There was one thing in Sajha that always left me unquenched and often irritated. And that was to hear one-liner commentaries about the works of Nepali musicians by their fans. Having not much access to Nepali music and a lot of skepticism carried over from the initial phase of Nepali pop, I always wanted to hear more about them, exactly what our music fans liked or did not like about a particular work, worker or group. But in Sajha, it never went aboveWow, Cool and Great.

To my great relief and I believe of many who were as thirsty as I were, here is a relatively comprehensive review of Nepali music by the one and only in DC, Dr. Anup Pahari, in Himal Khabarpatrika.

I remember one of my conversations on this topic with Anup in which I was sharing my frustration that I personally have not found a single song that penetrates my heart with its music and word- among the hits and releases of the past decade that I have access to. I am talking about a perfect song- a flawless piece without a single millisecond of boring moment, with words that penetrate you, elevate you to a higher plane. That kind of song. Do you have any ?

Okay, that's not what is in this review. But it is a great piece for those who wants to learn about the current situation of Nepali music.

The only thing I see missing is about the song-writers and lyrics from a literary point of view. Perhaps that was not a part of this review. Ghazalkar bhaye pachhi aafno dherai chaaso tesaima hune pheri.

Anyway, enjoy a commendable and good work by Dr. Anup Pahari.

( - http://www.nepalihimal.com/2061/mansir-1-15/nepali_sangeet_bishleshan.htm )

There are so many computer savy people in Sajha. It will be great if somebody can convert it to unicode and post that to this thread.

अनुप पहाडी ज्यू,

आशु लगायत सबैको जिज्ञासाको प्रतिक्रिया दिनर्ुभई मेरो ज्यान जोगाइदिनु भयो, म त कृतज्ञ भएं लौ । आशा छ, जिज्ञासु बन्धुहरुका जिज्ञासा केही हदसम्म शान्त भए ।

यसै पोस्टिङ मार्फ यो पनि पुष्टि गरिदिनु उचित लाग्यो कि उल्लेखित लेखको प्रचार्रार्थ गरिएको सामुहिक बिजुली सूचनामा लेखको लिमिटेशनबारे शालिन डिस्क्लेमर गरिएकै हो । मूल लेखमा हराएको भए दैव जानुन । तर मूल कुरा नेपाली संगीतबारे त्यति विस्तृत कुरा पढ्न पाईएको पहिलो पटक थियो । म त अनुपको रुचि, ज्ञान र जांगर देखेर छक्क न छक्क परेको हुं ।

अनि आशुले मलाई गाली गरेर साझाका एकवाक्यी संगीत समिक्षकहरुको मुटुमा कब्जा जमाउन खोज्या होला । भो, त्यत्तिकै । त्यती लाटा नठानम् न यार, तिनीहरुलाई । मैले उनीहरुलाई कम्ती आंकेको कम र अल्लि बढ्ता बोल्न प्रोत्साहन गरेको बढ्ता हो भन्ने नबुझ्ने लाटा को होला, अति बाठा मान्छे आशु बाहेक ?

अनि तै तै, यो रिक्त (ब्ल्याङ्क) ज्यूले आशु र नेपेलाई मीत लगाईदिएको भन्या ? अब त्यस्तो रमैलो कुरामा पनि किन झोक्किएको नि आशु फेरि ?

नेपे ज्यु,
पहाडी ज्यु को प्रतिकृया पनि सुन्न पाइयो। अझै आउँदै पनि होला।
खबर गर्नु भएछ। धन्यबाद है! त्यसका लागि।

तर, तपाईँ वस्तुवादी कि ब्यक्तिवादी ? पक्कै पनि वस्तुवादी हुनुपर्छ।
वस्तुगत कुरामा जोड नदिइकन वहाँको प्र्संशा गरेर सबैलाई तल झारेर हिड्नु भो नि। अझ नपुगेर अर्को थ्रिडमा वहाँकै अन्तर्वार्ता झुण्ड्याउन पुग्नु भो।

मलाई त मनमा लाग्या कुरा फरर लेख्या है, कसैलाई ऊचाल्नु पनि छैन, थेचार्नु पनि छैन। रिसानि माफ होस्।

उही
दादा गिरी

Response to Karmapa:

You make some valid points. And I have no bone to pick with much of it. But I will like to take issue, if I may, with what appears to me as misplaced PC on your part.

You?re absolutely right that some folks who will never see the inside of a recording studio are, nevertheless the most natural and gifted musicians/singers. Sometimes music and musicians that spend too much time in the mainstream do get jaded. Not only in Nepal but in most parts of the world, there are some keen and unheralded singers in the back alleys, trails, bayous, bush, etc. And this will always be the case.

This is especially true in Nepali folk tradition where a lot of talented rural musicians have had little access to rites or resources of the music industry. Nepathya's hit bheda ko oon jasto was, after all, a song that Narayan wagle reportedly heard while trekking/traveling in upland Tamang country.

But to jump from this standard ethno-musical premise to a casual dismissal of the popular music of common folk (mainstream) as somehow inauthentic seems, to me at least, a bit premature. While no great fan of all things contained in popular culture, I have respect for the fact that the construction of popular culture involves voluntary choices made by the masses in any society. My instinct is not to deride or belittle popular culture; only to analyze and dissect it.

Just because ?Bheda ko Oon jasto? was taken from an original anonymous selo should not detract from the fact that Nepathya did really innovative and cool things to it. As a music lover there is place in my heart and ears for both versions! I'm picky. I definitely don't like all the stuff that the bands are putting out by way of remade originals. Agreed, there's a lot of half-baked band stuff out there in Nepal -- like here in the USA ? And I say as much in my piece, haina? (para 5).

Also agree that ?most newcomers? lack requisite soul and musicianship.
But what about those one time newcomers who hung around and became famous ? like Om Bikram, Nabin Bhatarai, Sharmila Bardewa, Mukti and Revival, Lochan Bhattarai, Bima Kumari Dura, Tirtha B. Gandharva, and many others who have deep talent, artistry by any standards? I?m sure you didn?t mean to indict them as routinely inferior to the street and trail singers you encounter in your travels. (If you do then I gotta find out where you make these exellent treks).

I am sure you know bob Dylan, dolly parton, hank williams, Eric clapton, Beatles, stones, Presley, bonnie raitt, etc. played a lot of stuff that they heard from obscure artists, many of them poor Black southerners. BB king, muddy waters, chuck berry, stevie ray vaughan, buddy guy -- all great blues men -- recorded dozens of songs originally composed by anon. rural southern singer journeymen. But all the artists I mentioned above did develop their own sounds and no one I know has questioned their genius or contribution to American music.

Similarly, folk artists like Kumar basnyat, Dharma R. thapa, PR Mahat, Bam B. Karki, hari Devi Koirala, Shiva Ale, Ganesh rasik and Hiranya Bhojpuri, kalyan Sherchan, Purna Nepali, madan singh Nepali, narayan Rayamajhi, padam bista, khadga garbuja, santosh resmi magar, amar birahi gurung, ram thapa, pravin gurung, etc.. have all borrowed liberally from anonymous rural artists ? many from damai and gaine musicians. Even so, each has made and makes unique contributions to the archive of contemporary Nepali folk.

Yes, I agree that dohori in Nepal is coming close to becoming "Ekori". But good artists acknowledge this too, and so do most people who know the dohori tradition. People like narayan rayamajhi, amar birahi gurung, Bima Dura, and sharmila gurung have maintained the quality of their outputs amid massive commercialization of folk music in Nepal.

If you go to a dohori bar in Kathmandu and ask the musicians to play you a ?chutka,? or a ?roila?, or a ?ghantu? or a ?sorathi? perhaps many can?t oblige in full. But a good many will play and sing you a darn good version of all the folk styles mentioned above. (This is based on personal experience). I like to focus on that ? full glass. Go to a New Delhi music bar and see how many music groups can reproduce a typical Indian folk song. My guess is that the vast majority can?t.

I think the commercial trend in folk has great potential in Nepal. I trust the market and the common consumer?s vote by purchase to weed out the mediocre ones and reward the really talented ones. I know for a fact that many albums are recorded and released by individual ?शौखिन कलाकारहरु? who just want their names on an album cover. Since recording studios want the revenue they don?t reject such easy money. This is one reason why the annual musical output in Nepal contains about 70% chaff. But then there are also real gems. In folk, the gems I have encountered lately are:

"Arun Upatyaka ka loksuseliharu parts 1 and 2," or Padam Bista's "Padam Bista ka lok geet" or Purna Nepali and Kalyan Sherchan's "hitko dautari", or some of the good ones by Bima K. Dura, Sharmila Gurung, Narayan rayamajhi (phul butte choli), PR mahat, Khim Gurung, santosh resmi magar, and the semi-paralyzed singer from myagdi Khadga garbuja etc.. In my judgment they defy the ?factory? trend you speak of.

Your final populist postulate was that real music critics in Nepal are truck, bus and taxi drivers right? Ironically, the vast majority of these ?plyers? actually relish the slick packaged popular lok-dohori styles you deride earlier on in your comment. And I don?t blame them. For them and their customers, listening to Nepali folk seems to be more rewarding than listening to slick Indian filmi music. And these Nepali ?plyers? are not voting for 3rd rate dohori either, I hear. Their tastes are discerning and, from what I know, gravitate towards the best dohori and adhunik albums produced each year.

How do you reconcile to the fact that the music critics of your choice go for precisely the types of music you dismiss as coming out a trend of ?factory production? and formula songs?

Let?s certainly be choosy about what we listen to. But lets not throw away the baby with the bathwater by hastily characterizing contemporary Nepali as all or mostly gimmick.

Thanks for reading,

Anup

San,

Is it possible to add a "printer-friendly" feature on Sajha threads so as to allow one to make clean, neat print-outs? I tried printing this thread, but it came out all messed up, with half the text outside of the margins. Copying, pasting and then printing was not much help, either.

Please suggest what one needs to do to print these pages neatly.

********
Anup,

Thank you for your responses.

I wish the Himal editors had introduced this piece as one written by "a pakka fan reviewing [his] encounter with the musicians mentioned while they toured DC and
other US cities."

Then again, you wrote: "Somewhere in the translation and emailing business I think the part about the review being based on attending live concerts in the USA got lost."

Fair enough.
I accept it.

I will post my fuller responses to your comments in a few days -- AFTER I get done with some pressing real work first. Meantime, let's keep this thread alive and up on the Sajha Charts!

oohi
"maun ta ma aljhi. rahay.ko euta jiban"
ashu

Mahakaal's greatest mistake was to write the first sentence, otherwise,
he would have been praised for the second line "so many prominent and powerful artists are missing there". The first sentence made himself to position at wrong
place and got the fire from Dada_giri. Its the price you got paid for being
sarcastic over Anup Pahari's great and genuine attempt quantize the
trend in Nepali Music. As Ashu said Anup's analysis may not be possible to
judge as a s cholarly article, but, lets appreciate this as a beginning. When
you review a vast topic like this and try to quantize (not only quantify, but
quantize: categorize, when there is no clear cut laxman rekha), certainly
he misses several important things. In my opinion, when such things are
missed, sometime you miss them deliberatively because of lack of time
and effort, and other time you don't have enough resources and also
based on the importance of the whole review, you will miss. In any sense,
Anup's review opens a huge room for others to fill the gap he has left
open gap or incompleted. It should be taken positively, thats what research
is? When you are biased or when your expectations are not met,
then it is natural to get angered, but pouring venom against someone who
honestly tried to bring something to the public will surely invite backfire on
you.


GP

ashu, you sud hear the remix by Robin N looza, (i hread they broke up :(, now its RObin and The new revolution),

"maa maaun ta maa aljhii rakheeko auttaa jiwannn...
kaha janneee, kasali bhanne. " (forgot the lyrics ) -------------------------------------------------------------------------------------------------------------
if you enjoy jazz/blues, these guys will "give you wings to fly", Robin has a resturant out there, in thamel called "bamboos",and they use to play there sometimes. By the way ppl(all the sajhaties in nepal), why dont you all visit Bamboos for a change and stop hanging out in java all the time ? :)


and abt this topic, i just want share my experience. when one of the famous nepali cleb was here in usa, i asked him abt the young/old generation issue , and he said, "buda haru album bechna sakdainan ani khali karauchan. Time Sagha duniya badlincha, tehi aljhirahera huncha? " ...not my views, one of the famous nepali celeb's view, just dont want to reveal his/her name. and if anyone cares abt my opinion, i also seem to agree with him/her, look at India, no matter how old Jagit Singh maybe, i bet almost everyone in india still knows them and enjoys listening to them. same maybe applied to, asha bhosle, lata mangeskar, punkaj udhas, and all the other musicans india. Why? is it becase they know how to publicize things according to time?? only "I think" in nepal, old generations are just not too good for this period of time/generation or they have a nepali ego in there blood, which can be heard screaming, "B**TCHES, YOU ALL HAVE TO LIKE ME, I AM GOOD", and they just are too subborn to change and fail to reach the crowd in a right manner. ooh well, but not all old generation team has been fading out, madan krishna and hari bansha are still at large, i wonder why? is it because they are willing to change with time?
------------------------------------------------------------------------------------------------------------
and Nepe if you seriously want to read some serious music reviews, i think you sud start browsing WAVE magazine. www.wavemag.np ..they have done a good job promoting nepali music in nepal. they have been in bussiness for decade i think. hmm, sometimes you need to know how to find, "the right stuff, at right price" and some articles in there are much more comprehensive then the one that was featured in Himal..

http://www.wavemag.com.np/ sorry this is the right link out here..:)

try www.nepalisongs.com for nepal music

dada giri
ta janney moooji geet sun paila.geet ley ke bhancha ra ta ke sunchas
झल्काइदेऊ झल्काइदेऊ
कम्पनी गलैको माला झल्काइदेऊ
lu tyo bhaneko geet suna ta malai
tyo bhancha ki yo bhancha

jhalkai deu ......
galai ko kampani mala jhalkai deu
lyrics nai padchas bhaney http://www.bhedakooonjasto.com/lyrics.html tesma ja.

sarai dherai pani nabhan na..... talai testai atti bhawana bhako geet sunnu cha bhaney kabita padh na,geet ma bhaka huncha bhanney tha chaina talai.... lok geet ma bhaka ra euta thego the catching phrase huncha bhanney tha chaina ki pura gora bhais.
attti saro janney analytical ni nahu na.
arka ko critisicm chai garnu janney tero afno bichar ko criticsim garnu nahuney terobichar sita milnai parcha bhanney cha sappai ko.khub janney bhais jatha

the thread has gotten longer since i last logged onto sajha.

well first of all it is intellectually dishonest or plain ignorant on the part of Nepe to call dr. pahari's review 'relatively comprehensive piece on Nepali music' or about 'current situation in Nepali music'. let us not make a mountain out of a molehill.

in all fairness to dr. pahari, owing to the puny space allocation in the paper, he had to pick an angle and go with that. if this were a comprehensive piece or even about current situation of Nepali music, the author would have to answer lots of questions. nepe ignroes the limitations. i do not even want to get there. well, thanks to ashu for setting the record straight by noting that "the review is based on attending live concerts in the US". There is quite a gap between Nepe's tall claim and Ashu's record-straigthening note. Dr. pahari covers only one, albeit the most dynamic, subset (primarily 'commerically produced Nepali langauge music' that caters primarily to the urban listeners and to some extent rural-urban interface) of what is casually called 'Nepali music'.

as to dr. pahari's question about where are these excellent trekking routes, well there is no 'musically happening trekknig route' as such from my side to recommend. the songs heard are all chance encounters - and like I said that's where it's at for me. dharahara, narayanghat bus stop, makai bari in khani gaun. no doubt, if you dig deeply into the hinterland, one may even dig up many more 'bheda ko un jasto' type folksongs like Narayan Wagle did or Jhalakman types. .

well now that we know the limited scope of dr. pahari's writing, i still stick by my point: namely that it is still BETTER to consult truck drivers, taxi drivers, bus drivers - one of the good indicators of where it's at, as well as one prime medium of diffusion of music- to know about the current situation of commerically produced Nepali music, esp one aimed at the rural urban interface. well for bands touring the USA, dr. pahari is certainly one of the right contacts, himself having been a driving force behind some of these tours, eg. 1974 AD's, if I heard one of its members right.

as to dr. pahari's observation that 'market weeds out mediocre songs', i think that is pushing it too far. market may measure successful or popular songs in terms of sales volumes or exposures or celebritydom, but 'great music' - let us leave that to music critics or historians. so many market-flops (otherwise seminal songs are usually the preserve of musicologists and historians) are collecting dust in the Smithsonian music archive, and only occasionally see the light of day. market cannot often be the ultimate
arbiter of good or even great music. eg. Harry Smith's overpriced folkways anthologies.

well dr. ambar gurung's remark 'i'd be singing pop today if i were young' could be misinterpreted and should not be used to make some bigger case. of course, he can go ahead sing pop, age is no barrier. 'pop' by its very definition means disposable, dispensable. amber gurung is amber gurung luckily because he preceded the pop movement as we know it and is as much a period artist..there is a sizable youth that owes him a debt for sure but surely refuses to be influenced by him....well if dr. ambar gurung wants to be like Millie Vanilli in his latest incarnation while there is still time, I have no problem with that but there is danger in that too. so reading too much into that quote poses its own problems.

karmapa

Hyaaa that was kinda je paye tehii review about nepali music ..... Almost 70% parts of nepali music and contribituors were missing.
In music be the best or be totally different then others. Listen Ani Choying Dolma's "Moment of Bliss" Daamm she is best so it clicked .... cds out of stock...........or be the different then others like there was this dude once "Prakash Poudyal....he sang and cried at same time..he clicked too....recently there's this dude "Sabin Rai.he sings totally in a different tune and he clicked too.Cds out of stock... that means people like thier songs. There is no point singing songs in your best way that beside u no one likes it.
Adios.

Karmapa wrote:
well first of all it is intellectually dishonest or plain ignorant on the part of Nepe to call dr. pahari's review 'relatively comprehensive piece on Nepali music' or about 'current situation in Nepali music'. let us not make a mountain out of a molehill.

I had not expected I will be criticized for calling it a 'relatively comprehensive piece'. What I had expected, baru, was to be criticized for the title of the thread, 'Great Review'. Anybody ?

Now to Karmapa's gambhir aarop to me. I don't mind to plead guilty of being a plain ignorant. As a matter of fact, I had myself reported my ignorance with these words -

Having not much access to Nepali music and a lot of skepticism carried over from the initial phase of Nepali pop, I always wanted to hear more about them

I should have been rewarded for my plain honesty, instead. Khair.

While characterizing 'relatively comprehensive piece' as an intellectually dishonest characterization, Karmapa ji seems to have missed to read the word RELATIVELY.

I mean from the level of sophistication in the writing of Karmapa ji, one should not have any doubt that he does understand the meaning of RELATIVELY, right ?

'Relative to what' should have been a good question to me, at least before hammering the verdict of intellectual dishonesty.

If it is not too late, may I answer the question your honor did not care to ask, my lord ?

Thank you for your kind permission.

Let me present the full context of my allegedly dishonest claim. Word by word, from my posting-

I always wanted to hear more about them, exactly what our music fans liked or did not like about a particular work, worker or group. But in Sajha, it never went aboveWow, Cool and Great.

To my great relief and I believe of many who were as thirsty as I were, here is a relatively comprehensive review of Nepali music by the one and only in DC, Dr. Anup Pahari, in Himal Khabarpatrika.

With this, allow me to rest my case.

Reply to dada giri (part 1)

प्रतिकृया जनाउनु भएकोमा ऋणि छु। उठाउनु भएका प्रसांगहरुलाई लक्षित गरि केहि थप प्रकाश पेश गर्दै छु।

तपाईले बुझेको:
यहाँनेर लेखक ले भन्न खोजेको कुरा अस्पष्ट छ र हचुवाको भरमा परिभाषित गर्न खोजेको आशय मिल्छ। लेखकले लोक, आधुनिक, पप र रक मा हुने भिन्नतालाई गहिरोसित नियाल्न सकेको आभाष पाइदैन। किनभने त्यो समयमा पनि रेडियोबाट धेरै बिधाका गितहरु बज्दै आए। तिन्लाई लोक, आधुनिक, पप अथवा रक र पुरानो नेपाली गित भनेर छुट्टाउने लक्षमण रेखा तान्न त गाह्रो छ तर पनि आधुनिक गित भनेर सबेलाई एउटै खाल्डोमा हाल्न खोज्नु बिश्लेषकको कमजोरी देख्दछु।

मैले लेखेको:
नेपाली आधुनिक सङ्गीत भन्नाले सन् १९५० को दशकदेखि रेडियो नेपालले प्रसारण गरेको सबै सङ्गीतलाई मान्न सकिन्छ, जो पूर्ववर्ती विधा जस्तै लोक, भजन इत्यादिमा आधारित थिएनन् । यो विधासँग निकट या अर्ध निकट सम्बन्ध राख्ने सबै समसामयिक सङ्गीतलाई पनि नेपाली आधुनिक सङ्गीतको संज्ञा दिन सकिन्छ ।

anup

reply to Dada Giri contd...

तपाईले माथिको मेरो पहिलो वाक्य, र त्यसको पनि पहिलो अंशलाई मात्र आधार बनाएर आफ्नो समालोचना रच्ने पट्टी लाग्नु भयो। तर, वाक्यमा लेखिएको बाँकि कुराले सबै खाले संगीतलाई ?एउटै खाल्डोमा हाल्न खोजेको? भन्ने तपाईको आरोप हतासमा त लेखिएको हैन, भन्ने प्रश्न खडा गर्छ। तपाईले सम्झेजस्तो १९५०को दशक पछी रेडियो नेपालमा बज्ने सबै थरिका गितलाई मैले ?आधुनिक संगीत? हो भनेर कतै लेखेको छैन। लेखबाटै लिईएको माथिको हरफले त्यसको पुरै पुष्टि गर्नु पर्ने हो।

हो, तपाईले महशुस गरे झै, सांगीतको परिभषा दिन अलि अफ्टेरो छ, र परिभाषाको दायरा आफै एउटा विवदको विषय हुन जान्छ। यस हिसाबमा कुनैपनि वस्तुलाई परिभाषीत गर्न खोज्नु एक जोखिमपूर्ण विधा हो। तर्क, उदारहण र प्रतिप्रश्नको आधारमा कुनै पनि परिभाषाको सबल र निर्बल पक्ष खुलाउने चेस्टालाई आवश्यक र स्वागतयोग्य ठान्नुपर्दछ।

तर यहाँ चाहिं तपाईले आधुनिक नेपाली संगीतलाई लिएर मेरो पुरा परिभाषा भन्दा पनि आंशिक परिभाषा प्रति प्रश्न उठाउनु भएको छ। कसैको भनाई या विचार अपभ्रंस गरि अनि त्यसको आलोचना गर्नुलाई ?attacking a straw man? भनिन्छ।

Anup

Reply to Dada Giri contd...

आधुनिक नेपाली संगीतवारे मैले अपनाएको परिभाषा आधिकारिक हुनु पर्छ भनेर दावि गर्ने कुनै ठाउँ नै छैन, र गरिएको पनि होइन। तर यसको आलोचना गर्दा या वैकल्पिक परिभाषा दिँदा कम्?सेकम् पनि लेखकको सम्पूर्ण भनाइको त कदर गर्नु पर्छ। दादा गिरि जिले यति मर्यादा पनि मलाई उपलब्ध गराउन सक्नु भएन। बरु, आफ्नो प्रतिकृयाको पहिलो लाइनमै मेरो परिभाषालाई बिचमै टुक्-याएर आफुले दिन ठिक्क पारेको आलोचनालाई ठाँउ बनाएको जस्तो मात्र देखियो।


Anup

Reply to Dada Giri contd....

अन्तमा तपाईवाट आएका दुई थप प्रतिकृयावारे मेरो भनाई।

संगीतलाई मात्र होइन मबाट पुरै ?यस क्षेत्रमा न्युन ज्ञान भएका युवा पिढिलाई भ्रमको खाल्डोमा? हाल्न खोजिएको श्रेय दादा गिरी जिले मलाई दिनुभएको छ। यति भारि श्रेय मैले के कारण ग्रहण गर्नु पर्ने हो, त्यो खुलाउन पट्टि उहाँको रतिभर ध्यान गएको ?आभाष पइदैन? । एउटै प्याराग्राफमा ?विश्लेषण धेरै हद्?सम्म युक्तिसंगत छ,? बाट सुरु गरि, ?कात काता धरातलिय गहिराइमा नपुगेको सतहि?, ? हुँदै, ?यस क्षेत्रमा न्युन ज्ञान भएका युवा पिढिलाई भ्रमको खाल्डोमा? हाल्न खोजिएको भन्ने निष्कर्षमा चर्चा टुङ्याउनु कत्तिको युक्तिसंगत हो भनेर प्रश्न उठाउन लेखक आफैले द्वार खोलिदिनु भएको छ। शब्द खेलाउन पोख्त देखिने दादाले तिनका अर्थ केलाउन भने केहि हेलचाकरि गरेको ?महसुस हुन्छ?।

Anup

reply to dada giri contd...

अब दोस्रो प्रसंग। नेपथ्यको ?सा कर्णाली? खल्लो लाग्नु/नलाग्नु एउटा व्यक्तिगत ?टेस्ट? को कुरा हो। तर यो गितमा नेपथ्यले लयबाहेक अरु कुनैपनि चिज ?हुबहु? राखेको छैन। संयोजन (arrangement), बाजा (instrumentation), र प्रस्तुति (delivery) मा नेपथ्यले बहुतै सृजनाशिलता देखाएको छ यो गीत र यस ?अल्बम्? का अरु लोकमूखी गानामा। जहाँसम्म लोकप्रियताको कुरा छ, सबै कलाकार, सारंगी रेट्ने गन्दर्भदेखी नारायण गोपालसम्मलाई लोकप्रियताको चासो हुनु एउटा अति स्वभाविक चाहना हो। कलाकारलाई लोकप्रिय हुने चाहनाको आलोचना? कस्तो गजब को आलोचना!!

म आफु ठेट पश्चिमी लोकगितको भक्त भएतापनि कुनै ?ब्याण्ड? ले बडो तरिका र स्वादिलो ढंगले झ्याउरे, कौडा, चुड्का भाकामा गाना संयोजन गरेर मजाले गाएको छ भने म त्यसमा रमाऊँछु, पुर्वेलि लोकगितका पारखिहरु (र आम नेपाली) खिम गुरुगंको ?एकादशी बजारैमा? मा रमाए जस्तै। यसैगरि, ?सा-कर्णाली? मा झुम्ने देउडाका अनुयायिहरु छैन्?न होला त? कतिलाई त मै चिन्छु ?? । संगीत र कला जस्तो स्वनुभुतिक र आत्मापरक विषयलाई लिएर आफुलाई बेठिक लागेका कुरा सबैको लागि बेठि हुनुपर्छ भन्ने एकतर्फि धारणा ?झल्किएको? हो कि दादा जिको नेपथ्यकबारे प्रतिकृयामा?
Anup

reply to Dada Giri (last part):

अन्तमा, नेपथ्य र उनाका संगीतलाई मह्त्व दिने कि नदिने भन्ने विषयमा तपाई र मेरो लेखले भन्दा निकै प्रभावकारि रुपमा बजार, ग्राहक, संचार माध्यम र देशभरिका स्रोताजनले फैसला दिसकेका छन्,। नेपथ्य को भेडाको उन जस्तो प्रति उब्जेको देशव्यापि सकारात्मक मूल्याङ्कनसंग मेरो मुद्दा हैन, बरु पूर्ण समर्थन छ। तपाई मुद्दा दाखिल गर्नुहुन्छ भने त्यो तपाईको अधिकार हो। तर, संगीतप्रेमी साधारण नेपाली स्रोता यदि जुरि मा हुने हो भने तपाई यो मुद्दा पक्कै जित्?नु हुन्न।

संगीतको प्रसंग जारि राख्?नु भएकोमा धन्यवाद,
अनुप

If all critiques are to be written only by subject matter scholars, all articles would be as dumb and dull as a scientific journal article. I had practically stopped reading Environ Sci Technicol., J Contam Hodrol., and Langmuir beginning the day my graduate thesis was approved. Still I continue to be an avid reader.
So, I opine Anup has done a very good job of penning his observations on Nepali Music, and I endorse it a worth read. However, to reiterate, this is my opinion.

Ashu,
----------------
Don't just follow their discussions.
Contribute your thoughts and ideas too.
Disagree with them with reasons.
Add to what they say.
Take risks with ideas.
Doesn't matter whether you have brilliant things to contribute or just-being-formed ideas.

I don?t see anything wrong in just following discussions rather it's an indicator that the one is interested on the issue. Contributing or not is another issue?. consider he/she having limited knowledge, information or resources. No hard and fast rule that one should have an opinion on each and every issue that one is following. Just because one only follows let's not disregard the possibility that he\she is learning.
-----------
Share!

Do. Have. In other threads.
-----------
Don't worry about detractors who may slam you with their lies, lie and lies. With
nothing to fear, and looking staright into their eyes, simply drive them to the point
of sheer exhaustion with nothing but the verifiable truth.

No worries.
--------------
And so, give a damn; be passionate about this kind of discussions.

Understand the kind of passion and patience one needs to follow a discussion like this. It's because sajhaites give a damn that they visit it again and again and expend time on reading, following, contributing to discussion like this. If not they won't even bother reading anybodys posting let alone follow.
----------------
It won't really harm your life or your career!

No it will not.
----------------
It may even make the life real life all the juicier and more meaningful.

Will it? I don't know. Has it yours?
----------------
After all, on a larger note, what good is one's higher education, if one always sits on
the fence, snickers at others, criticises others and spends a lifetime watching others having a dose of fun with an interplay of thoughts and opinions?

Come out of the notion that who sits on the fence always snickers at others. Consider the possibility of them in fact following discussions for a purpose and learning about issues they were not appropriately informed, which might in turn help them contribute in future discussions. Diverse as sajha visitors are they may/may not follow discussions with the intention of snickering at "those having a dose of fun with an interplay of thoughts and ideas" or they may have their dose of fun in other threads. Or they may simply enjoy reading the discussion without having to add their perspective. Criticism? part of the whole package I think.
--------------
I think this this forum allows us to give shape to our TENTATIVE ideas and thoughts, and have them subjected to public scrutiny. That's great.

I agree with here ^. Therefore, even the observation on identities, discussion patterns and its course and expressions about them are also under public scrutiny?. if wrongly judged observers are out there to put facts straight.

Blank