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.