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The zar cult has been described as a dramatic performance, a folk drama, a psychodrama, or a ritual psychodrama.1 “Like festivals and other forms of folk drama, zar combines different genres such as singing, drumming and dancing. It also involves and utilizes artistic expressions and methods such as folk costumes, conventional theatrical devices, make-up, incense, etc. Moreover, the zar rituals take place in a festive mood of feasting and offerings of sacrifices.1 As folk dramatic performance, zar rituals are psychotherapeutic interventions involving a fullfledged, well-prepared folk theatre. The rituals are woven around the needs of the “zar bride,” which were carried out to fulfill her wishes. She chooses the time, place and duration of the ceremony. During performance, she is seated in the centre stage, and given priority in dancing whenever she feels like doing so. The shaikha (female zar officer), the charismatic stage director and master of ceremonies, is in full command of the stage. She generates an orchestrated, animated, continuous interaction between drummers, singers and dancers and leads it skillfully to a climax. To achieve this end, a prompter who is also present, keeps spirits up, sustains the required tempo and vitality of the performance, and ensures total involvement.1 The musical ensemble is composed of experienced drummers and singers. The actors (zar bride, zar patients or victims) and audience (zar fraternity members or curious neighbours) join together in

The Zar (Bori) Cult: A proposed integrated psychotherapy module