If performance rituals are memories in action, what happens to them when a people no longer need to remember – or it is deemed politically undesirable for them to do so? In the following article, Syed Jamil Ahmed explores the annual performance in the Sikkimese monastery of Pemayangtse, in the shadow of Kanchenjunga, of the ritual of Pang Lhabsol (‘Worship of the Witness Deity’), and specifically of the Pangtoed 'Cham, performed on the final, eighth day in homage and gratitude to the mountain. He examines the complex web of political changes over many centuries which have affected the purpose and enactment of the ritual, and finally offers a detailed account of a single day's performance, in 1999, when the ritual was losing some of its dignity and many of its former trappings. Syed Jamil Ahmed is a director and designer based in Bangladesh, where he is Associate Professor at the Department of Theatre and Music in the University of Dhaka. In 2001–2 he was a visiting faculty member at King Alfred's College, Winchester. He wrote on ‘Decoding Myths in the Nepalese Festival of Indra Jatra’ in NTQ74, and on ‘The Ritual of Devol Medua: Problematizing Dharma in the Ethnic Conflicts of Sri Lanka’ in NTQ76. His full-length publications – Acinpakhi Infinity: Indigenous Theatre in Bangladesh (Dhaka University Press, 2000) and In Praise of Niranjan: Islam, Theatre, and Bangladesh (Dhaka: Pathak Samabesh, 2001) – catalogue the wide variety of indigenous theatre forms in Bangladesh.