An under-discussed impact of Nepal’s high rates of labor out-migration is that delicate cultural practices – like the Gurung and Magar sati ghatu dance-drama – are fading. To call attention to this rapidly growing issue and to appeal for action against the complete disappearance of such practices, the author conducted observational field research into one village’s sati ghatu practice. This research took place over several months in 2022, focused in Nalma, a primarily Gurung village in Lamjung. Following this research, the author worked with theatre-makers to create a new play, Deurali Daandi: The Last Chapter of Ghatu, about the disappearance of sati ghatu due to trickle-down effects from labor migration. The objective of this paper is to analyze the creative research process of developing this play. Included too is a brief summary of the field research and aspects of sati ghatu, covered minimally for the reader’s understanding. Discussed in greater detail is the exploratory process of creating the play: training in aspects of sati ghatu, experimenting with translating such aspects into a contemporary theatre setting, researching Nepal’s labor migration situation, and portraying aspects of labor migration in a theatrical setting. The creative research methodology included training the actors in the ghatu dance, which provided the corporeal foundation, body language, and mental/spiritual atmosphere for the play. We also explored sati ghatu as a total theatrical form, experimenting with how we might incorporate more than just the dance elements: theme, language style, structure, pace, characterization, and visuals, for example. Before rehearsals started, the author/director collaborated with a playwright to develop a script that translated theatrical elements of sati ghatu into a story about labor migration.

We were particularly interested in addressing one question: whether (and if so, how) cultural performance practices that are disappearing due to labor migration can be translated into contemporary theatre (and preserved therein). The findings are three-fold: 1) many theatrical elements can be translated to the stage beyond simply performing the dance or recreating the ritual; 2) true preservation of sati ghatu in its fullest form, however, can only come from the communities that practice it; and 3) in any preservation, all elements of sati ghatu should be considered, in collaboration with ghatu practitioners, with the understanding that sati ghatu is a living, oral, folk dance-drama. Great value can be found in this particular approach to research, within the conversation around labor migration issues in South Asia. Examining social issues through an artistic lens highlights new perspectives: witnessing stories about the human impacts of labor migration played out on the stage can remind us of the toll of such a widespread issue. Moreover, it is crucial to discuss the impact that labor migration has had, will have, and is currently having upon cultural, performance, and artistic practices. Sati ghatu is just one of many cultural practices that are quickly slipping away from active practice and collective memory, as economic migration grows. Raising awareness of this unfortunate progression and taking action to prevent or change further disappearances is crucial and urgent.