pointing out the elements in common that the masks used in these festivals have, in a comparison that did not only take into account the color and similar shape of these masks but also the particular decoration of the dancers’ bodies, in this last case extending the analysis also to the maks documented in the Fagli of Malana and Dhaugi.
To the iconographic comparison between the masks used in the three Fagli of Chachogi, Rumsu & Sharan we have been added recently the two masked characters of Timber Shachika & Demon Tundi used in the Fagli of Soyal village.
It should be noted that this is a provisional and non-definitive scheme as our research is in progress and new unpublished analogous materials (masks) used in other Fagli could be added in the future.
Chachogi Village Fagli – Rumsu Village Fagli – Sharan Fagli of Katli – Soyal Fagli masks – Photo Credit Updating in Progress – Photo Composition by Ethnoflorence
Since these are living traditions, we will continue to document the individual festivals year after year, thus documenting the materials used therein, hoping in this way to contribute also in their safeguard and conservation on the site.
Fagli of Chachogi Village
In this direction, in publishing today some recent images relating to the Fagli of Chachogi Village, we note how, the four masks danced there, are exactly the same ones used in previous years.
Fagli of Chachogi Village masks 2023 – Photo credit of Amitaabh Bakshi – Photo Composition by Ethnoflorence
We would like to dwell on the analysis of the crowned mask of a moustached character of which we have a detailed images today.
Photo credit of Chajogi Unravel – Photo Composition by Ethnoflorence
From a first examination of the image we notice how the mask is an old artifact, certainly repainted and redecorated from year to year, but not recent like some of the masks used in similar Khepra Fagli’s Dances.
Photo credit of Chajogi Unravel – Photo Composition by Ethnoflorence
As the other three masks of the group this crowned mask is characterized by the typical ocher color, on which some details (of the crown and of the forehead) are highlighted by the use of yellow (color) lines.
Photo credit of Chajogi Unravel – Photo Composition by Ethnoflorence
Other details of the eyelashes, eyes and mouth are instead highlighted by the use of a black line; note the rounded and oblong stylistic rendering of the face
Photo credit of Chajogi Unravel – Photo Composition by Ethnoflorence
and the ‘expressive’ one of the teeth, well in evidence, according to a rather widespread iconographic tradition in this region.
In the photo composition below the iconographic detail of the teeth of the mask danced in Chachogi Village Fagli (Naggar Tehsil in Kullu District) is compared with the analogous one documented in Dev Shri Bithu Narayan’s Phagli Thachi Valley Mandi District (on the left).
Photo Composition by Ethnoflorence
Panoramic views of the Festival
Photo credit of Amitaabh Bakshi
Photo credit of Amitaabh Bakshi
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(II)
THE MASKING TRADITION IN TRIBAL INDIA AND HIMALAYA
30 living traditions explored in the course of this new research program devoted to the masked festivals of the Himalayan region and the Indian subcontinent.
(1) The Masking Tradition in Folk and Tribal India and Himalaya no 31 – Shaleen Fagli – Manali Valley- Himachal Pradesh (II) The Masking Tradition a Link’s resume
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(I)
THE MASKING TRADITION IN FOLK AND TRIBAL INDIA AND HIMALAYA
An Ethnoflorence comprehensive top selected series devoted on the traditional masks from the Indian and Himalayan region aimed at the iconographic explanation and identification of the many characters represented in the traditional world of the masks.
Shaleen is a Village in Manali Valley Naggar Block of Kullu District, Himachal Pradesh.
Shaleen Temple – Photo credit of DC Thakur / Naggar Block – Kullu District Map – Photo Composition by Ethnoflorence
Similarly to the Khepra Dance of Fagli in the village of Soyal, here too there are two masks danced, probably representing the same characters: Timber Shachika & Demon Tundi (whose legends can be consulted on the page dedicated to Soyal Fagli).
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Timber Shachika & Demon Tundi
Masks
Photo credit updating in progress
As in the Soyal festival, in Shaleen’s festival the masks are not worn but fixed horizontally above the head.
Photo credit updating in progress – Photo Composition by Ethnoflorence
Photo credit updating in progress – Photo Composition by Ethnoflorence
Photo credit updating in progress – Photo Composition by Ethnoflorence
Photo credit updating in progress – Photo Composition by Ethnoflorence
Photo credit updating in progress – Photo Composition by Ethnoflorence
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(II)
THE MASKING TRADITION IN TRIBAL INDIA AND HIMALAYA
30 living traditions explored in the course of this new research program devoted to the masked festivals of the Himalayan region and the Indian subcontinent.
(1) The Masking Tradition in Folk and Tribal India and Himalaya no 30 – Soyal Fagli, Kullu Valley, Himachal Pradesh (2) General Link (3) Comparative Iconographic Summary of this Issue: Chachogi Village Fagli – Rumsu Village Fagli – Sharan Fagli of Katli – Soyal Fagli.
(I)
THE MASKING TRADITION IN FOLK AND TRIBAL INDIA AND HIMALAYA
An Ethnoflorence comprehensive top selected series devoted on the traditional masks from the Indian and Himalayan region aimed at the iconographic explanation and identification of the many characters represented in the traditional world of the masks.
The Fagli Festival of Soyal held in the village with the homonym name, located about 18 kilometers from the city of Kullu, it is celebrated for seven days during the month of Phalgun.
Photo credit updating in progress
On the first day the deity Ajimal gave darshan to the people, on the third day the “Khepra Dance” or mask dance, and on the seventh day the “Lalhadi Dance” are performed .
Khepra Dance
Timber Shachika & Demon Tundi masks
Photo Credit of Yuthok Homestay
Inside the ‘Madh’ at the ‘Titru Sauh’, the deity’s masks and gurja are decorated with the ‘pathaa’ that is applied also on the forehead of the persons related to the deity present in ‘madh’ as a greeting by saying ‘Dhal ho ji’; the body of the two actors who will wear the masks are then covered with green leaves called ‘Raval’.
The two masked characters play the role of Timber Shachika, and of her consort the Demon Tundi.
Photo credit updating in progress
Created by the Gods in the form of a beautiful woman to marry the demon and appease his oppression towards the local populations, Timber unwillingly married him on the instruction of god’s to relieve the trouble he caused to the public. Timber Shachika asked the gods to pay respect to her when she came to meet them once a year. It is in honor of her that the Fagli celebration started from that time onwards.
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From an iconographic point of view, the two masks of Soyal are similar to those used in three other territorial contexts previously taken into consideration and analysed.
Chachogi Village Fagli – Rumsu Village Fagli – Sharan Fagli of Katli
Photo Credit Updating in progress
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(II)
THE MASKING TRADITION IN TRIBAL INDIA AND HIMALAYA
30 living traditions explored in the course of this new research program devoted to the masked festivals of the Himalayan region and the Indian subcontinent.
THE MASKING TRADITION IN FOLK & TRIBAL INDIA & HIMALAYA
no 27 / C
Nepal
12 masks
of the
Bhairab Naach 2079
We have already dealt in detail with the history of the masks and characters that are the protagonists of this ritual representation, we return to witness the iconography of the masks used in Pokhara in Bhairab Naach 2079, just in these days.
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भैरब SHIVA BHAIRAB
(Bhairab Naach mask)
Photo credit 0f Shreesh Buddhacharya – Photo Composition by Ethnoflorence
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काली KALI
(Bhairab Naach mask)
Photo credit 0f Shreesh Buddhacharya – Photo Composition by Ethnoflorence
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इन्द्रायणी INDRAINI
(Bhairab Naach mask)
Photo credit 0f Shreesh Buddhacharya – Photo Composition by Ethnoflorence
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बाराही BARAH
(Bhairab Naach mask)
Photo credit 0f Shreesh Buddhacharya – Photo Composition by Ethnoflorence
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कुमारी KUMARI
(Bhairab Naach Mask)
Photo credit 0f Shreesh Buddhacharya – Photo Composition by Ethnoflorence
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बिष्णुबी BISHNUVI
(Bhairab Naach mask)
Photo credit 0f Shreesh Buddhacharya – Photo Composition by Ethnoflorence
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ब्रम्हायणी BRAMHAYANI
(Bhairab Naach mask)
Photo credit 0f Shreesh Buddhacharya – Photo Composition by Ethnoflorence
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पोखरा GANGA
(Bhairab Naach mask)
Photo credit 0f Shreesh Buddhacharya – Photo Composition by Ethnoflorence
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गणेश GANESH
(Bhairab Naach Mask)
Photo credit 0f Shreesh Buddhacharya – Photo Composition by Ethnoflorence
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डाकिनी DAGINI
(Bhairab Naach mask)
Photo credit 0f Shreesh Buddhacharya – Photo Composition by Ethnoflorence
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भुत्चा BHUCCA
(Bhairab Naach Mask)
Photo credit 0f Shreesh Buddhacharya – Photo Composition by Ethnoflorence
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कवांचा KWANCHA
(Bhairab Naach mask)
Photo credit 0f Shreesh Buddhacharya – Photo Composition by Ethnoflorence
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Bhairab Naach – “Bhairava’s Dance”
no 27 / A
Photo credit of Ameet Ranjit – Photo Composition by Ethnoflorence
A resume of the 29 living traditions explored in the course of the first steps of this new research devoted to the masked festivals of Nepal, Assam, Uttarakhand, Himachal Pradesh, Rajasthan, Telangana, West Bengal.
Un résumé des 17 traditions vivantes explorées au cours des premières étapes de cette nouvelle recherche consacrée aux fêtes masquées de la région himalayenne et du sous-continent indien. / Un riassunto delle 17 tradizioni viventi esplorate nel corso dei primi passi di questa nuova ricerca dedicata alle feste mascherate della regione himalayana e del subcontinente indiano.
A concise methodology.
Une méthodologie concise. / Una metodologia sintetica
Hundreds of masks have already been taken into consideration, identified, localized and often explained in their meaning & unique iconography.
Centaines de masques ont déjà été pris en considération, identifiés, localisés et souvent expliqués dans leur sens & leur iconographie. / Centinaia di maschere sono già state prese in considerazione, identificate, localizzate e spesso spiegate nel loro significato iconografico.
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The material are well represented through the visual explanatory photo compositions Ethnoflorence’s style.
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Photo Credit’s on the linked pages – Photo Compositions by Ethnoflorence – Texts by Ethnoflorence
श्री श्वेताकली (नगायतभुलु आजिमा) देविनाच जात्रा, 12 वर्ष – स्थान: श्री श्वेताकाली देवी घर, न्यात्पाचो नरदेवी – Photo Credit Updating in Progress – Composition by Ethnoflorence
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12
FAGLI KARTHA NAG TEMPLE
Iconographic Repertoire of a Living Tradition
Himachal Pradesh
Photo Credit Updating in Progress – Composition by Ethnoflorence
Photo Credit Updating in Progress – Composition by Ethnoflorence – Masks of the row and identification of related characters – मास्क – संबंधित पात्रों की पहचान
Fera Phera or Parikrama Fagli in the Anni Tehsil of Kullu district Ladhagi लढ़ागी, Banas बनास, Rumali, Lafali and Buchhair Villages – Kali Naag Temple PART I – पलदी फागली
Himachal Pradesh
Three Bhadela masked characters – they wear masks and have a staff in their hand – Photo credit updating in progress
The Nava (Nawa) Durga Tradition of Bhaktapur – Dances of the Living Goddesses नव दुर्गा नाच भक्तपुर 13 Masks An Explicated Ioconography
Nepal
Nawa Durga Masks Photo credit of Levy, Robert I. Mesocosm: Hinduism and the Organization of a Traditional Newar City in Nepal. Berkeley: University of California Press, c1990 1990 http://ark.cdlib.org/ark:/13030/ft6k4007rd/ – Photo Composition by Ethnoflorence
(1) The Masking Tradition in Folk and Tribal India and Himalaya no 29 – The Nava (Nawa) Durga Tradition of Bhaktapur (2) The Masking Tradition in Folk and Tribal India and Himalaya General Link of past issues and some ones selected for you (3) Extracts from Our Photo Archives Collection – I Quaderni della Collezione – An iconographic evolution of the first issues of Ethnoflorence dated 2008-2010 (4) Western Nepal Life and Culture 2010’s Edited pages link’s resume
(I)
THE MASKING TRADITION IN FOLK AND TRIBAL INDIA AND HIMALAYA
An Ethnoflorence comprehensive top selected series devoted on the tradional masks from the Indian and Himalayan region aimed at the iconographic explanation and identification of the many characters represented in the traditional world of the masks.
Nawa Durga Masks Photo credit of Levy, Robert I. Mesocosm: Hinduism and the Organization of a Traditional Newar City in Nepal. Berkeley: University of California Press, c1990 1990 http://ark.cdlib.org/ark:/13030/ft6k4007rd/ – Photo Composition by Ethnoflorence
The Navadurga is a term which refers to the nine different forms of Goddess Durga, and means ‘the nine Durgas’.
Introduced by the Malla dynasty, the Navadurga Jatra festival therefore refers to the Nine Durgas, which are Mahālaksmī, Mahākālī, Kumārī, Vārāhī, Brāhmanī, Bhadrakālī (or Vaisnavī), Indrānī, Maheśvarī e Tripurasundarī, each of these deities has its own house (dyo-chen) in the Bhaktapur area which together form the Navadurga yantra.
Mahālaksmī who draws his supreme power from Taleju and bestows it on the Navadurga, has no mask; she is represented as a silver repousse which is carried at the head of Navadurga processions to show his superior position
In the Navadurga tradition there are six other deities who are Bhairav, Sweto Bhairav, Śiva, Ganesh, Sima and Duma; Bhairav the leader of the Navadurgas takes an opening and leading role in the ritual performances while the tiger Sima and the lioness Duma are the protectors of the Navadurgas. All the deities mentioned are represented in the Navadurga tradition through thirteen masks that represent all the goddesses except Mahālaksmī and Tripurasundarī.
While Mahālaksmī is represented by the aforementioned silver processional embossing, the representation of Tripurasundarī is according to some represented in the three musical instruments played, while for others by the human skull cap used as a cup – Kolachen -.
Nawa Durga Masks Photo Credit of Youbesh.dhdl / Wikimedia commons – Photo Composition by Ethnoflorence
The wearing of masks in Durga traditions is a ritual practice unique to Bhaktapur and the Hindu religious context, deeply rooted in the local community, in which the masks are worshiped both when they are displayed and when worn by dancers.
The Bhaktapur tradition begins each year by making new masks and ends with their ritual cremation (unlike other traditions in which the masks are heirlooms handed down from generation to generation).
About the origins of this tradition Robert I. Levy the leading scholar of the city of Bhaktapur gives an account of the history of its origins in his book Mesocosm Hinduism and the Organization of a Traditional Newar City in Nepal.
(Mesocosm Hinduism and the Organization of a Traditional Newar City in Nepal Robert I. Levy with the collaboration of Kedar Raj Rajopadhyaya University of California Press)
The Navadurgas, who inhabited the Jwala forest, north-east of Bhaktapur, used to capture, kill and then drink the blood of the people who passed by that place as a sacrifice to themselves. One day they captured Sunanda a priest (Acaju) expert in tantric mantras who first bind the Navadurgas and then after having shrunk them took them to his house in Bhaktapur where they were placed in a chest and received periodic adoration / worship.
After some time, Somarā Rājopādhyāya a Brahmin visited Sunanda, Somarā profound connoisseur of the Tantras informed Sunanda that he had not worshiped the Navadurga correctly, for this reason he brought the box containing the Nine Durga to his house.
The Navadurga had informed Sunanda and Somarā that if anyone else saw them they would be free yourself from the spell.
Somarā Rājopādhyāya through the tantric bidyās worshiped and made sacrifices to the Navadurgas.
Somarā Rājopādhyāya told his wife never to look into the room where the Navadurgas were kept locked up, one day when her husband had left the house her wife looked into the room and saw the Navadurgas dancing, who, freed from tantric bonds, fled from the house.
After their escape, the deities caught, sacrificed and ate a pig at the place known as “Bha: Dwākhā”, Somarā Rājopādhyāya informed of the escape and tracked them down in the part of the city known as “Swaga Lwaha”. Somarā pleaded with the Navadurga to return to his home, but as the Navadurga had consumed a pig, ritually making them impure, could not re-enter the Brahmin’s house.
Alternatively they suggested arranging a dance drama – pyākha – in which the Navadurgas would enter the performers, allowing the entire city to be able to see and worship them. Somarā thus established a house of the god for the Navadurgas and entrusted to the Gāthā community the authority and responsibility to perform every year as a Navadurga.
Nava-Durga_Dance photo credit of Prayash Shrestha Wikimedia & Nepal Traveller
As mentioned above, the Navadurga tradition is now enshrined by the low caste group which is variously referred to as the Banmala Gāthā or Gunkā, who provide the Ganas, i.e. twelve dancers and three musicians playing the traditional instruments known as “Khin” a large double-sided drum, “Ta” small cymbals and “Kya” large cymbals; also occupying the roles of Nakin temple priests (one female individual) and leaders of the Naya tradition (eight individuals). The twelve members of Ghana who wear the masks are strictly male, the characters represented are traditionally those of Bhairav, Mahākālī, Vārāhī, Kumārī, Bhadrakālī, Brāhminī, Indrānī, Sweto Bhairav, Maheśvarī, Ganesh, Sima and Duma (the latter two worn by aged between 5 and 12 years), as anticipated the only position occupied by a woman is the role of Nakin, chosen among married women, she takes care of the Navadurga temple for one year, near which she lives, looks after and keeps clean , performs puja – Nitya – twice a day once after sunset and before sunrise; she purifies the Ganas before their performances by also preparing the festivals to be held in the temple. The eight Nayas, guardians of the tradition by lineage exercised for annual cycles, supervise the supplies of oil, food, animals for sacrifice and all the objects and ornaments necessary to perform the rituals and ceremonies.
Other groups, belonging to other castes, play further important roles in the representation of this danced drama, among these stands out the Chitraker, the craftsman who annually creates the masks, the Prajapati, those who prepare the clay for making the masks; the holy priest of the Navadurga Karmacharya performing puja to Ganesh Chaturthi and Dashain; Chaturthi performing mask cremation; the Manndhar Musicians who perform in contexts other than those of the Ganas; Sahi killing buffalo during Dashain; Shakya repairing damaged jewels.
The Ganas perform their dances in the following order:: Bhairav, Mahakālī, Vārāhī, Badrakālī, Kumārī, Maheśvarī, Brāhmanī, Ganesh, Indrānī, Sima, Duma e Sweto Bhairav.
The mask of Bhairava is painted in black like the costume worn by the dancer; the twisted rounded headband of each deity represents either Lord Shiva or Lord Vishnu, instead in the case of Bhairav, there is an image of Bramha.
Photo Credit Updating in Progress
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Mahakālī Mask
महाकाली मास्क
Photo Credit Updating in Progress
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Vārāhī Mask
वाराही मास्क
Photo Credit Updating in Progress
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Badrakālī Mask
बद्रकाली मास्क
Photo Credit Updating in Progress
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Kumārī Mask
कुमारी मास्क
Photo Credit Updating in Progress
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Maheśvarī Mask
महेश्वरी मास्क
Photo Credit Updating in Progress
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Brāhmanī Mask
Photo Credit Updating in Progress
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Ganesh Mask
गणेश मास्क
Photo Credit Updating in Progress
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Indrānī Mask
Photo Credit Updating in Progress
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Sima Mask
सिमा मास्क
Photo Credit Updating in Progress
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Duma Mask
Photo Credit Updating in Progress
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Sweto Bhairav
मीठो भैरव
It’s the only one who is allowed to dance with Mahakali.
Photo Credit Updating in Progress
Three different Sweto Bhairavs from Shree Bagh Bhairav 12 year dance, Shree Bhadrakali 12 yearly dance ( same type of mask is used in Shree Pachali Bhairav 12 yearly dance ) and Shree Nava Durga annual dance respectively.
Photo Credit Updating in Progress
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Mahalaxmi does not have a mask either a face in her silver repousse appearance, she is aimed as the mother goddess of the pantheon who surpasses the tantric powers to other deities from Taleju. Similarly, when she is set aside in a particular residence, the mask of Shiva is hanged on the roof of her chariot, showing the importance of Mahalaxmi.
Photo Credit Updating in Progress
Shiva Mask
शिव मास्क
The mask of Shiva is always colored in red, depicting his angry face, it is carried by Lord Ganesha (no one wears this mask).
Photo Credit Updating in Progress
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The Navadurga tradition in its annual cycle begins with the Newear festival of Gathemangal, devoted to the purification of demons, a period which coincides with the beginning of the making of the masks.
The next event of the annual cycle, dedicated to Durga, is the Dashain, which coincides with the completion of the masks by the Chitraker and with their transport to the Taleju temple in Bhaktapur where the initiation rituals are paid to them, at the end of which the masks are considered divine and ready to be worshiped by the public on the ninth day of Dashain.
On the tenth day of Dashain, Brāhmanī is worshipped in the morning and then a buffalo is sacrificed in his temple, at the end of this sacrifice the Navadurgas, after receiving the masks, go in procession to the Taleju temple in Durbar Square accompanied by the image of Taleju.
Following Dashain, the Navadurga Gana traveling in the Kathmandu valley visit various locations in the districts of Bhaktapur, Kathmandu, Kavre, where they perform public and private rituals in every community they pass through.
This is followed by the De-chā-mukego / final procession of the Navadurga through Bhaktapur, ending at the Taleju temple in which the Navadurgas eat their last supper / Sirja and then return to each of the respective houses of the gods.
The following day the masks are cremated at the Brāhmani temple, this event coincides with the end of the annual cycle of Navadurga.
(II)
THE MASKING TRADITION IN FOLK & TRIBAL INDIA & HIMALAYA
“The Masking Tradition in Folk and Tribal India and Himalaya An Explicated Iconography” is an Ethnoflorence comprehensive top selected series devoted on the tradional masks from the Indian and Himalayan region.
We recommends you some recent selected issues:
भैरब नाच २०७९, पोखरा – Bhairab dance 2075, Pokhara Nepal 12 Masks – Khawpa – of the Bairab Naach – Bhairava’s Dance (no 27 bis)
Photo credit of Photo: Ameet Ranjit Photography Composition by Ethnoflorence
An iconographic evolution of the first issues of Ethnoflorence on the web dated 2008-2010
In the posts of the first years of this site – (we are talking about the period between 2008 and 2010) – the photos in our archive were used to start the editorial adventure of Ethnoflorence, a selection from it, it’s still published by us after 14 years. Times and the web have changed profoundly in the meantime, and our editorial line has evolved over the years, but we still believe in the expressive and educational power of these materials.
Three Nepalese Goiter Maks – Southern Nepal Rajbansi people Cards – 121-122-127 & Five Nepalese Masks with large mouths – Southern Nepal Rajbansi People Cards 20-70-32-71-61
Male Mask – Western Nepal – Card no 63
Large Grimanche Mask Gurung people – Card no 251
Pole decorated with an abstract motif that evokes a protective anthropomorphic figure oriented on the four cardinal sides – Western Nepal – Card no 357
THE MASKING TRADITION IN FOLK & TRIBAL INDIA & HIMALAYA
no 29 B
Swong Cha Puja festival – Shri Nav Durga Bhawani
Swong Cha Puja is one of the various important festivals in which the worship of Shri Nav Durga Bhawani is celebrated, also known as Digu Puja, it is characterized by the making of flower crowns (including Mu Swong, Dhanicha Swong, Laurel flower.) to adorn the deities.
Photo Credit of Ujwol Chandra Buddhacharya / Photo Composition by Ethnoflorence
Popular beliefs point to the onset of monsoons after this celebration ends.
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Photo Credit of Ujwol Chandra Buddhacharya / Photo Composition by Ethnoflorence
Photo Credit of Ujwol Chandra Buddhacharya / Photo Composition by Ethnoflorence
Photo Credit of Ujwol Chandra Buddhacharya / Photo Composition by Ethnoflorence
Photo Credit of Ujwol Chandra Buddhacharya / Photo Composition by Ethnoflorence
Photo Credit of Ujwol Chandra Buddhacharya / Photo Composition by Ethnoflorence
Photo Credit of Ujwol Chandra Buddhacharya / Photo Composition by Ethnoflorence
Photo Credit of Ujwol Chandra Buddhacharya / Photo Composition by Ethnoflorence
The Masking Tradition In Folk and Tribal India and Himalaya
no 27 / Bis
भैरब नाच २०७९, पोखरा – Bhairab dance 2075, Pokhara
Nepal 12 Masks – Khawpa – of the Bairab Naach – Bhairava’s Dance
Photo credit of Photo: Ameet Ranjit Photography
This Pokhara tradition, originally from Bhaktapur, typical of the Newar community in the Kathmandu valley in Nepal, is part of the Indra Jatra festival; called Bhairab Bhairava (an aspect of Shiva) while in Bhaktapur it is performed every 12 years in the Pokhara valley it’s performed every 6 years.
The masks danced in this tradition represent 12 deities, namely Dagini (Dakini), Kwancha, Bhuccha, Bhairab, Kali Bhairab (Budi Bhairab), Indrayani, Barah, Kumari, Bishnuvi (Vaishnavi), Bramhayani (Brahmani), Maheswori (Gangaju) and Ganesh (Ganesha). The dances are directed by the Bhairab’s mask / character.
The dance traditionally begins in the evening at the Bhairab Temple at the same time as specific pujas, where first the masks dance all together and then individually. The first dance is called Jyoti Naach and the masks of Bhairab with Kwancha and Bhuccha take part in it. The dance called Char Bhairab follows which involves the masks of Bhairab, Kali, Indrayani and Barah. Later the masks of Kumari, Bishnuvi, Bramhayani and Ganga enter the scene. The Ganesh mask at a later stage appears and dances without the accompaniment of other masks. The masks of Kwancha and Bhuchha follow, and finally that of Dagini. In the final act all 12 masks dance together, and after performing a further puja – they return to the temple of Bhairab.
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भैरब – Bhairab
Photo credit of Photo: Ameet Ranjit Photography – Composition by Ethnoflorence
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काली Kali
Photo credit of Photo: Ameet Ranjit Photography Composition by Ethnoflorence
*** इन्द्रायणी Indrayani
Photo credit of Photo: Ameet Ranjit Photography Composition by Ethnoflorence
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बाराही Barah
Photo credit of Photo: Ameet Ranjit Photography Composition by Ethnoflorence
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कुमारी Kumari
Photo credit of Photo: Ameet Ranjit Photography Composition by Ethnoflorence
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बिष्णुबी Bishnubi
Photo credit of Photo: Ameet Ranjit Photography Composition by Ethnoflorence
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ब्रम्हायणी Bramhayani
Photo credit of Photo: Ameet Ranjit Photography Composition by Ethnoflorence
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पोखरा Maheshwari (Ganga)
Photo credit of Photo: Ameet Ranjit Photography Composition by Ethnoflorence
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गणेश Ganesh
Photo credit of Photo: Ameet Ranjit Photography Composition by Ethnoflorence
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डाकिनी Dakini
Photo credit of Photo: Ameet Ranjit Photography Composition by Ethnoflorence
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भुत्चा Bhuccha
Photo credit of Photo: Ameet Ranjit Photography Composition by Ethnoflorence
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कवांचा Kwancha
Photo credit of Photo: Ameet Ranjit Photography – Composition by Ethnoflorence
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Bhairab Naach – “Bhairava’s Dance”
no 27
Photo credit of Ameet Ranjit – Photo Composition by Ethnoflorence
Hearty welcome for participation in a program organized by Kavre Youth Entrepreneurship with the aim of developing local youth entrepreneurship through promoting and preserving local culture and heritage Invitation.
Date: – 2076 Magh 2076, Maghe Sangranti
Location :- Ancient Banepa Area, Open
Time :- 10 am to 6 pm
Attraction
-Live Cultural Music (live cultural music)
-Cultural Dance Show
-Cultural Food Stall
Newari Sukul Feast Program (Newari Sukul feast program)
-Art and photo exhibition (Art and Photo exhibition)
An interesting exhibition at the Musee des Explorations du Monde in Cannes (former Musee de la Castre) is currently devoted to the recent Francois Pannier’s donation. On the occasion of the event a catalog edited by the Museum is published and available at the entrance of the building.
Exhibition banner at the entrance to the Museum and on the Croisette, on a beautiful day in late December, sunshine and temperatures close to 20 degrees, as usual for the Côte d’Azur.
Photo & Composition by Ethnoflorence
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Photo Credit of the Musee des Explorations du Monde in Cannes
![imgf80fa3d3zik2zj[1].jpg](https://ethnoflorence.files.wordpress.com/2010/12/e0520-1468453699-2.jpg)
