मैले दुइदिन अघि नै क्यालेण्डरमा ३१ मार्च २०१८ –लाई दाग लगाएर राखेको थिएँ। यसदिन पहिलो दार्जीलिङ साहित्यिक भेट २०१८ (1st Darjeeling Literary Meet 2018) सिलगढीको होटल मैनाकमा सम्पन्न हुनेभएको थियो अनि यसै साहित्यिक भेटमा कवि राजा पुनियानीको दुईवटा मल्टिमिडिया कविता भ्रम पहाड अनि इन्काउन्टर स्क्रिनिङ हुनगइरहेको थियो। हुन त मैले यी दुवै कविताहरू पहिल्यै हेरिसकेको हो, दुईपटक युट्यूबमा अनि एकपटक सिक्किमको जोरथाङमा, कफी कवितामा। तर पनि म मैनाक होटल जान उत्सुक थिएँ। किनभने राजाको कविताले हाम्रो वर्तमान, हाम्रो सपनालाई सम्बोधन गरेको छ, म अनेपालीहरूमा यसको प्रतिक्रिया कस्तो हुन्छ भनेर जान्न चाहन्थें।
म मैनाक होटल पुग्दा बङ्गला नाटक, बङ्गला कविताहरूमाथि अलग अलग कोठामा सङ्गोष्ठी भइरहेको थियो। महँगो होटलमा भुँईंमा बस्ने आम मान्छेहरूलाई साहित्यमा कसरी सम्बोधन गरिने चर्चा भइरहेको थियो। हो, यहीं त फरक छ हाम्रो साहित्यमा, औपनिवेशिक संस्कारमा एकथरीले हाम्रो झर्रो जीवन भोगेका हुँदैनन्, महङ्गा होटलमा बसेर टाडाबाट नै हाम्रो गाला मुसार्न चाहन्छन्। हामी यसको ठीक विपरित झर्रो जीवन बाँच्छौं, अर्ग्यानिक कुरा लेख्छौं अनि आम मान्छेलाई साहित्यमात्र होइन व्यवहारमा अँगाल्छौं, किनभने हामी आफैं नै उपनिवेशवादको ढुङ्गाले चेप्ट्याएको भुँईं मान्छे हौँ।
केही क्षण अघिमात्र यस कार्यक्रमलाई पर्यटन मन्त्री गौतम देवले आरम्भ गरेर गएका रहेछन्। अब मैले भन्न परेन राजाले कस्तो स्थानमा कवितामा रौँ ठाडो हुनेगरी माटो र सिङ्गो पहाड देखाउन गइरहेको थियो। उनीहरूको ठूलो जमघटमा हामी केवल पाँचजना मात्र थियौं, म, राजा पुनियानी, समीर शर्मा, छेवाङ योन्जन अनि विजय काफ्ले। राजाको मल्टिमिडिया पोएट्रीका छायाङ्कन निर्देशक पल्लव आएका थिए तर कुनै कार्यले बाहिरिएका थिए।
राजाले मल्टिमिडियामा कविता देखाउँछसम्म थाहा थियो त्यहाँ उपस्थित भीडलाई, यो उनीहरू मध्ये धेरैलाई नयाँ प्रयोग थियो, यसैले हेर्न उत्सुक थिए। तर के देखाउँछ, देखाइने कुराको कन्टेन्ट के हो भन्ने कुराबाट केवल भीड होइन आयोजक पक्ष पनि अनभिज्ञ नै थिए। स्क्रीनिङ अघि राजाले मञ्चमा गएर कवितामा आम मान्छेको चासो मर्दै गएको देखेर नै आफूले कविता अनि यसको प्रभावलाई जिउँदो राख्न मल्टिमिडियाको सहयोग लिन थालेको बताए। यस कार्यमा उनका सङ्गीत पक्षका सहयोगी समीर शर्मालाई पनि मञ्चमा बोलाएर परिचय गराए।
हलको बत्ती बन्द गरियो…, शुरू हुन्छ “भ्रमपहाड”…, बज्छ भ्रम पहाडको साइरन उपनिवेशवादीहरूलाई होशियार गराउँदै।
कविताको प्रत्येक लाइनले मुक अँध्यारो चिर्दै थियो, “सुनमायाको पहाडी गर्भमा चे ग्वेभाराको खनाती छ…” अङ्ग्रेजी सब-टाईटलले त्यहाँको वातावरण चिसो बनाउँदै लग्यो। “चौरस्तामा घिसिङ, बिमल, मन र विनयहरू लीला नाच्दै गर्दा टोल-टोल अस्तित्व युद्धको नाटक खेल्छ हन्ड्रेड डेज, इन्दिरा आवास, प्रधान मन्त्री ग्राम सडक योजना…” दर्शकले बुझ्दै थिए, आन्दोलन रोकिएको होइन केवल बिसाएको हो भनेर।
“हजुर के दर्शक बोल्न पाउँछ? …चुप साले….” सबै चुप थिए। यो प्रस्तुति पहाडमा भएको भए जाडो महिनामा पनि वातावरण गर्मिएको हुन्थ्यो होला तर सिलगढीमा सबै चिसिँदै गएको थाहा लाग्दैथियो।
यसको लगत्तै पछि अर्को मल्टिमिडिया पोएट्री चल्न थाल्छ स्क्रीनमा… “इन्काउन्टर”…। “सखारै इन्काउन्टरमा भाषा मारिएको खबर हेडलाइनमा छ आज र लावारिस लडिरहेको त्यो भाषाको लाशले पर्खिरहेको छ आफ्नै पोस्टमार्टम तारिख…” “बास माग्दा घर किन जलाउँछ, जस्टिस माग्दा टेरोरिस्ट किन भनाउँछ” राजाको कविताले जति चिच्याउन थाल्यो अघि नै चिसिएको त्यहाँको वातावरणमा काँडा उम्रिँदै गएको थियो।
केहिदिन अघिमात्र स्टुडियो साउण्ड ट्रेकका समीर भाईले युट्यूबमा अपलोड गरेको नेपाली साङ्गीतिक संसारका महान विभूति स्व० अम्बर गुरुङको निबन्ध ‘कहाँ गए ती दिनहरू’ सुनेको थिएँ। त्यसमा भएको अम्बर गुरुङको एउटा भनाई राजा पुनियानीसँग ठ्याक्कै मेल खाएको देखें। गुरुङ भन्थे, “स्रोतालाई आफूतिर तानेर पाएको तन्मयताको प्रतिक्रियात्मक प्रबलताले मात्र गायकले प्रभावको प्रभुत्व जन्माउन सक्छ”।
राजा गायक होइन, कवि हुन्, गाउने कवि हुन्। तर अहिले राजाले कविता पाठकलाई पठनको निम्ति मात्र नछोडेर सुनाउने अनि सुनाएर कविताले जन्माउन सक्ने प्रतिक्रियात्मक प्रबलताले वर्तमान सोच्न बाध्य पार्ने काम गर्दैछन् मल्टिमिडिया पोएट्रीको सहायताले। त्यसैको प्रभाव थियो, “पहिलो दार्जीलिङ साहित्यिक भेट २०१८” –को त्यो कोठा सिलगढीको गर्मीमा पनि चिसिएको थियो।
कविता सकियो। बत्ती बल्यो। करैले केही चिसा थप्पडीहरू बजे। उनीहरू मध्ये धेरैको मनलाई सायद यहाँ, यो कसरी भयो भन्ने प्रश्नले थिचिरहेको थियो होला। धेरैले सायद हाम्रो दुखाई बुझ्ने पहिलो अवसर पाएका थिए होला अनि त्यस्ताहरूको अघि हामी सही पाटोमा उभिएको पनि थियौं होला। हामीलाई केही अपेक्षा थिएन, हामी त्यहाँबाट निस्कियौं। कमै बजेको चिसो थप्पडीमाझ निर्धक्क उभिएको थियो पुनियानीको माटो कविता। हामी कम थप्पडीमा पनि ठूलो छात्ती बनाएर त्यहाँबाट प्रस्थान गऱ्यौं। पछि के चर्चा भयो त्यहाँ थाहा भएन….
मलाई विश्वास छ, त्यसपछि विचार गर्नेहरूको टाउको पक्कै पनि फनफनी घुम्न शुरु भयो।
Writes NIRMAL MANGAR Gangtok, June 20: The Nepali Sahitya Parishad here has announced the name of writer, poet and musician Birkha Bahadhur Muringla for Bhanu Puraskar, 2016, for his contribution to literature and music.
Muringla's name was finalised at a meeting of the selection committee on June 14.
The award will be conferred on him at the 202th Bhanu Jayanti celebrations here on July 13 . The annual award includes an anga vastra, tamra patra, certificate and cash.
BB Muringla conferred Vivekananda Kendra Institute of Culture Samman in 2014 - File Photo
"He had designed the Limbo syllabus for government schools," said the deputy director of the state HRD department, S.B. Subba.
The 73-year-old writer and musician is from Lingchom village in West Sikkim.
"The contribution of Mr Muringla to literature is outstanding. He may be referred to as the Balmiki of Limbo literature," said president of Sahitya Parishad, Rudra Poudyal.
Muringla was born on April 13, 1943. He studied in Tashi Namgyal Academy and Darjeeling Government College.
Master Mitrasen Thapa Magar (1895 -1946) (Nepali/नेपाली: मित्रसेन थापा मगर (१८१५ – १९४६)) Indian Gorkha folk singer, lyrics writer, dramatist, social worker and a Freedom Fighter who took part in World War-I Master Mitrasen Thapa was born on the 29th December 1895 in Village Totarani, Bhagsu /Dharamshala. He was called master because in those days, the society called writers and musicians as Masters. He is the only Gorkha who has been felicitated by a postal stamp by both India and Nepal. He was concerned about the quality of the Gorkha society and his works are dedicated to the people. Besides his great talent, Master Mitrasen discovered and employed three major tools in communication to the masses.
One was humor, second, easy-to-sing and pick-up songs in melodious tunes and the third, the usage of simple Nepali householders‟ language. Thus, instead of sermonising in seriously, Mitrasen Thapa used the medium of humour, drama, singing and dance. His songs first mesmerised the audience who then continued to sing them again and again. The messages got repeated in the process. Mitrasen realised the community needed to come together and get united all across. Through his creative work in the Nepali language and travelling, Mitrasen united all Gorkhas from Nepal to Darjeeling to Punjab. Mitrasen also highlighted the weaknesses of the society which could affect the future. He wrote against extravagant living and excesses of drinking.
Master Mitrasen Thapa Magar Indian Gorkha folk singer, lyrics writer, dramatist, social worker and a Freedom Fighter who took part in World War-I
He wrote about the upliftment of women, and also the importance of high thinking and simple living. He wrote and spread in Nepali, the messages of Gautam Buddha, Bhagvad Gita and Mahabaharata for the Nepali masses to understand and imbibe in their daily lives.. He was always concerned about the quality of the Nepali society and most of his works are dedicated to the people. Instead of sermonising in serious tunes, Mitrasen Thapa used humour, drama, singing and dance to communicate his messages. There was time when everybody from Darjeeling, Sikkim, Dehradun to Dharamshala was all singing Master Mitrasen Thapa‟s songs. This was his way of uniting them all. It is said that during his travels, he found Nepalis speaking different dialects, along with the highly Sanskritised Nepali bhasha. He realised that he had to develop a simple common man‟s Nepali language which could be understood by all. He then decided to write in simple Gorkhali, easily understood by all. Like they say the proof of the pudding is in the eating.
Lahure Ko Relimai - Master Mitrasen Thapa
Today as our society stands at crossroads, a revival of Master Mitrasen‟s works will again create the same magic. Nine of his songs are there recorded in his own voice and with his own music group. His writings have been compiled by several authors. 35 of his original Pandulipis are there. Out of which only a few have been published. A museum has been dedicated to him at his residence „Mitra Jhupro‟ in Totarani, Dharamshala /Bhagsu. The museum could do with funds and management for better care, but nevertheless it still houses his work, his costumes, his stage jewellery, his harmonium, his medals and all that he possessed in his humble life of fifty years. It is painstakingly run alone by his only daughter-in-law Smt Devkanya Devi Thapa, widow of Master Mitrsen‟s only son Late Digvijay Singh.
Her message this morning to me was “Jole Mitrasen Thapa lai prem garcha unsang yehi vinti chha.. Unko Jyot hamesha jali rahos. Yo jo mitra jhupro chha yo hamesha chamchama rahos. Ma ta aba pachharti saal ko chhu. Ekley sambhali rahu chhu. Roj Dhoopbatti jalai dinchu. Saal ma ek baari unko janam din ma sabai la khana khilai dinchu. Aru ma kya kari sakhum? ” (Those who love Master Mitrasen Thapa, should ensure that the light of the flame of his work continues) Extracts translated from some of the books written on Master Mitrasen Thapa
1) Mitrasen: A monograph by Magan Pathik on the Nepali author. Sahitya Academy, New Delhi (1994). First edition 1989. Second edition 1994. Amongst the many Gorkhas who made major contributions to Gorkha society was Master Mitrasen Thapa. Magan „Pathik‟of Dharamshala in his Bhartiya Sahitya Academy published book „Mitrasen‟, hails Mitrasen‟s lifetime as the golden period of Indian Nepali literature history. During this time, the country was astir with spiritual, social and political thinking. After the contributions of Vivekananda, Ramtirth and Lokmanya Tilak, great men like Gandhi‟s non-violence Satyagraha made a major impact on people. These great people were very inspiring to the people.
Rabindranth Tagore, Saratchandra, Jayshankar Prasad, Maithilisharan, Premchand, Dr Iqbal, Hasrat Muradabadi, Akbar Illhabadi and Josh Malihabadi, etc are considered the blessings of this time period, to the world of literature in the languages of Bangla, Hindi and Urdu. During that time the writers of the Nepali language included Dharnidhar Sharma, Surya Vikram Gewali, Paras Mani Pradhan, Thakur Chandra Singh, Bahadur Singh Baral and
2) Master Mitrasen ko Sanchhipt Parichay by Trilok Singh Thapa Magar, Master Mitrasen Thapa Smriti Pratisthan, Kathmandu. Family background: Enriched with Multitalented virtuoso, Master Mitra Thapa Magar was born on 29th December 1895 in India, Himachal Pradesh, Kangra District, Bhagsu Dharamshala, village Dhaarakhola. He is a Sijali Magar. His original home is from Western Nepal, earlier Banglung (now Parbat zilla), and Rakhupulla village. It is said that his grandfather Santsen Thapa (Santu Thapa) in the 18th century, came via Kumaon, Garhwal and Dehradun, to Bhagsu.
After military commander Amar Singh Thapa returned to Nepal, many Gorkhali soldiers settled near the Kangra fort area. Here was born Manver Sen Thapa Magar. Mitrasen was the son of Manversen Thapa and Radha Thapa. Despite born and brought up in India, Mitrasen has made great contribution to Nepal and Nepali language through his literature, folksongs, folk theatre, and folk lore. In 1936, he started wearing Nepali daura suruwal to create awareness of the Nepali dress. He was a great writer, director, actor, singer and producer. Nepali theatre and diary writing, humour and travel writing Mitrasen‟s contribution have been hailed as immortal.
Brief life history:
Master Mitrasen studied till class 8 in the Urdu medium as was the medium then in the Himachal schools. At a young age he also learnt music. From 1912 till 1920, he joined the 1st/1st Gorkha Rifles as per family tradition. During the 1st World War he was engaged in operations in Europe and Africa. The war‟s blood, gore, violence and hatred touched his soft heart. He entertained them with hare, rode, swarthy, Baja, chudka, played with his harmonium. Maruni dance, Phusungay dance, Horitakko phaag-dance. Being of creative bend, he was not much interested in his signalling work.
In 1914, he went with his troops to France and reached the island of St Marseilles. After one year, his troops reached Mesopotamia. There they fought against the Turk army for three years (1916-18). In the WW, lakhs of people died. Lakhs of people got injured. They included many of his friends. Therefore on returning from abroad, he resigned from the army in 1920. After that he devoted himself completely to the spread of the Nepali language through the mediums of plays, story writing, drama performances, social reforms and spread of dharma for the next 24 years of his life.
Nepal Tour In 1933-35
Mitrasen undertook a long tour of Nepal and different parts of India. First he reached his family home in Nepal at Banglung. After seeing the social condition there his work is seen to have veered towards jaati sudhaar and social reformation. Towards the end of 1933, he travelled through Palpa, Gulmi and Kathmandu. With a troupe of six members he presented his prowess in drama. Then he took the same troupe and reached Calcutta. There he recorded his plays “Dhuv” “Draupadi Charitraharan” on gramophone. In 1936, while touring Kathmandu, he advised Master Ratnadas and Melva Devi that music should have Nepaliness. His last trip to Nepal was in year 1944.
At that time Folk Theatre In 1936, Master Mitrasen established the Himalayan Theatrical Company. He performed in Hindi, Urdu and Nepali plays and earned name and fame. In Nepali language, his famous unrecorded plays are „Satyawadi Raja Harishchandra (8 parts), „Satyavaan Savitri‟, etc. In Hindi and Urdu, his works include plays „Badshah Tower‟, „Darde Jigar‟, „Noor kin Putli‟, „Mashoor ki Hoor‟, etc.
Nepali Folk songs He performed in the Kathmandu‟s durbar plays, dramas, songs and shamans. He was highly felicitated for the same.
Gramophone Disc Records (Recorded in Calcutta)
1) Malai khukrukkay paryo jethan timro bahini le.
2) Dhaan ko Bala jhulyo hazoor deshei ramailo
3) Lahureko reli ma pheshun ramrod
4) Aba ta jau kanchhi ghara, baato chha Ukali Ourahli
5) Bhana Gorkhali Daju bhai Jai Gorkhali
6) Swami na jao chhari bidesh
7) Kina garchha tanataani dui din ko chha jindagani
8) Chui chui chukiney jootta
9) Chhatre topi dhalkai dhalkayi khukri chamkayi Out of his 63 songs, only 23 have been recorded.
In 1942, he wrote the „Buddhvaani‟ in Nepali language to spread the message of the
Buddha in a simple language. From 1940 till 1944, he wrote in Nepali, „Tirth Yatra‟, „Dharma Chhora‟, „Premma Bhagwan‟, „Teen Kura‟, „Teen Yogi‟, etc. „Premma Bhagwan‟ 3) Mitra ko Diary This edition contains Epics „Mahabharat ko Prahlad‟, „Parshuram Lakshman Samvad (73 lines)‟, „Bhakt Prahlad (702 lines), „Chandra Haas (107 lines), „Veer Abhimanyu (1120 lines), etc. For women‟s emancipation he wrote „Ekadashi Vratkatha (142 lines)‟, „Satyanarayan Katha (245 lines)‟, „Vitwamagal (1760 lines)‟, „Chandra hans (170 lines) and „Sant Sukhvai (330 lines), etc
Song writing: Master Mitrasen wrote his songs in a simple language which would reach the Gorkhali masses. For example: “Rajya Sukh bhog Nimti Phaaakeyma, yudh rachaune kina? Mero manle mandayina, Krishna sansar dubauna kina? Duniyalai kasth, dukh diyara garib ko ragat choosera Jansamuhlai masera mauz urauna kina?” Mahabharat In 1934-37 he wrote from the Mahabharat „Aadiparva‟, „Sabhaparva‟, „Viraat parrva‟, „Udyog parva‟in Nepali. 4) Buddha Baani by Master Mitrasen Thapa This book was published in 1996 by the Mitrasen Sahitya Sangeet Sabha, Bhagsu, Dharamshala, Himachal Pradesh, India with foreword by His Holiness.
May 7, 2016- Though I always deeply enjoyed reading literary works of Hari Prasad ‘Gorkha’ Rai and heard so much about him from my revered father RP Lama and his friends at Su-Dha-Pa (Surya Bikram-Dharnidhar-Parasmani) hall of Nepali Sahitya Sammelan in Darjeeling, I had the opportunity to interact with ‘Gorkha’ Rai-jyu just twice—once in New Delhi and the next time in Gangtok. However, both these encounters remained a rare occasion for me. I was struck by his simplicity and his inclusive views on life outside the geographies of Nepali-speaking communities like Sikkim and Darjeeling. In the course of our interaction, my major question was: how did he find life among the Nagas in Nagaland and Ahoms in Assam, and how could he produce so many literary works in not only Nepali literature but also in Assamese and other languages? He was candid and forthright when he said that Gorkhas, by nature, are a very friendly and jovial community and could go along with any community, particularly in a democratic set up. He further narrated how the Nagas and Assamese intermingled with the Gorkhas and extended social and political support for their upliftment. There are moments of apprehensions and misunderstanding but are largely overshadowed by the larger issues of peaceful coexistence and Indianness and more critically social cohesiveness. This was typical of ‘Gorkha’ Rai-jyu, a man who carried a halo of intellectualism in his ever-glowing face. His views are not different than what one hears from other Nepali literary figures in the North East region of India. They all nurtured a feeling of ‘regional oneness’, amidst huge diversity in their approaches to their day-to-day lives.
Hari Prasad ‘Gorkha’ Rai
‘Gorkha’ Rai-jyu stands among many distinguished writers of his generation, like Acchha Rai Rasik, Lain Singh Bandel, Siva Kumar Rai, Indra Sundas, Rup Narayan Sinha, and others. Oh! How I loved reciting his famous poem Kamp Uthyo in my college and university days. They always ended with loud chants of ‘once more’. ‘Once more’ not because of the style of recitation but the contents of the poem and high decibels of ‘encore’, not because of the enthralment this recitation generated but for the bourgeoning fascinations of the Gorkha youths towards their own literary traditions. Yes, he used attractively engaging common words and expressions. Many of our friends would actually cry and howl whenever there was an announcement of the arrival of Kamp Uthyo. I myself used to get goose bumps before I stepped onto the stage and held the microphone.
Another poem I frequently recited in public was Bairagi Kainla’s Mateko Mancheko Bhashan: Madhyarat Pachiko Sadaksita. We simply photocopied these poems in an old manual photocopy machine at a pretty high cost and distributed it. These recitations still echo in the lawns of the Fraser Hall of St Joseph’s College and North Bengal University in Darjeeling and the Mavalankar Hall of New Delhi. That was the late 1970s and 1980s when Indian Gorkhas across the country were struggling and collectively fighting for the recognition of the Nepali language in the 8th Schedule of the Constitution of India; the decades when the Indian identity of the Indian Gorkhas were brought to the political table and negotiated in the name of a separate state of ‘Gorkhaland’ comprising of Darjeeling and adjoining Dooars region of West Bengal. This was the time, when in the name of ‘foreigners’, a large number of Indian Gorkhas were inhumanly displaced and ousted in several North East States in the name of ‘cleansing their lands’. This was the time when the Indian nation state failed to protect their own hapless but true citizens amidst the parochial cacophony of ‘foreigners go back’. History will never forget these atrocities and discriminations against the Indian Gorkhas who valiantly fought and immensely contributed in India’s freedom struggle and in the building of modern India. Who will deconstruct the present history and reconstruct the more inclusive history is a question the Indian Gorkhas have been asking. We lost the game as majority of our political leadership who could take up these issues are literally uneducated, both in terms of acquired degrees and knowledge. This is a tragedy among the Indian Gorkhas.
What I like in Kamp Uthyo (literally meaning uprooting of a camp from his anthology of poems Babari published in 1974) is its depiction of a soldier’s life and its uncertainty; more critically the story of separation that underlines the entire narrative, the beautiful elucidation of a soldier’s dilemma who has made friends around the camps with humans, flowers and nature’s ecology. The soldier has reached Shillong from Darjeeling, and settles down in the military camp. The depiction of Gorkha soldier’s attachment with his roots in Darjeeling and his unparalleled ability to adapt to a new geography and society makes the reading both absorbing and powerfully touching.
Like in the past, the inimitable soldier has to leave Shillong now as they have to camp in some other frontier. By now, he has friends around with their names typical of a hill society, developed some mutual infatuation with a local girl named Sita and strong attachments with the societal practices, community living styles in Shillong. He realises and accepts that there lies uncertainty in his new destination but like a true soldier he is ready to bravely face death. A sense of sacrifice and unenviable attachment to their motherland prevails in him, something with which Gorkhas are born with. He imagines that flowers will bloom in his cemetery and passersby could assume it to be a magnificent garden. This is the way he personifies the life of a soldier who devours his physical being at the frontiers of battlefield—a superb personification where one is born to die but meaningfully like a Gorkha soldier.
Good bye Shanti! Good bye Bire! Good bye my friend Dhane! Good bye Manu! What do I say to you Never will come that day Good bye Hari Good bye to all of you! The symbols of quietness—my dear Sita You are like a Goddess Shall always wrap and unfold you into my own story My rude sister Maily Shall meet you during my dejected moments. do say my goodbye to that sister who accompanied me to Suna-Kurung falls Please count these goodies to the one who quietly peeped me from her window panes Oh now the bugle is sounding I have to go for a ‘fall in’ Where a Gorkha has not reached? everywhere whether ‘fall in’ or in no ‘fall in’ Against the grumping sound of boots Six tonner vehicle moved with noise We are moving to the next camp It’s just a recollection once again So many Mannus were killed in Marmma Many Danus were left behind in Burma Camp is uprooted once again I am on a move as a soldier Donot know what awaits us there in the unknowns, May be I will remain dead flat in the battlefield not seen now And there will blossom bouquet of flowers On the cemetery I will remain in Some stranger walking past could think it to be a garden My bare bones and other remains would then quietly narrate my story Chanting the gregarious call of Aayo Gorkhali (here arrive the Brave Gorkhas) I shall reach far beyond Good bye forever ! Good bye and again good bye My dear Sita Forever be near me and nearer me.
His short stories are absorbing and gives us fresh waves of joys and shocks of acute pain and of course, penetrating anguish. He is a deadly connoisseur at creating something that is beautiful. His short story Banani Banki Sundari (beauty from Banani forest, published in Bharati, Kalimpong, 1973) and reviewed in the prestigious Masterpieces of Indian Literature (National Book Trust, New Delhi, 1997) by this author refreshed memories about the rebellion in Mizoram. In this complex and chilling story, Lainsemi lived with her mother in Mizoram hills and had developed intense love for Captain Raj who was posted there to supervise the operations against the rebels. These rebels once forcedly took away Lainsemi from her home, took her to their camp and invaded her morals from her soul and sent her back bereft of physical value. On her way back, she meets her Captain-lover who was returning from Darjeeling from a short leave. And then she narrates to him all that happened.
‘Gorkha’ Rai-jyu will ever be remembered for many generation to come. Saraswati, one of his three daughters, took the cudgels of bringing together his memories and contributions in a volume. What is of critical importance for his family and friends is to recollect and re-document what he left for posterity as oral history and unpublished manuscripts. Somewhere in the preface of one of his books he wrote:
“I must confess that I have this habit of writing poems and singing them as songs whenever I get the right moment, theme and actors. ... I never took care of these papers which were drafted and corrected from all sides. Many a times I just tore them into several unrecognisable pieces and forgot them for all the time to come.”
Saraswati could revisit his papers and bring them to public purview as societal intellectual property. This phenomenon is universal among the Gorkhas all over. The ‘oral history’ programme, the ‘winter sojourn’ project and the ‘book discussion’ event and of course ‘Ethnicity and Biodiversity Museum’ which we initiated in the very first five years (2007-2012) of building Sikkim University, a national university, in Gangtok have been exactly aimed at realising these objectives.
We started documenting our rich but unrecorded intellectual heritage through ‘oral history’ (Maukhik Itihas) programme. Our teachers and students visited villages and rugged terrains looking for the custodians of this knowledge and interviewed them, recorded them and transformed them into documents and unusual sets of knowledge base and intellectual capital. In the past we steadily lost so much in terms of knowledge and wisdom when our parents and grandparents faded into oblivion. No one documented them and we lost the game. Whereas same traditional knowledge base was capitalised by the Chinese, Japanese and companies like Coca Cola to generate huge development resources and extend and ensure human security. Therefore, in order to connect the oral history programme with the societies and communities in and around Sikkim we simply said:
Baje Mare Boju Mareen, Duiwata pustakalaya lierai gae Aba yesto huna dinnau hai
Thereby meaning:
Grandfather passed away, Grandmother crossed the horizon, Along, took away two beautiful libraries, We shall not let it happen again
The ‘winter sojourn’ (Hiundo Yatra) project aimed at connecting the University and higher education with the communities. The students and teachers will go to a destination in Sikkim and around to study themes like water, brooms, cardamom, trafficking of women, cultural heritage, health, pastime games, forest, local women vendors, etc, from an inter-disciplinary perspective. This helped our students and teachers to understand and assimilate the issues within the locales of their university and also connecting the village folks and city dwellers with the higher education. This generated adequate researchable local and regional issues from within our geography, natural resources and communities so that we steadily move to ‘globalisation of locals’ (knowledge, culture, traditional medicinal systems, adaptation story of climate change, food, literary heritage, and also disaster management techniques etc) and not what is dominantly happening now the ‘localisation of globals’ (Jeans, Samsung, Apple, Pizza, Hamburger, KFC, Honda and Toyota). ‘Book discussion’ (Pustak Chalphal) event was designed to imbibe reading habits among the younger generation and take them nearer to their roots where language, literature, culture, music, sports and young talents profusely flourished in the past.
And finally in the initiation and building of Ethnicity and Biodiversity Museum the aim was not only to realign the locals, national and global citizens with the extravagant and prolific cultural heritage and biodiversity of this region but also make museum as a bastion of research and sustainable development discourses. This is perhaps the first such museum in the entire Eastern Himalayas which was designed by our own teachers and students and management staff with the help of National Museum, National Archives of India and British Council. Rather a proud moment for the hill folks around. There was public fund guzzler-political ‘leaders’ who do not value institutions as they live in the ideology of individualism and destruction of what nature have endowed. Sikkim University initiated all these programmes and built all these institutions blatantly ignoring and sometimes durably exposing this political class with myopic vision and chicken-like thinking. These are the ways forward for all of us who value culture, literature, heritage and renegotiating our children and communities to their glorious past. ‘Gorkha’ Rai-jyu’s writings and speeches very much allude to all these.
Lama is a professor of South Asian Economies, Jawaharlal Nehru University, New Delhi; Also served as the Founding Vice Chancellor, Central University of Sikkim. Considered as the architect of the reopening of Nathu la trade route between Sikkim in India and Tibet Autonomous Region in China after 44 years in 2006, he is a member of Eminent Persons Group on Nepal-India Relations from India
Sahitya Akademi, Delhi and Nepali Sahitya Parishad, Manipur jointly hosted a one-day literary meet "Swatantratottar Bharatiya Nepali Kathako Pravriti" with a panel discussion on post-Independence Indian Nepali Literature, on 27th March, 2016. The program was held at Charhajare, a tiny Gorkha village in Senapati District bordering the hill district and the valleys of Manipur.
Shri Devendra Kumar Devesh, Officer on Special Duty (OSD), Sahitya Academy Delhi and Shri Prem Pradhan, Nepali Language Advisory board (Sahitya Akademi) attended the program as Guests of Honor. Shri Lok Bahadur Basnet, President-Nepali Sahitya Parishad, and Smt. Durga Devi, retired Professor D.M College, Manipur also attended the program.
Other dignitaries present during the occassion were P.V Shelman from North-East Centre for Oral and Tribal Literature (NECOL), Manipur University and Shri Biswajit Roy from Kolkata, Shri Arjun Pradhan from Darjeeling, Sukraj Diyali from Silliguri, and Gopichandra Pradhan from Darjeeling.
PROGRAM ON INDIAN NEPALI LITERATURE HELD IN MANIPUR
The discussion of the one-day program centered around the changing trends in post-independence Indian Nepali literature. Ms. Pushpa Sharma, Lecturer Presidency College, Manipur presented a paper on "Swatantratottar Bharatiya Nepali kathako prabriti", a discussion on the changing trends in Indian Nepali short story.
Dr Tankanath Khatiwada, Lecturer Presidency College presented a paper on "Swatantratottar Bharatiya Nepali Sahitya maa Yuddhha", a discussion on post-independence Nepali war literature.
Shri Milan Bantawa from Darjeeling presented his paper on 'Swatantratottar Bharatiya Nepali Katha ani Uttar Adhunikta', a discussion on post-modern elements in Indian Nepali Literature.
The literary program was organized by Nepali Sahitya Parishad, Manipur and was supported by students, organizations and individuals from various Gorkha organizations across the state.
Calling the event a huge success, Kritimani Khatiwada, General Secretary stated that “this is perhaps the first time that a program of this scale was directly organized in collaboration with Sahitya Akademi, Delhi. The contribution of Manipur Gorkha scholars to Indian Nepali literature is immense and this is a fruitful recognition of the same.” While thanking all organizations and individuals and organizations for the success of the program, Khatiwada hopes that Manipur Gorkha community continues to witness more such programs in coming days and generate more interest amongst the youths and students towards the language.
POSTSCRIPT: In written records, the first Indian Nepali literature came out of Manipur as “Manipurko Ladaiko Sabai” in 1893 by Tulachand Aale . Nepali Sahitya Parishad, Manipur plans to hold an elaborate celebration of the literary milestone with its 125 years’ celebration in 2018. The proposal has been forwarded to Sahitya Akademi and the Parishad humbly request the support and wishes of everyone for this landmark celebration.
India Gorkha are the Nepali Speaking Community in India, hence, it is the duty of every Gorkhali to preserve the Neplai Language like other communities such as Pnjabi, Bengali, Marathi etc preserve their own . Gorkhas celebrate Bhanu jayanti not just for merry making or for entertainment. Birth anniversary of Adikavi Bhanu Bhakta Acharya should be observed as literary day by the Gorkha community in India. Bhanu jayanti is celebrated to remember that Great Poet who had used Nepali script for the first time to write a Nepali poem.
Bhanu Jayanti Celebrated By Indian Gorkhas
The First poem written by Adi Kavi Bhanu Bhakta acharya. भर जन्म घाँसतिर मन दिई धन कमायो नाम क्यै रहोस पछि भनेर कुवा खनायो घाँसी दरिद्र घरको तर बुद्धी कस्तो म भानुभक्त धनी भैकन आज यस्तो मेरा इनार न त सत्तल पाटी क्यै छन् जे धन र चीजहरू छन् घरभित्रनै छन् तेस घाँसीले कसरी आज दिएछ अर्ति धिक्कर हो मकन बस्नु न राखि किर्ती
ENGLISH TRANSLATION
He gives his life to cutting grass and earns little money,
he hopes to make a well for his people so he will be remembered after death,
this high thinking grass-cutter lives in poverty,
I have achieved nothing though I have much wealth.I have neither made rest houses nor a well,
all my riches are inside my house.
This grass-cutter has opened my eyes today,
my life is worthless if the memory of my existence fades away.
BRIEF LIFE SKETCH OF Adikavi BhanuBhakta Acharya:
Bhanubhakta was born in a very wealthy Brahmin family of Chundiramgha, Tanahu on B.S. Asar 29, 1871. His grandfather Shrikrishna Acharya who was very well known of his time.He received an excellent education with a strong leaning towards religion at home from his grandfather.
When Bhanubhakta was 22 years, he was influenced by a incident so much that made him to turn out a poet. One day he encountered a grass-cutter and in their conversation he found that the grass-cutter wanted to give something to society so that he could be remembered after death too. After listening to the grass-cutter answer Bhanubhakta felt ashamed of himself.It not only sparked literary creativity in Bhanubhakta but also inspired him to do something noble, which eventually resulted in his translation of the great epic Ramayana from Sanskrit into Nepali and he made it to accessible, readable and understandable for a wide range of Nepali people. And because of his noble work Bhanubhakta and Nepali language became synonym in Nepali literature.
Poet Bhanubhakta was not only a romantic but a satiric poet too. Other remarkable books by him are Badhu Sikshya, Bhakta Mala and Prasnottar Mala.
‘Hamro Duptin’ a Mirik based Nepali literary magazine is all set to release the second edition of its quarterly.
Hamro Duptin Nepali literary magazine
In a meeting held by the team members in Siliguri on Wednesday, Bishnu Kumar Baraily alias ‘Snigdh’, editor of the magazine said, “the second edition of Hamro Duptin has been completed, and is set to release on May 23 at the Bright Line Academy school hall. On the auspicious occasion, we will also felicitate the noted Kurseong based publisher Lasha Sherpa for his contribution towards Nepali literature in the Darjeeling region.”
Published by local veteran social worker, Capt Milan Subba alias ‘Chongmong’, the quarterly consists of various poems, articles, and stories written by both established and budding writers of Mirik, Darjeeling, Kalimpong, Kurseong, Siliguri, and also Sikkim.
“Hamro Duptin aims to inspire the students, and all young people of the district to be acquainted with Nepali literature. They should aspire to read and write in their mother tongue, or else we will have no one to write our history,” said Subba. (HS)
Dimapur Gorkha Union is all set to host the North East Nepali literary symposium cum felicitation programme on February 1 at Dimapur Town hall Dimapur. The event is being organizes with the objective to unite the Gorkhas of Nagaland and North-East states.
File pic of an earlier program organized by DGU
Addressing a press conference in the residence of the DGU chief advisor in Nepali Basti Sunday evening, PRO and in charge Dipak Lama said that the programme is a first of its kind in Nagaland. He said Dimapur was chosen to host the programme as 60% of the total Gorkha population is in the North East.
Further, Dimapur has been chosen because of the feasibility in connectivity with the other states.
Pointing out that though the Constitution of India gave recognition to Nepali language in the Eighth Schedule, PRO further said much knowledge is not known in the area of literary. He said the literary symposium aspires to give recognition and awareness.
The programme would felicitate Late. Hariprasad Gorkha Rai and others from the field of administration, education, social and politics. Delegates from Meghalaya, Manipur, Arunachal Pradesh, Tripura, Mizoram, Sikkim and Darjeeling would be attending the programme.
The programme is organized by Mir Mirey Kanchanjunga, Weekly Journal of Sikkim in collaboration with the North Eastern Nepali Writers, Poets & Journalists.
The programme would be graced by Editor Nagaland Post Geoffrey Yaden and Chief Executive Gorkha Development Council, Government of Assam, Arun Upadhyaya as guest of honour and chief guest respectively.
Darjeeling: Raj Narayan Pradhan has been awarded the first Lain Singh Bangdel Smriti Puraskar on the occasion of the late Bangdel’s 90th anniversary.
First Lain Singh Bangdel Smriti Puraskat given to Raj Narayan Pradhan
The Bangdel Foundation awarded the 79-year-old writer from Darjeeling a cash prize of Rs 5,100 in a ceremony organized on December 28, 2014 in Kolkata, India.
The prize was given away by Nepal’s former Chairman of the Cabinet Khil Raj Regmi.
Indian writer Budhhadev Dewan and Nepali writer Radhe Shyam Lekali were also honored during the program.
Furthermore, Krishna Prasai’s ‘Ghamko Barkha’, the Nepali translation of the Hindi anthology ‘Dhupki Barish’, Gopi Krishna Dhungana’s gazal collection ‘Aafain Bhitra’ and Lekali’s music album ‘Aagat’ were also released on the occasion.
Expressing his joy at being able to visit Kolkata for the ceremony, Regmi said, ”The protection, promotion and expansion of the Nepali language, literature and culture by Nepalis living in different cities in India has promoted Nepal’s significance.”
He added that the released works will provide great contributions to Nepali literary writing for the Nepali-speaking population in Kolkata.
Writer Dhungana provided analytical comments on Prasai’s ‘Ghamko Barsha’ and Lekali’s ‘Aagat’, saying ‘Aagat’ would create an identity in the field of lyrics writing for Lekali.
The Foundation’s chief Ganesh Kumar Pradhan said, “There is much room for improv ement of the Nepali language, literature and culture, and in this undertaking, we’ll move forward united.”
This preliminary note is dedicated in the loving memory of Dr. Kumar Pradhan (passed away December, 2013) whose magnanimous contributions helped us understand Nepali nationality question in India with scholarly ease.
Dr. Kumar Pradhan
As a matter of historical revelation Pradhan’s analysis of the history of Nepali nation formation in Darjeeling came handy to us as an expected sequel of his inquisitive intervention into the grave question of Nepali nation making inside and outside Nepal. He cautioned us about the indiscriminate use of such terms like nation, nationality and nationalism the way they occur in the Western academia. He has been a thorough critique of the singular foundation of nation-state – an understanding that drew its intellectual impetus from the Westphalian formulation (read catch) that equated a nation with a state. The tendency to equate the themes like nation or nationality with a mono-lingual/ cultural foundation, which may have its epistemic value in the West, is insufficient to unearth the intricacies of nation formation in the East, he reasoned.
In fact, the issue of Nepali nation in India itself questions, if not nullifies the monolingual foundation of the nation state project. Nationality of a citizen of Nepal is Nepali who speaks Nepali – the national language of the nation; but such terms of reference would turn up as a devastating logic if applied to Indian citizens those who also speak Nepali language (a Scheduled language of the Indian Constitution) and share a Nepalese ancestry of distant past. Pradhan seems to be critical towards those estimations which often framed the nationality question of the Nepalis in Indian situation as a case of ‘sub-nation’, who speak Nepali language and are Indian citizens.
Who is an Indian Nepali?
Pradhan has elucidated in great detail as to what Nepali stands for him. In Pahilo Pahar he elaborated the three distinctive meanings of the term Nepali. Firstly, Nepali implies a language.
Secondly, the term Nepali symbolizes a political denotation implying those who speak Nepali language and are citizens of Nepal by origin. Thirdly, the term has also been used as a cultural
symbol of a distinctive nation whose members are not confined to the political boundary of the country called Nepal. It is worth noting a point that the use of the term Nepali in his texts has its reference to this cultural sense.
He was of the view that the political connotation of the term Nepali has a reference to the citizenship identity of the subject population of Nepal while the cultural import of the term
Nepali refers to a linguistically unified community not amenable to the political boundary of any nation state. It is argued here that Pradhan’s contribution can be appreciated properly provided one is ready to accept the Nepali nation as a culturally articulated rather than politically evolved
Are the Indian Nepalis ethnic or diasporic?
Pardhan’s Mahesh Chandra Regmi Lecture (2004) clearly indicates that he was thoroughly aware of the genealogy of the term ethnicity and was reluctant to brand the Nepali nationality question in India as an ‘ethnic’ issue. For him the connotation of the term ethnic was more close to what in
Nepali is called janajati – that refers to different community identities like Kirat, Tamang, Newar, Sunwar and so on. As constituting elements of a broader Nepali nation in India these different
janajatis or ethnic groups were appropriated organically. Hence the micro community identities, which were considered by Pradhan as ‘ethnic’, are not to be confused with the idea of Nepali nation in their singularity.
Pradhan begins his analysis by emphasizing that Nepali nationalism in Nepal grew up out of a pluralist (anekata) social fabric whereas syncretic unity (samanyaik ekibhaban) served as the basis of forging the Nepali nation in Darjeeling. He further argues that nation formation in Nepal has undergone a process that may be called Kamila Prakriya (a process in which people forage in group much like the ants) while Mauri Prakriya (swarming of bees) was the actual process that explains Nepali nation formation in Darjeeling.
By emphasizing the Nepali nation formation process in Darjeeling as Mauri PrakriyaPradhan might have hinted at the diasporic foundation of Nepali nation in India. Michael Hutt has also labelled Pradhan as a historian who contributed towards understanding Nepali ethnicity in the so-called ‘Nepali Diaspora’. However, it needs to be qualified as to whether Pradhan himself considered the Nepali nation in India as a diasporic nation.
As is common with any Indian born Nepali intellectual, Pradhan must not be unaware of what it means to be a diasporic nation and the subsequent implications to be borne out of the label ‘diasporic Nepalis’ in India. He in fact, made his critical estimation of such labelling meant for the Indian Nepalis in the essay on Agam Singh Giriko Kabitama Jatiya Bhabna (1982). He did castigate not only the befouling efforts of the Indian national leaders to equate the Indian Nepalis as the citizens of Nepal but also those Nepali leaders who thought that a reference to Nepal would be worthwhile to build up national consciousness among the Indian Nepalis. It is that is why he thought that the use and popularity of the term ‘prabasi’ (non-resident) would unnecessarily complicate the nation building process of the Indian Nepalis.
Hence his emphasis on the Mauri Prakriya of nation formation does not necessarily make him a historian who established the diasporic cause of the Nepalis in India. If one considers hisindefatigable efforts to trace out the pre-independence and pre-colonial origin of the Nepalis in India in general and in the Darjeeling-Sikkim Himalaya in particular, one would surely be convinced that his stress on the Mauri Prakriya was actually aimed at despising the diasporic cause of the Nepalis in India itself. Nevertheless any analysis on the Nepalis in India or elsewhere must begin with a reference to Nepal. On this count Pradhan’s insistence on the Mauri Prakriya and its diasporic overtone has a ‘denotative’ value, which gets reflected through its ‘nominal’ reference to the home country – Nepal. It thus seems quite reasonable to argue that Nepali nationality question in India involves in it a process of status transcendence from being a diasporic nation of the past generation
towards becoming an Indian national in the subsequent generations.
Nepali Nationalism in India: Marxist Critique
It is significant to note that Pradhan’s treatment of the Nepali nationality question in India is based on a critique of the so-called Marxist interpretation of nationalism the way it has been practiced either in Indian academic circle or in the Western academia. In Agam Singh Giriko Kabitama Jatiya
Bhabna Pradhan held the view that in Marxist reading the location of nationalism is captured in the mature feudal states of Europe although it considers that the authentic nationalism could have flourished only with the inception and expansion of capitalism. The role of the middle class has been of utmost significance that has encouraged the growth of the idea of national culture in the moment of rapid transformation in societies where older (feudal) traditions cease to fulfil the task for which they were designed.
Pradhan has also pointed out that the study of nationalist movement in India or for that matter the growth of Indian nationalism has been interpreted by the Marxist historians following almost a similar causal path. For the Indian scholars, aimed at interpreting Indian nationalism, British colonialism appeared to be the analytical pretext. As the argument goes, the very processes of reproducing colonial mode of production has created a native intermediary capitalist class, educated middle class and a greater body of mass exposed to the vicissitudes of modernity that came handy to the natives through the rapid spread of education, communication, science and technology, urbanization and market. All these opened up scope for the native entrepreneurs and intermediary capitalists to flourish, some of them also became quite successful in this regard. The interests of these intermediary capitalists to control the increasingly developing native market by displacing the hegemony of foreign capital and capitalists coupled with the role of the rising middle class have paved the way for the growth of the idea of Indian nation and nationality during nationalist Pradhan however, did not disapprove the significance of Marxism directed towards a materialistic interpretation of the origin and evolution of the questions of nation and nationalism in India or in Europe. He was of the view that the histories of social change and transformation have been most convincingly interpreted by Marxism. By applying Marxist historiography it has been possible in European context to develop fact revealing historical accounts. But his view was that the blind application of Marxist interpretation cannot yield any true to life historical analysis. That is why the national identity of the Nepalis in Darjeeling cannot straight away be considered as the product of feudalism or capitalism.
The earlier generations Nepalis were exposed to feudal exploitation in Nepal and upon their arrival in Darjeeling they had to face colonial capitalist exploitation nevertheless it would be too immature to conclude that the situation approximated the state of affairs outlined by the Marxist historians. The nature and degree of exploitation was different and there was hardly any scope to run away from this exploitation. Sipahi and mazdoors were there in the barracks and towns, peasants were there in the villages, plantation workers were there in cinchona and tea gardens but there were no capitalists and even the rise of the middle class was on a low web. Nineteenth century Nepali society in Darjeeling in this way became largely a working class or a proletarian society. They did not have land rights, any ownership in the trade and business or in any other enterprises. They had only the opportunity to be sold out as cheap labour. Hence, it is absurd to maintain that the nation and nationality questions of the Nepalis in Darjeeling were instigated by the interests of the capitalists or by the aspirations of the middle class.
In such a context of exploitation and domination the emergence of the idea of ‘us’ and ‘them’ divide between the Nepalis and the plainsmen was not at all surprising. Besides the economic standing the notion of ‘us’, according to Pradhan, incorporated in it a downgraded socio-cultural connotation too. Apart from the British, the educated clerks and the conformist Hindus from the plains did consider the matwalis as mlechhas (untouchables) and the vertical difference between the Nepalis and plainsmen based on caste, religion, culture, and language differential went on increasing.
Educated Babus (Bengali gentlemen) and money lenders from the plains continued considering the labouring Nepalis derogatorily as ‘coolies’. ‘Us’ vs. ‘them’ divide did originate and accentuate in such a historical context.
Unlike Nepal, the origin and evolution of Nepali national identity in Darjeeling was not the result of state unification process rather this feeling of national consciousness was encouraged by the common interest of the working class Nepalis. In other words, the national consciousness of the Indian Nepalis emerged on the pretext of a subjective feeling of commonality in the life experiences of the exploited and subjugated classes.
Analysing the Nepali nation formation in Darjeeling in such a detailed manner Kumar Pradhan expressed his disgust and castigated those who feel overwhelmed in considering the Nepalis as a ‘foreigner’ (bideshi). He maintained rather harshly that those who misconstrue the Indian Nepalis as nationals/ citizens of Nepal are unaware of the history of Darjeeling where they have established themselves as a distinctive nation in Indian context. Several theoretical explanations focusing on the history of this region for the last two centuries have well proved this fact beyond any iota of doubt. Blood (ragat), dress (besh bhusa) and religion (dharma) are insignificant factors in the imagination of a Nepali nation in Darjeeling. There are a variety of bloods, costumes, and religions in this region but the Nepalis have become nation (jati) out of a bond of common experience, shared mentalities, and a single language.
(Dr. Swatahsiddha Sarkar is in the faculty, Department of Sociology, University of North Bengal) Source: EOI
The premises of the Gorkha Jaatiya Vhibhuti Udhyan, earlier known as the Jaatiya Kavi Udhyan and the Bhanu Udhan, at Acharya Path in Kurseong was abuzz with activity as prominent litterateurs of Darjeeling Hills gathered there and laid the foundation stone for the statue of eminent Nepali literary figure and social worker, the late Shiva Kumar Rai.
Dr. I. B. Rai laying foundation stone of the statue of Shiva Kumar Rai at 'Gorkha Jatiya Vibhuti UDDYAYAN' in Kurseong
Along with litterateurs like Krishna Singh Moktan and Nar Bahadur Dahal, Kurseong MLA Rohit Sharma, Gorkhaland Territorial Administration (GTA) sabha members Anit Thapa and Prabha Chettri were also present at the function, as chief guest Indra Bahadur Rai, another renowned litterateur, laid the foundation stone.
Speaking on the occasion, the chief guest highlighted the late Mr Rai’s works and his “great contribution” to society and literature.
“Shiva Kumar Rai was born for literature. While he was deputy labour minister in the west Bengal government under the then CM BC Roy, he did a lot for the benefit of the society,” Mr Rai said.
According to him, four more statues – that of Indian Nepali literary figures Rup Narayan Sinha, Parasmani Pradhan, Indra Sundas and Ram Krishna Sharma-- should also be built in the Hills.
Earlier, the premises where the event was held were popularly known as Bhanu Udhan as only the statue of the pioneer Nepali poet Bhanu Bhakta Achrya was erected there.
Later in 2006, during the foundation stone laying ceremony for Jatiya Kavi Agam Singh Giri there by Padma Shri Sanu Lama, the premises had been renamed the Jaatiya Kavi Udhyan.
It, however, got the new name~Gorkha Jaatiya Vhibhuti Udhyan~only yesterday after the new foundation stone was laid there.
The Gorkha Jaatiya Vhibhuti Udhyan is currently under renovation. All the statues are sculpted by artisan Bhola Pal.
His songs from the recently-launched debut album has sketches from Darjeeling, explores everything that every Hill folk can relate to. Be it the toy train, the wildfire, the bustling wind, cow bells, mountains, the humming of the monks at the monastery, he sums up everything in his songs, lending them a folk flavour, while also giving them a western touch.
Bipul Chhetri
Bipul Chhetri took the Gangtok people to a high with his simple yet elegant music at Cafe Live and Loud as part of his ‘Lai Bari Lai’ tour. After thrilling the Kathmandu crowd, people here could not resist themselves from tapping their feet right from ‘Asar’ to ‘Mountain High.’
Thirty-three-year-old Chhetri from Kalimpong sent the crowd here down memory lane with his amalgamation of Nepali folk-rock genre that explores the beauty and uniqueness of the Hills. Maintaining a low profile as of now, music seems to come to him as a passion, though he ceases to contemplate himself as a celebrity.
“Folk music completed me as a person and I am deeply rooted in the culture, because folk music has a sense of originality and it is who I am,” he shared. He, however does not confine himself to mere folk music and strives to explore other genres as well.
“Our culture has a lot more potential in terms of expression. Nepali literature and culture can capture a lot more than what English can do, and our rich culture has been the original source of motivation for me,” Chhetri said here on Saturday.
Kalimpong’s very own musician, Chhetri also holds a diploma in classical guitar from Trinity College, London. Right from his first song ‘Dhadelo’ that created a sensation online to recent hits like ‘Mountain High’, ‘Asar’ and ‘Ram Saile’, an ode to his father, his songs have been on everyone’s playlist, confined not only to the Hills but beyond it.
Chhetri, who claims music to be have been in his blood said “music was always there in my life since childhood. And good music teachers at my school, St Augustine’s in Kalimpong, helped me explore more.”
Chhetri, whose Darjeeling-related songs are a hit on Sound Cloud, added: “The overwhelming response from music lovers all over the world was more than expected.”
Chhetri also heads the Arts Department at the Vasant Valley School in New Delhi, suggests young and aspiring artists to come out of the confinement and explore, meet different people so that something or the other comes up.
His next stop will be Delhi, followed by a tour outside India.
Kalimpong : Young Gorkha poet Pradip Lohagan’s first anthology “Sankee Samay” was released on Sunday in Kalimpong. Noted poets Manoj Bogati, Ming Lawang and Raja Puniyani officially released the book at a function organized at Kalimpong Girl Sr. Sec School auditorium by the Kalimpong Charitra Publication and Sadak Kavita Samuha. The book is published by Yamburi Book Point, Kathmandu.
Release of Pradip Lohagan’s first anthology “Sankee Samay” in Kalimpong on Sunday.
Manoj Bogati in his address described the book as a progressive and factual representation of words against the system. He said the poems in Lohagun’s book talks about social changes and development. “Sankee Samay is an anthology for the new generation as it trends along the current times and has set a starting milestone for the genre,” Bogati added. Poet Raja Puniyani spoke in length about current Indian Nepali writing style and its attributes.
The function also saw poem recitals by noted poets, including Raja Puniyani and Sudhir Chettri along with other young poets Chewang Yonzon, DK Vaibha, Karna Birha, Ashadeep Rai and Vinod Sharma. The programme also had the presence of Kalimpong MLA Dr. Harka Bahadur Chettri, the GTF chairman Dr. Anos Das Pradhan, former Kalimpong College principle Kumar Chettri, advocate Amar Lama, poet Sanumit Rai, writer Sanjay Bisht, Kalimpong Municipality Chairman Jayan Lepcha and litterateur Tara Lohar, along with various other literature enthusiasts.
Gorkha youth poet Nima Sherpa has released Nepali audio-visual poem ‘Gaon Ko Katha’ on monday.
First time in Darjeeling, the idea to document poems in an audio-visual format has been introduced in the field of Nepali poetry. Gorkha youth poet Nima Sherpa's endeavor of his visual poem, 'Gaon ko katha,' (village story) is a poem where the poet expresses his thoughts on the changing culture of the village, then and now.
Darjeeling Press Guild
He always knew he had the poet’s streak in him, but circumstances had driven him to showcase his talent on a different platform. However, his dream has now come true as youth poet Nima Sherpa on Monday released his ‘Gaon Ko Katha’, an audio-visual poem.
The idea to “create” poetry is an innovative one for the hills, one that could perhaps carve the way for others to follow suit. But Nima’s achievement, gained through hard work and dedication, is not without its critics, with the principal one being none other than his father who labours in his field from dawn to dusk.
“We used to shoot for the ‘poetry’ even late at night in order to perfectly blend my poem with the visual presentation, which annoyed my father. He even called me mad,” Nima told the audience comprising poets, writers, journalists and students.
‘Gaon Ko Katha’ was presented by the Darjeeling Press Guild in collaboration with the Mass Communication and Journalism Department of St Joseph’s College, Darjeeling.
Nima is a lecturer at the Ghoom-Jorebungalow Degree College and writing poetry in innovative ways is a ‘mantra’ he wants budding talents to inculcate.
“I interacted with several poets in Nepal and came to know that only a few of them had ever tried writing poetry using audio and still pictures. That was when it struck me to do something different, and the idea of a visual format was born,” he said, while giving credit to the music arranger and his cameraman friends, who had toiled even harder to create the ‘piece’ Nima had envisaged.
“Initially I was skeptical about how the work would come out. I was not sure about how synchronising the music and visuals of the village with my words would go. But all credit to the music arranger and cameramen for the end-product,” said an elated Nima, who shot all the visuals at his native Rampuria village in Takdah.
The poet also unveiled a short selection of poems from his ‘Kurup Phool Ko Gandh’, which was released in Nepal a week ago and will soon be available in the Darjeeling hills.
The audience was also treated to a 40-minute documentary titled ‘Paper Boat’ created by the students of the mass communication department. This was followed by poetry recitals by five poets invited especially for the programme.
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