Kumari: The Unique Cultural Tradition

Nepal is a religious country with diverse traditions and a rich cultural heritage. The 'Kumari Pratha' is one of the unique cultures that is found in Nepal only. 

‘’Kumari’’ is derived from the word ‘’kaumarya,’’ which means ‘’princess.’’ Kumari is a divine girl aged 3 and 4 years, believed to be the living embodiment of the goddess Durga or Taleju Bhawani. 

The Kumari Pratha in Nepal dates back to the 17th century, but evidence of Kumari puja spans over 2,300 years. Historical records describe the selection, adornment, and worship of the Kumari.

According to legend, King Jayaprakash Malla, the last king of the Malla dynasty, played a dice game called Tripasa with the goddess Taleju. She visited him every night to play, on the condition that he keep their meetings a secret.

One night, the king’s wife followed him to his chamber to discover who he was meeting so frequently. Upon seeing the goddess Taleju, she angered her. Taleju informed the king that if he wished to see her again or receive her protection, he must search for her among the Newari (Shakya) community of Ratnawali, where she would manifest as a young girl. Determined to regain her favor, King Jayaprakash Malla left the palace in search of the girl who embodied Taleju.

After the Kumari vacates her role, a frenzy ensues to find her successor. The selection process is intricate, requiring adherence to specific criteria. Candidates are typically drawn from the Shakya or Bajracharya clans, considered of pure lineage, and must be girls between the ages of 3 and 5.

Eligible girls come from the Newar Shakya caste, possess excellent health, and must never have shed blood or experienced illness. The selection involves rigorous testing of specific physical attributes, such as possessing a neck like a conch shell, a body resembling a banyan tree, eyelashes like a cow, thighs and chest akin to a deer, and a voice as soft and clear as a duck's.

A significant test involves spending a night alone among the heads of ritually slaughtered goats and buffaloes, demonstrating fearlessness, which signifies the serenity and strength associated with the goddess. 

The final test requires the girl to identify the personal belongings of the previous Kumari from a set of items laid out before her. Successfully doing so indicates she is the chosen one.

Once the selected girl undergoes Tantric purification rites, she crosses over on a white cloth to the Kumari Ghar, assuming her new role. Her life changes dramatically; she wears red and gold attire, styles her hair in a topknot, and has the Agni Chakshu (fire eye) symbol painted on her forehead, representing her unique perception qualities.

The Kumari's power is so profound that even a glimpse of her is said to bring good fortune. Crowds flock to see her, and she receives them in silence, offering her feet to touch or kiss as a gesture of devotion.

During these audiences, the Kumari’s actions are closely observed, with her behaviour interpreted as omens: crying or rubbing her eyes signifies imminent death; hand clapping indicates a threat to the king; picking at food offerings suggests financial troubles. If she remains silent and impassive throughout the audience, her devotees depart elated, believing their wishes have been fulfilled.

Once chosen, the Kumari resides in the Kumari Ghar, with her role being largely ceremonial. She participates in various religious functions, festivals, and public ceremonies, where her presence is thought to bless attendees with prosperity and good fortune. The Kumari embodies the divine feminine and plays a central role in numerous festivals and religious celebrations, including Indra Jatra and Dashain.

During the Indra Jatra festival, the Kumari rides in a chariot through the streets of Kathmandu, blessing the city and its inhabitants. In the Dashain festival, a significant Hindu celebration, her participation is especially revered.

Critics raise concerns about the psychological and social impacts on the young girls chosen for this role. Issues of isolation, the transitional period after retirement, and effects on their education and personal development have been highlighted.

Recently, discussions have emerged around modernising or re-evaluating the tradition to better address these issues while still preserving its cultural heritage.

The Kumari symbolises both the historical richness and the ongoing challenges of maintaining tradition in a modern context. This tradition embodies a fascinating aspect of Nepalese culture, intertwining religion, history, and social practices. It reflects a unique cultural identity while presenting opportunities for contemporary reflection and reform.

(Grade 11, Management Student, Golden Gate International College, Battisputali, Kathmandu)