Dashain marks the victory of light over darkness, righteousness over evil. The festival begins only after paying tribute to our ancestors, an essential part of Sanatan tradition. In Sanatan, honoring one’s ancestors takes precedence over worshiping the deities. Therefore, the greatest celebration begins only after homage is offered to those who came before us. Dashain, also known as Navratri or Durga Puja, has many regional variations across the Hindu world. I want to highlight how this festival is celebrated in the Mithila region of Nepal. Among the different forms of Dashain observed throughout the year, four are widely recognized. Of these, Shardiya Dashain, which falls around October to November, is the most widely celebrated. It is observed with great devotion not only in Nepal, but also in India, Bangladesh, Sri Lanka, and in every place where Sanatanis reside. The Navratri observed in Magh and Ashadh are known as Gupt Navratri, or the “hidden” Navratri. These mark the transitional periods, Magh Navratri heralds the approach of spring, while Ashadh Navratri signals the onset of the monsoon or summer season. In addition to this, there is Chaitra Navratri, celebrated at the beginning of spring, and the most widely observed Shardiya Navratri, which marks the arrival of autumn. Each of these holds deep spiritual and seasonal significance within the Sanatan tradition.
Mithila, a prominent kingdom during the Treta Yuga, stretched from the Mahananda River in the east to the Gandaki River in the west, the Himalayas to the north, and the Ganges River to the south. Renowned as the land of Maithili, better known as Sita, the daughter of Bhūmi (Mother Earth), Mithila holds a deep, intricate connection with nature. In ancient times, deities in Mithila, including Kuldevta (family deities), Gramdevta (village deities), and Bhagwati (the goddess), were traditionally represented through clay idols. The region of Janakpur is home to eight or nine prominent Bhagwati Sthans (sacred sites of the goddess), where the original clay idols once stood. Over time, these idols evolved, now often adorned with pitaal (brass) or silver ornaments, with features like carved eyes and noses to reflect a more distinctly feminine form.
It’s important to note that Murti Pujan (idol worship) in the broader Sanatan tradition became widespread only around the 18th century (while some claim it to be started in 15th century). Some also claims the murti puja started after the departure of Buddha. Prior to that, even the most revered deities were typically represented in simple, nature-based forms, often made of clay emphasizing the transient yet sacred essence of divinity connected to nature. Just as Mithila is rich in stories and traditions, the observance of Navaratri here is woven with multiple layers of meaning. Among the most well-known are two key narratives: one marks the arrival of the Goddess into the mortal realm, and the other celebrates the victory of Ram over Ravan.
The first story revolves around the arrival of Bhagwati. It starts with a placement of kalash (sacred metal or clay pot, often filled with water and adorned with mango leaves and a coconut on top), on Pratipada of the Shukla Paksha in the month of Asoj (Ashwin), with the installation of a sacred Kalash at the Bhagwati Sthan or Kuldevta/Kuldevi Sthan. This ritual symbolizes the invocation of the divine feminine energy to bless the household and community with strength, prosperity, and protection. Beneath the Kalash, a bed of clay is prepared where nine to eleven types of sacred grains (Navadhanya) are sown, representing fertility, growth, and abundance. For the next nine days, the Kalash is worshipped with devotion, offered prayers, Dhoop (incense), and Diya (oil lamps), as devotees honor the nine forms of Bhagwati (Shailaputri, Brahmacharini, Chandraghanta, Kushmanda, Skandamata, Katyayani, Kalaratri, Mahagauri, and Siddhidatri) each embodying a unique aspect of feminine power.
Good is often accompanied by the presence of evil in some form, and Navaratri acknowledges this balance. The festival also recognizes the influence of black magic, which is why on the first day, a special black tika, made from the soot of the burnt diya (oil lamp), is applied behind the ears of each family member. This ritual is believed to protect the household from negative energies and harmful forces. My mother and grandmother continue this sacred practice faithfully, passing down the tradition as a powerful shield for the family. Throughout the nine days of Navratri, it is a continuing tradition in many parts of Mithila to clean the Bhagwati Sthan every morning, and to light oil lamps (saanjh) in the evening. This daily devotion is accompanied by offerings such as paarat and handcrafted paper decorations lovingly prepared for the goddess.
Bel Nauti, Nisha puja, Khoichha
On the sixth day of Navaratri, a special ritual known as Bel Nauti is observed. During this ritual, two Bel (wood apple) fruits growing on the same branch are carefully located, symbolizing divine unity. These fruits are tied together with sacred red cloth and respectfully invited to the devotee’s home, along with Lord Ganesh, Goddess Lakshmi, and Goddess Saraswati, to bless the household. The following morning, the twin Bel fruits are ritually cut from the branch and brought to the same sacred space where the Kalash is installed. There, they are worshipped with full devotion.
It is believed that on this sixth day, Bhagwati (the Goddess) opens her eyes and descends to the mortal world, making it one of the most spiritually significant moments of Navaratri in the Mithila tradition. On the seventh day of Navaratri, the intense and powerful Nisha Puja is performed at night. These ritual honors the most ferocious form of the Goddess, Kali, and in traditional practice, it includes offerings known as Bali (symbolic or actual, depending on custom). For those who follow the Tantric path, similar rituals are extended across all Nine Mahavidya’s, invoking the complete spectrum of divine feminine power. The nine Mahavidya’s represent the most powerful and ferocious forms of Divine Feminine (kali, Tara, Tripura Sundari, Bhuvaneshwari, Chhinnamasta, Bhairavi, Dhumavati, Bagalamukhi, and Matangi) each embodying a unique aspect of cosmic energy. These goddesses are traditionally worshipped and invoked through Tantra Sadhana, a deep spiritual practice that requires intense discipline and understanding. As emphasized by the learned elders and spiritual leaders in the community, such practices must only be undertaken under the guidance of a qualified Guru. Without proper initiation and direction, the energies invoked can be overwhelming, as the Mahavidya’s are not merely symbolic, they are potent forces that demand reverence, purity, and deep spiritual preparation.
After Nisha Puja on kalratri, women adorn themselves with Sindoor (vermilion) and Shringaar (ornaments and makeup). Women, out of deep reverence, refrain from wearing new tika or doing any form of beautification until the Goddess Herself is offered these adornments during the ritual.
On the eight days, Khoichha, a sacred offering that includes grass, grains, fruits, and symbolic items, is presented to Bhagwati with heartfelt prayers for the well-being, prosperity, and harmony of the family. This ritual period also symbolizes the preparation for the Goddess to return to her divine consort, marking the end of her visit to the mortal realm. In a reflection of this sacred departure, it remains a cherished tradition to offer Khoichha, a symbolic gift of blessings, to married daughters before they leave their parental home. This act, filled with love and hope, mirrors the Goddess’s farewell and reinforces the deep cultural bond between familial rituals and divine symbolism.
By the tenth day, on VijayaDashami, the saplings (Jayanti/Jamara) that have grown beneath the Kalash are distributed as blessings from elders, symbolizing protection, fertility, and divine grace.
The second story associated with this day is that it marks the return of Lord Ram to Ayodhya after his victory over Ravan. It is believed that Ravan was able to face Ram, an incarnation of Lord Vishnu, only because he was engaged in intense Bhagwati sadhana. Without this spiritual practice, Ravan would not have had the strength to stand against Ram. Ultimately, however, Ram defeated Ravan, symbolizing the triumph of good over evil.
In Mithila, Ramleela performances are a common tradition during Navratri, depicting scenes from the Ramayan. Many families honor this period by reciting the Ramayan at home. I have personally witnessed this tradition in my own family, my great-grandfather upheld it, and my father continues it to this day.
Throughout these nine sacred days, many devotees also observe the Durga Upwas (fasting), chanting different mantras, and reciting durga-mahatmaya, dedicating their body and mind fully to the Goddess in devotion, discipline, and purity.
Jhijhiya
Jhijhiya is a traditional folk dance performed mainly by teenage girls, who balance a specially crafted clay pot—with multiple holes on its surface—on their heads as they dance gracefully. This dance is offered as a heartfelt tribute to Bhagwati, seeking her protection against black magic and evil forces to safeguard their families. Practiced with deep reverence in my native village of Khajuri, Jhijhiya is not only a spiritual ritual but also a joyful and captivating spectacle to witness.
Times are changing, and so are cultural practices. Today, Navaratri celebrations often include grand pandals, and traditions like applying tika and Jamara on Vijayadashami have become central to the festivities. While some may choose to dismiss or even make fun of these traditions, my intention is simply to share the cultural celebrations I grew up with, rituals and moments that once filled our homes and communities with devotion and warmth, but which now seem to be slowly fading away As a scientist, I understand the value of a pragmatic approach. However, that perspective lies beyond the scope of this article, and I don’t consider myself sufficiently informed in that area to make definitive claims about what’s right or wrong.
This isn’t about moral policing, whatever brings solace and peace is worth embracing. Nevertheless, Dashain is a celebration of joy, a time to cherish good moments with family and friends, and to enjoy delicious food together.
So, wish you all a very happy Dashain!!!
A big shout-out to Mr. Shankar Pandey and Mr. Shambhu Pandey for sharing the details of Navratri in Mithila.
