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Author: Pradeep Rai

Pradeep Rai is a writer, ethnographer, and educator exploring the cultures, histories, and worldviews of Himalayan tribes. His work combines careful research with reflective storytelling, bringing the legacies and traditions of the Himalayas to life for readers.
Himalayan ethics

Himalayan Ethics Beyond Moralism

My first encounter with Himalayan Shamanic morality unfolded in a settlement near Darjeeling, at a place known as Thang’Kuh. Elders described it as a site where ancestral presences never withdrew from the landscape. They said the spirits of the ancients stayed there, resting in the caves and the mystical forests surrounding it. I had only begun my research, and my understanding of these worlds was unclear. During the ritual, the Shaman entered a state that allowed the ancestors to speak through her. I listened without knowing what to expect. A question had lived inside me for months. In Himalayan shamanic traditions, did the notion of heaven and hell exist? I never asked anyone. No person seemed capable of a convincing answer. I kept the question to myself and watched the Shaman move through the ritual space. At one point she turned toward me. Her voice changed, and the ancestors addressed me directly. “Hamro maa paap punya hudaina hai, naani.” In our world, my child, there is no sin, no merit.

Years of study and travel through Himalayan villages gave me a passage into moral worlds that never claimed authority from scripture or centralized doctrine. Clan elders described ethics through the movements of ancestral rites, through the dispositions of territorial beings, and through oral narratives and folklore. Their accounts conveyed a system whose logic grew from sacred places, ritual objects, kinship, and invisible agencies rather than from commandments. Morality, then, appeared as an ecological phenomenon. I reached this understanding gradually, after long periods of exposure to rituals where both language and silence held equal importance.

My earliest encounters with ritual elders revealed an idea of purity far removed from codified religion. Purity did not arise from cow urine, sunpani (gold-infused water), or consecrated water. Some of the substances held ritual significance in specific contexts, but the deeper principle placed purity inside the person. Elders insisted that every birth occurred within a state of natural equilibrium. No trace of original sin surrounded the newborn. No cosmic error demanded correction. No divine being demanded submission. The person entered the world as part of the same order that produced the mountain peaks and the subterranean springs. Purity existed in the same register as geological formation and ancestral presence.

This thought shaped my understanding of why Himalayan cosmologies never gave humans a central position in the universe. Humans occupied one node within a constellation of beings. Spirit masters of the forests guarded their territories with an authority that required respect. Ancestral agents watched over lineages with expectations grounded in memory rather than divine decree. Tutelary spirits monitored the moral temperature of a settlement through subtle signs. Humans engaged with these beings through speech, offerings, libations, songs, dances, migrations, and collective events. Moral life grew from attentive interaction with these forces. And the universe? It did not revolve around the human.

A widely shared position in anthropology is that ritual knowledge emerges from the “thickness” of a local world, and not from abstraction. I was able to comprehend this concept when I sat near shamans before the onset of a trance. Their preparations did not follow the logic of renunciatory paths and simply sought balance with their tutelary spirits. Their bodies served as mediums between the physical world and the divine realm that held ancestral imprints. Purity, in this sense, referred to the capacity to align the self with those ‘energies.’ Impurity arose when the lines between these worlds weakened through forgetfulness or broken obligations. And it wasn’t something that couldn’t be remedied.

During conversations with ritual experts, I encountered another dimension of this moral framework. They described the land as the ground we return to. Death wasn’t clouds in the sky or ripple in the ocean. It was simply a place among the ancestors through the ground into their realm. Sacred stones marked events transmitted through lineage narratives. Forest retained the presence of beings who never entered ordinary perception. Yet their omnipresence influenced crops, as much as the health of households. Morality, therefore, functioned as a form of navigation. People moved through landscapes with an awareness of invisible boundaries and ancestral expectations. A person who acted without regard for these presences disrupted the coherence of the environment. The consequence manifested simply as imbalance inside the local field of life. There was no punishment.

In the highlands, I observed funerary procedures that revealed a refined sense of relational ethics. The dead did not leave the community abruptly. Their passage depended on the correctness of ritual acts performed by kin and shamans. Ancestral spirits accepted the deceased only after the living performed and completed their obligations. Morality emerged here as a collective responsibility. The individual never carried moral burden alone. The lineage absorbed, interpreted, accepted, and redistributed it. This idea dissolved the rigid distinctions between personal virtue and communal order.

A Khambu elder once told me that humans do not pursue salvation through detachment from the world. Salvation, as an external goal, held little meaning. The human task involved the maintenance of balance with non-human entities. The ideal state did not resemble liberation from earthly existence. The shaman’s trance did not aim at transcendence. Everything we do is aimed at reestablishing symmetry in ailments or conflict. The self remained fixed in the social and cosmological weave.

As I spent more time with these communities, I recognized that moral life developed through practice. There was no code here, and definitely no doctrine. A person learned ethics through participation in rituals, songs, dances, interaction with elders, and attention to the moods of territory spirits. The land served as both library and teacher. It carried narratives of past rites. Every household organized its activities around obligations to ancestors who hovered within the domestic sphere. These features shaped a moral universe that remained open and grounded in locality.

Purity, in this moral universe, referred to the human capacity to remain in accord with forces that structured life. It never required submission to a supreme deity. It never demanded purification through external substances. The purity of the human person reflected the purity of nature itself. Mountains did not require sanctification. Rivers did not require ritual washing to legitimize their flow. Humans entered the world through a similar state of inherent order. Ritual practice only served to maintain this condition.

This realization shifted the direction of my perspective. I began to view Himalayan morality as an art of placement. Every person occupied a precise position in a network of kin, spirits, ancestors, and landscapes. Ethical conduct involved the correct calibration of these relationships. A misaligned person lost their sense of direction. A well-aligned person moved through the world with clarity.

After many years, I concluded that Himalayan moral thought resists reduction to doctrine. It expresses itself through practice and relational sensitivity. Humans are pure by virtue of their origin. They navigate a universe filled with autonomous beings who expect recognition instead of worship.

I am not suggesting that the Himalayan worldview is superior to others, nor claiming that its people stand apart from the rest of humanity. I am saying that this, too, is a way of life and that it deserves its place in the global conversation about how humans ought to live. In a world crowded with competing philosophies, with arguments about whose God is truer and whose path is correct, it seems reasonable to ask whether a tradition that speaks quietly of balance might also be heard. The lesson I carried from Thang’Kuh was never about difference or comparison. It was about possibility that moral life can be grounded in the simple work of maintaining harmony with the forces that share our world, and that such a philosophy need not compete to matter. It only needs space.

The Sacred Pillar of the Limbu House

Indigenous architecture across the Himalayas exhibits striking variety depending on the community that created it. The climate, environment and geographic region are factors intimately tied to indigenous designs. The typical Limbu dwelling is a two-storey thatched house built from timber, bamboo, stone, mud and straw, which are all locally sourced items. Its steeply pitched roof and thick thatch are designed to avoid monsoon rain and withstand winter snowfall, and the mud walls effectively regulate temperature and provide durability. Designed with careful attention to natural features, such as rivers and slopes, a traditional Limbu house demonstrates both practical concerns and spiritual beliefs.

At the centre of the Limbu house, both figuratively and physically, stands the central pillar, the Hang Sitlang or Murum Sitlang or Muring Sitlam. This pillar serves as the axis around which domestic life, the memory of ancestors, and the unseen spiritual realms converge. It is regarded, in Limbu spiritual concept, a sacred fulcrum that anchors the household in both material and cosmological terms. As Philip Sagant observed in his ethnographic study of Limbu architecture and ritual:

“The central post of the Limbu house is more than an architectural necessity; it is the axis around which the life of the family, the memory of ancestors, and the communication with the spirits revolve” (L’Homme et la Maison chez les Limbu du Népal oriental).

The Hang Sitlang imparts an immaterial dimension to the house. Viewed in this light, the dwelling, and the symbolism related to it provide a conceptual basis, giving us the right perspective to interpret the meaning of Limbu cultural life and, especially, to comprehend the exact consequences of spiritual and symbolic nature.

As mentioned earlier, this pillar, in Limbu worldview, represents the repository of ancestral memory. Although as a medium that disengages the house as a physical dimension from the subterranean realm of chthonic forces, Hang Sitlang, through ritual offerings, and performing sacrifices, also acts as a sacred stage upon which ancestral remembrance is enacted.

Additionally, within the wider framework of Mundhum (the oral, ritual, and mythological corpus of the Limbu), the Hang Sitlang serves as both ritual pivot and cosmological mnemonic, allowing family elders and Shamans to enact, through chants and ritualized movement, the structure of the universe itself.

As Sagant notes,

 “The shaman’s chant retraces the world’s structure; the house itself becomes the visible form of the cosmos. The post at the centre is the pivot of this world, joining earth to sky” (Sagant, 1985, “With Head Held High: The House, Ritual and Politics in East Nepal”)

The erection of the Hang Sitlang generally coincides with the construction of a new house or the major renovation of an old one. The ritual process begins with the preparation of the site, where a pit is dug at the centre of the house and the pillar is firmly set into the ground. Before installation, the pillar is ritually sanctified by binding it with cotton threads at the top, middle, and bottom, and by sprinkling it with rice grains. A pig is then sacrificed, and its blood poured at the base of the post to purify the contact between the house and the earth. The officiating Shaman invokes the protective deity Okwanama, the “earth-supporter,” and requests protection from illness and misfortune for the household.

In a foundational text, Kiratologist Iman S. Chemjong (1948) outlines the ceremony of erecting the main post:

“When the site of a house is being dug … its centre portion should be dug, a deep hole should be made and a very big, strong and high wooden pillar should be fixed there. … This main pillar of the house should be called, ‘Hang Sitlang’. Before the plantation of this main pillar, the top, the middle and the bottom of it should be bound with a cotton thread and some grains of rice should be sprinkled over them … A pig should be killed and its blood should be sprinkled at the bottom of the post as an offering to the deity Okwanama.”

Once the central post has been installed, the family holds a house-warming celebration to which relatives and neighbors contribute offerings of rice, coins, and beer. A communal feast follows, during which the ritual known as Heem-gey is performed. This is when dancers circle the post three times before dancing throughout the night. In marriage ceremonies and other major rites, Chyabrung or Ke Lang drummers also dance around the main pillar. Descriptive accounts note that during such occasions, the dancers move in repeated circuits around the post.The detailed sequence of actions involved in the installation of the Hang Sitlang reveals that it is far more than a technical operation. The rite constitutes a performative fusion of social and architectural dimensions.

For the Limbu, through the symbolic geography that Hang Sitlang represents, the house itself is also understood as a feminine sacred space associated with Yuma, the primordial mother-goddess of the Limbu. Much like her, the house too represents protection, fertility, refuge, and ancestral continuity. In this framework, the pillar becomes the point where the deity and the domestic sphere converge.

During rituals dedicated to protective deities such as Nahangma, it is treated as the centre of both the ritual field and the physical world of the household. In these ways, the Hang Sitlang successfully transforms from a structural support into a cosmological signifier as a tangible link between protective spirits and their realm.

The ritual significance of the Hang Sitlang, the main pillar of the house, lies deep within the oral universe of the Mundhum. A Mundhum story recounts the moment when the very first house was raised upon the earth by Lokphedemba and Hangphademba.

When the Limbu ancestors built the first house it did not have peace as termites, and malevolent forces gathered around it. They threatened to hollow the wood and bring down the structure. To protect this fragile beginning, the ancestral drummers Laden Hangba and Phungden Hangba stepped forward. They lifted their Ke drums and began to dance around the central pillar. With each rotation, they struck at the swarm of invisible dangers, and with each beat, they sanctified the pillar. Their dance, an act of defense, was an effort to protect the wooden centre of the house, to drive away destructive spirits, and to shield the structure from calamities of wind, fire, and trembling earth. The house endured because the pillar was blessed, and the ground beneath it was made firm through ritual movement and sound.

This primordial act became the template for later generations. In any new house, the Ke Lang or Chyabrung dance is still performed around the main post, echoing the movements of those first drummers and renewing the protective bond between pillar, household, and ancestral memory. In marriage ceremonies, dancers circle the pillar four times, and offer blessings for stability and long conjugal life. Their movements recall the original moment when the house was first defended and the pillar first empowered. Thus, even if the Hang Sitlang rarely appears as a central character in extended mythic narratives, the Mundhum preserves its presence as a sacred centre. Through this pillar, the household is bound to the earliest story of shelter, protection, and the enduring relationship between humans and the unseen forces that move through the world.

As modernization and new architectural practices have evolved, the installation and meaning of the Hang Sitlang have begun to face pressures. Traditional houses and a clearly visible central pillar are now rare, and many new structures adopt modern designs in which the pillar appears only faintly or is replaced entirely. In some households, the post is erected only symbolically or the full ritual sequence, such as thread-binding, sacrificial offerings, or the protective dance around the pillar, is abbreviated or omitted, leaving younger generations increasingly unfamiliar with its cosmological role as the household’s axis and ritual centre.

Despite these changes, the practice endures in many rural areas of eastern Nepal, where new houses still include the pillar and old houses are being preserved. For traditional Limbus, Hang Sitlang continues to be the ritual heart of the house, the axis of cosmos and family, the stage of social and spiritual life. In its erection, connection, sacrifice, dance and invocation, the household is transformed into a sacred space. As the Limbu community navigates the 21st century, the pillar remains a powerful reminder of the continuity of indigenous traditions.

The Old Woman and the Creature

People in the hills say that a strange thing once happened in a quiet valley where the forest stood close to the houses. In that valley lived an old woman named Nangma. She had no family and no land of her own and lived in a cave. She survived by collecting nettles from the forest and boiling them in a clay pot for her meals.

One evening she lifted her bowl of nettle broth. A faint sound came from the corner of the room. She looked up and said, “Who is making that noise? If you are hungry, come share my food.” No one appeared and the old woman finished her broth.

The next day she heard the same sound at the same hour. She set her pot on the floor and said, “Who is making the noise? Come. Eat if you are hungry.”

A khulme kira came out from behind the hearth. It was a white grub with a soft round body. Nangma stared at it for a moment. Her fear faded quickly. She scooped some nettle broth onto a leaf and set it before the grub.

“Eat, little one,” she said.

The white grub stayed near her after that day. It crept close to her hearth each time she cooked. She fed it nettle broth every evening. Its body grew large and heavy and its skin shone like wet clay.

One season her jar of salt became empty. The nettle broth tasted dull without it. She decided to borrow a wicker basket from Bijuwa Khamsik (a Shaman) who lived farther up the ridge. He was known for sharp sight and sharp understanding. He opened his door before she could knock twice.

“You want a basket to bring salt from Tibet,” he said.

Nangma looked startled. “How did you know that?”

“You cannot make the journey. A being in your house can make it for you,” the Shaman said.

“There is no such being in my house,” Nangma replied.

“There is,” he said. “Listen carefully. Put nettles, a clay pot, bamboo tongs and fire stones in the basket. Set the basket beside the creature. Tell it to go to Bhot (Tibet) and bring salt. It will obey you. Take this vessel of burning oil. Hide along the path and watch it. When it leaves its shell and steps out as a young man, burn the shell. If you burn the shell, the young man will remain as he is and he will return with salt for you.”

Nangma took the basket. She returned to her cave and arranged the pot, the tongs and the fire stones inside it. She set it beside the white grub.

“Go to Bhot and bring salt for me, my son,” she said.

The grub pushed the basket slowly toward the forest. Nangma followed it without letting herself be seen. The grub reached a lonely clearing and stopped. The shell on its body opened. A handsome young man stepped out of it and hid the shell under a rock. He lifted the basket and walked toward Bhot without hesitation.

Nangma waited until he disappeared beyond the trees. Then she took out the oil and poured it over the shell. She set it on fire. The fire burned quickly and left only ash.

Many days passed. Then the young man returned with a heavy load of salt. He came to her cave, set the load on the floor and said, “Mother, I have brought the salt.”

The word mother filled her with a happiness she had never known. She understood the change that had taken place.

From that day he lived with her. They built a house in the forest, cleared a small field, planted grain and stored enough food for every season.

Endogamous Marriages in the Himalayan Region

Rethinking Endogamy in Indigenous Contexts

A few weeks ago, I was reading Claude Lévi‑Strauss’ The Elementary Structures of Kinship, where he argues that the incest taboo is a structural necessity that drives exogamy. This, he believes, has persuaded individuals to marry outside their immediate family or clan. Using few words, he explains that customs of cross-cousin marriage too, are examples of elementary structures, and that such marriage rules maintain predictable alliances across generations.

Having long been witness to the prevalence of endogamous marriages in the Himalayas, and saddened by the fact that such practice has endured, I sit down to write this post based on my observations and opinion that may seem anti-traditional, but are, at the very least, forward-looking.

The indigenous peoples of the Himalayas have traditionally maintained a fiercely tribal social framework, and while these cultural norms were once widely accepted, they continue to persist even in the 21st century. Exceptions exist, but in many rural areas, they are still frowned upon.

Endogamy, marrying exclusively within one’s own social or cultural group, is sometimes taken even further in certain societies, with practices like consanguineous or cross-cousin marriages. With the advent of Hinduism and its influence on the region, this practice became further engrained, as the strict caste system merged easily with existing tribal divisions within Nepalese Himalayan society.

However, there are some practical reasons attached to this custom. People often choose endogamous marriages because it helps preserve close social ties. Marrying within one’s own group also protects a shared sense of identity. While traditional societies feel more at ease with partners who understand their family values and traditions, much as food habits, others stress that it ensures that property and inheritance remain within the same group or community.

Nepal’s 2021 census shows that only about 2-3% of household heads nationwide and around 1.6% in the Mountain region are married to someone from a different caste or ethnic group. The data is not comprehensive but it still indicates that exogamous marriage remains infrequent in many Himalayan communities.

Among Himalayan tribes, the practice of endogamy, was a pragmatic choice in the past. But we sometimes do not pay as much attention to the converse, to the significant challenges it could pose in the future. One of the biggest challenges that persists, therefore, is the lack of genetic diversity, which may become detrimental to the long-term health and adaptability of human populations.

When people marry strictly within the same group for many generations, the chances of sharing recessive genetic traits increase, which raises the risk of hereditary disorders. This means that it is likely to reduce overall health resilience, subsequently making communities vulnerable to diseases and environmental pressures. Over time, these genetic bottlenecks could make an impact on the community’s ability to adapt with the changing needs of the modern world.

Strict endogamy carries its own social burdens. As groups narrow and ideas become more rigid rather than organic, living within an integrated and connected framework might become challenging. In many communities, individuals, particularly women, feel the weight of expectation to choose partners only from within their own circle, which quietly limits personal freedom and choice. Demographic pressures too, might increase as smaller groups encounter an even sharper strain due to the gradual shrinking of the numbers of potential partners.

Moreover, when communities stay isolated for long periods, cognitive abilities could be adversely affected. This is not about labeling anyone as less intelligent, but about recognizing that genetic variety often supports wider variation in human abilities.

Limited exposure to diverse customs, languages, values, and the gradual loss of cultural tolerance, now makes it particularly necessary to approach these problems with more urgency. This has the potential to create irreversible division among populations. Over time, it could create a rigid social mindset that resists new ideas and struggles to adapt to changing circumstances.

It should be understood that the clan-based system in the Himalayas wasn’t devoid of exceptions. The classification of clans into sub-clans, a system widely prominent, results from a history of occasional exogamous marriages. Evidence such as the Khambu Pacha system and the clan structures across various Himalayan tribes suggests that exogamy was practiced, at least in part.

Additionally, traditions like bride capture and elopement point to this practice, as such customs typically arose when couples married outside the strict bounds of their tribal system. Recognizing the existence of exogamy does not mean opening a Pandora’s box; it is clear that such practices were already present within our societies, even if only on a limited scale.

Nature favors diversity, and exogamy reflects that principle. Throughout history, human populations have evolved and thrived precisely through intermingling across groups. Many communities owe their resilience and vitality to this mixing. Yet, even among those who profess nature worship, we have often forgotten this fundamental rule: survival and growth depend on interaction, exchange, and the blending of people. Evolution, both biological and cultural, requires that we step beyond rigid boundaries and embrace the diversity that sustains us.

By this, I am not advocating cultural dilution. Culture and tradition can survive only if the people find an environment to thrive. When we look beyond ourselves and engage with other traditions and cultures, we come to understand our own, with more focus. We learn to appreciate both nature’s abundance and the health it provides, and we evolve. This does not mean that we must abandon our roots, but without this openness, our culture risks becoming like a glass menagerie. We may look beautiful, but we would still be confined and fragile.

Finally, we must evaluate the role that women play in sustaining culture. As the primary educators of children who teach language and values, women are truly the custodians of tribal memory. When women are empowered to interact beyond rigid boundaries, they can aid their communities to adapt while also preserving the essence of tradition. In this way, embracing measured exogamy and openness is not a threat to culture. It should be viewed as a pathway to ensure that both people and tradition continue to flourish together.

Perhaps the survival of Himalayan cultures depends less on rigid rules and more on knowing when to loosen them, without, of course, losing your hat. Endogamy has preserved identity for centuries, but exogamy reminds us that growth and resilience often arrive uninvited, usually with a stranger at the doorstep. Our traditions do not vanish when we peek beyond our own circles and they gain depth, like a favorite recipe improved with a pinch of something new. Women carry language, traditions, values, and memory, and quietly guide generations. They are ones who ensuring that the culture survives with a openness and grace.

In conclusion, this is like a delicate balance between preservation and openness, the familiar and the foreign, where the true strength of a people, and the enduring life of their culture lies. Therefore, we must consider to change the tribal mindset and perhaps loosen our rigidity. This is imperative to strengthen our communities by embracing a modest level of exogamous marriage to create a space for new knowledge and perspectives to flow in. This balanced openness can help us remain resilient and adaptable as we face the challenges of the 21st century and beyond.

Why the Rooster Crows

Long ago, when the world was still young, there was no fire in the heavens and no light upon the earth. The sky was cold and pale, and the land lay in darkness. The rivers flowed quietly, unable to glimmer, and the mountains stood like silent shadows.

In those distant days, the Lha, the Sky Beings, looked down from their bright realm and said to one another,

“Without fire there is no warmth. We have light but we need fire too. Someone must go to the human world and bring back the flame.”

They turned to the proud rooster, whose red crest glowed faintly even in the dim light.

“Rooster,” they said, “you have strong wings and a brave heart. Fly down to the world below. Ask the humans for fire and bring it back to us. But remember, do not crow while you are there. Until you return with the fire, your voice must remain silent.”

The rooster bowed his head and promised,

“I will obey, O Lha. I shall not crow until I bring you the fire.”

He spread his wings and flew down through the clouds, past the mountains, until his feet touched the dark soil of the earth. There he found the humans huddled near their hearths, guarding the little flames that kept them alive.

“Kind people,” the rooster said, “the Sky Beings have sent me. Lend me your fire so that I may carry its warmth to the heavens.”

The humans looked at one another. They had long heard tales of the celestial rooster who lived above the clouds.

“We will give you fire,” they said, “but first you must make us a promise.”

“What promise?” asked the rooster.

“Crow for us, just once. We have heard that when the heavenly rooster crows upon the earth, light will come. If you crow, our world will awaken from darkness.”

The rooster’s heart trembled.

“I cannot,” he said softly. “The Lha have forbidden me to crow until I return. If I disobey, I may never fly back to the heavens.”

But the humans pleaded,

“Then choose, Rooster of the Sky. Either return without fire, or crow and bring light to our world.”

The rooster stood in silence, torn between duty and compassion. At last, he whispered,

“If fire must rise and light must live, then so be it.”

He lifted his head, spread his wings, and let out a cry that pierced the dark.

The first crow echoed across the hills, and half the night melted away.
The second crow swept through the forests, and the wind began to stir.
The third crow rang out, and the first golden edge of dawn broke in the east.
The fourth crow burst forth, and the whole world blazed with light.

The humans cheered and danced. Their faces glowed with warmth for the first time. The rooster, his task complete, had given the heavens fire and day to the earth.

From that moment, as the Tamang elders say, night and day began to follow one another. And even now, the rooster still crows at dawn, calling back the memory of that first light when his voice broke the darkness.

Multi-Evidential Analysis of Magar History

The Magars, numbering about 1.6 million in Nepal today, stand as one of the country’s most prominent indigenous groups. Yet their early history remains only modestly documented. This obscurity is obvious: for centuries, the Magars inhabited the marginal zones between rival power centers stretching from the eastern to the western Himalayas. Most existing accounts of Magar history are built on assumptions and speculative theories. Very little scholarly work has systematically examined inscriptional, linguistic, and genetic evidence to construct a cohesive and critically nuanced understanding of Magar origins and historical development.

In Nepal, the Magars inhabit a broad geographical expanse stretching across the western and southern slopes of the Dhaulagiri massif and extending into the mid-hill districts of Rolpa, Rukum, Baglung, and Palpa. Beyond Nepal, sizeable Magar communities are also found in Darjeeling, Sikkim, and Assam. The Magars speak languages belonging to the Tibeto-Burman branch of the Sino-Tibetan family and maintain a distinct social identity shaped by both historical autonomy and cultural syncretism.

As mentioned earlier, despite their prominence in Nepal’s ethnic mosaic, the deeper origins of the Magars—whether in terms of their ancestral homeland, the timing of their migration, or the processes of ethnogenesis—remain insufficiently documented. Various explanations are offered, frequently blending myth, legend, and historical fact. In the absence of continuous written records, the reconstruction of Magar history must therefore rely on the triangulation of inscriptional, linguistic, and genetic evidence.

Historical and Inscriptional Evidence: The “Magarat” Polities

One of the most tangible contexts through which the Magars can be historically located is that of the regional confederacies known collectively as Magarat, literally, “the land of the Magars.” These political entities, identified as Barha Magarat (Twelve Magar Kingdoms) and Atharah Magarat (Eighteen Magar Kingdoms), occupied much of western Nepal prior to the rise of the Gorkha state in the 18th century. Their territories stretched from Palpa in the east to Pyuthan and Rukum in the west, and encompassed key routes of trans-Himalayan trade and communication.

The Magarat polities were not centralized monarchies but federations of local chieftains (thapas, ale, rana, and buda clans), who maintained their own systems of governance, resource management, and defense. They appear to have enjoyed relative autonomy even under the expanding Gorkha kingdom. This indicates a long-standing tradition of localized political authority.

Inscriptional evidence provides a historical source for Magar identity. One of the earliest inscriptional references potentially linked to the Magar people occurs in a copper plate charter issued by the Lichhavi king Śivadeva III, dated to around 1110 CE. The inscription mentions an administrative unit called Mangavara Vishaya, with vishaya signifying a district or territorial division and Mangavara interpreted by several historians as an early form of Magar or Magarat. Such records demonstrate that by the early medieval period, the Magars were recognized as a distinct socio-political community in the Himalayan region.

These polities and inscriptions provide conclusive evidence that Magars active agents in the political and economic networks of premodern Nepal.

Linguistic Identity: Magar Languages and Their Affiliations

Linguistically, the Magar languages provide vital indication of deep historical continuity in the Himalayan mid-hills. The Magar language complex, comprising Kham, Kaike, and Dhut, belongs to the Bodic branch of the Sino-Tibetan family. Each of these dialects displays eras of interaction with neighboring linguistic groups and regional isolation within the rugged geography of western Nepal.

Magar Kham, spoken primarily in the districts of Rolpa, Rukum, and Baglung, is one of the most conservative and morphologically rich branches of the family. Its verbal agreement systems and tonal contrasts display close affinities with the Central Himalayan Tibeto-Burman languages. This means that the Kham Magars were in long-term contact with both the Tamang and Gurung linguistic zones.

Magar Dhut, in contrast, has undergone greater influence from Nepali, meaning that the Magar were in close proximity to administrative and trade centres.

Kaike, a lesser-known variety spoken in the Dolpa region, retains archaic features that link it to early Bodish languages.

Despite their linguistic diversity, all Magar varieties show a common substratum of Tibeto-Burman phonology and syntax, which implies a shared linguistic ancestry extending several millennia. The gradual decline in the intergenerational transmission of these languages, however, signals a risk of erosion of intangible heritage.

Genetic Evidence: Admixture and Population Structure

Modern genetic studies have added a crucial dimension to the study of Magar origins. High-resolution genome analyses of Himalayan populations reveal that Magars share a distinct genetic signature characterized by admixture between Himalayan-Tibetan and South Asian components.

Genetic studies show that the Magars have one of the highest proportions of East Asian ancestry among Nepalese ethnic groups. They share this characteristic with other highland communities such as the Rai, Tamang, and Gurung. One report on population genetics states that the Magar genome contains about 54 percent East Asian ancestry and around 38 percent South Asian ancestry, with a small West Eurasian element. These figures demonstrate that Magar ancestry is mixed and not the result of a single migratory source. Gene flow from northern Himalayan and Tibetan populations has played an important role in the formation of their genetic profile.

This pattern of admixture points to a history of long-term habitation in the Himalayan and mid-hill zones. It suggests a process of multi-directional migration and gradual blending over many centuries, rather than one major influx from a single region such as China or Assam. The genetic evidence supports the idea that the Magars were part of a wider prehistoric movement in which Tibeto-Burman-speaking groups expanded southward into the Himalayan mid-hills and intermarried with earlier inhabitants. Their ethnogenesis most likely took place within Nepal through a long process of demographic interaction and cultural exchange.

Oral Traditions vs. Evidence on Migration

Magar oral narratives recount migrations from multiple directions, north from Tibet, east from Sikkim and Assam, west from the Karnali basin, and south from the Terai. These traditions often feature ancestral figures such as Sing and Chit, or describe movement from a place called “Sim” in present-day China.

While such legends preserve cultural memory and identity, their historical verifiability is uncertain. They likely reflect an indigenous attempt to explain collective origins through mythic geography. When assessed against inscriptional and genetic data, these accounts appear less as literal migration records and more as symbolic representations of cultural exchange and ethnic integration.

Nonetheless, oral traditions remain valuable anthropological sources. They exhibit how communities remember and interpret their past through layers of meaning beyond empirically verifiable history. The synthesis of oral, linguistic, and biological evidence thus provides a more holistic understanding of Magar ethnogenesis than any single line of inquiry.

The cumulative evidence, historical, linguistic, and genetic, suggests that the Magars are an ancient Himalayan community whose ethnogenesis took place within the territorial and cultural boundaries of present-day Nepal. Rather than originating from a single migratory source, their ancestry reflects a long process of interaction between Tibeto-Burman-speaking highlanders and Indo-Aryan-speaking populations of the southern plains.

Inscriptional data indicate that the Magars were already recognized as a distinct socio-political group by the twelfth century, while the existence of the Barha and Atharah Magarat confederacies demonstrates their early capacity for localized governance and territorial organization. Linguistically, the Magar languages reveal deep affiliation with the Sino-Tibetan family, affirming long-standing continuity in the Himalayan region. Genetic studies further corroborate this picture, identifying a balanced admixture of Himalayan and South Asian ancestry components, consistent with sustained interregional contact over millennia.

Taken together, these strands of evidence portray the Magars as a composite and resilient population whose history has been by centuries of adaptation and cultural synthesis within Nepal’s mid-hill landscape. Future research combining archaeology, linguistics, and population genomics would be advantageous to refine our understanding of the Magars’ deep past. More extensive sampling across Magar subgroups, targeted excavation in the Magarat region, and comparative reconstruction of Tibeto-Burman languages could definitively tell us more about the formative evolution of this community.

Retkamaang – 8 Divine Spirits in Khambu Rai Tradition

The Kirati Khambu Rai envision the cosmos alive with a vast array of supernatural beings. In Kirati Khambu Rai culture, these entities are not neatly divided into categories such as “natural” and “supernatural,” or “earthly” and “spiritual.” Rather, the qualities implied by such distinctions are present, to varying degrees, in all beings. Every person, many animals, and even certain objects possess a soul-like, life- essence known as Lawa, which can be perceived through the shamanic authority and invisible in the physical world. In daily life, the Khambu indicate the presence of lawa by pointing to the chest or stomach, while for supernatural entities, they reserve the term Maang. Intriguingly, when a bodiless lawa enters the unseen realm, it can coalesce into the collective Maang. This transition shows a fluid understanding between human and divine in Khambu cosmology.

Maang occupies a central place in the Khambu animistic worldview, for these revered forces manifest as spirits or guardians, each intimately tied to a specific feature of the natural world. Maang can also refer to ancestral spirits who continue to guide and protect their descendants. Among the many spirits in the Kirati Khambu Rai belief system, the Sakela (or Sakewa) Maang holds a prominent position, alongside other tutelary and nature spirits. Beyond these, the pantheon includes eight additional divine beings, each highly esteemed and woven into the spiritual and social life of the community.

These revered divine spirits, collectively known as ‘Retkamang’, occupy a central place in Khambu Rai tradition. In the Bantawa language of the Khambu Rai people, Retka or Rekka signifies “eight,” while Maang, as discussed before, denotes a divine spirit. Significantly, the Khambu pantheon recognizes both feminine and masculine manifestations of these spirits: the feminine forms are called Sakuni Dimani, and the masculine forms Sakuchi Dipachi.

It should be understood that Sakela does not appear to be ‘primordial’ as it is mostly associated with the age of agriculture. In the Khambu spirit pantheon, there are older spirits than Sakela though it would not be right to delimit the historical horizon of Sakela. Some of the Retkamaang, which we shall indicate later, are clearly archaic, but that does not mean that they are “pure” and “primordial.” In the form in which we find it, the Khambu spirit pantheon is even decidedly marked by ancient Kirati occupational influences and geography.

Despite their antiquity, all eight divine spirits remain integral to the Sakela tradition, worshipped during the rite that precedes the Sakela/Sakewa festival. Within the Sakela ritual framework, these spirits are symbolically represented by stones arranged in a triangular pattern, typically placed to the right of a sacred Sakela shrine. The deliberate layout and sequence of the stones reflect the importance of ritual precision in honoring the ancestral lineage.

Although the Khambu venerate a multitude of divine spirits, the Retkamang hold particular significance in defining the essence of Sakela, and highlights the reciprocal relationship between human survival through cultivation and the reverent honoring of nature that sustains it.

These eight divine spirits are:

  • Watupmaang
  • Samkhamaang
  • Helawamaang
  • Budimaang
  • Thampungmaang
  • Baktangchumaang
  • Tampchumaang
  • Silimaang

Watupmaang

Watupmang represents the life-giving power of water. The name derives from the Khambu word for water, Wa, reflecting the reverence for rivers, springs, and other water sources that sustain the community. This spirit represents the vast networks of water and their convergence points, echoing the notion of the sea as a unifying force that nourishes all life. In the Kirat worldview, Watupmaang acknowledges water as a source of existence, an idea deeply rooted in the Mundum (oral narrative of the Kiratis) philosophy, which sees the cycles of the natural world as intimately connected to human consciousness and social life.

Before the Sakela rituals and the consecration of the shrine, all water sources around Khambu Rai settlements are carefully cleaned and purified. This practice emphasizes the link between ecology, and ritual, and it resonates with the etymology of Sakela or Sakewa itself, a term derived from Sakmawa, meaning “life-sustaining water.” Through these ceremonies, the Khambu Rai honor water both as a material necessity and also as a sacred, animating force that sustains their crops and their community.

Samkhamaang

Samkhamaang, known as the spirit of the hearthstones (samkhalung or suptulung), represents the collective ancestors of the Kirat household. This spirit underscores the centrality of the home and family unity, as the hearthstones are seen as sacred spaces where lineage and memory converge. In Kirati belief, the hearth serves as a doorway to the realm of ancestral spirits, thereby making it a focal point for communal gatherings and ritual practices.

Within Khambu culture, the first harvest of crops such as rice, millet, ginger, or cardamom is never consumed without first offering it to the ancestors. Similarly, the annual Chhowa, the ritual worship of ancestors, is observed on the auspicious day of Sakela. In this context, it is only fitting that Samkhamaang, the collective ancestral spirits, holds a place within the Sakela shrine, linking the domestic sphere to the larger spiritual and social life of the community.

Helawamaang

Helawamaang, associated with the monkey (helawa), honors the ancestral spirit of agrarian protection. While monkeys are often seen as crop destroyers, the Khambus have, since ancient times, coexisted with them under an unspoken covenant of boundaries and mutual respect. In Mundhum ritual speech, helawa is invoked to acknowledge this balance: the upper reaches of the farm are left for the monkeys, while the lower plots are reserved for humans. This practice reflects a sacred principle of living in harmony with all of nature’s sentient beings, however paradoxical it may seem. This principle is central to the Kirati Khambu worldview.

Helawamaang embodies an agrarian ethos in which the spirit is honored at harvest as an expression of gratitude for the protection and growth of crops. Furthermore, this can also be considered a ritual affirmation of interconnectedness with nature’s creatures, especially those that symbolize adaptive resilience.


Budhimaang

Among almost all Khambu sub-clans, there is a central matriarchal grandmother spirit, venerated annually alongside the ancestors during the Chhowa or Maangsewa ritual. In the Chamling dialect, she is called Machakomma, while in Bantawa, the term Masngchemma is used. Historical evidence suggests that this divine figure existed during the time of the Kirata dynasty in Kathmandu, as Lichhavi inscriptions refer to a mother deity under the term Matindevkul, indicating her worship in Kirata times.

Collectively referred to as Budhimang, a neutral Nepali term denoting this matriarchal figure within the Kirati pantheon, she represents not only this specific deity but also all female ancestors. Budhimang is a fiercely protective spirit, particularly toward female descendants. She is nurturing yet capable of great anger, embodying qualities associated with female strength and authority. Her presence highlights an ideological continuity within Kirat society, where reverence for maternal lineage and recognition of women’s roles in cultural preservation remain central.

Thampungmang

Thampungmaang, also known as Sikari, is perhaps the oldest divine spirit in the Khambu pantheon. The Khambu Rai believe that the forests are home to countless hunter spirits, and Thampungmaang reigns as their chief. Among the Kulung Rai, this spirit is called Diburim. In embodying the skills of survival and the knowledge of the environment that sustained their ancestors, Thampungmaang reveals the Khambu people’s deep-rooted connection to a hunter-gatherer way of life.

Reverence for the collective hunter spirits through Thampungmaang acknowledges the practical knowledge and ecological expertise of earlier generations. These ancestors demonstrated survival skills in navigating forests and tracking game in an inhospitable natural environment. Within Khambu cosmology, Shamans are understood as a part of these hunter spirits. It is believed that, upon death, a Shaman’s soul does not enter the ancestral realm. Rather, it is merged with these spirits, to become an integral component of the very force that guided them during life.

Baktangchumang

In the Khambu Bantawa language, Baktang means “shoulder.” This ancestral spirit signifies strength, endurance, and resilience. It conveys not only physical power but also a profound respect for human labor and effort. In Kirati folklore, Baktangchumang is associated with the ancestor Chappa, who cleared the forested hills to cultivate millet and establish the first agricultural settlements.

Baktangchumang marks a critical transformation in Khambu Rai history: the shift from a hunter-gatherer existence to a life grounded in agriculture. The spirit reflects the community’s recognition of the skill, knowledge, and persistence required to sustain cultivation. By venerating this ancestral force, the Khambu Rai honor both the practical and symbolic significance of human labor, framing agriculture as a sacred continuation of their ancestral heritage.

Tampachumaang

Tampachumaang is the ancient serpent spirit. The name comes from the Khambu word Pa, meaning “snake,” and signifies the spirit’s role as guardian of the fields. Since ancient times, Tampachumaang has protected cultivated land. Khambu tradition holds that anyone who trespasses into these fields without permission may fall into a state of catatonia or paralysis, which shows the authority of the spirit. After the harvest, the Khambu perform a ritual to honor the household granary, called bhakari, in which a separate Tampachumaang bhakari receives consecration and worship.

Serpents hold practical significance for farmers because they eliminate pests and rodents that threaten crops. Within Sakela cosmology, serpents also symbolize the health of springs and streams and act as indicators of water quality. Tampachumaang therefore functions both as a protector of crops and as a spiritual guarantor of the community’s well-being.

Silimaang

Sili Mang is the last of the eight divine spirits in the Khambu Rai pantheon. The word Sili refers to ritual dance, through which the Khambu Rai venerate divinity and express gratitude, often alongside the rites of the Shaman. In the Khambu worldview, Sili symbolizes the cycles of nature. During the dance, performers emulate the movements of Demoiselle Cranes flying in circles, enacting the rhythms of creation and reflecting the harmony of the natural world. The Khambu believe that Sili rituals have been performed since the earliest days of human civilization. To honor its antiquity and sacredness, the dance is never accompanied by melodic music and is performed exclusively to the beat of drums or cymbals.

Elders who mastered this art form have come to be revered as Sili Mang, ancestral spirits of dance and movement. Following this symbolic tradition, Sili Mang is formally recognized and honored during the worship of Sakewa, ensuring that the ritual, its cultural meaning, and spiritual significance continue across generations.

It is essential that these eight divine spirits be consecrated during the Sakela rituals. Whenever a Sakela shrine is established, shrines for the Retkamang must also be included. In the ritual arrangement, the Sakela stone, known as Sisamlung, occupies the northernmost position. With the principal Sakela idol at the northern tip, the remaining stones representing the divine spirits, except Thampungmaang, are arranged in a triangular or pyramidal formation on the ground.

The shrine dedicated to Thampungmaang is more elaborate than the others. It is adorned with wild banana leaves, bottle gourds (Wabuk), and weapons such as bows and arrows. This distinction reflects the belief that Thampungmaang belongs to a period earlier than the agricultural age, symbolizing a link to the community’s hunter ancestry.

During Sakela or Sakewa worship, the Nakhchhong (shaman) does not perform the rites solely under the authority of Sakela. The hierarchy and cooperation among the Nakhchhongs point to the moral and social order of civilization itself. The ritual begins only when the apprentice or assistant shamans have invoked and recited the Mundum through the Retkamang. Once this is done, the Sakela shaman performs the principal ceremony.

The consecration and worship of the Retkamang within the Sakela framework signify a veneration of the forces that have sustained Khambu Rai life across generations. Moreover, the Retkamang tradition in Kirat culture reveals a sophisticated synthesis of ancestral reverence and ecological consciousness where each spirit embodies an aspect of the Kirati heritage of survival. The worship of Retkamang is therefore an act of gratitude toward the divine powers that guard and protect the community.

Shamans of the Tamu Gurung People

When one closely observes the shamanic world of the Gurung people, the first aspect likely to emerge is a taxonomy of ritual specialists that are distinct in function yet deeply enmeshed in the social order of the community. This is the triadic structure of the Pachyu, Khlepree (or Gyabri), and Bonpo Lama, shamans whose spiritual authority permeates the social, moral, spiritual, and cosmological order of the Tamu Gurung life.

Although the Gurungs mostly follow Buddhism today, they have preserved an unbroken tradition grounded in their primordial customs that preserve the memory of an older cosmology. This spiritual worldview clearly predates the monasteries and mantras of the later faith. The precise timeline when the Gurungs of Central Nepal turned toward Buddhism is unclear, but what remains undeniable is their loyalty to that ancestral vision as they continue to retain a vivid, layered shamanic tradition where nature and humanity, the living and the departed, move together to help retain ancestral memory and ethnic identity.

In part, these enduring traditions find their expression in the rituals of the Gurung shamans themselves, whose practices are meant to ensure a connection between the visible world of the living and the vast unseen realm of spirits and ancestors.

Beyond ritual and custom, the Gurung shamanic complex embodies a broader anthropological principle. The reciprocal entanglement of cosmology, and social organization are all ritual sequences that open up as a site of healing and instruction. It transforms into a performative space where gesture and chant become a medium of discourse between human and spirit, and ancestor and descendant. For both the ethnographer and the attentive witness, Gurung shamanism, thus becomes a living epistemology that consistently demonstrates that ancestral wisdom is perpetually renewed and rendered relevant across generations.

At the heart of this Gurung world of rituals stands the Pachyu, the animist Shaman. He mediates across the porous boundary between the physical and the spiritual, and is generally revered as healer, diviner, and custodian of balance. The Pachyu’s vocation is typically lineage-bound, passed through generational ritual authority, where a child grows under the steady beat of Shamanic chants and drumbeats. Through trance and invocation, the Pachyu is expected to confront afflictions attributed to the intrusion of Ra Lung (restless spirits), Sa Lung, (the wandering of the soul), or the wrath of La Tung (local deities), restoring equilibrium to the afflicted and to the moral order of the community itself.

While performing healing rituals, the Pachyu employs various rites. From soul retrieval to spirit negotiation, or invoking compassion-driven helper spirits of the phu-rhin (higher world) and sam-rhin (lower realms), their functions are both curative and spiritual.

Apart from ritual solemnities, they also act as social mediators in domestic disputes, interpret omens, and guide life-cycle rituals such as birth and marriages. Within Gurung society, the position of the Pachyu is largely hereditary, and is confined to a few clans or thars known for their animistic practice. This continuity reflects the prevalence of a clan-based system through which sacred knowledge and ritual authority have been carefully preserved across generations.   

Khlepree or Ghyabri are shamans who are particularly associated with the Pae or Arghum, the multi-day funerary ritual performed to escort the departed soul safely to the Land of the Ancestors (Mithen). Central to the entire ritual is the phase known as Rhiteba, a performative rite where an effigy of the deceased, often a bamboo frame dressed in the deceased’s clothing, becomes a conduit for the soul or spirit. The Khlepree, accompanied by rhythmic drumming and the clash of large brass cymbals, leads a sacred dance around the effigy. This could be viewed as an appeasement to the soul to release its attachment to the world of the living.

He recites long epic narratives that chart the soul’s journey to the ancestral realm. His chants, called Phepung, are dense with mythic imagery and genealogical memory, as he evokes the origins of the world and the descent of ancestors. To speak them rightly is to renew the community’s link to its divine beginnings, thus making the Khlepree a true keeper of the Tamu oral tradition.

The Bonpo Lama, while less visible in everyday healing, represents the syncretic heritage of Gurung ritual life. Descended from pre-Buddhist Bonpo traditions, though often integrated into contemporary Buddhist system, these priests recite the Pe or Pye-Tan Lu-Tan. These are orally transmitted sacred texts that encode cosmological narratives and mythic genealogies. The ritual language is deliberately archaic, occasionally opaque to lay Gurung speakers, which usually gives the Bonpo the sacred authority of the officiant, while preserving an intangible heritage that bridges the past and present.

In Gurung culture, shamans acquire their sacred knowledge through either lineage, tutelage (under an experienced practitioner), or through spontaneous spiritual revelation in youth. While the capacity to perceive and interact with spirits is considered an innate or divinely awakened gift, often signaled by ancestral calling or life-changing experiences, the practical dimension of shamanic knowledge can only be cultivated through meticulous apprenticeship.

Young initiates, born into shamanic families, begin by observing and participating in rituals alongside elders, memorizing sacred chants, learning the sequence of ceremonies, and mastering the use of ritual instruments. Over time, they develop the ability to channel divine forces and negotiate with spirits. Soon, they are able to internalize the spiritual and symbolic dimensions of ritual, gradually refining their latent shamanic capacity.

For those without shamanic lineage, entry into the Gurung tradition begins with the selection of a teacher, on a full moon day, and the establishment of a formal apprenticeship marked by a humble offering. The student may live with the teacher, assisting with daily tasks while dedicating evenings to learning chants and ritual practice. Over the course of five or six years, the apprentice accompanies the teacher during different ceremonies. He is expected to observe rituals and learn the technical dimensions of the vocation. When deemed ready to “carry the load,” the student masters the three-day Pae ceremony. This rite culminates in the physically and spiritually demanding task of dragging a sacrificial goat in a precise sequence while surrounded by other shamans and veiled mourners. Successful completion affirms mastery of ritual knowledge and composure, marking the apprentice’s initiation as a fully recognized Shaman capable of serving the community.

Observation of Gurung shamanic rites reveals an orchestrated interplay of sound and movement. Drums and cymbals remain the most important tools while other ritual paraphernalia, like umbrellas and ceremonial shields, demarcate sacred space and manifest the cosmological order where spirits and humans meet. Offerings of goats, roosters, rice, and local liquor function as deliberate gestures of mediation. These play a significant role in appeasing spirits, honoring ancestors, and restoring social and spiritual equilibrium. Each element carries multiple layers of symbolism during the rite.

Perception of shamans within Gurung society is nuanced. They have the utmost respect as custodians of sacred knowledge and mediators of misfortune. However, their practices coexist on the sidelines of the Buddhist and Hindu belief systems. Nonetheless, a majority of the Gurungs may attend Buddhist ceremonies and Hindu festivals but the shamanic rites persist as essential, particularly in matters concerning death, illness, and the unseen forces that structure daily life.

The sociocultural role of Gurung shamans extends well beyond the effectiveness of their rituals. By mediating relationships between humans, spirits, and the natural environment, they help uphold communal norms as well as the transmission of knowledge. Their presence reflects both continuity and resilience, demonstrating a Tamu Gurung worldview in which the physical and spiritual realms are closely connected. In the context of globalization, the persistence of Gurung shamanic tradition ultimately highlights the strength of indigenous knowledge systems and the continuing importance of ritual in maintaining social cohesion and community well-being.

Animism is not Primitive

I had always heard of the term animism. Throughout my years learning about my own culture and comparing it with other indigenous traditions across the Himalayas, this word kept appearing in books, articles, and lectures. Scholars and culture enthusiasts used it freely. Some found it fascinating while others dismissed it as archaic. Yet I could not help but wonder, if this word truly captures the essence of our belief system? And if it does, is it really relevant?

The term animism was first coined in 1720 by the German doctor G. E. Stahl to describe a medical idea that the soul directed the processes of the body. Over a century later, the anthropologist Edward Burnett Tylor reimagined the term in a broader cultural frame, describing it as the essence of all religions. Tylor viewed animism as the earliest human attempt to make sense of the world, a tentative, imperfect science, an effort to explain life, the difference between the living and the non-living, the human and the divine.

In modern parlance, however, the definition of animism has evolved. As research has deepened, scholars now describe it as the belief that within ordinary, visible, tangible bodies there exists an invisible, intangible being: the soul or spirit. Each culture has its own distinctive animistic beings and its own elaboration of what the soul is and how it interacts with the world. This perspective moves beyond Tylor’s simplistic definition of animism.

In the Himalayas, this definition is remarkably appropriate. Among cultures rooted in Shamanism, people believe in divine spirits inhabiting natural landscapes, guardian entities that watch over human settlements, and invisible divine forces described in mythology. Himalayan animism is deeply intertwined with the way these communities perceive the world. However, when compared with the philosophy of organized religions, their theological scriptures, melodic hymns, and grand rituals, animism can seem, at first glance, archaic. A larger, more persistent question then emerges. Is animism really primitive?

Let us first understand the word ‘primitive’. From an etymological standpoint, the word primitive comes from the Latin primus, meaning “early” or “first.” Over time, however, its meaning became derogatory. By the nineteenth century, it had acquired a hierarchical meaning, used to describe societies that European scholars believed existed at an earlier stage of human development. This language gradually shaped how indigenous belief systems, including animism, were perceived, as remnants of a less rational and evolved humanity.

Although modern scholars no longer equate primitive with inferiority, the term still lingers in subtle ways. Many tribal or indigenous societies continue to be labeled as primitive, and this notion often becomes one of the criteria for defining a “tribe.” In fact, the very word tribe itself can carry connotations of being regressive. This reveals how deeply these colonial hierarchies of thought persist in modern discourse. The word primitive, thoroughly colonial in its making, continues to carry the popular undertone of being “not modern.” In light of this prevailing understanding of the word, it becomes worthwhile to examine whether animism can truly be called primitive.

If we view animism merely as a shaman shaking to the beat of a ritual drum, we do the term a grave disservice. At its core, Animism is a worldview. It is a way of seeing existence as an indivisible whole. It does not split life into subjects and objects, and understands the world through relationships. Every form of being participates in a network of connection and reciprocity. This perspective finds prominence across the Himalayan region. The Kirati Khambu honor Honkumaang, the river spirit, and Thampungmang, the hunter spirit. The Jirel recognize Phu, the mountain spirit, and Nagu, the river spirit. The Magar people respect Bhume, the earth spirit, and Masto, protective ancestral spirits. The Gurung pay homage to their ancestral mother, and Ghyang, the nature spirits. Across this Himalayan worldview, countless other spirits inhabit rivers, forests, and peaks, reminding us that the natural world is inseparable from human life, and that our existence is merely a small part of the expansive whole.

This is what anthropologists Nurit Bird-David and Tim Ingold describe as a relational epistemology. It is a way of knowing that arises through participation. Bird-David explores this idea in her influential essay “Animism Revisited: Personhood, Environment, and Relational Epistemology”, while Ingold expands on it in his book The Perception of the Environment: Essays on Livelihood, Dwelling and Skill (2000). Both argue that animism is not a primitive misunderstanding of the world, but a sophisticated philosophy of relationship. It is a way of being that recognizes the self only through its connection to others, human and non-human alike.

This concept of relational epistemology represents a deeply sophisticated understanding of how knowledge is born. In the animistic worldview, knowledge arises from participation and relationship. A shaman or the tribes learn from nature by listening or engaging with its flow and entering into dialogue with its spirits. This kind of knowing demands attentiveness and reciprocity. Today, different domains, such as, ecology, phenomenology, and environmental philosophy are being developed through this very concept.  Relational epistemology recognizes that humans are not separate from their surroundings and all sentient beings are a part of a living continuum. It is an alternative view that seeks harmony rather than domination.

Animism invites us to see that consciousness and agency as not confined to humans alone. In this worldview, mountains, rivers, forests, and animals are living presences, capable of acting, responding, and shaping the world around them. A river can protect or punish, a forest can guide or withhold, and a mountain can command attention and respect. This is far from superstition, as it resonates with contemporary ecological and philosophical insights. Thinkers like Bruno Latour (Reassembling the Social, 2005) and Philippe Descola (Beyond Nature and Culture, 2013) describe this as distributed agency. The ability to influence, and sustain the environment is shared across humans and non-humans alike. Animism, in this sense, presents a subtle and sophisticated ontology and it dissolves the rigid boundaries between subject and object, to see life as an interconnected web of beings.

Furthermore, animism offers a sophisticated metaphysics of life and death. In this worldview, death is simply a transformation as the spirit endures, taking on new forms within the world. This perspective requires a subtle understanding of continuity, evolution, embodiment, and, in some sense, spirituality. Even though it does not dwell on theological speculations or scientific notions of nothingness, it offers a distinct way of knowing, that combines spiritual and ecological truths into a cohesive understanding of life. Life and death are part of an ongoing cycle. This dynamic interplay in which humans, animals, plants, and even the landscapes themselves participate, contributes to the evolution and continuity of being.

Animistic thought is also based in careful observation of the patterns and cycles in the natural world. It constitutes an empirical system of active participation and attentive engagement. Cultivated over generations, indigenous ecological knowledge, has often proven more sustainable and resilient than industrial scientific practices. In this sense, animism develops alongside science to form a distinct epistemology grounded in experience and relationships with the world. Its sophistication emerges from participation and a deep understanding of life’s patterns.

Thus, would it be fair to call animism primitive? In the Himalayas, we are not immune to Western thought and ideology. Subtle colonial lenses still influence the way we interpret the world, and the comforts we enjoy are often the fruit of Western science and innovation. But to dismiss animism as primitive is to misunderstand its depth. Animism is neither a relic of the past nor an exclusively Eastern concept, just as modernity is not purely Western. Both are frameworks for engaging with the world. Both are equally capable of revealing truths.

Animism, thus, is about perception. It helps us see the world as a dynamic network of relationships. It teaches harmony and reciprocity, and certainly compatible with scientific understanding. Even if we set aside personified spirits prevalent in indigenous tribal beliefs, animism reminds us that nature is alive and intelligent. Its spirits represent transformation, balance, the power to nurture, challenge, and forgive. In recognizing this, we move beyond ourselves as the center of the universe, and learn to acknowledge that everything around us carries essence. Whether we call it spirit, soul, energy, consciousness, or something else is a matter of personal reflection.

The Boy the Mountains Remembered

They say that long ago, the Sunuwar Koits of Sanalu village used to hunt in the high forests of Chordam. Those were wild days. The mountains were quiet but alive, and men followed the deer into the clouds.

Among the hunters was a young Sunuwar Koits man, tall, quick with his bow, and fearless in the dark. One morning, while chasing a wounded stag, he lost his way and came down to a village called Dunge. There, smoke curled from the roofs, and a young Sherpa woman stood by the stream washing grain.

The hunter greeted her,

“Amaile, can you show me the path to the ridges of Chordam?”

The woman looked up, smiled faintly, and said,

“If you are lost once in these hills, stranger, the spirits will keep you here. Best you stay till dawn.”

So he stayed. Days passed, and the mountains forgot the sound of his bow. Before long, love grew between them, quiet and deep as the forest itself.

One season later, the Sherpa woman gave birth to a son. She waited for the hunter to return. Each dawn she lit a small fire and said softly,

“If he remembers me, the wind will bring him back.”

But the wind only carried silence.

When the time came to name her child, she gathered juniper branches, burned them, and bathed herself in their fragrant smoke.

“Let this smoke take away all that is unclean,” she whispered, “and may my son walk with clear heart and strong breath.”

She named him Nandare, after the wind that had once brushed her cheek when the hunter first spoke her name.

Years later, a Tibetan lama passed through the valley. He saw the boy playing by the stream and said,

“This child carries a light I have seen only in high places. Let me raise him; he will learn the words of the mountains.”

The mother bowed her head.

“If you take him, Lama-la, teach him to remember me, not by face, but by the smoke of juniper.”

The lama nodded and took Nandare to Jiri, where he grew into a wise and kind man. From his line, it is said, came the Nan Jirel clan, children of a Sunuwar father and a Sherpa mother, mountain-born, wind-named, and forever tied to the scent of juniper smoke.

A Tree for the Departed

Many years ago, when my grandfather passed away, the ancestral house in Ghaiyabari, near Kurseong, filled with quiet sorrow. People gathered from nearby villages, women sat close together, weeping in hushed tones, while the men spoke softly of his life, his integrity, and his small but steady kindnesses. The rites were performed in the old way, with rice grains, and ritual speeches that had passed unchanged through generations. When it was time, we carried his body to the edge of the nearby forest, a sacred patch of land that belonged to our family, where my grandmother and uncle had also been buried.

The Khambu Rai people have always practiced burials, though I recall a few exceptions, cases where individuals had embraced the Hindu way of life, and were cremated according to it’s customs. But my grandfather, a devout Kirati Khambu to his final breath, would have chosen no other path but a proper burial, rooted in our traditions. I had never visited that part of our land before. It lay deep within the property, dense with undergrowth, past the cardamom fields, across a narrow stream and a stretch of muddy terrain, where weeds grew wild. Among Rai families in the hills, there are no designated cemeteries. The dead are returned to the very soil they once tilled and walked and spoke to. Perhaps that is where the soul feels most at home.

When the rituals ended, five full days of chants, offerings, and sleepless vigils, a concrete tombstone was raised over his resting place, his name and age etched neatly upon it. At the time, it felt ordinary, almost expected. Yet over the years, I have found myself questioning whether this act truly belonged to our way of life. Traditions may shift with generations, but philosophies endure. And so I am left to wonder if, within the Khambu understanding of the world, the idea of claiming a fixed space upon the earth was ever truly ours.

In recent years, I have noticed how tombstones have quietly become the norm among the Rai people. Without much reflection, many have begun to mark burial sites with concrete or marble slabs, what we call Kapur, as if permanence could grant dignity to the dead. These graves, framed in cement or adorned with polished tiles, have become familiar across the hills. Yet, I often wonder whether this practice actually belongs to our lineage. Even in Nepal, especially in the Jhapa and Morang regions, where British rule never reached, similar tombstones have appeared. To me, these feel like later additions, the quiet inheritance of Christian or colonial influence, rather than a continuation of our ancestral ways.

In truth, a Khambu Rai grave is never meant to defy the seasons or the rain. It is a quiet affair, built to return gently to the earth rather than stand against it. A simple layer of clay is spread over the burial mound. The Khaling Rai dig a pit and cover it with bamboo lattice and straw to make a tomb-house known as Salamkam. While building this tomb-house, the side near the feet of the deceased is made slightly lower, and the side near the head a little higher, so that even in death, the body seems to rest in a natural slope of the land. Upon this chamber, the deceased’s personal items are placed, his walking stick, bamboo basket (doko), and other items.

Among the Kulung Rai people, if a person passes before the age of fifteen, a white mourning cloth, is tied in the names of two female relatives. For those older, four names are invoked, and the cloth remains above the grave for three months, bound between pairs of bamboo poles that sway softly with the breeze. This piece of fabric carries the weight of remembrance. The Khaling Rai grave-house is left standing, but the Kulung, after a year, dismantle it and mark the site with simple stones. This task is performed by two men known as Khamphochim, those believed to be untouched by spirits. When death comes by misfortune, the Chihan Ghar is taken down that very day, a humble gesture to restore balance between the seen and unseen worlds. Nowhere in these rituals lies the intent to immortalize the dead through monuments of stone. The Khambu grave, like the body it holds, must yield to rain and time, returning to soil, merging with the earth, and becoming life once more.

Among the Thulung Kirat Rai, burial is a deeply sacred, highly structured practice, guided by the type of death and the wisdom of the Shaman and the elders. Temporary structures, bamboo markers, and ritual objects are placed around the grave, and prayers are recited for the well-being of both the living and the departed. Even when children die or deaths occur unnaturally, the practices adapt, guiding the spirit without permanent monuments. In all of these customs, there is no notion of raising a tombstone or creating a permanent marker; the rituals emphasize spiritual guidance and ancestral connection rather than concrete memorials.

Why, then, have we come to set cold stones above our dead? If the Khambu Rai people are meant to live by the way of Sumnima (the divine earth-mother spirit), why seek permanence in marble or concrete, when our philosophy calls for harmony with the ever-turning cycles of nature? In life, we partake of the earth’s generosity, drawing nourishment from its fields and forests. In death, we are meant to give it back, to dissolve quietly into the soil that sustained us.

Reverence in Khambu Rai culture is expressed through the Samkhalung, the sacred hearthstone, where our forebears’ spirits linger, quietly watching over the living and guiding the household with gentle wisdom. In contrast, tombstones are not part of this tradition; they mark a space, but they do not nurture the ongoing cycle of life. Would it not be more in keeping with our worldview to plant a tree above the burial mound, a living sentinel that grows, blossoms, and bears fruit? Through its roots, it nourishes the soil, drawing life from the same earth that once cradled the deceased, and in turn sustains new life. In this way, even in death, we maintain our dialogue with the earth, giving back more than we take.

In Khambu philosophical understanding, death is neither a final ending nor a reason for sorrow alone. It is a return, a transformation, a rejoining of the eternal cycle that binds all living beings. To mourn by erecting stones is to misread the philosophy we inherit. As Kirati Khambus, our reverence is expressed through life itself: by planting, by nurturing, by letting the earth bear witness and remember. In this way, the cycle continues, and the memory of those who have passed becomes inseparable from the living world they once walked.

I know that my vision may not dissolve the colonial mindset we have inherited for decades. People will continue building tombstones, just as they always have. Yet I am certain, somewhere, someone will be touched by the notion of staying true to our worldview, even as traditions evolve. If my grandfather, who lived and breathed the Khambu way, were to look upon my perspective, I believe he would have agreed. And in that quiet approval, perhaps the cycle of life and memory will find its truest expression, not in a tombstone, but in the living earth itself.

Balance and Belief in Thami Shamanism

As wisps of juniper smoke rise and spiral into the air, commencing the rite, Thami shamans begin the solemn recitation of the Palakhe, the verbal journey that lies at the heart of their ritual tradition. This oral incantation opens with the community’s cosmogony, as they evoke the primordial divine spirits Ya’apa and Sunari Ama, whose union shaped both the contours of the earth and the foundations of Thami culture. From this mythic origin, the narrative flows into the advent of agriculture and the establishment of ritual practice. Far more than ceremonial repetition, these verses serve as a bridge that binds the living to the ancestral, affirming continuity across generations. Additionally, in Thami culture, Palakhe is also significant as it asserts a worldview in which spiritual, ecological, and social harmony must be actively maintained.

Alongside the oral chants of Palakhe, are the primordial deities. Thami cosmology includes a rich pantheon of nature spirits that embody the elements and ancestral forces that define their reality. Among these, the earth spirit Bhume occupies a central place, honored as both origin and sustainer of life. Thami shamans, revered as Guru Apa / Guru Bon or Guru Ama serve as mediators between these invisible forces and physical world. Their ritual journey begins with the resonant invocation “Sango! Sango! Sango!” a chant whose precise translation may elude ordinary language but whose function is unmistakable. Known as the Khola Dabla, this begins the summoning, a declaration of sacred attention, an utterance that defines the transition from the ordinary to the mythic. Spoken in binomials, with memory, and often divine guidance, it signals the opening of the ritual space where myth and reality intermingle, and the ancestral world is brought into the present.

Thami Shaman Guru Apa

Within the Thami spiritual landscape, there exists a distinction between two types of shamans, who both fulfill a unique role and are held in equal regard. The first is the ritual healer, a practitioner endowed with the ability to summon divine forces, conduct divination, and guide the afflicted through illness or spiritual imbalance. Using a Takey, the ritual drum, they enter a state of vibrational trance through which they communicate with spirits, perform séances, and mediate between the human and nonhuman worlds. In contrast, the second type of shaman does not engage in healing nor usually rely on drums. These figures are clan-bound ritual officiants, individuals touched directly by ancestral spirits. They are self-realized, self-learned, and serve as conduits for the voice of the ancestors during clan-specific ceremonies.

One of the most striking features of Thami ritual life is the expansive role played by the shaman. In many Himalayan communities, rituals that do not require direct mediation with the spirit world are typically conducted by lay elders. These are usually respected figures who have inherited procedural knowledge and know the proper formality of ancestral practice. But among the Thami, the shaman stands at the center of nearly all ceremonial life. Far beyond the role of healer, the Shaman officiates rites of passage from the first naming ceremony (Nwaran) to the final death rites (Mumphra or Mamphra). Their presence is noted even in marriage rituals (Bore), though their role there is more restrained. It is in the worship of the tutelary deity Nem Dewa, and during Bhume, observed during the biannual transitions of Ubhauli and Udhauli, that their authority becomes unmistakable. Here too, the shaman becomes the officiant as they regulate the ritual cosmos, ensuring that the unseen forces of the spirit world remain in harmony with the seasonal and social cycles of the human world.

Thami shamanic rituals are marked by their intensity, duration, and the immersive presence of the Guru Apa, who may chant for hours without pause, their voice rising and falling with the drumbeat and the breath of the ancestors. These extended incantations are both static recitations and living performances, occurring in real time. The shaman typically remains seated before the shrine during important rites, occasionally rising to adjust offerings or respond to intervening divine entities, then returning to their position without breaking the ritual flow.

At its center are Puchuk, conical sculptures made from grain flour reminiscent of the Buddhist Torma yet rooted in an older animist tradition.  These are delicately placed upon the leaves of the Nebhara fig tree or the broad fronds of wild banana. Above the shrine, Chellam, a thin liquid made from flour, is splashed against the wall, forming an ephemeral offering that mingles matter and intention. Petals of Totala Phool, the Indian Trumpet Flower, are placed as symbols of renewal and beauty, while items such as the Thurmi, a ritual dagger, are arranged with exacting care. A small oil lamp, known as pala or diyo, burns steadily, its flickering light guiding the spirits and illuminating the sacred space. Sang, fragrant juniper, is kindled, sending smoke that is believed to cleanse and invite divine presence. Five eggs are placed on the shrine, offered to the guardian spirits, Baarah, Chirkun, Jaleswori, combined protective ancestral spirits, and one specifically to Lamadabla, symbolizing fertility, protection, and the shaman’s ongoing connection to the spiritual and ancestral realms.

And alcohol, specifically locally brewed Raksi, is poured as a libation to spirits and ancestors. At the appropriate moment, a chicken is ritually sacrificed, its blood offered to the deities to complete the transaction between the human and spirit realms. The entire space is activated through the sound of the Takey, the ritual drum, whose deep resonance propels the shaman into trance.

Among Thami shamans, the Takey, their ritual drum, is often a treasured inheritance, passed down through family lines or granted by a mentor who recognizes the calling.  However, the shaman’s arsenal extends beyond this resonant instrument to include the sharp blast of the Mirkang, a trumpet fashioned from tiger bone, and necklaces adorned with bells and the vertebrae of snakes, each carrying its own power and symbolism. Yet, above all, the most essential tool remains the Thurmi, known more broadly as the Killa, a ritual dagger that serves as a symbolic nail, anchoring the shaman’s authority and binding the unseen forces that swirl around the ritual space.

The Thurmi stands as the shaman’s axis of power, a ritual blade that carries within it the memory of ancestral authority. Made of metal or bone, it gathers the strength of the elements and the breath of those who wielded it before. In the course of the ritual, the Guru Apa uses the Thurmi to fasten energies that move unseen, to steady the currents of the spirit world, and to affirm the balance that holds the human and the other-than-human in relation. Its point fixes intention, its presence marks the center of the sacred ground. Through the Thurmi, the shaman engages in a dialogue with the invisible, a necessary act of anchoring, binding, and remembering that maintains the equilibrium of the world.

Thurmi

The shaman, endowed with privileged access to the divine realm and guided by knowledge transmitted through ancestral memory and spirit tutelage, occupies a position of extraordinary responsibility within Thami society. Through experience, inherited ritual authority, and the use of sacred instruments, the Guru Apa becomes an agent of mediation who renders the invisible legible. In ritual practice, the shaman restores equilibrium between human and nonhuman worlds, aligning social harmony with ecological and spiritual order. What might appear as acts of healing or divination are, in essence, ontological interventions. They create moments in which the moral, natural, and ancestral planes are brought into coherence. Within this worldview, shamanism becomes a sustaining cosmology, a way through which the Thami continually reproduce their understanding of balance, reciprocity, and existence itself.

Despite the encroaching forces of modernity and the gradual transformation of social and economic life, the figure of the shaman endures as a repository of Thami cultural memory. Through ritual knowledge, oral transmission, and embodied practice, the Guru Apa preserves the ethical and cosmological foundations that continue to define Thami identity. Shamanism, resilient yet adaptive, remains central to how the community negotiates change, anchoring collective belonging through enduring traditions while sustaining a system of meaning in which the sacred and the social are inseparable.

The Quiet Awakening of Identity

Back in 2014, when I first offered my time to an organization dedicated to preserving the cultural traditions of the Kirati Khambu Rai in Darjeeling, I stepped into a world I had always carried with me, yet scarcely understood. I knew the names of our ancestors, the patterns of our migrations, the outline of our history, but not the cadence of the traditions that bound spirit to soil. I could fumble through Chamling sentences and recognize the offerings of Samkhalung during Chhowa. But the deeper aspects of my culture, the meanings behind the Mundhum, the sacred logic of the rituals, the worldview etched in symbolic actions and inherited ways of life, remained elusive.

For years I had lived comfortably within the architecture of modern life, working in a firm that developed web applications, surrounded by the glowing screens of another world. I wore Western clothes, watched American shows, thought in English, but never once doubted the fact that I was Kirati. It was a knowledge I did not question, though I rarely turned toward it. It was only through years of listening, recording, and slowly learning to see as my elders see that something shifted. The distant became intimate. The inherited became deliberate. Sure, I had always identified as Kirati Khambu, but had I truly understood what that meant? Had I, even then, possessed ethnic consciousness?

Ethnic consciousness is the lived awareness of belonging to a distinct cultural group, marked by inherited identity and a reflective understanding of its meaning, boundaries, and significance in relation to the wider world. As Fredrik Barth observed in his influential introduction to Ethnic Groups and Boundaries: The Social Organization of Culture Difference (1969), what defines an ethnic group is not the cultural content itself but the boundaries that are maintained between groups. This kind of self-awareness does not always emerge organically. It often surfaces in moments of tension, contact or marginalization. It is when a community begins to recognize its own patterns, beliefs and ways of life as markers of identity rather than just inherited customs that culture becomes conscious. This shift from living culture to self-aware identity is subtle but transformative. It turns tradition into a basis for collective strength, advocacy and survival in a world that demands clear definitions.

Here, it is crucial to understand what ethnicity truly means. It should not be mistaken for far-right notions of ethnicism, tribalism, or racial superiority. Ethnicity is a lived experience of belonging to a people defined by their unique customs, languages, and ways of relating to the world. It is the emotional and cultural attachment to traditions passed down and practiced daily. For elders and cultural stewards, the quiet erosion of this inheritance is a deep and silent wound. For the young, drawn by the pull of cities and the promise of new opportunities, such detachment may feel like freedom. Yet every language forgotten, every rite left unperformed, risks severing a vital thread in the vast tapestry of human possibility.

Ethnic consciousness often intensifies when a culture is under threat. This is a familiar pattern among indigenous peoples worldwide. As John and Jean Comaroff explain in Ethnicity, Inc., communities frequently turn to their ethnic identity as a means of reclaiming visibility and asserting agency when faced with marginalization or cultural loss. In the Darjeeling region and its surroundings, this is evident among communities near Bagdogra and Salugada. There, Kirati organizations and other tribal groups in the Duars have been actively engaged in reviving their ancestral traditions, organizing large annual festivals, and renewing their focus on language and cultural preservation with growing success.

In my experience, exclusion often plants the first seed of ethnic consciousness. When communities are overlooked by institutions, denied access to basic facilities, or left out of larger conversations, something shifts. People begin to turn inward, for survival, and to remember. Slowly, this inward turn can grow into a movement. I’ve seen it happen, where neglected languages are spoken again with care, where long-forgotten festivals are revived. These acts are quiet affirmations. Through every ritual performed, through every endangered word uttered, there’s a message being sent: We are still here.

But exclusion isn’t the only path to awareness. Sometimes it begins in far gentler ways. I’ve watched people become conscious of their roots simply by being part of a cultural organization. In spaces where shared memory is honored, a kind of camaraderie forms that nudges people to look deeper into themselves. Some join out of curiosity, others because they carry a pride in ancient ancestry. And then there are those who seem unsure at first. They may not know the rites, may not speak the language fluently, but carry a quiet, generational awareness. Over time, with every story shared, every ritual observed, they begin to see more clearly. Their journey inward doesn’t come all at once, but gradually, as they begin to understand that their identity has always been there, waiting, just beneath the surface.

At the same time, migration, urbanization, and tourism have created new conditions for reflection. When individuals leave their ancestral lands for cities or foreign countries, they often find themselves re-evaluating what it means to belong. Culture, once taken for granted, becomes a thread of memory and longing. Interestingly, tourism plays a dual role in this process. While it sometimes risks flattening culture into spectacle, it also pushes communities to examine and articulate their traditions with renewed clarity. And perhaps most crucially, cultural transmission, serves as the foundation of ethnic awareness.

Ethnicity today is often spoken of as if it were fixed and self-evident, but as scholars like Jean and John Comaroff argue, it is anything but static. Rather than a single, solid identity, ethnicity is better understood as a living process. It is a set of shared signs, languages, customs, and sentiments through which people come to recognize themselves and one another. Its meaning changes depending on history, politics, and experience.

Among the Kirati communities of the Himalayas, for instance, ethnicity is attached to oral traditions, agricultural rituals, sacred landscapes, and kinship patterns but it is also shaped by the pressures and incentives of the modern state. With the promise of recognition, representation, or access to Scheduled Tribe benefits, some individuals begin to express their ethnic identity more visibly in public, even if those same traditions are fading at home. In such cases, ethnic performance may appear strategic, but it still reflects the larger reality that identity is now being negotiated in a world where visibility matters. As modernization and state narratives press in, this once quiet identity must become conscious and, at times, even performative.

But is this really ethnic consciousness? If identity is displayed only for political recognition or material gain, can it still be called awareness in the deeper sense? This question lingers in many corners of our community, and I’ve often found myself asking it quietly when I see festival costumes worn like uniforms, or rituals performed without memory. When culture is practiced only in the open, but forgotten at home, it risks becoming a performance for the gaze of others, whether governments, researchers, or tourists.

And yet, even strategic displays can carry the seeds of something more meaningful at least among some individuals. Sometimes, performance precedes belief. A young person who joins a festival ritual out of obligation may still be moved by something glorious within it. A checkbox on a form may lead someone to ask, “What does this actually mean?”. While wearing a traditional attire, one might feel a sense of pride. Therefore, while ethnic consciousness may begin in the political, but for it to truly take root, it must become personal. Something to be experienced, remembered, lived, and slowly carried inward.

Over the years, I’ve met many such individuals who first wore their identity for convenience or recognition, but later found themselves asking profound questions. What begins as a borrowed ritual or an attendance can easily turn into an inward journey. Some start picking up books on culture and history, flipping through old photographs, or listening to the elders they once ignored. I’ve also seen people who barely spoke their mother tongue begin to search for its words again. In time, the costume becomes a memory, and the memory becomes meaning. Ethnic consciousness is not always inherited in full. Sometimes it is rediscovered, piece by piece, story by story, until what was once external becomes internal.

So, did I truly have ethnic consciousness back then, when I first began volunteering in 2014? Perhaps not in its full form. I had fragments, memories, names, rituals heard in passing, a sense of belonging that was more intuitive than articulated. What I carried might be better described as latent awareness, a quiet certainty that I was part of something older, though I hadn’t yet turned to face it fully. Over the years, through listening, reading, asking, and sometimes simply being present, that awareness grew. It matured into something more deliberate, and reflective.

But this consciousness has not come without its complications. At times, it has slowed me down and led me to question the paths I might have taken more easily if I had chosen to forget. At other times, it has grounded me. In a world that urges constant reinvention, it offers continuity. In the noise of modern life, it gives coherence. I live fully in the modern world. I embrace technology, learning, and new ways of seeing. I value inquiry, skepticism, and the pursuit of truth. These shape my thinking. My identity as a Khambu moves alongside these values. I live with both. I think with both. I carry both. This awareness has brought clarity to my perspectives. It has shown me that identity forms through engagement, memory, and lived experience. And that to move meaningfully in this world, one must first know where their feet are standing.

The Drum of the Tiger

In the beginning, when the world was still new and the sky was close to the earth, there lived a woman named Tigenjungna. She was not an ordinary woman. She had no husband, no people, and no village. Created by the divine will of Tagera Ningmaphuwa, the supreme creator, her presence was part of the cosmic balance, and her body carried the mystery of life.

In time, Tigenjungna gave birth to twins, though no man had ever touched her. The divine had planted life in her womb. One child was born a tiger, fierce and wild. He was named Kesami. The other was born a human, alert and wise. He was called Namsami.

They came from the same womb, drank the same milk, and slept beneath the same sky. Yet one belonged to the forest, and the other to the fire. Both had vastly different personalities.

In the early days, they were never apart. Whether resting in the shadows or wandering through the wilderness, the tiger and the man-child shared their world with no quarrel. But time ripens all things. As they grew, their paths began to split.

Namsami learned to hunt with a slingshot. He chased birds, climbed trees, and made fires. Kesami hunted frogs, beetles, lizards, and later, larger beasts. His eyes gleamed in the dark, and his silence was heavy.

One evening, Namsami spoke softly,  “Brother, why do you eat such creatures? There are other ways. We can hunt together, and eat clean food.”

But Kesami growled in reply, “Not only will I eat them. One day, I’ll eat you.”

From that moment, they were no longer just brothers. They became hunter and hunted.

Namsami fled, wandering deeper into the forests, always hiding, never sleeping soundly. All he wanted to do was survive. And behind him, Kesami stalked, his hunger growing. He no longer saw his twin. He saw meat.

Tigenjungna, the mother of both, wept in silence. Her body had birthed them both, and yet, they now walked different worlds. She hid Namsami when she could. He hid him in ravines, on ridges, beneath thick leaves. Whenever Kesami came roaring, she deceived him.

“He’s up in the high hills,” she’d say. “He’s down by the stream,” she’d whisper.

But lies wear down even the strongest tongue. One day, Kesami turned on his own mother, his jaws dripping.

“You’ve lied to me long enough. Tell me where he is or I’ll tear you apart.”

That night, Tigenjungna called Namsami and said, “I cannot lie anymore. My mouth is dry, and my heart is cracking. Listen, my son, go to the ravine. Take your bow and arrows. Climb the tallest Simal (Silk cotton) tree. Hide on the ninth branch. If your brother comes, I will send him there. If I do not, he will devour me.”

Before he left, she planted two flowers in front of her dwelling, upon two dried bottle gourds. Babari (Wild Basil), for Kesami, and Sillari (Cow Parsley), for Namsami. And she prayed, “If the Babari wilts, I will know the tiger is dead. If the Sillari fades, I will know the human is gone.” Then she sat before the flowers, spinning thread and whispering wind-prayers.

Down in the ravine, Namsami waited. The sun passed, the shadows deepened, and then came the sound of leaves rustling. Kesami had found him.

The tiger looked up at the tree and snarled. “So here you are. No more hiding today.”

He began to climb, his claws scratching the bark.

At home, the Sillari flower bent, its petals heavy. Tigenjungna wept, her hands frozen in mid-spin.

Namsami aimed his arrows. Once, missed. Twice, missed. Three, four, missed again. Only one arrow remained. Kesami was almost at the top.

Namsami whispered, “Brother, I begged you to live in peace. But you chose the path of hunger. If you must eat me, don’t make me suffer. Close your eyes, open your mouth. I will jump in myself.”

The tiger paused. Then, with a satisfied grunt, he closed his glowing eyes and opened his jaws wide.

Namsami did not jump. He drew the last arrow, took aim, and released it. The arrow flew into Kesami’s mouth and pierced straight through, exiting from beneath his tail. With a great roar, Kesami fell, breaking branches as he crashed to the earth.

At home, the Babari flower shriveled. Tigenjungna knew. Still, Namsami waited in the tree. He saw flies buzzing over the body. One green fly entered Kesami’s mouth and came out the other end, passing under Namsami’s nose with a stench of death. Only then did he descend. He stood before his brother’s lifeless body. His eyes brimmed with tears.

“We came from the same place,” he whispered. “But your path was your own.”

He took the tiger’s hide and shaped it into a drum, the Chyabrung. With each beat, it roared like Kesami had once roared. It was not made for celebration. It was made for remembrance.

Today, the Limbu Chyabrung drum still echoes through the mountains, through the homes of the Limbu people. When the Chyabrung speaks, it tells the tale of the first tiger and the first man, born from the same mother, children of nature, fated to walk separate paths.