In today’s modern age of rapid development, traditions based on ancient myths and folk tales still remain alive in various communities and regions. Because of this, the festival known as “Sama‐Chakewa”, which has been observed since the Dvāpara Yuga, is celebrated in the Mithila region and also in other parts of Āryāvarta. It is observed in states like Mithila, Magadha, Vaiśālī, and Paṭaliputra, i.e., in the Tarai–Madhesh of Nepal, as well as in Bihar, Jharkhand, and parts of Uttar Pradesh in India. Among the many religious and spiritual‐cultural festivals celebrated in Nepal, Sama‐Chakewa is one of the most popular. In this festival, both married and unmarried sisters take on the role of “Sama” to wish longevity to their brothers. The festival reflects the immense love and boundless affection between brother and sister. It includes the following religious, cultural, social, and artistic characteristics.
When the rising sun is offered its libation, the folk festival “Chhath” is celebrated. Along with it, after the arrival of the autumn season, when a chill descends upon the Himalayas, the colourful migratory birds bid farewell to Mithila — and this departure is also commemorated in the Sama‐Chakewa festival. These birds become representative figures of Sama and Chakewa. This festival is mostly celebrated in the month of Kārtik (mainly November). Although this festival is celebrated by sisters for the welfare and prosperity of their brothers, it is called a “play” (khel) of Sama, in which clay‐sculpture and folk‐song gatherings form special features.

Historical Background of Sama Chakhewa

Especially in eastern and central Nepal’s Tarai region, the festival is celebrated one day before Chhath (in some places) or the day after Chhath (in others). Its historical background is not entirely clear, and cultural researchers hold differing opinions. Various Purāṇas (ancient Hindu literature), such as the Padma Purāṇa, the Skanda Purāṇa, and the Saṃbhu Purāṇa discuss this festival.
The folk‐festival known as “Sama‐Chakewa” began in the Dvāpara Yuga in the time of Lord Kṛiṣhṇa. This festival is based upon the story of Kṛiṣhṇa’s daughter Sāmbā and his son Sāmba. According to the story, Lord Kṛiṣhṇa and Jāmbavatī had eleven children — ten sons and one daughter. The eldest son was named Sāmba; the daughter was named Sāmbā (also called Śyāmā or Sama). The daughter Śyāmā and son Sāmba shared an immense affection for one another. Śyāmā was pure and virtuous, and her beauty was praised everywhere. A nobleman named Chuḍaka, captivated by Sāmba’s beauty, came to Dwārakā. He, being a wicked person by nature, fell in love with Śyāmā. After Śyāmā matured, her marriage by the Gandharva (mythological celestial musicians) method was completed with a young man named Chāruvak.
Afterwards, Śyāmā happily began to live at her husband’s house. When Chūḍaka learned that Śyāmā was happily married, he went to Lord Kṛiṣhṇa’s court and slandered Śyāmā’s character. Without hearing the truth, Kṛiṣhṇa gave Śyāmā a curse that she would become a bird. From that day onward, Śyāmā entered the form of a bird and wandered into the forest. When Chākewa (Chuḍaka) learned of this, he feared for his love of Sama. To meet Sama, he too underwent severe penance, obtained the bird form, and then Sama and Chakewa existed together happily in the forest.
Meanwhile, Kṛiṣhṇa’s son Sāmba was on a state visit. On returning to the capital, upon hearing of his sister’s plight, he prayed to his father not to give Śyāmā such a harsh punishment, especially since she had done no wrong. When his father did not heed him, Sāmba vowed he would not return home until his sister received justice. He went to the forest of Vṛindāvana to do penance for his sister Śyāmā and Chāruvak. Pleased with his penance, Lord Kṛiṣhṇa freed Śyāmā from her curse.
Thus, through his brother’s tireless efforts and spiritual practice, Śyāmā returned to the human form. Later, when Sama went with Chakewa into Vṛindāvana, she accepted him again as her husband. After Śyāmā got the curse of becoming a bird, Chūḍaka’s name was changed from Chuḍaka to Chugla. Irritated by the insults given by everyone, they set fire to Vṛindāvana. As the fire spread, a terrible storm and rain occurred. Because of the storm and rain, Chūḍaka was crushed by the falling trees. Sāmba appeased the burning Vṛindāvana and captured Chugla (the wicked one). His insulting words, the blackening of his face and moustache— all were seen. After that, Sama with Chakewa, along with Sama’s in‐laws, departed from Vṛindāvana.
Lord Kṛiṣhṇa told Sāmba that from Kārtik-śukla Pañchamī to Kārtik-śukla Pūrṇimā for eleven days, in the precincts of the Gopeshwar Mahādev temple, singing and dancing should be done to please Lord Bhole­nath. Then pleased, the women (strīgāṇ) carry the idols of Sama, Chakewa, you (ahām), Chūḍaka, Vṛndāvana, and the Sapta Ṛiṣhis (Seven Saints of Ancient India), decorate them with many colours, place them on bamboo chagera (frames), offer incense and curd, carry them on their heads, go around in all directions while singing, and play out the entire village festival until the Purnimā day (full moon day). On Purnimā day, after celebrating with various sweets and dishes, the tradition of burning Chūḍaka is carried out — thus the brother receives the welfare of his sister. In this way, the Sama‐Chakewa festival was established as a symbol of the love between brother and sister.

Cultural Features (Tradition & Rituals) of Sama Chakhewa

Even today in the villages of Mithila, women participate in the game of Sama‐Chakewa. In this festival, besides Sama and Chakewa, the story includes characters such as Sāmba, Sat-bhaiya (seven brothers), Chugla (Chuḍaka), Vṛndāvana, the guard, the jingling dog, etc. As a symbol of the intimate love between brother and sister, sisters wish their brothers good health and a long life through this festival.
Sama and Chakewa are the two main characters of the festival: Sama is female and Chakewa is male. Another character Chugla represents the villainous element of society, who engages in gossip and mischief. Clay figurines made in the form of the various characters are placed in a bamboo chagera outdoors from the evening of Kārtik-śukla Pañchamī. Villagers gather at the village square, sing the folk‐songs of Sama‐Chakewa, and perform the “khel” (game). Women's groups decorate the figurines. From the evening of Pañchamī, they gather at the crossroads singing folk songs and dancing.

“Sama plays along with her friends, with Sama‐Chakewa, oh dear, even in the flame field we’ll sit… Chugla does the gossip‐ing, the cat plays meow…”
On the second lunar day the festival is said to start: the women gather early in the morning in groups to perform Govardhan Pūjā, grind bajari (pearl‐millet) on a stone-mortar, collect it to feed their brothers, and sing Sama and Chhath songs while carrying bamboo chagera and küṛpi (small hoe) from sacred places back to their homes.
For the figurines, materials needed include clay, bamboo chagera, jute (sanpāṭ), barley, cowrie shells, sikki (a craft grass thread), karjanī (a type of half red-half black seed), grass, and various paints, brushes. The figurines of Sama, Chakewa, Vṛndāvana, Chugila, Sat-bhaiya, mayur (peacock), van‐titiri (a bird), kharlucchi (another bird), jingling dog, Maliniyā, Dholiyā, Laddu Bechniyā, Kahriya, Bhariya, Chugila’s wife etc are made. Although making all these in one day is not possible, making Sama, Chakewa, Vṛndāvana and Chugila is compulsory. Day by day the process of figurine‐making continues.
For eleven days during the festival, the figurines and related items like household goods, lamps, shelves etc are made from clay. Married daughters often come to their parental home to take part in the festival. Keeping weeds in the open courtyard or house is forbidden because they are considered sacredly related to the deity.
After the meal, brothers and sisters go out of the house singing songs, because without songs the game of Sama cannot happen. Everyone gathers and sings many original songs; at the end, the sisters sit in circles singing and spin their chagera – this is called “dalā-pher”. It symbolises the brother-sister’s health, wealth and respect.
Because Sama is viewed as a daughter, five days before the immersion the farewell song “Samadaon” is sung. On the day of immersion, on the steps inside, yoghurt and chūra (flattened rice) and new-grain are offered, and accepted as Sama’s prasad. Sisters give their brothers five handfuls of chūra and husk in their gamchā (towel); this is called “phār bhar”. The brothers give the sisters an aripan (floor‐drawing) on which the main figurine of Sama is seated and all other figurines except Sama are set on the ground and broken by the brother.
For this reason the brothers give their sisters as many new clothes, jewellery and cash gifts as possible; sisters feed their brothers with bajari they collected during the Govardhan Pūjā and give their blessings—wishing their body to be as strong as a diamond and stay healthy. After the rituals are completed all the figurines neatly placed in a dalā (basket) are taken for the burning ceremony.
On the full-moon night the brothers walk ahead and behind like a protective procession, while the sisters in the group sing vigorous, emotional bands of songs with instruments. This year’s burning (bhāsan) date is fixed by the calendar: in the chosen direction they light four torches. Whether in the newly-ploughed field, the harvest field, or the riverbank, they perform the burning saying “Hey Sama! Come again next year.” With a heavy heart the participants return home.

Social Features of Sama Chakhewa

All the characters of Sama in the social context are integrated. In singing the songs, they appear as a sister or daughter (Sama), brother, the gossiping character Chugila etc. It conveys the message that brothers stand ready to rescue their sisters from adversity, and show heroism, generosity, and selfless love for their sisters. Narrow‐minded attitudes give way to independence; social restriction meant women were not permitted to express their own ideas or make decisions about their lives; now, women resist violence. In society, good thoughts are respected, and old prejudices are hated.
Because Sama is viewed as a daughter, the songs use very gentle and respectful language. For the eleven days continuously the game is played; if one day is skipped, it is regarded as Sama’s fast. Therefore, at the end of each day, the figurines are given rice and cold water.
When Sama is given farewell, in the daughter’s departure to her in‐laws’ house, the gifting from her natal home includes essential household items: bed, pillow, bedding, clothes, jewellery, cooking pot, chest, shelves, etc, plus dry goods such as rice, lentils, flattened rice, various grains and vegetables. Sama–Chakewa is a game, yes, but it is also a large social environment: it includes brothers–sisters, husband–wife, younger brother‐in-law, friend, contractor, the drummer, the small trader selling laddus, the carter, the porter, etc. It expresses social unity and the primacy of action.

Artistic Speciality of Sama Chakhewa

In Sama–Chakewa there is an extraordinary and unique combination of art. It is based on original folk art. It involves handicraft, sculpture, and singing together. The rhythm and melody of Sama songs are unique: these songs are sung only during the Sama festival and not at other times. All the materials used are natural and inexpensive—readily available in the surrounding environment. The clay figurines have no soul, but the head is made on a stand and eyes, nose, mouth, and ears are formed. The crowns are decorated with barley seeds. The main figurines have hair made of jute. For eyes, nose etc, karanja seeds (sci. Millettia pinnata or Pongamia glabra Vent.) are used. As the figurines are all similar, the male characters are given moustaches and turbans so that gender is distinguished. The figurines symbolising brothers are covered with a small umbrella made by the mother. Vṛindāvana is a kind of forest, but is humanised into a figure with a tuft of sikkī grass (Chrysopogon zizanioides) at the top. A notable point: many of the Sama figurines are of birds or sparrows. Although their shapes may differ by village, place, caste, and person. The clay figurines are sun-dried; the backs are beaten down with sticks. This is the base layer. Then various colours are applied. Earlier, for red colour, ‘geur’ (a kind of clay) was used; now shop-bought colours are used. Golden-coloured paint makes the figurines especially attractive. These figurines are placed in dom-community-made bamboo chagera (frames) which are painted in many colours.

New Generation Art Training Admission Traditions

Here, for the new generation, first on Vasant Panchamī (Sarasvatī Pūjā) they are introduced to the alphabet; when it comes to art-education, Tusrī‐Pūjā marks the beginning. Similarly, through this Sama–Chakewa festival, the knowledge of sculpture and singing begins. Thus, the new generation learns the crafts and aesthetics from the older generation. Hence, Mithila is a land rich in art and culture.

Methodology

In all of Mithila’s arts, terracotta or clay sculpture is considered to be the most ancient; its practice has been ongoing in Mithila for a long time. Even uneducated ordinary people practice this art; it sheds abundant light on many aspects of Mithila’s social life. Clay figurine is a very ancient, glorious tradition—still alive in various forms. Formerly, for the purposes of religious beliefs, entertainment, clothing, and jewellery study, clay figurines provided valuable material. In Mithila, an important clay figurine is that of Sama–Chakewa — about fifty such figurines are made, which relate to various events in the life of Śyāmā in the month of Kārtik (which we’ve discussed). In addition, items such as borīs, maṭkūḍ, chulhā, koṭhī, morhā, ḍhekulī etc are also made from clay. Although these items may not be painted by the artists, they are made in a way to appear attractive; this is entirely commendable.
During Navarātrī (Durgā Pūjā) and other religious festivals, the creation of idols of Durgā, Lakṣmī, Sarasvatī, Kālī, Rādhā-Kṛiṣhṇa and other deities has kept this tradition alive, with village potters playing a significant role. From another perspective, it becomes clear that these living, spirited, and attractive figurines hold a proud place in the folk art of Mithila. The immersion of the figurines happens with dance and drama. The Sama–Chakewa figurines are immersed in a river or pond within a musical-folk environment. The various characters are created precisely this way.

Sama Chakewa Characters and Sketches

• Sama & Chakewa (husband-wife) are respected as an ideal couple: they become a beautiful pair of birds.
• Sāmba (Sama’s brother) is also portrayed as an ideal figure: he prays to his father to turn his sister and her husband back into human forms from bird forms.
• Chugla: He is depicted as the despised character of gossip. No one has sympathy for him. Because society sees him as one who causes trouble, his figurine is made with jute and peanuts; a fire is set in his beard. A lamp is lit above his head. Thus, the wicked one is ridiculed.
• Sat-bhaiya: The seven brothers. Sāmba was one brothers of Sama. The idea of seven brothers and sisters is conceived in the folk dance: the sister naturally wishes for many brothers.
• Khanjan: The bird Khanjan comes down from the mountains to the green region of the Tarai in the autumn stars; it is seen as a friend of the sparrows of Sama–Chakewa.
• Titar: This bird lives in the forest and thorn bushes. It meets thorn-grass in the forest. For its beauty, its restlessness, and its dance is especially famous. In the Sama–Chakewa folk‐dance, it is described as the companion of Śyāmā.
• Jhānjhī Kukur (jingling dog): In Maithili folk tales it is described as part of the palace-ornament; the dog is very obedient, devoted and protective – thus it becomes a companion of Sama.
• Vṛindāvana: Famously a forest, but in folk dance it takes a male form. In that forest cattle grazed, so the forest‐figurine is styled in human form; a tuft of sikkī grass sticks from its peak.
• Chāṃchar: The word chāṃchar means tilling‐land. The chāṃchar folk‐song is the one asked before planting rice in tillled land.

Results and Discussion of Sama Chakhewa

With the passage of time and the changes of today, this tradition of Sama–Chakewa is being impacted by modernity. In earlier times, women would themselves make the clay figurines of Sama and Chakewa and colour them differently, but now change has come. Because nowadays pre-made colourful clay figurines are available in the market, women purchase them and bring them home. But in the Mithila culture, the fact remains that through this culture, such folk‐songs, such folk‐dances, along with changing modern lifestyle, nuclear families, and employment reasons, people are becoming dependent on others, which is a kind of loss.
The songs and figurine art do not require formal training; they are passed from generation to generation informally.

Training Requirements

(a) The Sama–Chakewa festival is particularly important in the Mithila region because it is a tradition based on folk story and folk-life; the programme is crucial for its promotion and development.
(b) The artistic side of the festival—figure-making linked to Sama–Chakewa—should be promoted to raise the livelihood of the artists working in this field, along with popularising it.
(c) At one time, Mithila painting existed in homes and on walls; after many efforts by the artist, it now has a broad reach. Training was a key factor.
(d) Through figurine‐art training, the folk craft of Mithila will spread broadly. After that, the next stage is ceramic training, which can give recognition in international ceramics art and art market.
(e) The establishment of a Department of Mithila-Art at the Rajarshi Janak University and the creation of academic curricula will serve as a milestone.

Conclusion

Today, when we try to trace the history of Sama–Chakewa through old literature and legends, we find many contradictory aspects. In some places, Sama and Chakewa are portrayed as brother and sister; in others, as husband and wife. In fact, this is an autumnal song‐drama through which people of all ages in Mithila were entertained. A special feature is that the characters are not living persons but clay figurines through which girls themselves perform the roles according to the story. The story is very ancient; it is said to have been mentioned in the Padma Purāṇa and Skanda Purāṇa, though there is disagreement in the texts. According to different Purāṇas and folk narratives, the gist of the story is: Sama (Śyāmā) was Kṛiṣhṇa’s daughter and Chakewa (Chāruvak) her husband; because an evil person slandered the character of Śyāmā to Kṛiṣhṇa, she was cursed to become a bird and wander in Vṛndāvana; eventually, with her brother’s penance, she is freed from the curse.
The present workshop of Sama–Chakewa figurine art, the presentations and commentary programmes highlight the importance of the Sama–Chakewa cultural festival as both a means to preserve Nepal’s original cultural splendour and to promote it commercially, and also assist in the creation of (figurine) art associated with the festival. A systematic method of passing this tradition from generation to generation will help. Beyond simply promoting Sama–Chakewa, help in the structured making of the figurines will protect, enrich, and popularise the art. The result is that in the province of fine arts, the promotion of the folk‐art of Sama–Chakewa will increase, cultural tourism will develop, and art will be able to make a positive contribution to the economy.

References

• Rakesh, Dr. Ram Dayāl. (2056 B.S.). Maithili Culture. Nepal Prajñā Pratishṭhān. (pp. 122-123)
• Dr. Upendra Thakur, Mithila Painting and Craft Art.
• For special description: Studies in Indian Folk Culture, pp. 102-103.
• Krishn Kumar Kashyap, Smt. Shashibala, Mithila Folk Painting.
• (The article “Mithila Folk‐Sculpture Art’s Beauty – Sama–Chakewa” was presented under the aegis of the Nepal Lalit Kala Prajñā Pratishṭhān & Maithili Development Fund, at a workshop held at the Maithili Development Fund building, Janakpur; with commentary by Nitayanand Mandala.)

This story by Mithila Art Artist S. C. Suman is translated from his मिथिला लोक मुर्ति कलाक सौन्दर्य - सामा - चकेवा, published on August 22, 2025