Traditional Newari Dances of Bhaktapur.

1.MASK DANCES

a.Nava Durga dance

Nawadurga

A tantric mask dance in honor of the nine manifestations of Durga is performed in Bhaktapur in October every year. Nava Durga means nine Durgas composed of Mahakali, Kumari, Barahi, Brahamayani, Mahesvari, Vaishnavi, Indrani, Mahalakshmi, and Tripurasundari.                                                      

Durgas are the various demonic representation or manifestation of Parvati, the Sakti of Shiva, in the tantric tradition. In Bhaktapur, Nava Durga is a set of masks with a ritual continual life force which begins from Dashain in October and ends in Bhagasti in June. Since the day of Bhagasti, all the deities in Nepal live not in the land but beneath the water until Gathamuga Chare, a little less than five weeks later. On the day of Gathamuga, the Gathas take some black clay from the field and erect a linga of Shiva. Some of this soil is left and preserved in order to be added to new masks. The Gathas, i.e.; mask-dancers, musicians, and leader of the god-house go to Taleju with the new set of masks ritually made of special clay mixed with the ashes of the previous masks and of the black clay, the remains of the Shiva linga made on the day of Gathamuga Chare. It is at the night of Dashain when the Karmacharya gives life-force, to the masks with the mantra. Therefore, these masks have tantric significance. Since the time the masks have a life force, they are considered gods and goddesses. The role of Taleju is great, though she is not presented within the Nava Durga Pantheon. The new set of masks is exhibited in the celebratory Brahmayani Pitha beside the Hanumante River. This happens on the day of the Vijaya Dashami. Brahamayani Pitha which is on the eastern side of the city is also the Pitha of Nava Durga; Brahmayani is/was the guardian deity of the people and the king of Bhaktapur.

Though there are 9 Durgas, only seven, Mahakali, Kumari, Barahi, Brahmayani, Mahesvari, Indrani and Vaishnavi are represented in the mask-dance and her icon is kept in Nava Durga god-house at Gachhe tole. Mahalakshmi, i.e. Shifo-dyo also is not present there in the form of a mask. She is always in a small chariot that is kept on the ground during the public performances of Nava Durga. She is more abstract, important, and powerful. She is regarded to be the Nava Durga's own goddess. A vessel with Maha Lakshmi icon contains ambrosia and other tantric things. It is enshrined in the god-house. The 'six-armed image framed by lions at her feet and a large aureole of flames have no face. The face, if it was ever represented, has been carefully cut out from the surface plane'. So she is concerned with the cemetery as well. She is of tantric concern. She leads the procession of masked Nava Durga

Apart from seven Durgas in Nava Durga dance, there are other six masks. They are of Shiva, Ganesh, Bhairava, Sveta Bhairava, Sima, and Duma. Sima and Duma portrayed roaring, an expression of their fierceness, which are the messengers of death. Also, they are the bodyguards of Shiva. They rarely dance in the group-dance. Theirs is a police function. Children taunt them. If a child is caught by either of them, it is considered an evil omen. Therefore, some parents often pay them beforehand that their children may not be caught. This belief reflects their role as messengers of death. Shiva's mask is smaller and it is not worn. Ganesh carries it in the group-dance. He fishes in the public performances.

The Nava Durga dance proceeds according to the beatings of Dyokhin and the performances of Taa (a pair of thick, small cymbals) and Kanhe-Baja. The dyokhin, taa, and kanhe-Baja have symbolic meaning. It is said that the ringing sound of the musical instruments of Nava Durga dance not only gives the rhythmic signals to the dancers but also removes the people's troubles and obstacles caused by evil beings. The tantric version is that it gives peace, prosperity, and happiness to the people. For this purpose, this dance is performed in every tole of Bhaktapur. It is also taken to Deupatan, Banepa, Nala, Dhulikhel, Panauti, Srikhandapur, and Chaukot every year and in Hadigaun every twelve years. The people of these places devotedly offer pujas to the deities. "King Suvarna Malla of Bhaktapur introduced the dance of the Nava Durga, having heard that they had been seen dancing at night".

b. Mahakali Dance

This is one of the most popular masked dances of the Newar. It is based on the religious story from a Hindu Puran Called 'Mahakali Mahalaxmi'. According to this, the three goddess Mahakali, Mahalaxmi, and Kumari (three of the eight deities that protect the eight directions of Kathmandu Valley and have different ghost followers. These mother goddesses were practiced by Eighty-four Siddhas to gain mystic power) came down to heaven to vanquish the demons that spread great misery and hardship among human beings. So the almighty Goddesses waged a great war with the demons and defeated them, thus stabilizing peace and order on earth. This dance shows great joy and happiness after the great victory over the demons.

c. Bhairav Dance

Bhairav

Bhaktapur is also known as the “capital of cultural dances and cultural music”. Among many traditional cultural dances of Bhaktapur, mask dances are one of the most popular. And among these mask dances the Bhairav Pyakhan or Bhairav Dance is the most popular one. Almost all of the traditional dances follow some kind of legend and traditional beliefs and the same with the Bhairav Pyakhan. The legend behind the Bhairav dance goes as follows. Hundreds of years back, the evil forces and beings, Bhoot, Pisach, and Rakshasa, started to dominate the world. The evil beings, Daityas started destroying humans and the natural balance was threatened. Then the god Bhairava came down to earth with other divine bodies to destroy those evil beings for restoring peace and to maintain the natural balance.

d. Lakhey dance

This is one of the classical dances of Nepal. Once a year during the festival of Indra Jatra which is celebrated for nearly a week at the end of September or the first part of October. Almost all the settlements of Newar have Lakhey dance at least once a year.

Almost all of these Lakhey dances are held in the Goonlaa month. So, they are called Goonlaa Lakhey. However, the most famous Lakhey dance is the Majipa Lakhey dance. It is performed by the Ranjitkars of Kathmandu. The dance takes place for a week during the week containing the full moon of Yenlaa month. The Lakhey are considered as the saviors of children.

      According to people's belief, Lakhey is man-eating (mainly children) demons living in the dense forest. They hunt animals and people passing through the jungle. Whenever they have a good meal they dance with a jog. Previously Lakhey dancers used to select victims for human blood sacrifices.

e. Monkey dance

It is performed by teenagers wearing traditional customs and sticks in their hands. The Nepalese still pay great respect to the sacred myths and legends. According to the religious epic Ramayan, the dance was performed by the monkeys to express their joy and happiness to their Lord Ram and his wife Sita after their victory over the demon king Ravan of Sri Lanka.

f. Khyak Dance

 Khyaks are supernatural beings. They are believed to be followers of gods and goddesses. They were visible to the people before electricity arrived. They are quite harmless. They simply used to frighten people at night. What the dancers perform is just the expression of Khyak's naughty nature. They perform dances to entertain god and goddesses.

g. Kawan (Skeleton) Dance

According to people's belief, kawans are the evil spirits to be seen mostly at street-crossing and cremation-grounds. They accompany the Gods and Goddess during their adventures. Sometimes they trouble people, causing stomach pain. But one can get rid of it easily by making some offerings, following the advice of a witch doctor.

h. Devi Daitya Sangram (The battle of Goddess and Demon)

This is a dramatic dance form, here the handsome brave demon sees a beautiful girl and immediately falls in love with her. Then he proposes to marry her, but she answers that she will only accept one who can defeat her in a battle. The egoist demon gets very angry and tries to catch her. But it is not possible. They start battling. The demon sees her everywhere as the furious. Goddess kali and collapses on the ground with fear. Then the goddess, one who is the universal power stands on him.

i.Neel Barahi (Bode)

Neel Barahi Pyakhan is a sacred masked dance that is shown over four days (August/September) in different parts of Bode. Nineteen persons representing the town's guardian pantheon take part in the dance performance. Music is provided by a 27-piece traditional orchestra. The ceremony invokes peace and harmony and is dedicated to the deity Neel Barahi whose temple is located in a jungle outside Bode. At Bode, Bhaktapur, Bhairav with 4 Barahi, 4 Kumari, 4 Ganesh,4 Simha & 2 Dwarpal perform a dance for 4 days after Saparoo (Gai Jatra)

j.Mahakali Nach (Nagadesh)
Beginning and end of dance with special offering puja. Based upon tantric sacred masked dance which is shown over four days (August/September) in different parts of Nagdesh. Solo performance performed by main goddesses. 18 persons representing the town's guardian pantheon take part in the dance performance. Music is provided by a 21-piece traditional orchestra and performed in different groups. The ceremony invokes peace and harmony and is dedicated to the deity Mahakali and other goddesses. At Nagdesh- Bhaktapur, Mahakali-Mahalaxmi-Kumari, Lion each,4 Betal, 2 Demon Bhairav, 2 Kawan, 2 Demon, 2 Monkeys and 1 Mahisasur demon performed a dance for 4 days after Gaijatra.

video: https://www.youtube.com/watch?v=epnvJ-URNOY

2. FOLK DANCES

a.      Aarati Dance

It is the process of worship by offering oil lamps to the deities. Usually, it is a process used for gods and goddesses and holy beings. As our culture considers guests to be a form of god and goddesses, we present this dance constituting the Aarati in which Newari girls in their traditional attires will present it in the hope the peace and prosperity may shine down on us.

b.      Jyapu-Jyapuni Dance

“Jyapu” is the word used to address males of the Newari farmer’s community and “Jyapuni” to address females. This dance depicts the legendary love story of a Jyapu and a Jyapuni. The story is popular and touching as the story Romeo and Juliet and the Rajamati, the lead female character is very popular among Newar’s of all age groups.

c.       Dhimen Pyakhan

Newar’s celebrated every significant moment with great vigor. Whenever there is something to celebrate and enjoy, they gather and start dancing to the beats of the traditional drum, Dhimen. Its beats are loud and make people jump to their feet. If interested, we would like our guests to join in the dance. One has the freedom of moving in any way with the beats. With some alcohol, the joy of the dance is enhanced for sure. This farmer's pair dance is generally performed during the harvest season in their community get together along with living music and songs.

d.      Indra Apsara (Nymph) Dance

In Veda, Indra is a divine supreme Hero of the Universe, king of gods, who dances with Nymphs in the Heaven. This event as a memory for the local people of Thimi (Madhyapur) as if dead family members are watching this performance in Heaven. The dresses of the dancers are, however, influenced by the customs of Rana Minister's period. This Dance is in medieval style.

e. Lusi (Pestle) Dance

This is the satirical street performance of social and political life, both on the local and international levels. However, the style of choreography and music are always the same, only the story will be different according to time and space.

f.       Ghintang Gisi (Stick) Dance

One of the traditional dances of Bhaktapur is Ghintang Gisi Dance. It is performed during the festival of Gai Jatra. During this festival, the rhythm is followed i.e. ghinee twang-ghinee twang ghintang gisi twang. When this rhythm is reached at twang the participants hit each other stick to sound twaakaa. The rhythm is very melodious when a large number of participants dance and hit each other sticks. It's quite easy to learn and that is why some of the foreigners were seen dancing ghintang Gisi.

g.      Buran Jya

In the time of Malla dynasty, Bhaktapur had a war with Tibet. Tibetans on their victory spree came to win Bhaktapur. Malla kings were scared and advised all countrymen to dump all the rice in store under the earth so that the Tibetans cannot take them away. After many days of the war the Tibetans fled. Now everyone was worried about feeding because all the rice had been dumped. The king advised people to go and check the dumped rice. The rice had turned dark brown and people were not sure if it still was eatable. On trying they found that the rice had grown more delicious and nutritious. Celebrating this occasion every year, farmers in Bhaktapur prepare this brown rice and bring it home in a joyous manner. This process is known as Buran Jya.
For video: https://www.youtube.com/watch?v=A8e68NJ5s4Y
For video: https://www.youtube.com/watch?v=TsTizj_7d7E

3. CHARYA DANCES
A Sanskrit term meaning dance as a spiritual discipline is a Tantric Buddhist dance from. This ancient classical art is one of the religious disciplines of the Vajracharyas of Nepal that has performed the dance secretly as part of their meditation, rituals, and celebrations for over a thousand years. Each Charya Nritya features a different Tantric deity of Vajrayana Buddhism and the dancer himself becomes an embodiment of the particular deity. Thus Charya Nritya is a meditation discipline a vehicle of bodily and spiritual transformation and a sacred opportunity for an audience to experience a vision of divine beauty.
Of many such cultural gifts, one is ‘Charya Dance’ performed in meditation discipline by the Buddhist Newari Priests, ‘Bajracharyas’ of ancient times, within the courtyards, bahals, and bahis, from thousands of years, secretly. Some new generation bodies have understood their values and have determined themselves to take care of those dances to preserve them from extinction. Charya dance is practiced in different forms of deity, whereby the dancers become the embodiment of that particular deity.
Very rarely, these dances are openly presented to the viewers of today, and even in the past, it used to be practiced secretly by the priests, never wanting general people to learn it and be benefited by so. The dedicated dancers of Naasa Cultural Academy performed one of such event, at Baber Mahal Revisited’s courtyard for the tourists and locals where they enjoyed Charya dance. The night was witnessed by hundreds of foreign tourists, expatriates, and locals.
Charya dance is just one amongst hundreds. We perform all ethnic dances. Government has not been very helpful towards us though we are working for such high intentions of national interest,” During the event, five different dances were performed namely Bhairab Kali Dance, Pancha Buddha Dance, Kumari Dance, Manjushree Dance, and Arya Tara Dance. The dances were performed in traditional costumes with extreme makeup on their faces with colors that gave certainly the out of the world experience to their viewers.

a. Manjushree
Manjushree, believed to have come from Mahachin, holds a special place in Nepalese culture as a Bodhisatwa who made Kathmandu Valley inhabitable by draining the water out of it. Long ago, the Kathmandu valley was a lake. Manjushree with his two consorts Barada and Mokshada came to Kathmandu to pay homage to Lord Swoyambhu.

b. Pancha Buddha

The Pancha Buddha or Five Buddhas are Vairochana, Akshobhya, Ratnasambhava, Amitabha Buddhas, and Amoghasiddhi. Each of these transcendental Buddhas have a particular color, posture, direction, and wisdom.

c. Rakta Ganesh

The image of Rakta Ganesh (Red Ganesh) is generally found along with Mahakala at the entrance to monasteries in the valley as a protective deity. He is elephant-headed and has three eyes.

e. Arya Tara

She is of green color and regarded as a consort of Amoghasiddhi. She protects the suffering beings in crossing the ocean of Samsara, of this life of suffering.
f.Bajrayogini
Malla dynasty of Nepal wants to keep their country in a very strong position always and they do confidence by themself to worship Goddess “Bajrayyogani” to get a strong power and protected the peoples and the nation. The meaning of Bajra is Thunderbolt and Yogani means Yogi became BAJRAYOGANI. So, Buddhist Tantrick (the devoted of Malla period) they were dance with the appearance of Bajrayogani to make happy her on an occasion of the festival, gradually this became an ancient classical dance of Nepal, which is based on on Tantric Buddhism. The Bajrayogini dance depicts a blend of emotion, which contract with each other. The dancer experience movements of peace and moments of anger, which again alternates with a feeling of joy, sorrow, defense, and aggression. Still, the Temple of Goddess Bajrayogini has situated about 3 Km from Kathmandu valley.
Once upon a time of Kathmandu was ruling by Malla dynasty a long time ago. Malla dynasty wants to keep their country in a very strong position always and they do confidence by themself to worship Goddess “Bajrayyogani” to get a strong power and protected the peoples and the nation. The meaning of Bajra is Thunderbolt and Yogani means Yogi became BAJRAYOGANI [Strong yogani Goddess] So Buddhist Tantrick (the devoted of Malla period) they were dance with appearing of Bajrayogani to make happy her in an occasion of the festival, gradually this became an ancient classical dance of Nepal, which is based on Tantric Buddhism. Still, the Temple of Goddess Bajrayogini is situated in Sankhu Municipality which is about 3km. far from Kathmandu valley. Bajrayogaini is a Goddess of Power and Yog.

Similarly there are many types of traditional dances of Bhaktapur which are mentioned in the below table:

Traditional Dances of Bhaktapur and Thimi (Bode and Nagadesha)

Bhaktapur	Thimi	Bode
ØMahakali Dance ØLakhe dance ØMonkey dance ØKhyak Dance ØKawan(Skeleton)Dance ØDevi Daitya  Sangram (The  battle of Goddess and Demon) ØNavadurga Dance ØBhairav Dance ØGhintanghisi (The mass street) dance	Ø Mahakali Dance Ø Lakhe dance Ø Monkey dance Ø Khyak Dance Ø Kawan (Skeleton) Dance Ø Devi Daitya Sangram (The battle of Goddess and Demon) Folk Dances Ø Jyapu- Jyapuni (Dhimey) Dance Ø Indra Apsara (Nymph) Dance Ø Lusi (Pestle) Dance Charya Dances Ø  Manjushree Dance Ø  Bajrayogini Dance Ø  Pancha Buddha Dance Ø  Rakta Ganesh Dance Ø  Arya Tara Dance	Ø  Mahakali Dance (Nagadesha) Ø  Nil-Varahi Dance (Bode)

" 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.