Bhairav Dance: Arghakhanchi's Unique Cultural Heritage

Arghakhanchi. Bhairav dance, connected with the religious faith, cultural identity, and generations-old tradition of the Newar community, is established as a unique cultural heritage of Arghakhanchi. This dance, presented with the resonance of traditional music, attractive costumes, a specific rhythm of seven beats, and religious rituals, not only highlights the cultural heritage of the Newar community but also showcases the district's social harmony and cultural diversity. Bhairav dance, preserved for generations, is the common cultural identity of the Newar community residing in various parts of Arghakhanchi. The Newar communities living in Patuathum of Sandhikharka Municipality-1, Dibharna of Ward No. 12, and Nuwakot and Lattebanj of Bhumikasthan Municipality-8 have maintained the tradition of performing this dance in different years. This year, the Nuwakot Bhairav Society of Bhumikasthan-8 performed the dance. The Newa Society Arghakhanchi-Rupandehi also performed it in Butwal. Both societies have showcased the Bhairav dance in various places including Sandhikharka. The Bhairav dance has its own religious rituals and time limit. In Arghakhanchi, this dance, which starts from Shri Krishna Janmashtami, is performed until Kartik Ausi. According to Rajkumar Shrestha, coordinator of the Arghakhanchi Bhairav Dance Preservation Committee, it is a local belief that the Bhairav dance must be concluded before the drums of Deusi-Bhailo start playing. This elevates the dance beyond mere entertainment, connecting it with religious faith and traditional discipline. In the Bhairav dance, Kal Bhairav is presented as the main character, while Shwet Bhairav and Rakta Bhairav are supporting characters. Along with them, the role of Dankini, or dancers, is also important. Different colors, decorations, and costumes are used according to the characters. The artists embodying the form of Bhairav are traditionally adorned with Khapah (skull), special clothes, garlands, and chamaras. There is also a tradition of using yak tails as chamaras. These costumes and decorations not only make the dance visually attractive but also reflect the religious significance of the characters. Although there have been some changes and new materials used in the decorations over time, the community is conscious of preserving its original form and religious beliefs. Coordinator Shrestha states that the artists dressed as Bhairav are worshipped as symbols of gods. Before the dance begins, a puja is performed according to tantric methods, and then the performance proceeds according to the set rhythm and tradition. Another distinctive aspect of this dance is the rhythm of seven beats. The Bhairav dance, generally performed for seven beats, has a different pace and presentation for each beat. According to Kaji Shrestha, Vice-President of the Arghakhanchi Chamber of Commerce and Industry, each beat lasts for about 10 minutes. After a short break, the next beat begins. Since all seven beats have their own characteristics, the coordination between the dancers and the musicians makes the dance more attractive. According to Krishna Prasad Shrestha, Mayor of Sandhikharka Municipality, the Khin baja, or Mridunga, is used as the main instrument in the Bhairav dance. In addition, instruments like Jhurma (cymbals), Sahanaai, and Dhankuri are played. The unique melody of these instruments, along with the dancers' movements and rhythm, reflects the originality of the dance. Although the main musician traditionally belongs to the Newar community, individuals from other communities also participate as supporting musicians. Mayor Shrestha says this also expresses cultural cooperation between communities. Religious and tantric rituals are given special importance in the Bhairav dance. According to local belief, in the fifth and sixth beats, individuals skilled in tantric arts are possessed by Bhairav. It is believed among locals that even the audience trembles in such situations. Since any error in rituals and puja can lead to harm, special care is taken from the preparation to the conclusion of the dance. This belief and discipline distinguish this dance from other entertainment performances. The Bhairav dance program includes entertainment programs along with religious performances. Performances like Lathi Nach (Takundoli), Ghoda Nach, Chara Nach, and Lahure-Lahureni Nach make the program more interesting. This provides an opportunity for local artists to showcase their skills and also helps in preserving various traditional dances and skills. According to Madhav Shrestha of Sandhikharka Municipality-1, although the Bhairav dance is a historical and popular dance of the Newar community, its popularity has spread beyond the community's boundaries. Thousands of spectators attend the Bhairav dance organized at Tundikhel in Sandhikharka. Besides the Newar community, a significant number of people from other communities also attend the dance. The Bhairav dance is prevalent in various districts of western Nepal. In addition to Arghakhanchi, similar traditional dances are performed in areas like Palpa, Baglung, and Dailekh. The style and presentation vary by location. In some places, these traditions, also known as Kalika Nach or Lakhe Nach, reflect the cultural diversity of western Nepal. According to Shrestha, coordinator of the Bhairav Dance Preservation Committee, the Bhairav dance of Arghakhanchi is also popular in Gulmi, Pyuthan, Palpa, Kapilvastu, and Rupandehi. The efforts made by the community to preserve their unique culture, having moved away from their hometowns for employment, trade, and education, are also noteworthy. The Bhairav dance performance by the Newa Society Arghakhanchi-Rupandehi in Butwal this year is an example of this. Such programs help familiarize the new generation with their cultural history and foster relationships and camaraderie among communities in different places. However, the continuity of traditional culture faces increasing challenges due to changing lifestyles, modern entertainment media, and the interests of the new generation. It is not enough to perform the Bhairav dance once a year to keep it alive. It is necessary to teach the new generation about its associated religious rituals, knowledge of the seven beats, skill in playing musical instruments, art of preparing costumes, and historical background. Archiving the knowledge held by the elders and experienced artists of the community through written, audio-visual, and digital means will facilitate the transfer of tradition to future generations. By increasing cooperation among local governments, cultural organizations, Newar community leaders, and youth, information about local culture can be provided at the school level, and opportunities for regular practice and performance can be created. Arghakhanchi is an important district in terms of natural beauty, historical heritage, religious sites, and unique culture. The systematic promotion and preservation of the Bhairav dance can also contribute to the promotion of the district's cultural tourism. However, it is said that it is necessary to respect it as a heritage with religious faith and historical significance, not just as a means to attract tourists. The specific forms of Kal Bhairav, Shwet Bhairav, and Rakta Bhairav, the rhythm of seven beats, the resonance of traditional music, and the tantric puja rituals are the identities of the Bhairav dance. This tradition, preserved by the Newar community for generations, is now progressing with the participation and support of other communities. Its preservation will contribute not only to the continuity of a dance but also to the preservation of Arghakhanchi's historical identity, social harmony, and cultural diversity.