Submit your Article

Mithila is an ancient and artistic land on the map of the world with a rich and renowned cultural legacy. Janakpur, its capital and now the capital of Madhes Province, is a living museum of magnificent arts and crafts. Religious themes are the prime source of inspiration behind the emergence of Mithila art and its religious reference often goes back to the Bhagwat Puran.

Shashibhushan Chaudhary, in his book titled ‘Ethnic Settlement in Ancient India’, writes, “The Bhagwat refers to the Maithili in general” and says its inhabitants were skilled in arts and crafts.

However, it is impossible to trace the exact origin of Mithila art. The excavation and exploration at Murtiya of Sarlahi district, Simraungarh of Bara, Dhanushadham of Dhanusha, and Matihani and Jaleshwor of Mahottari, all located in the Madhes, apparently show that the colossal folk images of various gods and goddesses are made of stone. And these images and idols found in these places obviously bear religious overtones. They are the obvious manifestations of the work of both imagination and spirituality.

Maithil people, traditionally religious minded, paint the images of their favorite gods and goddesses like Shiva, Krishna, Hanuman, Kali, Ganesh, Vishnu and their vehicles too. They also paint pictures of newlyweds seated in a palanquin surrounded by the wedding party. During the wedding ceremony, an auspicious occasion in Maithil society, local people create very special objects of art known as ‘Kohabar’. 

A separate room is set and decorated tastefully with several motifs for its celebration. This painting is done in the inner as well as outer walls of the Kohabar Ghar (honeymoon house). As a popular social practice, its main motto is to increase sexual potency and fertility of newly-married bride and bridegroom. This special painting is drawn on the walls of the house in three places: The Gosaighar (special room for family gods), the Kohabar Gharak-Koniya (corridor or outside of the Kohabar Ghar) and especially decorated and designed for a newly married couple’s room.

These wall paintings are wonderfully depicted by the illiterate women folk of Mithila, and they are quite attractive to look at. They express their artistic sentiments and skills on various occasions, the outer walls of Kohabar are decorated with the paintings of rural life such as a palanquin with its four carriers, shady fruit trees like those of mango, banana, Kadamba and Ashoka. They also paint love-scenes of Lord Krishna and his constant companion Radha with Gopinis. The use of the mango branch or leaves is frequent during the wedding rites of Maithil society. Mango twigs are also used for lighting the sacred fire to purify the Kohabar Ghar. 

Tying the wedding booth with mango leaves customarily signifies the importance of the mango tree as a source of fertility. The newly married couple spends the night of Chaturthy (fourth night of marriage) at Kohabar Ghar. Traditionally, it is mandatory for the married couple to celebrate their marriage in the Kohabar Ghar in the presence of all the deities and umpteen sacred symbols of fertility depicted around the walls of their houses. The bridegroom’s Kohabar has only satt pattas (seven leaves) against 15 leaves in the bride’s Kohabar. This motif of Mithila art is painted in yellow. These paintings can be categorized into two types.

Firstly, the depiction of favorite gods and their consorts like Shiva and Parvati, Radha and Krishna, and Vishnu and Lakshmi, who are believed to bring blessings to newly married couples, and secondly, there are various sketches of animals and plants like elephants, fish, parrots, turtles, bamboo and lotus, which imply fertility as well as peace and prosperity. It is believed that paintings of these symbols bring good fortunes to newly married couples and also bless them to have progeny.

Nature, being the perfect and perennial source of inspiration, is the main theme of Mithila art. So, the women folk of Mithila often depict lovely flowers like the lotus and its leaves, bamboo and the betel leaf. They also like to paint animals like horses, elephants, peacocks and so on as well as gods and goddesses. All these carry symbolic significance in Mithila art. The elephant, horse and palanquin, for example, suggest royalty and richness while the sun and moon are the symbols of good luck. The bamboo represents the future and stands for progeny and prosperity. It also stands for purity and prosperity. 

As the humid climate of the Tarai flatland is suitable for bamboo cultivation, the traditional Mithila paintings depicting sparrows gamboling in bamboo groves is a popular motif. Another important aspect of Mithila painting is Aripan or Aipan in the Maithili language. It is also called Alpna. It is like Rangoli. A kind of floor painting, it is depicted on various auspicious occasions such as janau or Vratbandh (the sacred thread ceremony), Chhathiyar (sixth day rites of a newborn). Mundan (tonsuring ceremony of a child), puberty, conception, initiation into learning, and marriage. 

Coincidently, this form of Mithila art is also drawn in several parts of neighboring India under different names like Alpna in West Bengal, Mandala in Rajasthan and Rangoli in Gujarat. In Bhojpuri areas of Nepal and India, it is famous as Chaukpurna,while in the whole Mithila region it is known as Aripan.

Besides Kohabar and Aripan, Mithila folk art has five distinctive styles — Bharni, Katchni, Tantric, Godna (tatoos), Gobar (Cow dung painting).

Now they are also depicted on clothes, handmade papers and canvases, utensils, pen stands, table clothes and generally they depict various gods and goddesses and other village deities for satisfaction and gratification and fulfillment of local people’s inner desires. Nowadays, they also paint the popular story of Raja Salhesh (Salhesh, the king of Dusadh caste). These paintings are also suitable and sustainable for women’s empowerment.

Fagu is one of the most joyous festivals celebrated in Tarai Madhes. Known as Holi or Faguwa throughout the region, it is a celebration of vibrant colors and carries connotations of romance, particularly the use of red powder. The festivities differ between the Kathmandu Valley and Terai-Madhes regions. In Kathmandu's Durbar Square, a UNESCO heritage site, the revelry commences with the raising of the Chir pole, amid splashes of water, and yellow, blue, and vermilion powders.

During Fagu, participants gleefully throw a mixture of colors at passersby, friends, relatives, and occasionally, foreign visitors. Although the festival lasts a week, the highlight remains the playful exchange of colored powders (Abir) and water. The festival officially begins on the 8th day of the waxing moon, marked by the ceremonial pole-raising near the Kumari temple in Basantpur.

The Chir pole has connection to Lord Krishna's times. It is believed that pieces of cloth hung in the Chir represent garments of the Gopinis, the milkmaids who accompanied Krishna, which Krishna stole and hung in the tree while they were taking a bath. It is believed that the multicolored Chir represents the Kadam tree that Lord Krishna climbed with the stolen garments of the milkmaids. Amidst these festivities lies a lovely story depicting Krishna’s playful escapades with Radha and her friends, captured by the great Mithila poet Vidyapati:

Let’s go to see Basant (Spring)

Where Ketaki and Kund are laughing

The moon is clear

The bees are black

Night is dim

The beloved one is getting angry

Kamadev (god of love) fights with his enemy

In Tarai Madhesh, Fagu is celebrated a day after the full moon. The night before Fagu, locals traditionally burn heaps of garbage. The next day is a revelry filled with folk songs, colorful powders, and offerings of betel nuts, coconut, cardamom, raisin and cloves. They also eat, drink, and make merry because merriment is the main motto of Fagua. The festival of colors is celebrated as the biggest festival of joy. The whole atmosphere resounds with Fagu folk songs, which are very melodious to listen to.

This festival is linked to the full moon because it is believed to heighten not only the sexual urges of youngsters but also of elderly people. The moonlit night enhances the vitality and vigor of the participants, filling their hearts with joy and merriment. Kamdeva, the god of love, is said to infuse vitality and vigor into people of all ages during this romantic festival. Newly engaged and married couples find particular enjoyment during this time, as Cupid breathes life into the otherwise mundane existence of local residents. This festive season extends for weeks during which people of Madhesi origin consume eggs, fish, and meat to boost stamina and strength. Non-vegetarian meals serve as the primary source of increasing sexual excitement, often accompanied by home-brewed beer, while vegetarian individuals indulge in sweets and fruits.

This Hindu festival, known as Holi, embodies a spirit of unity and camaraderie in Tarai Madhes, transcending barriers of gender and caste. The first night is the day of prayer of the Holi Fire. The second day is the day of dust (Dhulikshava), and the third day is of Rangotsav (the festival of colors). The goddess of Holia is invoked on the first day. This festival has a Puranic origin. It has been mentioned in the Bhabishya Purana that as the month of Falgun is the last month of the calculation of months according to the Shalvahan calendar, it is to be celebrated as the festival ringing in the new year. As PB Shelley has also said, “If winter comes, can spring be far behind?” So, it is also regarded as a spring festival or Basantotsav. People also enjoy a symbolic bonfire during this festival.

There is also a legend about the story of Lord Shiva getting angry and opening his third eye to burn Kamdeva, who later became Anang (bodiless). He was afterward restored to life by the grace of Parvati, the consort of Lord Shiva. This festival is celebrated throughout Madhes every year with pomp and fervor. Holi is the popular festival of the Madhesi people, so the Holi or Hori or Fagua folk songs are very melodious. The mythological relevance is revealed in the following folk song:

On the day Krishna played the flute,

The three worlds were connected,

What was the flute made of?

And how was it tied?

On the day, Krishna charmed the world,

With bones and flesh the flute was made

With love it was tied

This festival is related to Krishna and Radha, Rama and Sita, and Shiva and Parvati. So, it has some religious fervor too. Otherwise, it is fundamentally a folk festival of romance and sexual urge. Holi is one of the most colorful festivals of various colors celebrated in Nepal and the neighboring nation of India. 

Throughout Madhes, Holi is celebrated with pomp and fervor, echoing with melodious folk songs that narrate tales of Krishna, Radha, Rama, Sita, Shiva, and Parvati. While rooted in religious tradition, Holi fundamentally embodies the spirit of romance and merriment, shared across Nepal and neighboring India, enriching both nations' cultural and social heritage.

The Commission for the Investigation of Abuse of Authority recently marked the International Day against Corruption with the slogan ‘UN-CAC at 20; Uniting the World Against Corruption’. 

Despite high-sounding slogans, corruption remains pervasive in Nepal and a legal provision in the Commission for the Investigation of Abuse of Authority Act-1991 even prevents CIAA from investigating certain government decisions, including ‘policy decisions’, apart from nexus between powerful elements of our society.   

Section 4 (B) of the CIAA Act states: “The Commission, pursuant to the Act-1991, shall not take any action in matters relating to any business or decisions taken at meetings of any house of Parliament or of any committee or anything said or done by any member at such meetings, or any policy decisions taken by the council of ministers or any committee thereof or judicial actions of a court of law.”

If such controversial provisions are not amended or done away with altogether, nobody can curb corruption in this country, given the tendency to misuse the provision on ‘policy decisions’ to make legally questionable decisions and avoid legal action, among others. Existing corruption laws, particularly the CIAA Act, and Prevention of Corruption Act should be immediately amended to control corruption, which poses a grave threat to democracy, human rights, good governance and the rule of law. 

Ulla Termacs, Danish minister for development co-operation, rightly states: “Corruption in the form of bribery and misuse of public funds is a major obstacle to democracy in many of the world’s poor countries.’’ 

Back to the Big Day. Prime Minister Pushpa Kamal Dahal said on the occasion that his government was committed to ending corruption in coordination with public and private sectors, and civil society members. However, he did not touch upon the topic of legal amendments necessary to combat corruption. 

Apparently, this type of rhetoric is good for raising awareness to end corruption, but never sufficient to end the scourge itself. 

What’s more, corruption has become cancerous in Nepal, so one or two constitutional-legal provisions are unlikely to offer a complete cure, though the measure may be able to curb it a bit. Political will is what is needed to fight this scourge. 

It will be contextual to quote Bhimrao Ambedkar, father of the Indian Constitution, in this context: “However good the constitution may be, if those who are implementing it are not good, it will prove to be bad. However bad a constitution may be, if those implementations are  good, it will prove to be good.” 

PM Dahal correctly stated on the occasion that controlling corruption will be difficult without internalizing international anti-corruption conventions and without making suitable changes in our education policy to spread the message in society that corruption is unacceptable.

If corruption continues to thrive in our country, there will be no room for good governance, the rule of law, progress, prosperity and human rights. 

Our country has witnessed countless corruption scandals, including the infamous Lalita Niwas land grab, the Ncell scam, the 60-kg gold smuggling scandal and the Bhutanese refugee scam, thanks to the association of some powerful names. Much has been written about these shameful chapters. 

Nothing is transparent except corruption in this country and nothing more rampant than corruption, thriving as it is under some very powerful noses. Moreover, policy-level corruption has tarnished the image of the country nationally and internationally. Officials of relevant agencies seem helpless in fighting corruption because they have the obligation to serve their political masters, who appoint them on their respective parties’ quotas. 

Appointment of political parties’ near and dear ones in important positions is also a reason behind unabated corruption. If the parties and the government are serious about controlling corruption, they should discontinue this practice and appoint deserving candidates instead.  

All this takes the ball back to the Prime Minister’s court. 

The PM, who also happens to be the contact agency for the implementation of the UN General Convention against Corruption, should wake up to the threat that corruption poses to the country and do every bit to put an end to it. 

The author is a former vice-chair of Transparency International Nepal

Deepawali, which literally means ‘the row of lamps’ is celebrated as the festival of lights in the month of October or November (Asoj or Kartik), about a fortnight after Dashain. This festival is also called Tihar, which lasts for five consecutive days and is observed in honor of Laxmi, the goddess of wealth and good luck. It is the most friendly festival observed throughout Nepal and also India. Laxmi, the goddess of prosperity and good fortune is invited into every home. People enjoy five days of feasting and family gatherings. It also heralds the advent of autumn in Nepal. Natural scenery is very pleasant during this time of the year. 

The aroma of Deepawali pervades the atmosphere several days before the actual festival begins. During Deepawali, traditional lamps are lit with twisted cotton wicks (Batti) saturated with pure ghee or mustard oil in a small earthen bowl called Diya. So it is also called Diyabati. It is usually solemnized in the last week of October or the first week of November on the occasion of Amabasya or Aunsi (full dark night of Kartik) according to the Nepali lunar calendar. In this period, the sky is starry but the moon is missing in the milky sky throughout the whole night. A gentle, genial and warm weather continues and purifies the mind of the Nepali people during this festival. This festivity reflects true rejoicing and jubilation of the masses.

Laxmi Puja is observed on the auspicious occasion of Deepawali. This is the third day of Tihar when the sacred cow is worshiped with great honor. Hindus worship and regard the cow as their holy mother. So people worship the cow in the morning with garlands of flowers and apply red tika on her forehead. Thus the Hindus pay their tribute to the mother cow. The ceremony is solemnized with reverence in the morning hour of Deepawali. This tradition was initiated by the people of Ayodhya  to express their boundless joy when Lord Rama returned after 14 years’ exile. This is illustrated in the Ramayan.

A few days before Tihar, preparations are in full swing for cleaning and whitewashing to add a new look to houses and buildings. During this festival, houses, shops, offices, factories and mills are brightly decorated with lights. They are also illuminated with electric bulbs and traditional lamps. It is a time of lights and decorations. This type of illumination is done for five consecutive days, beginning from the first day of Tihar. But special light arrangements are done on the day of Laxmi Puja. Oil-fed traditional lamps light courtyards, doorways, roof-tops, verandahs and windows. All streets and roads are full of flags and beautiful banners. People stroll around in new clothes and buy sweets and gifts. 

After the illumination in the evening, the main part of Laxmi Puja is performed at night. An illuminated and well-decorated house is believed to draw the goddess of prosperity. This also makes for easy entrance of Laxmi to every house. It is believed that the goddess of wealth is ritually invited to enter the house and offer blessing to its occupants. For this purpose, a ritualistic drawing is made of purified cow-dung plaster to guide Laxmi through the main door. From the drawing, a trail of plaster of rice and red vermillion leads into the house and the room where Laxmi is worshiped with utmost devotion and dedication. 

A beautifully decorated image of Goddess Laxmi is placed before the family treasure box or safe, which contains hard cash, jewels and jewelleries, valuable documents, ornaments and cheque books. Prayers are offered, believing that the fortunes will grow.

Throughout the whole night the earthen lamps filled with ghee or pure mustard oil, are kept burning at the place where the goddess of wealth is worshiped. To please this prosperous and generous goddess of good luck all the doors and windows of the house are decorated attractively. Nobody wants to miss this golden opportunity. Thus there is competition in the worship of the wealth goddess. Everybody tries his best to welcome and please the goddess of prosperity. She loves lights and sacred cowrie shells. Children love to play with fireworks during Tihar, especially during Laxmi Puja. However, as free crackers could be dangerous and harmful, they are banned in Nepal these days.

It is understood that being the wife of Lord Vishnu, Laxmi is the paragon of beauty, who sprang from the fathom of the sea when Gods and the Demons churned the sea together. There was a tug-of-war between Gods and Demons. At last, Lord Vishnu chose her as his life partner. She wears a crown of jewels and garlands of scented flowers. Her arms are bedecked with heavenly gems. She is herself considered a valuable treasure of the ocean. She holds a conch shell in one hand, blossomed lotus in the other, a sheaf of rice in the third one and a jar full of nectar in her fourth hand. She loves to rest on a fully-blown lotus with her husband Vishnu under the shadow (hood) of Sheshnag (mythological snake).

The Nepalis worship this benevolent goddess and offer gifts and sweets to please her. She is believed to travel around the earth on an owl, her vehicle, making house-to-house inspection to see whether it is clean or not. Being a lover of light, she also observes whether a light is left burning throughout the whole night in her honor or not. She thus visits every house. If pleased, she protects all the valuable things and grain-stores of each family and grants prosperity for the coming year. For this purpose, every house is decorated with red powder, flowers and festoons. She likes to visit only those houses, which are fully prepared and artistically decorated. 

All monetary transactions are forbidden on this auspicious occasion. The only exception is the giving of small coins and food (Selroti) to small groups of Bhailo singers. Groups of singers go door to door singing and dancing and asking for money. This is a time-honored tradition. Girls are supposed to ask for money on this solemn occasion. Boys’ turn comes the next day, which is called Deusi. 

Deepawali is also considered auspicious for gambling. Before 1940, gambling was legal in Nepal during the five days of Tihar. Nowadays, it is banned in public according to the law but people still gamble in their houses. Happy gamblers assemble at certain houses; sit on carpets shouting their bets, throwing the cowrie shells. In the ancient days, cowrie shells were considered a medium of exchange. It is believed that Laxmi loves gambling. 

The final day of Tihar is spent in friendly family gambling. 

Before 1940, during the five days of Tihar troupes of musicians used to go around the town announcing that games were now open to all. Gambling seems to receive semi religious sanction during Tihar in the belief that it is pleasing to Goddess Laxmi.

Newars of the Kathmandu valley perform Mha Puja on the first day of the bright lunar fortnight of Kartik. It is the worship of one’s body or self. It is believed that the human body is divine and the heavenly spirit dwells in it. The Puja is performed for purifying the heart and the soul for the coming New Year. The day also honors Yama, the lord of death. 

On the last day of Tihar called Bhai Tika, sisters worship their brothers, who bestow blessings and benediction upon their sisters for a long and prosperous conjugal life. Sisters also pray to God for their brothers' long life and wish them success in all walks of life. 

“Human rights are not negotiable items that companies and governments are permitted to eliminate by contract.” 

That’s a quote from Andrea Shemberg, a former legal adviser to Amnesty International UK. 

Here’s one more, from Maximilien Robespierre, “Any law which violates the indefeasible rights of man is in essence unjust and tyrannical, it is no law.” 

There is virtually no aspect of our work that does not have a human rights dimension. Whether we are talking about peace and security, development, humanitarian action, the struggle against terrorism, climate change, none of these challenges can be addressed by ignoring human rights.

We know that the French Declaration of Rights of Man and of the Citizen (1789) was the first document, which referred to social, economic and cultural rights, rights to education, work, property and social protection.

In 1941, the Atlantic Charter was declared, which made way for an International Bill of Rights (1942-45) and the Universal Declaration of Human Rights (UDHR) on 10 Dec 1948. 

Article 25.1 of UDHR states:

“Everyone has the right to a standard of living adequate for health and well-being of himself and of his family, including food, clothing, housing and medical care and necessary social service and the right to security in the event of unemployment, sickness, disability, widowhood, old age or other lack of livelihood in circumstances beyond his control.” 

The International Commission on  Civil and Political Rights (ICCPR), 1976  and International  Commission on Economical, Social and Cultural Rights 1976 oblige signatory nations to ensure human rights and so does UDHR. 

Nepal is also a party to international human rights conventions, covenants and protocols.

Worryingly, appointments made to the National Human Rights Commission, the constitutional rights watchdog, have failed to meet national and international standards, including those outlined in the Paris Principles. 

After conducting a review for two consecutive years, a Ganhri Subcommittee on accreditation (SCA) in October last year recommended downgrading NHRC to the “B’’ category. Notably, one of the commissioners is requesting the government to amend the relevant Act and give NHRC more authority in line with the Paris Principles to avoid this action. The rights watchdog, caught in deep sleep for long, seems to have woken up and has begun blaming the state for failing to defend its appointments. A statement from the appointees reads, “Our appointments alone are not responsible for the downgrading. The government’s failure to strongly defend the appointments before the United Nations Human Rights Committee is primarily responsible for the Ganhri action. 

A bad carpenter quarrels with his tools.

Let’s go back a little bit to understand the crisis better. 

The Constitutional Council under the then Prime Minister KP Sharma Oli had  nominated chairpersons and members at various constitutional bodies, including the NHRC, on the basis of the Constitutional Council Act revised through an ordinance on 15 Dec 2020. The then President, Bidya Devi Bhandari, subsequently appointed the chair and four commissioners at the NHRC on 3 Feb 2021 on the government’s recommendations. 

Even during the reign of King Gyanendra, NHRC was not in such a sorry state. The SCA is bound to review the commission’s present status following complaints from several human rights bodies, chiefly over the appointments of NHRC officials. 

In the reviews conducted in 2021 and 2022 also, the Ganhri commission had recommended downgrading NHRC, pointing at the unconstitutional appointment process. NHRC’s ‘inability’ to safeguard minority rights did not help either. Add to it all half-a-dozen writ petitions challenging the ordinance and the appointment process that are sub-judice in the Supreme Court as well as civil society organizations’ dissatisfaction with the working process of NHRC.

Against this backdrop, who will come to the rescue of the constitutional rights body? 

The author is a former member of NHRC

Lord Krishna was such a God, who saved this earth from the cruel clutches of Kansa and Kaurava  both. This savior of the world, this darling of Gokul and Mathura, gave humanity a message of love and affection. He preached to the great warrior Arjun in the battlefield of Kurukshetra that this world is transitory and there is no such thing called permanent relation. 

Per ancient scriptures like the Mahabharat, Krishna told Arjun, who was unwilling to war against his own kith and kin: You can liberate this world from injustice. You will not be called a warmonger but a true lover of mankind. So you have to fight this great war of Mahabharat at any cost to free yourself from the tyranny and terror of the Kauravas. 

For showing the path of righteousness, Krishna is remembered today with respect and reverence. Krishnasthami is celebrated in Nepal and India with great fun and fervor. 

Krishna was very fond of  Makhan (butter) in his childhood and he used to steal it from every household with his like-minded friends. That is why he is also called Makhan-Chor (the butter thief).

Krishnashtami is an annual commemoration of the sacred birth of Krishna, the eighth Avatar of Lord Vishnu. This festival is observed on the auspicious eighth day (Astami Tithi) of the dark fortnight of the month of Bhadra every year with pomp and show, especially in Tarai-Madhes and other regions where Vaishnavites, the adherents of Vaishnav Dharma, live. 

Krishna Lila, a Ramlila-like drama based on the life of Krishna, is staged at night every year as a special spiritual feature in these regions, by recreating flirtations of Krishna’s youthful days with the Gopinis (milkmaids) mentioned in the scriptures. 

Krishna was deep in love with Radha. He used to play the flute inviting Radha to come to him.   

Vidyapati, a pioneer poet from the Mithila region, has also narrated Krishna’s love toward Radha in many of his poems. He has painted several rosy pictures of their love as well as pictures of Radha’s sadness when she had to spend lonely and long periods of separation in Krishna’s absence. 

One of Vidyapati’s poems goes like this:

Who said,

The southern breeze was soothing?

Its gentle touch kills lonely women

And the pollen of flowers

Scorches like a fire

Trans. Deven Bhattachaya

(Love Songs of Vidyapati P 95)

This year, Krishnashtami falls on September 6—20 Bhadra, 2080 BS. The month of Bhadra is considered very much sweet and soothing. Devout devotees fast the whole day and they break their fast at midnight when, per the Veda, Upanishad and other religious scriptures, Kishna was born.

Observed with much fanfare across the country, this auspicious day not only signifies the pious birthday of a Vishnu incarnate but also of a divine preacher, who inspired the whole of mankind with his divine knowledge and supernatural powers. Krishnashtami is not merely a ritualistic celebration, but also a day of eternal and everlasting religious significance. Western customs and movements like the Hare Krishna movement (ISKON) draw from Lord Krishna and his teachings. 

Such is the eternal power of Lord Krishna. 

The author is a veteran linguist

Fagu is called Holi or Faguwa in the Tarai-Madhes region of Nepal. It is the festival of colors, mainly of red powder, and of romance. It is celebrated differently in the Kathmandu Valley and in the Tarai-Madhes. After the installation of the Chir (totem pole) at the Vasantapur Durbar Square, one of the UNESCO heritages, the festivities begin by splashing of water and smearing of yellow, blue and red vermilion among the revelers. The main festival is celebrated on Fagu Purnima, the full moon in the month of Falgun. In Tarai-Madhes, Fagu is marked not on the full moon day, but the day after. On the full moon night, revelers light bonfires and celebrate the festival the next day by chanting Faguwa folk songs, roaming around villages, and smearing colors on one another. They also hand out betel nuts, coconut, cardamom, cloves and raisins. Lovely legend The multicolored Chir represents the Kadam tree that Lord Krishna is said to have climbed with the stolen Saris of milkmaids bathing in the Jamuna river. A talented flutist, the legend goes, Lord Krishna used to climb up the tree and play his flute to court his love Radha. With his tune, he would send messages to Radha, asking her to meet him in the Vrindavan forest. It is believed Lord Krishna used to play Holi with Radha and her friends. The great poet of Mithila, Vidyapati, has described this in one of his poems: Let us go to see Vasant (Spring) Where Ketaki and Kund are laughing The moon is clear The bees are black The night is dim The beloved one is getting angry Kamadev (the god of love) fights with his enemy Radha and Krishna are planning to go out and play in the forest. Merriment and romance are the essence of Faguwa. This festival is related to the full moon as it is supposed to increase the sexual urge not only in adults but also in elderly people. The full moon fills the hearts of revelers with mirth and merriment. Kamadev is supposed to transmit vitality and vigor in all types of people, irrespective of age during this festival, which brings enjoyment to newly-engaged and married couples as well. Cupid comes to life and brings cheers to the monotonous lives of the local people. The whole of Madhes is in a mood of merriment with the feast forming a n important part of the fest. In the Tarai-Madhes, this feast goes on for weeks, where people eat eggs, fish and meat. Non-vegetarian meals are the main source of increasing sexual excitement followed by home-brewed beer. Vegetarian people eat sweets and fruits. The Hindus around the world celebrate Holi marked by mingling of sexes and castes. It is a golden occasion for forgetting the ill will and fostering love, affection and sympathy. “Faldon” (the origin of the word Fagu) in Sanskrit means red powder, Kumkum or Sindur. The first night of the full moon is dedicated to the prayer of the Holi fire, while the second day is considered the day of dust (Dhulikshava), the third day is of Rangotsav, which literally means the festival of colors. The goddess of Holia is invoked on the first day of the fest marked by obscene shouting. Sanskrit scholars explain it thus: The 15th of Falgun Shukla is marked by the Purva Falguni constellation with Bhag as its goddess, meaning the private part through which a child is born. Shouting obscenity is a way of offering prayers to the goddess; it can also be seen as an aboriginal fertility rite. For many, Holi is also a festival to let out pent-up emotions. In Freudian lens, Holi offers an opportunity to express one’s libido, restricted and tabooed the whole year. It is both verbal as well as physical expression of gaiety and unbridled urges.   Pauranic origins Bhavishya Purana mentions Falgun as the last month of the Shalvahan Calendar), it is to be observed as the festival to ring in a new year. To quote PB Shelley: If winter comes, can spring be far behind? It is but natural to regard Holi as a spring festival or Vasanttotsav. There is also another Hindu legend concerning Holi, where Lord Shiva opened his third eye in anger to burn down Kamadev, rendering him Anang (bodiless). It is believed that Lord Shiva later restored Kamadev’s life upon requests from Parvati, the constant companion of Lord Shiva. This festival is celebrated every year with pomp and show. Holi or Hori or Faguwa folk songs are melodious and meaningful. Mythological relevance is revealed in the following folk song: On the day Krishna played the flute, The three worlds were connected, What was the flute made of? And how was it tied? On the day, Krishna charmed the world, With bones and flesh and flute was made With love it was tied. This festival, associated with Lord Krishna, Radha, Rama and Sita, Shiva and Parvati, has deep religious significance.  

Followers of Hinduism celebrate lots of fairs and festivals round the year. Basant Panchami or Saraswati Puja is one of the main festivals, observed by worshiping Saraswati, the goddess of knowledge. The festival heralds the beginning of the spring season and is very important for teachers and students. The fifth day of the new moon holds special significance in the Mithila region. The fifth day of the new moon of the month of Shrawan is celebrated as Mauna Panchami. People worship the Bishara goddess with special respect and reverence on this day. They also celebrate the famous festival of Madhushrawani. It is considered the honeymoon of the newly married bride and groom. Moreover they also pay due respect to the serpent god which is called Nagpanchami.The fifth day of Mangsir is celebrated  as Vivah Panchami.On this special occasion the marriage ceremony of Lord Ramchandra and goddess Sita is celebrated with great fanfare in Janakpur. The fifth day of the new moon on the month of Magh is called Vasant Panchami when the Goddess  Saraswati is worshiped in each and every educational institution in Mithila with interest and enthusiasm. Especially all teachers and students pay offerings to Saraswati, the Goddess of wisdom. She is not only the Goddess of wisdom but also the Goddess of knowledge, music, arts, science and modern technology.Goddess Sarswati is worshiped on Vasant Panchami day which is also called as Sri Panchami and Saraswati Panchami.People worship Goddess Sarswati to get enlightened with knowledge and get rid of ignorance for ever. It is also celebrated for attaining the blessing of Mother Saraswati.This special worship is performed by expert priest and Pandit who chant shlokas of Sanskrit and also read Saraswati Puran.She is considered mother of all the Vedas.She is also known as Bharati( persuasiveness), Shatrupad (survival), Vedamata( mother of the Vedas) Brahmi, Sharada, Vageshwari and Putkari.She is well known as the Goddess of speech.She is also revered and respected as the Goddess of aesthetics and alphabet because children of Mithila first of all learn alphabet on this auspicious occasion. Goddess Sarswati is represented as a graceful woman  in  white apparel, a symbol of purity and peace and chastity. She is the only Goddess, who signifies knowledge, learning, arts and culture. This puja is celebrated in a free and friendly atmosphere beyond the feelings of caste, creed and gender. It is a community festival scholars and students  community festival, which gives a suitable opportunity to forget all the  ill nourished feelings of the whole year. This festival  is celebrated in the spring season when Maithil people are mentally and physically prepared to make merry by worshiping the Goddess and distributing sacred Prasad among themselves. On this occasion, these people wear white new clothes befitting the occasion. The main person performing the pooja wears yellow clothes because yellow is the color of the spring season. This is an agricultural festival also because after a break of one month farmers  start to plough their barren fields on this day. The festival is observed somewhat differently in the Kathmandu valley. In the month of Magh, the Hindus celebrate Basant Pachami by listening to holy recitations from the priests about the advent of the spring season and its glory. On this auspicious occasion, a Vasant Shrawan ceremony is held at the courtyard of the historic Hanuman Dhoka, where the glory of the spring is sung and listened to. On this day, schools, campuses and universities all over the country are decorated tastefully with festoons and the goddess of knowledge is worshiped. Students as well as learned men and women gather at educational institutions in their native towns and villages for the celebrations. Goddess Saraswati is depicted as having four hands. On one hand, she holds a sacred scripture, a lovely lotus, while the other two hands hold the Veena, a stringed musical instrument. Her vehicle is a white swan. In Buddhism, she is said to be the consort of the respected Manjushri. Her earthen idols are immersed in nearby rivers and ponds on the following day amid recitations of prayers dedicated to her.