Youth Participation in Preserving the Intangible Cultural Heritage of Kathmandu Valley

Cultural heritage can be broadly divided into three categories: tangible, intangible, and natural. This article explores the intangible cultural heritage (ICH), referring to the living experiences that transcend the physical realm yet give meaning to the tangible. It does not delve into the intricacies of everyday culture experienced by the youth in the valley; rather it focuses on the jatras, language, and gender roles. UNESCO’s definition in Article 2 (2) of its ICH convention, includes social practices, rituals, and festive events as intangible cultural heritage. Additionally, it recognizes language in the form of “oral traditions and expressions” in Article 2 (2) and “documentation” of the language in Article 2 (3) as ICH.

In Nepal, the youth of Newar ethnolinguistic communities of the Kathmandu Valley practice dual commitments to ICH: their practices preserve ICH yet challenge the norms to adapt towards a more inclusive society. The celebration of jatras vividly illustrated the preservation of intangible cultural heritage, embodying the rich traditions and customs transmitted across generations. Learning and utilizing Ranjana Lipiya is another example of the preservation, safeguarding a once-dying script. However, traditional cultural practices are also contested, as observed through women’s active participation by pulling chariots during jatras.

Despite the centuries-old heritage, there is a lack of proper laws and responsibilities on ICH in Nepal making the participatory approach implemented by the Newar community an integral part of conserving it in the valley. Community participation also ensures ownership in the conservation of cultural heritage, reflecting on its meanings, perspectives, and values. Furthermore, the youth participants safeguard culture for generations by deciding which cultural aspects to preserve and which to discard or adapt to suit the modern culture. The communities are the sole responsibility bearers who actively carry the knowledge and skill forward, particularly the youth who could teach future generations. Such ownership and accountability were visible during the reconstruction of Kasthamandap after its destruction in the 2015 earthquake. The initial contractor’s failure to integrate traditional elements led to the fury of community members and staged protests.

Considering the importance of active youth participation in preserving the intangible cultural heritage of Kathmandu Valley, this article will analyze the three aspects where youth involvement is essentially carrying the culture forward, either through preservation or adaptation.

Youth Participation in the Jatras

Jatras, the annual festival parades where Newars gather, in Kathmandu Valley can be categorized as ICH according to the definition of UNESCO Article 2 (2). Six jatras are annually celebrated in the valley: Bisket jatra, Gai jatra, Ghode jatra, Indra jatra, Rato Machindranaath jatra, and Seto Machintranath jatra. Each jatra differs from another in the reason and the intricacies, yet practitioners bond all. Learning and transferring required knowledge and skills between generations can be attributed to the practitioners. Youth practitioners, notably, are instrumental in these transfers.

Gai jatra, celebrated in the month of Bhadra, is famous for community members dressing young male members from families with a deceased member in the preceding year in costumes mimicking cows to commemorate the dead relatives. Young engagement is significant in participation during this jatra. The festival, originating in the 18^th century during the Malla dynasty, awakes a sense of togetherness soothing the pain of loss among the community members.

Indra jatra, or Yenya Punhi, is the most anticipated jatra in the valley. Youth has multiple roles of participation in the jatra, the most popular is the free alcohol that flows out of the mouth of Swet Bhairav. Traditionally, young men enthusiastically volunteer for this jatra by drinking the free alcohol. Since 2017, a day has been allocated for women-only drinking fest where young women eagerly participate. Indra jatra is infamous for its violent crowd during these drinking events, perhaps the cause of women’s dissociation from the traditional celebration. However, active participation from the youth does indicate an interest in preserving intangible heritage if it suits their interest.

Preserving Oral and Written Nepal Bhasa

Oral tradition is a part of intangible cultural heritage. Nepal Bhasa, despite its name, is not a national language of Nepal. The Newari oral and written language is prevalent in the valley dominated by the Newar population and spoken by Newars outside the valley. However, its prevalence among the youth is in decline with 66% able to understand and only 43% able to speak fluently. The Education Department of Kathmandu Metropolitan City (KMC), endeavoring to preserve the language, inaugurated teaching Nepal Bhasa to students from Grades 1 to 8 in 2021.

Rajana Lipiya, the traditional script of the Newars of Kathmandu, was once a dying intangible culture. The initiation by KMC to teach Newari attempts to preserve the documentation of the language. All private and public schools within the KMC jurisdiction are mandated to implement the program to teach young minds. Further, artists like Sneha Shrestha, also known as IMAGINE, use Ranjana Lipiya as the main theme of their art forms, promoting the script through contemporary art in Nepal and abroad.

Challenging Traditional Gender Roles

Understanding the underlying heterogeneity among the youth population is essential in understanding the youth participation to preserve the heritage. While the faces of most jatras in the valley were men due to rampant notorious violence breakouts, an increasing number of girls and women are contributing to preserving cultural preservation by participating in chariot pulling and musical groups.

Indra jatra, or Yenya Punhi, is an annual festival celebrated since the 10^th century in Kathmandu by the Newar ethnolinguistic communities. The main attraction of the festival is the raths, or chariots, that are paraded through various locations within the city. Traditionally, only the male members of the Newar communities were allowed to pull these raths. However, this gendered role is shifting. Female community members, especially young women, started pulling the raths in 2012, starting with the Kumari’s rath. Since 2018, women are engaged in pulling the main rath of Seto Machhindranath. Young community women are particularly eager to contribute to the chariot pulling. These progressions, although not the most efficient, indicate a force toward a shift in traditional gender norms within the community.

Traditional musical band parades, one of the attractions during the jatras, were originally exclusive to male community members. Traditional Newar music was associated with the worship of Nasodya, the deity of dance and music, in his chamber where women were forbidden. However, men started losing interest in traditional music, threatening the preservation of musical cultural heritage. Additionally, music teachers contested the limitation of music to men. This opened doors for women’s participation in traditional music, with more interest visible among girls and young women.

Meanwhile, there are miles to go before reaching gender parity in the valley. Cultural festivals in the valley are matched with the harvest cycles, indulging in feasts from crops reaped in the harvest. Traditionally, female household members prepare rigorous festive foods, while the male household members are burdened with financing these festivals. However, these traditional roles are challenging in current times as young women contribute to household income, yet contribute more unpaid time fulfilling their traditional roles in the kitchen compared to young men.

Youth Safeguarding the Cultural Heritage

Youth bring a unique perspective to preserving cultural heritage, guided by nuances of maintaining culture and adapting to modernity. Heritage conservation is also moving towards a more inclusive model. Adopting an inclusive model in recent years has garnered more attention in cultural preservation from women. As Harrison states, heritage is a process. However, incentivizing the youth to participate in cultural heritage conservation actively and meaningfully is important.