CULTURAL ASPECT

The culture of the Kirantas (The Rai and Limbu) is comparatively better than what is assumed to be, and more or less socialistic in patterns and norms. If it is given a new shape with further refinement, it even can be good example for overall Nepalese culture. The adults bring up their young ones with utmost care and not missing even a single ritual, they perform all rituals for their babies till they are grown up. When older parents and guardians get very old, weak and sick then it is their children's duty to take care of them and be a permanent support stick. This is what a good example of a better society.

It is from the inspired cultural practices of the Kinatas coupled with inner devotion and meditations that had led to the preservation of their social indentity. This has certaily come out as a revelation to the world in general and Asia in particular. Today the brave Kirantas who are generally know for their straight forwardness and have never practiced deceit, are well recongised throughout the world as famous 'Gurkha Soldier'. Not only the Limbus and Rais of the East Nepal but the Magars and Gurungs of West Nepal are also known worldwide by this name "Gurkha". Another aspects of the Kirnatas cultural practices and that have their own distinct features are in the birth sacracment, in funeral rites, in marriage norms and so on.

Kirantas' cultural sacrament are seen to be based on social and scientific ways, fee of social, cultural and economic bondage and chaste behavious towards the women. The women are granted great liberty in regrads to marriage and this can be accepted as example of a high degree of advancement comparable to a modern and an advance society. Both men and women are social creatures are created equally by the Creator. So Women have equal rights as the Men. The Kirantas as if we are to look at their social cultural practices, are born in an environment possessing a socialist culture. This is evident in terms of thoughts and attitudes, talents and ability, fashions and system of the present cultural rites, and which are still being noticed in the present Kirantas society. In this aspect the Kirantas are not only proud of themselves, but also of their social and cultural practices.

In respect of music and dance, Kirantas were not only great music admirers, but when compared to high quality songs and music, they were expert singers and musicians. The 'Hopma-Chham' Saaya-maa-Chham, Saang-laang-Ko songs and music give improtant evidence about the fact the Kirantas were prominent singers and musicians.

The Rishiwaa and Hop-maa-Chhaam:

In the Hop-maa-chham style of singing it was said that the listeners would not burst into tears depending on the songs, but even the saplings and trees were enchanted by the emotions of the songs and shed the leaves by themselves due to those sweet songs and musics. It is not limited up to this extend. In Hop-maa-chham even the creation man is genuinely sketched. In addition to it songs of Rishiwaa(a typical song which is sung during planting rice) can easily enchant and win over the heart of man.

There are mainly two types of dances that Kirant people culture. They are 'Ya-Lak-maa' and 'Saa-ke-Waa'. 'Ya-Lak-Maa' is the dance of

Kirant Limbus and 'Sa-ke-Waa' is of Kirant Rais. 'Saa-ke-Waa' dance (dance of Kirant Rais) can be divided into four different style in respect of its intricate steps and hand gestures. Under each category of style there are certain steps to follow or perform. It is believed that this dance consist almost 112 different steps. The four different styles of 'Saa-ke-Waa':

1. Natural phenomenon:
Under this, the footsteps are patterned to that of the weather and the climate, and vividly give the nature of the weather. The dances take placce in a circular shape pattern.

2. The Agricultural life:
Befor the times of sowing to the time of storing grains in the granary, eating and drinking, fall in this group. It is danced in a round about shape.

3. Animals:
In this category, the dance steps are lively performed as the different animal behaviours.

4. Spiritual:

This folk dance is performed taking different steps in a circle in the remembranc of the forefathers and the songs accompanying this can be termed as death songs.

During the Saa-Ke-Waa dance, the musical instruments used are durms, cymbals and the tambouring. In this dance there is always a leader 'Shiili-Maang-Paa' or 'Nak-Chhong' who guides the whole circle. The people of all ages take part in this dance with great joy. Beside this there are other local folk dances called Wa-Daang-Mi and 'Rawaa' which are also danced in a group.

The folk dances of Limbus are:

a) Yaa-LakMaa
This in Nepali language is known as 'Dhaan Naach' (paddy dance) but in typical Limbu language Yaa-LakMaa'. The word 'yaa' means paddy and 'LakMaa' means a dance. It is especially performed while threshing rice straws after harvest. But it is kind of perennial dance performed throughout the year. It is also danced in the local Haat-Bazaars(small local markets, that occurs every week or fortnightly) or in some Fairs and during feasts and festivals. It is always in circular way with dancers hand in hand. The circular movement goes to the right side. In course of circling around they have different foot steps that goes together and the whole circle move back and forth, in and out in every certain steps.

b) Ke-Laang

This is Bagh Naach (Tiger Dance). In this dance, it is said that there are almost 122 different steps that take place while performing. The very step is called 'Ku-srak-Paa' and the last one 'Ngalaang'. Another step called 'Phe-dapPe-Laang' is danced in a straight line is believed to be most interesting and entertaining.

c) Mang-Laang.
This dance is performed specially during cultural rites. It is also consist dozens of different steps.

The musical instruments used by Kirant people are the 'MaaDal'(small two sided drum) 'Dhol'(Big two sided drum which need sticks to beat) Murchunga(Jew's harp, made of iron), Binayo (kind of jew's harp made out of bamboo). These are carried along by the Kirant youths even to Melaa (workig place), haat-bazaars(local markets) or while travelling. They play these instruments and turn the atmosphere melodius. It is their tool to enchant their would be loved ones and to express their eternal love and devotion. And even to share the happiness and sorrows through those melodies.

The costumes and jewelry also distinguish Kirant people from other ethnic communities. Kirant women wear Chou-Bandi Chola (a blouse that needs to be tied in four different places to wear on) of velvet cloth, Gunyo(a colorful wide and long cloth that is enough to cover lower part of body and is tugged and wrapped around the waist), Patuka (long cloth wrapped around the waist that works as belt to hold the Gunyo).

Mens dress is regular Nepali dress: Dou-Ra and Suru-Waal. Dou-Ra is pretty much like women's blouse but unlike blouse it is pretty long that goes almost down to the knee. Suru-Waal is just like trouser with loose top and tight bottom. Beside this they put on white color Patuka and a Coat. Patuka is used to tug the Kukri (a curved knife know as Gurkha knife).

2000-2003 www.dharanonline.com