Nangecha Dance is a traditional Newar mask dance performed for three days in the areas of Gwola, Pashupati, Guhyeshwari, and Chabahil, with child Shiva and Parvati as the main dancers. The dance is named Nangecha Dance after the three syllables 'Nang', 'Ge', and 'Cha' from the drum beat (Khim), and it is also said to be named Nangecha Dance because the body is adorned with 'Nanga' (ornaments). Similarly, as it is performed as Shiva, this dance is also called 'Nangenath Nach'.
The Nangecha Dance is performed annually for three consecutive nights from Gunlaga Paru to Tritiya in the areas of Gwola, Pashupati, Guhyeshwari, and Chabahil. This dance is performed to the tunes and rhythms of various musical instruments such as Khim, Tah, Babhu, Dhah, Naykhin, Bhusyah, Chusyah, Jati, Pratal, etc.
Those who study the Nangecha Dance observe Kirat period costumes in it, while the music and instruments indicate it belongs to the Malla period. According to historical evidence, the dance was systematically organized through a royal seal (Lalmohar) from Shah King Girvan Yuddha Bikram Shah in B.S. 1870. Similarly, the names of Shah Kings Surendra Bikram Shah and Prithvi Bikram Shah appear in the songs of this dance.
Two boys portray Shiva and Parvati in this dance, depicting their love, separation, and reunion. The dancer portraying Shiva wears a red mask with three eyes, three tilaks on the forehead, and a black mustache. On his bare body, he wears silver ornaments (Sikha) and Tas (brocade) trousers with ankle bells. Similarly, the dancer portraying Parvati does not wear a mask but wears a golden matu (headpiece) studded with gems on her head. She also wears Tas bhoto (blouse) and jama (robe) with ankle bells on her feet.
As if teasing Mahadev who looks at other women here and there despite Parvati being his wife, Guru Natyeshwar hides Parvati. Not seeing his wife Parvati, Mahadev searches for her all over the world in separation. When Parvati is not found, Mahadev, like a bee, starts to flirt with the female spectators, considering them as Parvati. After finding the hidden Parvati, Mahadev expresses his love to Parvati, asking her not to leave him from now on. When Mahadev's dance is mentioned, most people understand it as the Tandav dance, but in the Nanggecha dance, one can see the lovely expressions and acting of young Mahadev and Parvati, along with Sringara Rasa (romantic), Hasya Rasa (humorous), Vismaya (wonder/astonishment).Rasa (sentiment), Karuna Rasa (pathetic/compassionate), and various other Rasas can be seen. This dance, which depicts the primal love of Mahadev and Parvati, teaches that men's unbridled behavior can ruin a household. The state of a man without his wife, and the antics of Mahadev unable to find Parvati, are shown in this dance. The Nanggecha dance shows the importance of the loving union of a man and a woman, just like the union of Shiva and Shakti, emphasizing that Shiva without Shakti and Shakti without Shiva cannot be complete.
Traditionally, the management of the Nanghecha dance has been carried out by the Shakya community of the Vajrapani Lokeshwar Guthi of Chabahil Charumati Vihar. The main characters of this dance, Mahadev and Parvati, are played by people from the Shakya, Vaidya, Sangat, and Dangol Newar communities of Pashupati, Gwal, and Chabahil areas. Similarly, the musicians, singers, and Muhali blowers in this dance are from the Jugi community. Since the financial arrangement for this dance is made by the Pashupati Amalkot Kachahari, all the costumes, ornaments, and musical instruments for the dance are kept under the responsibility of the Pashupati Amalkot Kachahari. The arrangement for the Muhali blowers required for this dance is made by the Pashupatinath BhandarTahvil (storehouse/treasury) takes care of it. Every day, when offerings are made to Shri Pashupatinath, the Jugi community artists who blow the Muhali also come to blow the Muhali in the Nanghecha dance.
Due to a dispute between Pashupati Development Trust and Charumati Vihar Bajrapani Lokeshwar Guthi Members, this dance stopped for some years. Afterwards, with the help of Kathmandu Metropolitan City, an 11-member Nanggecha Dance Preservation Committee was formed, and this historic dance has resumed.
First Day
The Nanggecha dance traditionally begins on Gunlaga Paru (the first day of the Gunla month). On this day, in the evening, after the priest of Jai Vageshwari Mahasaraswati lights the arti lamp, and Nasah Puja is performed at the Nasah Chowk of Pashupati Amalkot Kachahari, the dance officially begins. Following this, the dance is performed in the Jai Vageshwari area, in front of Pashupati's Navagraha, Bhuvaneshwari Daboo, and the stage where Bhaktapur's Navadurga dance is performed. Once the deities are worshipped again at Amalkot's Nasah Chowk, the first day of the Nanggecha dance concludes.
Second Day
The second day of Nanggecha dance is Gunlaga:
Dutiya Kunhu Khah. Thvakunhu bahani amalkotaya nasashchukay dya: Lhayedhunaki Pashupati Moobhatta and Pyamh Bhattapini chhe nhyahne thwa pyakhu houki. Wayan Lipa Pashupati Vishwarup Nhyahne Dyah Lhana: Guhyeshwari Lagay Thw Pyakhan Poovanki.
The Last Day of Nanggecha Dance
The last day of the three-day Nanggecha dance is Gunlaga Tritiya. On this day, in the evening, after worshipping the deities at Amalkot's Nasah Chowk, this dance proceeds. After worshipping the deities facing east at the entrance of Chabahil Mitrapark, the dance is performed in front of the stone Ganesha temple of Chabahil. Afterwards, once the dance is fully performed at Charumati Vihar's stage, and the deities are worshipped again at Amalkot's Nasah Chowk, that year's Nanggecha dance concludes.
Nanggecha Dance Training
The main dancers of the Nanggecha dance, Mahadyah and Parvati, can only be male Members of the Shakya, Vaidya, Sangat, and Dangol castes from the Pashupati area. It is a tradition that a selected and trained dancer must perform for six years. The training for Nanggecha dance begins three months before Gunlaga Paru.
Dancers on the first day
On behalf of Nasahdyah, kisali (a ceremonial offering) must be presented along with puja items and Samaybaji (a traditional Newari snack). On that day, after everyone's kisali is offered and Nasahdyah is worshipped, Samaybaji is distributed to everyone as prasad.
During the three months of dance training, on Thursdays, one must visit Nasahdyah's shrine, offer Samay, and perform puja. When the training reaches half a month and 'Ba Puja' concludes, a grand Nasahdyah Puja is performed, and after a feast, the dance training concludes.
Mahadyah
The Mahadyo of Nanggecha Pyakhan is a young boy. The performer who becomes Mahadyo wears a red mask. This mask has one third eye on the forehead along with three eyes and three lotuses, and a black beard. Just as a tall, pointed crown must be worn on the head, ghungro (anklets) must be worn on the feet. The Mahadyo of Nanggecha Pyakhan wears a 'saruwal' (trousers) made of tas (brocade) without any other clothes on the body. A handkerchief is tied on the wrist, and a black cloth 'janikham' (skirt/lower garment) with silver jhallar (fringe) is tied around the waist. As an ornament, the Mahadyo must wear a silver necklace with 108 beads of Jai Vageshwari Mahasaraswati. This necklace is tied with a cloth at the nape of the neck and pulled up to the chest।Period.
Parvati
The male child portraying Parvati, the main performer of Nanghecha Pyakhan, does not need to wear a mask. Instead, he wears a jewel-studded crown on his head. Parvati's costume includes a brocade blouse and jama, and a black cloth jani with silver frills around the waist. Parvati must also wear anklets (ghungro) on her feet.
Musical Aspect
The Nanggecha dance is primarily performed to the rhythms of Khin, Dha, and Naykhin. Additionally, auxiliary instruments such as Taa, Babhu (Jhyali), Bhusyaa, and Chhusyaa are played. The dance progresses through the three rhythms of Khin – Chwa, Jati, and Prataal. Likewise, after the departure of Parvati, the dance becomes fierce like a Tandava to the rhythms of Dha and Naykhin. To perform the dance, various songs associated with the Chwa, Jati, and Prataal rhythms must be sung. The language of these songs appears to be a blend of Maithili, Sanskrit, old Newar language, and others, similar to ancient Daphamye songs. The names of Shah kings Surendra Bir Bikram and Prithvi Bir Bikram are also incorporated into the songs of this dance. And similarly,To the tune of Muhali, various parts of this dance must also be performed by playing instruments.
