class

• Mipwa- fire

• Muhammadan-a follower of the religion of

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Islam

• Narayanhiti palace-a long served as the

residence and principal workplace of the

reigning Monarch of the Kingdom of Nepal

• Narasimha- a fierce avatar of the Hindu god

Vishnu, one who incarnates in the form of

part lion and part man to destroy evil and

end religious persecution and calamity on

Earth, thereby restoring Dharma.

• Nepal Mandala - It is an ancient

confederation on the Indian subcontinent,

marked by cultural, religious and political

boundaries which lies in present-day central

Nepal

• Navadurga dance - A ritualistic performance

comprising of nine different deities which

involve the sacrifice of animals as wellNilo-

Translate to blue in Nepali

• Noh- a major form of classical Japanese

dance-drama that has been performed since

the 14th century.

• parijat -a night jasmine flower

• Parthenon-The Parthenon is a former

temple on the Athenian Acropolis, Greece,

dedicated to the goddess Athena, whom the

people of Athens considered their patron.

• Patuka- a horizontally lengthy piece of cotton

fabric tied on the waist.

• Pauju- Anklet

• Pecha- a kind of wood dust they also use

while making statues of deities

• Pegasus-the immortal winged horse

• Phetta- A lengthy piece of fabric tied on the

head.

• Prashad- a religious offering

• Pulukishi- A white elephant belonging to

Indra

• Pyakhan- Translates to Dance in Newari

• Ranjitkar- a caste in the Newari community.

• Realm- space

• Rumal- Handkerchief

• Samay Baji-Samay Baji is an authentic

traditional dish of the Newar community

in Nepal. Samay baji is taken as a starter in

every festival, every religious activities and

pujas. The Samay Baji is also taken during

the major festivals of Nepal like Indra Jatra,

Dashain, Tihar (Laxmi Puja, Bhai Tika). This

dish is served in Samay Baji consists of

many items on a single plate. Among them

are chatamari, “Chyura”(beaten rice), bara,

“Chhwela”(barbecued and marinated buffalo

meat), fried boiled egg, “Bhatmaas”(black

soybeans), “Aalu-Wala”(spicy potato salad),

finely cut ginger(known as “Palu”), boiled

beans mixed with spices(“Bodi ko Achar”),

“Saag” (green leaves) and alcohol-specific to

the “Newar Community” called “Ayla”.

• Samsara-the cycle of death and rebirth to

which life in the material world is bound.

• Sanatani- Sanātanī is a term used within

Hinduism to describe denominations that

adhere to what is sometimes known as

Hinduism.

• Sangram- battle

• Saras- An animal glue made by boiling the

skin and hide of animals.

• Sentient beings- beings that have a physical

and psychological sensibility, which allows

them - in the same way as humans - to

experience pain and pleasure.

• Shehnai- a double reed tube-like instrument

• Shinto- a century-old traditional Japanese

festival

• shringar-Sringara is one of the nine rasas,

usually translated as erotic love, romantic

love, or as attraction or beauty.

• Siddha-the siddha has worked out all past

karma and freed himself from entanglement

in the world of Maya

• Siddhi Narsingh Malla- A 16th century malla

king of Patan

• Swet Bhairav-Swet Bhairab depicts the most

dangerous face of Lord Shiva.

• Saivites-one who worship shiva

• Tantrism- the teachings of the Tantras,

Sanskrit religious writings concerned with

mysticism and magic rituals.Saivites-one who

worship shiva

• Taas- A tibetan brocade fabric

• Taleju Bhawani- Taleju Bhawani was originally

a goddess from the south of India, but she

became the titular deity, or royal goddess, of

the Malla kings in the 14th century

• tole-a certain area in the community

• Tuft-a bunch or collection of threads, grass,

hair, etc., held or growing together at the

base

• Trishul- a trident

• Tulja Bhavani-an avatar of the Hindu goddess

Parvati

• Upaku-a day to honor deceased

• UNESCO- United Nations Educational,

Scientific and Cultural Organization

• Vajji- a confederacy of neighboring clans

including the Licchavis and one of the

principal mahājanapadas of Ancient India.

• Vishnu Purana-one of the eighteen

Mahapuranas, a genre of ancient and

medieval texts of Hinduism

• Yenya- Ye means “Kathmandu” and Ya means

“celebration”, together it means “celebration

inside Kathmandu” in Nepal Bhasa.

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• Cultural Ornaments: The delightful dances of Nepal | Features | ECSNEPAL - The Nepali Way- http://

ecs.com.np/features/cultural-ornaments-the-delightful-dances-of-nepal

• History and Appreciation of Visual and Performing Arts - art_history_book.pdf https://mrsduvall.weebly.

com/uploads/1/1/7/9/11798589/art_history_book.pdf

• 12.pmd - CH.12.pdf -https://nios.ac.in/media/documents/SecICHCour/English/CH.12.pdf

• 50249_Rajan_Integrating_the_Performing_Arts_in_Grades_K_5__CH1.pdf https://uk.sagepub.com/

sites/default/files/upm-binaries/50249_Rajan_Integrating_the_Performing_Arts_in_Grades_K_5__CH1.

pdf

• (3) The Newars - Posts- https://www.facebook.com/TheNewars.Nepal/photos/a.335162049942205/155

4541601337571/?type=3&theater

• The Use of Masks in Indian Dances and Dance-Dramas - 43560654.pdf- https://www.jstor.org/stable/

pdf/43560654.pdf

• Masks in Tibet, India, Bhutan and Sri Lanka - 1145520.pdf-https://www.jstor.org/stable/pdf/1145520.

pdf?ab_segments=0%252Fbasic_SYC-4929%252Fcontrol&refreqid=excelsior%3A89ccc7f467f596340

b23fd96c0abbdfb

• Masks in Tibet, India, Bhutan and Sri Lanka on JSTOR - https://www.jstor.org/

Som Tamang - Traditional mask maker - Nepal - YouTube - https://www.youtube.com/

watch?v=l5awXf5P4EA

(PDF) Dance and Ritual- https://www.researchgate.net/publication/275369375_Dance_and_Ritual

Knowing Nepal- http://www.gonepal.eu/en/about-nepal/background/knowing-nepal

Traditional mask making process - YouTube- https://www.youtube.com/watch?v=2m8CTnHkWO4

Cham - Core Of Culture- http://www.coreofculture.org/cham.html

African Mask History And Meaning- http://www.rebirth.co.za/African_mask_history_and_meaning.htm

(16) Nepal Adventure Team Pvt. Ltd - Posts- https://www.facebook.com/nepaladventureteam/photos/

pcb.2469595236419886/2469594623086614/?type=3&theater

Ga Pyakhan: Dance of the Asta Matrika | Hotel Shanker, Lazimpat, Kathmandu, Nepal https://www.

shankerhotel.com.np/blog/ga-pyakhan-dance-asta-matrikas

Asta Matrika Naach begins from Ghatasthapana - The Himalayan Times : https://thehimalayantimes.com/

kathmandu/asta-matrika-naach-begins-ghatasthapana/n&searchText=asia&searchUri=%2Faction%2FdoBa

sicSearch%3FQuery%3Dmask%2Bdances%2Bin%2Basia&ab_segments=0%2Fbasic_SYC-4929%2Fcontrol

&refreqid=search%3A7a5397789f215fbb4153a13fc29fdbaa&seq=6#metadata_info_tab_contents

Som Tamang - Traditional mask maker - Nepal - YouTube - https://www.youtube.com/

watch?v=l5awXf5P4EA

(PDF) Dance and Ritual- https://www.researchgate.net/publication/275369375_Dance_and_Ritual

Knowing Nepal- http://www.gonepal.eu/en/about-nepal/background/knowing-nepal

Traditional mask making process - YouTube- https://www.youtube.com/watch?v=2m8CTnHkWO4

Cham - Core Of Culture- http://www.coreofculture.org/cham.html

African Mask History And Meaning- http://www.rebirth.co.za/African_mask_history_and_meaning.htm

(16) Nepal Adventure Team Pvt. Ltd - Posts- https://www.facebook.com/nepaladventureteam/photos/

pcb.2469595236419886/2469594623086614/?type=3&theater

Ga Pyakhan: Dance of the Asta Matrika | Hotel Shanker, Lazimpat, Kathmandu, Nepal https://www.

shankerhotel.com.np/blog/ga-pyakhan-dance-asta-matrikas

Asta Matrika Naach begins from Ghatasthapana - The Himalayan Times : https://thehimalayantimes.com/

kathmandu/asta-matrika-naach-begins-ghatasthapana/

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