Voices of fraternity 

By Ghanashyam Ojha

Nepal, a small Hindu Kingdom, nestled at the foot of the great Himalayas, has its glorious history intact since time immemorial. The late Great King Prithvi Narayan Shah made his first untiring effort to commence the task of the country’s unification, continued by his ancestors. In the course of forging his historical attempt, he committed genocide, though for a better cause.

However, the king unified the disorderly scattered petty states to make one nation, Nepal, which we Nepalis feel proud of today.

Despite the domestic wars, during the fight for unification 300 years ago, dauntless Gorkhalis actively participated in fierce battles with external forces fighting tooth and nail. The great wars fought with the British forces display the prowess of Nepal’s warriors, better known as Gorkhalis then. The warriors never let the integrity, sovereignty, and pride of Nepal erode despite the savagery of the wars. They gave their lives for national sovereignty. Piles of books composed with the glorious history of sacrifice and dedication for the motherland, today plead how our motherland was kept immaculate of any outer intervention.

Nepalis are widely recognized as a peace-loving people. They never fail to cooperate with others also.

However, this peaceful country has fallen into horrible violence for the past few years. The recent Royal carnage, claimed to have been carried out by the then Crown Prince Dipendra, has marked a terrible chapter in the history of the world, the worst royal massacre after the Bolshevik revolutionaries swept away the Czar and his family. The killings left Nepal shocked and full of gnawing doubts. It shook the entire nation.

Now, the so called underground Maoists have intensified their activities after the June 1st Royal Massacre. Banner bombs along with the effigies of the King and Prime Minister stuck to them have been triggered off in the capital. The brutal killings of Nepalis by their own brothers in different parts of the Kingdom has left all Nepalis stunned.

The violent gun battles between the policemen and the rebels have cruelly snatched away many parents’ future means of support. They have lost their caretaking sons. Many wives have turned into widows, with their cherished dreams shattered the day after their wedding. Many sons, at the same time have lost their loving fathers, they are compelled to be orphans. Many sisters and brothers have lost their affectionate brothers forever.

Despite the merciless killings, the upsurge in violence has terrorized the entire nation. Meeting death everyday with the horrible feeling of dying is much more pathetic than dying in reality. All Nepalis are dying everyday with a sense of imminent death.

Every night passes with uneasy silence that grips our society. Everyone has to remember their kith and kin, at least once before going to bed. Every morning, the news announces the death of brethrens from either side. All the people have shrunk with this sense of fear. All newly wed brides have suspicion in their innocent eyes that their husbands, lying beside them might be shot dead anytime. A mother, in tears thinks her son is fighting for the nation but is gulping every drop of tears with the fear that her son’s name may come in the list of the dead.

What a growing child, witnessing the incidents taking place, makes of this and develops in his innocent mind is another question. The blood letting and the bodies of his brothers lying in front of his eyes must have terrified him many times. He must have cried aloud to see the horrible scene littered with dead bodies in his yard. The terror might have left him sleepless for many nights.

A child groomed under such an atmosphere might turn violent or become damaged forever.

There is a growing fear, haunting all Nepalis that the next generation might turn out psychologically damaged with such violent killings taking place.

Will our nation remain cowered in this position forever?

Nature has gifted our country. There are enormous potentialities that can be exploited to develop our nation further. If united, we can actively compete with the developed nations in a few years since all Nepalis are renowned for their hard-work. On top of this, they have immense affection for their nation. They are ready to make any sacrifice for the sake of their nation.

Then, why not get united for our nation? Why not throw all the violence aside and move forward for the betterment of our nation? Why not work to see happiness in the face of our mothers.

How important a motherland can be, a refugee knows. How much they would love their nation, how good the fraternity, how they would have nurtured the land had they a nation, can be gotten from those refugees languishing in eastern Nepal for the past 10 years.

We have a beautiful nation with good denizens. Why don’t we take time out to realize the pangs of missing one’s nation now?

Goran the Split personality

By Zaheer Ahmad Khan

Aggression mixed with a cool personality, a blend of temper and a sense of humour, that’s what makes up Go-ran running still at 29, and hugely popular among fans. Crowds enjoy the aggression that players like him and McEnroe and Safin bring to the court. It’s not just the temper or aggression that they are embedded with, it’s also the natural talent that they are gifted with that make them so dear to the spectators.

One can become a contender at Wimbledon if he is armed with a potent serve. Goran, ranked well below 100, had to receive a wild-card entry to vie in the championship in which he had faltered three times in three previous finals in the 90s. He entered Wimbledon this year ranked 125th in the world.

He is reported to have said "If some angel comes tonight in my dreams," , "and say, ‘Ok, Goran you going to win Wimbledon tomorrow, but you won’t be able to touch the racket ever again in your life,’ I say, ‘OK, I rather take that and then never play tennis again.’" He said so, the night before entering the final. But then he had brought with him his powerful serve that could rocket in at 130-mph down the middle or a 125-mph cutter that drifts in or away, so as to match his rivals, the likes of Roddick, Rusedski, Federer, Henman and Rafter. All said, he succeeded in his fourth attempt setting an example for determination, energy and willpower.

He was displaying his emotions in that three hours of tense battle on Centre Court. He was kissing the ball and asking for the same ball with which he fired aces or winners, on his serve. After double-faulting his serve a couple of times, he finally dashed a winner to reach match point, then swung another serve wide, and Rafter dumped the ball into the net. Thus outlasting Rafter 6-3, 3-6, 6-3, 2-6, 9-7 to clinch the title.

According to media reports, he said "I think I’m dreaming", "Somebody is going to wake me up and tell me, ‘Man, you didn’t win.’" The tournament was his 48th major event, the most ever for a first-time Grand Slam champion, and he became the first wild card to win a major men’s title. "This is what I was waiting all my life," he said. "I don’t care now if I ever win a match in my life again," he said.

"Whatever I do in my life, wherever I go, I am going to be always Wimbledon champion." He dedicated this win to his late friend Drazen Petrovic, an NBA player who played for the New Jersey Mets. He had died in a car accident in 1993. " Man if you can see and hear me, here I am holding this trophy. I dedicate this to you," he said in a trembling voice holding the trophy and with his eyes filled with tears. Petrovic’s mother Biserka told state television that she had to take tranquillizers to remain calm during the final. "But it felt so good, as if Drazen was alive, beside me," she said. "They were very similar in temper."

The 6’4" and 180lbs(81kg) Goran was born in Split, Croatia in 9/13/71 and is a lefty with a big serve. His career has seen many ups and downs. The highest seed that he’s reached so far is number 2. He previously had to smile with the runner-up trophies thrice at Wimbledon during the 90s, only to complete it this year. A ‘grass-court specialist’, I think, that still many critics would label him as.

Heart of the matter

Spost

‘A devotee sees a circle which is God. He enters into it with his soul’s cry. He then silently comes and stands at the centre of the circle and grows into a tree of ecstasy,’ writes Sri Chinmoy, a spiritual guide to disciples worldwide in search of The Path of the Heart, in his book The Spiritual Life.

In a world where material gain tops everything and belief in God is, arguably, wearing thin his teachings may come as a welcome tonic for many on the spiritual path. Born in India in 1931 the author has dedicated himself since the age of twelve to a ‘life of intense spiritual practice...together with writing poetry, essays and devotional songs’ and his teachings have taken him across the globe.

The author, distinguishing between the spiritual person and the non spiritual, sets out a path for the seeker to gain aspiration, to find the god in yourself. The Path of the Heart which he calls, ‘the path of love, devotion and surrender’ suggests that the conscious mind blocks the heart’s all embracing qualities. At times he contrasts this in the way how a child willingly believes and accepts and how adults always carry with them a measure of doubt.

The book is a sort of practical guide, especially the section on meditation, mixed with the author’s insights written in short chapters from the first stirrings of spirituality to death and reincarnation. On meditation and peace, the author writes, ‘He is mistaken who thinks that peace will, on its own, enter into his life at the end of his life’s journey. To hope to achieve peace without meditation and spiritual discipline is to expect water in the desert’.

Priced at Rs 85, the book is an undertaking by a new publishing venture, Everest Publishing, currently based in the US and set to make inroads in Nepal’s publishing scene. The publishing house’s Santosh Sah says that its future will be to release books of international quality, both in content and packaging, with the aim of making Nepal’s literary works known on the international stage.

It is hard to find an anthology of Nepali poetry translated into English in the capital’s various bookshops, or for that matter in any other language. And it is even harder to come across lyrics written originally for music in translation. Robin Sharma’s Selected Nepali Lyrical Poems, translated into English, makes an attempt at redressing that balance.

A one time lecturer in English and now at Radio Nepal, Sharma’s work is clearly a labour of love, an undertaking sanctioned by one of Nepal’s well known contemporary poets, Dinesh Adhikari, winner of one of the country’s top literary prizes, the Sajha Puraskar, for his long poem Indrajatra, a few years back. Altogether 170 lyrics have been translated from the likes of Devkota to the irreplaceable Norden Rumba.

All the big guns are here. From Madhav Ghimire to Hari Bhakta Katwal, one of the foremost (if not the foremost) exponents of the song lyric, to one of the languages pioneer poets, Ishwar Ballav, to the classic practitioners of modern Nepali music, Amber Gurung and Gopal Yonzan. Chandani Shah, Chetra Pratap Adhikari, Manjul, Ganesh Rasik, Narendra Raj Prasai and Dinesh Adhikari are some of the other names to leap out of the book.

To the non Nepali speaker the book serves as an introduction and gateway into the thoughts and feelings expressed by some of Nepal’s top lyricists.

Nepal has a rich history in the musical lyric. Perhaps because the country’s poets took it seriously enough to put their words to music. The poetic tradition, for one reason or another, is strong. Perhaps it is the strongest of the literary forms. And, in its original vernacular, this strength has infused the lyrics with more than just a passing fancy. Maybe today’s so called professional songwriters should take a leaf out of their books and learn what real lyrical language is about and actually see and realize the tradition. But then again, most of today’s popular penners are probably not poets.

Manoj moving on 

Spost

Manoj Shrestha of "Chari Bharara" fame, joined the group Ankooran in 1992, which provided him a platform to actually exhibit his musical stunts. Earlier he used to play Western music and considered Bryan Adams, Dire Straits, Iron Maiden and Scorpions to be among his favourites. Later on, Pink Floyd became his ideal and perhaps a source of inspiration.

Ankooran, due to technical problems couldn’t release its album in the market, and it was time for Manoj to move on, on his own. Since 1995 with the release of his solo album "Maun", he’s been a part of the music scenario in the country. And now he’s here with his latest album "Sanskar" that has altogether 10 songs including a bonus track "Chari Bharara".

Of all the songs in this album, "Shir ko Topi Shiraima" is really good probably because it has a typical Nepali feel, particularly folk influence and it is lively. It goes "Shir ko topi shirai ma/ Dhalki hindne tirain ma". When translated in English it more or less means — A hat on one's head/ Slanting sideways. Even in the market, these folk based Nepali songs seem to do quite well and these are the ones that hit the charts most often and these are the kinds of songs that I like. A lot of Western influence is also found in his music and in many other Nepali bands too but many a time, they, more than likely seem a bit out of place unless done remarkably well.

In this album "Sanskar", "Sathi Timilai", "Aaja Bholi" are all emotional numbers. "Aaja Bholi" has an influence of something closer to blues and the lyrics has a sense of disillusionment and disappointment related to the concept of true love and trust. "Angalo" has more lively drum beats. "Chiso Chiso" has an 80s popish feel and early 90s which reminds me of Modern Talking. "Ankhako herai" has a prominent sound of the rhythmic guitar and the song sings about being attracted to a girl especially with her intoxicating eyes.

It is a good album with some whistles, flute, violin to drums, but with more ordinary songs and music, there’s nothing exceptionally different than what one finds in the usual Nepali music scenario. The fact that Manoj has composed the music on his own is something.

Wilderness paintings

By Prakash Thapa

Unique as it is, in the wake of the New Year, when the mountains appear to have been wearing a live green look with all of its newly sprouted vegetation, Creative Artist’s Group of Pokhara organized the Kathmandu based artist Sarita Dongol’s Solo Painting exhibition at the City Art Gallery in Pokhara. This exhibition she expected, would strengthen the relationship between Kathmandu, the capital city and Pokhara. This apart, as a female artist, she further hoped that it would also help encourage the females’ participation in the long run.

As nature is indefinable and limitless, so are her paintings, the silent mimicry of nature. She loves nature, mother nature which has been the infinite source of influence for artists, lovers, musicians, painters and sculptors. The deeper one goes into the heart of nature the more he or she loses himself or herself for nature is limitless, full of passion, love and integrity.

She contemplates nature. Nature, she happens to call, the divine force, or in other words, the infinite repertoire of wisdom. "Nature is beauty," claims Sarita. "It is love too", she says.

Nature, unarguably, is the genesis of everything in the universe. The absolute entity, or the organic whole that has been the life generating force. Each and every life originates from nature. Nature therefore seems to have been endowed with the power of creativity. Nature is creativity and creativity is after all natural. It is thus the sage of all beginnings and ends of all living things. To explore the vastness of nature is indeed a difficult task.

Apparently, Sarita’s paintings support the evolutionary theory of nature asserting the vibrant life force of nature that regulates the gradual development of every living organism. The paintings of Sarita are the manifestation of her passionate love for nature. For the Lebanese poet, and painter Kahlil Gibran the trees are the poems nature has written in the sky and for Sarita trees are her poems of emotions and sentiments written in her canvas. The wilderness, freer in its essence, is the apotheosis of one’s passion for freedom. Her paintings are also songs of freedom; freedom which is unfathomable. Says Sarita while painting trees "I myself become the trees in the canvas".

Born in Lalitpur she had her schooling in Shree Chandi Vidyashram High School and got her graduate degree in Fine Arts from Lalit Kala Campus in 1998. For the first time when her teachers encouraged her sketch works, the moment was worth nothing for Sarita to explore her truer self. She even recalls the days she used to participate in Inter School Art Competitions organized by Godavari Alumni Association (GAA) and that was what she calls the ‘real beginning’ of her painting career.

Her deep-seated drive for painting got a favourable environment when she joined Nepal’s first-ever art college popularly known as Lalitkala Campus at Kathmandu. This young lady, graduated in Fine Arts, now appears to have been an energetic art enthusiast longing for the perpetual quest of life and its meaning, exploring the ever surviving nature.

Nature’s wilderness has been the most fascinating subject for her.

Sarita’s paintings reveal her impressionistic inclination. Impressionist painters paint the objects as they appear to their perception not as what they actually are. Obviously, it is more important for them to portray the impressions an object made on the artists than to reproduce it precisely as it appears. Revolting against the conventional conceptions of art had its beginning in France in the middle of the 19th century that include the pioneers of the impressionist movement like Manet, Monet, Cezzane, Renoir and Pissaro.

Despite her steady participation both in solo and group exhibitions at various times inside the country, she has also exhibited her paintings at international level.

And that she is still full of hope to achieve what she deserves. Art, she therefore has opted for her expression of the inner self. Somewhere there lies the ‘invisible force’ be it God or the ‘supernatural’ which haunts her creative soul time and again thus bringing in her the ‘transformation’ of the real self. Trees indeed are the most important complement of human beings without which life is at stake. The use of green, blue, yellow and red colours are worthwhile in reflecting the essence of the beauty in nature.

Hence, she is conscious enough at creating an equilibrium of colour and light thus following the pattern of a light spectrum. The trees for her are the true representations of her emotions vis-à-vis her love and compassionate longing for something eternal. The trees are seemingly nature’s manifestation of creative energy thus turning out to be an invisible entity and so is Sarita seemingly venturing towards the eternal for everything begins and ends in nature. The tree series inclusive of tree trunks, twigs, roots and boughs with its gestalt perspective appear to have been bringing the observers to the world of beauty that she dreams of.

Some of her tree series with colourful Buddhist prayer flags evoke in the readers’ heart some alien sensation of spirituality and also revealing at the same time the account of cultural anthropology.

The artist, she thinks, has a peculiar sense of grasping things at various times when he or she happens to undergo a series of thrilling sensations. Artists are by nature free but at the same time she is aware enough to know that man has to be involved in various entanglements which lead one to the state of suffering. Asserting further, she says, that the wilderness exists in the state of absolute freedom.

Creativity for Sarita is an autonomous phenomenon. She is choosing this particular mode of art viz. the non verbal art as the way to express feelings and sentiments. Creating art, according to Sarita is not only a subject of self satisfaction but rather it involves social proceedings that an individual artist should come across and feel the sense of responsibility in creating an awareness in the society.

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