Padma Shri Kajee Singh Sir is No More

With heavy hearts, we mourn the loss of Padma Shri Kajee Singh, a beloved icon of the Gorkha community, who passed away on earlier today. He leaves behind a rich legacy in the field of music, education, and cultural preservation.

Singh, a revered exponent of the Maadal, was a tireless advocate for the Gorkha musical traditions, and a true representative of the mountain people.

Born on July 25, 1945, in Phoobsering Tea Estate, Darjeeling, Kajee Singh’s lifelong dedication to the preservation and formalization of Nepali folk music began in his early years. The son of Maadalaacharya Indrajeet Singh Sardaar, he inherited a deep-rooted passion for music from his family, which had been cultivating the classical folk music tradition of the Gorkha community for generations. His father’s influence, along with his own keen interest in traditional culture, would shape his path and inspire him to bring the Maadal — a revered Nepali musical instrument — to the forefront of Indian music.

Singh’s musical journey spanned decades, beginning with his early career in dance and evolving into a distinguished career as a Maadal player in Bollywood. From 1974 to 1983, he worked alongside legends such as Laxmikant-Pyarelal, Kalyanji-Anandji, Shankar-Jaikishan, and Ram-Laxman, becoming the first Nepali artist to introduce the Maadal to Indian cinema. His contribution to Indian cinema and music is immeasurable, but his greatest passion was always his roots in the Nepali musical heritage.

As a teacher at the Tashi Namgyal Academy (TNA) in Gangtok, Sikkim, Singh’s influence shaped the lives of countless students for two decades, earning him the fond title of Kaajee Sir. He worked tirelessly to preserve the musical traditions of the Nepali Gorkha community, particularly the Shree Maadal, and played an instrumental role in formalizing its notation system.

His research culminated in his first book, Maadal (1974), which revolutionized the way the instrument was taught and understood, as well as several other publications that explored the nuances of Indian Classical music and Nepali folk traditions.

Singh’s contributions were not limited to musicology. He composed original Chhandas and Raagas, and his creation of the Deodeep Taal, a 14-matra rhythm system, further solidified his place as a visionary in the world of classical music. His works continue to inspire musicians and music lovers alike, not only within the Nepali community but across the global music landscape.

A passionate educator and mentor, Singh also founded a Musicians Club and Library in his hometown of Phoobsering, where he fostered an environment for musical learning and collaboration. His influence reached far beyond the concert stage or classroom—his efforts transformed how Nepali folk music was perceived and valued, creating a lasting impact on the cultural fabric of Sikkim, Darjeeling, and Kalimpong.

In recognition of his unmatched contributions to the musical world, Kajee Singh was awarded the Padma Shri, India’s fourth-highest civilian honor, in 2021. This accolade, which he dedicated to the people of Darjeeling, and Sikkim and the Gorkha community across India, was a testament to his lifelong commitment to advancing and preserving the musical traditions of his community.

Singh’s passing marks the end of an era for the Maadal and for Nepali music, but his legacy endures through the countless musicians, students, and music lovers he inspired. His family, including his children — daughter Vijaya Singh and son Nishaant Singh, who has carried forward his musical lineage as a distinguished Pakhawaj player — will continue to uphold his work and vision.

Kajee Singh leaves behind not only a treasure trove of musical compositions but a community forever grateful for his service, his vision, and his tireless dedication to the art. His contributions to Indian music have elevated the status of the Gorkha community and have brought national pride to his our region.

As we bid farewell to this extraordinary musician, we remember him not just for his achievements but for his love for music that transcended borders and generations.

Rest in Music Sir, you will be missed.

The post Padma Shri Kajee Singh – In Memorium appeared first on The Darjeeling Chronicle.

Born on the 27^th of Sept, 1933 in Shillong, Meghalaya in an Army Family, Harish Mukhia was slated to be a soldier, but fate had other plans. In a way, he did become a soldier, but not the one who carried guns, but armed with his knowledge, passion and skills he was instrumental in transforming the Darjeeling Tea Industry.

In 1947 when India became Independent, Harish’s father Lal Bahadur Mukhia was transferred to Katakpahar in Darjeeling, and for Harish it was the love at first sight. He fell in love with the place. He started his schooling from the Govt High School in Darjeeling, and when his father retired from the Army, they settled in West Point, Dali. He joined St Joseph’s College and studied there from 1951-1956, and completed his B.Sc with a distinction.

The ‘Center Forward’

A natural athlete, he was not just good in studies but was one of the best football players of his time. His contemporaries were Ambar Thapa, Chandan Singh Rawat, and former Darjeeling MP Dawa Norbula. His skills in football field won him accolades across the region, and the coveted ‘Blue Coat’ from St. Joseph’s.

Back then, Darjeeling was a hub of football in the entire Eastern India, and attracted teams from all over the country. In 1956, Mohan Bagan had come to play in the hills, and Darjeeling placed their best team forward. Harish Mukhia was a part of the team playing in the position of Central Forward. In the game, Harish scored a goal and dazzled the visiting team with his on-field skills.

Impressed by his exploits on the field, Mohan Bagan presented him an offer to come play for them in Kolkata for Rs 10000 a month, which was a princely sum back then. Thrilled at being given a chance to play for Mohan Bagan, Harish rushed to tell his parents and seek their blessings.  He would perhaps have made the Indian National Team, but fate in the form of his father intervened, who absolutely refused to let Harish go. In an interview taken in 2017, Harish had recalled, “My father refused to let me go, he said that if I come back with a broken limb, I would not be able to join the army, that ended by journey to Mohan Bagan.”

But he continued playing football, and had once said, “perhaps there is not a single ground in Darjeeling District where I did not play, heck I even went as far as Bhutan to play as a borrowed player”.

After completing his education, Harish joined the army, and trained in Jalapahar for 6-months. He was set to live the life of a soldier, however, fate intervened again and during medicals it was found that he could not distinguish between different colours – he was colour blind. He was sent back home.

The Army’s loss was Darjeeling’s gain.

The Founding of Mirik

After leaving the Army, Harish landed a job as an Assistant Manager in Gopaldhara T.E in 1957. Back then the tea estates were still controlled by the British, so all the managers were of British origin. He trained under the British managers at Gopaldhara for 2-years, and he was sent to Thurbo T.E as Acting Manager in 1959. In 1968, Harish Mukhia became the first Indian and Gorkha Manager of the Thurbo Tea Estate where he worked for 17 years.

It was during his time as the Manager in Thurbo T.E that Mirik developed as a tourism spot. The tourism department saw the potential of developing a lake in Mirik, which till then was just a small hamlet. Back then the tea gardens were on Freehold land, which meant that the tea companies owned the land and not the government. Harish recalled, “Mirik had a small bazar and all the people there had to pay rent to our company, I used to collect the rent.”

That is when the then West Bengal Chief Minister Siddharth Shankar Ray came calling and requested for the land in Mirik to be transferred to the government, as the land on which Mirik sits today belonged to Thurbo tea estate.

Seeing the potential of Mirik, Harish agreed to cooperate, and requested his head office in London to transfer the land to the government. In turn he convinced the government to construct a road via Mirik for Siliguri, as till then, the only vehicular road to Siliguri was via Jorebunglow. The government agreed, and Harish helped in transferring 150 acres of Thurbo T.E land to the government for the establishment of the Mirik Lake. Gradually, the road via Mirik was constructed and that is how Mirik went on to be developed as a hub of tourism it today is.

Harish later worked for Badamtam T.E, Chalsa T.E and later as an advisor to the West Bengal Tea Development Corporation based out of Rangneet T.E.

He established a Tea Consultancy on request from Ghoomtie T.E promoters, and helped establish tea gardens in Arunachal, and two tea gardens in Manipur near the Burma Border.

The Organic Movement

In all his years working in the tea industry, he never stopped learning. Following the Burndtland Commission Report “Our Common Future” published in 1987, people in developed countries became aware of the perils of climate change, and the need for practicing sustainable development. Harish was perhaps one of the very few from our region, who was actually aware of these greater developments happening across the world. He trained himself in organic farming, and was one of the first from Darjeeling, along with Makaibari’s legendary Raja Banerjee to learn about Biodyamic farming from the Biodynamic Association of India, based in Bengaluru.

After learning about biodynamic farming, Harish knew this movement was vital for protecting the Darjeeling Tea Industry, which by then was suffering due to rejection of exports in the developed countries. The Western Countries, which were some of the biggest markets for Darjeeling Tea wanted organic produce, and production was still heavily dependent on chemicals here in our region.

Harish, met a group of like-minded people from Darjeeling and established the Society for Socio-Economic and Sustainable Development (SSESD)

Recalling about those days Pranay Rai, who is currently the Public Prosecutor in Darjeeling, who served as the Secretary of SSESD says, “I fondly recollect those days way back in 1989- 92, post DGHC accord, where he had organized the Society for Socio-Economic & Sustainable Development advocating against use of chemical on the more than 150-year-old tea bushes and introduction of bio-organic tea. Back then, Croatia was the only country that was importing our tea, and without exports Darjeeling tea industry would have collapsed.”

“So we all got together under SSESD, late Mr Harish Mukhia was the Chairman, Dr GS Yonzon was the President, many from the tea industry like late Mr Waiba from Kurseong, Late Mr Rudra Mani Gurung from Tea Research Institute, Late. LB Rai, Late. Narayan Thapa, Late Ranjan Dutta, Late Prem Chand Tamang, Late Jiwan Prakash Gurung, Ms. Sushma Ghosh, Mr. Dorjee Lama, Mr. Raja Lama, Prashant Pradhan, and political personalities like Late, Madan Tamang NB Khawas, NK Kumai, Mr RBRai, Ex MP and others who were socially concerned became a part of the organization. Fortunately, I was the General Secretary of the August organization”, he recalls further.

“Harish uncle was one person who was an exponent of the present bio-organic tea and it was because of his efforts through SSESD that organic tea production actually started in our region. Goodricke was the first major company that transformed their gardens to organic, and the rest followed their lead. After that he was instrumental in bringing the WWF to Darjeeling, that helped in restoring many endangered species especially red panda in the region” he says.

Community Movement

It was because of Harish Mukhia’s efforts, that the World Wildlife Fund (WWF) provided support for promoting organic farming in the region through Project Serve. Harish, was engaged as an advisor. Later he was advisor for many other projects including the Teekampagne’s Chai Project.

He was always generous with his knowledge and skills and never turned down a request for help from those in need. It is to his credit, that the small grower’s movement started in Darjeeling. He promoted cooperative of small growers under the label of Organic Ekta Small Growers’ Society, which is gradually transforming into a community movement for taking back control of the economy from large corporations and business entities to the hands of small farmers.

In his last interview, Harish Mukhia had shared his concern about the Darjeeling region and particularly it’s tea industry. He had said, “today most companies are only concerned about their profit margin, they don’t care about the tea, the bushes or the people. Till there is profit, they will suck it dry, and abandon the gardens later. We must change this.”

Harish sir’s life was well-lived, and the movement he started is growing stronger by the day. He was a visionary who envisioned a better Darjeeling. We hope his story will inspire the present and the future generations.

You can watch his full interview from 2017 here

The post Harish Mukhia – A visionary appeared first on The Darjeeling Chronicle.

He was greatly inspired by the prominent Gandhian freedom fighters of Dehradun like Thakur Chandan Singh, Veer Khadagabahadur Singh Bisht, Pandit Ishwaranand Gorkha, and Amar Singh Thapa. The Dandi March of Mahatma Gandhi in 1930 to violate “salt rule” started generating patriotic sentiments in the heart of Durga Malla, motivating him to take part in the freedom struggle.

At the time of the Satyagraha movement, Durga Malla was only a student of the ninth class, but he was actively engaged in anti-British activities in his locality. He used to enter the Gorkha battalion area in the night with some of his friends to paste posters of the freedom struggle. Sometimes, he participated in processions with freedom fighters. Due to his anti-British activities, his family was frequently subjected to severe interrogation by the British Government.

Durga Malla was in his youth in 1930.

The formation of the Indian National Army represented a milestone in the history of India’s freedom struggle. Durga Malla was one of those who played an important role in the formation of the Indian National Army. In 1942, he not only joined this Army with a patriotic zeal but also inspired his fellow men to join it.

Initially, Durga Malla was given the responsibility to mobilize volunteers for the Indian National Army from different Gorkha battalions. Later, by virtue of his patriotic feelings, his sense of duty towards his country, and his valor, he earned a promotion to the rank of Major.

When after the formation of the Provisional Azad Hind Government under the supreme command of Netaji Subhas Chandra Bose war was declared against the Allied Forces on 25 October 1943, soldiers of different branches of the Indian National Army were deployed on the fronts. Durga Malla was posted in the Intelligence Branch.

After his arrest, Durga Malla was kept in the prison at Red Fort, New Delhi as a prisoner of war. He was prosecuted by the military court under section 41 of the Indian Army Law and section 121 of the Indian Penal Code. He was given death sentence by the Court Martial, the court of trial before which he was tried at Red Fort.

That was the time when the imperialist British rulers were trying to suppress the Indian freedom struggle by all means. Therefore, before the death sentence was finally executed, the British authorities tried to coax Major Durga Malla into confessing the wrong and promised him a grant of remission if he could do so. But it was against the wishes of Veer Durga Malla whose only objective was to get the country free. He preferred to embrace the gallows rather than accepting the proposal of the British rulers. All persuasions having failed, Durga Malla’s wife Smt. Sharda Devi was brought before him to the prison cell as the last resort. British authorities were of the opinion that she would persuade her husband to apologize. But Major Malla yielded to no devices of the British authorities. On the contrary, he gave his wife his last words by saying. “Sharda, I am sacrificing my life for the freedom of my motherland. You need not be worried and distressed. Crores of Hindustanis will be with you after my death. The Sacrifice I am offering, shall not go in vain. India shall be free. I am confident, this is only a matter of time.”

On 25th August 1944, he was sent to the gallows.

The post REMEMBER THE BRAVEHEART: Major Durga Malla of INA on his Birth Anniversary appeared first on The Darjeeling Chronicle.

Full Interview with Gorkhali Great Binod Pradhan – His Candid views on Life, Cinematography, and Gorkhaland

Brief Profile

Name: Binod Pradhan
Profession: Cinematographer/Director
Son of: Mr. and Mrs. Hoom Kumar Pradhan and Basanti Pradhan
Better half: Sonali Pradhan
Children: Binay Pradhan, Deep Pradhan
Place of birth: Singamari, Darjeeling
Primary School: St. Joseph’s Convent, St. Augustine, Dr. Graham’s Homes, Kalimpong
Secondary School: Dr. Graham’s Homes
Higher Secondary school: Dr. Graham’s Homes
College: North Point, Government College, Darjeeling
Philosophy of Life: Try a little harder
Favourite Movies: Pather Panchali, Mother India, Godfather, Rush

TheDC: Could you please tell us about yourself, how was it growing up in Kalimpong?
Binod: I was a sidha bacha in my childhood. I never made my parents pull their hair in exasperation (I am lying)… I think I was emotional and constantly in love with someone secretly [classic Darjeeling ailment – Maan man mai love] or with some actress in my dreams. I was a dreamer weaving stories around me. I was never a troublemaker or a local gangster itching for a fight. Most of my energy went into photography.

I love and look back on those days when I used to go around outside Kalimpong taking photographs of the landscapes and people. I used to have a lot of fun all by myself and my cameras. Today’s digital technology has put a camera into everybody’s hand, but how many look out at nature and capture it? More than before, but maybe not enough.

TheDC: What made you take interest in photography?
Binod: My father did. I remember as a Pre-school kid I used to go to Pushpa Studio where my dad used to work. I was engrossed in seeing the pictures of the Tibetans come from Tibet. As a kid, I remember watching from my first-floor house in 10th Mile the rain and raindrops dance on the electric wires on the poles outside. It left me quite fascinated seeing how they combine and drop of as new drops came sliding to meet other drops. I think as a kid I was quite visually aware. I was horrified to notice that my father was smaller than the cherry blossom tree in school in St. Joseph’s Convent where I was studying in Kg. And I just loved watching movies. I used to plague my father every time a Hollywood movie came to the theatres.

A friend and I spent some of our break time mimicking horses with our fingers and imagining them to be cowboys chasing the villains in movies. I was in class 4 or 5 in Dr. Graham’s Homes when my dad (who owned a studio by then) gave me some leftover negative film and a simple camera called Fulvue. I was absolutely thrilled and took pictures of my friend. On the roof of his house, he stood like a hero in one of the pictures. Since that day there was no looking back.

The magic of photography caught me never to leave me again. I got involved and learned processing and printing from my dad. The first professional work was covering a school sports day when I was in class 6. I remember mixing up the shutter values and most of the runners came blurred. The Schooldays was a learning period in photography for me where I learned from books and finally I knew more than what my father knew. Such a passion it was. I sacrificed my sleep, my free time to photography.

TheDC: When/how did you decide to take up Cinematography as a profession?
Binod: Cinematography was an accident. By the time I finished school in Kalimpong, I was like a king in my small pond of photography. I had little knowledge of what the outside photographic world had to offer. My thirst kept pressing me for more. A sentence from Mr. Ganesh Mani Pradhan changed my life. He said why don’t you try to study at the Film Institute of India in Poona. My father, ever encouraging, took me to Poona to check on the school. I learned that photography was the first year course there, after which they taught Cinematography.

The next year I applied and got admission against quite a tough competition. All those school and college years of interest in photography helped me, and the examiners were quite floored by my knowledge of photography. I even corrected the professor of Cinematography about a term in photography (actually I laid a trap ).

The Dean of the Institute requested to keep a picture of a rose that I had taken. I was more than happy to give it to him as I realized that my seat was assured by this request. I was number one on the selected list. This was the beginning to my marriage with cinematography.

TheDC: Cinematography must have an unusual profession choice back in the day, how did your parents react? Did they not push you to join a government job?
Binod: I don’t think my father would have pushed me into any other profession. I would have committed harakiri (hahaha). But such was my intensity to learn photography that my father didn’t even think of sending me for anything else. Right from my school days my career target was set. Even my friends appreciated my decision, so early on in school life, to be a professional photographer.

I could have run my father’s Om Studio straight after finishing school, but I wanted to have formal training, to see what else was there. I loved the quality of the displayed pictures of Das Studio in Darjeeling. I knew there was more to learn.

Once I passed from the Institute, I realized that I won’t be able to work in Om Studio anymore. I was overqualified and my interest had shifted to cinematography. My parents fully supported my desire to move to Mumbai.

TheDC: We know that you have struggled a lot and persevered, can you please tell us about your struggling days?
Binod: In the beginning after finishing the course in what is called Motion Picture Photography, I was too scared of facing Bombay city. I knew nothing of the city or how to try to get work out there. I knew of no cinematographer or their address where I could contact them for work and the stories I had heard about them didn’t encourage me one bit.

Mr. Prem Sagar, a known cinematographer had come to examine my senior finalists when I was in my 2nd year. I was assisting one of my seniors with the exercise. He was impressed by my work and one year later called me to join his company after my course.

This was a huge Godsend since if it weren’t for this opportunity I would have gone back home. I joined him on a salary of Rupees 500. This drove my single-minded determination to be a Cinematographer in Bombay. Later I had opportunities to get double the salary in Doordarshan. One senior friend from Singapore even tempted me to join him in a coverage job abroad for a stupendous salary of 10,000. They didn’t attract me at all because these weren’t jobs of making movies.

TheDC: Could you please tell us how you got your break?
Binod: After two years as an assistant to three different cinematographers, I decided that I should do independent work only. I gave up a fairly interesting and by then lucrative job to try to work as a cinematographer. My period of hardship began. In one year I remember I worked for just about a week. I started getting some work in documentaries but mostly I was in a financial mess.

Sixteen Ex-students formed a co-operative called Yukt with the idea of making non-commercial films. This included people like Mani Kaul and Sayeed Mirza. I was part of it and got to shoot my first film as one of the cinematographers in a Marathi film called Ghashiram Kotwal, a highly experimental film that didn’t get released in theatres. Another jobless phase later came to another Marathi film called Jait re Jait. Slowly, very slowly jobs started trickling in, Hindi, Nepali, Assamese, Haryanvi. There was no looking back.

TheDC: Which was your big break, as in a movie which announced to the world that you have arrived? And how did that happen?
Binod: Parinda was my second film with Vinod Chopra. My approach to shooting this film was to make it look like anything but a Hindi film. I never liked the way Hindi films looked right since my college days. I took inspiration from Godfather (still is one of my favourite films.) shot by Gordon Willis, who is among the best cinematographers the world has seen.

I couldn’t reach his standards but it went fairly high enough to be noticed by the film industry. I got a lot of appreciation but was very disappointed in losing the Filmfare award to Chandani.

TheDC: Was it difficult for you as a Gorkhali to be established in the Mumbai film industry?
Binod: As a person not having to face the camera, I didn’t have to suffer any sort of racial discrimination. I probably didn’t know too many people to really understand or face that problem. Some thought I was a very strange-looking Maharashtrian Pradhan. Many times I had to explain that we have Pradhan in Nepali too. Some called me chinky, but it was in all goodness and fun.

TheDC: Is the industry more open to the people from North-East India today than it was when you started? How?
Binod: Now the doors are wide open for people from all over the country, as long as they are good at their work. When I came, there were fewer films and even fewer cinematographers. Television which absorbs a very large number of people today was non-existent then. Life and struggle were proportionately more difficult. I know of many who have gone back home with shattered dreams.

TheDC: Today Binod Pradhan is synonymous with amazing creativity, what does success feel like?
Binod: For me today, success is a stepping stone for more creativity in cinematography.

TheDC: From amongst all the movies that you have done which was/has been your most difficult project, and why?
Binod: Creatively, I would consider Rang De Basanti more challenging. Most films have to be treated differently from each other. That’s why films like Parinda, 1942 A Love Story, Devdas, Rang De Basanti, Delhi 6, Bhaag Milkha Bhaag look different from each other. Actually I had the opportunity to make these films look different from each other.

TheDC: Which project is the closest to your heart and why?
Binod: I can’t put my finger on one. With the amount of hard work one puts into each film, I don’t think I can be partial to one. Lets say that the harder I work on a film, the closer it comes to me.

TheDC: Who is (are) your favourite director(s), and why?
Binod: Vinod Chopra and Rakeyesh Mehra since I have grown many folds working with them.

TheDC: What do you like the most about your profession?
Binod: I like this idea of working with one of the most ethereal of mediums in the universe. Light.

TheDC: We hear that you are going to direct a movie soon, are you excited?
Binod: Hope it turns out fine. Actually, I’m quite worried.

TheDC: What is the secret of your success when so many others have failed in your field?
Binod: I wish I knew. Maybe it is very hard conscientious work and always trying harder than before.

TheDC: Any words of advice for youngsters who want to follow in your footsteps
Binod: Study hard and don’t be afraid of experimenting. Eat, drink and breathe your passion. The last thing that should attract you in this field or should I say that you should never get attracted to in this field is – because of glamour. The movie industry needs a lot of hard work, long erratic hours of work, creativity and camaraderie. If you have them all then you might make it, with some luck I guess.

TheDC: Do you have any plans to make Nepali movies? or Hindi movies based on stories from our region?
Binod: No plans as of now. I would love to if an appropriate project comes my way.

TheDC: Some people have suggested that all the big names from our parts of the world Darjeeling, Kalimpong, Kurseong, Mirik, Siliguri, Sikkim do not care for our people once they make it big? What do you have to say to them?
Binod: As far as I am concerned, it may not be true. I have given opportunities to deserving people. I have helped my people in my own small way whether it is for studies in Kalimpong and/or odd jobs. Problems arise when people get attracted to the Mumbai film industry because of the glamour attached. Ever so often kids come to me with dreams of making it big but without any knowledge, especially in acting. It isn’t an easy path that I could help anyone to be an actor or for that matter a cinematographer. For every one success, there are hundreds who fail. So unless one has talent, and I see some hope, I can’t help.

TheDC: Do you have any plans that include the Darjeeling region in the future?
Binod: None at the moment besides my son’s marriage in Kalimpong.

TheDC: Any comments on the Gorkha identity issue?
Binod: It is a problem I have faced quite often before. If I call myself a Nepali, I am not from Nepal. So do I call myself a Bengali? This is the only direct problem that I have faced.

TheDC: Any comments on the Gorkhaland statehood issue?
Binod: I am like any other Gorkha from my soil. I yearn for this dream to come true. It would be a big benefit to my people in the hills who have been quite isolated from the outside world.

We are most grateful to Shri. Binod Pradhan Ji for taking his invaluable time to answer all our questions. We acknowledge the help from Ms. Mandakini Pradhan for making this interview possible – thank you guys

The post Full Interview with Gorkhali Great Binod Pradhan – His Candid views on Life, Cinematography, and Gorkhaland appeared first on The Darjeeling Chronicle.

Karna Thami sir was a Sahitya Akademi Awardee, and had published many books in Nepali, Hindi and Bengali languages.

वरिष्ठ साहित्यकार कर्ण थामी प्रति नेसासको श्रद्धाञ्जली

नेपाली साहित्य सम्मेलन, दार्जीलिङका पूर्व अध्यक्ष तथा बहुमुखी प्रतिभाशाली ‌व्यक्ति‌त्वका धनी कर्ण थामी उपचाराधीन अवस्थामा गत १४ सितम्बर सोमवारको दिन स्वर्गवास हुनगयो ।

उनका‌दु:खद् निधनले सम्मेलनका सदस्य, सम्पूर्ण साहित्यकार लगायत उनका शुभचिन्तक महानुभाववर्ग अत्यन्त मर्माहत बन्न पुगेका छन् । उनका जीवनको पूर्वार्द्धमा एक सक्रिय राजनैतिक कार्यकर्ताको रूपमा रहेर आफ्नो जाति र समाजको सेवा कार्य गरेका थिए भने उत्तरार्द्धका सम्पूर्ण जीवनमा भाषा-साहित्यको संरक्षण-सम्बर्द्धन गर्नमा बिताएका थिए ।

उनी नेपाली, हिन्दी र बंगला भाषाका कुशल ज्ञाता थिए । कथा, कविता र उपन्यास आदि उनका मौलिक कृतिहरू प्रकाशित छन् भने हिन्दी, बंगला भाषाका अनुवाद का कृतिहरू प्रकाशित छन् ।

उनका प्रकाशित कृतिहरू:
१. बंगलाका श्रेष्ठ कथा – १९७०
२. अनि बादल यसरी‌फाटिन्छ -१९८४
३. भारतीय शिखर कोश नेपाली कहांनिया, भाग 1 हिन्दीअनुवाद – १९८८
४. प्रतिध्वनि, नाटक – ‌१९८९
५.भारतीय शिखर कोश, भंग २,
६. धुप जलिरहेछ, कविता – १९९१
७. सुखान्त का कविता हरु, अनुवाद – १९९१
८. संय्जय विश्वासका कविताहरू, अनुवाद – १९९३
९. बापूका जीवन कथाहरू, अनुवाद – १९९९
१०. मुक्त माटोको खोजीमा, कथा संग्रह – १९९७
११. सूर्य श्रेष्ठका कविताहरु, हिन्दी अनुवाद ही
१२. गोपीचन्द्र प्रधानका कविताहरू,‌हिन्दी अनुवाद
१३. प्रतिक्रिया – उपन्यास- २०१२
१४. उदुम्बरा, कविता संग्रह- २०१५
१५. मौरी र झींगा, बालकथा- २०१६
१६. शान्ति सुहासिनी, कथासंग्रह (प्रेसमा) आदि प्रकाशित छन् ।

बंगला भाषाका काव्यकृति ‘सुकान्त समग्र’ नेपाली भाषामा अनुवाद गरेका ‘सुकान्तका कविताहरू’-मा १९९४ को साहित्य अकादेमी प्रथम अनुवाद पुरस्कार विजेता हुन् ।

साहित्य सम्मेलनको वर्तमान भवन निर्माणकार्य, भानुसालिग पुनः स्थापना, नेपाली भाषा मान्यता अभियान आदि कार्यहरूमा उनका महत्वपूर्ण योगदान रहेको छ । त्यसैले, उनलाई साहित्य सम्मेलनका अभिभावक तथा संरक्षक थिए भन्दा अत्युक्ति ‌हुने छैन । यस्ता होनाहार व्यक्तित्वका दिवंगत-आत्मा शान्तिको‌ निम्ति साहित्य सम्मेलनका सदस्यीय, साहित्यकार अनि शुभचिन्तक सम्पूर्ण महानुभावहरुले‌ यस वैश्विक संक्रमण तथा कोविड 19 को भयावह स्थितिमा आ-आफ्नो घरमा बसेर ईश्वरसँग प्रार्थना गरिदिन हुन् साहित्य सम्मेलनका अध्यक्ष डा चन्द्रकुमार राईले निवेदन गरेका छन् ।

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TheDC team mourns the demise of Ren. Sonam Tshering Lepcha – who was not just an Icon, but a cultural phenomenon.

Born in Bong Busty, Kalimpong on the 3^rd of January 1928, he studied in a primary school locally until Class 5, and in 1945 he joined 10 Gorkha Rifles under the then British Indian Army, later he joined West Bengal police. But it was his passion for music and the people of our hills, especially Lepcha culture and traditions took him towards his destiny.

Back in the day, when not much importance was given to folk music, he started to travel to remote villages to learn about and teach Lepcha music. He would conduct competition among children and encourage them to learn folk music – both Lepcha and Nepali.

On the 14^th of October 1960, Ren. Sonam became the first among Lepcha people to air his voice on All India Radio. In 1963, he staged his first Musical, “Teesta Rangeet” in Lepcha language. He has composed and compiled numerous Lepcha songs, researched on Lepcha musical instruments, and presented dance-dramas based on Lepcha folklore. He has also published “Vom Jat Ling Chhyo”, a book of Lepcha folk songs in 2011.

Ren. Sonam Tshering was honoured with the Sangeet Natak Akademi Award in 1995, and the Government of India honoured him with the Padma Shri in 2007.

Ren. Sonam Tshering Lepcha was also elected Tagore Fellow of Sangeet Natak Akademi for his contribution to Indian music.

He can be attributed with single-handedly reviving Lepcha music, culture and traditions, who has to his credit over 400 folk songs, 102 folk dances and 10 dance dramas.

He died on 30 July, 2020 due to cardiac arrest.

Mourning his death, Prime Minister Narendra Modi tweeted, “Padma Shri Ren Sonam Tshering Lepcha Ji was a a multi-faceted personality. He made outstanding efforts to popularise the great Lepcha culture. His works are respected across generations. Anguished by his demise. Condolences to his family and admirers. Om Shanti.”

We pay our humble tributes to this Great Icon from our Kalimpong hills. His life and legacy will continue to inspire us.

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Not many know Late. Norden Tenzing gave us evergreen hits like Musu Musu Haasi Deu, Farki Heray, Gajalu le Akhai Chopney, Kaha Timro Mayalu Lai among many others.

Norden Tenzing is no longer in this world with us today as he took his final breath at Aldershot, UK at the age of 69 on 4th of August. Today, we remember him and also the contribution of his music to our lives and by extension, to the greater world.

Roots in Kurseong

The founder of one of the best Nepali musical bands – The Himalayan Band, Norden was born in Kurseong. Though he started singing little late, the seeds of music had got planted in his mind at a very young age of 10-12. It was through that age that he would visit his grandparents, where the music icons like Amber Gurung, Gopal Yonzone, Shanti Thatal, Ranjit Gazmer were frequent visitors. Though he (and other children) weren’t allowed to enter the room where the legends would play music and sing, he would hear them from another room. It was there where he got deeply inspired into music.

No wonder he always considered them his as his source of inspiration.

His life had him travel places. He travelled to Illam, then to Katihar, then to Jogbani, Jogbani to Dharan, Dharan to Barackpore, Barackpore to Hong Kong and then from Hong Kong finally to UK in 1971. Though he always had this passion for music, his actual rendezvous with music started when he was a soldier at the British Army.

Life as a Soldier Singer

The Himalayan Band was formed when Norden met some likeminded people in the army who would play instruments. They started playing together as a band after buying second hand instruments from Hong Kong. It was Norden who named the band. The name because no matter where and how they were, their heart always remained deeply rooted in the Himalayas.

The band would perform at every possible occasion in the regiment, mainly doing covers. It was only when the BFBS radio called them to come with an original song for recording that they recorded the song “Gajalu le Akhai Chopney”, which originally belonged to Norden’s friend Late Arun Thapa. The song became an instant hit and the band started receiving love and recognition widely. The fame motivated Norden to push for more original content.

Since that day, Norden never looked back. He went on bringing songs that would be received with love by all, and he became a sensation. Unfortunately, while everything was going well, he was diagnosed with throat cancer. He fought it hard and well, and never gave up on his love for music.

Love for Darjeeling

As much as he loved music, he also loved his hometown, Darjeeling. Once in an interview he was asked about the best moments in his life. He didn’t think twice to say that it was performing at Gangtok with the native band of Darjeeling,  The Darjeeling Carnival.

He was also asked in the same interview about the awards and honour he had received, to which he mentioned few honours that he was given by different organisations, but most of all, he recognised the love from the people of his hometown Darjeeling as always to be the highest honour for him.

As he had lived two lives, one that of a soldier and another one of an artist, he always had two sides of him open for the people. While a lot of them knew him for his British army designation, when he came back to Darjeeling he was simply greeted as Norden Daju, the artist, the singer, what he regarded as one of the best accomplishments of his life. It was this love for his place that resonated in the emotions of his songs.

As a soldier in the British army living miles away from home, his songs were indeed influenced by the emotion of missing the hills, or some long lost love he had left behind in the same hills or maybe the songs that rusty winds would sing to the bushes of the tea back home.

Norden and His family

Norden Tenzing had a very happy family. He had immense support from his wife, who was an English lady, and his children. He would play them his tunes, ask for feedback. He however had some bitter experiences with some of his friends, who for their own benefit, compromised with his trust and allegedly traded on his compositions. But he didn’t have any hatred in him.

His song “Musu Musu Haasi Dew” was in fact picked up for a Bollywood song that actually went on to become very popular. And all he had to say about it was that he would feel happier if his name was mentioned somewhere as the original composer of the song, but then he was fine with it.

Adieu Dear Norden Daju

As we bid him farewell, we keep with us his name as the vocalist of one of the finest Nepali Bands, the most legendary of all. We keep with ourselves his songs, his words and the feelings that they brought to us. While some person in a distant land would still hear “Kaha Timro Mayalu lai Chadi Rakhew” while missing home, some other person would try to sing the cover of “Gajalu le aankhai chopney”. These songs are forever here to stay. The songs shall live till the day we have the last Dewsi Band performing.

Well for me, I would always try to find my solace in “Farki Heray”.

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It is true that the stories of courage and valour of the Gorkha Soldiers can be heard anywhere in the world, with no mark of question or disbelief, but often its easy to forget the valour of our brave hearts. Here, we share with you stories of two such Gorkha Soldiers – Victoria Cross Netra Bahadur Thapa and Againsingh Rai, whose legacy has remained and will remain bold in the pages of History – they defined what the Gorkha impact was in World War II.

Netra Bahadur Thapa – The Legend of “Mortar Bluff”

Netra Bahadur Thapa was born in 1916 and enlisted with the Gorkha Rifles in 1932. He served on the North West Frontier and was promoted to Subedar, before being transferred to the 2nd Battalion of the regiment and being posted to the Chin hills in Burma with the 17th Indian Division. In March 1944 the division was ordered to withdraw to Imphal to halt the Japanese assault and movement towards the Indian Assam plains and Bengal. Along the line of communication known as the Tiddim-Imphal Road, huge numbers of casualties mounted, as the Japanese 15th Army became determined to push through and take Imphal at all costs.

During this battle, 2/5 Gorkha Rifles was stationed in the Bishenpur area, and on June 25th Netra Bahadur (then an acting Subedar), was in command of a garrison of 41 soldiers at an isolated hillside piquet called ‘Mortar Bluff’. This position was isolated, 400 yards from the nearest other piquet, and devoid of cover. It was also overlooked by a position named ‘Water Piquet’ to the south, which was on higher ground and had been captured by Japanese troops the previous night. It was vital that Mortar Bluff be held, and so a relief force was sent to bolster the piquet’s forces (itself harassed by sniper fire) at 6:30PM.

Just over an hour later the enemy attack began with 75mm and 37mm artillery pieces on the enemy high ground pouring a constant stream of shells onto the position for 10 minutes, followed up by an infantry attack. Netra Bahadur and his men defended themselves fiercely, with Netra Bahadur exhorting his men to hold fast, and finally succeeded in driving the Japanese back. Netra Bahadur displayed tireless energy, moving between his men’s positions, encouraging his young soldiers and tending the wounded. In the lull that followed, Netra Bahadur reported his situation to his Commanding Officer via field telephone, called in more artillery support, and braced for the next assault.

Under the cover of jungle, darkness and torrential rain, the next Japanese attack proved just as ferocious, but the Gorkha troops held out until the one section’s Light Machine Gun and Heavy Machine Gun jammed. Their fire-power reduced, the section was unable to maintain its position and the enemy overran their section of the defences, killing 12 out of 16 of its defenders. With no reserve to call on, Netra Bahadur himself charged forward from his HQ position and stemmed any further advance with a hail of grenades.

At this point, with low ammunition, the enemy in partial control of his perimeter and over half his men casualties, Netra Bahadur would have been justified in a withdrawal. However, his next report to his C.O. stated that he intended to hold, and simply requested ammunition and reinforcements. Despite several more attempts, no more ground was gained by the attackers, due to Netra Bahadur’s efficient plans for defence and deployment of his troops. Eventually, at 4AM the next morning, a section of 8 men with grenades and ammunition in support arrived. This drew the attention of the attackers, and very soon all 8 were casualties.

Undaunted, Netra Bahadur retrieved the ammunition and supplies himself, and led a renewed offensive at the head of his platoon HQ, with grenade and Khukuri. It was in this assault that he was shot in the mouth, and shortly afterwards struck by a grenade blast, which finally killed him. His body was found the next day, still clutching his Khukuri, lying next to a dead enemy soldier bearing fatal Khukuri wounds.

Netra Bahadur’s Victoria Cross was presented to his young widow, Nainasara Magarni, by Field Marshal Lord Wavell, the Viceroy of India, on January 23rd 1945.

Agansing Rai – Re-taker of “Water Piquet”

Agansing Rai was born in 1920 and recruited into the Gorkha Rifles in 1941. He rose to become a section commander with the 2nd Battalion during action in the Chin hills of Burma in 1943 and 1944. In June 1944 his battalion, part of the 17th Indian Division, was under pressure trying to stem the Japanese advance on Imphal by their 15th Army.

The battalion operated around the area of Bishenpur, and on the morning of June 26th 1944 C Company of Gorkha Rifles was ordered to retake two positions, ‘Water Piquet’ and ‘Mortar Bluff’, from the Japanese, who had captured them in the previous days (the latter only after a staunch defence by a number of soldiers under Subedar Netrabahadur Thapa the day before, who was posthumously awarded the V.C. for his actions). Water Picquet overlooked Mortar Bluff from about 200 yards away and both positions mutually supported the other, so capturing both was a necessity. The positions were bounded on one side by dense jungle but on the others by bare and open ground, up a slippery ridge, with the last 800 or so yards in full view of the enemy, in addition, about 80 yards before the positions, a false ridge stood, leaving this last distance both the obvious point from which an assault would come and completely open for any soldier attacking across it.

Nevertheless, after a preliminary artillery bombardment, C Company attacked, but were pinned down at the false crest by heavy fire from a machine gun at Mortar Bluff and a 37mm artillery piece in the jungle. Naik Agansing Rai, perceiving that any delay would just result in more casualties, instead led a charge towards Mortar Bluff, firing as he went. He himself managed to kill three of the four troops in the machine gun position, and his men, inspired by this followed him and routed the whole enemy garrison at Mortar Bluff. This position came under renewed fire from the 37mm gun so Agansing again led his section in a charge on the gun. Though they lost three men before reaching their objective, they closed with the enemy gun crew, with Agansing killing three of them and his men the other two. The section then returned to Mortar Bluff and along with the rest of their platoon, prepared for the final assault on Water Piquet.

During the advance on Water Piquet, an isolated bunker position held by the Japanese cause further serious casualties with grenade and machine gun fire, so again Agansing, covered by his Bren Gunner, advanced alone, with grenade and Thompson sub-machine gun. Through the hail of enemy fire, he reached the bunker and managed to kill all four occupants. This display of calm and courage demoralised the enemy at Water Piquet, and so in a final rush the position was captured.

Agansing Rai received his Victoria Cross from Field Marshal Lord Wavell, the Viceroy of India, on January 23rd 1945, in the same ceremony as the widow of Netrabahadur Thapa.

He later returned to the Gorkha Rifles regimental centre as an instructor, and would later remain with the Indian Army after 1947, serving as Subedar Major with his battalion in the Congo in 1962-63 as part of the United Nations Force there.

It is the bravery of people like Victoria Cross winners Netra Bahadur Thapa and Againsingh Rai that earned the Gorkhas a good name world over. We salute them.

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This is her story

Brief Bio

Name: Shanti Rai
Ama: Baishamaya Rai 
Baba: Sundal Rai 
School: Rangpo Primary School 
H.S: Mining, near FCI Godown 
Working as: Lead guide and rescuer – GTA Tourism, Teesta 

TheDC: Can you tell us about your growing up days, how were you as a child?

Shanti: I loved the outdoors, I still do. I cannot imagine a life sitting in an office, I need to be outside. Right from my childhood, I used to be a very active child, I participated in all the athletic events in school – 100mts, 200mts, Javelin, Discuss throw – everything – and would invariably always come first. I was also a district level football player in the age groups of 16-17. When National Games were organized in Sikkim in 1999-2000, I participated in 100mts race and marathon.

Let’s put it this way, anything that would get me out in the open, I would participate in it. I couldn’t even sit in the class, I used to feel restless.

TheDC: Your love for Teesta is apparent for everyone to see, how did the relationship begin?

Shanti: I was born in her lap, so obviously she is like a mother to me. I honestly don’t remember when I started to play in the river, but that is where I actually felt at home. Right from my childhood, I would try and cross rivers, many a times smaller rivers (khola) would wash me away, but I managed to crawl back. These rivers are also like siblings for me, I grew up playing with them.

TheDC: Teesta is (or sadly was ) one of the fastest flowing rivers in the world, when did you first cross Teesta?

Shanti: I remember it like yesterday; the sense of achievement I felt that day. Imagine growing up with Teesta flowing outside your window, and that urge from deep within, a challenge of sorts since you learn to swim, that no other tests of your skills will do, the only way to know you have learned swimming is if you cross Teesta and her raging currents. I was only 16-yrs-old when I was able to cross her. Mama ko chora ra ek jana sathi pani thyo (she conspiratorially adds).

At the other bank Bel (Bengal quince) pakeko hunthyo – so we crossed to get some.

But what a day it was.

TheDC: How did you get into rafting?

Shanti: See when you grow up next to a river, the river becomes a huge part of your life. As kids, we would get on a tube at Rangpo and float down to our village – Tarkhola. Later we would see the raft, and once a raft came closer to our village we would swim and touch it.

In 1997 a Tashila Bridge Tourism Festival was held in Sikkim, and they had organized a rafting competition, I observed the rafts and at night I crossed the river alone using an oar boat. When my brother found out the next day he was very upset and angry, but I could tell he felt proud of me.

So from then on, whenever they would raft, they started to take me as a helper. Once was enough, I was hooked to rafting. All I wanted to do was ride the raft, I didn’t mind being a helper.

In 2000, Tashila Rafting Competition, I came 3^rd, I was the only female in my group. It felt incredible. I was offered a job as lead rafting guide.

TheDC: Did rafting and rescuing go together? How did you get involved with rescuing?

Shanti: In August 20005, I had gone to Malli as my Cousin sister had died, and was travelling back, and we got caught in a traffic jam. When we reached the spot, we realized a vehicle had plunged down into the river, and someone was trying to find a way to reach the vehicle. The vehicle was stuck in what is known as “boiling AD,” the water was rushing from all sides.

When I saw the situation, I didn’t think much. I just grabbed the rope and went down. I first rescued one individual, later we made a human-chain and helped rescue a child, then I jumped into the river to rescue a woman, then took one to the roof of the vehicle. Tragically one youth had tried to swim before I could reach him, and he drowned. We were able to rescue the rest. After that I went home.

Later the word spread raicha and many organizations from Rangpo to Kalimpong honoured my efforts with Life Saver’s Award. I wasn’t expecting that, but that’s how my journey as a rescuer began, it was a spurt of the moment thing.

Later when NHPC bridge was washed away due to the raising river, many people were washed away, a few were stuck in an island in the river, we initiated the rescue efforts at around 7 AM and it went on till 11 PM –that day we rescued 250 people.

So it continued like that.

I am the Founder and president of Teesta Rangeet Rescue Centre, and we rescue people along Teesta.

TheDC: Rafters from Teesta have travelled as far as Bihar for rescuing, tell us about it

Shanti: Bihar was flooded and widespread death was being reported. Rafting experts from Teesta decided to form a team and go help the people there. But when my seniors told me not to go as I was a woman, I felt like crying. But I was adamant that I would join the team. Eventually they relented, and we ended up rescuing over 1200 people in Bihar.

TheDC: Let’s talk about Teesta, how has it changed in your lifetime?

Shanti: Please don’t even get me started. I feel terrible these days. Teesta is no more the same. It breaks my heart, earlier she was free, today we can see her being caged. But we cannot do anything. I feel so hopeless.

TheDC: How has that effected rafting in Teesta

Shanti: These dams have changed our river. It has become so unpredictable. The rapids have changed due to the river constantly rising or slowing down.

From the dams, they release the water without any intimation, earlier we knew the rapids, now we don’t.

People enjoying a leisurely day at Beni (where Teesta and Rangeet meet) have been washed away as the river came gushing down after the dams released the water without intimation.

When tourists come, we take the tourist to the river, and when the river is low, we try to kill the time. But experienced tourists are unhappy. Earlier tourists would see rafts floating down the river and they would want to experience the same. Today the road and the river have diverged, tourists willing to try rafting have drastically declined.

All we can do is hope for a better system to be put in place when the dams release their water so that tourist experiences and safety is not compromised with.

TheDC: What are your thoughts on more female rafters?

Shanti: Honestly, I feel like more woman should join, but due to the lack of training, they don’t join. Teesta is not a swimming pool. I have spent my entire life next to her, I learned swimming with her, I learned boating, and then rafting with her. It took a lot of hard work and patience for me to become a certified rafter and rescuer. Having said that, there is always someone willing to teach to those who actually want to learn the skills.

TheDC: Any message to the youngsters, especially those female youths who may be reading this?

Shanti: I fully support those youths who are charting their own course, not listening to what people or the society says about them.

To the young girls out there – be good, we can do everything, we can help others, learn skills, it will help if you help others.

In addition to her rafting and rescuing adventures, Shanti is a football coach too, and currently she is training around 20 children under her. She also trains them swimming.

We wish Ms. Shanti Rai Good Luck in her journey forward, and thank her for being such an inspiration. She has truly proven, there is no limit – one can achieve anything one puts their hearts in.

Anyone who wants to reach out to her, she is usually found rafting from Labarbotey to Malli Bazar. She can be contacted through GTA Tourism Way Side Inn near Chitrey, Teesta.

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The blossoming of a flower – is that the only purpose in life? Sisal, doesn’t the wind have a right to blow? Have faith in the wind as well! You know what Sisal, why don’t you just accept the wind? You have also turned into an animal, having grown up in this animalistic society. For once…for once Sisal, just accepts ruin. Perhaps you won’t cry then…

Do you love me?

What a meaningless question…My love is not enough, is it?

That means…you will marry me, right?

Listen, I will marry a man whom I have never seen before….And he has to be able to demonstrate his cruelty and savagery on the wedding night itself. If he attempts to understand my psychology, he will also be defeated, forever defeated. Do you not understand? I don’t believe in love!

Sisal!

I have accepted the necessity of marriage but I don’t believe in surrendering.

Sisal, is this your…

Yes, this is my only conclusion so far.

— An excerpt from Parijat’s Ek Kathin Niskarsha, published in Ruprekha

And this is also Parijat’s only conclusion so far.

“I’m not against marriage as long as there are mutual love and understanding. But I cannot submit myself. I cannot destroy my humanity; neither can I allow someone else to destroy it. To be completely honest, I despise the notion of offering one’s body. Perhaps this is because of my superiority complex.”

It is possible that this is due to her superiority complex. But it’s not that Parijat doesn’t want to get married at all. If someone with all the qualities she desires shows up she will consider marriage. In fact, there is someone in her life whom she considers to be “the one,” but the issue of marriage has been lingering for a while. Bhupi Sherchan, Madan Regmi and others have been associated with Parijat, but marriage is an altogether different ballgame; these men are friends only. And it’s possible that they do not have the qualities desired by Parijat.

“Life is worthless, but it can’t be ignored. What I think of life is– it’s certainly not a joyful experience; humans are born to suffer. Humans have to endure suffering at every stage. One can invent any excuse to survive but whatever excuse one makes, life is very sad; life is purposeless. Even after knowing this, I make several excuses to live and I am capable of making excuses. That’s why there is no point complaining either. So whatever happens, I quietly tolerate and let it be.” Sukanya and I have been listening to Parijat’s speech.

But her speech hasn’t ended yet– “I don’t think humans are inherently good. In comparison, I respect and love dogs equally because I have become disillusioned with humans.”

“Why…” I want to find out her complete reasoning behind this but Parijat interjects, perhaps having sensed my intention, “I have understood people very well, based on my own perspective. Because of our mental prowess and intelligence, we are capable of being extremely knowledgeable; and that’s how I encountered negative traits such as dishonesty and pride. Maybe that’s why there is disillusionment in me.” This is Parijat’s point of view and also Sisal’s attitude. Sakambari and Suyogbir [characters from her novel Sirishko Phool] have similar perspectives.

I ask, “Why have you mixed yourself with your characters in this way, Parijat-Ji? Why did you make each one of them your mouthpiece? Why did you turn Sirishko Phool, Ek Kathin Niskarsha and your poems into your life story?’’ My questions are not a reproach or a complaint, just sincere curiosity.

Sukanya has been embroidering a handkerchief. I am sitting by a window. And in the empty space between us, there is a floor-cushion on which Parijat is sitting.

“None of my work is my life story, but I did make Sisal, Sakambari and Suyogbir speak my thoughts. Basically, when it comes to life principles, I don’t find much difference between theirs and mine.” After saying this, Parijat becomes quiet. I also remain quiet but am thinking to myself, “There isn’t much difference in their daily lives either.”

And I remember Yevgeny Yevtushenko, who said, “If a poet divides herself into two parts– person and poet– then she will definitely murder her artistic self.” Perhaps this is the reason why Parijat hasn’t committed suicide yet. And perhaps Parijat will never commit suicide because I am hearing Parijat say it herself, “This is it for humans. I think this is all we know. And so I have accepted life the way it is and how it is. After all, what are humans anyway? And why should I obey them? I get mixed emotions and that’s why I don’t get too negative either. And so, I don’t want to die just like that.”

A boy enters Parijat’s room, carrying flowers. He knows that Parijat likes flowers. He also knows that this is why Parijat named herself after a flower (a flower that can only be picked after it has fallen, a flower that cannot be touched in its youth, a dead flower picked by Arjun and brought to Kunti so that she could worship Mahadev– that’s Parijat.)

Inside Parijat’s room, lotus and Sawada are arranged neatly on a table; the Parijat flower is not there. In fact, the flower is never placed inside any hotel or club for the decorative purpose; Parijat herself is never seen inside these venues. I know that Parijat doesn’t like to visit or frequent such places. It’s not that she cultivated these habits in the last three years; she was like that even before these three years.

Three years.

One instant. One moment. One era.

Parijat spent all that time inside one small room, like a prisoner. Prisoner of rheumatism. A tall wall at the end of a long street in front of the room– this is the limit of Parijat’s vision. The tall trees standing next to these tall Singha Durbar walls; the spring that graces these trees and the birds twittering and enjoying the spring. Happiness everywhere; delirious birds in flight; and Parijat’s imagination in flight, always in flight– in the form of poems, stories, novels and now as a one-act play.

A doctor comes regularly to check in on Parijat and Parijat regularly goes to Shanta Bhawan for check-ups. This sequence of back and forth continues; so does Parijat’s rheumatism. It’s a parallel progression. Time passes–one, two, three days, a month, a year and then three years.

Tears flow for Parijat.

Pity descends upon Parijat.

A petition gets registered for Parijat.

A team of representatives gets mobilized for Parijat.

The wheels keep turning, Parijat keeps on looking, listening to all this, can’t remain true to herself. Anger arises inside her, frustration increases and she gets bitter, towards herself and towards her sympathizers, because Parijat knows how cheap people’s tears are, how cheap ‘pity’ is, and in this way, how cheap everything is.

I have been looking out of Parijat’s window at the empty street. Sukanya’s handkerchief is not complete. And out of Parijat’s mouth, “It will be exactly three years this March since I have been shut inside a room. I can’t survive on pity and sympathy; that’s why I don’t want to advertise my inconvenience. I am unable to provide pity and sympathy to others as well. That’s why I deeply resent and reject the emotions thrown at me by the literary community. I have accepted my disease as part of my life.” This is how time has been passing.

“My younger sister Sukanya is mad after literature and nationalism and she takes my existence better than (sic) of her own. She loves me like anything. I, who hate parasitism in love and maintenance, am a real parasite of her…”[An excerpt from Parijat’s autobiography, written in English] I have been reading, and I reread it, this time in a clear voice so that people who might be listening can understand. And then I look at Parijat’s face. I sense gratitude. My eyes hover around and land on Sukanya’s face. Her face becomes red– a beautiful mixture of shyness and acknowledgement. I ask Parijat, “This is it?”

“No, apart from Sukanya, I am also grateful to Dayasingh Miss for letting me lengthen my life.”

“And maybe some others?’

“Yes, towards my own life and with my faithlessness with life.”

“Faithlessness…”

“Faith is an experience that has no identity. It might work only for cowards and for people who have no self-esteem. That’s why I don’t have faith in this thing called God. I don’t have faith in life either and I don’t believe in this notion of belonging to someone.”

“Parijat prefers philosophy to literature, right?”

Her response, “I am more of a literary person; philosophy is just a subject of interest but literature is my life.”

“How did that happen?”

“I started writing in order to remove a worry that was inside me…”

“And how did you start publishing?”

“When I was doing my Intermediate studies, Chittaranjan-Ji came to teach Sukanya. At that time, I had written two or three poems. Chittaranjan-ji saw them and said, “I like them, I will publish them.” He took the poems and later Dui Kabita got published in Dharti around 1957.

My response comes in the form of “Oh…” Then I start speaking, “Parijat-ji, how do you view literature these days?”

The answer I get is, “I consider literature a major part of civilization. A nation cannot develop without the development of literature. That’s why literature is an inseparable part of a nation.”

“How much do you trust yourself to develop literature?”

“I don’t trust myself at all when it comes to these things. In fact, I don’t trust the notion that ‘If I do it it’ll develop and if I don’t do it, it won’t develop.” I write readers read. And that’s the limit of my creative ambition. I haven’t thought beyond this.”

“How much have you thought about sex? Should there be a limit to sexual expression in literature? What do you think about this idea?” I try to explore Parijat inside out.

“As long as the writer is honest regarding sex while imagining the work. Sexual expression shouldn’t be vulgar or obscene.”

“To what extent…? Actually, what exactly is vulgarity and obscenity anyway?”

“It depends on the way words and language are used. If sex is described merely for arousal and entertainment, that’s vulgarity and obscenity. Literature shouldn’t be like that. But if the writer is very aware and the description regarding sex is sincere, then one can invent legitimate literature on sex. In fact, this is lacking in the literature, this necessity in life. It’s a problem.”

“That’s fine but sincerity! What kind of sincerity? Sincerity towards whom? Towards yourself? Towards society or towards that handful of readers?”

“Sincerity as in awareness; not towards society or readers but towards yourself.”

Parijat ’s mother passed away when she was a little girl. But her large and prosperous family filled the gap left behind by her mother to some extent. Even so, from a young age, Parijat has been inclined to solitude. Gradually, family members started dying; her father started worrying. His medical practice, once successful, started to diminish. His faithlessness towards life increased; the household’s wealth decreased. While growing up in this environment, Parijat’s tendency to seek solitude became even greater.

Her grandfather had moved from Chainpur to Darjeeling; the granddaughter moved from Darjeeling to Kathmandu. Along with her were her younger sister Sukanya and her father, who had cut himself off from everything in life. The sisters enrolled themselves for further studies. Sukanya went to National College, Parijat to Padma Kanya. Both of them graduated and both stepped forward, prepared to work hard and struggle in order to survive.

Over time, Parijat’s interest in religious texts deepened. Her study of Gita, Bible and Quran increased. Along with this growth in the study, Parijat’s faithlessness also increased and one-day Parijat declared, “Faith is an experience that has no identity.”

The flowers inside a vase close to Parijat’s bed have wilted. Sukanya is rearranging the bouquet brought by the boy earlier in the morning. These flowers are fresh; they are beautiful, an attempt to maintain meaning in Parijat’s life, just like the attempt made by Sirishko Phool.

I ask, “What do you think of Sirishko Phool?”

Sukanya lights a matchstick, Parijat blows out smoke, the smoke rises and colours the room.

Another puff of smoke escapes from Parijat’s mouth and so do these words, “There was no obligation for the philosophical ideas in Sirishko Phool to enter public life, but it did anyway. Now, there is that obligation. I’m proud of the fact that it shook traditional mindsets. I am also proud of Sirishko Phool for introducing an innovative way to write a novel in terms of language, style, plot and character presentation. I was already familiar with the idea that one ought to revolutionize novel-writing. Because no one has actually written a novel in Nepali. No one has the courage to write it, not even as much courage demonstrated by Suyogbir’s acceptance.”

Parijat continues to show her courage; Sukanya and I continue to listen. I have not been merely listening though; I also speak now and then, “Shankar Lamichhane’s preface to Sirishko Phool was controversial out there; do you agree with the preface?”

“I do. I had a wish to get Lamichhane-ji to write a preface to one of my novels, Uttam-ji. I got that wish fulfilled. Someone like Shankar Lamichhane tried to understand my sensibilities and wrote a thoughtful piece about me– that is a great honour. I also agree with his reasoning from a philosophical viewpoint.”

“What do you like writing the most– poems, stories or a novel?’

“Poems.”

“Whose work do you like?”

“I like poems written by Madan Regmi and Mohan Koirala. I also really enjoyed Bhupi’s poems, the ones he wrote when he was still dedicated to literature. When it comes to prose, I prefer Balkrishna Pokhrel, Shankar Lamichhane and Ramesh Bikal. Among those who are writing in innovative ways, I like Dhruba Chanda Gautam, Madan Regmi, and Prema Shah. The way Prema Shah presents her stories is comparable to any other internationally acclaimed writer.”

A cigarette gets lit again, smoke comes out of Parijat’s mouth again. Meanwhile, I resume reading, “I knew afterwards that she was a very beautiful woman who preferred to live behind the curtain with her family members and children, always fascinating the household affairs.” [An excerpt from Parijat’s autobiography, written in English]

This is a description of Parijat’s mother. Parijat’s description will also be similar. Gardening, embroidering, cooking, inviting people for meals – these are Parijat’s interests. She still pursues these interests, although infrequently, as long as her body lets her. Her mother had similar interests as well…And the daughter, just like her mother, is slender and beautiful. The smoke comes out again– this is Parijat’s current medium of entertainment. Actually, this is not the only way she entertains herself. She also enjoys chitchatting, going for picnics into the woods and listening to music.

The sun has been getting stronger in Putali Sadak. Buses and cars zoom past, in competition with each other; the chirping of birds softens. But my voice is clear, “In your opinion, what is your most successful work?”

Parijat’s voice is clearer than mine, “Actually, I haven’t been successful at anything. But in terms of comparative success, I like my story Tiuriko Phool, Paeeriyako Gandha and when it comes to poems, I like Lahurelai Rogi Premikako Patra, Mrityuko Angaloma and Nasodha Ae Ghau. When I read these, I feel like I am really on my way to becoming a writer.”

“What are you planning to write now?”

“If I live, I would like to write one more novel. These days, I write narratives for the radio – at least that covers my cigarette expenses.”

This is Parijat’s life story. No, let’s not call this her life story; this is just commentary. As Yevtushenko said it– “A poet’s autobiography is her poem. Apart from that, everything else is mere commentary.”

September 7, 1963

Parijat was a pen name chosen by the writer Bishnu Kumari Waiba. She was born in Darjeeling. She passed away on April 16, 1992, in Kathmandu at the age of 55. This is a translation by Niranjan Kunwar of an article from Uttam Kunwar’s anthology of interviews, Srasta ra Sahitya (Authors and Literature), published by the Uttam Kunwar Memorial Award Fund.

The featured images are part of The Public Life of Women, an exhibition borne out of the Feminist Memory Project, an ongoing archival project by Nepali Picture Library to re-build the untold histories of women of Nepal. The Public Life of Women is a part of Photo Kathmandu 2018 and will be shown between October 12 and November 16, 2018. These images and other artefacts related to Parijat will be displayed in the Nagbahal Community Health Service Center in Patan during the duration of the festival. For more information about the exhibition, and Photo Kathmandu 2018, please visit the festival website.

We are most grateful to The Record where this article was originally published, for giving us the kind permission to reproduce the same.

We request our readers to visit them at: https://www.recordnepal.com  They are doing a phenomenal job of recording, documenting and telling stories that are often ignored.

The post ‘I don’t have faith in this thing called God,’ Conversation with Parijat from 1963 appeared first on The Darjeeling Chronicle.