By Vikram Singh Thakur | JK Darshan
The recently concluded four-day Rang Mela in the Bhalesa region of District Doda once again brought to life an ancient tradition that blends mythology, martial history, and deep spiritual faith. Unique in form and rare in practice, Rang Mela is widely regarded by locals as one of the most distinctive cultural festivals of the Chandrabhaga region—one that now, they believe, deserves formal recognition and its rightful place in the cultural narrative of Jammu and Kashmir.
A Ritual Unlike Any Other
What sets Rang Mela apart is its symbolic dance, ritual attire, and sacred discipline. Performers wear ancient wooden masks (Mukhota), believed to date back to wartime traditions. These masks are not theatrical ornaments but sacred objects, passed down through generations, symbolising protection, courage, and divine presence.
The dancers are dressed in white and red garments, with an auspicious Swastik symbol marked on the back—an ancient sign of balance, energy, and prosperity. They wear long red headgear, and in their hands they carry bows and arrows. This detail is significant, as it strongly suggests that archery was a principal method of warfare during the era in which this tradition took shape.
Two Locations, Two Sacred Expressions
Rang Mela is organised at two sites in Bhalesa.
Chilli Area: Here, the Performers follows a distinct and symbolic pattern. The dancer performs while rotating at his own place, maintaining a fixed position, and continues the ritualistic movements without forming a larger circular formation
Dosa Village: In Dosa, participants form a circular formation, rotating collectively while also spinning on their own axis. Locals often compare this movement to the Earth revolving around the Sun while rotating on itself, reflecting cosmic order and universal rhythm.
Historical Belief and Raja Mahal Naag
Local tradition links Rang Mela to Raja Mahal Naag, a revered serpent deity believed to be associated with Vasuki Naag ji, placing the festival firmly within Pauranic and mythological timelines.
According to oral history, Mehalwar was the capital of Raja Mahal Naag. During his reign, an attack was launched by a ruler known as Raja Gojra, whose place of origin remains unknown. After Gojra was defeated, the victory was celebrated in the form of Rang Mela, which later evolved into a recurring ritual of remembrance, gratitude, and devotion.
Temples dedicated to Raja Mahal Naag exist in Bhalesa (District Doda) as well as in Chamba district of Himachal Pradesh, indicating the wide spiritual influence of this tradition across regions.
Sleeping on the Ground: A Sacred Vow
One of the most powerful aspects of Rang Mela is the practice of devotees sleeping on the bare ground during the festival. This is not mere ritual austerity. Locals explain that this practice originates from wartime vows, when warriors would surrender physical comfort to their deity.
Sleeping on the ground symbolised a solemn oath to God—a declaration of complete surrender:
“O Lord, I sleep on the earth for You. I give up food and comfort as a vow. Grant us victory.”
This act was seen as a spiritual contract, a form of vrat (sacred vow) undertaken with deep faith and intention.
Call for Recognition
Residents of Bhalesa strongly believe that the time has come for Rang Mela to receive formal recognition, documentation, and wider cultural acknowledgement. They stress that the festival is not just a local event, but a rare surviving example of ancient martial-spiritual tradition, preserved entirely through community memory and practice.
According to locals, proper recognition would help ensure that this heritage receives the identity, respect, and protection it truly deserves, while also allowing future generations to understand its historical and cultural value.
About the Author
Vikram Singh Thakur is a senior journalist and the Managing Director of JK Darshan, a digital media platform focused on ground reporting, cultural documentation, and regional issues of Jammu and Kashmir. He has extensively covered local traditions, social concerns, and heritage-related stories from remote areas of the Union Territory, with a special emphasis on preserving lesser-known cultural narratives through responsible journalism.