Pāhāñ Charey पाहाँ चःह्रे

The three-day spring celebration of Pāhāñ Charey पाहाँ चःह्रे of the indigenous Newāh people of Kathmandu, last week is the second in importance only to the autumnal ten-day festival of Mohani (Daśain).

The annual festival reminds people about the vital role of women in society — from matriarchal gods who have protected the Valley since prehistoric times to married daughters who come home to their parents for a special time of bonding and enjoyment.

According to popular legend, Pāhāñ Charey commemorates the day when Lord Śiva, a stringent vegetarian, agreed to go carnivorous and drink alcohol at the behest of his wife Pārvati. For this ‘disgraceful’ act of eating meat, the Lord was demoted to the rank of a Pisācha — a lowly spirit of the underworld. 

Octagenarian Mahalaxmi Rajkarnikar of Tangaḥ, Pātan recalls her younger days, “After the ritual worship of Śiva in the sunken pit, we made eyeliner with soot collected over a ritual oil lamp on a clay container and applied it to our eyes. It gave us women a sense of fulfilment of having initiated the annual fete in a joyous manner.”

Hence, the festival is also known as Pisācha Chaturdaśi. Revellers indulge in a lavish feast serving generous quantities of meat and homemade alcohol after paying homage to a nondescript stone that is dug up for this occasion from a small, unremarkable pit in the ground that represents Lord Śiva.

Equally important in the Pāhāñ Charey family banquet is the variety of seasonal dishes that offer high nutrients and balance. Specials of the day are broad-leaf mustard and radish, lovingly addressed as ‘gold flower’ and ‘silver flower’ respectively. Fresh green garlic is another essential item in the day’s menu.

Pāhāñ Charey observances start on the fourteenth day of the dark fortnight of the month of Chaitra, according to the lunar calendar. Seekers of Tantric knowledge believe that it is rewarding to perform ritual worships and engage in devotional activities on the night of Pāhāñ Charey.

The festivities, however, kick off a week earlier. On the eighth day of the dark fortnight of Chaitra, a small Śivaliñga in Paśupatināth in the outskirts of Kathmandu, is paraded through the core areas of the city, formally announcing the arrival of Pāhāñ Charey.

“This festival beautifully showcases the living heritage of Newāh culture, where devotion, art and community spirit blend seamlessly,” explains culture expert Sandip Maharjan. “Kathmandu comes alive with masked dances, ritual processions, and offerings made at different shrines, as devotees seek protection, purification and blessings.”

On the first night of the festival, the elaborate ritual dance sequence of goddess Nyeta Bhulu Ajimā and her sacred ensemble of colourful deities is performed at a major street intersection on the ancient trade route that connected Tibet with India through Kathmandu. 

The Tantric performance takes place all night, and throughout the next day, on a raised stone platform across the street from the majestic three-tiered temple of Nyeta Bhulu Ajimā in Nyeta (Naradevi). 

The graceful, rhythmic masked dance is enacted primarily by the the ancestral protectress Ajimā and her daughter Kumāri, along with an entourage including the eight mother goddesses (Aśtamātrika), to the tune of musicians who play ritual drums, small cymbals and piped instruments.

Nyeta Bhulu Ajimā, also known as Śweta Kāli Devi, has an emaciated body, three eyes and a sunken belly. She wears a munda mālā (garland of skulls). Standing on a row of human skulls, she brandishes an array of weapons and a kapālā (skull-bowl) in her hands. 

The abundance of human skulls in her imagery testifies to Ajimā’s Tantric nature. Her fearsome appearance helps ward off enemies, mortal and otherwise.

Legend goes, when the Kathmandu Valley was still a dense jungle, a king from a faraway land came here on a hunting expedition. Chased by a frightening elephant, he finally took refuge at the base of a large tree at the spot where the Nyeta Bhulu Ajimā temple is now, and prayed to goddess Ajimā. The elephant then left, leaving the king unharmed.

Since then, the Newāh community, regardless of its religious affiliation, have worshiped Ajimā as their protectress and female ancestral divinity.

The tantric deity Kankeśori or Kanga Ajimā is one of the eight mother goddesses located at strategic points along the ancient boundary of Kathmandu. The city’s sword-shaped frontier was drawn by King Gunakāma Deva 1,000 years ago to protect its inhabitants from harmful forces.

The ornately decorated Kanga Ajimā temple complex, revered by followers of both Śaktism and Newāh Buddhism, lies next to the Vishnumati River, adjacent to the cremation grounds of some Newāh communities of Kathmandu.

On the third and final day, devotees take the image of the Kanga Ajimā to the ancient market square of Asan on a palanquin in a gala procession. In this reverberating, high-energy ritual known as Dyo Lwākegu, she exchanges greetings with her two Ajimā sisters from other parts of town — Tebahā Ajimā and Wotu Ajimā — amidst a colorful, chaotic crowd in a trance-like atmosphere.

Throughout Pāhāñ Charey, neighbourhoods in the inner core of Kathmandu come alive with vibrant parades featuring decorated palanquins carrying images of local deities including Ajimā, her spouse Āju Dyo and Lord Ganeś (known by the Newāh people as Ināe Dyo), accompanied by traditional music bands.

 Married women reconnect with their childhood roots through special worship, while families bond over grand feasts with their married daughters and grandchildren. Pāhāñ Charey is largely regarded as the daughters’ festival.

Daughters, grandchildren, other close relatives, and even friends are invited to the feast as guests. In Nepāl Bhāsā, Pāhāñ means guest, and during the festival guests are invited to home to have a good time with fervent ritual worship, food and drinks.    

See more photos in our gallery.

Alok Siddhi Tuladhar is a cultural preservation activist and documentarian. alokstuladhar@gmail.com