Sunday, August 1, 2021

Dangaura Tharu Folk Dance Songs

 


Dangaura Tharu

Folk Dance Songs

 

 

 

 

 

 

 

Compiled and Translated by Mohan Dangaura

 

 

 

 

 

 

MPhil in English Literature

Tribhuvan University

Kirtipur, Nepal

 


Abbreviations:

B- Boy

G- Girl

B and G- Boy and Girl

D- Daughter

F- Father

Tharu Ballade of Ramayan

The prelude:

What tears can be known as tears of pain?

 

The tears that drop during the separation…

 

Why a man needs the help of his accomplice…

 

Jin ka koi nahi sake samjhai bana me chalai dunu bhai ho…4

He raja Dashrath sowain apane mahal me, Kaushalya rowain saharataan ho…1

Bharat bhai rowain sisha mahal me, Kaiki ka jiura aanand ho…1

Are Bharat bhai…

Jinka koi nahi sake samjhai, banme chalata dunu bhai…2

Ye aage aage Ram chale, pichhe bhai Laxman biche me chalali Sita Janaki ho…1

Chhatiya piti piti Dashrath rowain…madhu ban lehalai takai ho…1

 

Jinka ka koi nahi seke samjhai, banme chalanai dunu bhai ho…2

Are bah pakari bahi sake rowain mata Kaushalya, mata jau lalana jo more ho…1

Anna bina tana huibo…jalabina tapasi marijibo bhuka piyase h…2

 

Jinka koi nahi…2

Sakhuwa brikshatar aashan tashaan tara dera ho…2

Belu ke briksha tare bhijat huihi Ram Laxman dunu bhai ho…2

 

To whom no one can persuade, the two siblings stroll in the wilderness…

The lord Dasharath sobs in his royal residence, the sovereign Kaushalya sobs for the entire evening…

The sibling Bharat sobs in the castle of glass, Kaikehi cheers settled…

Sibling Ram strolls ahead the sibling Laxman followed by Sita in the center…

 

The lord Dasharath sobs beating his chest, Ram sets out toward Madhuban woods…

Kaushalya sobs holding Ram's shoulder and demands her not to leave the castle…

The body without food will rot, gracious the fakeer will pass on of appetite and thirst…

The semul tree is their home and asylum…

The two siblings might be getting wet under the bell tree (Indian bael)…

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Song 2

Maname sochu karam laage aag, kihin lagau badnaame ho…2

Dukkha ke daahal gainu mai lahiyar, lahiyar me bhauji rishani ho…1

Bhauji bichari mor kaune karai daiya, karama me laagal aagi ho…1

Maname sochu karam laage aag, kihin lagau badnaame ho…2

 

Dukkha ke daahal gainu mai ladiya, ladiya bhail balurete ho…1

Ladiya bichari mor kaune karai daiya karam me laagal aagi ho…2

Maname sochu karam laage aag, kihin lagau badnaame ho…2

 

Dukkha ke daahal gainu mai briksha tara, briksha bhail pata jhare ho…1

Briksha bichai mor kaune karai daiya, karam me laagal aagi ho…2

Maname sochu karam laage aag, kihin lagau badnaame ho…2

 

Dukkha ke daahal gainu mai fulawa, fulawa bhail nimjhare ho….1

Fulawa bichari mor kaune karai daiya, karam me laagal aagi ho…2

Maname sochu karam laage aag, kihin lagau badnaame ho…4

 

Dukkha ke daahal gainu mai lahiyar, lahiyar me bhauji risani ho…1

Bhauji bichari more kaune karaiya daiya, karama me laagal aagi ho…1

Maname sochu karam laage aag, kihin lagau badnaame ho…2

 

I feel in the heart that if my own karma is reviled, whom I ought to charge…

Experiencing torment, I visited my maternal home yet my sister-in-law was unpleased…

What might have my sister done when my own karma is reviled…

 

I feel in heart that if my own karma is cursed, whom I should accuse…

Suffering with pain, I visited the river, but river was all desert…

What healings the river could have done to me, when my own fate is cursed...

 

I feel in heart that if my own karma is cursed, whom I should accuse…

Suffering with pain, I visited the trees, but all their leaves were withered…

What pity the trees could have done to me, when my own fate is doomed…

 

I feel in heart that if my own karma is cursed, whom I should accuse…

Suffering with pain, I visited the flower garden, but all flowers had fallen…

 What pity the innocent flowers could have done to me, when my own karma is doomed…

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Song 3

B- yee bana keu na binasyo…jaune baname batai panchhinke basera ho…1

G- yee bana keu na binasyo…jaune baname batai panchhinke basera ho…1

B- Ghamaki ghamasal briksha tara jaibo, briksha bhail pata soha ho…1

 

G- Ghamaki ghamasal briksha tara jaibo, briksha bhail pata soha ho…1

B- Kaha paibo sital jur chhahiya…karmai me lagjaihi aag re…1

     Yee bana keu na binasyo, jaune banake briksha tare nachai mazor re…1

 

G- Yee bana keu na binasyo, jaune banake briksha tare nachai mazor re…1

 

B- Sukhi jaihi kuluw, khetawa me fatahi darare re…1

G- Sukhi jaihi kuluw, khetawa me fatahi darare re…1

 

B- Ashare me garmi, kunware me barkha, marijaibo bhukhle piyase…1

Yee bana keu na binasyo, jaune bana sukhe lagain sawan ho…1

G- Yee bana keu na binasyo, jaune bana sukhe lagain sawan ho…1

 

B- Giral rukhwawa me roihi dhana suiha…sugana ke aasha giraihi ho…1

B- Bukhi nachahi bana ke prani, banwa lagahi bhainyai…1

Yee bana keu na binasyo…jaune baname bagha khelai sikare ho…1

 

G- Yee bana keu na binasyo…jaune baname bagha khelai sikare ho…1

 

B- Taluwa ke pani sukhi na jaihi, mari jaihi jala ke prani ho…1

G- Taluwa ke pani sukhi na jaihi, mari jaihi jala ke prani ho…1

B- Letal jaihi fula katkuiya, keunla rahi kulmulai…1

 

B- Yee bana keu na binasyo, baname fula fula charu ore ho…1

G- Yee bana keu na binasyo, baname fula fula charu ore ho…1

 

Try not to slash down these backwoods, the woods give haven to every one of the animals…

At the point when you will go to look for the cool under the tree, the trees may lose their leaves…

At that point where will you get a cool wind, the destiny will be damned…

 

Don’t cut down the forest where the peacock dances…

The streams will go dry, the water source will go dry and the fields will parch…

There will be extreme hot and heavy rainfall in September…

 

Try not to obliterate the forest without which July won't yield the downpour…

The bird dhan suhiya (Jacobin cuckoo/the Rain Catcher) will sob and the parrot will drop her tears if the trees will get felled down…

The forest animals will die of hunger, the forest will turn into a spooky spot…

 

Try not to obliterate the forest where the tiger frequents his prey…

The water of the lake will go dry, every one of the amphibian animals will be terminated…

The water lilies will get grimy in the mud… and the lotus will shrink…

Try not to obliterate the forest where blossoms sprout in each corner…

 

 

 

 

 

 

 

 

 

Song 4

Banuwa me batai bagha baghuni…

Banuwa me batai gidra hathuni…

Banuwa me batai dhukur panchhi…

Bana ke suhawan titar mazori…

Tai tai bolnai banake sugana…

Jaise suhawan koilike boli…

 

 Banuwa me fulai kesha wo dhot, banake suhawan kachari ke fula…

Banwa me jamai belak puriya…

Banwa me chuhai mahuwa ke fula,

Tapar tapar chuhai rama mahuwa ke fulawa, bina jabai gaunke gori…

 

Banwa me batai harna haraniya…

Banake lobhawan sura dandara…

Banwa me nachai khulchi chiraiya…

Banwa me ghar madhari joganiya

Panchhi wo jantu sankat me batai, nahi maryo banake sikari..

Nahi maryo banake sikari…

 

Pahad me hero bankas ke jhari…

Tarai me hero kosham ke jhari…

Himal me hro hiu chituwa…

Tara me hero barka baghuwa…

Tarai pahad joral himal

Kailali keg hora ghori taal…

 

The tiger and tigress are in the forest…

The fox and the elephants are in the forest…

The dove birds are in the forest…

The titar bird and the pigeon are the magnificence of the forest…

 

The wild parrot sings in a high pitch…

The pleasant tune of cuckoo enhances the magnificence of the forest…

The kesha and dhota sprout in the forest and the kachari blossoms bloom in the wilderness…

The bellflowers fill in the wilderness…

 

The mahuwa blossoms sprout and fall in the forest…

The mahuwa blossoms fall in the beat like water drops…

The young women go to reap them promptly toward the beginning of the day…

The buck and doe live in the forest…

The wild hoard runs fiercely in the wilderness…

 

The khulchi bird moves in the wilderness…

The honey bee and butterflies wander in the wilderness

The birds and creatures are in harm's way…

 

Try not to murder them, the poachers of the wilderness…

Take a gander at the sabai grass of the slope…

Take a gander at kosham products of the Tarai…

Take a gander at the snow panther of Himal…

Take a gander at the tiger of Tarai...

 

The Himal is associated with Tarai and Hill…

The lovely lake Ghorighora pool of Tarai…

 

Song 5

Girl- Agati mai janatu piha more aihi…

Ha ha ha rakhatu mai godari bichhai, hai more banke chhayaluwa…

Boy- agati mai janatu, dhani more aihi…

Ha ha ha laganu mai sutiya banai, hai more banke chhayaliya…

Laganu mai sutiya banai, hai more banke chhayaliya…

 

Girl- Agati mai janatu piha more aihi…

Ha ha ha rakhtu mai bhojana tayar, hai mor banke chhayaliuwa…

Rakhtu mai bhojana tayar, hai mor banke chhayaliuwa…

Boy- agati mai janatu, dhani more aihi…

Ha ha ha Lagatu mai tikuli bachai, hai more banke chhayaliuwa…

Lagatu mai tikuli bachai, hai more banke chhayaliuwa…

 

Girl- Agati mai janatu piha more aihi…

Ha ha ha lowang, supari more banke chhayaliuwa…

Supari more banke chhayaliuwa…

Boy- agati mai janatu, dhani more aihi…

Ha ha ha laganu mai sendur bachai, hai more banke chhayaliuwa…

Laganu mai sendur bachai, hai more banke chhayaliuwa…

 

I definitely realized my significant other will come…

I have set out the cover, goodness my dear boy…

I definitely knew, my significant other will come…

I have begun making sutiya, goodness my dear boy…

 

I have prepared the food ready, oh my dear boy…

I have brought you tikuli, oh my dear girl…

I have brought cloves, supari…

I have brought you vermilion, my dear lady…

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Song 6

Aadibashi Tharu hamre, dharti putra tarai ke…2

Ehe bhumi huita Madhesh, ehe bhumi huita Madhesh eho Tharu bhai kaisike bachai pahichan…2

Rititihti boli wo bhansa, jal jangal jamin he…2

 

Ab nahi chhorab adhikar ai ho tharu bhai, chahe di pari balidan…2

Loktrantic ganatantra sanghiye Nepal me…2

 

Dalit, Muslim, Mahila wo kisan aiho pichhada barga adhikar khoji sakku jane…2

Sikshak majdoor, kalakaar, patrakar, yuva karnadhar…2

Utha paral byapari, bidyarthi, aiho soshit pidit barga tharuhat rajya bachaik laga…4

We Tharu are aboriginal people, the sons of Plain land…

 

This, our land is turning into Madhesh, oh Tharu brothers how can we ensure our identity?

Traditions, language, the forest, water, and the land…

We won’t let this go away even if we have to make sacrifice…

In federal republic Nepal

Dalits, Muslim, Women and farmers all other backwards lets seek our rights…

 

Lets ask for our rights everyone…

Teachers, laboures, actors, journalists and the youths

 

Now please wake up the oppressd, students and every subjugated to save Tharuhat land…

To save Tharuhat land…

 

 

 

 

Song 7

Pihauwa tu jinni jau bare dura desha me

Chhuti muti kutiya me akeli piha tuhar bina jiya sunasan…

Jina karo bedana behal, tu dhani mor…

Jaibu dur desh mai ki more dhani tuhin milana ashara mai herabu…

 

Pihawa tu jaibo mor man re udashe ho…

Kaune man karabu mai sorhai sringar chali jaibo dur desha…

Bitahi mahina, bitahi barash ho…

Chali aaibu dhaniya apan desh kari duraho sorha sringar…

Hasabi khelabi hamre ki dhani piha chhori chali jaibu sansar…

 

Oh dear don’t go abroad to the unknown land

My heart feels lonely in this small cottage without you…

Don’t be sad and weep, my dear suffering the separation…

Will go far in the far country but wish to come to you soon…

 

Oh dear, if you go, my heart will shrink…

What will motivate me to make up beautifully if you go too far off land…?

The months will pass, so the years… 

Will return to my land and you be ready in the make-up…

Will pass the day enjoying myself happily and leave the world one day…

 

 

 

 

 

 

Song 8

 

B- pira na mano dhani ho more…

Pira na mano…

Pira na mano dhani ho more…

Pira na mano

Pardeshi bani jaitu mai dura desha…

Dheure dher paisa kamaibu lauti ghare aaibu…

 

G- Jini jau pihiwa ho more…

Jini jau…

Jini jau pihiwa ho more…

Jini jau…

Hare rama aashu mor girai…

Kaishike dinuwa kataibu mai piya tohar bina…

 

B- Dukha na mano dhani ho more…

Dukkha na mano…

Dukha na mano dhani ho more…

Dukkha na mano…

Mahina pakha bhejabu Sandesh…

Jaina ma to kuchhu nai rahat, jaihi parna ghar ke samasya…4

 

G- Pardesh jaito pihawa ho, pardesh…

Pardeshi jiwan dukhi jiwan kathai…

Mahi laijibo te dukhme sahara tohar banabu…

B- Udash man na karo mor dhani…

Udash man…

Udash man na karo mor dhani…

Udash man…

Nahi karo pihawa ke soch…

Pihawa ke soch karbo dhaniya jaibo dublai…2

 

G- Kaisike jiu mai bujhaibu…

Kaisike….

Kaisike jiu mai bujhaibu…

Kaisike…

Din rat tohar yad aavai…

G- Gaun ghar bisraibo to piya mor

Maya samjhi aaiho…2

 

 

B- Goodness my dear, don't be disturbed…

Try not to be vexed

Am going to a far country as an outsider…

Will bring in tons of cash and get back home…

 

G- Oh my dear please, don’t leave me…

Don’t leave me…

Don’t leave, my dear…

Hey Ram! My tears are dropping…

How will I spend my days without you?

B- Oh, my dear! Don’t be upset…

Don’t be sad…

Oh, my dear! Don’t be upset…

Don’t be sad…

Will send you messages every month…

Whose heart wants to leave his home?

Leaving home is a compulsion…

 

G- Oh dear you are going to foreign land…

The foreigner’s life in an unknown country is believed to be bad life…

If you take me with you, I will be your good companion…

Oh my dear, don’t be upset…

B- Don’t think about your husband…

If you think only about me, you will fall sick…

 

G- How will I console my heart?

Will remember you the whole day and night…

If you miss the village, come back remembering your love…

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Song 9

B- Ha ha…hirolna jhuli jhuli achala faharawai…

Achala re ho…

Hai Ram achala faharaiti muski marai…

Hai Ram achala faharaiti muski marai gori…

Achala re ho…

G- Ha ha…jhuli jaibi prem ke hirolna ho chhaila…

Prem ke ho…

Hai Ram kheli jaibi behara ke bazaar…

Har Ram dui panchhi ure has lage mor gori…

Dui panchhi ha…

 

B- Ha ha...hirolna jhuli maja lage ho gori…

Hirolna re ho…

Hai Ram dui panchhi ure has lage…

Hai Ram dui panchhi ure has lage mor gori…

Dui panchhi ha…

Hai Ram dui panchhi ure has lage…

G- Ha ha eka bar jhula sato sawriyanan…

Sato re…

Hai Ram eka bar dui hansa jori…

Hai Ram eka bar dui hansa jori ho chhaila…

Dui hansa…

Hai Ram eka bar dui hansa jori ho chhaila…

 

B and G- ha ha…maiya bhar dui dil milake ho umre…

Dui dil ha…

Hai Ram sukha dukkha bojhe uthap milake…2

Sukha dukkha ho…

Hai Ram sukha dukkha bojh uthap milake…2

 

B- Your aanchal billows while you play the jhoola (swing in fair)

Hey Ram, you are smiling, waving the fringe of your lehenga…

My beauty smile waving her lehenga’s fringe…

Oh, fringe…

G- Will both enjoy the swing of love, my dear…

Will enjoy the fair of Behada Baba Temple…

 

B- The swing is quite enjoyable…

It feels like we two birds are flying…

The two birds…

G- The seven riders swing at a time…

But we are like a couple of swans in a cabin…

The pair of swans, oh dear…

 

B and G-

The love emerges strongly from the union of two hearts...

From the two hearts…

Will pass the adversaries and happiness of life together…

Hey Ram! Will pass…

Will live the ups and downs…

 

 

 

 

 

Song 10

B- Purabe se umral badari re…

Sitar jur chhahiya…

Gaun dhaniya herati muski marai…

Mor jiyara lobhawai…

Ari ho gaun ki dhaniya herati muski marai…

Mor jiara lobhawai…

 

G- Rimjhim rimjhim sawan barsore herati maja laagi…

Gaun ki chhaila muski boli marai…mora jiara mohinayee…

Ari ho… Gaun ki chhaila muski boli marai…mora jiara mohinayee…

 

B- Bhinsare jo pili pili basiya bolere sunati nidha bhagi…

Gaun ke dhaniya koyal jaisin boli sunati maiya lage…

Ari ho gaunke dhaniya koyal jaisin boli…sunati maiya lage…

 

G- Piparak rukhuwa tare sitari jur chhaiya re…sutati sukha nida…

Gaun ke chhaila maiya se ishara jab parai…mor jiyara sarmaye…

Ari ho gaun ke chhaila maiya se jab parai…mor jiyara sarmaye…

 

B- Ladiya taluwa bharal jaisin bajhal maya re…jaise laharail khetuwa…

Aaina mangshir manganic kari lehabu…tuhin he dulahi falgun me banaibu…2

 

G- Paschiwaishe umaral kari badariya re…chamkati badari garje…

Chhaila tuhu badari jaisi ranga nahi badleu, sochike jiya tarse…2

 

B- Jin kareu bichhod kahi bate re, jhanjhanaye manuwa…

Angari chiri kalam banaibu…pathaibu mai prem ke sandeshuwa…2

 

G- Ashare, sawaniya me bole dhan suhiya re…suni re darad lage…2

Chhaila tuhu jini lekhau khun se sandeshuwa…dekhi re darad lage…

Ari ho… Chhaila tuhu jini lekhau khun se sandeshuwa…dekhi re darad lage…

 

B- Pawan bharal badari jaisin karbu maiya re…sitar jur chhahiyam baithaibu…2

Sukha dukkha me hardam sange rahabu…bitaib sari jingi…2

Ari ho… Sukha dukkha me hardam sange rahabu…bitaib sari jingi…

 

G- Samundra se gahir bashal hamar maiya re…ladiya se lamba mayawa…

Sukha dukkha me sewa tohar karabu…rahi jabtak jingi…

Ari ho… Sukha dukkha me sewa tohar karabu…rahi jabtak jingi…

 

B- The clouds rose from the east

The cold wind shadows…

The lady of the village smiles looking at me…

The dawn has begun…

The lady of the village smiles looking at me…

 

G- Oh Sawan please don’t stop, it’s quite pleasant to see the drizzling rain…

The village boy smiles and talks sweetly stealing my heart…

Ari ho… The village boy smiles and talks sweetly stealing my heart…

B-The flute sounds in the dawn evading my sleep…

The village lady speaks like the cuckoo, it makes me fall in love…

 

G- The cool wind blows under the peepal tree (sacred fig), makes me sleep gently…

When the village boy teases me in sign language, I am ashamed…2

 

B- The love grew like an overflowing river, lakes, and the dancing farmland…

The season of Wedding (October/November) is coming…

Will engage with you…make you bride in February…

 

G- The black clouds rose from the west, the clouds thunder with shining…

Oh, dear boy, don’t change colors like the clouds, it makes me worry…

B- Don’t talk about the separation, control your heart…

Will write the letter of love cutting my fingers…

 

G- The cuckoo sings in the month of June/July, it makes me sad...

Oh, dear boy, don’t write the letters with blood, I am scared of blood…

 

B- Will love you like the thick clouded wind…both of us will enjoy under the cool breeze in summer…

Will be together with you in every up and down of life…

Will accompany you for your whole life…

 

G- Our love grew deeper than the sea, longer than the river…

Will serve you in ups and downs, as long as there will be life…

 

 

 

 

 

 

 

 

 

 

Song 11

Are maina eka ranga jogiya,

Saure ranga basiya, oh, maina

Tilaranga, tilaranga, suno jogiya basiya bajaita, ho maina

 

Ari maina eka ranga jogiya, saure ranga basiya

Oh maina, jogiyake basiya bhauji suna ke suhawan

Dadu kahi, basiya bhauji, sunake mahirawan, oh maina

 

Hey maina, all our body looks similar but the why the tunes of flute differ

The hermit is playing the flute tiri riri, tiri riri

 

Hey maina, all our body looks similar but the why the tunes of flute differ

Hey maina, listen to how melodious tune the hermit is playing, oh sister-in-law

The brother’s flute is too sounds very pleasing

 

 

 

 

 

 

 

 

 

 

 

 

 

Song 12

Kheti karnu maina, adhya bataiya re bardha buti jotbu

Magha mahina buti tirabu, uhe hal hui

Magha pugal kokni, Dashya pugal dhana

Jhandimandi tanaka jail jaibu buhran ho maina,

 

Danga mai chhornu, Deukhuri mai lagnu

Baba mai chhornu, Dai mai chhornu

 

Oh Mynah, I worked on the farm as the sharecropper

Will pay the tax after the cropping and will still again be in the same condition

The kokni (broken rice) will last up to Maghi and the rice will last only up to Dashain

Will pack up my belongings and leave for Buhran, Oh Maina

I left my father, I left my mother

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Song 13

Aaina jaina bhatu, maiya lagaina, ho maina

Batachita karna bhatu, ghara suta jaina ho Maina

Ye papi maiya ruaitha dinarat ho maina

 

Hari ho maina, pipra pahata turi kagada banaibu ho Maina

Hatha anguri kati kalam banaibu ho maina

Khara khara, khara khara chithiya likahibu ho maina

Purbi bayal chali, chithiya pathai ho, ho maina

 

Jibi jibi kalo ho bhatu, aash kil lagailo, ho maina

Budhaka din bhatu parbi thekan ho Maina

Pokari makura, ghunaiya lagi gila ho Maina

Thalika siddha bhatu, dukari katailo ho Maina

 

Jibi jibi kalo bhatu

Vauka luga bhatu, motari badhailo, ho Main

Jaibi jaibi kalo bhatu ashra kil lagailo, ho Maina

Mokri ka luga bhatu, dukari katailo ho Maina

Kahiya ta pugaibo bhatu, hi mor desha bhatu

 

Oh brother-in-law your frequent visit has begotten love in me

Oh brother-in-law, please go to your house after the chitchat

This evil love has made me weep day and night, oh Maina

Oh Maina, I will pluck the leaves of the Peepal tree (Sacred fig) and make them the papers

I will write my spontaneous feeling on them

The east wind will take my letter, oh Maina

You promised to elope, you just made me wait, oh Maina

Oh bhatu, why don’t we elope on Wednesday, oh Maina

 

The clothes of the bundle have been worn out, oh Maina

The mice have torn the packed luggage,

You just made me pack the large goods

 

You promised to elope but only made me wait, oh Maina      

When will you take me to the good- far country, oh brother-in-law

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Song 14

 

Har jowata uthal kamaiya bihanake lug lug jarame

Dheki kuta uthal kamlari, andhariya rat bhuar bihan ma

Fongi fonga choliya goniya, fatal faal chaubandi jhuluwa

Sukha dukkha hamar janam, korti bital gaunk kuluwa

 

Kapuwa bhat sinkike jhowara, chaurasi byanjan hamara

Har juwa, chhatri o lathi sanghariya ho, gham ojrar

Lahriya, bhaisa, goru wor chhegri, barhdhan hakti orait janam

Chhabal jaanr hamar kamjori, astaha futal karam…

 

The labour woke up in the shivering cold of dusk

The she-labour woke up in the early morning to beat the wooden rice grinder

The tattered blouse and skirt

The worn-out patched shirt

With ups and downs, life passed digging the watercourse (man-made streams in villages),

The rice flour soup with sinki (gundruk, preserved fermented vegetable) are our delicious dishes (84 dishes)

 

Plough and yoke are our friends throughout the day and night

The life passed driving oxen cart, and shepherding bulls, goats, oxen

The fermented rice wine is our weakness,

We have bad karma

 

 

 

 

Song 15

Baba more jotal terwah haraho

Chhawa juni bhar jotabu

Aiho suno dai, baba, suno dadu bhaiya, suno mor didi bahiniya

Aiho chhai, chhawa ektho lari, ek huita duita  pariya

 

Har jotaibo kahasam baba, abta mihin fe padhao

Aiho chhotimuti rana ho, gayaruwa banailo, gaunke school nai pathailo

Ho nengna, ghumna huinu chhegri charhainu,

Bara huinu banalu kamaiya

 

Aiho babu mora larka kheluiya, dai bati kamlahariya

Aiho nangtha, bhegwa pihake, jaithu mai ruiti khetwama

Aiho baba mora jotalai tehruwa hara ho…

 

My father ploughed with the bent plough

The son will too plough for his whole life…

Oh listen, brothers, sisters, listen, sons and daughters, do not discriminate between sons and daughters…

 

How long will you make me a ploughboy, now please send me to school…

You made me work as a shepherd when I was still a small boy, didn’t send me to school…

When I had just learned to walk on my own, I started looking after these goats

When I turned adult, was forced to be a kamaiya,

 

Oh, my sister is a babysitter; oh my mother is a kamlahari…

With tears in my eyes, I go to the fields wearing an almost naked body covered with underwear only…

Oh, my father ploughed the bent plough…such is my plight…

Song 16

Mai dukhiya batu janamse kamaiya, kon bidhi karbu gujara ho

Dai baba bata umerle burhaila, jingi bitaila kamaiya me ho

More upar bata soukik pahar, kaisik souki chhutaibu ho

 

Guruwa, kesauka milijuli jaitha jingi bhar kara jal sajhi ho

Kabi re gotaili, kabi karni sarai, jingi bhar dhurra lausarai ho

Sal bhar kamainu, chhe (6) bora dhan painu,

Uhe kharcham karattu gujara ho

 

Bhuke piyase re mora gharam bairi

 Chhe mahinam lagnu jujhwai

 

I, a poor wretched kamaiya from my birth…

How will I be able to survive?

My father and mother have grown old, lived their lives as Kamaiya…

I am burdened with the hills of loans,

How will I be able to get rid of them?

 

The witch-doctor and the priest compromisingly conspire to benefit themselves…

Ask for chickens and goats as the sacrifice to pacify the angry gods…

But no good happens to me, poor wretched kamaiya…

Worked for the whole year but just earned six sacks of rice…     

 

Am living the life on such a petite earning…

Oh, how wretched I am!

 

 

Song 17

Matike orauhna, matike bichhauna

Matike dehal e jaram ho…

Kahe dehalo, isharu mahadev

Kamaiyan ke futal karam ho

 

Kaisin janam dehalo bhaganuwa

Juni bhar kamaiya ho,

Oiesika bitath, hamro jaramwa, jaise sukhi re hardik patiya ho

Chuliya parat jawai, kharhik dhana

Jaise barhai malikana ho

Hamra kamaiyan, nikhrat gaili

Jaise nikhari ghanak dhana ho

 

Fatat gail angiya kahi chunari

Fatal jiukahi jhuluwa ho…

Barhat gail sagrak pani,

Sukhat gail gauk kuluwa ho

Mahural aam, ural bhaunra

Lutilehal suhawan ho

 

Maha maha mahake, gauke fulariya

Mahake beburi fula deuna ho

Jaisike parthai, kumharana bhakari

Oeisike banali, khelauna ho…

 

Das bora dhana, barash bharik kamahi

Kaisik bari chulhaa chauki ho…

Uri jawai bhaura, maryo guleliya, diyo fatakse girai ho…

 

The earth’s cover, the earth’s sheet

The life born from this earth…

Oh, Lord Shiva why you gave such wretched life of Kamaiya?

What kind of life you gave to live whole life as the kamaiya?

 

Our life withers like the leaf of the green turmeric withers…

The collection of the rice keeps on rising

We kamaiyas kept on being cleared like the farmer sweeps the scattered rice grains on the dirt…

 

Our clothes, shirt, blouse kept on getting worn out…

The water of the pond kept on rising…and

The water of the rivers and rivulets dried…

The mango tree has bloomed, the bees are flying, and the garden of the village is smelling sweet…

 

The bebri flower is emitting a sweet fragrance…

We become kamaiyas like the porter makes the clay pots…

 

Only ten sacks of rice in a year will not be enough to sustain…

Shoot the bees down when they fly high with the catapult…

 

 

 

 

 

 

 

Song 18

Utho kamaiya aaj tuhare himmat karke

Soshan, daman, atyachar he jarsena ante karaike

Samaj banaina jimma kamaiya, tuhar hatham ba

Yeha ke janasakti sara tuhara satham ba

 

Samajakana andhakara he tuharan hataina ba

Kamaiyakan jhopri me, sikchhak diya barna ba

Chalo kamaiya tuhanthan balgar Shakti mahan ba

Kariya badri farke lauwa bihan banna ba

 

Rise up the kamaiyas today gathering your courage…

To end the violence, exploitation, and oppression from the root…

The responsibility to change the community now lies on you…

The whole community is standing with you…

 

You have to wipe out the ill practices of society…

You have to light the diya of education in the cottages of kamaiya

 Rise and wake up kamaiyas, you have irresistible power to change society…

We have to new morning eliminating the dark clouds of ignorance and oppression…

 

 

 

 

 

 

 

 

Song 19

Rajuwa lagawai bagiya re, uhe bhira bhire

Amiya pharal patanukuwa, sugana mare aai

Are suno sugana bachan hamara re, suno re more binate

 

Ek jhogda Amiya giraideu mor kochhwa bharaideu

Ari bhago tu,bhagyo sugna re, khajari bana biche

More piha batai re sikari ganal goli marahi…

Hatha lehai gurta guleli ho,

Kakha suta jabiya

 

Chalai chhaila chiriya sikar rajan phulaware

Danra danra chhapkal suguna re, pata tara nuke

Dariya jhukai chhaila marho, suguna giri jihi

 

Marakahi maralo pihauwa re, u sughari chiraiya

Marakahi maralo tu pihauwa, mare nai janlo

Marakahi marlo tu pihauwa re ganal goli marlo

Mari dharlo sughar chiraiya dard mihi lage

 

Ris kahi matal dhaniya re, naihar naihar karalo

Naihar banme baghuni sihare, naihar kaise jaibo?

 

Are kare manaibu, kare chegra re suraj dudha dhare

Puji dharbhu gutaru pareuna, kare dharbhu tore puja

Naihar chalijaibi

Chhutumutu semi chiraiya re,

Jhiraki lagal moti bunda

 

Dhekani patir dhaniya re

Mukhal kil sundar

Patir patir dhaniya re mor man nahi pare

Maite jaibi sarire laurangdesh rajake nokariya

 

Jaikahi jaibo tu pihauwa re suru lang

Hamare mangan kuchu daijau piya, rajake nokariya

Kekar lag lihabu orhaniya re, orhaniya bari sundar

Kekar lag lihabu tikuli, tikuli bari sundar

Are mairi lag lehabu orhaniya re, bahini tan choliya

Dhani lag lehabu senduruwa, sendur bar sundar

 

Bara baras piha bahurai re, mor barhu bajare

Kona din laute ghare aaibo piya, huita bahure

 

The king plants the garden on the slanted land

The tree is full of mangoes hiding in the leaves, will come to shoot the parrots…

Oh parrots listen to my plea, listen to my voice

Drop a bunch of mangoes, fill my lap…

 

Oh parrots fly away from here into the vast wilderness of date palm

My husband is a hunter, can shoot you in counted bullets…

Carries a catapult in his hands and the bullet pouch on his arm…

The boy heads to hunt the birds in the big garden…

The parrots are thickly resting on the branches, hiding behind the leaves…

Oh boy shoot them avoiding the branches, the parrots will fall

 

Oh, husband you killed but the beautiful bird…

You killed but didn’t know to kill which one…

You killed with limited bullets…

You killed the beautiful birds but I feel the pain…

The angry wife insists to go her maternal home…

The furious tigress roams in the jungle blocking her path…

How to go to maternal home?

 

Oh god I will vow to god to sacrifice a black goat and white milk

I will sacrifice the baby pigeons,

I will worship you,

And will go to my mother…

The little sparrow bird,

Looks beautiful in the beaded design…

Only the face is beautiful, I do not like the slim body of my beloved…

 

I will go to work in the far country…

If you have decided to go to a foreign country, give me something as my wish…

To whom should we buy the shawl?

The shawl looks beautiful

I will buy a shawl for myself

And blouse for the sister…

Will buy vermilion for me, the vermilion is too beautiful…

 

My husband will spend twelve years in a foreign land…

Someday, please return to the home…

It has been a long time since you last departed…

 

Song 20

 

Sasuiya bati mora bara kach kachahi re,

Jethaniyia jiu bhutani

Sasuna nadi boli marala, kaleja mora salala

Piha more eko nahi bolala, kaiso re mai baithabu

 

Naihar naihar jina karo dhaniya re naihar bari dure

Bagha sihar bana bolahi darale mari jaibo

Baba bata mora purakhi puraniya re, bhai re mori chhoti

Dada bata yenaki haroiya

Kauna re lehe aaihi

 

Ek bana naghal tiriya re, dui re bana chapa

Teena bana kahi biche milal eka birchhi

Teena bana nanghal tiriya re, char bana chape

Paanch bana kahe bicha milal ek ladiya

Era era lawaliya bhaiyo re suno re mora binate

Chhiniyak kapara utari deu mai apne naihar chala jaibu…

 

The mother-in-law is irksome,

The sister-in-law is troublesome…

Mother-in-law’s harsh words, pierced through my liver…

My husband speaks no word for me, how can I live at his home?

 

Don’t insist to go to the mother’s home, maternal home is too far…

The tigeress roar in the jungle, you will die of the fear…

My father has grown up old, my brother is too small,

My elder brother is a farm worker…

Who will come to take me?

 

Have crossed the first jungle, the second one found the help of a stick in the middle of the third jungle…

The lady crossed the third jungle, started to cross the fourth one…

Came across the river in the middle of the fifth river…

 

Oh little brother please listen to my appeal

Take down clothes from my basket

I will head for my maternal home…

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Song 21

Yee dara ba ithal burha bandra re

Tushur tushur rowai

Yee bandri to puchhai bandra se

Ki kahe piya roilo

 

Hare danra ba ithal burha bandra re ki tushur tushur rowai

Hare, aankhi futal lore bandri re

Tore aakila bhulani

Yee pahi ghumali baro re bardiya ki, mora jiu marahi

 

Hare chhala chhutaihi busha bharahi re, ki mandra meraihi

Mandara to boli gaha gaha, ki nigari suhawan

 

The old monkey is sobbing sitting on the branch…

The she-monkey asks him why he is crying…

Oh, the monkey is sobbing sitting on the branch…

 

Have you gone blind or senseless?

Don’t you see these humans coming to hunt us?

They will carve court our skins and make the madal

The madal will sound loud and make the whole village vibrant…

 

 

 

 

 

 

Song 22

Boy- he guiya, he guiya kekar uthail uchi ghat?

Girl- he guiya, he guiya itik uthail uchi ghat

Boy- kahawai maraibo vauji rohali machhariya

Girl- Tal pokharuwam marbi deura rohali machhariya

 

Boy- sedhari chamke cham cham, tengna kanta laigil bor, yehari…

Hey guiya, he guiya kaisik maraibo chandar bijuwa

Girl- he guiya, he guiya helkai maraibu chandar bijuwa

 

B- Oh girl, what is this high dam made of?

G- Oh boy, oh boy the dam is made of the bricks…

B- Where will you-sister-in-law take us for fishing rohu?

G-will catch the rohu fish in the lakes and ponds…

 

B- The sidhari fish shines brightly…

The tengna fish deeped the hook,

Oh girl, oh girl how will you make us catch the chandar bijuwa?

G- Oh boy, oh boy will catch the chandar bijuwa in helka…

 

 

 

 

 

 

 

 

 

Song 23

Girl- Mati kore gaili ho rama

Ye ho rama, uhe mat koruwa

Lapaki jhapaki ho chhaila mor bahiya pakarlo

Boy- lapaki jhapaki ho chhaili tor bahiya pakarbu

G-Choro choro chhaila ho more, ye ho rama na chhamo re bahiya B-mai kaise chhorabu ri dhaniya

Ye ho rama na chhato re bahiya

G-Sira ke sindur chhuti jai mai kaha lihe jaibu

 

B-Sira ke sindur chhute jaye, mai dusare lehe dehabu

 

G- Went to dig the earth, oh Rama in the same digging port…

You touched my arms jumping to and fro…

B- Will hold your hand jumping around you

G- Please leave my arms…don’t touch them…

 

B- Oh dear, how will I be able to let you go away?

Don’t try to leave me…

G- My vermilion will be wiped up…

B- If the sindur gets wiped away, will get you a new one…

 

 

 

 

 

 

 

Song 24

Mati kore gaili, uhe mat karuwa re na

Mati more dehale uthai hai re sajana ghara na

Chalo gochiya pathai, hai re sajana ghara na

 

Doliya fandai gori chalbi barate re ha

Pugi jaibi apan sasrar, hai re bachan leke, na

Cholo gochiya pathai hai re sajan ghara, na

Pugi jaibi apan sasrar bachan leke, na

 

Went to dig the earth in the same digging port…

My friends made me carry the earth for my beloved…

Oh, friends please take me to my beloved’s house…

 

Will go to wedding procession on the palanquin…

Will reach to my in-law’s house with promise…

Oh, friends please come to drop me at my beloved’s house…

Will reach my in-law’s house with promise…

 

 

 

 

 

 

 

 

 

 

Song 25

Are Baigam ture gaili, Rama uhe baigam bariya

Garala mahina rasa katuwa bedana bishu sala.

Are kaunai morai kahrai, re anguri bichi katuwa.

Kaunae more harana haraniya anguri biche dukh pira.

 

Are diura more kahrai, re anguri biche katuwa

Swami more haran hariynai, anguri dukh pira

Are balam ke kona bina lagi sunsan angna

Dagara herati dina bital, choli bhijal sarirate

 

Went to pick the jujube in the same jujube bush

Was pricked by the poisonous thorn

Who will pick off the thorn and who will empathize with me in pain?

Oh, my brother-in-law will pick off the thorn and my husband will accompany me in my pain…

 

The lawn feels silent without my dear…

The day passed waiting for you and my blouse got wet with tears…

 

 

 

 

 

 

 

 

 

 

Song 26

Pahilek jamana me, banawa je farli ha

Nahi milal kathi wo patiya tab jake banuwa bachaili

Kandra ke ladiya me machhali maraniya he

Nahi dareu bisha uha ladiyam, nahi paibo machharinke jat

 

Rajghat banuwame hariyar rukhuwa he…

Nahi faryo sona talke banuwa, sukhi jaihi gengatike mula

Bulbul raniya me Kanchan jaluwa he

Bhukhle piyasal paradesiya, meti jaihi paniyak piyash

 

Had cleared all the jungles in the olden days…

When the firewood and fodders became scarce, then thought to save trees…

In the Kandra river, we catch fish…

Don’t mix the poison in the river, it will kill the fishes…

 

The green trees are in the jungles of Rajghat…

Don’t cut down the trees of Sonal lake, the holes of crabs will go dry…

The water of the Bulbul lake is quite cold,

It will quench the thrust of thirsty and hungry…

 

 

 

 

 

 

 

 

Song 27

Ghodaghodi taluwa me bolanai chiraiya, ho chiraiya

Aiho katna suhawan lagal taluwa

Aiho jin maryo taluwak chiraiya ho sikariyo, taluwa je huihi sunsan

Mohanake ladiya me soshawanke khelana, aiho katra suhawan lage taluwa

Aiho jin maryo ladiyak machhariya jaleruwa

Huijaihi soshawa bilin

 

Uttare jo batai churiya parbatawa, ho parbatawa

Aiho dakhine jo batai pan dudhwa

Jin phareu barka banawa, ho sanghariyeu tuta jaihin janatunke dagar

Banabiche batai taluwa bhusakihuwa

Taluwa suhawan jamnehata sanghariyeu sabahunke jiyara lobhai

 

The birds sing in the lake Ghorighora,

Oh dear, how beautiful the lake looks…

Oh, friends don’t kill the birds of the lake, the lake will become melancholic…

The Gangetic dolphins play in the river Mohana,

 

Oh, friends how beautiful the lake looks…

Oh, friends don’t fish the jalkapur fish, the dolphins will vanish…

In the north, churiya hills stand

 

Don’t cut down the Big Forest, dear friends, the animals will lose their road…

In the middle of the forest, the lake Bhuskihuwa lies…

The lake Jamnehata looks beautiful due to the forest,

It lures everyone…

 

Song 28

B- Barka Banwa Basanta me aai

Chali jaibi banuwa bihare

He banwa me phule lagal kesh

 

Semra me dhota phule re

Bari me basanti fuli gainai, banma kamaiya fule re

Asharai me paki gaila jam, jhairi gaila fula ashrai

 

G-Jau dadu rukhuwa me kosham ture, pakli gulariya bhail masawa

He goniya me choliya suhani, paliya me sakhiya ke naach

Anganan me nachai chhokra wo jhumra, mandara me chainar jhal ohe re

 

B-Gechame sutiya suhani, hathe me churya or bang, nadhime sutahi aur goinji

Nehenga me cham-cham sitara chamake

He banadevi jamnehata taal, deu Ganesha Ratanpur me

Kali maiya me maghek mela, deu karama bana bicha me

 

G-Ghodaghodi Vishanu ullas, ashar me behadak mela

Banashakti mata he patiya charahaibu, para karaeu barka banuwa re

 

 

 

B- Oh friends, welcome to the Big Forest Basanta, will go to roam in it…

The flowers of kesh and the semul tree have started to bloom

In the kitchen garden, the Basanti flower has bloomed, the Kamaiya flower blooms in the forest…

In the month of June/July, the Jamun fruits get ripened and the flowers of the silk cotton tree fly lightly…

 

G-Oh brother climbs the tree and pluck the Kushum fruits…

The gulariya fruits have ripened too

 

B- The blouse looks beautiful in the lehenga, the Sakhiya dance in Paliya village…

G-Chhokra and Jhumra are danced on the lawn, the village gets lost in the melody of madal and cymbals…

 

B- The sutiya looks beautiful in the neck, the bangles in the wrists, shell conchs in the waist, the shining pieces of stars looks beautiful on the lehenga

The lake Jamnehata, Bandevi, and the Lord Ganesha are here…

The Maghi fair occurs in the temple of the goddess Kali, the Karam Dev in the middle of the forest protects us…

 

G- The god Vishnu rests in the Ghodaghodi temple, the Behada Baba temple fair occurs in July

I will offer the leaves to the goddess Banashakti (Forest Goddess), please help me cross the jungle safely…

 

 

 

 

 

 

 

 

 

 

 

 

 

Song 29

B-He gamchha me nachai mazor, chatkali dara parire, lale baluwame ajgar basera, gohuwa katainike ladiya me bas

Maighar sarash ke jori taluwake pani

Ghumati, churiya se dudhawa hathiyanke negana

Garjath baghuwa Baraka bana me

Barka banawa Basanta me aai, chali jaibi banuwa bihare

 

B-The peacocks dance waving their colorful wings on the bumpy land

The python leaves in the swamp and the alligators in the Kataini river…

G- A couple of swans play in the lake…

Where the elephants wander and walk from Dudhawa forest to the hills of the Churiya

The tiger roars in the forest

Oh friends, welcome to the Big Forest,

Will take you deep in the woods to visit…

 

 

 

 

 

 

 

 

 

 

 

 

 

Song 30

Sakhu pata luru, luru, veti pata hariyar…

Patiya bichari mariri sagunike, sakhu pata utin…

Kaha bata sirjal chakiya, kaha bata sirjal khilawa…

Kaha bata sirjal baburi nedhariya, diuli daran chali aawo…

 

Merawa to sirjal uruda re…mairi kokhi sirjal bapuri nedhariya…

Kaha bata sirjal bapuri nedhariya, diuli daran chali aawo…

Birja bana sirjal khilawa re, mairi kokhi sirjal bapuri nedhariya, diuli darn chali aawo…

 

The leaves of the sal tree (Shorea robusta) are thin and shaking, the leaves of veti are green…

I am the poor leaf of Sagun, she is of sal…

Where is the small hand stone grinder and where is the lever…

Where the girls are, dear father! Call them to light the diyo…

 

The farm balks are sown with the black lentils, send the girls dear father, I too want to be decorated…

Where are these beautiful girls, call them to light the diyo

 

 

 

 

 

 

 

 

 

 

Song 31

Babaki sagar gainu ha muriya lahane

Sakhiye ho kajula chhutal pani ghat

Sakhiye ho gataiya chhutal pani ghat

 

Tarak gojhiya chhamu ki uppar gojhiya chhamu

Dari bichhail ba, keyakar laj pari ho

Dhai dhai mai khojnu baniya dukanai ho ha…

Kahi deu baniya tikula ka mol…

Sakhiyai ho…

Kahi deu baniya nathiya ka mol…

 

Bakuli o bakula tal suhawai re ho ha…

Tiriya suhal pani ghat…sakhiya ho…

 

I went to the father’s pond to take the head bath

Oh, friends, my kajal got washed away by the water

Oh friends, forgot my shawl at the water dam

 

Should I check the lower pocket or upper pocket?

The mat is laid down, whose shame will it be?

I wandered to find the merchant’s shop…

Oh, merchant please tell me the good price of the tikuli?

 

The lake looks beautiful in the pair of crane and she-crane

Oh, friends, the river bank looks dazzling with the beautiful ladies taking bath…

 

 

Song 32

B-Ari he sure ura, sura ura ho bahere purbaiyaa

 Are aatwa me baithike gori, panuwa dar dori binai…

G-Delawa ke panuwa mor heri chhayaluwa muski maralo…

Sakhiyai ho nachati hasati bajhal maiya mor

 

B-Ari he jhura ura jhura bahe jamuna ho…

Are jaune ghata gori lahawai, sugina boli marnai…

 

B-The wind blows from the east

The lady weaves the rope sitting on the tower…

G- The boy smiles looking at the pattern of my basket…

Oh friends I fell in love dancing and laughing…

 

B- Oh dear the Jamuna river flows gaggling through the trench…

The parrots sing on the ford where the beauty takes bath…         

 

 

 

 

 

 

 

 

 

 

 

 

Song 33

Are kaune fula dhani seja lagawai, kaune dharanai sirahaniya

Are kaune tel dhani chhirki mor dehanai seja mahakai haru haru

Chorus:

Vuri gaunk bazar se jhobanna lani dehalo

Hamar maigar maiyak bayana kai dehalo

Dauna bebrik, gendak mala guthi dehabu

Tohar dehal buhi fula seja ma sajaibu

Mor laluma mor jiya na tarpaiho

Mor pihawa maigar maiya jina marho…

 

B-Are makhamal fula dhani seja lagayoi

Genda dharani sirahaniya

Are attar tel dhani sejama chhirkai seja mahakai sari rat

Are kaune chiraiya fulapur baithe

Kaune nachania darepate

Are kaune chiraiya or ramiras lehanai, kaune milayoi more raag…

Are gulaki chiraiya fulapar baithe dhota nachanai namidar

Are sugina chiraiya ramiras lehanai maina milayoi more raag…

 

Which flower will she wear and which one will she keep on the sleeping pillow?

What oil has my dear sprayed on, the head smells sweet…

 

Chorus:

You brought the necklace from Bhuri village

You proved the deepness of our love

Will weave the garland of bebri, marigold flowers

Will keep your gift of the buhi flower on the head

Oh my dear, do not make me agonize

 

B- Oh dear put the flower of globe amaranth on your head

Marigold on the sleeping pillow

Apply the attar perfume on your body, the body will fragrant the whole night

Which bird will sit on the flower and which one will dance on the branches?

Which bird enjoys the tune and which one dances with us?

 

Oh dear, the little sparrow sits on the flower and the woodpecker enjoys the tune, the parrots just observe the tune but Maina sings with us…

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Song 34

Uri uri bhaunra, sindura par baithe re ha…

Sakhiye ho bhaunra ka chhuwal mor sindura malin

Dang gainu deukkhar gainu dekhnu maha sugghar

Man paral bardiya jilla, ghar paral Kailali

 

Uri uri bhaunra kajura par baithe re ha…

Sakhiye ho bhaunr ka chhuwal mora kajura malin

Sundari phulariyama khela tu balailo…

Baha jori kari kari pirati lagailo…

 

Uri…nathiya par baithai re ha…

Sakhiye…, nathiya malin…

Tuha mora kewal fula tuha mora jyan ho

Tuhin lehe naipam bhatu, diadem apar jan ho…

 

The flying bee rests on the vermilion…

Oh friends the bee touches and ruins my vermilion mark…

Traveled all around Dang and Deukhuri and found her very beautiful

 

Loved the Bardiya district but I belong to Kailali

The flying bee rests on the vermilion…

Oh friends the bee touches my kajal and ruins it…

 

You invited me to play in the beautiful garden…

You made me love embracing affectionately

The flying bee rests on my nose ring…touches and ruins it too…

 

You are my water lily, you are my life

I will take my life if separated from you…

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Song 35

Aisin sugghar ye more Sali, bukkiya fula fule has

Bukki fula fulal ho bhatu, bhaunra lore nahi aail…

Cham cham karati nenglo ho Sali, mihin heri haslo…

Jhyalki pari hereu o bhatu, muska boli maraho…

Dhire dhire maiya lagal Sali, tuhin bina marijau…

 

Oh my sister-in-law you are as beautiful as a daisy flower

The daisy has bloomed but there are no bees roaming around…

You walked in shining drees and gave smile looking at me…

Oh brother-in-law you talk to me smiling looking at the window

The love grew steadily, won’t be able to live without you…

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Song 36

Muri kasi bandhu Sali, lali jhobanna

Mai maya karnna Sali, tu nai manna

Muri …barka fula

 

Magh mahina aaideu bhatu khelab mela

Dhan kasi bandhu bhatu, ki lali jhobanna

Muri…

Mashari pisi dal Sali, puran chakiya

Soti jagti yada ail, kaail gatiya

Masari…mahatan angana

 

Eka murgha boli bhatu, lakbo sangna

Mandra jhal bole bhatu, puran chakiya

Bhoka bhoki hero Sali, bandho motari…

Jar ghama lagi Sali, laileu chadari

Bhoka…,bakram bahiya

 

Sura sura bayal bahi piprak chhahiya

Basiya suhawan Sali, sajana ke sang

Tohar mora jori jami, milab akkethan

Basiya…, nachab shakiya

 

Maiya lagake bhatu, milaim akhiya

Dasaiya dewari bhatu, sajana ke song tohar…

Ladiya ke phatuwa phatuwa, bair barkatwa

Bheta kara aaiho Sali, prithi purawa

 

How should I knot the bunch of paddy crops, oh red necklace?

I like you but you seem to ignore it…

Oh, brother-in-law wait for the Maghi fair,

Oh brother-in-law, how should I tie the bunch of rice crops?

 

Oh dear, the old stone grinder is good for grinding the lentils…

Remember you all time

Remembered the green scarf while sleeping and awake

Will walk for the dance with the first call of the rooster…

The madal and cymbals will sound on the lawn of mahatauwa (village chief)

 

Oh sister-in-law, please pack up your goods and be ready to elope…

Take the thick clothes, will have to face the cold and hot

The breeze flows under the peepal tree (sacred fig)

Our pair will be the perfect match, will meet at one place,

 

The flute tune sounds beautiful in Sajana song

Will elope with you walking along the deserted banks of the river

Oh, sister-in-law please come to meet at Prithipur village…

 

 

 

 

 

 

 

 

 

Song 37

B-Lagi te lagi kalattar bhar rupeeya, rupani bathiniya nai chhorabu…

G-Nachati angana me angiya sopa dehabu,

Rupwa, rupeeya leke satabu…

Pasgam aagiya rat barna, tuhina dekhe jiya jarna…

 

B-Aao ho mor agiya butau…sadhabhar tohar pichhe parana…

Chhatike mor gauman tharuwa…

Piha mor gharan jimdaruwa…

Badhileu prem gathi kaske, banileu tharuwa mor tharuwa

Aise nazariya lagaiho mor piyari, hereke piyase bhuk metabu…

Lagite…

 

Jaise gagar bhar pani, chhalke tohar ho jawani…

Aau ho mor bahiya pakar leu, kabasam rahabo anjani…

Sitari bayal bahe lagal

Ras ras maiya badhe lagal

Tuhin dekha mihin kaje, jawani ke mata chahre lagal…

Rama ho primi bati batbu, tohar nauke diya barbu…

Lagi te lagi…tarki bazar nana dehabu…

 

Sonake nathaniya ghalaibu…

Rupani fikar nahi karho, dhana ke baras barasai bu…

Galata ho lehenga ka uppare, muthi ke feriya ho pehanbu…

Raatdin tohar nau japti, sukhdukha jingiya bitaibu…

Maite tohare tohare bhar parbu, jibi tohare lag marbu…

 

No matter even if it costs pots of money

I will not give up lurking for a beautiful lady…

Will surrender my body to you dancing on this lawn

But will exchange my beauty only with the money…

The fire in the hearth burns for the whole night, my heart feels jealous seeing your beauty…

 

B-come and tranquilize the fire of my heart…will love you forever and ever

G- Will choose my darling in the whole village and he should be the richest one…

Oh dear come and love me and be my partner

Have forgotten my hunger looking at you…

 

B- Your youth topples like the full water pot

Oh dear come and hold my hand, up to when you will be alone?

G- The cool wind blows, the love starts growing intimate

Don’t know why my youth is becoming more passionate about you

Oh Rama will weave the thread of love and burn the diya of your name

 

B-Will bring you a necklace even if it costs too expensive

Don’t bother will shower the wealth to you

G- Will pray your name for whole life, will live and die for you

 

 

 

 

 

 

 

 

 

Song 38

D-Babai kathu parha deho ha bhojsoj nai karabu…

 

F-Sochle rahu chhai lagaim ha, chhai hero baisha chahral

Jeni lagau baba mor lehenga bareri pugna ba…

Kahiya lagaibu chhai mor lehenga bareri pugal ba

 

D- Baba mor aisik katha ha, duniya te ka kahi?

Tohar dukh, mor dukkha ha, umer tohar khaske lagal

D- Jeni…

F-Angiya dekho fariya lagal ha, lehenga bareri pugal

Umer bharal fula fulal ha, umer khaskal fula sukhapakha

Jawani bhar lahundan lalchai ha, aajkal dekho sukhapakha

Duniya bhar khojti chhalnu ha, tohar chhai buhrail katha

 

D-Kahiya lagaibo baba mor…

Kahiya bhetaim damda mair…lehenga…

 

D- Oh father request you not to get me married, send me school…

F- You are grown up, I’m worried about your marriage now…

 

D- Oh father, don’t get me engaged, my lehenga is too short to touch the roof beam yet…

F- When will I be able to find you a suitor, your lehenga has touched the roof beam

D-My own father criticizes me, what will the rest of the society say?

F- Your pain is my pain, your age is growing quickly…

Look at your shawl, lehenga has touched the roofbeam, youth and beauty are like a newly bloomed flower when youth passes it’s like a withered flower…

People say your daughter has aged

 

D- When will you get me married, father? My lehenga has become taller now

F-When will I get my brother-in-law? Your lehenga has grown up long…

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Song 39

 

Aiho laskata laskata, lehenga jo sohe

Kushmi suhal ranga sari re bhalla

Aiho gulami ranga kahi choli re, naina suta chadar

Aiho bahe sohe sankha churiniya, gale sohe nau lakha har re bhalla

 

Aiho chhatiya me sohata humela, dunu re kanem jhumka

Aiho gore sohe bichhu baijiniya, hathe sohe baka bjaye re bhalla..

Aiho angiya me sohata u choli ho dhani, chhatiya laraeu…

 

Aiho bujhi jau pihawa ke mange re dhani tulasa haryai…

Aiho biche biche tu more laal re motiya, gudari siyake sutaeu re bhalla…

Aiho anguri ke saichhin banaeu gohi bajhal mor maiya…

 

Your pink blouse and new shawl on that lure me…

Your wrist looks beautiful in bangles

The neck looks dazzling in golden lace

Jhumka (earrings) on both ears        

Your feet look beautiful in payals (anklets)

 

Please, come closer to me and touch my body with your beautiful looking necklace and chest

Try to understand your darling’s wish, the tulsi (holy basil) will bloom

 

Please weave a warm quilt for both of us

I will bring you the engagement ring

I started liking you, dear…

 

Song 40

Puttha me lehenga, kanem kanbali, ghecham kanasehari…

Gaunk dulhaniya tekaneme gagri, nengli nathniya pani bharni…

 

Murgha ke bolime uthalin bhansariya

Kandha me har juwa, khetuwam haroiya

Ailai dulhaniya leke kaluwa aur mijhni…

 

Baithali haraihya merwam dekhake sajani…

Barkha ke megha ke pani haryali,

Dekhi dekhi ke manha tarpe

 

Ghumnu kailali jilla, charkose banuwa

Mahendra rajmarg, ghorighora taluwa

Pugnu ghumate firat attariya chauraha

Dhangadhi bazar huke hasuliya gabisha

Mohanake dhikuwa me milan

 

Huibi sajna, hasikhel dina bitaibi

Bahe purbaiya sitari bayale

Basanta bahar bagiya suhaye

Bhore bihani angana khele albeli

Fula gundi bagiya,

Champa chameli fula ke rang bhare madhur din kerani

Dekhi dekhi maiya lage…

 

Wearing the lehenga on the waist, earring on the ears, the necklace on the neck, the beauty of the village walks to fetch the water in the dawn…

The housewife wakes up with the rooster’s first cry

Carrying the plough and yoke on the shoulders, the farmers start for the farmland

The lady comes bringing the lunch to the farm...

 

The workers wait sitting on the high rows seeing their ladies…

The water of the rainy season soothes your tormenting heart

 

Visited Kailali district, the great forest

Mahendra Highway, Lake Ghorighora

Reached attariya, Dhangadhi town, and Hasuliya village

Will meet each other at the bank of Mohana River…

Will pass the life happily, the environment looks beautiful and romantic in spring

 

The sun shines early in the morning lighting the bright flowers of the garden…

It makes me fall in love…

 

 

 

 

 

 

 

 

 

 

 

 

 

Song 41

B-Lehenga fariyam dekhthu tuhinhe, dura se muskaitho…

Tu sundari mor jiyara  lalchai tho

G- Kandham rumal puttham dhoti ha, chhalko chhalko nengtho..

Mor chhaila ho, maiya jinni maraho…

 

B-Cham cham kara turkey tohar ha, funna lagal lehenga…

Maha sugghar ho chhaili got lagal angiya

G-Sapnam dekhthu dulha tuhin ha, funna lagal pagiaya

Ka sochtho ho chhaila maiya bajhaka…

 

B-Muski maralo tu lajaka ha, man chhaiko chhaiko karath…

Gecham sutiya, nakem nathya muh tohar doniya

G-maiya bharal fotu khichnu ha naina milaka

Dagram bolaho ho chhaila, maiyase muskake

 

B- You smile from far away when I see you in lehenga and shawl

You beauty have stolen my heat

G- Keeping the handkerchief on the shoulder and the dhoti on the waist, you walk briskly…

Oh my dear boy, don’t forget our love…

 

B-your tarki (necklace) shines brightly, your lehenga is beaded

Your shawl is also embroidered with a beautiful design

G- Dream you as my groom, with the beaded turban,

What do you think after trapping me in your love…?

 

B- You smiled shyly, my heart pounds with excitement…

Suitya on the neck, nosering on the nose, and your face look beautiful oval like the leafcup…

G-oh boy, please talk to us, whenever we meet…

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Song 42

B-Katna suhawan tohar gaun, aiho katna sundar tohar nau

Lehenga o choliya me fula has bilgailo dekhi jiyara mor lobhawai…

G- Fula sahara ke hai mora chhaila

Hai ho dagara chalati muski maralo

Chhaiko chhaiko dhotiya chhalkailo

Ho chhailo dekhi jiyara mor lobhawai…

 

B- Suno suno chhaili mora ha sunao ho mora batiya

Hasati khelati chhaili kati jaihi ratiya…

G- Ratiayi to kalo chhaila ha sindura lani dehabu…

Bhure bihana chhaila bisar gilo batiya…

 

B- Gorhar gorhar gal ba tohar, aiho akhiya nain kajrare…

Gotha dar lehenga, kinara lagal gatiya dekhe jiyara mor lobhawai…

G- Bare mith boli ba tohar, aiho boli me bawai tohar jadu

Mith mith boli sunake ho chhaia dil mora lehalo churai…

 

B-Maite tohar dil ke hero ha, tum or sajaniya

Chando leke aaibu chhaili uhe dagariya

G- Tu to more dil ke hero ha, suno ho sajanuwa,

Chando leke aaiho, chhaila more anganuwa…

 

B- Solhe sal ke jawani, aiho katna sharmili tohar bani

Doli me baithake laijibu chhaili

Rahijaihi sakhiayan akeli

Hansa ke jori bane jaibi chhaila chhaili uri jaibi nila gagan me…

 

 

B- How beautiful is your village!

Oh, how dear how sweet is your name!

You look like a flower in a blouse and lehenga, my heart gets attracted…

G-Oh boy you are the flower of the town and you smile walking to our village, waving your dhoti

My heart gets attracted to seeing you…

 

B- Oh girl listen to me, we can pass life happily living together…

G- You promised to buy me tikuli at night, how come you forget in the morning?

 

B- Your face is fair and your eyes are black with kajal

Seeing beaded lehenga and shawl my heart aches for you…

G-your talks are sweet, has magic in them…

 

B- I am your master, you are my darling,

Will visit you bringing palanquin through this way…

G- You are my hero, come carrying litter to my lawn…

 

B-the youth of sixteen, how shy you are…

I will take you on the palanquin, your friends will be lonely…

Will fly happily as the pair of the swans…

 

 

 

 

 

 

 

Song 43

 

B-Bhau bhinsariya murga eka bolai re

Utho dhani utho dhani chali pani hare re

G-Utho piha utho piha chali pani hare re

 

B-Sira charhaili dhani sobhana gail re

Dhani piha dhani piha chali pani hara re…

Parga mahare dhani eka sura nengai

Uthi gaili uthi gaili kunwa pata hara re

G-Pugi gaili pugi gaili kunwa pata hara re

 

B-paniya bharan dhani dola darali re…

Paniya nikar kahe dola darali re…

Bharati bharai pani, bhayal bihana re…

 

B- Early in the dawn, the rooster cries

Wake up dear, wake up, let us go to fetch the water…

G- Wake up husband, wake up, should rush to fetch water

 

B- Keep the pots on the head and rush quickly to get the first turn to fetch the water…

Have woken up to go to well…

G- Have reached to fetch the water…

 

B- Will make the litter to carry the water…

The morning rose high in the light while fetching the water…

 

 

Song 44

B- Amalik rukhawa sittar jur chhahiya

Dura na jaiho Sali, tohar lagath maiya

Sali ho pakaro bahiya, juni juni banabu tohar saiya…

 

G-mana mora choralo bhatu apan boli le..

Ghayal banailo mahin maiyak goli le

Bhatu ho mana chor ke, ye dil ke phulawari na jaiho chhorke

 

B-hathem churiya Sali, gecham guriya gothak lehenga, mathem tikli uhe aaith najariya

Sali ho pakaro…

G- Funna lagal pagiya, kandhama rumal, sal sala putthama dhoti karalo kamal…

Bhatu ho man…

 

B-pari khetu pari Sali, cholike uppar achala

Jiyara lagith mor kanchan payal

G-jhilmil toraiya bhatu, raat ke ujariya

Tohar yad me bhatu, bhulaithu dagariya

Bhatu ho…

 

B-fariya suhawana lage, upa choli

Apan banaibu, charahaibu doli…

G-morik tan man sugghar bhatu, tohar dilma

Hali hali lai leu bhatu apan saran me…

 

B- The tree of amla (Indian gooseberry) and the cool shadow

Don’t go away sister-in-law, I like you

Oh sister-in-law hold my arm, will be your husband

G- You stole my heart through your sweet talk

You wounded me with the arrow of love

Oh brother-in-law, don’t leave me

 

B- The bangles on hand, necklace in the neck, beaded lehenga, tikuli on the forehead are only visible…

G- The beaded turban, handkerchief on the shoulders, look amazing in waving dhoti

Oh, brother-in-law, you stole my heart

B-the outer covering your tops, your melodious sounding anklets

 

G- The twinkling stars have brightened the night…

I forget the road to the house in your longing

 

B- The shawl looks beautiful on top of the blouse, will make mine and ride you on the palanquin…

G- My heart and body appear beautiful in your soul

Please take me quickly to your lap…     

 

 

 

 

 

 

 

 

 

 

 

 

Song 45

Chhaili mor tuhi ho mahin

Rama suhail chara kone

More bagiya dagar gaila chhaili

Bhauran he lalchailo

 

Priri piriri bole sundar murali

Rame suni maiya lage

Oise bajhal maiya, chamke mor

Jugunu re torangan

 

Taha taha lage badar ghamiya

Rama barkha bari jore

Cham cham kare, kari badri, mora

Mayawa ke nisane

Char char rangan gori choliya…

Rama holikahi dine

Bhijhin jaihi gorike anga, mora hirda jur jai…

 

Kuhu kuhu bole bagak koili

Rama champa fulaware

Dekhi dekhi jiyara more tarpe, sunike re sabadiya..

Pata pat tujo duanak phula, pata pata

Rama kholi ke kenwara…

Bajra kenwariya dagar marlo, akhiya ke ho bane…

 

Hali hali leke aaim dola, hali hali rama doliya laskari ke

Baithi jaeu doliyake upare, mora champha phulawariya…

Sange jina ho sange ho marna rama kasam khaibi hamre

Prema ke geet sunai hamre, duniya he dekhaibi…

 

Oh, dear girl, you are my master

You look beautiful from every angle

You walked through my garden way to lure the bees

 

The sweet flute is singing, it’s good listening to it

Our love grew, like the twinkling stars

 

The heat is increasing and the rain will be heavy

The lightning clouds are an example of my love…

Will make your blouse wet with the different colours on Holi

Your body will be soaked, you will be cold

 

The cuckoo in the garden sings making the garden beautiful,

My heart longs for your words

You are the flower of bebri

Oh, Rama Who will open the door?

 

You shot the arrow through your eyes…

Will come soon bringing palanquin to take you…

Please come to my palanquin

 

Will take an oath to live and die together

Will show the world the immortal song of our love…

 

 

Song 46

G- Chhaila to pakarala ho alkha mor bahiya he

B-chhaili to…

 

G-chhaila to dard, dard nahi jani, lihuri baithi nahi jawaih

Choro choro bhatu he, alkha mor bahiya he…

B-Chhoro choro Sali…

 

G-Garmika dinuwa pasina anga chhute choliya jhanjhan kholan lage

Fula lor gaili ho malin, uhe fulawariya he…

B-fula…

 

G-Ohe fulawariya me sajana bhete unke surat mana mohe

Sejiya lagail ho malin, fula bichhnail rehe…

Ohi sejiya me sajana sutawai, pirati rahal rujhawai…

Hare hare jogiya re, hare sir bhogiya re…

Aage aage malin chale, pichhe lagal jogi apan mahaliya laijawai…

 

G-Oh the boy has grabbed my arms strongly…

B- Oh the girl has grabbed my hands strongly

 

G- Oh the boy does not realize my pain, I cannot rest…

Oh brother-in-law, let me go, leave my hand…

B- Oh, the sister-in-law, leave your grip            

 

G- In the days of summer, the perspiration makes me difficult to wear this tight blouse...

Went to pick the flowers in the garden

B- Went to pick the flowers in the garden

G- Saw you in the same garden, you stole my heart...

You laid me on the bed of flowers…

Our love grew more and more…

Oh dear hermit, oh my master           

The master walks ahead followed by his devotee…

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Song 47

B-jone panthu dhani ho gaila

Yeho rama bagiya lagawai…

Bagiya ke biche ho biche mor

Champa fulaware

 

B and G-bagiya lagail ho dhani, ye ho rama larangi lagawai…

Larangi lataki ho gaila, mor tina akhwari…

Makura to jali lagawai…

Yeho rama machhiya bajhawai…

Oise ka dhaniya hamro bajhal maiya more…

 

G-oise ka pihauwa hamro bajhal maiya more…

 

B- The way my beloved walks, I plant the trees on them, in the middle of the garden lies my jasmine flowers…

 

B and G- will grow the garden and plant lemons there…

The lemons have ripened, who will look after them now…

The spider weaves its web

And traps the flies

In the same way, our love entangled…

G- Yes, in the same way, our love grew…

 

 

 

 

 

Song 48

B-Sira sohe basaki delariya ho

Ari ho malin

Ari ho malin, chali to jaibu bari fulawar

 

G-jone panthu piya more gainai ho, ari ho malina…

Are ho malin ho jone panthu, piya ho jainai, mahu chali jaim malin hathe lewai malin sona ke ankushiya ho, are ho malina

 

Ari ho malin, ho, piya to bhaini domarik fula

Mahabhari churila mai paibu ho ari ho malin

Ari ho malin ho, manga bhar paibu sira ke sindur…

 

B- Oh the gardener, the head looks beautifully decorated in the bamboo basket

Will meet you in the kitchen garden…

 

G- The way my husband walks by, oh the master…

Oh master, the way my husband walks, I too will choose that path

My dear will buy me the golden ring, he is like a domari flower

I will receive the big and beautiful bangles…

 

 


 

 

 

 

 

Saturday, September 19, 2020

Subverting the Archetypal Stunt of Bollywood Web series in TVF’s Rural Orchestra Panchayat

 

Mohan Dangaura

Abstract

With an ever-increasing number of violent and bloodthirsty revengeful web series streaming largely on digital platforms, The Viral Fever’s (TVF) Panchayat stands as an anti-stream presentation to undercut the popular notion of Indian web series. Opposite to the popular method of producing series loaded with regional abusive languages, violence, murder, sexually explicit content, Panchayat presents a serene picture of the inner story of rural life.  When using only disturbing contents have become the major spice to get your show hit, Panchayat takes the simple way of rural folks’ life to make us nostalgic about what we have lost in the course of being modern. In analyzing the negative consequences of capitalist consumer culture Dominick Strinati in In An Introduction to Theories of Popular Culture counterattacks urban community and its morality declaring that such urban morality breaks down in the time of capitalism, and individuals become isolated, alienated, and anomic, caught up in increasingly financial and contractual social relationships. Therefore, how Panchayat not only reveals rural subculture but also alters the art and genre of movie production in Bollywood becomes the central issue of my paper.

Keywords: Panchayat, Web series, Archetypes, Bollywood, Rural Culture

Streamed on Amazon Prime Video, The Viral Fever’s (TVF) comedy-drama web series Panchayat explores modern-day rural India.  Unlike popular methods of producing series loaded with regional abusive languages, violence, murder, sexually explicit content, Panchayat presents a serene picture of the inner story of rural life. When using such disturbing content has become the major spice to get your show hit, Panchayat takes the simple way of rural folks’ life to catch our attention during this pandemic. It not only presents the story in a humorous way, but it also makes us nostalgic about what we have lost in the course of being modern. The story compels you through the narratives of rural lifestyles and non-hectic living style of villagers. Thus, Panchayat has been able to break the notion of the popular method of relishing audiences with petty simple narratives of commonly understood as a subculture in our subcontinent. Hence, examining the impact and popularity of rural subculture in our daily behavior to aware us about the value of emotional attachment becomes a topic to be discussed.



The story starts with an engineering passed student; Abhishek Tripathi landing on Phulera gram panchayat in Balia district of Uttar Pradesh. Like many of Abhishek’s friends, he has also an ambition to be an MBA corporate acquiring nearly one lakh salary per month. However, he remains unsuccessful in cracking the CAT (Common Admission Test) exam for admission in IIM (Indian Institute of Management). Therefore, he goes low profile government job as Village Secretary (Sachib) which would fill his one year gap and make his experience more competitive.

Mukulika Banerjee writes that recent cinematic representations of rural India have been awash with blood and caste politics, confirming Ambedkar’s famous characterization of villages as ‘dens of vice’. On the other hand, Gandhian characterizations of villages as the real heart of India have always been met with skepticism by dynamic urban Indians. The truth is, recent films and plays have rarely been set in rural India; the villager has simply vanished from national popular culture and even our stalwarts who wrote so eloquently for and against villages, had scarcely lived in one themselves. Panchayat took us right inside one. Sreeparna Sengupta writes “What keeps Panchayat ticking are the well-timed dialogues and situations that keep you chuckling all along.” There are no big dramatic moments but it’s the slice of life treatment interjected with humor and its background tracks that score big. And ultimately it’s the performances by a stellar cast and the writing (Chandan Kumar) which aptly captures the essence of rural life that are the trump cards here. The characters with their quirks balance each other well while being realistic and thankfully not one dimensional.

Ruchi Kaushal writes, “One thing that definitely catches the eye is the camera work. The aerial shots and low angles add a magical touch to the cinematography, which could otherwise look dull and faded amid the empty fields and irregular skyline.” Review on the scroll.in writes on Kumar’s optical expression arguing that Kumar’s expressive eyes convey something else too – the believable exasperation at being plonked (to pluck or hit so as to produce a quick, hollow, metallic, or harsh sound) in the middle of nowhere, and the gradual realization that Abhishek might be getting somewhere after all. Neel Gudka writes “Panchayat is a comedy-drama about an individual born and raised in the city, who must deal with the ordeals of life in rural India.” The dynamics of the village are shown through Abhishek’s eyes. The place is badly governed and he must face tricky challenges in the course of his work. Everyone around him is nothing but kind and gracious, but he is far too absorbed in self-pity to acknowledge it. The creators succeeded in delivering an authentic portrayal of rural life. The village folk is simple with a flair for prolonged small talk. Life here is evidently slow. Though good-natured, they are often quick to take offense for the most trivial of matters. And on major occasions, they pitch in to help out, displaying a strong sense of community. “The great thing about Kumar’s writing here is that he treats his characters like real people and their arcs progress naturally” (rollingstoneindia.com). The study of popular culture can be seen to offer revelations about matters such as the myths that drive us: the unconscious tensions and contradictions that bedevil us: our assumptions about the human condition, the nature of man and society, and the nature of the good life: the ways we are moved from one level of knowledge, awareness, or consciousness to another; and the kinds of messages our society communicates to our unconscious. Understanding such matters helps us comprehend how the individual and society interact and evolve.

Popular culture can thus be life-affirming life-enhancing. And its study can be a productive response to the Socratic admonition - "Know Thyself' - and to its corollary - "Know Thy Society." John G. Cawelti writes that the development of the electronic media has changed our culture by their capacity to record performances almost as much as through their potential for instantaneous and simultaneous transmission to a huge mass audience (5). With the new media's capacity to record it is now possible to manipulate and control not only form and content but performance. He seems to embody in some essential fashion the values and attitudes of the ordinary person (ibid.: 6) Popular art must have the qualities of simplicity, familiarity, and strong impact to succeed. When appropriately cast, the star helps the audience to interpret and respond to the work more readily and perhaps more deeply than would be possible through the medium of language or music. The physical presence of the star gives the story greater ease of comprehension and emotional impact.

Abhishek uses this job as the more skill addition tactics in his biodata. As the movie opens up, we notice Abhishek in a bus constantly asking the conductor about his appointed village Phulera. The conductor doesn’t reply to him first but as Abhishek keeps on asking, he says “You’re asking for the 18th time. I will let you when we get there. We don’t abduct you” (Episode 1, 1:1). And as the destination arrives; he wakes Abhishek from dodging on his seat. From the very beginning, simplicity, humbleness, and peaceful working habit could be noticed from the conductor. The over anxiousness of Abhishek’s suspicion on rural folks tries to hint him at the slow responsiveness about them. But the point he misses out is about the sure responsiveness, rural dwellers’ naturalistic way of living life. From the very beginning, we can see Abhishek’s dissatisfaction with the job of Sachib accumulating just 20,000 a month. But since he has no other options for financial support to sustain the basic life and crack his CAT (Common Aptitude Test) exams. Using the job of Secretary as a bet to make the road to IIM clearer, finally, Abhishek decides to take this job.

Another important aspect of performance in popular culture is nicely defined by Hall and Whannel in The Popular Arts. They point out that the popular arts achieve much of their ready comprehensibility through their high degree of conventionality. One can readily observe that in these areas of the popular arts it is the performer rather than the composer or lyricist who is known and loved by the public and who tends to receive the greatest celebrity and remuneration for his work. The performer transforms conventional works of art into unique forms of expression (ibid.: 7). Cawelti further emphasizes performance claiming it to be a form of role-playing and this is a basic concept of modern psychology and social psychology (11).

Gary L. Harmon defines popular culture as the arts, rituals and events, myths and beliefs, and artifacts widely shared by a significant portion of a group of people at a specific time (4). Modern technology, from cheap, high-speed printing to radio, film computer-transmission of light and sound, has brought about not only ever-larger audiences but also more creators of popular culture experiences. Popular culture also provides role models. Society's standards for good and bad behavior or for the best selves that persons might be are acted out in our books, TV shows, advertising, films, comics, sports, and arts.

Tanisha Bagchi in her review writes, “The panchayat secretary is not just a post - it’s a gaze of the privileged, urban dweller towards the ‘real India’, one that Bollywood has fed him/her through the ages.” Bidding adieu to the romanticized lens of rural India, the TVF show revels in the simpler pleasures of a life devoid of glitz and glamour. All the characters are unique in themselves, and not for once do we feel that they have been reduced to caricatures.

The same aerial view of Phulera in almost every episode warns us of a staggering pace, but the quiet monotony of a place tucked inside a huge state opens a box of stories about trust, friendship, comfort, and happiness. Shilajit Mitra in her review writes that Phulera’s self-reliance helps Abhishek find his own. It plays out in unexpected ways: a verbal standoff with a groom, a tiff over a family-planning drive. There are neat touches: Raghuvir Yadav looking at a picture of Sardar Patel before taking a strong-willed call. Neena Gupta’s homebound matriarch is a fun character, sharper and wittier than her husband. The show, however, keeps her benched till the end, which makes narrative sense but does not justify the talent at hand. When Abhishek enters his new workplace for the first time, he is greeted by the words: “Thokar lagti hai toh dard hota hai, tabhi manusya seekh pata hai.” Life’s greatest lessons are learned through pain. It takes him an entire year to fully grasp its message. Till then, the words remain just a taunt.

In contrast to our presumptions and stereotypes, the movie moves to the point and has nothing to sow about the pastoral experience of the village. The only thing movie is more concerned about is the tussle of perceptions of goal in life and way of life between rural-urban people. The intellectual face of emerges as soon as the screen takes us to the meeting of the village working Pradhan (Chairperson) Brij Bhusan Dubey, official deputy president Prahlad and office assistant Vikas. The story revolves basically around these four people. Though the real presidency goes to Manju Devi (wife of Dubey) due to the government’s actions to behest female participation in administrative power function, Dubey cleverly has become the executive president subjugating his wife.

Living with corona lockdown has taught us the value of remote isolation and its independency. It has further become the symbol of existential shelter on the fact that thousands of people have migrated back to their villages to live. But, the interesting twist in the movie comes when the collective consciousness of rural  India works as a  non-hero myth going against the urban belief of being self powerful individualistic. As a newly appointed secretary, Abhishek encounters anti-urban intellectual ideologies. His city friend Prateek motivates him saying “You’re only highlighting the negatives. Focus on the positive as well. Get firsthand experience of rural India” (Episode 1, 3:14). Therefore, how his mode of individualistic self alters gradually with the story becomes the point to interpret and reflect.

Harmon furthermore discusses the social impact of popular culture on consumers from their role models (10). By its attention to hero figures, popular culture becomes a major means for introducing new values, attitudes, or lifestyles. It is through popular culture that the emphasis upon "togetherness" or companionship has been promoted in an age that has increasingly isolated the individual (ibid.: 11). Another way in which popular culture often helps the individuals well as society is through what might be regarded as its consciousness-raising capacity (Harmon 12). It helps society to survive with greater social stability and harmony through a shared consciousness. Popular culture can also offer a kind of comfort and security to the individual, thus performing a therapeutic function. Dominic Strinati writes “The fantasies and happiness, the resolutions and reconciliations, offered by popular music and film make people realize how much their real lives lack these qualities and thus how much they remain unfulfilled and unsatisfied” (63). Personal and social tensions and misunderstandings that arise from ambiguous attitudes can often be resolved by popular culture.

In analyzing the negative consequences of capitalist consumer culture Strinati writes “Community and morality break down, and individuals become isolated, alienated and anomic, caught up in increasingly financial and contractual social relationships (9). In the age of global capitalism, an individual always suffers from a lack of financial success and tries to change his skills and possession into the best of exchange value worth for capital. Abhishek tries to relocate himself into the arena of city corporate with a high paying job that revolves around the mega projects and Silicon Valley. It will at least fulfill his search for compensation as being graduated from a good college. Marx distinguished between the exchange value and use-value of the commodities circulating in capitalist societies. Exchange value refers to the money that a commodity can command on the market, the price it can be bought and sold for, while use value refers to the usefulness of the good for the consumer, its practical value or utility as a commodity (Strinati 51). People who live in capitalist societies think they are free but they are deluding themselves. They are not free, autonomous, independent human beings, consciously thinking for themselves. Rather their freedom is restricted to the freedom to choose between different consumer goods or different brands of the same good, or between political parties who in fact look and sound the same. The false needs of consumer and voter choice offered by advertising and parliamentary democracy suppress the real needs for useful products and genuine political freedom.

Pradhan’s request to his wife to let Abhishek stay in his house instead of his office remarks his caring character. Though at first, his motives may seem doubtful appearing to win the favor of the newly appointed secretary, as the plot unfolds we succumb to no such motives. But Manju Devi’s straight rejection for they have a young marriageable daughter and allowing her husband to let Abhishek break the lock shows the concern in a bit different way, “Invite him to dinner and let them break the lock” (Episode 1, 25:11). During the same struggle in finding the key to the lock, Vikas asks permission to go and call a locksmith to break it. At that moment, he unhesitantly asks Secretary’s bike key but returns with neither the man for the job nor the bike in good condition. Vikas explains the accident and cause of the broken sidelight of the bike. Again the good thing about the incident comes with Pradhan’s assurance of getting the bike repaired and requesting Secretary to get calm.

Abhishek’s disagreement with Pradhan’s office executions and sorting out the bureaucratic deals depresses him. On trying to alter and recommend something more scientific and practical, he gets being silenced and ignored by other ward members in the committee meetings. Rather the hilarious decision of one of the ward members to put the light on the haunted tree gets hugely praised. The sarcastic rural intellectual is observed when he is asked how he got a brilliant idea and he answers “I thought it while taking a leak (Episode 2, 43:15).” His advice to install the light on that tree is no regressively enjoyed by the local politicians. The already going frustration with his life by not achieving the sophisticated corporate job and city life, Abhishek becomes more ill-tempered with ideas of rural folks and behavior.

Being compelled to work under the intellectually far inferior person and unable to make a presence, his frustration increases. But the story doesn’t stick to the same line of control. It movies on with quite humorous and ironic moments that tell a lot about our basic human tendencies such as greed, lust for power, and deep-rooted corruption in every post of the bureaucracy. Coming to the point, the story could be analyzed through a non-hero existence perspective. For one moment Abhishek appears as the major character and for the next Pradhan. The major argument remains to leave the particular orienting of a hero figure to any single character. Thus, from here the collective sense of rural heroism begins in the story.

In episode 3 during the wedding function of one of the village member’s Abhishek is too much worried about lending his office for the bridegroom’s stay and assist them in preparing for the wedding but his office assistant suggests, “You see sir, in villages whenever there is wedding, function or funeral everyone comes together to lend a hand. This is the tradition, the culture of the village” (1:16:09). Vikas again reminds him of popular culture in the village during the wedding.

Adorno’s idea is that most people in capitalist societies live limited, impoverished, and unhappy lives (Strinati 63). Tripathi’s life looks limited from body performance. He doesn’t look happy. Though he is a village now, his consciousness frequently gets haunted by the city mentality that he needs to have a decent paying job and adequate materialistic life. The simple life of the village haunts him more and makes him regress more about not being able to crack admission in IIM. During the whole movie, he doesn’t talk much on phone with his family and friends. We notice that he only talks with his mother when he has to ask for subscribing milk form Pradhan’s house. In all of the instances, Vikas turns out to be his best and closest friend.

Villagers not only have an impact on Abhishek, his presence and working capability also alert Pradhan about his own weakness on rigid authority and firm decision making. Pradhan’s reluctance to stand by with his decision upon Branch District Office’s (BDO) message to change the slogan comes as the resilience to his own habit. When even Abhishek gets afraid of potential risk he says, “If the decision is right, then why are you scared? No one will finger at the office. Whatever they want to do, they can do it to me in the next elections” (Episode 4, 2: 00:55). He then even asks the monthly price of milk from Abhishek. Similarly, Deputy Pradhan’s decision to support Pradhan on his decision to implement the slogan saying he doesn’t want to work without him shows the intimacy and close friendship between them besides professional matches.

In episode 5 when Abhishek is inquired on drinking beer and sleeping when the monitor gets stolen, he angrily expresses his frustration on being lonely, “There is not a single guy around to talk to after work hours. I have no friend, no family, no social life” (2:27:31). Pradhan gets emotional by Abhishek’s pathetic feelings towards village life and his poor daily life.

Benjamin Franklin argues that the sound film is ‘superior’ in ‘capturing reality’, and in giving the masses the opportunity to consider what it has captured (qtd in Strinati 77). Panchayat in that sense perfectly paints rural India and their collective notion of life routines. Moreover, it also leaves the ground for the clash of village and town values through the village secretary and Pradhan. Tripathi’s constant thinking about returning back to the city works as a normal life for him. However, towards the end we notice, he feels content with his effort of bringing Manju Devi (official Pradhan) back to the front. Therefore Benjamin stresses the democratic and participatory rather than the authoritarian and repressive potential of contemporary popular culture.

In episode 6 when Abhishek and Vikas were in the market for taking photographs, they get in skirmishes with local boys of another village. They were challenged to have duel by local boys after they were told to get away from the bike’s seat, Abhishek gets scared but Vikas goes ready to meet the boys for a duel on notwithstanding their humiliation, “They openly threatened us, sir. We must take some action” (2:40:16). Vikas’s manner of ego-satisfaction shows villagers' willingness to be hard and rough if provoked. Opposite to it, Abhishek remains silent an tries to get cool. Though simple in appearances, if provoked, folks too could be dangerous and lethal is exemplified by Vikas’s aggressiveness to go for revenge. Similarly, the photographer refuses Abhishek’s to give his photos and says he has deleted his all photos since Abhishek has rows with the boys of his own village, “Since this concerns my village, I can’t be traitor” (ibid.: 2:42). This shows rural folks’ strong connectedness.  On ahead Pradhan and Deputy Pradhan on the first request by Vikas get ready to take Abhishek’s side in settling the duel re-emphasizes the rural folks’ good character.

Panchayat not only reveals an average students’ frustration for a secure future, but it also publicizes the rural culture filled with the morale of humanity and unity among rural Indian folks in harsh times. With the effort of youth production house TVF, Panchayat comes out as the realistic representation of modern Indian rural life overwhelmed with nostalgic habits of our childhood. With minimal cost at production but a huge impact to present educated youths Panchayat re-establishes the aura of our rural life with which we Indian subcontinent are born with. Breaking the admired genre of Bollywood web series, Panchayat alarms us what we have forgotten and what still couldn’t be separated from us being Indian subcontinental. It touches our hearts to fill us with the sense of lost ecstasy of rural and most authentic lifestyles.

 

 

 

 

 

 

 

 

 

Works Cited

Bagchi, Tanisha. “Review: ‘Panchayat’ Revels in the Simple Pleasures of Village Life” https://www.thequint.com/entertainment/hot-on-web/panchayat-neena-gupta-raghubir-yadav-jitendra-kumar-amazon-prime-review

Gudka, Neel. “Panchayat Review: a lighthearted Reflection of Rural India” https://in.bookmyshow.com/entertainment/streaming/panchayat-amazon-prime-review/?__cf_chl_

Kaushal, Ruchi. “Panchayat Review”  https://www.hindustantimes.com/tv/panchayat-review-jitendra-kumar-takes-over-from-shah-rukh-khan-in-this-quirky-desi-drama/story-XyURlVj5gUOGLHoay21DFI.html

Mitra, Shilajit. “Panchayat Web Series Review: A Pleasant Update on an Old Premise” https://www.cinemaexpress.com/reviews/hindi/2020/apr/03/panchayat-web-series-review-a-pleasant-update-on-an-old-premise-17860.html

Mukulika, Banerjee. “Panacea in a Panchayat.”  https://www.thehindu.com/society/panacea-in-a-panchayat-the-web-series-panchayat-takes-us-right-inside-a-village/article31922087.ece

Panchayat Review: Effortlessly Entertaining Portrait of Village Governance https://rollingstoneindia.com/panchayat-review-effortlessly-entertaining-portrait-of-village-governance/

Panchayat Review: Rural India is a Jolly Good Place in this Comedy of Manners https://scroll.in/reel/958066/panchayat-review-rural-india-is-a-jolly-good-place-in-this-comedy-of-manners

Panchayat. Directed by Deepak Kumar Mishra, Performance by Jitendra Kumar and Raghubir Yadav, The Viral Fever, April 3, 2020. Amazon Prime.

Sengupta, Sreeparna. “Panchayat Review: A Delightful, Slice of Life Series Capturing the Essence of Rural India https://timesofindia.indiatimes.com/web-series/reviews/hindi/panchayat-review-a-delightful-slice-of-life-series-capturing-the-essence-of-rural-india/articleshow/75815984.cms

Strinati, Dominick. An Introduction to Theories of Popular Culutre. Routledge, 2004. Print.

 

 

 

 

Monday, August 10, 2020

Transhumanism and Technological Sublime: Bhaya and Karuna in Mary Shelley’s Frankesntein

Transhumanism and Technological Sublime: Bhaya and Karuna in Mary Shelley’s Frankesntein

Abstract: This paper aims to study transhumanism and technological sublime in Mary Shelley’s gothic novel Frankenstein to explore the implications of Bhaya and Karuna rasa in the novel. I am interested in knowing how the creation of labrotaric male human being creates the horrors of robotic advancement in Artificial Intelligence. For this, I will be using rasa interpretations. Especially, I will draw upon ancient notion of Sanskrit Rasa. Thus, this study will answer the implications of technological transhumant creature in the novel from the perspective of classical Indian Rasa theory.

Keywords: rasa, bhaya, karuna, transhuman, supercreautre, technology

            Transhumanism is a futuristic philosophy which celebrates the potential of advanced technologies to augment human functioning to unprecedented degrees, ushering in a new phase of ‘posthuman’ evolution. Mary Shelley’s creature presents the threat of Artificial Intelligence.  Victor Frankenstein is a scientist who comes to develop an early seventeenth century AI who can copy others, learn from reading, a threat to surviving human beings. Philip Ball writes, “Frankenstein is a warning about a hubristic, overarching science that unleashes forces it cannot control (The Atlantic).” Frankenstein’s fear presents the failure to set the control over self-created AIs and robots that could turn their wrath on their very creators.

Shelley takes some pains to show that the real problem is not what Victor Frankenstein made, but how he reacted it. “Now that I had finished,” he says, “the beauty of the dream vanished, and breathless horror, and disgust filled my heart” (27). He rejects the hideous wretch he has created, but nothing about that seems inevitable. What would have happened if Victor had instead lived up to his responsibilities by choosing to nurture his creature? The bhaya arisen in Victor’s heart fills the bhaya in readers as well. The emotional rasa of bhaya terrorizes the readers about the unprecedented catastrophes of AIs and technologies. The society’s response to that new creature was disapproving. It would be shunned by the society because of its extraordinary visage. Thus, now we come to read Frankenstein from social prejudice and our perceptions of nature and natural. On the other side, it creates karuna among readers when we find poor creature living unsuccessful and lonely life. With Victor’s refusal to create a co-partner for his creature, our pity arises towards the creature. The self-living creature is in desperate need of someone similar to him who would give his existence an essence. But since, Victor fears the self-invention of such more creatures who could be catastrophic to human beings lead the creature more towards a pathetic life.

            To condemn Victor for violating “Mother Nature” with his “unnatural being” seems plan disturbing in the present. Certainly it bears out complain of British biologist J.B.S. Haldane in 1924, “There is no great invention from fire to flying, which has not been hailed as an insult to some god. But if every physical and chemical invention is a blasphemy, every biological invention is a perversion” (quoted in Ball). Modern scientific developments involve a complex and case-specific chain of events, and incur a delicate balance of pros and cons showing a lack of foresight to creature’s future and his role, Victor dejustifies the creature. He perceives the creature only as the inception of some evil chaos bestowed upon future humanity. Thus, the self-verified reason transforms the creature into a new superhuman.

Elaine Graham writes that Digital technologies create new personal and social worlds. Cybernetics devices are incorporated into the body as prostheses or implants. The twenty-first century body no longer ends at the skin (2). Victor’s creature is assemblage of fleshes from different human corps. May be that corps were so vile because of pre-technological consciousness of Shelley. Shelley came to make this creature a scene of horror that of course is the result of early innovation which was still unsophisticated. Victor narrates:

I collected bones from charnel houses, and disturbed with profane fingers, the tremendous secrets of human frame. In a solitary chamber, or rather cell, at the top of the house, and separated from all the other apartments by a gallery and staircase, I kept my workshop of filthy creation. (26)

Victor’s laboratory room looks like gloomy bed of the dissecting room and the slaughter-house.

            According to the rasa theory, the aesthetic pleasure in art and literature is derived through the power of suggestion (vynjana). But it also plays important role in providing aesthetic pleasure through horror. The rasa theory distinguishes nine kinds of aesthetic pleasure which are based on corresponding emotional states: peace, anger, love, laughter, grief, wonder, disgust, heroism and horror. The horror rasa is, therefore, as valid in the rasa theory as the comic, the pathetic and the marvelous. Indian aestheticians believe that in a suggestive work of art, “the emotion is brought out by suggestion and resides in and ideal plane as forms or essences of their specific contents or instance in actuality. The ordinary emotion (bhava) is said to be transformed into an extraordinary mood (rasa) which is aesthetic delight embodied in the particular emotions” (Odin 298).

            The emotions are always evoked through suggestion rather than denotation. The traditional rasa scholars give primary emphasis to erotic (Sringara), pathetic (karuna), and serene (santa) rasa while delegating an inferior role to the horror (bhayanaka) rasa. The horror rasa is, however, an important part of Indian literature as is evident from the abundance of demon stories. Victor first noticing the creature is terrified and runs fast to escape the probable attack. “Unable to endure the aspect of the being I had created, I rushed out of the room, and continued  a long time traversing my bed-chamber, unable to compose my mind to sleep” (27). He tries to forget the bhayanaka face of his own invention. He gets disturbed by the wildest dreams. He dreams holding the corpse of his dead mother. He couldn’t sleep in horror. “I started from my sleep with horror; a cold dew covered my forehead, my teeth chattered, and every limb became convulsed” (27). He is afraid of it and describes it as the wretch; the miserable monster which in turn evokes bhaya in readers. The way Victor escapes from his own creation, walking up and down in the greatest agitation, listening attentively, catching and fearing each sound makes his life miserable. He calls it demoniacal corpse.

When readers read the line describing Victor’s reaction to such as artificial creature probably the very first artificial intelligence as ell evokes the suggested meaning of fear. She forgets individual identity, thereby identifying himself with the universalized aesthetic object. Owing to her identification with the aesthetic object, she encounters fear directly, which give rise to horror (bhayanaka) rasa. “Oh! no mortal could support the horror of that countenance.  A mummy again endured with animation could not be as hideous as that wretch” (28). He describes the creature more monstrous than the mummy. For him, such creation has no comparison in term of horror it produces. Thus, “the aesthetic experience at the cathartic level” is not caused by the objective cognition of the dominant emotional state of the protagonist, but it is rather the “self-experience of the self” free from all limitation owing to the spectators identification with the focus of the situation.

Edgar Allan Poe suggests the difference in reaction shown by the two people to the same situation. He believes that an emotional mood of horror is created in order to shock the reader into action. The reader is no longer isolated in his safe world; instead he becomes a participant in the situation (Odin 308). Victor describes the creature, “I had glared on him while unfinished; he was ugly then, but when those muscles and joints were rendered capable of motion, it became a thing as even Dante couldn’t have conceived” (28). He finds the creature much more horrible after the creature is successfully comes to function. It was ugly before it was completely active he believes, but it turned into hideous object after successful trial.

            V.M. Kulkarni writes, “To say that all rasas are pleasurable is against experience. Karuna, raudra, bibhatsa and bhayanaka-these four rasas cause indescribable pain to sahrdayas (sensitive, sympathetic and responsive spectators). They simply shudder when they witness plays depicting these rasas” (283). Such fearful description of the self-invented creature by Victor loads the readers with dark horror of losing his life from malicious development of technology as would be termed by Isaac Asimov. Painful rasas are as sweet to enjoy as the pleasant rasas.

            Tragic events, when represented on the text can never cause pleasure or delight in the hearts of readers or viewers. Shelley explores the pleasurability of horror (bhibhatsa) and terror (bhayanka) through a rather ghastly description of the creature of Victor. But towards the end when the creature reveals the reason behind his brutality, the aestheticised experience of rivery (karuna) comes with a slight twist.

Abhinavagupta (c.1000) further specified rasa to be a clarification of a spectator’s own latent emotional properties, resulting in a momentary manifestation of an inner brahamasavada-the tasting of ultimate bliss” (Sathaye 362). He suggests that enjoyment of rasa is only the semblance of that bliss. He tries to establish the pleasurability of unpleasurable emotions. For, most Kashmiri critics (Abhinavagupta,Mammata, Dhananja) the otherworldly (alaukika) nature  of rasas guaranteed a transcendent pleasure, no matter what their specific emotional value. Even for those who admitted that rasas produce both pleasure and pain (sukhadukhatma), the unpleasurable rasas served either a satirical function or were carefully subordinated to pleasurable ones.

            According to Bharata, “Spectators who feel joy when there is joy, and who feel sorrow when there is sorrow are known to become depressed when it’s a depressing play” (Sathaye 369). Victor’s gothic description in similar base frightens the readers.  A general pattern thus appears in experience of bibhatsa; first a feeling of disgust or shock, then an exposition of the unpleasurable imagery of the narration itself. Rasa for Abhinavagupta did not constitute a true emotional event, but involved a generalize affective state occurring in the spectator’s mind and extracted from a remembered personal experience of emotion.

Arya Ksemisvara exposes an ambivalence between curiosity and anxiety in how we experience unpleasuarable rasas-though we, as spectators ought to delight at a poet’s skillful description of awful things, there lurks as ever-present danger that these awful things might be real and that they might actually happen to us” (37). Victor’s creature also produces the fear of such artificial creature that can outsmart the whole race of human beings.

The creature and Victor finish their conversation in a hut on the slopes of Montanvert. This important chapter is where the creature confronts his maker. The creature tells Victor, “You must create a female for me with whom I can live in the interchange of those sympathies necessary for my being” (80). Victor refuses and then later relents to the creature’s wishes to whom he calls monster. This scene arouses karuna because we sympathize towards the monster. The monster expresses his pain stricken grief and threatens work to destroy him. But his threatening also comes out as his deep pair over not having companion to share his feelings. So, he again pleads, “My creator, make me happy and do not deny my request” (81). The monster further promises to move away from continental Europe to the wilds of South America.

But Victor’s denial to make a lady companion to the monster arouses two complimentary rasa at the same moment. “I do not refuse it, and no torture shall ever extort a consent from me” (80). We feel angry towards the doctor but the same moment we sympathize and have karuna towards the monster. Karuna rasa becomes more dominant when the monster gives more logical answer requesting for his companion than the doctor for denying his request. He answers, “What I ask of you is reasonable and moderate, I demand a creature of another sex, but as hideous as myself: the gratification is small, but it is all that I can receive, and it shall content me” (81). The monster’s demand is more plausible because he doesn’t demand beautiful companion. He just wants someone like him who could shares his emotions. He just wants to feel the reason of being in the world. He even promises Victor that he would leave the human habitation if only he consents on his request. This reasoning evokes great karuna bhava among the readers because we come to realize how excluded the monster feels in the society.

Victor is perpetually haunted by the sense of malicious monster who has turned his life into a miserable story. Though he promises the monster to make him a companion to avoid his ferocity, he deep down is panicked by the terror borne by himself. He exclaims, “Oh! stars, and clouds, and winds, ye are all about to mock me: if ye really pity me, crush sensation and memory, let me become as nought” (83). Such wild and miserable thoughts arouse the terror resided inside him. He wants to leave everything and flee away from this terror, but he couldn’t because the monster is not only a creature rather a super-creature with high Emotional Intelligence (EI). He would exactly know where Victor goes and what he does. He is capable of keeping surveillance on him all the time. Victor’s idea of fleeing away from him is undoable.

Elizabeth’s farewell bid to Victor also arouses the karuna among us through the sense of anxiety that we feel during their separation when Victor finally starts his journey as he says like two years of exile. Elizabeth weeps and says, “We all depend upon you; and if you are miserable, what must be our feelings?” (86). The miserable condition of Victor makes Elizabeth miserable and this realization of miserability of Elizabeth makes the readers emotions miserable too.

The problem with Victor’s making second creature is the after consequences based on ‘If’ hypotheses. He guesses the wrong consequences of the she-monster. He speculates what if they would loathe each other, what if she would go for another man. Since the doctor knows everybody already loathed his deformity, there is high probability that she would also reject him and we would feel more exasperated than ever. This kindles more karuna towards the unlucky monster. But again the terror pounds him as he notices the monster peeping his secret job from the corner of his laboratory. All of sudden the ghastly grinning of that monster’s lips shatters his all faith on him. He quickly feels being emotionally cheated by the monster’s pathos. When he realizes the monster’s secret surveillance he immediately realizes the some sinister inside him, “As I looked on him, his countenance expressed the utmost extent of malice and treachery” (93) and decides to stop his job re-evoking the monster’s wrath and final warning of terror.  The monster becomes able to threaten him for the final time tickling the supreme sense of bhayanaka in us. He groans, “I go, but remember, I shall be with you on your wedding-night” (94). This burns the rage of vengeance inside Victor. He wants to kill and get hi lost into the ocean, but he couldn’t since the monster is a supercreature.

Now, we feel sympathy even for the doctor as well when we realize the unprecedented forecast of his would be wife’s murder. He clearly remembers Elizabeeth being brutally snatched from him on the very auspicious night of a wedding couple. But the doctor’s work of creating a female monster was nothing beautiful. It was even more disordered and ugly. Perhaps he might have been unsuccessful. The way he describes the torn pieces of the monster as ugly and hideous tells the true nature of his work. He reflects, “I ought not to excite the horror and suspicion of the peasants” (96). He never then gives a single thought to create another fiend like him. But the idea of Victor taking firm resolution leads the readers guess towards worst terrible consequences. Thus, the bhayanaka in its real sense is evoked through the monster’s dreadful warning.

Thus, Shelley’s Frankenstein blends the aesthetic experiences of karuna and bhayanaka through the tug-of-war between the doctor and the monster for confirming their demands ethical by their own justification. Monster’s persistence need of a companion pitifully excites whereas the doctor’s subsequent description of the monster as a gruesome character kindles the bhaya in readers. The subsequent turnover of bhayanaka and karuna continually forces the fluctuation of these two rasas in readers. The bhaya of technological super creature and pity of deserting him alone evinces the bhava of sukhdukhatma inherent in every human being.

 

 

 

 

 

 

 

Works Cited

https://www.theatlantic.com/science/archive/2017/04/franken-science/523560/

Odin, Jaishree. “Suggestiveness: Poe's Writings from the Perspective of Indian ‘Rasa’ Theory.” Comparative Literature Studies, vol. 23, no. 4, 1986, pp. 297–309. JSTOR, www.jstor.org/stable/40246716. Accessed 15 Feb. 2020.

Sathaye, Adheesh. “The Production of Unpleasurable Rasas in the Sanskrit Dramas of Ārya Kṣemīśvara.” Journal of the American Oriental Society, vol. 130, no. 3, 2010, pp. 361–384. JSTOR, www.jstor.org/stable/23044957. Accessed 15 Feb. 2020.

Shelley, Mary. The Project Gutenberg eBook of Frankenstein. Produced by Greg Weeks, Mary Meehan and the Online, Version 1818, Dec 10, 2010. http://www.gutenbe rg.org/files/41445/41445-h/41445-h.htm. 

Wednesday, July 3, 2019

Ghunghat of Madhesh: A Profusion of Anti-democracy or Caches of Soft Ritual?


Cultural hegemony devises people. It segregates the people from two or more distinct culture. Especially people who come from first class find second class citizens of their own country culturally backward and uncivilized. The caste system in hindu countries like our has typically refortified those class and caste who have been privileged from decades ago. Thus its not surprising for Kathmanduites to find Janakpurian a way backward than them because they live in capital city. Living in sophisticated plaace and thus glorifying oneself is the matter of ego satisfaction on the circumstance of materialism. Materialistic thoughts and movement of people also creates fraction among them. People with privilege of all the necessary and advanced suppliers regard them more advantaged. Thus binary and heterogeneous cultural formation are the results of society’s geographical and cultural practices. Such cultural practices are vague because they don’t have scientific measures to define their parameters.
No big matter that Kathmandu and Janakpur both are holy cities. Both share common culture of hindu doctrines but the problem with them is class and caste system. Caste system has even become successful to keep one in border of indifference. Another most striking cause is the varied cultural practices that have made Janakpurians far way to catch the status of Bihar’s and Uttar Pradesh identity. Culturally the social dogmas make them for incompatible cultures of hilly and Himalayan region. The practices of marriage, family life and daily life behavioral are much ruled posed. The private life of women in Janakpur has been presented as much ideal and prestigious because they are regularized in strict paternal society. The cultural practices of putting a woman under “Ghunghat” represents not civilized and most prestigious culture for those western loving women of valley.
Civilization and city culture has been able to put us far from each other. We hardly find the person from other culture mere tolerant and as good as us. This is typically much bigger problem in valley because of education and fast pacing internet. Being accustomed with western culture and trying oneself to put on level of westerners by copying their dress style and phony language valley dwellers have been able to marginalize the Madhesh ideology. City dwellers are nothing more than a mannequin dressed and tongued in western discourses. Should we let them construct this identiy or should Madhesh need to change the ideology? The cultural construction of ideology and habitual practices are the reasons that have surely kept Madesh in periphery of cultural progression. S
Janakpur and Kathmandu are the emblems of two culturally distinct orientations. Former is cosmopolitically governed whereas latter remains as historically governed. The cultural ambivalence between them is defining them in their own terms. The right hand of binary opposiotion always functions as the powerful device to subvert the left hand side of the powerful regime. Thus, the distraction of civic culture found in Madhesh culture must be put to access of a bit global and scientific education. Culturally forming binary and oppsiting ideas were there in history and will continue to exist despite persistent activism and call for recognized appearance. The appearance doesn’t seem problem here rather the acquisition of self purity. Confronting the current crisis of cultural binary opposition must thus be challenged and subtracted from the egotistical notion of caste and class superhot by valley dwellers. Resolute and prudent consciousness of city dwellers will help to curtail such detestable ideas for each other.

The Fore

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