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The Bombo in Tamang Shamanism: An Overview

Written by Pradeep Rai on November 19, 2024. Posted in Uncategorized, Tamang Culture. No Comments on The Bombo in Tamang Shamanism: An Overview

Shamanism holds significant meaning within the belief system of the Tamang people, whose worldview envisions a complex and unpredictable spiritual realm that deeply impacts the physical world they inhabit. Like many Himalayan communities, the Tamang perceive this liminal space as multifaceted, where the essence of beings and objects often eludes ordinary perception, and cannot always be understood based on their outward appearance. In Tamang cosmology, the universe is populated by a diverse array of spiritual entities—some life-affirming and nurturing, others disruptive or harmful—each embodying a spectrum of qualities that influence the delicate balance between the natural and spiritual worlds.

At the heart of this worldview is the belief in duality, where the material and the ethereal coexist and interact. This dual existence shapes the Tamang understanding of life, death, and the cosmos, guiding them through realms that extend beyond ordinary human perception. By navigating this intricate spiritual framework, Tamang Shamans, known as Bombo, serve as essential mediators between the seen and unseen worlds. For generations, the Tamang have upheld a rich indigenous knowledge system, transmitted through oral traditions and carefully preserved across time. The Bombo stand as the spiritual and cultural anchors of this knowledge, their practices and wisdom intricately woven into the very fabric of Tamang identity and social cohesion.

The journey of a Bombo, or Tamang shaman, begins with a transformative event known as the Lha khoba mayba, or “spiritual calling.” This calling often emerges during an intense crisis, described as a form of possession, when spirits—especially deceased shamans, known as Mukhiya Guru—overwhelm the chosen individual. While some individuals display shamanic predispositions from a young age, for most, the process unfolds gradually as they mature. Over time, the boundary between waking consciousness and dream states becomes increasingly fluid, and the individual begins to manifest unmistakable shamanic signs, signaling their growing receptivity to the shamanic realm and its transcendent forces.

During these early, chaotic experiences, those called by the spirits often seek isolation—sometimes retreating to ‘spiritually impure’ places within forests or in cemeteries, where they encounter terrifying visions of laagu (malevolent spirits). These unsettling experiences, referred to as ta rang gal (unripe visions), are seen as part of the initiation process. Over time, these experiences are interpreted as a person’s readiness to take on the responsibility of guiding others through the invisible, spiritual realm.

The apprenticeship to become a Bombo is a long and difficult process that blends ecstatic spiritual experiences with more grounded, didactic learning. During this training, the Bombo apprentice learns how to distinguish between laagu (harmful spirits) and lha (benevolent spirits). He also learns how to enter trance states, perform sacred rituals like Nawa (purification), and master ancient incantations. Central to this process is the Mukhiya Guru, the spirit of an ancestral shaman, who guides the trainee through dreams and visions, helping to refine his understanding and skills. Through four stages of initiation, the apprentice gains the ability to enter the spiritual world—symbolized by the opening of the ti sal borba (heavenly doors) atop their head, allowing them to fly through the spirit realm and gain clarity of vision.

In Tamang society, shamans are not a homogenous group. There are different types of shamans, each with a specific role to play. The Bompo, for example, are deeply connected to nature and the land. They act as guardians of sacred places, performing rituals that honor spirits of the earth and ensure the fertility of the land. The Dangur are mediums, who become vessels for divine or ancestral spirits during rituals, delivering messages and blessings to those in need. Then there are the Rite Guru, whose practices are more closely tied to Buddhism. They perform rites of passage and help guide the souls of the departed toward their next rebirth, bridging shamanism and Buddhist teachings.

The roles of the Bombo are many, but they all revolve around the core principle of spiritual mediation. As healers, they diagnose ailments that are believed to be caused by spiritual imbalances, such as bla gumne (Saato haraunu/loss of life force). Using rhythmic drumming, chanting, and trance, the Bombo retrieves this lost energy, expelling laagu and restoring balance. They also lead community rituals at sacred sites, reinforcing the relationship between the people and the land. Just as importantly, Bombo are the keepers of the Tamang oral tradition. They are the ones who tell the ancient stories, preserving the myths and genealogies that define the Tamang identity.

The cosmology of Tamang shamanism is rich and complex, filled with heavens, middle realms, and underworlds. The dawa lung gyesar gyolpo (heavens) are home to benevolent gods and spirits, while the underworld jhao is inhabited by malevolent forces associated with death and decay. The Tamang landscape is also imbued with spiritual power. Sacred groves, springs, and mountains are seen as places where the boundary between the physical and spiritual worlds is thin, and where rituals can more easily connect the two. Through their rituals, the Bombo reinforce the idea of sibda neda than, a harmonious relationship between humans and the sacred environment.

Rituals are central to the practice of Tamang shamanism, and they’re not just individual acts but collective experiences. When performing rituals like the Nawa, the Bombo enters a trance, their body trembling as they call upon the Mukhiya Guru for guidance. These rituals, marked by drumming, chanting, and symbolic gestures are actually spiritual negotiations that attempt to appease spirits or warding off of harmful forces in the community. The Damphu, the traditional Tamang drum, plays a central role in these rituals, helping the Bombo enter a trance and bridge the gap between the physical and ethereal worlds. These acts are not just for healing; they are also for the collective renewal of the community’s spiritual strength.

One of the most captivating aspects of Tamang shamanism is pho wang lung (magical flight), where the Bombo journeys into the spirit realm. These flights aren’t chaotic or uncontrolled like the visions of novices; they are deliberate, clear, and purposeful. The Bombo uses incense and spirit invocations to guide their soul through the unseen world, retrieving lost knowledge or souls and bringing blessings to the community. These journeys symbolize the Bombo’s mastery over the spiritual forces that govern their world, and they represent a deep understanding of the interconnectedness of all things.

Tamang mythology tells the story of Dunjur Bon, the first shaman, who fell from the celestial realms after a confrontation with Guru Pema, the first lama. This fall marks the beginning of duality in the world—dividing the pure, primordial time of thungsa from the earthly, cyclical nature of kesa. Dunjur Bon’s descent is seen as the birth of the shaman’s role as a mediator between these two worlds—one ethereal, the other physical. The shaman’s task is to navigate this duality, healing, guiding, and restoring balance to both realms. This myth perfectly encapsulates the Tamang understanding of the world, where everything is interconnected, and the boundaries between realms are fluid.

Yet, it’s impossible to ignore the influence of other religious traditions, especially Buddhism and Hinduism, on Tamang shamanism. Hindu deities like Shiva and Kali have found their place in Tamang rituals, while Buddhist concepts like karma and rebirth shape ceremonies for the departed. Tantric practices have also left their mark, particularly in the use of mantras and the belief in energy centers akin to chakras. This syncretism has enriched Tamang shamanism, but it has also led to shamanism being marginalized as a “primitive” practice.

For modern Tamangs, shamanism is a powerful link to their ancestral roots, providing not only spiritual guidance but also a sense of identity. It continues to address the challenges of rural and semi-urban communities, offering healing and wisdom deeply tied to their worldview. Tamang shamanism, with its rich oral traditions and spiritual practices, ensures that the cultural heritage of the Tamang people will continue to thrive. The Bombo, in collaboration with the Tamba (or Ganba)—the traditional storytellers who preserve clan genealogies and cosmogonic myths—are the guardians of this sacred knowledge. Together, they protect and nurture the Tamang identity, ensuring that the wisdom of their ancestors is passed down for generations to come.

As healers, mediators, and cultural guardians, the Bombo exemplifies the enduring relevance of shamanism, answering humanity’s spiritual and existential needs. Preserving this tradition is not merely about safeguarding the past; it is about ensuring that the richness of the Tamang worldview endures—not only for their community but as an invaluable part of global cultural heritage. In a world of constant change, Tamang shamanism offers not only a vital framework for cultural survival but also a “decolonized perspective”—one that reimagines the world through a lens of spiritual interconnectedness, resilience, and ancestral wisdom.

Kachhalā Pyākhan : Fusion of Animism and Tradition

Written by Pradeep Rai on November 11, 2024. Posted in Uncategorized, Newar Culture. No Comments on Kachhalā Pyākhan : Fusion of Animism and Tradition

Each year, as autumn deepens and the ancient courtyards of Patan brace for the approach of winter, a timeless tradition comes to life- the Kachhalā Pyākhan, widely known as Kartik Naach. This is a profound cultural and religious ritual that intricately weaves together Newar myth, folklore, and history. Today, this vibrant tradition has blossomed into a powerful symbol of Patan’s timeless cultural identity, its continued vitality serving as a testament to the Newar community’s remarkable ability to preserve age-old customs while adapting to the complexities of modern life.

The origins of Kachhalā Pyākhan trace back to the 17th century, during the reign of King Siddhi Narsingha Malla, although some argue that its roots stretch even further into the past. Yet, it is impossible to overlook the undeniable connection between Kachhalā Pyākhan and the cultural sway of the Malla kings, whose patronage of the arts was instrumental in forging the distinct Newar cultural identity we recognize today.

The ritualistic dance performance (Pyākhan) may trace its form to a pre-Hindu, pre-Buddhist shamanic tradition, rooted in a chthonic understanding where members of a particular social cluster (Guthi) invoke ancestral and protective deities. Through honoring their territorial deities (Agam Dya) and tutelary deities (Dugu dya), they seek to consecrate and reaffirm their deep connection to the land. This ritualistic invocation, while aligning with the Hindu concept of Leela and the Buddhist Charya Nritya/Cham, creates a sacred affiliation to their terrain, forming a core element in how they define and relate to their living space. Thus, Kachhalā Pyākhan, can also be viewed a cultural ritual that transforms Patan’s public spaces into sacred arenas. By performing this dance-drama in the heart of Patan, the Newars reinforce a powerful connection to place and community, highlighting the territorial significance embedded in Newar identity.

In broader cultural terms, the Newars of the Kathmandu valley have long preserved this practice of mapping and sanctifying their living spaces through ritual performance. These rituals, covered in myth, animistic practices, and Buddhist and Hindu elements, redefine local spaces into protective, spiritual domains. Therefore, Kachhala Pyakhan isn’t simply a historical or religious tradition but a continuous assertion of cultural and territorial identity that helps define the Newars as distinctly ‘localized’ and ‘territorial.’

The performance was originally a two-day event centered on the religious stories of the Hindu God Vishnu, drawn from the Harivamsa Purana and the Mahabharata. Initially, it’s intention was both educational and devotional but over time, successive rulers of Patan expanded the event, transforming it into a month-long dramatic cycle, which also included sub-events that satirized contemporary social and political issues. Performed during the month of Kartik—the eighth month of the Hindu lunar calendar that usually falls in October or November—the festival coincides with the harvest season, making it a time of celebration, thanksgiving, and spiritual renewal.

The performance takes place on the Kartik Dabali, an elevated platform next to the Krishna Mandir in Patan Durbar Square. Here, participants, mostly from the Newar community, come together to enact the mythological narratives through colorful costumes, rhythmic drumming, and complex dance movements. The performance becomes a ritual of communal participation, bringing together dancers, musicians, and ritual specialists to animate divine stories. This communal aspect of the event not only underscores the collective identity of the Newars but also highlights the deep interconnection between their land, religious devotion and cultural expression.

At the core of Kachhalā Pyākhan lies the mythology of the Vishnu, whose avatars, particularly Narasimha, are brought to life through dramatic dance. This sacred dance, particularly the portrayal of Narasimha’s divine intervention, resonates with a deeper animistic dimension, where the human performers do not merely play roles but become vessels or mediums for divine power. The embodiment of the gods through dance allows for the communication of sacred knowledge, strengthening the bond between the community and the divine. The real-life effects of this sacred invocation are felt in the performance itself as the performers, through their embodiment of the deities, bring the sacred into the realm of the living, ensuring the cosmic order is maintained through the ritual.

In this sense, Kartik Naach can be seen as an intensely animistic ritual, where the boundary between the human and the divine is fluid, and the gods are not mere abstractions but active participants in the lives of the people. The dance, music, and rituals do not simply retell ancient stories—they invite the divine to enter a physical space, allowing the gods to communicate their will through the movements of the performers. This ritual interaction with the divine evokes a shamanic quality, where the performers act as mediators between the human realm and the spiritual world. Their bodies become conduits for the sacred, channeling divine power and infusing the community with blessings and protection.

The symbolic use of dance (pyakhan), mask (khwapa), and sacred ritual is further amplified through what seems to be a tantric practice. These practices associated with the performance introduce layers of mysticism, where specific rituals—such as the symbolic death and revival of Hiranyakashipu (the demon king)—are enacted with profound realism. The enactment of Hiranyakashipu’s unconscious state, followed by his revival through the ritualistic use of water from the Manga Hiti spout, creates a powerful imagery of life, death, and rebirth. This dramatic cycle symbolizes not only the mythological triumph of good over evil but also the community’s belief in the cyclical nature of existence, where death is not an end but a transition back to life.

This animistic and shamanic dimension of Kachhala Pyakhan is further emphasized through its connection to the broader spectrum of Newar rituals, which often include spirits, ghosts, and supernatural forces. Much like shamans who communicate with spirits to maintain harmony in their communities, the performers of Kachhala Pyakhan invite divine forces into the ritual space, ensuring the cosmic balance between the earthly and spiritual realms is maintained. This convergence of myth, ritual, and divine intervention is a central feature of Newar culture, where the spiritual is never separated from the social and cultural fabric of everyday life. The mythological figures, through their dance and dramatic enactment, are not passive representations but actively shape the world around them, guiding the community’s understanding of morality, history, and identity.

Kachhalā Pyākhan carries profound cultural significance, as it embodies the values of the Newar community, particularly in its ability to blend religious devotion with critical social commentary. This component of the dance illustrates the ability to balance reverence with practicality, offering both spiritual and societal lessons in one unified performance. The interactions between these characters often employ humor, satire, and folklore to deliver moral lessons that resonate with contemporary social issues, showcasing the Newar people’s capacity to engage critically with their own traditions while preserving the sacred narratives that form the bedrock of their identity.

Kartik Naach’s continued relevance accentuates the resilience of Newar culture. Despite the modernizing forces of globalization and technological advancements, the ritual’s core—the communal gathering, the sacred space, the embodied myth—remains unchanged. However, this continuity is not static as it reflects a dynamic adaptation of traditional practices to the needs and realities of the present. This adaptation can be seen in the evolving organizational structures of the event, which now rely on community-based organizations rather than royal patronage, yet still maintain the core principles of religious and cultural devotion.

The historical and political aspects of Kachhalā Pyākhan are deeply intertwined with the social dynamics of its time, revealing layers of animistic roots that permeate its performance. Originally, it functioned as a tool for asserting royal power and prestige, with the Malla kings using it not only as entertainment but as a form of political propaganda to reinforce their authority. The performance became an embodiment of the sacred connection between the rulers and the land, invoking deities to protect the kingdom and its people. Over time, it absorbed satirical elements that critiqued the prevailing political and social climate, evolving into a platform for public discourse. While the overt political messages may have faded, the ritual’s animistic underpinnings remain intact, continuing to express the tensions between tradition and modernity—especially as it faces contemporary challenges. The animistic practice of invoking spirits and deities continues to infuse the performance, grounding it in an ongoing conversation between the past and present.

In contemporary society, Kachhalā Pyākhan stands as a living archive of Newar culture, history, and collective memory—its very essence rooted in animism. Each reenactment of the performance is not merely a theatrical retelling but a ritual of transmission, where the physicality of dance, music, and dramatic depiction carries ancestral myths, beliefs, and values from one generation to the next. This sacred act reaffirms the Newars’ spiritual bond with their ancestors, deities, and the land they inhabit. Through the ritual’s animistic lens, every movement, gesture, and song invokes the presence of spirits and ancestral forces, highlighting a territorial connection to the physical space. Thus, Kachhala Pyakhan is not just a performance; it is a vital mechanism through which Newar identity and territoriality are continuously asserted.

As such, it serves as a dynamic medium of cultural expression, where folklore and myth are not stagnant relics of the past, but lively traditions that adapt and evolve according to the needs and concerns of the present. This animistic ritual thrives as a participatory event, shaping the social, cultural, and religious landscape of Patan and the Kathmandu Valley. Through its vivid dance, music, and storytelling, Kachhalā Pyākhan bridges the past and present, reiterating the sacred bond between the Newar people, their ancestors, and the land they live upon. In this way, the performance endorses the enduring relevance of tradition, demonstrating how animistic practices can preserve and adapt cultural heritage for future generations.

Leadership: Bringing Your Team Together

Written by Pradeep Rai on October 5, 2019. Posted in Uncategorized. No Comments on Leadership: Bringing Your Team Together

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