This group bears similarities with other indigenous masked dances such as Sikali Naach (Khokhana), Ajima Naach (Kathmandu), Sapta Matrika Naach/ Gatu Pyakhan ( Kirtipur) and Asta Matrika Naach (Lalitpur).
These dances feature the manifestations of Shakti/ Parvati: Bhramayeni, Maheswori (Rudrayani), Vaishnavi, Kumari, Indrayani, Varahi, Chamunda and Maha-Laxmi. They are accompanied by Bhairava, Shima (Male Lion), Dhuma (Female Lion), Lord Ganesh and Lord Kumar.
The Navadurga Naach (dance) also features the same set of deities but Bhairava, Varahi and Chamunda play a central role. Given how these three are great warrior avatars with Bhairava being the wrathful manifestation of Lord Shiva; Varahi being the boar avatar of Lord Vishnu and Chamunda the fearsome aspect of Parvati. It projects a warrior aura that helps strengthen the thought of it being instituted to protect the country.
The masked dance is performed twice in a year: during Dashain and Yomari Punhi.
In the town of Thecho, amongst all the Newar festivities, Yomari Punhi holds the highest rank. During which, the idols of Bhramayeni, Balkumari, Bhairava and Navadurga are carried around the town in chariots. The procession circumvents all nine toles (communities) of the city. After which, a group of men who observe religious rites adorn the masks of the Navadurga Gaan and present the iconic traditional dance at the dabhu (open-air stage) at the lacchi (communal square) within the city.
The ensemble features a total of eleven dancers who adorn the masks of Bhairava, Shima, Dhumba, Lord Ganesh, Varahi, Chamunda, Bhramayeni, Maheswori, Vaishnavi, Kumari and Indrayani. The tunes are provided by a team of four, where one carries a large drum called dhime but has an odd shape. The other three play a small thin cymbal known as taa. A member of the guthi (an ancient communal organisation created by either the state or community members to perform religious rites, conduct festivals; maintain, preserve temples and other religious activities) carries the idol of Navadurga.
In 2018 AD, after 24 years they entered the square on the eve of the Bijaya Dashami. Previously to which, they visited during the full moon of Kojagrat ( Kojagrat Punhi). In the year 2019 AD, after forty years they presented their intricate routine at the dabhu (open-air stage) of Patuko in Patan Durbar Square.
The strings of this ensemble are tied with the goddess Mani-Talava. Who for the past twenty-four years stayed dormant atop a pagoda temple inside the cortex of Mul Chowk. The dormancy was not caused by any ill-fortune, or misalignment of the stars. Rather the inability to perform the rituals to invoke her and conduct the festivities.
In 2018 AD, after a combined effort she was invoked.
On the day of Navami, Khadgas (Swords carried by goddesses) along with a severed buffalo head are brought from the temple of Maha-Laxmi and Khokana respectively. Later in the evening, the troupe of Navadurga arrive at Lagan Khel.
Under the shadow of the Ma Shimah (Mother Tree), the righteous men prepare themselves. After conducting special rites, the group make way for Patan Durbar Square.
The goddess meets the Navadurga Gaan at the junction of Mangah (Mangal Bazar). Bhairava, Varahi and Camunda offer large garlands respectively and in their intricate manner follow Mani-Talava into the cortex of Mul Chowk.
At midnight, the group heads toward Patuko where opposite to the Agam Chhen (temple of the tutelary deity) they perform for almost 1-3 hours. Once the dance and ceremonies are over, they head towards the palace to rest and make arrangement to head home.
They return to the royal cortex on Chaturdashi, where they perform till mid-night and on the day of Kojagrat Purnima present their routine during the day as well. Crowds gather in masses to witness, a fully grown buffalo be roped and tackled down by the guthiyars (members of the guthi). The deities then consume blood directly from its vein and then perform another routine. They then indulge in a special feast known as bhuwae, and after dusk head towards Thecho.
Concluding this article, it is evident that Nepal Mandala (Kathmandu Valley) took on the facet of interpreting deities through masked dances. It doesn’t just have symbolic meaning but also a purpose. Globally it is a common practice found in indigenous communities, where each interprets their deities or faces to project fear, strength and unity.
This ancient tradition is on the verge of extinction. It finds hard to co-exist in a modern time, where its purpose is questioned, and methods called bizarre and gory.
A proper methodological study is in urgency to document and archive its history, rites, routine and the intricacies of the dance. Efforts from various channels e required to preserve this unique tradition and its roots.
