Khambu is a tribe. Within this tribe there are subgroups or sub-tribes which are known as Thars. At present there are 28 Thars within the Khambu tribe. Khambu is a tribe. Within this tribe there are subgroups or sub-tribes which are known as Thars. At present there are 28 Thars within the Khambu tribe. Khambu is a tribe. Within this tribe there are subgroups or sub-tribes which are known as Thars. At present there are 28 Thars within the Khambu tribe.

Thar

Khambu is a tribe. Within this tribe there are subgroups or sub-tribes which are known as Thars. At present there are 28 Thars within the Khambu tribe. Some of the more populous ones are Chamling, Bantawa, Kulung, Thulung, Khaling, Bahing, Mewahang, Lohrung, Athpahare, Nachhiring  etc. This division of the Khambus into various sub-tribes allows for the minor alterations in the ritualistic practices while the essence of the traditions remains homogeneous largely.

Pacha

Within the sub-tribe is the system of clans. Thars are further classified into various minor clans known as Pacha. Pa = Father and Cha =Son. Therefore this system is what can be called a family name passed on by father to son. As families spread, it is the Pacha which keeps them connected over many generations. Therefore two people with the same Pacha cannot intermarry.  Pacha is used for general introductions of origin whereas Samet is used for special introduction of origin. Similar Pacha denotes that they are descendents of the same ancestral line which had been divided into further mini tribes in the old days. It is said that once a person owns his own Pacha, he will have to survive on his own for 7 generations after which Pacha becomes valid. Once a girl gets married, she acquires her husband’s Pacha while her traditional Samet remains unchanged.

Samet

There is a further classification within the Pacha known as the Samet or Same. Samet is 
again further classified into Hongchi Samet which consists of the Female and Male Samet (prevalent among most Thars). There is another kind of Samet which is known as Sichi Samet. This is the Samet of the deceased which is usually required for invocation during Mang Sewa (Ancrestral Worship). 

Samet is the relationship of man to his ancestors. It is used as an association with his ancient forefathers is can be interpreted not just in the kinship category but more at a spiritual level. Samet is the original or proto name which identifies people, clans and objects in their relations with the ancestors. Samet relates a person to a group beyond his or her own clan to the original clan or group.

It is important to pronounce the name of the Samet of the groom and the bride at the time of marriage. It is important to pronounce the Samet of the deceased person at the time of his funeral. Even when Shamans are healing a person, they require the Samet of the person to be treated.

Unlike many traditions of the Indian sub continent (especially those of Aryan communities) not much is specified regarding daughters when they are married off. Kirati Khambu Mundhum however specifically ensures the comfort, safety and well being of our daughters even after they get married.

During the marriage of Kirati Khambus, the girl has to be officially given to the groom by a”dialogue” called Bagdatta which translates to “given by word of mouth”. By the means of this Bagdatta the bridegroom is accorded certain rights with respect to the bride, such as legitimacy of their offspring. Consequently she is separated (taken out) from her family Suptulung (Hearth Stones/Chula Dhunga).During this ceremony the ancestors and the protecting deities are requested not to follow the daughter henceforth.

When a Kirati Khambu Rai girl is married off, she has to be cared for by her husband. If he does not fulfill his responsibilities which lead to tensions in their married life, the family of the wife intervenes. They provide advice, suggestions or counseling to the married couple. If the couple still opts for separation, the man owing full responsibility of not abiding by his duties and obligations, has to pay a fine consisting of alcohol, victuals and money to the girl. This fine is considered to be helpful to purify the separation and the unbinding of the marriage and is called “Chokhauni” (Nepali ?).

The separated daughter has to be brought back to the family lineage or “Kul” with the help of Nakchhongs or Mangpas. The daughter is then reentered into the Suptulung and purified.This tradition is called Ukundi and is unuique only to the Kirati Rai society.Once Ukhundi is complete, the daughter is given a “unmarried” status in the family. .The offspring of the daughter can decide whether they want to be a part of their mother’s lineage of their father’s lineage.

Ukhundi ensures that a Kirati Khambu Rai daughter is never neglected by her family and birth parents. This system creates strong family bonds and therefore strengthens a tribe. In a world where Kirati customs today (ironically by Kirati youth) are viewed as barbaric, Ukhundi system is a testament to the beauty and morality of a culture.

It is said that Sumnima created five plants on earth to benefit mankind and to conduct rituals (Hangcha Kupma).

1. Ghungring (Poaceae),
2. Kaulo (Machilus),
3. Amliso (Thysanolaena maxima/Tiger grass),
4. Titepati (Mugwort)
5. Katus (Castanopsis)

These were each created to serve specific purposes. The Katus plant holds great significance in the protection of people from evil spirits but it is also said that the tree holds such power that sometimes any spirit can be warded off in the presence of a twig or even a leaf of a Katus tree. Most Mangpas cannot find a state of trance if a person closest to him is carrying a Katus leaf or a twig.

In the saga of Khakchulip/Hetchakuwa,when the sisters (Tayama/Khiyama) are finally reunited with Khakchulip, their long lost brother, they dance around a Katus tree. Their jubilance is also based on the fact that they find their brother alive (whom they had thought was dead) and therefore the tree is symbolic as the tree of life. While they dance, they say, ‘’We have trodden on our Maiti, now we raise the head of the Maiti (Sayachongma)’’. In this context, the significance and symbolism of the Katus tree extends greatly.

The Kirat Mundhum places great importance on Katus. It says that living or dead spirits can be lost in its presence and the plant can be used to purify a person in times of great difficulty or ill health. The twigs of the plant can also be used as a medium to communicate with the ancestors in the spiritual realm. During Sakela or any ritual, when the Kirati Khambus are doing the Sili (Dance), the whole atmosphere is open to spiritual energies. At such times, the whole attention of the spiritual realm is focused on the Sili and it could either please or aggravate the spiritual energies. The spirits, in a state of trance could enter the body of any dancer. It is to avoid such mishap that one can see Sili dancers carrying twigs of the Katus tree while dancing.

The Kirat Mundhum religion has its own rules, laws, bylaws, code of conduct, and discipline. It is up to the Shamans (Mangpas) to facilitate them. A Mangpa is a medium between the physical and the divine.

• Mangdowa
• Nakchhong
• Saarimangpa
• Mangpa
• Bungwa Mangpa

a. Mangdowa/Woptongmi
Mangdowa performs worship rituals of one particular family lineage. Other than this, he helps pray for peace and harmony and strength from the ancestors. A Mangdowa has no teacher and are self learned.

b. Nakchhong
During the lack of a crop harvest, Nakchhongs perform worship rituals during Rawa Udhauli and Ubhauli. They are self-learned, self-realized and do not have a teacher. During the unavailability of Nakchhongs, others can be chosen to perform the ritual worship at the Sakenwa altar. They do not have to worship the Hutlung (Sanctum Stones) after that.

c. Saarimangpa
Saarimangpas heal people who are affected by ghosts, bad spirits, or witches. They perform rituals using rice grains (acheta) to pacify wandering body-snatching spirits. It is believed that Saarimangpas establish wandering spirits (borne of unnatural death) into the ancestral spirit world. They gain knowledge and wisdom from a guru. During rituals, they use Bouquet Grass (Amliso), Ginger (Aduwa), Persea dutbei (Kaulo), Poaceae (Ghungring), White Castanopsis (Kattus).

d. Rungpukmi/Rawenmi
The Mangpas who have no masters are always self-learned. Many Mangpas claim to be disciples of the Ban Jhankri (forest-dwelling Shaman). Such Mangpas are known as Raahangmi, Suksangmi Mangpas. Such Mangpas use flowers even more than the Saarimangpas during their rituals. They bring Mamaang (female evil spirits) and Halla (male wandering spirits) onto the right path and help the people affected by such spirits. Thereafter, the Kirat Mundhum believes that people are freed from the adverse effect of such spirits.

e.Bungwamangpa
There are flowers located at different body parts of the Kiratis and if these flowers are moved or withered, Bungwamanpas reestablish them. Since they are self-learned, they do not have a teacher. With the help of 362 different flowers, they travel the universe during their ritualistic process.  They can change their appearances (Chusawa) and can also become invisible. These are powerful Shamans. They worship Budahang and also known as Bungpenmimangpa. Mundhum says that they possess tantric powers to kill their enemies.

As Sumnima and Paruhang are considered the creators of the world, Ginger is considered a manifestation of their hands. For the Khambu Rai people, Ginger is sacred. Learned Mangpas use ginger before they start predicting anyone’s future. In order to do this, the process of “Kachur” is important. Mangpas hold the ginger in their left hand and with a small sickle they slice the ginger in a quick motion. When the ginger hits the floor, it is either faced down or upward. If the ginger is facing downward it is considered a symbol of Paruhang or + (Positive Sign).

The Mangpa then slices another portion of the Ginger and this time if the slice is facing upwards (i.e the raw open part faces the sky), it is considered a symbol of Sumnima or –(Minus Sign). When this happens, the future is considered good, profitable or prosperous. But if in case both the times, the ginger slice faces downward or + + (plus plus) sign is created, the future is not considered favorable. Or if its – – (minus minus) both the times, the future is still bleak and not good. Only when there is a combination of Positive and Negative signs, that the floor becomes a medium of “Earthing”and the future looks favorable.

Since Sumnima and Paruhang are considered creators of the world, their union, through Ginger is considered important. Fruitful results can be achieved with a combination of both the Positive and Negative signs together. This is as important as Mathematical Probability or the Chinese Yin and Yang. This is also as important as the combination of the Blade (Male) and Chalice (Female) in Pagan Cultures of the West.

In the Kirati Khambu Rai world, the event of death is classified by the nature of circumstances connected with its occurrence. As a rule, death is distinguished according to the causes of the decease. There are two basic kinds; death from old age or illness and death from accidents or violent causes. Any natural cause of death, typically of old age provides the deceased with an opportunity to exit from earthly existence to enter the spiritual realm and be united with the ancestors. During death by accident of violent means, the traumatic event that shakes a person and the sudden and irreversible removal from earthly existence does not immediately eliminate the consciousness of the material world from the mind of the deceased and while the person reaches another dimension, his instinctive tendency is to regain the previously occupied social role before his soul’s separation from the body.

Such spirits could become “ Sehe “ or wandering spirits. Female Sehe is called Mamang and male Sehe is called Halla. The spiritual realm of the female Sehe is in a space within the earth. According to the Kirat Mundhum, it is suspended in a singularity, a corner or a cave where no living man can ever enter. Male Sehe also have a definite spiritual realm. It is suspended within the living earth but invisible to our perceptions. It could be in a deep forest or a desert or a hill. Male Sehe can float with the wind and they haunt the beasts in the forest. The Mundhum says that one can control these wandering spirits. Both male and female Sehe are in unimaginable pain and to bring them back to the right location, the Mangpa uses certain instruments to float with the wind. But this can be done only when he detaches himself from his own hearth stones (Chula Dhunga) to enter the spirit world and find them.

The Mangpa makes a long spiritual journey starting from the sacred rivers of east Nepal, gathering Mundhum knowledge from Khokwalung (rock at the confluence of Arun, Dudhkoshi and Tamor rivers) and finally crossing a desert to brings back the Sehes and to put them at eternal peace.

The return of the Sehe to its rightful place is a task of spiritual restoration and a reaffirmation of the community’s connection to its ancestral heritage. By guiding these wandering spirits, the Mangpa maintains harmony between the living and the spiritual world and supports the well-being of the village. This practice reflects the Kirati belief that death is a complex transition that requires careful attention, ritual knowledge, and respect for the unseen forces surrounding human life.

The journey of the Mangpa reflects the close relationship between the physical and spiritual landscapes in Kirati cosmology. Each location, whether river, rock, forest, or desert, carries sacred significance and serves as a channel for spiritual energy. Through these rituals, the community honors the deceased and preserves its collective memory, cultural identity, and the continuing presence of ancestral spirits within the natural world. In this way, the Kirati Khambu Rai understanding of death and the role of the Mangpa embodies a deep recognition of life, death, and the continuity of existence across dimensions.