Some young people are busy with gossip, some are busy! Their eyes and attention are concentrated! They are also going to welcome the guests who come to the courtyard by calling them ``Sevaro'' from time to time. Some female guests of the house attached to the courtyard indulged in hospitality! In the middle of the courtyard there is a 'Yagrangsing' (bamboo buried in the ground). It is adorned with a salam sakma, the jhankris are preparing for the tangsing. While the gathering of the villagers in the courtyard is getting bigger, Limbu Daju comes from the other corner saying that the villagers do not understand development.

'Do you understand development?' Limbu Daju asks a Bahun Patra who is playing Tas . Bahun Patra immediately replies, 'You too don't talk too much bro . Even though I am a brahun, I have not cut my nose in the village like you. Are you a lemon walking around speaking against the village?' 

Limbu Daju mutters angrily, 'No, you understand development ?' Before Limbu Daju's speech can be completed, Bahun Patra comes in, 'Change doesn't just happen . Your village didn't have to live, culture didn't have to live ?' 

This is the premises of Mandala Theater in Baneshwar! A quick look at this scene seems like a big fight has broken out here . But, this is the scene, Manchanrata play in Mandala    of 'Mukkumlung'. This is not a performance inside a blackbox (a performance space, a square room with a stage and black walls), nor is the use of light used inside blacks  ! It is an open theater in the true sense. The characters act by making the open space a stage . And, the audience gets to taste this performance up close . The first part of the play "Mukkumlung" is presented on this open stage. This presentation of about 20 minutes leads the audience to the black box . 

For the story to be staged inside the blackbox, one must first become a witness of the open stage . In this presentation of Prangana, you will not only witness the story, you will hear/understand the current situation on 'Mukkulummung', cultural questions, resistance and voice of Raithane . The open stage shows the current debate and protest raging on 'Mukkulummung' and then the presentation inside the black box explores its history and cultural significance! 'Mukkulummung', directed by Anil Subba, is distinguished by this new style. How did the holy place of Mundhumi faith 'Mukkumlung' become 'Pathibhara' and how is the state encroaching culturally on the land of Adivasis under the guise of power? 'Mukkulummung' raises this issue and raises voice against the state's oppression of Adivasis. 

In 2053, the government legally called 'Mukkumlung' as 'Pathibhara'.  Since then, the Raithane identity of the holy place "Mukkumlung" has been lost. Adivasis had to know 'Mukkumlung' by the name given by the state . This play has become an example of how the state suppresses/is suppressing Raithane language/identity. The Open Theater shows the current situation of 'Mukkumlung' touching this issue. Especially last Kartik, with the involvement of the local government representative, the foundation stone of the cable car was laid on the foundation. Raithanes have been opposing the plan even before the construction was announced. They are protesting that their culture will be wiped out, the forest that will be cut down during the construction of the cable car will destroy not only the forest, but also the wild animals found there. However, the state did not want to listen to their voice. The foundation stone of the cable car was laid using power. There was resistance when they were laying the foundation stone, but they laid the foundation stone based on the demands of the local people. The state did not listen to the voice raised by those who worship nature for nature protection. 

There are two camps on this issue of cable cars.  He stood in favor of cable car construction, looking at the aspect of increasing employment along with some tourism of the Limbu community. The conflict between Bahun Patra and Limbu Daju on the open stage is a reflection of this. The dispute between the locals who want to build a cable car and those who don't want to build it also shows how the Raithanes are divided on this issue. The fight between these two is also a reflection of the current dispute in Pathibhara. Limbu Daju is a representative character of some political parties, local government, people's representative, civil society, etc. Who is in favor of becoming a cable car. On the other hand, there are also characters who want to save the village, want to save the culture. If 'Mukkumulang' loses, the natives here will lose,'' in this powerful dialogue of the play, the psychology and struggle of anti-cable car tribals is presented. 

Why did the 'Mukkumlung Conservation' team resist so much to protect 'Mukkumlung'? Why are the local people protesting with their blood at the risk of their lives? Why did the Adivasis gather together during the construction of the cable car in Mukkumlung? Showing the history of 'Mukkumlung' and explaining its cultural importance is another strong part of this play. It focuses the audience's attention on how important it is for the Raithanes there, for their life and existence. This topic has been brought to the stage through Mujinna Kheyangna, the first woman on earth mentioned in Mundhum. According to Mundhum, Susuwen Lalaven (Suraj Tamu), the son born of the first woman on Earth, goes hunting. While out hunting, he falls in love with four girls. There is a history that the children born from them are Limbus. It has been shown how this Susuwen, who is hunting, turns into a stone and how indispensable its importance is for the Limbu community. 

However, the director has spent a lot of time on this story of creation to explain 'Mukkumlung'. It slows down the drama. If the cultural aspect is too much mixed in the reading of the story, it cannot keep the audience engaged . As much as the performance in the courtyard attracts the attention of the audience, the story of creation presented inside the black box does not bind.  Shortening the story of Mujinna Kheyangna and his son Susuwen, which conveys cultural significance, there are many places where the story can be advanced towards the inevitability of 'Mukkumlung'. For example, love with different girlfriends could be shortened . By reducing the description of the creation, the production team can tighten the drama from this aspect to explain the importance of 'Mukkumlung'. However, the performances of Suraj Tamu who became Susuwen and Bedna Rai who became Mujinna Kheyangna have covered these weaknesses of the play. A mother's waiting for her son, the feelings of raising her son, - Bedna has presented the tender to strong nature of the mother through her acting. Suraj's performance in the role of son is strong. Through Susuven, Suraj has brought different aspects of his acting to the stage. Susuwen's sharp nature, hunting courage is stuck in his eyes . From the team of Bishnu Moktan, who became Dhami, to the actors standing on the stage in the form of animals, the performance of the actors has tied the audience in the play.  It is called