Currently running at the Mandala Theatre, ‘Mukkumlung: Cho:t-lung of Yakthung’ is a theatrical production that illuminates the significance of Mukkumlung in Taplejung district, the sacred land of the Yakthung (Limbu) community.

Through an engaging narrative, the play highlights the current socio-political issue surrounding the commercialisation of Mukkumlung and the proposed cable car project, which threatens the destruction of indigenous land, trees, vegetation, and animals. The play emphasises that the destruction of this land is similar to disrespecting the Mundhum—the sacred oral scripture of the Limbu people.

One of the unique aspects of ‘Mukkumlung’ is its dual setting. The play is divided into two parts: The first twenty minutes unfold in an open theatre in the front yard of the Mandala Theatre, immersing the audience in the vibrancy of a Limbu community gathering.

The second part transitions into the black box theatre, delving into the mythical origins of the Yakthung people and the historical significance of Mukkumlung. This structural choice creates a dynamic viewing experience, contrasting present-day conflicts’ realism with ancient tales’ mysticism.

The play opens by portraying a typical Limbu household engaged in the Tangsing ritual. The scene is lively, with villagers gathered around, each engaged in their activities—some playing cards, some drinking, others chatting and serving alcohol. The entrance of three dhaami jhakris (traditional healers/shamans) marks the beginning of the ritual, as they chant mantras, dance, and play traditional instruments. The immersive act in this segment draws the audience into the heart of a Limbu community, making them part of the experience rather than just passive observers.

However, the celebratory atmosphere is soon disrupted by an elder who questions the authenticity of the dhaami jhakri’s ritual. This moment introduces the first conflict, a humorous yet thought-provoking generational debate on preserving tradition versus modern reinterpretations.

The arrival of a character named Limbu Dai (Manhang Lawati) argues that the villagers fail to understand the necessity and the true meaning of development. This ignites a heated debate over the planned cable car construction, with villagers divided—some supporting the project and others firmly opposing it to protect their sacred land. The arguments from both sides are well-structured and compelling. Those in favour argue that cutting down a few trees for infrastructure is a reasonable price to pay for progress, while the opposition insists that destroying Mukkumlung is a betrayal of their ancestors and a violation of their cultural identity.

The discussion escalates into a conflict between Limbu Dai and a Brahmin character. Interestingly, while Limbu Dai, a community member, fails to grasp the cultural significance of Mukkumlung, the Brahmin character—despite belonging to a different community—expresses deep respect for the land and fights to protect it. This unexpected dynamic challenges stereotypes and emphasises that cultural understanding and empathy are not limited by caste or ethnicity. The phrase "J gareni shir kulchina mildaina hai” (meaning “No matter what, one cannot step on the head”) is repeated throughout the act, reinforcing the central theme—Mukkumlung is the head of the Yakthung, and its destruction equates to stepping on their dignity.

Transitioning into the black box theatre, the second act takes the audience on a journey into the mythical past, depicting the origins of the Yakthung people. The narrative is based on the tale of Mujingna Kheyangna, the first woman on the Earth as per the Mundhum, and her son, Susuwen Lalawen, a hunter. The segment follows Susuwen’s hunting expeditions, encounters with four women, and the birth of his children, who are believed to be the ancestors of the Limbu people. This segment is an essential bridge between past and present, illustrating the community’s deep spiritual connection with their land.

While the historical context is crucial, the shift in tone and setting feels less engaging compared to the vibrant outdoor scene. The energy that captivates the audience in the first act somewhat diminishes, and the mythical story sometimes feels prolonged. A more concise portrayal of the myth, with a stronger focus on its direct connection to the modern conflict, could have made this segment more impactful. Nonetheless, the return to the present at the end of the play effectively ties the narrative together, bringing the audience full circle to the ongoing struggle over Mukkumlung.

What makes ‘Mukkumlung’ a standout production is its bold critique of state policies prioritising commercialisation over cultural preservation. The play serves as a form of artistic protest, directly satirising the government’s indifference towards indigenous heritage in the name of development. The dialogues are sharp and thought-provoking, with certain lines carrying a direct message about indigenous land rights and environmental conservation.

The acting performances are commendable across the crew. Each character is well-developed and contributes meaningfully to the narrative. However, standout performances include Suraj Tamu portraying Susuwen and Bishnu Moktan playing the main dhaami jhakri, whose commanding presence and delivery add intensity to the play.

The actors playing animal characters also deliver exceptional performances, adding depth and a mystical element to the storytelling. Mujingna’s (played by Bedana Rai) portrayal is emotionally gripping, successfully drawing the audience into her world of longing and loss.

Technically, the production excels in sound and lighting design. The shifts in lighting, the use of spotlights, and the integration of live music enhance the emotional depth of each scene. The live music, performed by musicians, is a brilliant touch, further immersing the audience in the narrative. Certain scenes are so powerful that they give goosebumps.

While ‘Mukkumlung’ is an impressive and important theatrical work, there are a few areas for improvement. As mentioned earlier, the second part could be more concise to maintain the audience’s engagement. Additionally, while the play effectively represents the cultural practices of the Limbu community, the emphasis on alcohol consumption sometimes felt unnecessary.

Moreover, using the Limbu language without sufficient context could make it difficult for non-Limbu audiences to fully grasp certain dialogues and themes. Providing clearer explanations within the narrative or incorporating translations in some manner could make the play more accessible to a broader audience.

‘Mukkumlung: Chot-lung of Yakthung’ is more than just a theatre production; it is a compelling artistic statement about indigenous land rights, cultural preservation, and the consequences of unchecked development. The play successfully balances realism with mythology, engaging the audience while delivering a powerful message. Many audience members used the play as a platform for protest—bringing written slogans and taking photos in front of the show’s poster to voice their opposition to the project.

Despite minor areas for improvement, it stands as a bold and necessary critique of government projects that neglect indigenous heritage. Through this play, the voices of the Yakthung people resonate strongly, demanding respect for their sacred land.

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Mukkumlung: Cho:t-lung of Yakthung

Director: Anil Subba

Writers: Gilu Ratosh, Anil Subba and Bishnu Moktan

Cast: Bishnu Moktan, Bedana Rai, Suraj Tamu, Pratina Rai

Where: Mandala Theatre, Thapagaun, Kathmandu

Showtimes: Every day at 5:00 pm (Except Monday) and an extra 1:00 pm show on Saturday until February 9.