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When I was a middle school student, I was very crazy about kite-flying. This was the only medium of recreation during Dashain holidays. Some of my classmates were even crazier than me. One of my classmates, Sukhdev Upadhay, became one-eyed as he used to gaze all the time at the midday sun while flying his kite instead of sparing some time to savor those rolling green paddy fields!

However, with the passage of time and adoption of modern lifestyles, students of this day and age do not do much kite-flying. They are busy with their gadgets—mobile phones, computers and laptops—which do more harm than kite-flying does. 

Back in those good old days, the limitless sky was an open canvas and popular playground for kids like us and it didn’t matter whether you were a novice or a seasoned kite-flier. 

My experience of kite-flying tells me that human imagination soars high like a kite as one lets loose the thread from the reel, letting the kite soar high in the crystal-clear sky. Kite-flying offers you breathtaking vistas of the Earth, pleasant sounds of Nature and sacred sweetness and fragrance of marigolds and a myriad other flowers in full bloom. 

Neither too hot nor too cold, the autumn season is very serene and sacred also because of the worship of several goddesses, especially Durga Bhavani. 

Those sweet young days of kite-flying are gone for many of us, but this game can help even grown-ups overcome anxieties and leave the worldly cares behind for a while, though kite-flying from the rooftop of a house generally comes with perils attached like slips, trips and falls.   

This year, View Brew Cafe and Bar is hosting a weeklong kite-flying event with delicious food, various drinks and a breathtaking view of the Kathmandu Valley from their rooftop area, which is  specially designed for a safe kite-flying experience. Kites and accessories are also available at the restaurant for participants. This is a good attempt to remind young generations of the traditional kite-flying competition. 

A break from farm labor

At this time of the year, generally, there is no rain and crops are ripening in their fertile fields, allowing farmers to wind down a bit. They use this brief period to fly kites in the vastness of clear white skies adorned occasionally with the rainbow, while praying to Indra, the god of rain, to not ruin their kite-flying season with rainfall! 

I borrow a line from a beautiful poem of one of the most prominent romantic bards, William Wordsworth, to  support my statement while reminiscing fond memories associated with kite-flying high in the autumn skies shorn of rain clouds: 

“My heart leaps up when I behold a rainbow in the sky.”

A harbinger of goodness

Myriad kites of different shapes and sizes, made of multi-coloured papers, soar in the azure autumn sky of the Kathmandu Valley and other parts of the country. There’s a popular belief in Nepal that kite-flying brings forth happiness, sound health, peace and prosperity both in the households and in the country. 

This folk festival has health benefits attached as kite-fliers get to soak in the autumn sun, a pure medicine for the human body, which contracts all sorts of infections during the summer.

During this season, kite-flying is done in a big way in India also, including in the state of Gujarat that organizes an international kite festival, which draws global kite-fliers, coinciding with the festive season. Kite-flying is also a ritual dedicated to the Sun, thanking him for the benefaction of crops. 

Kite-flying is an international festival. A global kite-flying festival is held in Paris every year with enthusiastic participation of flies from different parts of the world. 

Making kites

Kites are made of lightweight paper and dried skewers of bamboo. Cotton strings used in kite-flying—with the help of Lattai (kite reel)—are laced with Manjha (a special mix of glass powder and rice paste) to make it strong and sharp so that it can cut other kite strings. Nowadays, multi-coloured kites of different shapes and sizes are available and they create very enchanting scenes in the skies.

Motiram Bhatta was born in Kathmandu on 8 Sept 1866 at Bhosiko Tole as the second son of Dayaram Bhatta and Ripumardini Devi Bhatta. He was born on Kuse Aunshi (The dark fortnight of the month of Bhadra) and died on the same day on Kuse Aunshi in 1896. This is considered a good coincidence.

The contributions of Yuvakavi (the youth poet) to Nepali literature are enormous and incomparable. He is considered the first  biographer of Nepali literature. He wrote the biography of ‘Adikavi’ Bhanubhakta Acharya titled ‘Kavi Bhanubhaktako Jiwancharitra’. His other works include a rather long poetical work  Gajendramoksha (based on the myth of an elephant’s emancipation at the hands of Lord Vishnu), Prahlad Bhakti Katha (Prahlad’s story of devotion) and Ushacharitra, also based on mythological themes. Pikdut in which he makes a bird his messenger to his separated beloved in the style of great Sanskrit poet Kalidas ‘Meghdut’. Kamal-Bhramar Sambad (dialogues between the lotus and the bumblebee), Bhramargit (the song of the bumblebee) and Kavi Samuhnam (the description of poets) are his other marvels and so are ‘Manoveg Pravaha’ and ‘Panchak Prapanch’.  He was also a playwright, who wrote ‘Shakuntla’, ‘Priyadarshika’ and ‘Padmavati’. In the words of critic Kumar Pradhan, “His creative period started in 1883 and before his death at the age of 30, Motiram is reported to have written many more works than that have been published.”

Thus, he established himself as the genius and the living legend of Nepali literature. He was exposed to the outside world, especially in the neighboring India where he learned Hindi, Urdu and Persian languages. He also wrote a couple of ghazals and became a pioneer in this genre but this was not his main purpose. At that time, Varanasi (Venaras) was also the center of Nepali language. So, he concentrated mainly on the development of Nepali language and literature as it was his mother tongue. 

Critic Abhi Subedi is right in his observation. I quote him here: “In reality Motiram is the first  conscious artist and a very dexterous craftsman. On top of  being a good scholar and lover of language and literature he was the first critic and the first poet to bring literature to the common people.”

He also started to write Kuta Padya (knotty poetry) and poems related to problem-solving (poetic problem solving), which is called Samasyapurti in Nepali, which was the fashion of that time. He learned it from famous Hindi poet Bhartendu Harischandra and also imitated the trend of ghazal writing from him. Thus he became a pioneer ghazal writer in Nepali language.

We Nepali writers are fortunate enough to have known Bhanubhakta Acharya due to Motiram, who brought him to light first of all by publishing his immortal poetic epic, the Ramayan. He did some research first of all and then compiled his poetic creations and also published them. Firstly, he published the Balkand (child episode of Ram) and then wrote the whole biography of Bhanubhakta. He also became a pioneer in the field of journalism, which was unknown at that time. 

No journal was in publication at that time. So, he published a literary monthly journal named ‘Gorkha Bharat Jiwan’ in 1863, in cooperation with his friend Ram Krishna Verma, who was the owner of a printing press in Venaras.

To paraphrase Prof Govind Raj Bhattarai, “In a remarkably brief period of time, the life of Motiram, the visionary, vibrant and multi-talented youth, was extinguished. Motiram introduced Bhanubhakta by writing Bhanubhaktako Jeevan Charita, which has been translated into English by Mitbir Rai of Darjeeling. This is the first book of biography of the first poet as well as the foundation stone of Nepali criticism.”

He commenced a historical work in the field of journalism. Thus, he is remembered as a legendary  litterateur as well as a legendary journalist. He was also an expert on ghazal writing and his ghazals are very sweet and popular with a very soothing and balmy tone.

I would like to quote here the famous Pakistani ghazal singer Mehadi  Hasan: “For me, ghazal is delicate. When a deer is deeply wounded by a hunter, it runs into the forest for its life and the sound that comes from it just when it’s about to die, that sound is ghazal.’Tone, words and rhythm from the face of ghazal, the subjects of love lost, even love won and wounded sensibilities are deeply enmeshed within the ghazal form. But take it a step further and it can become metamorphic, the subject in the ghazal can become a country, the love for a country, the love for two countries to mingle again. And on a higher level, the words in the ghazal associated with the beloved can be a reaching out to God.”

In short, ghazal is a gossip between the lover and the beloved in solitude. Motiram’s ghazals create a soothing effect on the listeners and audience equally. He was a  romantic poet and ghazal writer. So he wrote some romantic ghazals such as “ Dubai ankhi bhaun ta katar chhan, tarbar kina chahiyo. Timi afai malik bhai gayau  sarkar kina chahiyo.” The translation goes something like this: Your eyebrows are like knives, why do you need a sword? You are the lord yourself, why do you need a government? His another popular ghazal is “Jata heryo utai mera najarma Ram pyara chhan,” which translates into: I see my dear Lord Ram everywhere. 

Motiram is considered the father of ghazal writing in Nepali language and literature. He was the  first singer of love and beauty in Nepal. John Keats’ words “A thing of beauty is a joy for ever” ring true in the case of Motiram’s works. 

Madhav Lal Karmacharya is quite correct in his observation. He goes: Sometimes after 1883, a new phase appeared with the introduction of the elements of love and beauty, and that period came to be known as the period of ‘Sringar Sahitya’ meaning the literature marked with the traits of love and beauty. The pioneer poet of this period was Bhatta, thanks to his zeal and enthusiasm, a number of dramas, novels, lyrics, gazals, folk songs, literary criticisms, etc were published.”

“Ek din Narad satyalok pugigaya lokko garun hit bhani.”

Thus begins Bhanubhakta Acharya’s Ramayan, the Nepali translation of Brahmarshi Balmiki’s epic, the Adhyatma Ramayan.  

The purpose of the pioneer poet of the Nepali language is lucidly clear in the above-mentioned line: Lokko hit (the good of the public, the worlds). Bhanubhakta’s Ramayan begins with Brahmarshi Narad visiting Satyalok (the realm of truth) for doing the good of the Lok (the people, the worlds); the purpose of Bhanubhakta’s labor is also to serve the people by translating the Ramayan from Sanskrit into a poetic Nepali. In the course of time, Bhanubhakta’s Ramayan has become immensely popular in Nepal and India, especially among Nepali-speaking communities.

Bhanubhakta was well-versed in Sanskrit, a language mainly of rich and well-educated people like scholars, priests and teachers of those times, but most of the Nepali society was not even familiar with Sanskrit. So, Bhanubhakta took it upon himself to translate the epic into simple and lyrical Nepali, making it hugely popular in Nepali households, both in Nepal and parts of India.

Ahead of his times and aware of the public pulse, Bhanubhakta has well-established himself in the literary firmament and earned himself a place in the hearts and minds of the Nepali Lok based in Nepal and abroad.

Apart from the Ramayan, his works including Badhushiksha Prashnottari, Bhaktamala and Ram Geeta have also sought to serve the public by reforming society through moral education.

The work titled Badhushiksha Prasnottari, for example, is Bhanubhakta’s attempt to teach good manners to daughters-in-law, to teach them how to behave with their mothers-in-law. 

Bhanubhakta was a devotee of Lord Ram and his lyrical Ramayan made him popular far and wide.

There’s a vast scope for a comparative study of Bhanubhakta’s contributions vis-à-vis other contemporary poets, but the sad fact is that there is no comparative study department in any universities of Nepal for such an undertaking.

Nonetheless, he is comparable to the great poet of Sanskrit, Balmiki, the prominent Awadhi poet Tulasi Das and the celebrated Maithili poet Chanda Jha.

A long time ago, Prof Surdeo Singh Prabhakar earned his PhD for his thesis titled ‘Comparative study of Bhanubhakta and Tulasi Das’ from the University of Allahabad, India. But his dissertation remains unpublished till date, somehow obscuring Bhanubhakta’s contribution.

The then Royal Nepal Academy (Nepal Academy now) has published Prof Dhundhiraj Bhandari’s article titled ‘A comparative study of Bhanubhakta and Tulasi Das’ in its research magazine named ‘Pragya’. This writer’s article on a comparative study of Bhanubhakta and Tulasi Das also got published in the same magazine.

In the World Sanskrit Seminar held in Kathmandu under the aegis of the Embassy of India in Kathmandu two years ago, this writer had made a presentation on a comparative study of the Ram Katha (story of Ram) of Bhanubhakta and Ram Katha of Tulasi Das.

Scholar Ram Chandra Poudel has also done research on the comparative study of Bhanubhakta and Balmiki whereas Prof Jayaraj Acharya has written a book titled ‘Bhanubhakta Acharya: His life and selected poems (2011), highlighting Bhanubhakta’s valuable contribution to Nepali language and literature.

Acharya has touched upon the need for a comparative study on Bhanubhakta and some other poets, especially Tulsidas from India. Notably, though well-versed in Sanskrit, Tulsidas also chose to write his ‘Ramcharit Manas’ in Awadhi, to reach and serve a wider audience.

Bhanubhakta was from the times when a clique consisting of teachers, preachers, scholars and priests from the elite class had a kind of monopoly over knowledge, given their command of Sanskrit in which most of the literature of those times was written.   

Yet he caught the pulse of the commoners of those times and had the foresight to translate the Ramayan into Nepali, which earned him immense fame, thanks to its lyrical and simple language.

Notably, this poet, born with a silver spoon in his mouth, in Ramgha of Tanahun district, drew inspiration for doing something good for the society from a grass-cutter, who, in the course of a conversation, said he was saving his hard-earned money to dig a well for fellow villagers.  

The rest, as they say, is history.

By taking the Ramayan, considered a fountainhead of peace and spiritual bliss for the religious minded people, to Nepali households, Bhanubhakta has helped spread the glory of Ram further and also immortalized the grass-cutter.

Bhanubhakta has become a national icon because of his contributions. He will shine in the firmament of Nepali language and literature forever.

Janakpur, the headquarters of Dhanusha district and part of the Madhes Province, has historical and religious importance. It is the capital of  ancient Mithila, the kingdom which on many of its frontiers is believed to have been guarded by different deities: Kshireshwor in the north, Jaleshwor in the south, Mithileshwor in the east and Kupeshwor in the southwest.

Janakpur is the sacred place where Janaki, the constant consort of Lord Ram and the dutiful daughter of Mithila King (Rajarshi) Janak, was born from the womb of Mother Earth. She is also considered the most celebrated and illustrated heroine of the Hindu epic Ramayan.

Ram, the king of Ayodhya, was married to Sita at Janakpur. The marriage ceremony of Ram and Sita, the two central characters of the Ramayan, is celebrated on the auspicious occasion of Vivah Panchami—the fifth day of the bright fortnight in the month of Mangsir (Nov-Dec). 

The legend preceding the nuptial goes like this. Ram broke a divine bow, which originally belonged to Lord Shiva, into three pieces, ‘qualifying’ him for his marriage with Sita. Per the legend, one piece flew into heaven, another entered Patal (the netherworld) and the third piece landed at the present-day Dhanusha Dham, about 40 km from Janakpur. Today also, visitors can see huge rocks shaped like a bow under a tree in Dhanusha rural municipality.

There are a large number of magnificent temples, large and deep ponds in Janakpur. These ponds are polluted, obscuring the glorious and golden past of the historic city regarded as one of the most sacred spots for millions and millions of Hindu pilgrims from the world over. Especially on occasions such as Vivah Panchami, Ram Navami and Janaki Navami, the faithful visit the city in large numbers.

The charms of Janakpur transcend beyond temples and ponds. Numerous fairs and festivals make Janakpur an attractive destination, making it a famous and foremost destination for religious-spiritual tourists. The historic place where the wedding of Ram and Sita took place is also a wedding destination for countless couples-to-be.

 Temples and more

Janakpur has been rightly called a tiny town of temples. Numerous ancient temples, statues and shrines indeed remind us of the glorious and religious chapters written about Mithila in ancient history books and several scriptures. The Ram-Janaki temple, one of the prime attractions, is a blend of classical and neoclassical design with elements of fortification and unique environmental setting. Its rare architectural elements, among other unique features, draw a large number of visitors from both Nepal and neighboring India. 

Mithila art is expanding its wings. It got an easy entrance into the UN and recently in the G-20 World Summit held in New Delhi. Moreover it has also got the GS (General Standard) trade mark. Janakpur has become the center of Mithila art and craft, but there is no sales counter for Mithila artworks at the Janakpur airport.  

Janakpur, the heart of the Mithila kingdom that embodies the teachings of Maitrei, Yagyabalkya, Gargi and King Janak and his dutiful daughter Janaki in the field of service and sacrifice appears to be losing its glory due to a dirty atmosphere and the lack of efforts aimed at preserving the Ram-Janaki temple and other heritages. The waste and rubbish piled around the temple and the city seem to have gone unnoticed in the eyes of the Greater Janakpur Development Council. 

There have been efforts to preserve this gem of a place, which is encouraging. For example, some youths have been conducting Sandhya Aarati for a decade, further highlighting the significance of the heritage site among visitors from Nepal, and beyond and giving the evenings a sublime, soothing and scented feel.

The sorry state of this priceless heritage site is calling local people, concerned authorities and other stakeholders to come to the fore for its preservation. The sooner they wake up to the task, the better.  

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.