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Ga:Pyakhaan/ Context, Beliefs, Values and Practices That Always Carry for Nine Consecutive Nights, and the Tenth and Last Day, the a Story to Be Told

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Ga:Pyakhaan/ Context, Beliefs, Values and Practices That Always Carry for Nine Consecutive Nights, and the Tenth and Last Day, the a Story to Be Told Windows to ICH Windows to ICH he mask—a mystery in itself and a disguise that gets matrikas they are representing, thus, demonstrating nature Tmany names and forms along with the circumstances, and personality of them respectively. is dance continues Ga:Pyakhaan/ context, beliefs, values and practices that always carry for nine consecutive nights, and the tenth and last day, the a story to be told. Nepal stands as one of the culturally rich Khadga Jatra festival of swords (also called Paayo by locals) nations with more than dierent festivals celebrated also takes place in the town. Paayo completes its performance Ahamatrika Naa: annually, many of which have mask dance performances through a designated route and returns to Mul-chowk. representing a specic religious deity. Ga: Pyakhaan or However, e Asthamarika need to complete their perfor- A Sacred Mask Dance of Eight Mother Goddesses Asthamatrika Naach is one of many mask dances performed mance and head out to their respective temples/locations annually in the city of Patan, Nepal. e word astha means before Paayo makes its entrance to Mul-chowk. eight; matrika means mother goddess and naach means dance, Although Ga: Pyakhaan revolves round eight matriks , there thus, literally implying “dance of eight motherly goddesses.” thirteen gods and goddesses in total who participate in this Suraj Shakya is dance is performed during the Dashain festival from festival. Listed are the hierarchy and description of these god Artist, Purna and Sons Handicraft in Nepal Ghathasthapana to Vijaya Dashami (rst to last day of the and goddesses: Dashain festival) in the royal courtyard of Mul-chowk inside Patan Durbar. It is believed that these eight tutelary deities help in protecting the city from eight specic fears: threat Color of Location of god/ Name of God / Goddesses from outsiders (historically from other states and kingdoms), face goddess temple wind, water, re, natural disasters, enemies, thieves, and evil Western part of spirits. us, it is an annual ritual performed for wellbeing, 1 Brahmayani Ash Sanepa, Patan peace and prosperity of county and citizens to protect them from unforeseen fears that might be faced in days to come. 2 Rudrayani or Maheshwori White Bhajangal, Patan Ga:Pyakhaan of Patan is believed to date back to the Eastern part of Patan- seventeenth century, during the time of King Shree Nivas 3 Bal Kumari or Kaumari Red Balkumari Malla who was a devotee and worshipped Asthamatrika. Once in his dream, he saw these eight goddesses entering his South western part of 4 Vaishnavi Green palace courtyard, Mul-Chowk, and dance. To understand Patan-Nakhu the signs and signicance of this dream, he consulted priests 5 Varahi Red Dhatil, Patan from Patan, and following their suggestions, he initiated the Asthamatrika dance to be performed during auspicious occa- North western part of 6 Indrayani Yellow sion of the Dashain festival and even composed “Charya Geet,” lagankhel, Patan god’s songs for deities. With the change in political scenario 7 Chamunda or Mahakali Red Sankhamule, Patan of Kathmandu valley overtime, this ritual has been handed over to the citizens of Patan rather than being conducted Yellow Mahalaxmisthan, near 8 Mahalaxmi by royals. Since !" CE (#$#$ BS), the entire responsibility and Ash ring road, Patan of Ga:Pyakhaan has been by Fine Arts Society of Nakabahil, Simhini or Singhgini Patan. ere had been times especially from !"# to !"# when 9 White Sankhamule, Patan (lioness goddess) this dance was not performed because of problems with logis- tics and management. 10 Bhaygrini (tigress goddess) Yellow Sokubahil, Patan e Ga:Pyakhaan team, including dancers, musicians, Ganesha and priests, has to follow strict rituals from the beginning 11 White Jhamsikhel, Patan. (elephant headed god) of planning and nomination. Participants are selected from Bajracharya and Shakya families of Patan. Dancers worship Dark Batuk Bhairav of 12 Bhairab Lord Shiva’s dancing avatar called Nrityeshvara or “Naa: shaa Blue Lagankhel, Patan. dyo” (in Newari language). Dancers are trained to perform Charya representing each deity by priests. On the new 13 Kumar Red Kushanti, Patan moon day, dancers fast the whole day, shave their head, cut their ngernails and toenails and take a bath as a process of purication. First, dancers visit Naa: shaa dyo temple located at Nyakhachowk, Patan, that night and dance as guided by Centuries old mask dances like Astamatrika dances are tantric scripts. Next, they perform dance at Nakabahil and not just a source of entertainment and religious activities nally head to Mul-Chowk, where the chief priest from Taleju but also a representation of deeply rooted history, identity of Bhawaani temple greets them at the palace door. e dance harmony between dierent ethnic and religious groups and starts with paying homage to Avalokitesvara, also knows by also a harmony between humans and gods. However, these local name “Karunamaya/ Rato Machhendra nath” using cultural assets are at the verge of discontinuing because of traditional melody called “Raag Bhairavi”, thus starting with lack of sustainable nancial sources, changing dynamics of the rst performance by Bhairava. Subsequently, Ganesh, society, and younger generations losing interest in continuing Kumar, Brahmayani, Maheshwori, Kaumari, Vaishnavi, Varahi, these religious rituals. ese rituals are tough in performing Indrayani, Chamunda, and Mahalaxmi make their appear- as participants need to be disciplined to follow the guidelines. ances in turn and dance. ese dances use lot of symbolic However, local governments and cultural entities need to Kaumari and Brahamayani hand and gure gestures. Each performer is believed to be come together in conserving and continuing our centuries-old © Sanu Raja Maharjan possessed by the spirit and power of respective deities and traditions that are part of the identity Patan. 14 ICH COURIERCO URI ER VOLVOLUMEUME 43 ichcourier.unesco-ichcap.orgich cou rie r.u nes co- ich cap .or g ichcourier.unesco-ichcap.org VOLUME 43 ICH COURIER 15.
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