Nepal:A particular sight has
recently gained popularity in Dolakha. In the forefront, two women play the narsingha (long, C-shaped trumpet) and karnaal (smaller trumpet). Others
follow suit with damaha (large
kettledrum), jhyali (cymbals) and tyamko (small
kettledrum) in their hands. The
lively music emerging from the panche
baja has everyone in awe.
photo: kedar siwakoti/TKP
It is a rare sight to see
women play the panche baja. In
the past, women playing the Panche baja would come off as strange and unusual.
But the women of Bhimeshwar
Municipality, Ward 5,
Dolakha aren’t letting archaic norms affect what they want to do. Twenty women
have come together and formed a panche
baja group. This all-women team includes both Dalits and non-Dalit
women. And from what the villagers say, they bring much joy to the local
weddings, fairs, and festivities. There always is a huge crowd gathered to
appreciate their performance.
Traditionally, the panche baja was played by the Damai and
Gaine castes. And that, too, only by men. But the men who play panche baja in the village are
migrating to cities and abroad for employment. Even the younger generation of
the panche baja playing community
is abandoning this profession due to a lack of interest.
As a result, the
beautiful melodies of panche baja's
music were rarely heard in the village. “We wanted to protect the local musical
instruments and their legacy. That’s why I decided to learn how to play,” says
Amrita Thapa, a group member.
Thapa reflects on the
grim reality that no young people in the village can play the panche baja. “Those born here intend to flee
the town as soon as they grow up. We felt the need to protect these local instruments,”
she says. Initially, there were people who weren’t too receptive of an
all-women team playing the panche baja.
In fact, Thapa reveals that some even went as far as to say that women should
not be playing instruments at all. However, the women of Bhimeshwar Municipality
revealed that they aren’t going to stop anytime soon. The group plans to work
tirelessly to preserve the panche baja culture.
Despite mixed reception,
a large crowd gathers to take photos and watch the women whenever they perform.
“Traditionally, the panche baja was
played by Dalit people. However, our group includes both Dalit and non-Dalit
women,” says Babita Nepali, another group member, revealing that the
discriminatory boundaries of caste don’t affect their purpose. “We are sisters
who are using these instruments to advocate for preserving our cultural
heritage.”
According to Nepali, the
local municipality assisted the group by providing the necessary training to
play the five-instrument ensemble. “We charge a certain fee whenever we are
invited to play,” she says. Along with the preservation aspect, these women have
embraced the panche baja because
it also provides employment.
Whenever they perform,
their outfits are coordinated. Everyone is clad in a black choli (type of traditional blouse) and
a red fariya (type of
traditional skirt). The members
don’t just stick to playing the instruments; they also sing. The group is known
for incorporating folk songs into the rhythm of panche
baja.
“When we started, we were
ridiculed for playing the instruments,” Nepali says. “We ignored them and
continued to learn, and now we are lauded all over,” she adds.
The culture reflected in
these traditional musical instruments and costumes has been lost as young
people are losing faith in local culture and focused on searching for work in
cities or abroad. “Our cultural identity is under threat due to young people
becoming disconnected from their roots,” concludes Nepali.
The cultural doors were reopened during the Dolakha Festival in Charikot. From
March 3 to 12, a cultural renaissance revitalised the entire district. The
participation of women in these traditionally masculine cultural events has
piqued a lot of interest within the community.
In particular, the
costumes and dances of the Sunuwar caste, which were at risk of disappearing,
are being brought back, thanks to the festival. The Tamakoshi village in
Dolakha is also known as Sunuwarharuko
Gaun (Sunuwar’s village). In the festival, women could be heard
singing, “Tamakoshi salala, Sunuwar nachyo
jhalala.” (Tamakoshi river flows freely, and Sunuwar dances excitedly).
“As many people are
unaware of the Sunuwar caste, it is important to reawaken the fading Sunuwar
culture,” says Kawita Sunuwar. Though the Sunuwar caste has its own distinct
characteristic, identity, language, and costume, the lack of generational
transmission of Sunuwar culture is causing the obsoletion. “But the women are
stepping up to revitalise interest in the Sunuwar way of life,” she says.
“We are running a
campaign to draw the attention of young people to Sunuwar culture. Even the
Sunuwar community has lost touch with their own heritage,” says Bina Sunuwar,
adding that the responsibility of protection has fallen on the shoulders of the
women. She believes that women’s participation is essential in preserving
Sunuwar costumes and language.
As there are no
susbtanstial employment opportunities in the village, most of Sunuwar men have
gone abroad or to cities to earn money. She believes that as women are the ones
who stay back in the village, it falls on them to take up ways to preserve the
cultural identity and language.
During the Dolakha
festival, Charikot echoed with traditional folk songs from different
communities. The festival celebrated communities such as Surel, Jirel, Sherpa,
Thami, and Tamang. Dances were performed by the Sherpa women of Gaurishankar
village. Young children dressed in traditional attire highlighted the Jirel
community’s dance and costumes.
The women are also
working hard to save the Thami caste's Dhyangro
Naach (indigenous form of dance) as well as the indigenous Gaine Geet (form of song). They have taken up the mantle of
preserving Tamang culture, singing and dancing to the rhythm of Damphu (handheld percussion instrument)
while performing the Tamang Selo (Tamang
folk song).
The women of Dolakha are
an exemplary example of community members taking a stand to preserve their own
culture and heritage. They have found different ways to come to terms with
several societal changes—namely the migration of villagers (mostly men) to
cities and abroad as well as the disillusionment of young people towards their
own traditions. They came up with effective solutions that have brought back the
charm of local traditions and festivities.
kedar siwakoti
kathmandupost
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