" The Sacraments of Newar community of Bhaktapur "

 SACRAMENTS

Since forever man has strived to enhance his own particular self. This acknowledgment, extraordinary just to humankind, has driven him to contemplate his physical, mental, and profound prosperity. Towards this end, the Vedic diviners recommended a set of observances, known as Sacraments.

      The closest English word for the ceremony is a holy observance, identified with the expression 'sacraments of section'. In the Oxford English Dictionary, holy observance is characterized as a "religious service or act viewed as an outward and noticeable indication of internal or profound elegance."

      People from different religions have their own sacraments which are usually performed in different stages of their life .e.g  name-giving ceremony, baptize, marriage and funeral, etc which are performed according to their concern religions. As a result, being the same sacraments performing formalities are different in different religions. For e.g Christian used to wear white costumes during their marriage whereas red costumes usually wear by Hindus it is because of their religion as well as their world view.

      In established Sanskrit writings, for example, Raghuvamsha, Kumarsambhava, Abhijnan-Shakuntal, Hitopadesha, and Manu Smruti, the holy observance is used to mean: instruction, development, preparing, refinement, flawlessness, linguistic virtue, cleaning, adornment, improvement, a purificatory ceremony, a sacrosanct custom, sanctification, purification, the impact of past activities (karmas), the value of karmas, and so on. The general meaning of holy observance, enveloping almost the greater part of the above is "to enhance something while evacuating its undesirable traits."

Reason for Sacraments

1.Cultural: The assortment of customs and ceremonies identified with the holy observance help in the arrangement and improvement of identity. In the Parashar Smruti, it is said, "Pretty much as a photo is painted with different hues, so the character of a man is framed by experiencing different holy observance." Thus, the Hindu sages understood the need to deliberately managing and forming the character of people, rather than letting them develop in an indiscriminate way.

2.Spisacraments: As indicated by the soothsayers, ceremony grants higher holiness to life. Polluting influences connected with the material body are annihilated by performing holy observance. The entire body is blessed and made a fit home for the Atma (Spirit). As indicated by the Atri Smruti a man has conceived a Shudra; by playing out the Upanayana Sacraments he turns into a Dvija (twice conceived); by procuring the Vedic legend he turns into a Vipra (an enlivened writer); and by acknowledging Brahman (God) he gets to be a Brahmin. The holy observance is a type of profound attempt (sadhana) - an outer discipline for inside profound illumination. Along these lines, the whole existence of a Hindu is one thousand holy observances. The Isha Upanishad uncovers that the last objective of the ceremony, by watching the sacraments and ceremonies is "to rise above the subjugation of samsara and cross the sea of death." To this, we can include that in the wake of rising above the cycle of births what's more, passings, the Atma accomplishes Paramatma - the Lord Purushottam.

According to the holy observance of the sacraments which are still practices in Newar community of Bhaktapur is:

1.Pre-natal Sacrament

2.Childhood Sacraments

a. Janma and Namakaran (Birth/ Name Giving )

b. Macha Janko (First bolstering / Rice Feeding )

c. Kayatapuja (Chudakarma \ Brat –Bandha)

d. Ihi and Barha

3. Vhyah/Ihipa (Marriage Sacraments)

4.Janko (Vhim Ratharohan)

5.Sithan (Death Sacrament)

1.Pre-natal sacrament.
There are many prenatal sacraments, however, the majority of those: pusawan kriya, simatopanayan, for example, are no longer in existence. Nevertheless, Dhau baji-nakegu (offering yogurt and flattened rice along with yomari, sweets, etc) during pregnancy is still practiced by many castes.

2.Childhood Sacraments.

 a.Janma and Namakaran (Birth/ Name giving )

Pregnancy is a natural desire among married women. Pregnancy, in the rural area women failing to conceive used to be administered some herbs by the Aji. Even in the urban center like Bhaktapur, there is still the practice of such non-conceiving women being treated with magico-sacraments formula. 

On the birth of a child, the first person to inform is the mother’s brother of the child. The birth purificatory rite is held on the 6^th day in case of the first child and on the fourth day. After birth, the concerned family turns out to be sacramentally unclean. They get to be immaculate after shudikaran (purification) convention which is done within the 12th day after the labor. Only after shudikaran further religious activities can be done in the upcoming days. During the birth purification day, all the members of the newly born child’s paternal family as well as ‘Phukee’ members are required to undergo the purification rite of ‘Nisi-Yae- Gu’. This includes two different Sacraments, namely, ‘Lusi-Thike-Gu’. (Cutting of the nails by the barer) and ‘Ala-Taya-Gu’. Besides, bathing is also necessary. The house to be purified with cow dung solution and by sprinkling cow – milk all over the house. After this, the Aji or the chief lady of the Phukee group lifts the child and places it on the lap of its father as a token of the acceptance of fatherhood.

Performing a name-giving ceremony

 According to family decision namakaran (name giving) is also performed during these sacraments.

b. Macha Janko (First Bolstering /Rice Feeding )

According to our Newar culture rice feedings is done after 4 or 5^th months from the birth of a baby. It is done knowing that mother’s milk is not enough for a baby after 6 months. There is additionally a custom of offering various types of nourishments from the maternal home of the mother inside a month of conveyance, which is known as 'Baji nakah wonegu' or " Machaboo swahwanegu'. In this sacraments, baby feed with rice pudding which is brought from the Dattaraya temple and after that according to the family will treat usually offered to family and friends.

c.Kayatapuja (Brat –Bandha)

Brata-banda at Brahamayani temple

The start of adulthood is called Kayatapuja. In this, every one of the loves including in other residential functions furthermore including cleric and distinctive classifications of kinfolk gatherings, and in addition the utilization of sacraments destinations are rehashed. In this sacrament, the part of the mother's sibling and the father's sister is the same as in Busakha. The center demonstration in this sacraments is that the thakali educator the kid to wear the Kaeta. Thereafter takes after the sacraments of Pathi-Lui-Gu'. It comprises in showering over the kid rice, organic products, and so on three times as a characteristic of gifts bu the Thakali-Naki showering is done from a Grain measuring pot called Pathi. At last the Thakali demonstrates the Jwala-Nhaika. After Kaeta puja, the kid is a full-grown individual. Kayatapuja or altering of loin material is done to check the fulfillment of adolescence. Bajracharya and Shakyas play out the tonsure function, Chudakarma. Amid this, one needs to visit altars and pay praise to Kwahpahdyoh and make offerings. After kayatapuja, Jyapus and Sayamis experience Ohla (which is less drilled nowadays) ual from his station, he can now play out every one of the holy observances for his folks.

d. Ihi (Bel Vivah)  and  Barha
Ihi       

This is a sacraments typical marriage with a bel (byah) natural product, the image of ruler Vishnu. This service celebrated at the age of 5-11, is done to forestall widowhood. As they are hitched to eternal master, the Newar young ladies never get to be a widow. The young ladies are likewise taught family unit works in Ihi.   

Holding Bel

The most impossible to miss sacraments took after among Newar young lady is ihi (additionally ehee). Otherwise called bel byah, it is a typical marriage with a bel (Aegle mermalous) natural product. This sacrament is done among the young lady between the ages of four to eleven preceding achieving the time of adolescence, where they are hitched to master Shiva that the organic product is kept in his place. Newar people had attacked outside Nepal where the customs are to some degree lost yet at the same time it is found in each Newar house that the Bel byah have been made. This standard marriage is thought to be the most blessed holy observances in this respectable faction. With this marriage to the godlike master, the Newar young lady won't take after widowhood when their better half passes away. It is trusted that even remarriage should be possible.

      On the day of ihi the spot is cleaned and swabbed with bovine excrement and red soil to make it unadulterated. The ihi young lady is showered and does fasting for the entire daylong. The girl of Brahmin is spoken to the natural product, she is called locantee. The function begins in the morning with the bali (slaughtering) of goat or a duck to Lord Ganesha. Adherents of Boudh Newar never do the executing and the poor one can do it with a boiled egg. Eight distinct banners speaking to eight Devi are worshiped and submerged to the stream. A pindah for a bael natural product is made where bamboo root and grass is set. (A pindah is made of khir blended with dark teel and completely shaped) This is done to satisfy the predecessors of both his dad and mom's family.

Measuring yellow strings, 108 times

      The young lady is conveyed to the puja site where the yellow string is measured from head to feet for 108 times and from that point, a mala is made and given to the young lady. Water from the thakali, a water vase is taken by the savant and sprinkled over the ihi young lady to make her immaculate. 84 distinct assortments of vegetables are put before the young lady that she needs to taste the five and remaining she will touch it and will be drenched in a heavenly place. This finishes at the end of the main day.

      The following morning cutting of nails is done trailed by the cleaning of the nails. A bit of crude meat, little custard oil, and some cash is given to the nauni, the individual who cuts the nail. Nini of the young lady gathers the nails in a copper plate; she too will be given cash. At that point, the ihi young lady is wearing a red sari or chaubandi choli as a lady of the hour.

Sicha fhangu is a custom where the Newar young lady, the locantee go about as a ruler Shiva and with the stem of the bael organic product put the sindoor on the brow of the ihi young lady. The young lady is offered milk, dahi, products of the soil.

Kanyadaan

Kanyadaan, a hand of ihi young lady is given to the hand of the girl's father to devote the young lady to the ruler. Consequently, the ihi young lady touches the feet of locantee and washes her feet.

New garments are offered to the ihi young lady and three-clench hand full rice. In some service both the ihi young lady and the locantee are conveyed by the siblings and made to move along the flame three times. The intellectual put tika on the temple of the ihi young lady and from that point other too joins to favor the lady of the hour young lady. There is likewise convention that the other relative and the relatives wash the feet of the ihi young lady and beverage the water of the feet. Sustenance is offered to every one of the visitors and the ihi function end after this.

Offering new clothes and 3-clench hands full of rice

The bel natural product after the service is kept securely or inundated to the stream. It is viewed as a misfortune if the organic product gets harm. Since the young lady has effectively married the master Shiva, after her marriage to another spouse in her later years she should stay unaltered even she turns into a dowager. She should dependably remain the spouse of Lord Shiva at the first moment.

      A fascinating story has been discovered with respect to the cause of the bel byah that says, it was amid the season of Ranas, the poise of the Newar young ladies was under major dilemma. The Rana and his men used to take after the young ladies and look with healthy eyes. It was this purpose behind the Newar to spare their future eras they made an arrangement and wedded their kids with the bel organic product. Since this organic product is viewed as blessed and discovered single that they settled on the decision. The Ranas used to regard the wedded ladies so their cruel state of mind towards the Newar young ladies likewise changed. Since the wedding with a natural product spared the Newar group for its presence the practice is still pervasive.

Bahra (Gufa)

      After the ihi or the bel byah, next come to the Bahra, a customary holy observance restriction of a young lady before the onset of a period. This sacrament is done when a young lady enters her childhood. A young lady in the wake of having experienced ihi is kept isolated from all makes and from daylight for 12 days. She needs to stay in a dull room. On the twelfth day, the young lady is sanitized and the capacity closes with a Bhoj (customary Newar dinner where all relatives are available). These holy observances are of two sorts, Bahra tyagu and Bahra chauneygu. The primary Sacrament is performed before the beginning of menses. This is done to the girls between the age of 5-13 years. All the more then one young lady can take after the Sacraments yet if there should be an occurrence of Bahra Chauneygu, one and only young lady needs to experience.

Thakali naki putting sindoor on the brow of the girl

   In both events, a hole of fabrics, Bahra Khayak (symbol of the ghost in the form of doll) is made and worshiped. It is trusted that the young lady is under the detestable ownership. A different dinner for the khayak is taken out from the supper of the given in a young lady. Salt is not utilized as a part of any of the feast and the young lady is entertained with society tunes and moves performed by her companions. For all the 12 days thakali Naki (female head of family), venerates the Khyak and will do all the young lady work. She is the medium between the young lady and her family. Till the 11 days, the relatives are viewed as tainted, however, the wedded sisters can't be checked. On the sixth day, specific lamp oil is given by the paju (Maternal uncle) that is put on the face by the ladies in the family lastly putting it on the hair of the young lady simply finishing the utilization of salts.

     

Suryadarsan

It is simply after the 11 days the young lady is considered as immaculate and sacred. It is known as Nishi Yayagu. At that point, the young lady pays reverence to the sun god. She will be washed and will be visually impaired collapsed. She is then taken to the open space to have a Surya Darshan. Amid these holy observances, thakali-naki (female head of family ) plays out the real part. She first worships the Ganesha and sun god.  

Performing puja after suryadarsan

Fistful wheat seed and rice are given to the young lady that she tosses in reverse. This is accomplished for three times. Sindoor is put on the brow of the young lady and a new dress is exhibited. The young lady now can wear a sari, she is considered as ladies. In admiration of the position, everybody favors the young lady with a tika, made of pitho and oil. The young lady is then given Sagun (Newar prasad), first to the hereditary divinity, and after that to other relatives. Every relative now considers that the young lady is not an insignificant youngster but rather has now turned into a pre-adult. The first experience with the monthly cycle is normal and after the bhoj the ceremonies end.

3.Vhyah/Ihipa (Marriage Sacraments)

90s marriage putting garlands

Marriage with a human spouse is additionally a genuine marriage since it results in sweeping socio-religious outcomes for Newar ladies. Her part and status as a little girl experience an adjustment for being a spouse and girl in-law. She breaks her connection with the tribal divine beings for her human spouse. Yet, the occasion, her part, and status as a wedded lady are changed in accordance with Yihi samakara. The main stylized demonstration of Viyah is the execution of prearranged engagement which is symbolized by the acknowledgment by the young lady's side ten betel nuts. Marriage in Newar society is a social union of two families. The guardians' mastermind marriage for their children and girls. After the lucky man's and lady of the hour's family's choice, the marriage is affirmed by giving 10 betel nuts alongside organic products, desserts, and so on (known as lakha) from lucky man's family to the lady.

      A wedding service is performed at the time booked by the celestial prophet. Swayamber, Honkegu, Chipa Theeke (image of sharing everything) is performed. Lady of the hour presents 10 betel nuts to all her relatives. Sibling of her mom, paju, tackles his back and does her of the house. He then displays her to the man of the hour's family. The lady's family visits the husband to be home on the fourth day, to perceive how the lady of the hour is being dealt with, which is known as Khwah soyegu (seeing the lady of the hour's face).

4. Janko (Vhim Rathrohan)

Grandfather in Ratha (a type of cart) for Janko

The old-age ceremony is typical Sanskar. It is called Bura-Buri Janko. This Janko is held thrice in the life of an individual if the individual concerned lives unto the stipulated age when the last Janko is to be held at 99 years old years, nine months, nine days, nine palas and nine ghadis. This last Janko is assigned as Swarga –Ratha-Rohan, joining the dwelling place divine beings. The principal Burha Janko is held at 77 years old years, seven months, seven days, seven palas, and seven ghadis. It is calling Bhima-Ratha-Rohan. These phases of festivity of maturity denote the section of a person from one phase of hallowedness to the increasingly elevated phases of holiness, in the last and just about accomplishing status of a heavenly nature. Jyah janko is a seniority function to stamp one's life span. Jyah janko is an old age ceremony to mark one's longevity. It is celebrated for five times.
First-At the attainment of 77 years, 7 months, 7 days (Bhimratharohan)
Second-At the attainment of 83 years, 4 months, 4 days (Chadraratharohan)
Third-At the attainment of 88 years, 8 months, 8 days (Devaratharohan)
Fourth-At the attainment of 99 years, 9 months, 9 days (Divyaratharohan)
Fifth-At the attainment of 105 years, 8 months, 8 days (Mahadivyaratharohan)
5. Sithan (Death Sacrament)

Death rituals

Death is not only a biological process but also a social process. The ceremony relating to dying and subsequent cremation is considered the last of the Samskaras. A dying man is brought to the ground floor (chhedi) or taken to a nearby river, preferably to Aryaghat, and placed on the ground with his head facing the south. Phukees and other relatives are informed. The Sanaguthi members having arrived, arrangements are made to take the dead body to the cremation ground in a well-organized funeral procession at which music is provided by functional castes. On the 4th day, the ceremony of lakcha takes place when the married daughters of the house make a formal condolence call. The 7th-day ritual is called Nhye- Numa. In this married daughters of the house after food to the soul of the dead.
On the 12th day, another shraddha is performed and Pindas are offered to the Sapindas. It is believed that this is the time when the soul which is in the form of a preta changes its form and enters the world of the pitrus.
As soon as a person dies, all the Guthi (social organization) members are informed. Four lamps are set around the four directions of the corpse. Mha gele, adoration of the corpse is marked. The funeral procession is accompanied by Nayahkhin drum followed by a lot of people wailing and crying. Cremation is different in different castes.

Nau Baja - The Traditional Newari Musical Instruments.

Newari Traditional Music

The traditional Newar music have been arranged into a particular schedule. One of the dominant forms of traditional Newar music is 'Dapha'. Dapha music is a classical newar music that probably originated during late 'Lichhavi Period' and flourished in the 'Malla period'. Basically, the songs of Dapha music are devotional songs based on classical ragas. Dapha music is played by bands known as 'Dapha Khalah' that may be associated with a traditional groups called 'guthi'. According to the ragas certain songs are played at certain season or time of day. The songs generally narrate or depict the mood of the particular season. Besides the seasonal and scheduled ragas, various ragas are played during specific events, such as Deepak raga (played when a monarch passes away).

Seasons, their festivals and music accompanying them are as follows:

Season	Festival	Song	Comments
Grishma (Summer)	Sithinakha to Gathāmuga Chare	Sinjyā	Played during plantation
Barshā (Monsoon)	Gathāmuga Chare to Yanlā Punhi	Tukājyā,Silu mye	Sad songs,while moving to Gosainkunda
Sharad (Autumn)	Dashian (Mohanee)	Malshree	Incorporated into mainstream Nepalese music as the music of Dashain
Hemant (Winter)
Shishir	Fagu purnima/Holi	Holi mye	Played during Fagu purnima
Basanta	Shree panchami to Buddha Jayanti	Basanta	Played to Head of state of Nepal in Nasalchowk on Vasant Panchami

1.2 Nau Baja:

Nau Baja stands for Dha, Kot, Pachima, Dhancha, Dhime, Dholak, Kokhing, Nyakhing and Nagara in total nine combined musical instruments (skin made related) played in the special occasions and fesvitals is one of the unique and important traditional music of Newari community of Bhaktapur. It is a living legend of Newari culture. Though Nau Baja is a combination of nine major musical instruments as mentioned above other helping musical instruments like Muhali, Ponga, Bayecha, Sichha, Bhuchhya, and Ta are used to add melody in the music. This is why Nau Baja can be categorized into three parts according the musical instruments used. 

·  Tha Baja : Nine major instruments; Dhhan, Kot, Pachhima, Dhhancha, Dhime, Dholak, Kokhhincha, Nayakhhincha and Nagara.

·         Dhatu Baja: Supporting instruments; Dhuchha, Sichha, Khwolimalicha and Ta.

·         Fwu Baja: Instruments played by the blow of air; Ponga, Muhali and Bayecha.

Amongst these musical instruments some to the typical newari musical instruments can be introduced as follows:

a)    Pachima :

Pachima is known as Khing in Newari language. The appearance of Pachima is similar to the shape of Khhen (egg), so it is named as Khing. The average size of Pachima is 24 inches long, 12 inches wide at the middle and at the end of one side it is 8 inches while other side is 9.5 inches. Both the ends of the instrument is covered with the skin of animals in which Khau (a black spot) to give melodious sound is filled partly. The larger side of the instrument is named as Manka and smaller one as Nas.

b)    Dhime :

It is a very special musical instrument played in Newari culture. The presence of Dhime in any events of place determines the presence of Newari culture there. Though there are Dhime of different sizes they are of same shape and appearance. It is made of hollow wooden frame of metal whose both ends are shield with skins. One side is played by necked hand and the other one is with a stick. The side which is played with nacked hand is very thinly coated with masala.

c)  Nya Khinn :

      

     It is one of the ning Tha Bajas of Nau Baja which is similar to the small size Dha. The side which is shield with skin is not coated with any kind of masalas in this instrument. It is played in special period of every festivals and Jatras. The newars of Kathmandu plays this instrument while taking dead body of any person to the Ghat.

d) Kot :

Kot is one of the major typical musical instrument of Badhya cast of Newars which is a combination of three Tha Bajas. Kot is played along with Pona and has a special importance. Specially it is played on Shrawan Gulamas, Chiva puja and other major pujas in the Buddish monasterys. Though it is one of the major musical instrument of Buddhis it is also given a special place in Nau Baja which shows the presence of multi religious aspects in Newari culture.

e) Pona :

  It is a kind of musical instrument played by blowing the air. It is also a unique musical instrument of Newari traditional music which is only used by Newari communities. About 1 meter long this instrument is played in Dafa Bhajan, Gula Baja, Kot etc. It is played specially at the time of starting some good deeds or programs.  Besids Newars other class of people in Nepal also plays a similar musical instrument as Pona but their melody, musical composion and way of blowing the air is very different than this.

It is believed that there are about 200 (two hundred) types of original musical instruments in Nepal, and 108(one hundred eight types) of musical instruments have been found till now. A great number of Newar musical instruments are included init. These instruments can be classified into four classes according to Sangeet Shastra.

i)        Membranophones - Dhimay, Dhah, Paschima, NayaKhin etc.

ii)       Idiophones - Bhusyah, Chhusyah, TainNain etc.

iii)     Chordophones-Piwancha

iv)     Aerophones - Muhali, Nekoo, Bansuri etc.

Mostly used musical instruments in Newar societies are membranophones, which are generally accompanied with idiophones and aerophones.

 i) Membranophones

Dhima

Dhimay is the most common musical instruments amongst the Newars. It is considered as the oldest musical instruments amongst the membranophones. Even though there is no evidence that Mahadeva invented this instruments (as legend says) but there is evidence to support that it dates back to Kirat period. It resembles the Chyabrung of Kirat Rais and Dhola of Tharus. Dhimay is played in almost al ceremonial marches by the Jyapus. They are fund lost in dancing with deep rumble of Dhimay in festivals.

Dhah

Gunla (a month according to Nepal Era) is taken as Buddhist holy month. As Dhah is played during Gunla it is also termed as 'Gunla Bajan'.It looks similar to Dhimay but is Slightly smaller than Dhimay. Dhah is constructed from cylindrical hollowed tree trunk slightly smaller than that of Dhimay. Tuning paste is stuck at the inner side of Mankah. Tuning paste is made of castor seeds, mustard oils etc

Paschima

Myth says, Paschima was invented by lord Krishna. This instrument is also known as Mridanga. It is a double headed drum with tuning paste in on hide (Nasah) and dough made of wheat flour is plastered in the other hide (Mankah) before playing.Paschima is accompanied with Baboocha (thinner cymbals), Tah (thicker cymbal), Muhali (shwam) or Bansuri (flute).

Nayakhin

It is another musical instrument used in many rituals. This instruments is mainly played by the Khadgis, however, this instrument is also played by other castes. It is also called as 'NayaKhin' or 'Dyah Khin'. Since it is also played in funeral processions it is also known as 'Seeh Bajan' (funeral drum). Long long ago, there was a tradition to play fanfare on NayaKhin to proclaim the news.

DapaKhin

DapaKhin has various names: Yakah Khin, Joh khin, Lala Khin, Deshi Khin, for instance. It is double headed drum with tuning paste in both hides. Dapa Khin is mainly played in Dapa Bhajans (traditional hymns). If a single Khin is played it is called Yakah Khin and if two Khins are played, they are called as 'Joh Khin'. DapaKhin is accompanied with Tah, Baboo and Bansuri (flute) or Muhali (Shwam).

Koncha Khin

Koncha Khin is single headed drum resembling Tabla. It is also termed as 'Khicha Khwah Khin' as it is said that dogs start to cry when Koncha Khin is played.

Koncha Khin is mainly played in marriage processions and accompanied with baboo, Tah and Baya or Muhali.

Pastah Khin

Also known as Kwatah Khin, Pasta Khin is a combination of Dapha Khin and NayaKhin. An ancient stone image of people playing Pastah Khin signifies its use since ancient time.

Pastah Khin is an important instrument in Bajrayan sect of Buddhism. Pastah Khin is accompanied with Ponga and Tah.

Nagara

Nagara is a kettle drum played with two sticks. This instrument has been described in purans as Dundubhi, Dundhu, Dundhub, Bheri, Adamber etc. It is often played in pair, known as Joh Nagara. Nagara is also played in Panchai Baja as Damaha. It is too played in Mahakali Dance.It is accompanied with Chhusyah and Muhali.

Dholak

Dholak resembles Dhah in structure and its playing techniques are similar to that of Paschima. Dholak is played in Dhalcha Bhajans and also accompanies Bansuri.

KantanDabDab

Also known as Damaru, it is a small two headed drum with straps. It is the instrument played by lord Shiva. KantanDabDab is especially played during Mohani Festival.

Magah Khin

This two headed drum with tuning paste at both ends belongs to magar community, however it has become an important part in Newar folk music. It is said that there are fifty four talas of Magah Khin. It is commonly known as Madal.

Daha

Daha or a tambourine is a percussion instrument played in Bansuri Bajan or Khin Bajan. It is also used whilst singing songs and in Bhajans.

Dhangro

Though it is not a Newar instrument it has become an integral part in many rituals. Dhyangro is basically played by Jhankris (Witch Doctors) or Kirats.

ii)Idiophones

Tah

The word 'Tah' comes from ' Tala ' which is derived from 'Tandava' and 'Lasya'. Tah controls Tandava and Lasya of Music. It controls whole rythm of music. Tah is considered as the principle musical instruments among all Newar musical instruments. Tah, apair os thicker cymbal, is made of Asta Dhatu (an alloy of eight holy metals). It accompanies Dhah, Dapha Khin, Paschima, Koncha Khin, Naya Khin (when played as Gunla Bajab) and others.

Baboocha

It is thinner than Tah; however, it is bigger in size. It is also made of Asta Dhatu. It accompanies Dapha Khin, Pachima, Koncha Khin, Dholak and others.

Chhusyah

Also known as Sichhya, Chhusyah resembles Baboocha but is bigger in size. It accompanies Naya Khin, Nagara and others.

TainNain

TainNain is a gong; it is played by striking with a stick. It accompanies Dhimay.

TiniMuni

It is a percussion instrument consisting of a steel rod bent in the shape rod a triangle. It is played by striking with another steel rod. It is played in Dhalcha Bhajans.

Gan

Gan or a bell plays a vital role in ceremonial worships such as Shradh, Janko, Ihi and so on. There are various types of bells in practice: Big, Small, Wind bell, Bajra Ghanta, for instance.

iii)Chordophones

Piwancha

Piwancha is two or three stringed instrument. It is especially played by jyapu (Newar farmer). Unfortunately, it has been extinct.

iv)Aerophones

Muhali

Muhali is a conical bore shawm, which is played only by Jugi (Kusle) caste.

Jugis are given Khanki (land) for playing Muhali in various occasions. There is a tradition to play Muhali everyday in Phalchas, i.e. roofed rest places, which tradition is also known as Siwa Yayegu. Muhali accompanies Dhah, Dapha Khin, Paschima, Nagara and others. Muhali solo is played in Digu Puja.

Bansuri (Flute)

Bansuri is a woodwind instrument which accompanies mainly Paschima, Dapha Khin or Koncha Khin. Basuri are of three kinds: Ghor, Majhawala and Teep, producing low, middle and high tones.

Baya

Baya resembles Bansuri but they are different in construction and playing techniques. Baya accompanies mainly Koncha Khin. Koncha Khin and Baya are played in marriage procession.

Ponga

Also known as Payantah, Ponga is a long wind instrument made of brass. Pongas are made by Tamoh or Tamrakar (Newar Coppersmith). It accompanies Kwatah Khin and it is also played in Bhailah Pyakhan (Bhairab Dance).

Kaha

Kaha resembles Ponga. It is also known as Indra Baja and it is believed to be invented at the time of Manju Shree. It is played with Naya Khin In many festivals nd also playd in funeral processions. There is a typical caste, called Kabuja, who play Kaha.

Nekoo

Nekoo or horn instrument is the oldest form of musical instruments in the globe. It is played during Gunla month. There are various types of Nekoo, Chatti Nekoo, Thika Nekoo, for instance.

Sankha

Sankha or konch is an ancient instrument. Playing of Sankha indicates starting of any new work. Sankha is played in 'MahGhah Wonegu' in dec-jan month. It is also played in different worships.

Musical Composition and combination of Nau Baja :   

 As mentioned earlier though Nau Baja is a combination of Nine different Tha Bajas it also uses other sub bajas (Dhatu Baja) to give unique melody and composition. This doesn’t mean that those sub bajas are played through out the time of playing Nau Baja they are used with specific Tha baja in specific notes to balance composition as :

·         While playing Dha or Kot – along with Pona Sichha and Bhuchha is also played.

·         While playing Dhacha – Muhali and Sichha is played.

·         While playing Dhime – Muhali, Sichha and Pona at the end is played.

·         While playing Nya Khing – Muhali, Pona and Sichha is played.

·         While playing Pachima, Dholak and Nagara – Muhali and Sichha is played.

·         While Playing KoKhhing – Byachha and Sichha is played.

Whereas Ta is played compulsorily and Khwolimali is also played as per the requirements.

1.2.2 Major  Notes of Nau Baja :

SN	Instruments	Notes
1	Dha	Taa Taa Taa Dhe Taa Taa Dhe Na Dhe
2	Kot	Taa Kha Ti Taa Khati Taa Dhen Na Dhen
3	Dhancha	Taka Dhu Na Kha Tha Taa Ka Dhuna Khati Taa
4	Dhime	Dha Drukh Taka Dha  Drukh Taka Dha Dha
5	Nya Khing	Dan Pa Dan Pa Daa Pa Da Na Pa Daa
6	Dhalak	Dha Drukh Tha – 3 Ta Drukh Taa Ka
7	Pachima	Ta Ti Dha Taa Ti Dha Dha
8	Kokhhing	Ta Kha Ta Ti Ta Kha Ta Ti
9	Nagara	Taa Dhe Naa, Dhena Dhena Taa Dhena Dhena Dhena

 Musical Forms Played in Nau Baja :

The various forms of musical compositions played in different Jatras and time are very similar with the climate and theme of the those Jatras. For example in Jatras like Pasa Charye and Bisket Nau Baja is played in Ghatu rhythm, and the Holi rhythm is played during Falgun Month. As these all the rhythm and forms of musical composition of Nau Baja is different in all seasons and Jatras/ Festivals of Newar Community. Some of the formations are as follows:

·         In Pasa Charye and Bisket Nau Baja is played Ghatu rhythm in the following formation:

‘…….. Thathi Jagu Ras Rang Tol Tawa Ram Han………’

·         At the time of cultivation of Newars in the Kathmandu Valley Sinajya Rhythm is used in following formation:

‘ Gopal Na Pane Mata Thani Sinajya Bane Nhya…..’

·         In the Spring season Basanta music is played with the feel of colors and beauty in the Chalti and Pratal rhythm :

‘ Shyam Sundar Basanta Balas Radha Wo Mhytal Banaa Vo..’

To play Nau Baja in fully it generally takes about 1hrs to 1 and half hrs however it can also be played in less time without repeating the instruments. At the beginning of playing Dha Lhayeu (offering to god) and at the end Aarati (lighting) is compulsory. This also shows the religious importance of Nau Baja and its space in Newari Culture.

Panauti Jatra (Jya Punhi) - fest of mate between mighty Unmant Bhairava and Bhadrakali.

 Panauti Jatra also known as Jya punhi locally is the nine-day festival. It starts off on the 10th day of the bright fortnight of Jyestha (May-June) and ends on the 3rd day of the dark fortnight in Ashad (June-July). It is a combination of the palanquin and chariot festivals.

Panauti is at about 30 km southeast of Kathmandu. Panauti is one of the holiest towns. Two holy rivers: one called Roshi another Punyamati flow on both sides of this town. A legend has it that Goddess Parvati became the third river called Padmabati. Thus, the area became the meeting point of the three rivers. Any confluence of three rivers is the holiest place for Hindus. Once every 12 years, a religious festival is held here.

Devotees carry Goddess Brahmayani and God Indreswore Mahadev on two different portable shrines on shoulder poles to Panauti town to celebrate the festival. They pull God Bhairava and Goddess Bhadrakali on chariots.

During the Panauti Jatra, Lord Mahadev: one of the Hindu Trinity that does not accept blood enjoys celebrating the festival along with other Tantric deities.

On the 10th day of the bright fortnight in the month of Jyestha (May-June), Hindu priests called Achhanju make offerings to the Tantric deities. Then, the concerned temple caretakers bring the deities out of their temples, and set the deities at the open public places. Men, women and children with bronze or wicker basketful of offerings visit all the deities and make offerings to the deities in the morning.

From this day on until the 4th day of the festival, everybody becomes busy with the preparation for celebrating the festival.

On the evening of the 4th day of the festival, a festival called Duin-ca–nya-ya-ke-gu’ is held. It is the show of a team of a priest, a woman and a porter crossing the bridge over Punyamati River to make Tantric offerings to Goddess Brahmayani along with Goddess Bhadrakali on the other side of the river. ‘Duin’ is the only woman member on the team. Other team members are men. This part of the festival is named in honor of the woman team member called ‘duin’.

Curious onlookers patiently watch the three worshippers crossing the river. A legend has it that once the Punyamati River swelled with floodwater, but the team of the worshippers needed to make offerings to Goddesses Brahmayani and Bhadrakali on the other side of the river. So, they called on the serpent God called Basuki for help. Responding to the call of the tantric worshippers, Serpent God Basuki with his spouse came to them. The serpents lay down over the Punyamati River forming a bridge.

The three worshippers moved on the bodies of the serpents to reach the temples of the deities on other side of the river. Obviously, the bodies of the serpents are very slippery. Each team member in turn moved forward inch by inch on the slippery bodies of the serpents.

Every year, the worshippers simply emulate the worshippers once crossing the river on the bodies of two serpents. It is a great show to the onlookers. Currently, they watch the crossing of the river by the team of worshippers on a suspension bridge moving inch by inch.

The priest is the first one to cross the river. He makes offerings to the serpent deities. Then, he moves so carefully that everybody watches his motion in complete silence. He takes more than a half hour to cross the bridge of about 20 meters long. Similarly, a porter carrying a load of offerings to the deities on other side of the river moves on the bridge inch by inch. Finally, the woman called ‘duin’ carrying an oil lamp and a load of rice grains carefully steps on the bridge and moves on inch by inch. After her crossing the river, the festival of Duin-chha–nya-ye-ke-gu ends.

Thereafter, the team of worshippers prepares everything for holding Tantric worship called ‘ca-puja’ performed at night to the deities at the temple to Goddess Brahmayani across the river.

In the town, devotees have brought Goddess Bhadrakali out of the temple and set Her on a chariot parked nearby the temple. They pull Her on the chariot to the temple to Goddess Brahmayani. Devotees pull it through the narrow lanes of Panauti to the bridge over the Punyamati River. From there, two persons carry Goddess Bhadrakali on their arms across the river to the temple to Goddess Brahmayani and set Her next to Goddess Brahmayani. Thereafter, the team of worshippers enters the temple and seals off the entrance to the temple to hold Tantric offerings to the deities until the next morning.

On the 5th day, the people celebrate ‘mu-jatra’ means the main festival. On this day, some devotees make the sacrifices of male goats or ducks to Goddesses Brahmayani and Bhadrakali. Others simply make offerings to the deities. People also revere other deities, too. Although this day is known as ‘mu-jatra’ no activities other than pulling a chariot from the bank of Punyamati River to the bank of Roshamati River near Gainepati are held. It was done in preparation for holding the festival of pulling the chariot and carrying the palanquin the next day.

The sixth day is the full moon day. This day is also known as Panauti Punhi. This day is the most auspicious day for taking a dip in the water of the confluence of the Punyamati River and Roshamati River. So, this day is also known as Panauti-snan means bathing in Panauti. Believers take a holy dip in the water of the confluence of two rivers on this day to cure any disease.

On the early morning of the full moon day, the major Jatra starts off. First, devotees take Goddess Brahmayani out of the temple and set Her on a portable shrine. Then, they carry the deity on the portable shrine on the shoulder poles along the bank of Roshamati River then through the Sorakhutay to the main Bazaar and to the main square. God Indreswore Mahadev takes a ride on another portable shrine from the temple to the main square following the same route as that of Goddess Brahmayani.

It is fun to watch God Indreswore Mahadev riding on the portable shrine. The shrine carriers try every trick to make the fall of the priest from the God Indreswore Mahadev’s shrine on the way to the main square. The priest would need to pay one tola (11.664 gm) of gold to the shrine carriers if he were to fall from the shrine. However, the carriers rarely succeed in making the priest fall from the shrine. The priest plays a hand drum with one hand and holds the shrine firmly with the other hand. He sticks to the shrine so firmly, no matter how wildly the carriers shake it he won’t fall down.

Devotees carry Goddess Bhadrakali from the temple to Goddess Brahmayani to the Gainepati. The deity had spent the whole night with Goddess Brahmayani. A chariot had been waiting for Her. The devotees set Goddess Bhadrakali on it. Then, they pull the deity on the chariot through the same route Goddess Brahmayani has traveled on her portable shrine.

Goddess Bhadrakali makes a loop at one lane symbolizing her attempt to trick God Unmant Bhairava into not following Her. However, God Unmant Bhairava manages to catch Her at the open space popularly known as police pati at the eastern end of the main square. At this place, God Bhairava’s chariot collides with that of Goddess Bhadrakali from the rear. Then, it retracts. Then, Goddess Bhadrakali’s chariot makes a head-on collision with that of God Unmant Bhairava. It is the divine sexual play. This action is repeated three times. Each time, the chariots collide; devotees throw vermillion at each other expressing their joy at the happy union of the divine couple.

Then, the turn of God Indreswore Mahadev is to make head-on collision with Goddess Bhadrakali. Devotees carry God Indreswore Mahadev on a palanquin back and forth a number of times before it finally collide with the chariot carrying Goddess Bhadrakali. Then, the priest distributes ‘prasad’ means a blessed food or simply a blessed piece of flower or a blessed paste of vermillion or all these blessed items together to devotees. After that the palanquin makes the last collision with the chariot before it is finally pulled off. This is the symbol of God Indreswore Mahadev copulating with Goddess Bhadrakali. When the palanquin and the chariot collide, the chariot of God Unmant Bhairava remains in contact with that of Goddess Bhadrakali. God Unmant Bhairava is believed to be the tantric incarnation of God Indreswore Mahadev.

Goddess Brahmayani presides over all these unique and exciting festivities.

After the meeting of God Unmant Bhairav, Goddess Bhadrakali and God Indreswore Mahadev at the main square, God Indreswore Mahadev travels on the arms of devtoees from the palanquin to the temple. God Unmant Bhairava and Goddess Bhadrakali travel to the eastern end of the town on their respective chariot. From there God Unmant Bhairava travels to the temple. Goddess Bhadrakali returns back to her abode at the city entrance. All these activities complete by mid-day.

At night, devotees carry the portable shrine of the presiding Goddess Brahmayani on shoulder poles from the main square to her abode near Sorakhutay pati. Every household sends a person to carry a torch to light her way to the temple. A number of traditional musical bands and a procession of devotees follow Goddess Brahmayani to her abode.

On the 8th day of the festival means the second day of the dark fortnight of Ashad, devotees hold the last goodbye offerings called ‘Dyo sagan bi-ye-gu’ to all deities. They go to make offerings to the deities brought out from the respective temple and placed at different public places for the festival.

On the 9th day of the festival, all the deities return to their respective shrine. On this day, too, some men, women and children make offerings to all the deities before they return back to their respective temple. They had come out of their shrines on the first day of the festival. Thus ends the nine-day and eight-night festival in Panauti.

पनौती जात्रा
तीन दिनसम्म चल्ले पनौती जात्रामा रथ रथ विच संभोग गरायर स्थानीहरुले जात्रा मनाएका छन् ।

जेठपूर्णिमाका दुई दिन अघिदेखि स्थानीहरुले विभिन्न नायखिं बाजा बजाउने र मठ मन्दिरको पुजा प्रथना गरि जेठ पुर्णीमाको दिन रथालाई संभोग गराएर जात्रा मनाएका हुन ।

पनौती स्थित लायकु दरबार, डबलीमा इन्द्रेश्वर महादेव, भद्रकाली र उन्मत्त भैरवका रथहरू एक–आपसमा संभोग अर्थात जुधायर जात्रा मनाउने गेका छन्।

इन्द्रेश्वर चोक (हाता) नजिकै रहेका तीनवटा रथहरू (महादेव, भैरव, भद्रकाली) बाजागाजासहित रोसीखोलाको किनार परिक्रमा गराईन्छ रथ जुधाउने प्रचलन रहेको छ ।

चतुर्दशीका दिन बिहानैदेखि ब्र≈मायणीको मन्दिरमा भीड लाग्नुका साथै पुर्णेको दिन काठमाडौ, भक्तपुर, ललितपुर, काभ्रेका विभिन्न स्थानबाट मेला हेर्न हजारौ दर्शनार्थी आउने गरिन छ   ।

महादेव, भैरव, भद्रकालीको रथ जुधाउदा पानी पर्ने किबदन्ती रहेको र जात्रा हेर्न आएका मानिसहरूलाई छाता ओढ्न नहुने, रथमा रहेका देवीदेवताहरूको प्रसाद पनि बाड्ने नहुने लगाएतको अनौठो प्रचलन रहेको छ ।

महादेवको रथ भद्रकालींसग जुधाइसकेपछि रथ बोक्ने मानिसहरूले रथलाई माथिसम्म उचालेर भुइमा बजार्ने प्रचलन रहेको छ । स्थानीय बासिन्दाको भनाइअनुसार यसरी महादेवको रथ भुईमा बजार्दा रथमा सवार पुजारी रथबाट तल भुईमा झ¥यो भने बोक्नेहरूलाई इन्द्रेश्वरमन्दिरको ढुकुटीमा रहेको धन बाडिदिनुपर्ने प्रचलन रहीआएको   छ ।

पनौती जात्रा प्रत्यक्ष यौनक्रियासँग सम्बन्धित जात्रा भएकाले यो जात्रा महिला तथा बालबालिकाहरूलाई नदेखाउने विचारले राति नै सम्पन्न गर्ने गरिन छ  ।

महादेवले उन्मत्तभैरवको रूप धारण गरी बाहिर निस्केको र भैरवको डरलाग्दो उन्मत्त रूप देखेर डराएकी ६४ योगिनीरूपी पार्वती भद्रकालीको रूप बदलेर रोसीखोलाको किनारैकिनार भाग्न थालेपछि भाग्दाभाग्दै लायकु डबली पुगेपछि उन्मत्तभैरवले भद्रकालीलाई पछाडिबाट तीनपल्ट सम्भोग गरेपछि भद्रकाली शान्त अवस्थामा आएको किम्वदन्ती रहेको छ ।

आफू यौनक्रियाबाट तृप्त भएपछि भद्रकालीले भैरवलाई आफ्नो वास्तविक स्वरूपमा आई सम्भोग गर्ने इच्छा जाहेर गरिन् । त्यसपछि भैरव महादेवको वास्तविक स्वरूपमा आई पुनः तीनपटक अगाडिबाट सम्भोग गरेकाले रथलाई अगाडी र पछाडीबाट जुधाएर सँभोग गर्ने गरेको स्थानीहरुको भनाई छ ।
 दिउँसो रथ जुधाउने जात्रा सकिएपछि बेलुका ब्रह्मायणीको जात्रा गरिन्छ । ब्रह्मायणीको देवघरबाट बाजागाजासहित नगरवासीहरू हातमा चिराक बालेर पुलिसपाटीमा राखिएकी ब्रह्मायणीलाई लशकुश गरि ब्रह्मायणीलाई रथमा राखी जात्रा गरेर बजारमा परिक्रमा गराई ब्रमायणीदेवीको देवघरमा पुर्याइन्छ ।
सोही दिनको बेलुका अघिल्लो दिन इन्द्रेश्वरप्राङ्गणमा बलि दिइएको रागाको मासुको परिकार बनाई वलं भ्वय’ खाइ र जात्रा सकिने  गरेको छ ।