Maalshree Tune Ushers In Dashain

By Arhan Sthapit

WITH the advent of the greatest festival of Dashain, magnificent melodies of the Maalshree tune typically fills the air of pleasant autumn season. The Maalshree tune is one of the most adored traditional tunes that, inter alia, form Nepal’s unique musical heritage being passed down from the primeval times up to the modern age. The importance of the Maalshree tune takes high profile in the society as it is related to the greatest festival of the country. In a way, it ushers in the greatest festival in Nepalese hamlets. It is autumn, believed to be the best season in Nepal, when Dashain falls. It is characterised by a fair and pleasant climate and moderate temperature coupled with crystal clear skies enough to spur many a poet to create their prolific ideas. Farmers, the predominant population in Nepal, tend to be elated as they have had rich, ripening paddy fields in this season. The dominant influence of such a favourable season upon the people is that they relish the very festive mood and aspire to go on an entertainment spree. That is why the Maalshree tune becomes very much part of every entertainment gathering or show during this season - be that on air, stage, television or traditional courtyards.

The tune is performed during Dashain that is typically celebrated for nine auspicious days called Nava Ratri (or, the Nine Nights) that starts from the first day of the waning fortnight in Aswin to the ninth day of the same fortnight according to the lunar calendar. It is propitious to play the tune in a traditional mode to worship goddess Durga, the symbol of Shakti.

Very rich in its magnificent melody, the Maalshree tune is originally based on what is identified with the Rupak Taal in Oriental music. Rupak Taal is a set of rhythmic beats that progresses on seven beats, popularly known as Saat-Matra. This tune — as pundits of traditional Newari music of Kathmandu valley also subscribe to — is performed with a moderate scale in the beginning. The tempo of its rhythmic beats opt to gain a fast tempo in the latter part of the performance.

Even though this seasonal tune may be played with any orchestra, traditional music practitioners prefer certain musical instruments to others. They believe that the musical yield can be enhanced by using the traditional instruments that our ancestors originally played for a Maalshree performance. As the tune is exclusively devoted to Goddess Durga’s worship, what becomes important — though not an invariable part of its performance — is Damaru, one of the leading instruments of religious importance. The damaru is a hand-held, hourglass-like drums usually symbolising the favourite instrument of Lord Shiva. They are bass drums played through both rotation and changing tension of the beats. Traditional music gurus believe that the acoustics improvised by the damaru is indispensable to produce the desirable original melody in the tune. In its original form of performance, the full gamut of the damaru complements the flutes. A set of tablas may also replace the damaru, depending on the situation.

An ensemble of sitars (string instruments) is very much preferred in augmenting the festive, sprightly Maalshree moods. For an euphonic accompaniment to the sitar, damaru or tabla and flute, other vibe-based instruments like the sarod (one having a multiple strings board) may also be used. Dapakhin, a double headed large Newari drum played by hands is another instrument much desired in the orchestra for performing this melodious tune.

Like Dapakhin, another percussion instrument suitable for playing the Maalshree is the tinchhu, the twin cymbals that are condensed and of a slightly smaller radius than one’s palm.

Chinese Troupe Mesmerise Audience

By Our Correspondent

A 30-member China Heilongjiang arts troupe performed in Kathmandu, Pokhara and Birgunj last week to mark the 45th anniversary of the establishment of diplomatic relations between Nepal and China.

During the 10 days they were in the country, from September 19-28, the cultural group performed typical dances and spectacular acrobatics. Despatched by the Chinese Ministry of Culture, the cultural troupe organised the shows in collaboration with the Hotel Association Nepal (HAN), which had earlier visited China with a Nepalese cultural troupe last month to promote Nepal.

In Kathmandu, the cultural shows were organised at the Birendra International Convention Center (BICC). The popularity of the troupe was evident as the BICC hall was packed throughout.

The Chinese troupe performed typical dances such as the handkerchief , spring and lovers farewell dances.

The handkerchief dance was a group dance. The flying colour of the handkerchief flowers stood for the vitality of life and the rhythm of youth. It also symbolised the bright prospects of life.

Similarly, a group came up with a spring theme that signified hope and love in the hearts of people. Another typical Chinese classic "Spring Tour Picture" also mesmerised the audience.

The next presentation was the lovers farewell dance which depicted the sad aspect when lovers do part howsoever temporarily it may be. The Girl Arre is a tragic rendition when lovers don’t get reunited. Language apart, there was enough to bring out a melancholic reflection.

Apart from many other dances, the cultural team also presented pipa work. It tells a historical tale about a war taking place between Liu Bang, the King of the state of Bang, and Xiang Yu, the King of the state of Chu.

Since the Chinese team performed typical traditional Chinese dances and acrobatic shows, their visit helped familiarise the Nepalese people with Chinese culture.

The leader of the visiting Chinese cultural troupe, Cai Jingheng, said that their visit to Nepal was remarkably successful as many Nepalese and foreign audiences observed the cultural shows.

Gheng also found similarities between the cultures and lifestyles of the people of Nepal and China. He was highly impressed by the snowy peaks seen from Pokhara.

"The natural and cultural heritage of Nepal could be te major attractions for Chinese visitors. Nepal can be an ideal destination for them," he said.

The cultural troupe had come from Hei Longjiang province of China. According to him, the song Resham firiri resembled one of their own songs which a lady singer from their group mastered in a day and sang it to the acclaim of the audience present.