Showing posts with label Interview. Show all posts
Showing posts with label Interview. Show all posts

Interview with BHANU ra PALA: By Praneet, Sujeence & Mikma

3:06 PM
“Jojo tapai ley Bhanu ra Pala hernu bha?” was the question my younger brother had asked me a year ago. Soon after that, I googled it and sat down to watch the play.

I was awed by their performance, their catchy dialogue and their brilliant acting. But above all, the play tried to drive home the hard hitting reality of our society at present with a coat of humor.

As the days went by I became a great fan of their dedication, passion and their work and it was my wish to know them better. Ultimately, I got a chance to see their third ever sequence “BHANU RA PALA” live in Delhi at the National Museum on the 13th Sept, 2015.

It was a thrilling experience to watch them live and felt really privileged and happy when I was given a chance to meet them back stage and document their story.

Mr. Lalit Golay who plays the main protagonist ‘Pala’ in the play is also the writer of the play. Pala seemed very charming, lively and humorous in his real life as well. It was he who introduced me to Mr. Madan Bhujel well known as ‘Bhanu’ and other supporting artists in the play.

While I was documenting them back stage, I witnessed their true dedications, hard work and bonding as a team. They spent their time rehearsing, practicing and memorizing their lines. Mr. Lalit Golay (pala) made his fellow artists understand the scene, go through the main dialogue sequences and made the characters work on crucial punch-lines.
Interview with BHANU ra PALA
Interview with BHANU ra PALA
Finally, the curtain of the stage was raised and “Bhanu ra Pala” gradually unfolded its first ever play organized at the National Level following a loud cheer and applause from the audience. The auditorium as exploding with the sound of laughter as the audience laughed their guts out hearing the catchy and humorous dialogues not to forget the acting. By the end of the play, the audience were seen smiling and cheering as the environment itself had become lively. After the play people ran to meet their favourite actors backstage. My curiosity to know more about the play and its actors led me to the main character ‘Pala’ who very humbly agreed to sit for a short chit-chat the next day.

The following account is given on the basis of a short interview with him.

How “Bhanu Ra Pala” was born?
If we go back to the time/ era when 'Bhanu' and 'Ghasi' (reference to the Poem 'Ghasi Kuwa' by legendary Nepali language poet Bhanubhakta Acharya) engage in a conversation where the latter talks about his contribution towards the society. Bhanu being a learned elite is intrigued by the noble thoughts of the common ghasi (grass-cutter)and this makes him the greatest poet of all times. Hypothetically speaking, if Bhanu had lived in today’s era and had such similar conversation, he might have felt much frustrated and suffocated and would come to Pala’s wine shop and vent out all his thoughts. Taking such scenarios in to prospect, the Drama “Bhanu ra Pala” was introduced in the year 2007, on 13th July, the same date when Bhanu Bhakta’ was born.

What made you add other characters to your play?
In the society we come across various characters from different aspects of community, such as a drunker, a policeman, etc. The reason behind introducing a drunker in the act is to show how within a society people are destroying their lives by drinking, even though he knows and understands the pros and cons of the current situation along.

What inspired you to be a theatre artist?
My uncle who was into drama and music who inspired me a lot. “When I was a kid I used to love hanging around with them and I was introduced into the world of drama.”

What was your first act?
Ah! The act was based on the famous writer Shiv Kumar Rai’s story titled “Dakhbangla” where I got a chance to play a small role of “dahi walla”. I still remember the dialogue it was “dahi dahi asali dahi”. I was in class 3 it still gives me goose-bumps.

Why have you portrayed all of your acts in a humorous style?
Each of my play has a lot of humour because I believe that every message be it political or social will reach the people more easily with the help of comedy, which makes my audience laugh, entertain them and brings awareness as well.

What is the reason behind hosting your act in Delhi?
The incessant rain which led to the landslides, destroyed many villages and roads in the sub division of Kalimpong, Kolamkham being one of them. Bikram Parajulee (the policeman in the play) who was a volunteer in one of the relief camps, was told by a local that they needed a school because the children over there were studying in a tarpaulin make shift shelter. This event was planned keeping in mind the children of Kolamkham and their future. Whatever money that they collect through this play would be donated for building a school for the children.

Have you ever thought of writing a book?
Ha ha (laughs)…I have been asked the same question before in one such instance a small kid came up to me and said “there are lots of books in the library but why haven’t you written one?”. That simple question asked by that small child make me think a lot thus, I have written my act “Bhannu ra Palla 3” in a book format.

Write up inputs: Praneet Subba , Sujeence Lama & Mikma Lepcha

Source: Gorkha Youth and Students' Association of India - GYASA

“The Khukri Braves - The Illustrated History of the Gorkhas” interview with the author

10:04 AM
The Darjeeling Chronicle EXCLUSIVE interview with Jyoti Thapa Mani, the author of the newly released book “The Khukri Braves - The Illustrated History of the Gorkhas”

EXCLUSIVE:  “The Khukri Braves - The Illustrated History of the Gorkhas” - JYOTI THAPA MANI 

Jyoti Thapa Mani, the author of newly released book “The Khukri Braves - The Illustrated History of the Gorkhas” joins Adwiti Subba Haffner for a candid interview as she talks about the history of the Gorkhas, her trials and tribulations while writing the book and her stance about female empowerment, which will surprise you. Read the full interview to know your history and find out about the author and her valuable gift to our community.
The Khukri Braves: The Illustrated History of The Gorkha by Jyoti Thapa Mani
The Khukri Braves: The Illustrated History of The Gorkha by Jyoti Thapa Mani
Adwiti : Congratulations on your very extensive and the first-ever illustrated history of the Gorkhalis – “The Khukri Braves - the Illustrated History of the Gorkhas” published by Rupa Publications. Jyoti Thapa Mani you are very aware of the Gorkha community settled in different parts of India, but the fundamental challenge that we face is acquiring a level of unity amongst our Gorkha Community as a whole. Will your book create a sense of cohesiveness within our community?
Jyoti Thapa Mani: Thank you very much Adwiti. Yes, I hope the book I wrote will create a sense of unity and also give a vivid visual of our roots, since the book is filled with stunning images ! “The Khukri Braves” is meant to reach and create awareness and knowledge of our Gorkhali history and culture to unite all Gorkhas with a collective understanding of their history and principles. No real story can be told without pictures so there is a bonanza of them.

Politically the term “ Gorkha” is defined as Nepali-speaking Indians belonging to the Nepali-defined clans and castes. However some do not even know the word comes from the word Gau-rakshak, i.e. Defenders of the Cow. The cow stands for mother or motherland. As Rakshaks it is in our tradition to defend, protect and guard those who seek our help.

The Gorkhas have contributed to world peace by their sacrifices to weather the two Worlds Wars, the continuous cold war going on today, to counter-insurgency and counter-terrorism and UN Peacekeeping Forces in civil war zones the major highlights being written in my book. We stand for bravery, honesty, high endurance capabilities and total commitment to duty.

The book can historically and socially create a sense of identity, heritage, culture and the personal set of values and principles that we the brave Gorkhas are synonymous to, and if we abide by these qualities while acknowledging each other through these very strengths and values, we can definitely integrate the perceived differences and gravitate towards solidarity and unity. Knowledge is the key to cultural and social awareness. I don’t want to promote parochialism, this book is not about that. It is about the richness of our outstanding history, heritage and culture.

Adwiti: Your book goes beyond the “word -of-mouth” history and bibliography, it illuminates a wealth of intriguing, hidden, painstakingly researched and buried facts about the Gorkhas. You said that you wanted this book to be in the hands of every Gorkha person, we would love to hear the reason why.
Jyoti Thapa Mani: The book is about the history of the world’s most valiant, popular, deadliest and bravest fighters—the Gorkhas. The book attempts to bust the myth of the complex jaati/thari structure in our society. After you read this book, rest assured that you will be able to understand your cultural heritage and the rich history that we belong to.

I was compelled to actually visit the sites where all the historical events and battles took place. The book I wrote is different because I traced the footsteps of my forefathers, putting myself in their shoes and exploring terrains where blood was shed and battles fought, I even coincided my trips around the same months to capture the environment, the ambience and I took photographs upon photographs encapsulating history and the emotions surrounding the event. It shows.

2015 is a special year for the Gorkhas Rifles. On 24th April 1815, the very First Gorkha Rifles (The Malaun Regiment) was raised as the Nusseerree Battalions on the slopes of Malaun Fort in Solan district, Himachal Pradesh India. Therefore the history of the 1st Gorkha Rifles forms the special tag of the book. Gorkhas created history but did not write it and hence documented sources were scarcely available to people. Ever since the “Gorkha identity” issue began to crop up, I realized that the Gorkhas did not know their history in India and therefore was unable to represent themselves accurately to Public Opinionates.

Most of our Gorkha history books were written without true research or evidence, for e.g. it’s unclear whether Dharamshala was in the state of Himachal Pradesh or Uttarakhand. The same for Dehradun. The two towns are major landmarks in Northern India Gorkha history and how can anyone scream about all-India Gorkha identity without even knowing which different states the towns are situated.

Many Gorkha leaders spend huge amounts of time and money discussing and protesting but are lazy to do the groundwork for their claims. They were hitting the battlefield with no preparation. My book gives to you the story of Ram Singh Thakuri with all the credibility required to convince anyone and of many more remarkable people to hold your head high.

Correct and researched history is absolutely necessary to justify their aspirations to being recognized and respected as Indian Gorkhas or Gorkha Indians, either way. This is a 407 pages large-size book with 500 plus full-color photographs. The book has been authenticated and checked by very senior officers from the Indian Army and Nepalese Army, including highly respected Professor and ex-MLA Chanderverker of HP. It has been endorsed by eminent journalists Shekar Gupta of ‘Walk the Talk’ fame and Dr Sanjaya Baru, author of the best-seller book ‘The Accidental Prime Minister’ and Yubaraj Ghimire of Nepal. And published by Rupa Publications. So the standard of writing, presentation, etc had to be very high.

As I said, the best for the best.

Many in the community suffer from lack of self-esteem and I believe that knowledge of their glorious history will definitely make them more confident and self-assured.

This book is just a beginning to stimulate Gorkhalis to know, discover and preserve their historical heritage. You look for it you will find more of it, everywhere.

You respect yourself, the world will respect you.

Adwiti: What in your opinion is the difference between Gorkhas and Nepalis?
Jyoti Thapa Mani: Gorkhas have a martial heritage. Gorkhas were born as the Gorkha Sena and they moved like a whirlwind in the 18th century taking in its wake all the strongholds of the independent Magar, Gurung, Rai and Limbu chiefdoms and as their men joined the Gorkha army they also became Gorkhas. The wave of identity with induction into the British-Gurkhas from 1815 and Indian Gorkhas after 1947 continued making one community where one culture had also developed defining the Gorkhali community which was united in common traditions. Since the adventures of the soldiers and their families led to new settlements and habitats especially in India what was born was the Gorkha community.

Nepalese citizens are from Nepal or Nepalis or Nepali-speaking people are anywhere in the world. However, I see it as a personal choice to call oneself a Nepali or a Gorkhali. But calling oneself a Gorkhali elevates the status and prestige of an individual for reasons known to the whole world. The Indian Gorkha Rifles has six regiments for Magar-Gurungs, one regiment for Khas-Chhetris and one for the Kirati Rai-Limbus. Others like Tamangs, Newars, etc are eligible for all and tucked into all of them. So all our Gorkhas.

The uniqueness and actual progressiveness of our Gorkhali community today in India stands for an equal society with no caste-class-clan hierarchy system. They intermarry as equals and celebrate common Gorkhali festivals Dasain and Tihar, Christmas with no religious connotations. I believe, Gorkhalis ideally should not accept religious diktats which are constricting and do what we enjoy and believe in the basic message of our religion by birth. It should be a personal choice.

The difference really in my opinion is a matter of personal choice. When one says one is a Nepali, then automatically people tend to think he/she is from Nepal. Gorkhas would be a more universal term.

Adwiti: You have been an agent of change where female empowerment is concerned. The dowry system was not prevalent in the Gorkha culture but it has resisted change in India and lately I am hearing that the system is subtly snaking its way into our culture too. How can we stop this from becoming a fully fledged dowry system so we can revert back to our own tradition?
Jyoti Thapa Mani: Yes Adwiti, I believe in female equality and empowerment. I have zero tolerance towards the dowry system. “Chhori pani dina ani dahej pani? Kasto dalidar hola keta wala haru ( how unfair the system is that we give our daughters but then also send her with dowry).”

Our culture has never propagated this custom and I know of a Gorkhali girl in Dharamshala who cancelled a marriage at the last moment as a dowry list started appearing from the boy’s side including giving a gold coin to all the baraatis which is not in our culture. The odds were high as she was 30 plus considered late for an arranged marriage. But she took her stand supported by her family. Thereafter she has joined a film-making course and society in Hamirpur and free from family and social pressures of marriage she is blooming. The Gorkha community in Dharamshala also took a pledge that nobody from Dharamshala will give their daughter to this boy. How about all other Gorkha communities all around the world do the same?

Marriage and dowries are social institutions and only society can end it or else we are sunk. We will become like the other Indian who are below poverty line and carry dowry debts for life for a one day affair? And we know economic misery makes societies anti-social.

Does money make a happy marriage? We know it does not. Greed leads to more greed. Yes we should fight for it, and not support dowry system.

Adwiti: What advice do you have for the Gorkha youths of today in terms of empowering girls/women in our community?
Jyoti Thapa Mani: Empowerment of girls/ women begins from the male members of the society, fathers, brothers and husbands. Generally, the father is the provider-head of the family so he should provide for his daughter’s education and support her development into self-reliance. Mothers provide the moral strength. I am of course talking about grass roots level development. Obviously at a different level the male-female egalitarian standards can be maintained by mutual understanding and awareness.

But, if we want girls in the villages and rural areas to be educated and we spoke to all the mothers who are dependent on their husbands, they are generally not the decision makers of the family then the information will in turn have to be promoted to their husbands, so unfortunately the education and empowerment of the little girls become contingent on the mothers’ ability to coax the husband. This is a very flimsy method. I say we educate the men. We show them how educating their girls can benefit them, how they too can provide for the family and become strong contributing members of society.

Adwiti: In your book you mention, "The community stands at the brink of breaking tags and stereo-typing to compete in civilian society" - What makes you believe so?
Jyoti Thapa Mani: I have met many young people who want to move away from the Gorkha-tag of soldiers, security personnel, and house help and make their mark as achievers in civilian professions. Many army children do not want to join the army anymore. The world is happening and they want their piece of cake too. That is great!

Soldiering was a profession when other opportunities were limited to the Gorkha community who hailed majorly from agrarian background. Now the options are wide open. We are also writers, artists, entrepreneurs and anything we want to be and the newer generation are starting to see and understand the potential of what they can become by breaking molds and exploring their intelligence and creativity. I hear accomplishments from our Gorkhali brothers and sisters, as writers, photographers, dancers, fashion designers, musicians.

It is very imperative at this point for the parents of the next generation to be open to all possibilities and not restrict them . As for myself I like being called a Gorkha soldier. What an honour!
Adwiti: What difference do you see in the Gorkhas from the Darjeeling district and the Gorkhas in the different parts of India? I know your father studied in North Point College, he must have some insights. What do you think is the future of our Gorkha community as a whole?

The main differences I see among the Gorkhas are the different issues. Identity for some means a Gorkhaland state. Identity for some is a stop to branding as ‘Foreigners’ in their respective states. Gorkhas moving to the People in Himachal Pradesh respect the Gorkhas as fierce warriors.

Identity problem for some is the disappearing of traditions and values which identify the community amongst the majority. In Himachal we were looking for qualified Nepali teachers to introduce the language in the state’s schools but no one was willing to come and stay there.

My father late Pritam Singh Thapa fell in love with Darjeeling during his education stint in North Point. He was the President of the Students Union. He made many friends there. There seems to have been so much warmth and camaraderie in the Darjeeling youth which is unique from any other Indian Gorkhali society. The Darjeelingeys are so full of life-so much of dance and music. It’s a magical world out there.

The future of the Gorkha community is bright as there is fire in the belly to rise and be known. We must teach the newer generation to uplift each other. We just need to band together, build online and real communities, help each other, encourage each other and stay strong under our the Khukri banner!

Adwiti: Your impressive background states that you were the design head of the Economic Times, Business Today and Business World. How did you accomplish so much and then have time to write, not 1 but 2 books!!
Jyoti Thapa Mani: My grandfather late Major MS Thapa, Commandant EFR, Salua, Kharagpur used to say “jo chori lai parnu man lagdaina uslai graduation garayera ramro home-maker banayera ramro gari biha gardine... Jo Chori padai ma hoshiyaar chha uslai paduana parcha... professional course ma best college ma... ani kosaile biha ko pressure halnu hundina.”

Graphic Design at NID in Ahmedabad was the 5 and 1/ years course. When I joined I was just 17 and half. I travelled second class sleeper each time from home to fro for 5 and 1/2 years, ate alu-bhajis from vendors on the way, and tied my baggage to my toes while sleeping. No pampering or molly-coddling from parents except full faith in me.

After graduation a mal-nutritioned me returned home enjoying my mom’s cooking and became plump, till my Granny grumbled saying I was a burden on her retired son and Dad saying that I was wasting the education, so I took the first bus from Dharamshala to Delhi. It was the only way they could make me move and they knew how to do it. It is important for the supporting family members to push a little and I would definitely say that I became a wiser person with every kick in life however horrible I felt then. I would attribute all my success to my family and all goof-ups to myself.

When I first came to Delhi I found my own job, faced the vagaries of the city despite being naïve, travelled in buses and autos for a longtime, before I received a promotion and gained all the rewards of working hard and smart. Life knocked me down several times, I even made some bad decisions but then, you know what I stuck with it, I learned and never gave up. Then the book kept speaking to me even as my work demanded so much out of me. My responsibilities were endless, but I did not find excuses, I found opportunities.

It started as a thought as almost everything creative does; I held on to that idea of writing about my culture, my heritage, my forefathers – I was intrigued beyond tiredness to explore the depth of our history. There was not one book that had it all. This adventure took me to the places where my forefathers shed blood and proved again and again the adage “ Kafar hunu bhunda marnu jati” ( Better to die than be a coward). The caliber and uniqueness, not just in terms of being strategic warriors, but mostly the courage our forefathers carried in their hearts that made them the famous Gorkhas. I had to document this vital account. It was a calling almost like a mission where if I didn’t write and share our legacy then I would not be fulfilling my purpose. It was that strong. It was that passionate. It was fearless. I was a Gorkha myself in this mission.

Adwiti : It took you more than a decade to write this historical piece, a vivid account of valuable work. Share with us briefly the trials and tribulations you faced during your research. What was the most challenging aspect of this extensive project? What drove you single mindedly to write about the Gorkhas, our heritage and history?
Jyoti Thapa Mani: My late father initiated me into the Gorkha quest. It began as a mere interest and then snowballed into a passion and I became a Gorkhaphile. The more I travelled the more I discovered. Nothing was chartered or recorded beyond a point. It was like a treasure hunt as I pieced together information after information, gathered from books, conversations, people and everything took its own time to sink in and connect. I had to dig and dig and dig but loved it all. I tried to reach every place where Gorkha blood had shed, and when I did it, I felt as if they [our ancestors] felt good that they were not forgotten.

I have a collection of stones from battle sites and forts and many wonder why I keep stones in a glass case.

I miss my dad. We used to travel together to Gorkha sites. I used to discuss my work daily with him over the telephone. He was my guide, philosopher and mentor. Today he is not here to see the book but I think he had already visualized it in his mind before he passed away in 2012.

So about 12 years of seeking and two years of fulltime work indoors on my computer to compile, write, design and complete the book. As disasters struck during the production of the book, I died and was reborn many times. It is a spiritual story and was not possible without spiritual sources to charge my batteries which would run out occasionally. A Gorkha warrior-turned-saint who lived centuries ago wrote a journal which is lost. I have not seen it and I do not know where it is. So I wrote it as I believed he would have liked it to be.

In 2010, I curated a first-time exhibition on Himachal Gorkhas history and traditions at the Kangra Museum of Art in Dharamshala with Department of Language and Culture. The idea was for all community members to bring archival photographs, materials, trophies and medals from their homes and the collection was so amazing and huge that we did not have enough space to display them all. The exhibition received great response from the local media with headlines like ‘Gorkha Itihaas 200 saal Purana!’ and so on.

But all these efforts used to be very strenuous as I had to squeeze in time from my job in the media industry where we worked from morning till late night every day. It was not possible to even take leave. Balancing the high responsibilities and my growing Gorkha passion was difficult but I managed to somehow do what I wanted to do. As my brother Dr Aloke tells me, “you must be feeling a vacuum now.” Actually I am feeling lonely. It’s like saying goodbye to the historical characters I lived with for so long.

The journey has been very eventful and if this book does well I will shall share Jyoti on the Gorkha trail. I cannot really define the most challenging part as there were so many. But I did have a tough time climbing up hill sides to remote forts where only goat trails remain. The zigzag paths clinging onto shrubs and stones were very painful and many times my legs turned to jelly and then I just sat down. My poor camera also took many a tumble but remained intact despite dents. How those nimble-footed Gorkha warriors ran up and down these hillsides I cannot imagine. All in all it was a very deep and powerful experience that which changed me forever and hope the history that I have unearthed will change your life too.

Adwiti: Who is your inspiration? What advice do you have for the Youth of our community? How can they become successful in their endeavors like you have been?
Jyoti Thapa Mani: My forefathers, family and of course the Gorkhas themselves! Which Gorkha would not like to write about those who are kith and kin created an internationally acknowledged global status? And which Gorkhali proud of his identity would not like to read about them.

This book would not have been possible without the full support of Maj. General PCS Khati, Vr Chakra (Retd) 1 GR, Brigadier Prem Basnyat, Nepal Army, eminent Indian journalists such as Sandipan Deb, Shekar Gupta, Dr Sanjaya Baru, Nepalese journalist Yubaraj Ghimire and so many other wonderful people whom I have mentioned in my acknowledgements. The number of people (Indian Gorkhalis, Nepalese and non-Gorkhali Indians) all out to support is out of this world.

Think Big. Think Positive. Hard work, endurance, sincerity and Never say die. Face every challenge with determination like a Khukri Brave. Besides professional life make some contribution to the community anytime in your life for whatever span. We Gorkhas are closely connected with nature. Protect animals. Protect nature. Preserve trees. Plant flowers. Protect the environment. Cleanliness and hygiene should be the new mantra. Be clean, be healthy.

I would like to see more nurses (boys and girls) in the hospitals from our rural sectors like the Kerala and North-eastern nurses who reach everywhere to work.

We are the Gorkhas!

Ho ki Hoina?

Ho! Ho! Ho !
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After the impassioned and intense conversation I had with Jyoti Thapa Mani, I could see our forefathers in my mind’s eye, courage in their hearts, khukri in their hands, single minded focus in their eyes shouting out the spine chilling war cry “ Jai Maa kali, Ayo Gorkhaliiii…………..” .

The book that Jyoti Thapa mani wrote is alive because it is not just about The Gorkhas it is about YOU, it is about us and it is about what our forefathers experienced - the blood we shed , the wars we fought, the courage and ferocity we displayed ,the wars we conquered, the lives we lost and the lives we saved. This book is not merely a book, it is something that will speak to you because it is in your blood. Please give yourself this opportunity to gain a deeper understanding of yourself and your history accurately, passionately and fearlessly.

The term Gorkha does not have to be only in the battlefield, we can fight, we can display our fearlessness in every walk of our lives.

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Available in bookstores and online: 

For Overseas buyers:
http://www.southasiabooks.com/the-khukri-braves-the-illustr

In India :
http://www.amazon.in/s/ref=nb_sb_noss_2?url=search-alias%3Daps&field-keywords=The+Khukri+Braves

http://www.rupapublications.co.in/authors/jyoti-thapa-mani

Oxford Book Store Darjeeling: Ph # 0354/225 4325

[Adwiti Subba Haffner is an entrepreneur, social worker, writer, freelance journalist, world traveler, mother, wife, meditation teacher. You can find her at https://www.facebook.com/AdwitiHaffner and her website is www.alivewithadwiti.com]

Via - The Darjeeling Chronicle

Mr. Paras Gazmer a born music maestro

9:26 AM
'KNOW OUR ICONS' - Featuring 2015's 1st Mr. PARAS GAZMER

Musician, lyricists, composer, philosopher and a born music maestro Mr. Paras Gazmer opens up about his life, his love of music, his songs and his heartbreaks and how he learned from all of them.
We all have heard of great composers like Johann Sebastian Bach and Ludwig van Beethoven who did not let their physical barriers prevent them from create outstanding music. For music lovers in Darjeeling, Mr. Paras Gazmer is not only at par with Bach and Beethoven, but it also an ICON who is yet to get his due recognition. We hope that this interview helps him connect with many more people who are unaware about this gem in our community.
Mr. Paras Gazmer a born music maestro
Mr. Paras Gazmer a born music maestro
Brief Profile
PARAS GAJMER 
Occupation: Works in the Dept. of Information and Culture (GTA).
Son of: Lt Deshraj Gazmer, Lt. Madu Gazmer
Better Half: Married but didn’t last long 3 1/2 months.
Place of birth: Tindharey, Kurseong 17 April, 1962.
Schooling: Kalimpong Blind School studied till matriculation.
Philosophy of Life: P B Shelley has said “Our sweetest songs are those that tell of saddest thought.”
Songs should touch the heart. I write songs that touch the hearts. There are two reasons for this; I am blind since 1 and half years old so never have been optimistic about life. Darkness alone was my world. For a blind man when you are bored there is nothing to entertain you, except those which you can hear. Blindness is a bane. Everything is useless for a man who cannot see. I can tell about natural beauty in my songs because I have never seen one, I only write about those which I can feel.

Q. Could you please tell us about yourself, how was it growing up? 
A. I was born a normal child, Mom says I was like an English kid, I was white goray with brown eyes. But when he was 1 ½ years old, I got severe attack of measles. This took away my vision and distorted my facial features. I joined Kalimpong Blind School when I was 7 years old.
In school I learnt many things and music was one of them. My seniors used to play guitar, accordion and other instruments. I learnt guitar, much like rest of the Darjeeling musicians, by myself - bhui futuwa. I learnt guitar to be able to compose tunes, but I did not learn notations. I used to listen to radios, mic ko horns and whatever other audible sources were available and learnt music from them. My friend Kesar Tamang who is himself blind, and works as a piano repairman and tuner, is the one who taught me guitar. I used to sing since childhood kailey table ma kangyo (comb) bajaudai. I think that is innocent creativity.

Q. What is the fondest memory from your childhood?
A. There are many fond memories from my childhood, one of them was table ma chadaeyra baba ley latthi ma daru bandhey ra malai dinu hunthyo (my dad used to get me on top of the table, and tie a ladle to a stick to get me to sing on it) for the microphone feel.

Q: So what got you interested in Music? 
A. I think that the fact my family was musically inclined has a lot to do with it, my father used to play banjo, and I used to sing. But I never took music professionally, not even today… In fact I never had any Gurus, I am just a music lover. It was mostly my family who encouraged me to take music.

Q. Can you tell us something about your struggling days, was it difficult to be established as a musician?
A. During my younger days, artists used to go to Nepal, they had to struggle a lot. But for me since I did not take music professionally I didn’t have to struggle. I only composed, I never felt like I was struggling. Audience gave me moral support, which became my inspiration. I never took music as a competition, so that helped.

Q. Which was your big break, as in your 1st performance which announced to the world that you have arrived? And how did that happen? 
A. It was in 1979 Bhasa Andolan days, back then GDNS used to organise Yuva Diwas it was an annual programme. Though I was blind, I was mentally mischievous. Our school was reopening after summer break on 18th of July so I had to be in Kalimpong on the said date. On July 17, Kumar Gurung (gaow ko daju) asked me to come to GDNS programme to perform at a show on the other day i.e. on 18th. I asked my parents and was able to convince them after much persuasion. When I went to attended the function, the announcer did not call my name… parkhinchu bolaudaina...
I later realised that Kumar daju had actually lied to me…. uss ley ta tessai dillaki garera po perfomace dinu aija bhaney ko raicha… I was only 17, and I believed him. I still remember vividly, the last performer was in the stage but I had already made my mind that I would sing today no matter what… so I started persuading Kumar daju… Finally Kumar daju called the announcer kunama (to the sides) and asked him to call Paras a blind fellow from his neighborhood… the announcer was flabbergasted he had the audacity to say “andha ley pani geet gaucha ra…” anyway they gave me one chance to sing one song… I ended up singing 6… the audience kept on demanding it. I think that is when I got the confidence to perform in big stages, and also people we convinced that I could actually sing and perform.

But before the big stage of GDNS, back in 1972 I had sang in Saraswati Puja organised in Chandmari… believe it or not, I had performed a Bengali song then, with Chandan Subba in Harmonium.

However in terms of really “Big Break”, I think that my album Sajha ko Gham (1993) was the actual big break, I got. When that album released in 1993 and later Mero Bhagya album in (1999), I became a bonafide composer and musician, I guess.

Q. Your work, in particular songs that reflect your personal life have been recognized by Nepalis residing world over as being some of the most honest and most painful songs, where do these songs come from? 
A. Altogether I have composed four songs on blindness. 'Sajhako Gham', 'Mero Bhagya Chyateyeko Kagaj Jasto', 'Mo Netrahin Ko Sunidew Kahani', and 'Sit (dew) Sanga Mitaidincha'. These are satire/replies for society and heart breakers. Sanjhako Gham was written and composed between 2 to 4am. I was in love with a woman who had promised to show me the world through her eyes, but she left me. Her voice used to ring in my ears and I couldn’t sleep at night. So the song was composed.
Darkness became my life partner. Bimal a friend of mine was the first person to listen to the song. Back then I used to live in Chandmari, my sister cried after listening the song.

Second one, 'Mo Netra Hin ko Sunideu Kahani' was for the society at large, people say handicaps are part of the society, but they do not treat them as one.

My third song, Mero Bhagya Chyatiyeko was written when I was in Kolkata with a girlfriend, her family was also happy with our intimacy. Things were being set for marriage. However, I later learned that she was already married and was separated from her husband, though not divorced. The couple settled the matter between them and the woman went with his man, I became an outsider. I even heard her say ‘amale ta malai andha sanga bhiraunu ateyko thiye cha - mom was about to get me married off to a blind person’. This broke my heart and again an epic song was created. The line “जानी जानी मैले संसार नादेखेको होइन, भाबी ले यस्तै लेख्यो, मेरो दोष होइन – I didn’t will to not see this world, my destiny was written as such, how is it my fault” from the song was a reply to this. Though the girls broke my heart, they inspired me to write songs…. (and he laughs a hearty laugh…)!!

Q. Your songs are indeed heartbreaking, how do you find the inspiration for your creativity?
A. Other than girls, loathing and my own physical inability, I have many inspirations to write and compose songs. Both Hindi and Nepali artists have inspired me. Narayan Gopal, Pawan Golay, Om Bikram Bista, Gyalmo didi, Aruna Lama, Hira Rasaili, Kumar Subba and music directors such as Ambar Gurung, Gopal Yonzon, Basanta, Manikamal Chettri. Out of all these Gopal Yonzon has been my most favorite. He is my idol.

Q. From amongst all the projects that you have handled, creatively which was/has been your most difficult project, and why?
A. Music depends on mood and not on routines. Of late, I have not been able to compose songs these days. So creatively there is no difficult project, it sort of comes out naturally, you don’t pull it, it is not a commodity that you are making, it is an emotion, a feel. It comes when it comes, so how can that be difficult? As far as recording is concerned, I have not done much except for the two albums and out of these two, Sanjhako Gham was significantly a difficult project. I was in Nagaland for a show, and Rajesh Bardewa and Mani Kumar Sir had taken the responsibility to do the recording. During this time Rajiv Gandhi was assassinated and I was stuck in Nagaland. It was a crisis period in India. Recordings were going on in Dibyabani hall and I was not able to come, Rajesh Bardewa (uncle) and Mani Kumar Sir did it without me.

Q. Which project is the closest to your heart and why?
A. “Afnu chora chori ta sabai ramrai hunacha ” but I think “Sajha ko Gham” and “Mero Bhagya” is something that I feel very strongly about. Though it was written with my feelings, the singers had their own way to relate to these songs, and so it has been with the audience. Pema Lama sang Sanjha ko Gham with his own feel, what it meant to him is different from what I had in my mind when I wrote the song. These songs are evergreen not only because of their lyrics but their music arrangement has also been done wonderfully.

Q. What do you like the most about your profession?
A. For some music is just for fun, “nachnu ufrinu matrai bha”. But for serious listeners it brings peace to your mind it takes you to a higher level.
12. What is the secret of your success when so many others have failed in your field?
A. I am not successful; I have been successful only through audience. For an artist to be successful, the listeners should like your songs. “Mero lagi award chai swrota haru ko tali… kahiley nasakkiney, bharaiiii samma kan ma gunji rahaney tali” and this is an encouragement and inspiration for other songs as well.

Composition should be good “dharilo composition hunuparcha.” I think of audience when I compose songs. Both lyrics and music should be good. Lyrics is writer’s perspective, music is listener's angle. They can interpret and imagine numerous things in a good music. Both should go hand in hand, in tune, it shouldn’t be like “cancer ko bimari ma chilauney ko dabai”.

Q. Was it difficult for you to be established in the world of music?
A. We were not as sensitive as kids are these days. They cannot bear small problems, we were so interested in music that we sat for hours doing it, we didn’t have instruments back then. All the songs which we heard, learnt and memorized were through the radios. It is hard to compose really serious music these days, environment is changing, sadly we do not have good listeners. Previously there was a good music environment, these days people are just copying western culture. They lack originality.
Along with this is the question of recognition. Musicians are recognised only when they are dead. What is the use of recognitions for dead musicians? Whereas, if someone is recognised while living, s/he will be encouraged to work more. So a request is to recognise musician when they are living, it will help them a lot. Secondly, recognition in monetary terms is better. Though this sounds money minded, but it is the reality. Most of the artist lives in a poor condition, some sort of financial assistance will not only encourage them, but will also make them able to record music and use better instruments. An empty pocket is also some form of disability.

Q. Did your physical disabilities in any way hinder you from learning music?
A. Never had problem in learning music, it was interest that that guided me. Be it vocal or learning instrument I could do them easily. My timing was natural and perfect. Even if your vocal is not good, a perfect timing will make a performance beautiful. I never took formal education (class) in music. Whatever I learnt was from my friends and radio. All India Radio Kurseong was popular back then, I sat for B High audition in guitar. Generally there are three levels of audition A, B High and B. This B high audition is conducted by the Member of Audition Board (MAB) where as for B it is the local audition committee. Members of MAB are not local people. It was only me from Darjeeling who had qualified the audition in guitar back then.
However I have never sung in album, I have only performed in stage.

Q. Can you tell us some of your upcoming projects ?
A. I am planning to revive old songs with old partners; they are staff members in Information and Cultural Department. Also rerecording some of my older songs is in the book now.

Q. Any suggestions for improving the life of those with physical needs? 
A. We need a strong mentality among people about the needs of such people. We should educate our children about the problems of such people. Though it is claimed that such people are part of the society, not much is done to help differently abled people around. One of my friends Mr. Raju Thapa - who is also blind has helped me by installing a voice software in my phone. By doing so I can hear a voice which tells me whatever operations I am doing in my phone.

Q. Any words of advice for youngsters who want to follow on your footsteps, what are the qualities that are required to be a successful musician?
A. My experience tells me that first we should know our culture. These days people hardly listen to folk songs. Learn what is your own first, and then go for others. We should all listen to Lok Geet first. Music is a universal language, try to learn local and regional first. English [foreigners] are bored with their own stuff, so they look around and analyze other’s music. “Oxford [book store in Chowrasta] ma goyera afno sanskriti kinnu naparos… music melody ta jamana anusar ko kura ho, afno chinnu parcha tyes pachi aruko… ama ko dudh ko paribhasa bujnu sakeyna, Lactogen khayera kaha huncha”.

I am ashamed of westernized pronunciation of Nepali words as well. The diction needs to be local, “bidesi le Nepali gako jasto hunu hundaina,” I also suggest music professionals to do shradhanjali to old time songs, redo them. Every successful Indian artist has done this. One can easily find Shraddhanjali albums to Kishor, Rafi, Manna Dey, Hemant Kumar and others, but in case of Nepali artist there is none. I haven’t found any one doing shrddhanjali album on Narayan Gopal or Gopal Yonzon or any other.
..................................................................................
This interview was taken by Mr. Rabindra M Pradhan for TheDC.
TheDC editorial note:
We are most grateful to Mr. Paras Gazmer ji for taking his invaluable time to answer all our questions, and we are hopeful that his story will inspire many budding artists in our community.

Source: The Darjeeling Chronicle

Interview with Bipul Chettri Darjeeling's musical gem - merinews

7:46 PM
Bipul Chettri's debut album titled, 'Sketches of Darjeeling' has been well received by all and sundry, primarily residents of Darjeeling, whose souls have been touched by those flawless songs in the album. His songs paint a beautiful picture of Darjeeling. It is more of a painting, where the strokes have been meticulously planned, bringing about the richness of Darjeeling culture, its monsoon season, mountains, monasteries, toy train etc, and in the process making people feel nostalgic.

Bipul Chettri
Bipul Chettri - Image Credit : Sonam Tashi
His songs reflect the deep profound love and respect for Darjeeling. The youths of today might have been influenced by western music, but 'Sketches of Darjeeling' reminds the beauty of folk music with a few brushes of western music. The amalgamation has made the album more soothing for our ears to listen.
While interviewing the singer, his down to earth nature took over as he talked about folk music, his album, his father, Darjeeling, culture, passion for music, weather etc. All such chit-o-chat with the singer gave me a 'Mountain High,' which can easily be understood by those who have lived in the foothills of the Himalayas in the past.

Excerpts from the interview:

Ashim Sunam : Bipul Chettri is a household name in Darjeeling, yet your identity remains under a thick blanket. Can you introduce yourself to your fans?

Bipul Chettri :  (Smiles..) I am just a normal hometown boy from Kalimpong, Darjeeling. I passed out from Saint Augustine's School, Kalimpong, after which I came to Delhi and graduated from Delhi University. Presently, I am the Head of the Art Department at Vasant Valley School in New Delhi.

We people from the hills have been brought up in a similar way, so we have a similar way of looking at things. Similar as in the way we see the world, and the way we perceive things around us, which makes us so alike.

Ashim Sunam: Your album, since launch has been on the lips of everyone. Did you expect such a warm response?

Bipul Chettri: Firstly, I was overwhelmed with the response I received for the song, 'Wildfire' in SoundCloud and after which it was 'Asaar', the response multiplied. So, I was prepared to expect such kind of positive response. I am happy that people liked my music, which is the biggest gift that one can get out of it.

Ashim Sunam: With so much adulation for Wildfire in SoundCloud, did it act as an inspiration to launch this album?

Bipul Chettri : One can definitely say so as well, where Wildfire was the launching pad. It provided me with encouragement, and to go forward with my ideas.

Ashim Sunam: There is a beautiful sense of musical arrangement in the song, Mountain High, with the Shehnai and a great baseline. How did you come up with such ingenuity ?

Bipul Chettri : See, when I was in the process of making 'Mountain High', I was thinking in terms of mountain and primarily music in the mountains, as to the instruments, which reflect the mountains. Whenever I thought of mountains that I have seen in my life, monasteries always came into the picture, somehow that had an impact on me, so the music that came out was what you hear while you are at the monastery, where mystical sounds come from ghalang, pipes and the big drums. I wanted to capture that somewhat into my song and Shehnai was the most adaptable instrument.

Ashim Sunam: When you play the guitar, it is so soothing to one's ear. How did your education in Trinity College, London help you in this regard?

Bipul Chettri : The listening experience that I received while lending ears to classical music in Trinity College was worthwhile, because classical guitar opened up the door for other orchestral instruments. In the process, it opened up a lot of doors for me in terms of harmonically arranging music. It opened up possibilities for me to explore more.

Ashim Sunam: Most of the songs in the album takes one back to Darjeeling. Is this your signature style of making people feel nostalgic about Darjeeling?

Bipul Chettri : Certainly, the nostalgic feel is present, but, this is what I am. This is my music. This is what I have grown up listening. This is in a way, my identity, as a person and musician. It is all coming up as to what has been fed into me, since I was born.

Ashim Sunam: Was there a conscious effort from your side to focus on Darjeeling while writing these songs?

Bipul Chettri : I have termed the album, 'Sketches of Darjeeling'. My basic thing was to capture the essence of Darjeeling – the different elements for me what made up Darjeeling. It was capturing the essence of the rainy season, rail gadi, mountains, wildfire etc.

Ashim Sunam: The lyrics for Ram Sailee is what had been written long ago by your father, who was also a musician. Can you talk about him in brief?

Bipul Chettri : I have drawn a great amount of inspiration from my father, Late Nirendra Mohan Chettri, who hailed from Kurseong. People from the hills still talk about my dad and his songs, which are considered evergreen by many. Songs such as Swarnim Sapna, E Mera Ninda and Ram Sailee still remain dear to the people of his generation. He was a very well known musician during his time. He was a pioneer in fusing western musical elements into Nepali music as well.

Ashim Sunam: Which is your personal favourite song in the album?

Bipul Chettri : I do not know if I can choose any song as favourtite. There is a special attachment with all the songs. But, I have a particular attachment with Wildfire, as it was the first track, which set everything on place. Besides that, I love all the songs.

Ashim Sunam: There is a lot of folk music elements in all your songs. So, which genre of music does your song belong to?

Bipul Chettri : It is folk music in various ways, but I had no intentions of branding it as folk music. The voice has come out as folk, as that is something which I felt deep inside and probably being from Darjeeling, which has a rich folk culture. May be, this all culminated in what it closely looks like folk music. Also we have many other elements involved as well. So, we can say soul is the folk and the brain is western music.

Ashim Sunam: Rail Garee is one of a kind song in the album. Any reason for choosing Darjeeling Toy Train as the main subject?

Bipul Chettri : As I was in the process of making of the album, I thought about one thing, which is really unique about Darjeeling and it was the Darjeeling Toy Train. Not mentioning Darjeeling Toy Train would make the album incomplete.

Ashim Sunam: How did you split time between work and finishing the debut album?

Bipul Chettri : In terms of splitting time, it was not like that I had to sit down and work on my album everyday. It just happened naturally. Whenever an idea struck me, I wrote it down, it happened everywhere and anywhere. Even when working, if an idea came up to me, I would just scribble it. The process was everywhere.

Ashim Sunam: Did you approach any major music companies to launch your songs?

Bipul Chettri : I did not approach any of the major labels company as I wanted an independent launch. Perhaps, also with me being new in this field, I thought that I should do things on my own and see things as to how it goes. 'Ok listen' is India's top website for promoting independent musicians. Other top musicians also sell their songs on the website.

Ashim Sunam: What are your other ways to promote the album?

Bipul Chettri : As of now, I am thinking of performing live, maybe in Darjeeling, Sikkim and Nepal. Apart from this I would also get a few CDs done, as people are eager to save a hard copy of the album, for they want to preserve it.

Ashim Sunam: Is there a dearth of music platforms for independent Indian musicians?

Bipul Chettri : It is for the first time that I have delved into the realm of the online industry to sell my music, so it would not be inappropriate for me to comment on this particular question. But, with people spending much time over the Internet in India, things are getting better.

Ashim Sunam: With the youth in Darjeeling listening to western music on a large scale, are we losing out on our rich folk music culture?

Bipul Chettri : People should understand the quality of folk music. It helps us understand our culture. Most of us try to emote the west. We should not forget what we have - folk music will help us get back to our roots and also make us more complete and take the good things about our culture forward.

Ashim Sunam: What about your second album?

Bipul Chettri : Lets see, maybe next year. I am working on some materials, I have just started.

Source:merinews

Cinematographer Binod Pradhan - His Candid views on life, cinematography and Gorkhaland

11:10 PM
Brief Profile
Name: Binod Pradhan
Profession: Cinematographer/Director
Son of: Mr. and Mrs Hoom Kumar Pradhan and Basanti Pradhan
Better half: Sonali Pradhan
Children: Binay Pradhan, Deep Pradhan
Place of birth: Singamari, Darjeeling
Primary School: St. Joseph’s Convent, St. Augustine, Dr. Graham’s Homes, Kalimpong
Secondary School: Dr. Graham’s Homes
Higher Secondary school: Dr. Graham’s Homes
College: North Point, Government College, Darjeeling
Philosophy of Life: Try a little harder
Favourite Movies: Pather Panchali, Mother India, Godfather, Rush

Gorkha Cinematographer Binod Pradhan
Gorkha Cinematographer Binod Pradhan
1. Could you please tell us about yourself, how was it growing up in Kalimpong? 
A. I was a sidha bacha in my childhood. I never made my parents pull their hair in exasperation (I am lying)... I think I was emotional and constantly in love with someone secretly [classic Darjeeling ailment – Maan man mai love] or with some actress in my dreams. I was a dreamer weaving stories around me. I was never a troublemaker or a local gangster itching for a fight. Most of my energy went in photography.

I love and look back on those days when I used to go around outside Kalimpong taking photographs of the landscapes and people. I used to have a lot of fun all by myself and my cameras. Today’s digital technology has put a camera into everybody’s hand, but how many look out at nature and capture it? More than before, but maybe not enough.

2. What made you take interest in photography? 
A. My father did. I remember as a Pre-school kid I used to go to Pushpa Studio where my dad used to work. I was engrossed seeing the pictures of the Tibetans come from Tibet. As a kid I remember watching from my first floor house in 10th Mile the rain and rain drops dance on the electric wires on the poles outside. It left me quite fascinated seeing how they combine and drop of as new drops came sliding to meet other drops. I think as a kid I was quite visually aware. I was horrified to notice that my father was smaller than the cherry blossom tree in school in St. Joseph’s Convent where I was studying in Kg. And I just loved watching movies. I used to plague my father every time a Hollywood movie came to the theatres.

A friend and I spent some of our break time mimicking horse with our fingers and imagining them to be cowboys chasing the villains in movies. I was in class 4 or 5 in Dr. Graham’s Homes when my dad (who owned a studio by then) gave me some left over negative film and a simple camera called Fulvue. I was absolutely thrilled and took pictures of my friend. On the roof of his house he stood like a hero in one of the pictures. Since that day there was no looking back.

The magic of photography caught me never to leave me again. I got involved and learnt processing and printing from my dad. The first professional work was covering a school sports day when I was in class 6. I remember mixing up the shutter values and most of the runners came blurred.

The School days was a learning period in photography for me where I learnt from books and finally I knew more than what my father knew. Such a passion it was. I sacrificed my sleep, my free time to photography.

3. When/how did you decide to take up Cinematography as a profession?
A. Cinematography was an accident. By the time I finished school in Kalimpong, I was like a king in my small pond of photography. I had little knowledge of what the outside photographic world had to offer. My thirst kept pressing me for more. A sentence from Mr. Ganesh Mani Pradhan changed my life. He said why don’t you try to study in Film Institute of India in Poona. My father, ever encouraging, took me to Poona to check on the school. I learnt that photography was the first year course there, after which they taught Cinematography.

The next year I applied and got admission against quite a tough competition. All those school and college years of interest in photography helped me, and the examiners were quite floored by my knowledge on photography. I even corrected the professor of Cinematography about a term in photography (actually I laid a trap ).

The Dean of the Institute requested to keep a picture of a rose that I had taken. I was more than happy to give it to him as I realized that my seat was assured by this request. I was number one in the selected list. This was the beginning to my marriage with cinematography.

4. Cinematography must have an unusual profession choice back in the day, how did your parents react? Did they not push you to join a government job?
A. I don’t think my father would have pushed me into any other profession. I would have committed harakiri (hahaha). But such was my intensity to learn photography that my father didn’t even think of sending me for anything else. Right from my school days my career target was set. Even my friends appreciated my decision, so early on in school life, to be a professional photographer.

I could have run my father’s Om Studio straight after finishing school, but I wanted to have a formal training, to see what else was there. I loved the quality of the displayed pictures of Das Studio in Darjeeling. I knew there was more to learn.

Once I passed from the Institute, I realised that I won’t be able to work in Om Studio anymore. I was over qualified and my interest had shifted to cinematography. My parents, fully supported my desire to move to Mumbai.

5. We know that you have struggled a lot and persevered, can you please tell us about your struggling days?
A. In the beginning after finishing the course in what is called as Motion Picture Photography, I was too scared of facing Bombay city. I knew nothing of the city or how to try to get work out there. I knew of no cinematographer or their address where I could contact them for work and the stories I had heard about them didn’t encourage me one bit.

Mr Prem Sagar, a known cinematographer had come to examine my senior finalists when I was in my 2nd year. I was assisting one of my seniors for the exercise. He was impressed by my work and one year later called me to join his company after my course.

This was a huge Godsend since if it weren’t for this opportunity I would have gone back home. I joined him on a salary of Rupees 500. This drove my single minded determination to be a Cinematographer in Bombay. Later I had opportunities to get double the salary in Doordarshan. One senior friend from Singapore even tempted me to join him in a coverage job abroad for a stupendous salary of 10,000. They didn’t attract me at all because these weren’t jobs of making movies.

6. Could you please tell us about how you got your break? 
After two years as assistant to three different cinematographers, I decided that I should do independent work only. I gave up a fairly interesting and by then lucrative job to try to work as a cinematographer. My period of hardship began. In one year I remember I worked for just about a week. I started getting some work in documentaries but mostly I was in a financial mess.

Sixteen Ex students formed a co-operative called Yukt with the idea of making non-commercial films. This included people like Mani Kaul and Sayeed Mirza. I was part of it and got to shoot my first film as one of the cinematographers in a Marathi film called Ghashiram Kotwal, a highly experimental film that didn’t get released in theatres. Another jobless phase later another came another Marathi film called Jait re Jait. Slowly, very slowly jobs started trickling in, Hindi, Nepali, Assamese, Haryanvi. There was no looking back.

7. Which was your big break, as in a movie which announced to the world that you have arrived? And how did that happen? 
Parinda was my second film with Vinod Chopra. My approach to shooting this film was to make it look like anything but a Hindi film. I never liked the way Hindi films looked right since my college days. I took inspiration from Godfather (still is one of my favourite films.) shot by Gordon Willis, who is among the best cinematographers the world has seen.

I couldn’t reach his standards but it went fairly high enough to be noticed by the film industry. I got a lot of appreciation but was very disappointed in losing the Filmfare award to Chandani.

8. Was it difficult for you as a Gorkhali to be established in the Mumbai film industry?
A. As a person not having to face the camera, I didn’t have to suffer any sort of racial discrimination. I probably didn’t know too many people to really understand or face that problem. Some thought I was a very strange looking Maharashtrian Pradhan. Many times I had to explain that we have Pradhan in Nepali too. Some called me chinky, but it was in all goodness and fun.

9. Is the industry more open to the people from North-East India today than it was when you started? How?
A. Now the doors are wide open for people from all over the country, as long as they are good in their work. When I came, there were fewer films and even fewer cinematographers. Television which absorbs a very large number of people today was non-existent then. Life and struggle was proportionately more difficult. I know of many who have gone back home with shattered dreams.

10. Today Binod Pradhan is synonymous with amazing creativity, what does success feel like? 
For me today, success is a stepping stone for more creativity in cinematography.

11. From amongst all the movies that you have done which was/has been your most difficult project, and why?
A. Creatively, I would consider Rang De Basanti more challenging. Most films have to be treated differently from each other. That’s why films like Parinda, 1942 A Love Story, Devdas, Rang De Basanti, Delhi 6, Bhaag Milkha Bhaag look different from each other. Actually I had the opportunity to make these films look different from each other.

12. Which project is the closest to your heart and why?
A. I can’t put my finger on one. With the amount of hard work one puts on each film, I don’t think I can be partial to one. Lets say that the harder I work on a film, the closer it comes to me.

13. Who is (are) your favourite director(s), and why?
A. Vinod Chopra and Rakeyesh Mehra since I have grown many folds working with them.

14. What do you like the most about your profession?
A. I like this idea of working with one of the most ethereal of mediums in the universe. Light.

15. We hear that you are going to direct a movie soon, are you excited? 
A. Hope it turns out fine. Actually I’m quite worried.

16. What is the secret of your success when so many others have failed in your field? 
A. I wish I knew. Maybe it is very hard conscientious work and always trying harder than before.

17. Any words of advice for youngsters who want to follow on your footsteps
A. Study hard and don’t be afraid of experimenting. Eat, drink and breathe your passion. The last thing that should attract you in this field or should I say that you should never get attracted to in this field is - because of glamour. The movie industry needs a lot of hard work, long erratic hours of work, creativity and camaraderie. If you have them all then you might make it, with some luck I guess.

18. Do you have any plans to make Nepali movies? or Hindi movies based on stories from our region?
A. No plans as of now. I would love to if an appropriate project comes my way.

19. Some people have suggested that all the big names from our parts of the world Darjeeling, Kalimpong, Kurseong, Mirik, Siliguri, Sikkim do not care for our people once they make it big? What do you have to say to them?
A. As far as I am concerned, it may not be true. I have given opportunities to deserving people. I have helped my people in my own small way whether it is for studies in Kalimpong and/or odd jobs. Problems arise when people get attracted to Mumbai film industry because of the glamour attached. Ever so often kids come to me with dreams of making it big but without any knowledge, especially in acting. It isn’t an easy path that I could help anyone to be an actor or for that matter a cinematographer. For every one success there are hundreds who fail. So unless one has talent, and I see some hope, I can’t help.

20. Do you have any plans that includes Darjeeling region in the future? 
A. None at the moment besides my son’s marriage in Kalimpong.

21. Any comments on Gorkha identity issue?
A. It is a problem I have faced quite often before. If I call myself a Nepali, I am not from Nepal. So do I call myself a Bengali? This is the only direct problem that I have faced.

22. Any comments on Gorkhaland statehood issue? 
A. I am like any other Gorkha from my soil. I yearn for this dream to come true. It would be a big benefit to my people in the hills who have been quite isolated from the outside world.

[We are most grateful to Shri. Binod Pradhan ji for taking his invaluable time to answer all our questions. We acknowledge the efforts put in by The DC associate Bishal Lama and the help from Ms. Mandakini Pradhan for making this interview possible - thank you guys]

Source: The Darjeeling Chronicle 

Wordsmith - Prajwal Parajuly little interview with The Hindu about writing habits

10:22 AM
PRAJWAL PARAJULY 

WHEN: I usually can’t wake up before noon. The exception would be if I have stayed up all night and all morning; then I might even go to bed in the afternoon. I don’t write every day. Or every week. Or every month. I always know when I am about to get into my productive ‘groove’, so I sleep until I can’t sleep any more and write for 12- 14- or 15-hour stretches. I have tried to be a morning person but have failed miserably.

Prajwal Parajuly
Prajwal Parajuly

HOW: I type on my laptop. Nothing else works. If the writing flows, I write. Otherwise, I watch mindless American TV, read or play poker. I’ve often been asked if I don’t feel guilty when I haven’t written for weeks and months. I don’t. I am the most ill-disciplined person I know. It’s cute.

WHERE: I have a few favourite places. I like seeing the constant traffic of people from my window in New York as I write. Even if it’s at 4.00 a.m., it’s fun to see some activity outside. My parents’ rooftop in Gangtok used to have amazing views of the Kanchendzonga but a neighbour has constructed a massive building that now obstructs the mountain completely. Grr. Oxford and London have a few wonderful cafes where I do my editing. I can’t write at coffee shops but can happily edit.

WHAT: Some writers smoke when they write. Some claim that they need to be buzzed. I eat chocolate. In Gangtok, the perpetual howling of street dogs is my background music.

As told to SWATI DAFTUAR

Source: thehindu.com

Roshni Rai - Gorkha's torch bearer from Darjeeling

6:50 PM
''We are Gorkhas and Proud to be Indian. Jai Gorkha, Jai Hind, ''

Born and brought up in Kalimpong, Darjeeling, Roshni Rai moved out of her hometown in search of better education and a better career. But, after reaching Mumbai, she was startled by the identity crisis of Gorkhas in India, which changed her completely. Roshini has been referred as ‘Chinki minki, Chinese doll,’ etc while running on the streets as well. She felt the urge to do something in her lifetime to highlight the fact - Gorkhas are Indians (still so many people are not aware of it). She started a campaign 'Run with Roshni' with an objective of empowering Gorkhas and supporting Gorkha runners to run Olympic marathon representing India and enlightening non- Gorkhas, how Gorkhas are Indians.

We are Gorkhas and Proud to be Indian. Jai Gorkha, Jai Hind,
We are Gorkhas and Proud to be Indian. Jai Gorkha, Jai Hind, 

There has a lot of political leaders who might have put forward the demand of Gorkhaland, but they are silenced when they cross the hills. But, Roshni Rai, a proud Gorkha girl has been trying her best to eliminate the identity crisis faced by Nepali speaking Indian in their own motherland. It would not be surprising, if people outside of the hill station know more about her than people in Darjeeling, especially in Mumbai. It is due to her efforts that she has earned a number of friends from the bollywood industry and the who's who of India as well. 

When she participates for India in international competitions, she wears a tee with a slogan ''We are Gorkhas and Proud to be Indian. Jai Gorkha, Jai Hind, '' thus placing Gorkhas on a global map as Indians.

Ashim Sunam (AS): When did you first feel the need to highlight the issue of raising awareness about Indian Gorkhas?

Roshni Rai (RR): In a three days course in June 2011, Mumbai, people were sharing that they know Gurjrati, Hindi, Marathi etc, somehow, I was feeling uncomfortable to say, I know Nepali. With some courage, I said I know Nepali and felt like 300 people staring at me in a surprised state. From that moment, I started enquiring, why I am feeling uncomfortable to introduce myself as a Gorkha girl or a Nepali girl? I realised that whenever, I said, I speak Nepali to people in Mumbai, pat came their reply, ‘so you are from Nepal?’ I have also heard many people referring to their watchman as Gorkha.

These two things have given me so much of inferiority complex and I was hesitating to introduce myself that I am Gorkha or a Nepali. In due course, I learnt that people are asking me such question because they are not aware as to how Darjeeling is an integral part of India and they are not aware that Nepali is already a recognized language under the constitution of India. It is one of the language mentioned in Indian currency. So, by running marathons, I decided to bring the awareness about Nepali speaking people being Indians also.

AS: Have you ever undergone any sort of racial discrimination?

RR: Racial discrimination as such, I have been taunted by comment such as - ‘Chinese doll, Chinki minki’, while running marathons or normally walking on the road. I have slapped more than five people, who have taunted me with such comments in Mumbai.

AS: How did the thought of 'Run with Roshni' campaign kick-off? What is its objective?

RR: While doing ‘Self Expression and Leadership Program’ from Landmark Education, I had to take a project, which is close to my heart and it should benefit my community. So, I started the project ‘Run with Roshni’. Its objective is to empower Gorkhas and support Gorkha runners to run Olympic marathon representing India and enlightening non- Gorkhas, how Gorkhas are Indians.

AS: How successful has this venture been in highlighting the identity crisis?

RR: It has been highly successful. Team ‘Run with Roshni’ ran Mumbai marathon 2012, 2013, 2014, Hyderabad Marathon 2013 and Chennai marathon 2013, wearing t-shirts with slogan-‘We are Gorkhas and Proud to be Indian. Jai Gorkha, Jai Hind’. And this slogan attracted many media houses. We have got media mentions in more than 15 national media houses.

Through media, after reading my interview, many colleagues confessed that they were unaware that Gorkhas are Indians. Further, Gorkhaland agitation is going on since the last 107 years in Darjeeling. Many people have died for the same but none of the media houses have properly covered the issue of Gorkhaland, but our marathon running has got lots of media mention, hence I say that ‘Run with Roshni’ is highly successful.

AS: Why marathon and not other sport to support the cause?

RR: I chose marathon and not any other sports, as it is my ‘self expression’ and passion as well.

AS: Was it from your school days that you were interested in running long distance?

RR: No, I was not an athlete during my school days in Kalimpong, Darjeeling. I ran my first Half marathon in 2007 in Mumbai.

AS: You are a corporate lawyer by profession. How do you balance your work and passion (running)?

RR: Running gives me that special high to handle all issues in my profession.

AS: As a long distance runner, what are your major achievements?

RR: Till now, I have run 38 races. I have represented India in three international marathons - Prague International Marathon 2010, The Comrades Marathon 2012 of 89km in South Africa and Maiden head Half marathon 2013 in UK.

The longest distance I have run is 89 km Comrades marathon 2012. Till date only three Indian women have completed this distance and I am still the fastest Indian woman out of the three. In Comrades marathon, one has to complete the distance of 89km in 12 hours otherwise, they will declare DNF (did not finish in marathon lingo). That’s why it is known as ultimate human race. My Comrades marathon was a tribute to all the Gorkha sahids, who have sacrificed their lives for mother India.

AS: When marathon races are held, you sometimes invite runners from Darjeeling to run under 'Run with Roshni' flag. What is your purpose behind the move?

RR: Darjeeling being a hill station, people are very good in long distance running but they don’t know how to register for international marathon like Mumbai marathon. If they get support and enough encouragement, in another 3-4 years, they will start competing with Kenyans / Ethiopians and make India proud by winning International Marathons. Out of the 30 runners, whom I have been supporting since 2012, six runners are very strong. They can run 21km in between 1 hr 17 mins to 1hr 30 mins, without proper coach and guidance. Three runners from team Run with Roshni - Prabal Chettri, Sanjay Chettri and Puran Rai are recruited in the Indian Army, which is one of the pathways for these runners to reach Olympic Marathon.

Darjeeling has received enough dead bodies of her son with India’s flag on their chest, now she should start receiving sons with India’s flag on their shoulders, the way sportstars return home after winning Olympic Medals.

AS: Do you receive any financial help in the regard?

RR: I raise funds from my runner friends from all over India to support these runners from Darjeeling to run marathons.

AS: What are your future plans?

To empower and enlighten Gorkhas in India.

To support strong runners from economically backward class in Darjeeling to run national and international marathons.

To make India proud by winning International and Olympic Marathons by the runners from Darjeeling.

To eliminate the identity crisis faced by Nepali speaking Indian in their own motherland.

Bringing awareness among Indians, how the Nepali speaking people are Indians.

To bring awareness all over India that Nepali is a recognized language under the Constitution of India and it is one of the languages mentioned in the Indian currency.

To let the world know, who the Gorkhas are by getting media mentions through running and winning marathons.

AS: Will the current demand for Gorkhaland solve the identity problem?

RR: Gorkhaland, if achieved, will help a long way in solving the identity problem of the Gorkhas living in India as well as abroad.

Source: merinews.

 
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