In the previous blog, we looked into various historical elements of Nayata Maru Ajima and the legends surrounding her origin. The iconic 12-year presentation was conducted this year by the Management Committee.
The dance and skit were presented in Trishul Chowk inside the Hanuman Dhoka Palace by the Nardevi Shweta Kali Conservation and Management Committee. Even though the dance is performed annually, the 12-year presentation is unique. It features godly characters who had only passive/dormant roles in the yearly rituals.
The most iconic of all is Su:tha Maju. Su:tha means morning, and Maju means mother in Nepal Bhasa. As per ritualistic traditions, the performances for the day only begin after she (Su:tha Maju) performs at the break of dawn. Locals state that even though Su:tha Maju, commonly referred to as Lokeshwor, is revered in the Buddhist community, the tradition binds all religions, faith and ideals found in this valley. Elders state how the manifestation of Su:tha Maju is an avatar of Nyata Maru Ajima.
The dance and skit last for four days in total. For two days, the artists perform at Trishul Chowk inside the main palace complex of Hanuman Dhoka. The remaining two days are at the open-air stage (Dabali) adjacent to the Gadhi Baithak, in front of Kumari Chhen (House).
Each character presents their opening, followed by the skit of Chandeshwari. The story summarized is as follows- Chandashur Daitya is a powerful demon. He is strong, mighty and fearless. The daitya (demon) falls in love with Chandi- the daughter of Nyata Bhulu Ajima. Ajima learns of this unholy union and tries their best to persuade her daughter. It seemed like nothing worked, but she created a powerful potion to intoxicate and hypnotize her daughter. In her influenced state, she turns on her lover- the daitya. She trades her sword with her mother and delivers a lethal blow killing the demon. After that day, Chandi was known as Chandeshwari- the slayer of Chandashur.
The 12-year celebration features special pujas at the mother goddess temples of Kathmandu valley. The mother goddesses featured in the dance and skit of Nayata Maru Ajima are found in its sister cities as well. These mother goddesses protect the kingdom from supernatural evil and create a tantric shield around the city. Most were established during the Lichhavi Era, and the custom of establishing an army camp or military facility near these goddesses continued till the Mala Era. An example of this can only be seen at Lumadi Ajima, today known as Bhadrakali.
