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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.

Tamang Marriage: Mock Capture and Negotiation

Tambase Kairen Sungmami, Hyangla Jamey Busingda,
Chhangra Maangra Mokkon Chaajinji, Nhugi Kutumbala Jimmari,
Hyang Tamangla Rimthimari

The Tamba speaks of history, Hereafter our daughter,
Her rituals are all done, the onus upon the Patriclan now,
Says all Tamang customs

Tamba la Hwai (Tamba’s Song)

Marriage customs and rituals have passed through a long progression of cultural evolution among many tribes in the Himalayas. Even with group affiliations and individual choices, marriage customs, with a few exceptions, employ age-old conventions across various communities, including the Tamangs. Many time-honored customs and rituals attached to the wedding system exist in traditional Tamang culture. Regardless of urban influences, in the rural regions, these rituals, sometimes strange to an outsider, are still integral parts of a mosaic of traditions associated with the Tamang community. Tamang marriage rituals are relevant even in modern times and continue to shape their society, individuals, and cultural narratives.

The conventional model of patrilineal descent and its sociological norms still govern the societal system of Tamang relations. A Tamang woman must leave her natal family and settle down with her husband’s family when she marries. Traditional Tamang marriages (Brelsaang) occurred between cross-cousins, thereby convoluting the distance between natal and marital families. In a system of such convention, that produces various possible elementary structures of kin in society, the generic terms Maiti (Wife Givers/Natal) and Kutumba (Patriclan), and their meanings, though maintained in Tamang parlance, bears an intricate structure that forges new ties between extended material kin. 

Tamang society, for the most part, is patrilineal. Descent is traced through the father’s lineage, although cultural values are motivated by matrifocal endeavors. Affinity towards the tribe plays a significant role while conveying the social definitions of marriage in general and identity in particular, as the bride keeps her surname even after marriage. This means that the affinity of a daughter towards her surname or clan (Rui/Hui) remains unchanged. Therefore, marriage, due to the collective character of both genders, is seen as a shared experience, influenced by individuals and patriclan sections, rather than merely being an individual affair. It becomes a medium that helps bolster affinal relationships. Of course, such a powerful and socially embedded inter-tribe construct also presents complex marriage negotiations. 

Eloping and mock capture, separately, are familiar concepts of marriage in rural Tamang societies. While endogamous marriage is always the norm, arranged marriages (Maagi Biha) are the only proper amicable system of marriage involving cross-cousins. Maagi Biha also has the consent of the parents. Nevertheless, eloping and mock captures are not unprecedented traditions. Bride capture may have once been a tradition but is not practiced in totality anymore. Mock capture, colloquially referred to as Chori Biha, occurs as a part of the marriage ritual in an endogamous marriage arrangement. 

Capture is symbolic today, where the bridegroom or his friends should go through the form of feigning to steal the bride or carry her off from her friends by superior force. Although the marriage has consent, theft or abduction that follows has a concerted matter of form, to make the marriage valid. Real capture would mean actual abduction but ritual capture also means obstructing the allowance of the groom to capture the bride to allow for negotiations upon the fulfillment of particular demands by the bride’s family.  

Once mock capture has been accomplished, and the bride begins her life with her groom, the particlan sends a wooden container filled with alcohol to the father of the bride, as a request for negotiation. The container, sent through the mediator/negotiator (Ganba/Tamba), is called Thegaan Pong.  Thegaan Pong symbolizes promise and honor, in Tamang traditions (Rimthim). Alcohol containers are called Pong and often reflect Tamang cultural perceptions of the role of alcohol in rituals. Tamang culture has an established heritage of traditional practices, and the enactment of such, according to situational appropriateness may involve complex and subtle dissimilarities. However, the rules governing the use of alcohol and its containers are always rigidly observed. The mediator, and the Pong, must reach the house of the bride within five days of the capture. 

Tamang marriages must follow reciprocal obligations between the bride’s and groom’s clans on both sides. While all rituals of negotiation may sometimes not always be achieved in totality, all marriages ultimately follow the traditional protocols of negotiated exchange. The ideal roles and functions of kin on both sides are equal, to some extent, and have their ways of initiating the union, but if actual experiences of marriage negotiation are scrutinized, they all begin with a formal request by a party representing the groom. Subsequent reciprocity of dialogues and material gifts enter the marriage into a framework of traditional legitimacy that ultimately will also validate the offspring from the couple. 

 At the bride’s home, the mediator and his assistant offer three Pongs of alcohol to the woman of the house. Rejection is usually rare but it is up to the bride’s family to accept or decline the Pong. Upon acceptance, formal marriage rites will occur. During the wedding, the groom’s mediator, with containers of alcohol and other gifts, engages in an elaborate meandering dialogue, informing the bride’s kin about the groom’s assets and genealogy. These gifts, at the outset, might look like bride purchase, practiced in ancient times, but is today considered Riti Danda, or bride penalty. In standard Tamang traditions, such payment is simply a matter of custom, ‘an affair of manners rather than morals.’

Exchanges are often an emotive issue and serve as a customary introduction between kin on both sides. During the wedding feast, witnessed by the village and clan members, the groom gives pieces of fabric and money, to the bride. These symbolize the promise of the groom to become a lifelong provider. Due to the powerful and socially embedded system of reciprocity, material gifts are exchanged as the groom offers money and alcohol to the bride’s mother, and she hands him a white turban-a symbol of honor. 

As the wedding ritual progresses and the bride’s natal kin (Maiti) gives her away to the groom’s patriclan (Kutumba), four different kinds of witnesses must be deemed present and duly honored. 

  1. The omnipresent divine spirits
  2. A Rooster to represent the Himalayan Monal and the Peacock of the plains
  3. Fish, to represent the holy waters
  4. All the guests present to witness the wedding

These witnesses are called Chhongkhor or Chaardam and serve as reminders that the markers of a legitimate marriage also require the blessings of all realms, physical and spiritual.  

After the solemn union between the bride and the groom, both clans will impart money and blessings. While both clans, to some measure, perceive each other as equals, during the ritual, the bride’s natal kin stand in a principal position as they become ‘wife-givers’. For the Tamang people, the clan holds enormous importance, and marital choices do not always pertain to individuals. Decisions should be made in the larger interest of the clan. Therefore, Tamangs place enormous emphasis on arranged marriages, although gradual erosion of traditional marriage systems in favor of individual choices, sometimes exogamous, has been observed in the Tamang community presently.

Tamba: Oral Traditions of the Tamang People

In a Tamang society , a Tamba is a traditional historian, oral narrator, genealogist, minstrel, singer, storyteller, and expert in rituals. Tambas are the living memory of their community and repositories of rich oral traditions who can act as windows into the cultural worldview of the Tamang people. The knowledge of Tambas itself is organized, stored, and communicated in narrative-based prose-poem songs known as Hwai. These traditional narrative songs are sung during various life-cycle rituals. Knowledge, traditions, ritual practices, and collective communal memory are embedded within these narrative songs and stories which are shared and communicated through their re-telling. 

A Tamba seems to be above all an advisor and commentator on rituals.” – W. Alexander

In a group of seven elders within a Tamang tribe, Tambas always hold a prominent place. These elders who make important decisions within the tribe are:

1. Choho – The Headman  
 2. Mulumi – The Leader of the Village
 3. Tamba – Ritual Expert and Historian
 4. Dopta – The Wise
 5. Ngapta – The Resourceful
 6. Ganba – Village Elder
 7. Mulumi Gaurai – The Headman’s apprentice

These elders mediate differences between individuals within the community and use their experience and knowledge of traditional customs. Tambas, with their vast knowledge of culture, traditions, and rituals, provide a sociocultural and historical account of the community and become the voice of traditions within the tribe. Tamba oral tradition is a unique aspect of Tamang culture and has managed to preserve Tamang rituals, history, mythology, music, language, and identity in the purest form. Tamang Tambas are orators, minstrels, storytellers, and their narrative is always sung or spoken in the Tamang language. Tam means speech and, Ba is a person or upholder.  

Within the social fabric of the Tamang community, a Tamba is also a village or social elder or a leader and holds prominence due to his knowledge of culture and traditions. During marriage rituals, because of his knowledge of genealogies, a Tamba takes center stage. During marriage ceremonies, he puts across riddles to other Tambas and answers those put across to him. The wedding Hwai which constitutes 76 lines talks about Tamang history, traditions, and genealogies. 

Traditional discourse is very much a part of Tamang ritual practices. This regularly leads the Tambas to interact with each other through songs. ‘The groom’s side opens the proceedings by demanding, ‘You must tell us how the name of Tamang came about and how our ancestors brought us from Tibet.’ The Tamba goes on to recount the journey from Tibet via Jharlang and Setang (Timure) under the leadership of Lhake Dorje and how he gave the names to the 18 clans and said which could intermarry.’ – Andrew Rotley Hall, (Religion in Tamang Society) 

Oral traditions, as the transmission of cultural items from one generation to the next, are heard, collected in memory, and recalled at the moment of customary rites. The Himalayan tribes have used the form of legends, myths, poems, stories, and folklores to preserve their ideas, values, and philosophy. Thus, a Tamba imparts a community’s values through his songs. He sings before the bride and the groom and tells them about the responsibilities and duties within a marital relationship. As a master of ceremonies, his presence is required during various rituals such as a “Pasni” or “Chhewar.” But apart from these roles and functions that a Tamba enacts and embodies, he is also a bard or a minstrel who has carried on the oral tradition of the Tamang people throughout the centuries. 

In Tamang traditions, there are three types of officiants. There is a Lama who is a Buddhist monk, a Bonbo who is a Tamang Shaman and the third is a Tamba. The Tamba always acknowledges the presence of the Elders, the Monk, and the Shaman before he begins his historical narrative. 

Tamba narrative begins with: 
 “Here, as a witness, stand knowledgeable and the wise. Radiant like the moon and the sun, they are all gathered here. Blessed by Lord Dewa Sangey, Maawang Sangey, Dawa Sangey, and all the gods in the high heavens, the Lama, who knows the wisdom of the three worlds, also sits upon his Thi (throne) among us. To the Shaman who knows the magic of the plains and the hills, the mountains and all the elders present here, I offer my respects.” –Santbir Lama (Tamba Kaiten Whai Rimathim)

Tambas sing the Tamba La Hwai, which are Tamang songs that talk about Tamang myths, traditions, beliefs, philosophy, and rituals. Traditionally Hwai were ritualistic songs and held tremendous importance in Tamang rituals. Tambas who know their Hwai are requested by the respective family to oversee the rituals. They are to be requested in a small ceremony where offerings are placed and sacred juniper is kindled to initiate Hwai singing. Today, Tambas are viewed as a reclamation of culture, an honoring of their ancestors, and symbols of a rich Tamang cultural heritage. It is this same Tamba la Hwai melody that became so popular that it permeated into mainstream Nepali culture and went on the become the Tamang Selo. 

A Tamba usually has an apprentice to whom all knowledge will be passed on. It is practical performance and rigorous practice that gives the apprentice the status of a Tamba. Due to the oral nature of the knowledge system, the apprentice of a Tamba learns his craft by following the way of his master. He learns by listening and observing, and practicing. The student Tambas will someday represent the inherent social, traditional, and symbolic structure of the tribe. 

It is through the telling of stories and legends that Tambas preserve what is most important to a community—language, traditions, and identity. Tamba oral tradition reinforces ritualistic imperatives and maps identity and social associations. They create a response to social needs and give members of a group a sense of belonging to a community by conveying shared values. For centuries, the Tamang people have retained oral tradition that is distinct from the literacy consciousness of their mainstream Himalayan neighbors because this unwritten manuscript belongs to all, and the Tamba must hold on to it for a while and pass it on. The oral narratives of the Tamba, its essence, much like an individual, can have abstruse contrasts and lengthy timelines but all fuse together to form a beautiful image of a Tamang worldview that ardently corresponds to their social and cultural values.

Tamang Clans and Lineage Structure

There is always a prerequisite to calling a community, a tribe. It’s the clan structure, a custom which a tribe must ascertain to tracing descent and to follow a lineage. The Tamang community is usually classified as Baara Tamangs (Twelve Tribes) and the Atharah Jaat (Eighteen Sub-Tribes). This was the Tamang rhetoric when asked about the sub-tribes of the Tamang tribe. It should be noted that the word “Jaat” is colloquial and comes from the Nepali word which literally means Caste. The Tamang word for “Clan” is Rui.

Every tribe had its own custom for tracing descent. There may be tribes who trace it through their male members while some do it through matrilineal clan structure. The Tamang clan system serves as a foundation for social control and religious protocol for honor and respect. This system is a patrilineal affiliation where clan membership is passed by the father to the children.

The Tamang people who do not fall into the Hindu system of caste should not have been using the term “Jaat” to denote a clan or a sub-tribe, but over the many centuries of being in close proximity to the Hindu cultures, Tamangs freely use the terms Bara Tamang and Atharah Jaat to describe their clan structure. It should be noted here that the 12 Tamang Tribes usually consider themselves pure and above the rest. Eden Vansittart in his book, The Gurkhas (published in 1906) names the twelve Tamang sub-tribes as:

1. Baju
2. Bal
3. Dumjan
4. Ghishing
5. Giaba
6. Goley
7. Mikchan
8. Moktan
9. Pakrin
10. Syangdhen
11. Theeng
12. Yonjan

According to NJ Allen, in his study titled, Fourfold classifications of society in the Himalayas, he says that the Tamangs originated from the four families living in Wuijhang, Tibet and they were Bal, Yonjon, Moktan, and Ghising. This notion, according to Allen, comes from the origin story of the Tamangs themselves. The Tamangs, like the Gurungs, are usually described as consisting of a superior and an inferior stratum having numerical names.

Traditionally Tamangs have been known to associate different clans with specific areas, settlements, and villages as their Bapsa, (the land of belonging). The different Rui or clans, each has their own association with the Bapsa distributed across the region and which have been their original settlement. The various kinds of connections, associations, and relationships between different clans connect these lands and titles and layout common and shared territory. The larger territory is further joined by linkages between the territorial divinities which protect the Bapsa. Many names of these sub-tribes or clans within the Tamang homogenous tribe seem to have come from the Bapsa.

It can be determined that in the ancient Tamang Tribal set up every facet was built around a certain amount of respect to clan roles. These would set precedents and these roles defined the conduct of individuals. The Tamang tribe in totality was an endogamous unit while the sub-tribes among themselves remained exogamous. Many scholars believe that those who married away from the tribe would often be considered an outcast, thereby creating variants of the 12 main sub-tribes. This gave rise to the mixed Atharah Jaat Tamangs. These “mixed-breed” Tamangs, however, were provided the same amount of social standing in comparison to the original 12.

While the original term deems the numeric value to be 18 Tamangs, the numbers are far more than that.

1. Bal 2. Bomzon 3. Blone 4. Bamten
5. Blendene 6. Bajyu 7. Chhyumi 8. Choten
9. Chhekpal 10. Chauthen 11. Zimba 12. Moktan
13. Theeng 14. Gyabak 15. Pakhrin 16. Singden
17. Titung 18. Thokar 19. Khyungba 20. Lungba
21. Glan 22. Waiba 23. Prabhuba 24. Mokchan
25. Lo 26. Manangthen 27. Ghale 28. Syangbo
29. Yonzon 30. Jyumi 31. Ghongba 32. Tongsang
33. Taisang 34. Jongan 35. Samten 36. Mulung
37. Negi 38. Mamba 39. Kamden 40. Marpa
41. Moden 42. Sumba 43. Rimten 44. Jogna
45. Sarpakhor 46. Sugtal 47. Hen 48. Tupa
49. Kalden 50. Senten 51. Myapa 52. Thongten
53. Lockten 54. Lhaminkhor 55. Kagate 56. Damrang
57. Domten 58. Tunpa 59. Tungden 60. Gropchan
61. Gondan 62. Nasur 63. Malachoki 64. Mahindong
65. Manden 66. Fyuwa 67. Syangden 68. Balam
69. Toiba 70. Jaba 71. Syamjan 72. Gemsing
73. Lopchan 74. Golay 75. Mitak 76. Gangtang
77. Ngarden 78. Brosinger 79. Lamaganju 80. Plengden
81. Gomchyo 82. Shahangri 83. Chimkan 84. Gotthar
85. Dong 86. Dartang 87. Dumjan 88. Gyamden
89. Ghising 90. Rumba 91. Hangjo 92. Nikten