Book on Traditional Newar Mask Dance 'Mukundo Nach' Released

Kathmandu. A comprehensive book 'Traditional Mukundo Nach of Newar Community' that encompasses the traditional mask dance and living history of the Newar community has been released. This book, written by senior dance scholar and researcher Veena Joshi (Rajbhandari), was unveiled by traditional gurus at a special program organized in Kathmandu on Sunday. The unveiling ceremony included shehnai playing, aarti, and a demonstration of some aspects of Mukundo Nach. Prepared after a long period of research, this book covers the tantric background, cultural dimensions, and the historical aspect of the entire Nepal of the Mukundo Nach prevalent in the Newar community. This book, prepared with detailed documentation of the jatras, festivals, and mask dances performed by the Newar community in Kathmandu and various other places across the country, is believed to be an important study material for Nepali culture, history, and the world of dance, as well as for cultural researchers. Following the book's release, author Joshi discussed the creation process, technical specifics, and historical significance of the book in detail. Joshi, who previously worked as a dance director at the National Dance Hall and as a researcher for various national and international organizations, stated that dance is often viewed merely as entertainment to be watched and then forgotten. However, she emphasized that traditional and cultural dances have a deep history behind them. 'The traditional dances we are talking about are connected to the history of a particular community,' she said. 'In what environment was that dance created? What social, economic, and geographical background did that community originate from? What were their religious beliefs? All these aspects are reflected in the dance. Therefore, dance is the unwritten living history of a community.' She explained that dances originating from various historical backgrounds are not just traditional culture but are scientifically connected to life and the world, making it necessary to preserve them and inform new generations. 'If a traditional dance dies, a significant part of that community's history is lost forever,' she added. 'Many dances are on the verge of extinction these days. If we can at least preserve them as history and theory, future generations will be able to realize their culture and identity.' The author, who spent a long time studying and researching dance, took approximately 30 years to complete this book. She mentioned that the traditional belief and mindset that tantric knowledge and its secret aspects should not be told to women caused delays in her research. Winning the trust of the gurus of the respective dances and uncovering the historical aspects was not a small challenge for her. She shared her experience of meeting and interacting with many people multiple times to gather information about a single dance. She also faced difficulties due to the daily life in rented rooms in Kathmandu, moving houses, and the problem of manuscripts being lost due to various technical reasons. After finalizing the manuscript, the editing process also took time due to risks such as theft or others stealing ideas and publishing them. However, the urge to write the book persisted within her. 'No matter how many problems I faced, the lamp of writing the book in my heart never went out,' said Joshi. She wishes for this book, prepared after thoroughly examining the historical foundation of the Newar community with great effort, to be collected in every household like the Ramayana and Mahabharata. She said, 'Many people create small books that people read and then throw in the dustbin. I don't want my book to be thrown away by anyone. It is so thick and comprehensive that no one would dare to throw it away. My wish is that whoever receives it keeps it with respect in their home like the Ramayana and Mahabharata, and that it remains safe like a religious scripture.' The book provides a detailed analysis of the mask dances prevalent in the Newar community. Most of the religious and cultural dances of the Newar community are performed wearing masks. Joshi clarified that there is a deep tantric belief behind this. According to tantric practice, dance is a form of meditation through which deities are given a tangible and living form. It is a popular belief and tradition that after long prayers, musical performances, and rituals, when the dancer wears the mask of a goddess like Brahmayani, Bhadrakali, or other deities, the power of that deity enters their body. The mask dances of the Newar community are primarily dependent on the Ashtamatrikas (eight mother goddesses). According to tantric and scriptural principles, either eight, seven, five, or three characters dance in some dances. In some dances, Brahmayani is the main deity, while in others, it is Kali or Indrayani. This proves which tantric sect had influence in which region in ancient times, for which there is no written history. For Joshi, who prefers to identify herself as a Madhesi Newar despite being a native of Kathmandu, collecting information with tantric knowledge was like chewing iron. Tantric knowledge was kept secret, and there were social restrictions, including not initiating or telling women certain things. However, with the help of her guru, Saptamuni Vajracharya, she got the opportunity to meet and gain the trust of traditional dance gurus, music gurus, and tantric scholars of the Kathmandu Valley, which laid the foundation for this book. According to the book's editor, Hom Bhattarai, its release is a significant challenge and achievement in itself. As the book is very thick and extensive, there was an initial plan to publish it as separate books for ease. 'In the past, during the publication of agricultural books, I proposed to break them into pieces because they were large, but Dr. Phanindra Prasad Neupane disagreed, saying that dividing it would reduce its importance and recommended making it a single comprehensive volume, which later received the Madan Puraskar,' said editor Bhattarai. 'If it had been divided, its dignity would have been lost. Based on that conclusion, we decided to create a single comprehensive volume of all the collections of Mukundo Nach.' He believes that the technical and scriptural specificity of this work is profound and important compared to other cultural books available in the market. This book not only covers the historical aspect of Mukundo Nach but also includes its techniques, presentation, worship methods, the responsibilities of social characters involved in the dance, the management of the trust, and all other aspects, making it a comprehensive analysis of the Newar community's mask dances. The mask dances, performed in a semi-tantric method, are primarily based on classical principles, with Bharat Muni's 'Natya Shastra' being a major reference. According to the editor, the author has meticulously observed and analyzed various dances for a long time, performing a detailed classical analysis of the characters' physical movements, emotional expressions, vocalizations, costumes, and hand gestures, one by one.