Thecho and The Navadurga - Part I
South of Lalitpur lies Thecho, an ancient village once known as Dyecha during the Lichhavi era when the settlement was in the low lands near Nakhu River.
When a landslide struck, the entire town was moved, to higher ground. The upper lands were known, as chhen choy ( chhen refers to home and choy: up) which later was altered into Thecho.
During the 16th century, the village was upgraded into a township by a Malla king of Lalitpur and renamed Dharmatharipur. Comparing regional history (the establishment of Jitapur {Khokhana} in the 15th century by Amara Malla of Kantipur), the founder of Dharmatharipur must have also commissioned the temple of Bramhayeni (Shakti of Lord Bramha).
The village of Thecho historically lies adjacent to an old trade road to India. Following the road south leads to Sankhu, an ancient Lichhavi era city with pieces of evidence that suggests older origin. An inscription that dates back to 538 AD inscribed by King Vamanadeva states how Sankhu was built as a trade route from Kathmandu to Kuti, Sigate and Lhasa in Tibet.
North of Thecho lies another Lichhavi era village, known as Sanaguthi (Sunakoti). The evidence of Sankhu is fortified by an inscription here. It also dates to the 5th century and mentions about Managriha and Kailashkut Bhawan. These infrastructures are ancient institutions developed as resting houses and some even as isolation areas for traders, religious travellers, priests and monks.
The above mentioned geographical details shall help one understand the institution and practise of the Navadurga Gaan (Group) better.
This ensemble is one of many troupes of mask dancers, that lie at various corners of the Nepal Mandala (Kathmandu Valley). But, is one of two that shares the name of Navadurga Gaan, the other is in Bhadgaon (Bhaktapur).
During my avid adventures following the mask dancers of Thecho as they made their way to Mangal Bazar in Patan Durbar Square, I made the acquaintance of Mr Prashant Mali, a journalist by profession and member of the organising committee. It was through him I got to learn that this troupe is connected to Manamaveshwori, the tutelary deity (family deity) of Lichhavi King Mana-Deva. (According to the vamshavali, King Mana-Deva isof the second Rajput dynasty {Lichhavi}).
Manamaveshwori is originally called Mani-Talava (Mani refers to Mani Jogini of Sankhu and Talava: Deity upstairs).
“Mani Jogini’s shrine is at Sankhu, Bajra Jogini’s at Sankhu and at Phurphing, Bidyadhari Jogini’s below Swayambhu, and Hingu Jogini’s south of Thapathali and also west of Patan” Wright, 1990 “History of the Kingdom of Nepal” Asian Educational Services: 90
She was instituted in Lalitpur by King Bir (Vir) Deva of the first Rajput dynasty (Lichhavi) who was also the founder of Lalitpur. He also commissioned Mangah, the name he gave to the centre of his city. Today it is known as Mangal Bazar.
“... he built a chaitya and a dhara [water fountain], and erected a Sivaling, a Ganesha, a Mahakala, and a Mandapa, and built a Durbar for the Raja, all of which he consecrated. Being a devotee of Mani Jogini, he named all these after the goddess as follows: Mani Talava [i.e Taleju in the royal palace], Mani-chaitya, Mani-dhara, Mani-linga, Mani-Ganesha, Mani-Kumara, Mani-Mahakala, Mani-Mandapa, and Mani-gal-bhatta.” (Wright 1972:133)
When the troupe reaches near Mangah, Mani-Talava is carried by priests to the junction. Bhariava ( Tantric manifestation of Lord Shiva), Chamunda ( Fearsome avatar of Parvati) and Varahi (Boar Avatar of Lord Vishnu) of the troupe present large garlands and offer salutations. The ensemble then follows Mani-Talava into the palace. It is here, they dance till mid-night and perform sacred rites the next day.
Now, connecting all pieces of evidence, it is safe to say this traditional dance has Lichhavi origins.
In chronology, it is also stated that King Gunakamadeva, the founder of Kathmandu, revived the worship of the Navadurgas.
“.…. he also revived the worship of two sets of Nava-durgas, the one inside, the other outside, of the country.” Wright, 1990: 154
He was a descendent of King Bir (Vir) Deva, and the tradition may have died out to later berevived after hundreds of years. But there are no proper writings that state the locale of the practice and its details.
In Nepal Mandala, traditional masked dances are an indigenous form of bringing deities to life and instilling fear. These divinities are mostly Asta Matrikas or Nava-Durgas (both have similar characteristics with only a few variations) which are placed in the outskirts of the township. In some areas, these temples are also accompanied by military barracks. An example of which in modern times is the temple of Lomari Devi ( Bhadrakali) and the Bhadrakali Barrack.
Given how Thecho lies in the old road to India, the indigenous practice could have been a way to ward off evil both in human and supernatural form.