Japan's band with melody music

By Perina Pathak

To enhance bilateral relationship between two countries, different embassies here in Nepal are organising different cultural programmes and film festivals from time to time. With the same aim, Japanese embassy also organised a cultural programme introducing their traditional musical instrument among the Nepali audience here in the evening of 7th march at Soaltee Crown Plaza.

Japan’s popular traditional musical band Shuichiro and Daichi performed the Tsugaru-Shamisen Concert, which included different traditional musical instruments.

One could clearly view that the concert was successful to enthral the audience present at the hall composed mostly of the bigwigs and noted personalities. The high and low pitched music of Tsugaru-Shamisen, traditional three-string instrument similar to guitar was the central attraction of the show.

The Tsugaru-Shamisen was supported by two other instruments Wadaiko (Japanese drum) and Shakuhachi Shinobue (flute). And three other instruments were also introduced in the show - Niko (ancient Chinese string instrument), Sansin (instrument popular in the Okinawa, Japan), Gidayu Shamisen (original instrument of Tsugaru-Shamisen).

From the very beginning of the show four among the five members of the band played Tsugaru-Shamisen with high and low pitched tune making the audience move thro and fro along with the tune. The soothing sound was making them senseless on their chair and the high sound was drawing attention towards the player.

Altogether ten melodies were played and every melody was conveying different things. Some indicated seasons, whereas others focused on animal, place and festivals. The Tsuru-no Sugomori tune, which literally means crane longing for spring expressed the cycle of life and death of human beings through the life cycle of Crane. Crane is a respected bird in Japan as a bird having deep family love.

It tells that the mother crane after the birth of its baby takes good care of it and makes it able and independent but when the spring arrives it flies away.

And no doubt the melodies of Medley of Japanese Four Season succeed to make the Japanese audience nostalgia for their homeland. This tune included the melodies of different seasonal songs like spring’s cherry blossoms, summer’s festival, autumn’s scarlet maple leaves and winter’s New Year celebration.

The unique melodious tune reverberating inside the hall of five star hotel had bewitched the audience and for about two hours the audience were having the feeling of their own presence in the beautiful land of Japan celebrating different festival and enjoying different seasons.

The most challenging and interesting part of the show was the Daichi no Midare mai performance of the band. This prominent feature of the show included the competition among the band members. During the competition leader of the band veteran Tsugaru Shamisen performer Shichiro Takahashi was encouraging his partners with encouraging sounds in between the performance.

Another most interesting part of the programme was the Ninin Baori melody play. The performance is the most challenging one because two players play one instrument at the same time. Only the highly skilled personalities can perform it, which requires great perseverance. While performing one in the front plays upper strings of Tsugaru-Shamisen and one in the back plays the lower ones.

At last the performer compelled the Nepalese audience to remember their past years by playing the old popular song Reshem phi ri ri. The band presents the tune of popular Nepali song with the combination of their traditional instruments of Tsugaru-Shamisen and flute as their gift to this land.

The concert performed under the leadership of Shuichiro Takahashi was organised by Japanese Embassy, whereas the other four members of the group were- Kazuichiro Takahashi, Keichiro Takahashi and Yukiko Kuboki on Tsugaru Shamisen and Katono Mamoru on flute. The band formed in 1998 by Shuichiro Takahashi has performed in different countries whereas this is the band’s first performance in Nepal.

Splash, bar & grill

Radisson, known for its exuberance and interesting events and festivals, has come out once again with a new concept. The splash and bar, which was opened nearly one year ago, has successfully been able to win the hearts of the locals.

The splash and bar on the sixth floor of the Radisson hotel is a freshing change for the crowd that needs a quite place. Not only that, a swimming pool is right below the bar, where you can refresh yourself.

Apart from the various drinks, like cocktails, wine, beer, and other beverages, you can place your order of your choice of light dish vegetable Pakoda or crisp vegetable salt and pepper for just rupees 150. Also grilled cajun chicken wings or garlic chicken teriyaki with choices of dips, sour cream, mint chutney or Ranch is served. The fish Yaki nuggets or the crisp fried prawns or the momos are all in a very homely rate. The menu, a special one exclusively made for the celebration has interesting creations.

The setting of the bar allows you to enjoy the food in the open, on the top most floor of the hotel, with the city spread below you, and the festive moon above. By Yesjay

Justice to a rape victim

By Rudra Sharma

Girls or women are being raped frequently in various parts of the Kingdom. Only a few of such cases are reported to a police. Because, it becomes a matter of honour killing of the social hotshots and a families related to the case simply dump it. Many of the cases happen to be discussed at a police offices if at all they are reported. However, some of the cases are dragged to the courts too, thanks to the increasing awareness and feminist movement.

When a rape victim approaches at a court seeking justice, compensation and thereby a redress of her torture, another sad story begins there. She is tortured there again probably more severely than when she was tortured (raped) physically. She turns really blue and dumb when the defence lawyer crosses her about the facts on rape. What happened then ? What did you say ? Isn’t it? How did you feel then ? And, why didn’t you report it instantly ?

Such are some questions which fall as a thunderbolt upon her. Yes, she has the answer of each and every question to counter each of the arrows thrown on her during the legal battle. Nonetheless, she can’t do it. Simply because the skeptical crowd is watching at her with such eye which are ever ready to entertain and even enjoy the mockery of her pathetic fallacy. Therefore, she uses her own languages to defend all crosses and queries of the defence counsel. Her language is silence. Of course, it is what is taught to her from her childhood. Unfortunately, the court does not entertain her language and asks her be vocal which she can not afford because that costs her dignity and pinches or even destroys her womanhood.

A woman or girl victim who knows such court practices earlier does not appear in the court on the appointed day. Or she can’t continue the court process which torments her. They very silence and absence turn out enough to lose the case.

This is a trend which generally happens in the rape cases. But we cannot generalise this trend to every judge. There is also a light at the another side of the tunnel. There are such judges who are capable enough to listen the language of ‘silence’.

The following is an example of such a case. The fact of the case follows like this. Two years ago, when police followed loud voices at the Gongobu bus park at 10 pm. There was a raped woman laying on the ground. Three personnel of the Old Gorekh Battalion were around. Police filed a report together with the three personnel.

While examining the body of the three accused, one was found with scratches of nail and teeth. Second one was found with scratches of nail in his face. Some grass was also found in his private part. All of the three accused were found with vaginal swabs in their private parts.

The victim, Min Maya Tamang, filed a First Information Report stating that the accused had offered food and drugs in a hotel. They had driven her to a ground against her will and raped her turn by turn. Therefore, she begged for necessary action against the culprits.

In this case, judge at the Kathmandu district court Dr Ananda Mohan Bhattarai analysed psychological aspects of consent and other circumstantial evidences. Judge Bhattarai analysed between wilful participation and helpless resignation. It is relevant to see whether there is any difference between consent and helpless resignation. While looking into consent, it should be assessed whether there were adequate choices to the girl while giving the consent If no circumstances prevail there to use such choices at her freedom, it is not a consent by a helpless resignation, Justice Bhattarai has written in his decision line.

" In general condition too, I don’t believe that a woman gives her consent to three men to have sexual relationship with her." it is stated. Arguments to support such contention will be not only against the dignity of womanhood but also against the whole criminal justice system.

A significant aspect of this case is that the victim Min Maya was not present at the court to verify her contention stated in the First Information Report (FIR). Judge Bhattarai had accepted the contentions of the FIR as evidence even if she was absent at the court. The judge in this case has come up to understand the psychological and social hazards for a rape victim to be present herself at the court.

Heritage tour 
Inside the mysterious gate of Shantipur

By Razen Manandhar

Just beneath the great stupa of Swayambhu, one can find a common white-washed building that bears almost no extraordinary feature to be an important monument except a painted wooden torana, a giant standing Buddha and two lion guards, ready to bounce. But the undated building of Shantipur bears never-ending stories of mystery, superpower and superstitious heritage.

The building is named Shantashripur, Shantipur, Guhyapur, Sambarpur, Akashpur, Samhegu gupha, Manapramananigriha, Shiddatapobhumi and many other names in different contexts. It is said to be as old as Swayambhu stupa itself, that is, over 2000 years.

In the legends, Manjushri created Kathmandu Valley out of a lake and Prachndadev was made the first King of Nepal. The king became a disciple of Buddhist monk Gunakar Vikshu, renamed himself as Shantikar Acharya ( or Shantashri Bikhsu) and built Shantipur with his tantric superpower. Then he himself vanished in the mystic world of Shantipur with Chintamaniratna lamp and sat in the eternal yoga of Asphanik Yoga eternally. It is believed that he is still meditating in the unfathomable caves, alive!

There are no windows, exempt small holes, and no extra-doors but around a score of chaityas and over a hundred small images of Bajrayan Buddhist deities surround the temple structure from outside.

Looking at the lavish structure and the beauty inside, one can easily assume that the monument was far bigger and more decorated than it remains in present. Its main gate facing south bears a torana with Bajradhara’s image between two huge pillars. Inside it, there is a dark hollow chamber and one can see the beautiful copper-plated door with a unique padlock. Two uncommon images of Kakashya (crow-goddess) and Ulukashya (owl-goddess) guard the gate. A stone oil-lamp stands on the middle of the brick-paved floor.

The outer chamber is decorated with wall paintings depicting origin of Swayambhu, coming of Manjushri and images of other deities. Though none of the residents of Swayambhu know (or ready to tell) about the contents and truth about the inner chamber of Shantipur, it has been a focus to pray to dead souls. They believe Shantikar Guru is still there and he can communicate with the dead souls through his meditative power. That is the reason, people offer butter lamps in the Shantipur chamber in memory of their family members who are dead.

Scholar Pundit Hemraj Shakya has stated that in the cave inside the mysterious gate of Shantipur one can find the following things: 1. An eternal lamp, 2. "Contract paper" of the Nagas on solution to famine, 3. A book called ‘Mahameghsutra’, written in Naga script, that causes rainfall during famine when it is taken to sunlight, 4. The holiest book of Bajrayana Buddhism, ‘Pragyaparmita’, 5. Wrathful images of Mahasambar, 6. Paubha paintings painted with the blood of Nagas, 7. Painting of King Pratap Malla, 8. Outlets of the cave that could reach Swayambhu, the worlds of serpents and demons, Guheshowri and 9. Shantikar Guru in meditation.

A few persons have ventured to cross the threshold of the Shantipur gate in last two millenniums. According to such written or oral instances, Buddhist Scholar Nagarjun entered the Shantipur in around 200 AD and performed the praying of Barshapanbidhi. Historical books say that King Gunkamdev and King Narendradev entered to find out solutions of the famine. A Pundit Banaratna came to Shantipur and stayed there for a long time in 1460 AD. King Laxmi Narashimha Malla of Kathmandu performed Shanti Swasti Puja and Mahameghsadhan. And Shiddimuni Shakya Bhikshu also entered the cave in1645 AD.

Among others, King Pratap Malla’s heroic entering of the Shantipur is described in the stone inscription and the wall paintings, were erected by himself.

When famine hit Nepal in1658 AD, King Pratap Malla ordered his attendants to bring out the mysterious book but none could accomplish the assignment and he himself took the risk. He had to cross a carpet of snakes, and escape thousands of demons. He had to cross three floors and total 27 chambers to get hold of the magic book and paubha paintings. He kept them in the sun and all of a sudden, black clouds appeared in the sky and heavy rainfall followed.

In 1799, the whimsy King Rana Bahadur Shah, decided to enter the Shantipur and set fire in it but his eyes lost vision before he was inside. He then apologized and offered two gold coins. The light in his eyes returned. He erected his statue with his wife there (but they are now imprisoned in the National Museum).

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