Before going out to perform in public, Majipa Lakhe visits a place called Rengal at Lagan to worship and receive blessing for a successful day ahead. Earlier, Jyapu (a farmer clan in Newar) people were responsible taking care of Lakhe. During the course of time, Jyapu find this practice difficult to carry out and handed over to Ranjitkars (another Newar clan). To this day, Lakhe visits Jyapu house to drink water and light its chilaag (oil torch) to begin the procession.

In Buddhist temples, a ritual to wish for a happy and prosperous year will be held in the beginning of a year. In cases when a temple economically collapses, people sometimes try to succeed the ritual themselves, and Hiyondori and Okunai of Totoumi is one which those cases. At the night of Janurary 4th, ten kinds of dances are performed within the temple, after purifying the inside of a temple by a torch.\n01: The scene of bringing in torches for purifying inside the chapel

When Lakhe is ready to perform, a guardian (Mr. Rajib Ranjit) assists Lakhe to come out from its house called Lakhe Nuni. Lakhe's first prayer is held in Kebuche, the house of a clan in Newar known as Rajbhandari who made offerings to Lakhe. Lakhe comes out with musical instruments, Bhushyaha (a drum), Jhyali (cymbals), Jhyalincha, a bag, and an oil torch called chilaag.

The Nang is a shadow play, which uses figures perforated and cut from animal hide or leather (hence the word nang). The figures are manipulated from behind the screen; while the light(coming from a torch or a bonfire)beyond the backstage area throws the shadow of the figures onto a screen. The manipulation of the Nang is accompanied by narration, dialogue, and music.\n

The Nang is a shadow play, which uses figures perforated and cut from animal hide or leather (hence the word nang). The figures are manipulated from behind the screen; while the light(coming from a torch or a bonfire)beyond the backstage area throws the shadow of the figures onto a screen. The manipulation of the Nang is accompanied by narration, dialogue, and music.

The Nang is a shadow play, which uses figures perforated and cut from animal hide or leather (hence the word nang). The figures are manipulated from behind the screen; while the light(coming from a torch or a bonfire)beyond the backstage area throws the shadow of the figures onto a screen. The manipulation of the Nang is accompanied by narration, dialogue, and music.\n