Kartik Naach: Ancient Cultural Dance Tradition in Patan

Kartik Naach: Ancient Cultural Dance Tradition in Patan

The heritage dance drama Kartik Naach will be staged at Kartik Dabali in Patan Durbar Square, Lalitpur. According to Kiran Chitrakar, chairperson of the Kartik Naach Preservation Committee, the performances uphold a centuries-old tradition in which each evening presents a different tale from the life of Lord Vishnu.

Historically, Kartik Naach ran daily through the end of the lunar month of Kartik. In recent decades, the festival has been shortened; this year it is planned for ten days.

Historical significance and structure

Sources trace the origin of Kartik Naach to Nepal Sambat 761 (B.S. 1697), during the Malla period. King Siddhi Narasimha Malla began the tradition to strengthen public confidence and community well-being in Lalitpur. His teacher, Pandit Haribansh Upadhyaya, and spiritual guide, Vishwanath Upadhyaya, are credited with shaping its form.

The dance-drama originally ran for five days. King Siddhi Narasimha’s son, Srinivasa Malla, expanded it to fifteen days by adding pieces such as “Bathah Pyakhan,” “Sudama Pyakhan,” and “Surdas Pyakhan.” Over time, different episodes—many centered on Vishnu’s incarnations—were presented on successive evenings, giving the festival its distinctive day-by-day narrative structure.

Although financial and staffing limits have sometimes reduced the run, Kartik Naach remains a vital part of Nepal’s intangible heritage and a living link to Malla-era performance culture.

Kartik Naach — Timeline (B.S. / A.D. / N.S.)

Notes: B.S. = Bikram Sambat; N.S. = Nepal Sambat. A.D. conversions are approximate.

Religious and cultural importance

Kartik Naach holds religious and tantric significance in the Newar community and is regarded as inclusive and community-building. Dialogues were historically delivered in Maithili; in recent years, they have been rendered in Nepal Bhasa to support wider understanding among local audiences.

Sanjay Sharma Rajopadhyay, coordinator of the Kartik Naach Promotion Committee, notes that Kartik Naach was once recognized as one of the world’s longest theatrical festivals, originally spanning up to 27 days. After the political change of B.S. 2007, it was briefly paused and later resumed in a shortened format—at times limited to just the Varaha and Narasimha episodes. From B.S. 2038 to B.S. 2069, it typically ran eight days; since B.S. 2070, it has generally run ten. The full 27-day cycle has not been staged since 2006 because it demands year-long preparation and extensive rehearsals.

During the COVID-19 period (B.S. 2077), the festival was limited to two days. This year, the schedule returns to ten days.

Current challenges

According to Rajopadhyay, large-scale performances face funding gaps. Each evening requires at least twenty performers, yet available resources have not been enough to restore a month-long run. Limited compensation also makes it hard for artists to devote themselves fully, and some have gone abroad for work. Language gaps among younger participants and insufficient institutional backing add to the strain.

Steps toward preservation

Chairperson Kiran Chitrakar reports that the Preservation Committee plans to establish a fund of Rs. 100 million. The goal is to sustain the tradition, provide fair professional support for artists, offer language training to younger performers, and introduce scholarships and health insurance.

Key Insights about Kartik Naach

• Began in the Malla era when King Siddhi Narasimha Malla started it in B.S. 1697 (N.S. 761).

• Performed at Kartik Dabali beside Patan Durbar Square in Lalitpur.

• Once ran for a full month; in recent years it usually runs for 10 days.

• Held every year in the month of Kartik—the month that gives it its name.

• Founded with the aim of supporting the well-being of the people and the country.

• Built on stories of Lord Vishnu, with a special focus on the Narasimha episode.

• Each evening tells a different story, often highlighting a distinct avatar of Vishnu.

• Live music features ponga, khin, taa, and jhyali.

• Includes ritual and tantric elements that shape its spiritual character.

• Began with Krishna Leela and later added Varaha and Narasimha plays.

• King Srinivasa Malla extended it to 15 days and introduced moral folk dramas (B.S. 1730).

• King Yoganarendra Malla later expanded it to a month, adding classical pieces like Ushaharan.

• Briefly paused around B.S. 2007, then resumed in a shorter format.

• From B.S. 2008 to B.S. 2037, it was often limited to two days.

• In B.S. 2038, a management committee restored an eight-day program.

• Widely regarded as one of Nepal’s longest-running theatrical traditions.

• Uses dramas such as Mahamurkh to share social messages.

• In recent years, typically staged from Kartik Shukla Shasthi to Kartik Shukla Trayodashi.

• “Bathah Naach” portrays Brahma, Vishnu, and Mahadev visiting Earth in human form.

• The Bathah Naach mask holds strong symbolism; local lore says it is exceptionally old.

• Devi dance, Varaha play, and martial sequences each carry distinct ritual meanings.

• Hymns and devotional songs deepen the atmosphere of the performances.

• The festival expresses Patan’s cultural identity and preserves Malla-era practice.

• It offers a clear window into early Nepal’s life, beliefs, and stagecraft.

• Current priorities include stable funding, artist training, and youth engagement.