एक बकपत्र

श्रीमान !
धर्म रक्षक कठघरामा उभ्याइनु
मैले बताउनु पर्ला र याे पापकर्म भनेर
र अनिष्टकाे अपेक्षा
श्राप दिनु पर्ने
जाे
भतभति जल्न विवश हुनेछन
जसरी
बामनी बज्यैहरू जलेका थिए ।
पेटमा भाेटे ताल्चा लगाएर
धर्मरक्षार्थ
जसले आत्मिक सिंचन गरिरहेछ
सन्तुष्ट मन
बिंडाे थाम्न सपना बाँडिदिन्छन
अफसाेस
आराेप प्रत्याराेपकाे भकारी भरिएकाे छ ।
श्रीमान म के जवाफ पठाउ
कि किन पूजिदै छ भनेर
याे जिकिरकाे तादम्यता के छ ?
कुन नजिरहरूमा आधारित हाे ?
कि म सयाैं वर्ष अगाडि जन्मिउँ
ल्याउ बर्तमानमा विगत
र देखाउ सबै यादहरू
कैद गरिराखेका ।

सुनसान असार
केटाकेटीकाे चित्कार खेतमा भेटिएला
सयाैँ वर्ष पहिले
मेराे जन्मकाे आशंका हाे श्रीमान ?
भतभति जलेकाे शरिर
रटिरटाउ इतिहास
कसरी यादकाे एल्बमबाट निकालु
या म इतिहासमा पर्दापण हाेउ
कि म अपराधि झैं हर जिकिरमा
आफ्ना दलिलहरू पेश गरूँ
या
आफ्नै शिर उपर लैजाउ याे दुष्कर्म
जसकाे पाठ अवचेतनमा भरिएकाे हाे
काे बाट कहिले आयाे बेखबर बनेर
गडेकाे छ रिङमिगाएर दिमागका कप्टेराहरू
म पूजारीमा परिणत हुनुपर्ने
आशंका पुनर्जन्मकाे
काे ? अपराधी बनेर ?
या पिडित ?
उपदेशक ?

श्रीमान ! अवचेतनले चेतना दिएन
चेतनाले अवचेतन राेकेन
लगलगिए पछि शरिरका पुर्जा
भाकलले पहिलाे प्रथमिकता पाएकाे हाे
जाेखना हेराए पछि
लगिएकाे हाे तिर्थ व्रत
र
माेडिएकाे हाे कपाल
क्रियापुत्री झैं
बामनी बज्यैकाे पुजारी बनाउन ।

आग्लाे लगाएर खरानीमा अवतरित
माछाकाे आहारामा उद्देलित
शक्तिकाे हाकले धुजा पारिएकाे
साठीमा किनेर काटेकाे
या साटाेमा जलेकाे
बामनी बज्यैकाे चित्कार सुनेकाे छैन मैले
न मलाइ दृश्य पान भएकाे हाे
धर्म बचाउन
धर्म रक्षाकाे लागि
वा
पापकाे भारी लुकाउन
देउती बनाएर
निस्तेज पारिएका चिहानहरूकाे
अर्चनामा चयन हुन्छ
एक दुर्वल मन ।

बामनी थान आठबिस नगरपालिका ६ दैलेख 

वामनीथान भित्रबाट

बामनिमाणु 

कविता अाउने तयारीमा छ – सम्पादन गरिएकाे कविता काेहलपुर गएकाे छ प्राप्त भएपछि पाेष्ट हुनेछ ।

गजल

एउटा किरण निस्क्याे बल्ल छापामारकाे बस्तीभित्र ।
झुल्कियाे घाम झलमल्ल छापामारकाे बस्तीभित्र ।।

गाेलीहरू शब्द बन्थे, अावाज बन्थे संगिनहरू
शस्त्र भए असरल्ल छापामारकाे बस्तीभित्र ।।

शुली चढने , ताेपमा जीउने अाधार खाेज्ने छालहरू
सधैं चल्थ्याे हल्ला खल्ला छापामारकाे बस्तीभित्र ।।

निसाना जब अचुक लगायाे वाणिले युग हाँक्ने
भएन काेहि हलचल छापामारकाे बस्तीभित्र ।।

एक- एकबाट उठाउनु छ

सयाैं एक- एक बनाउनुछ एकबाट
हाँसेरै दिनरात रमाउनुछ एकबाट ।।

तिमी हुलमा खाेज्छाै अस्तित्व पनि
मलार्इ बेग्लै अस्तित्व समाउनुछ एकबाट ।।

झुपडिबाट महलतिर लाम लगाउदै छाै
महलबाटै महलमा मशाल जलाउनुछ एकबाट ।।

हाँक दिएर, सन्तुलन, नव उदय त्यहि
चिरेर केश्राका पन्नाहरू पल्टाउनुछ एकबाट ।।

दियाे बाल्न सिकाउनु पर्नेमा, अाफै बालिदिन्छाै
हरेकलार्इ अावाज दिएर उठाउनुछ एकबाट ।।

राखेर चिहानमा जस्तै नासिएकाहरू सबै
खाेजेर स्थुलता जगाउनुछ एकबाट ।।

समतामुलक समाज

वर्ण, स्तर र रंगकाे भेद नछुटिने
चराचर प्राणिसंगकाे भेद नछुटिने ।

आउ यस्ताे संसार रचाैं सातै दिन
तिम्राे मेराे  तरंगकाे भेद नछुटिने ।।

Society Shines in Pashupati Prasad

-          Bhim Prajol

Within sixty seven years of Nepali Film Industry has faced several upheavals. Nepali Film Industry was started with the production of Sattya Harischandra by D B Pariyar from Kolkata, India. Nepal has to depend upon India in many ways. From the civilization, culture, religion along with literary development is based in India. Easy access and availability of sources Nepal has adopted different things directly or in distorted form by India. We can find the influence of India dominantly in religion and politics. Literary writing, music and film industry is not safe from the Indian influence. Sattya Harischandra is the step stone of Nepali film industry. Ama (Mother) , the first Nepali film produced on 14^th September 1951 in Nepal. Later on Nepali Film Industry move gradually adopting the Bollywood and Hollywood's species in Nepali films.

The trend to imitate Hollywood and Bollywood films in to Nepali film industry are seems deflection in the present time. Arrangement of some dancing item songs, unnecessary and unusual fighting scenes, a hero, heroine, a villain and their flow was the excellent filmy formula in the past. Trained, educated and innovative film makers contributed less on such matter and focuses on local social realistic issues which normal people are facing day to day life in artistic quality. Social phenomenon are clearly addressed, artistic elements are fully used and more importance is given to establish the character rather than star with coherent story are seems the most accepted terms.  From the social points of view Nepali culture and tradition is virgin still to be recognized. There are several issues which need to be globalized in literary production.  Cultural prosperity and original Nepali flavor in literature is needed to be represented.

New generation Nepali audience prefer the originality in literature either it is printed material or audio visual. New innovation and adaptation in Nepali film industry is seen in those days. New generation moviemakers geared up to make cinemas with Nepali fundamental original entertainment rather than Bollywood inspired materials. Literature reveals the socio reality in different sorts. Underbellies of cities and its stories, bright and dark sides of culture, reality of tradition, plights of submissive which are rejected into common life can be revealed into literature. We should not roam around and bring the adoptive so called superiority for the uniqueness of literary creation rather there need skill to raise common things artistically.

Ashok Pyasi Rai writes in Annapurna Post," There seems competition basically in two things; technology and fundamentality (Maulikata) for the success of films in the world." We can find those two things in most of the successive films. It is true that we leg behind for advancement of technology. We have to borrow the ideas to think about the advancement in information and technology. Ashok further writes," There is no other option than own originality for those films industries which can't competition on technology." It is true for Nepali film industry to accept this social reality.

Khagendra Dhamala and Dipendra K Khanal gave their concern about the underbelly of Kathmandu city in their film 'Pashupati Prasad'. "Differentiating from the religious perspectives, neither focusing on Gods or religious preachers, nor their teaching, film tells the story of those people who spend their lives on such Gods".(Yagyash) The minor story about a boy who wants to make place in heaven for his demised parents on massive earth quake by repaying the debt. It is the common story of many film that a straight forward man comes in the city from remote area, struggles for livelihood or to fulfill certain and minor dreams. Being such common ideas, Pashupati Prasad wins the heart of audience for its strong storyline, actor's notable performance, credible dialogues and creditable cinematography.

Pashupati Prasad comes to Kathmandu to earn money, repay the debt faces several hardships on surviving in Kathmandu. He came in search of shelter and job for release the soul of his parents from the debt.  Til Bikram Baniya, who is suffered excessively by his unpleasant job of cremation fuss him to be recognized at beginning. Later he accompanied Pashupati and manage him job of collecting coins (Tila) and to collect logs. Syndicate of Bhasme affects him severely for his survival. The story moves round Pashupati Prasad and his living as well as earning and the relationship with other characters.

Son should repay the debt of his parents for the sake of heavenly rest to the souls of the parents. It is the Hindu religious concept of patriarchy. But this film is not based on Hinduism. Dipendra K Khanal has excellently represented social reality bringing all dimensions in to one. Prime concern of Pashupati Prasad is to earn money. It clearly deals with the capitalistic notion, but Pashupati Prasad goes away from capitalistic mode of production, distribution and regenerate surplus. Pashupati is the religious place of Hindus. Several people pass by neglecting the reality of those characters that have made the periphery of Pashupati as their way of living. Subaltern characters and their reality are represented well. Plight, isolation from the mainstream, biasness, and power hegemony is clearly represented in the film through several sparkle of social reality.

Powerful story line and the pleasant dialogue which is the soul of this film make audience to laugh and it mixes miseries upon the pleasure at same time. "It is difficult to survive the subaltern in our society and Kathmandu is cruel for them."(Luitel Gunaraj) Power holders make system for the benefits to themselves. There is no possibility subaltern to be represented. Unstable political system, growing of neo capitalist, decreasing on human morality, unsystematic urbanization, increasing market price etc give excessive torture to subaltern.

Pashupati Prasad hasn't raised only the story of subaltern, but it is the sharp satire of the society.  Capitalism is harshly criticized. Social status and its degenerating values of upper class people are seen through several scenarios. The middle class ambitious people should feel the character from their heart. Raising ambitions with the rising height of building should think from the level of our social reality. The simplest story gives multiple meaning in Pashupati Prasad.

Pashupati Prasad is one of the successful films in Nepali Film Industry. It is the best film of the year 2072. There are several causes to make the film successful. Subaltern are represented vividly. Social reality is the main them on which social relationship plays the pivotal role in the film. Director Dipendra K Khanal has declared the film is about the relationship of the protagonist. "The character builds multiple relationship as the film progress and basically, that's what the film is about relationship."(Khanal Depaendra K; Interview with Republica) Middle class people are kept in proper place. Pathetic condition of city dweller, plight, unemployment, state policy to support and protect capitalistic notion, greedy nature of upper class to earn money without concerning morality and humanity, neo capitalistic notion are presented clearly in the film within short duration. We have read made concept of entertainment by film. Prime intention of film is to provide entertainment is the shaped concept of audience. But Pashupati Prasad doesn't let audience divert from social reality. Pashupati Prasad is the Whole society itself. Another important secret is reveled the film that the formation of Nepali society. From ancient to modern, post modern social realities are gathered in Kathmandu.

For the character, Pashupati Prasad is unique on his role. Khagendra lamichhane, Bipin Karki, Prakash Ghimire, Barsha Siwakoti, Rabindra Baniya, Mishri Thapa have given justice to the characters they performed. Despite other the story basically moves around Pashupati Prasad. Without involved in dialogue Barsha Siwakoti has presented awesome expression in the film which is more powerful than several dialogues. Bipinn Karki, who is the best antagonistic character of the year 2072, has given justice to Bhasme. Unique vocal, realistic acting and transformation on positivity up to the ending wins the heart of audience. Audience irritates with Mitba while he is found to whip money but later his social behavior and humanistic work collect sympathy from the audience. Neither the characters reveal irritation on audience, nor do the adopted fight scenes where a normal man defeats a gang of powerful villain but the coherent struggle of the protagonist make audience speechless. Female characters are not seen on the trade of skin or intended sex but they are placed on the proper acts. Director Khanal has proved the matter of fundamentality should strong to get the love of audience. Expert and knowledgeable people should be given the task for its accomplishment of their excellences. So called established directors characters are not seen sustainable but the newly arrived director established the characters in Nepali Film Industry as well as on the heart of audience.

Audience can observe the quality of any peace of literary production. Imposed analysis of so called power holders cannot sustain longer. It is seen in Pashupati Prasad too. Actors are needed to represent any story rather than Stars. Casting of stars cannot represent the society well. Nepal is multi lingual, multi caste and multi cultural country. Actors should base according to the characters not to base on the stars.  Story and characters with the minor subject matter can carry meaningful lesson, which is purely represented in Pashupati Prasad.

Unexpected ending with the mute narrative climax is another important and notable experiment in Nepali films. Audience cannot think the cruel death of Pashupati Prasad as the upcoming ending. He has worked different sorts of work without concerning about the supremacy of work rather supremacy of labor. To earn money by hook or crook is the focus of Pashupati Prasad but we can't find him deviate from human morality. He has worked different sorts of work but he works and earns money liable. The cruel nature of city, irresponsible nature and immorality of higher class people for the sake of money. Comic ending which shows the victory of truth over false, justice over injustice isn't work in the context of Pashupati Prasad. It has properly highlighted the positive message from antagonistic force as well. Revenge turns into philosophical meaning while Bhasme reveals the truth that all should come here one day later or sooner. Being the pathetic and tragic ending it doesn't deviate audience towards the optimistic notion of life. It gives positive message to the audience.

The ending arouses hamartia to the audience. Despite the protagonist being from the higher class the film arouses Aristotelian term Hamartia. It is because of the change on its audience. Most of the audiences are from middle and lower classes. Heroism is the message not the articulate fight and unrealistic actions. Characters should represent the society and they have to speak the language of the society.

Cinematography, editing, sound, costume design and selection of the characters are perfectly matched with the story of the film. Supreme hero in the film is its dialogue. Greed, anger, laugher, miseries, conflict, love hate, pity, sympathy all are combined into one. "This film is the small window to peep the holistic life on which there is no heroism of the protagonist rather the defeated , frightened and deceived subaltern".(Sapkota Taranath) Despite being the successive and best  film of the year 2072 it has some drawback also. There arise several questions about the role of the gold merchant, college of Bunu and female identity.

Barsa Siwakoti is confined into minor role. How she became dumb? Why she reads in the college of normal student despite her disability? She is seen impressed on Pashupati Prasad with the dialogue" Why you stole money, If you can stole the heart of people." to Bhasme while she appears at the first time in the temple. The story reveals she is dumb at last. It is out from reality. Why the protagonist can't go beyond Pashupati area? He is well known about Kathmandu is the capital city and is confined inside Pashupatinath. Same scenarios are repeated time and again which can make audience boring. Audience need to see Pashupati Prasad struggling outside even out from Pashupati area. Similar conversation with the merchant who sells momo, chats in the cart, Mitbas room cutting chicken and washing dishes are the result of minimal characters and limited area. It is confessed by Khanal that Pashupati area is the sensitive area and if anything goes from the track it may arouse conflict. They have shot it with symbolic sign. Director has followed the trend of mute narration at the climax as it is used previously his film Jhole. Although the trend is repeated but the message of muteness is more powerful than the whole film.

These minor unanswered questions can't degenerate its beauty on cinematography, storyline, dialogue and its powerful feelings. It is the great achievement of Nepali Film Industry.  Pashupati area is the most important religious center for Hindus. If our government makes the specific law to develop Pashupati area and temple we can gain many things from here. We can make it as the center of religious research. We can open several schools, hospitals even university from the found of Pashupatinath. But it is being the way of earning for neo capitalist by mortgaging the subaltern who shelter in Pashupati area. Pashupati Prasad is the excellent film of Nepali Film Industry from the side of its artistic representation and the message it conveys. Excellency is needed for the artistic representation of minor story fundamentally which is proved through Pashupati Prasad.

Bibliography

Parayali, Sujith Kumar. “Visual Perception and Cultural Memory: Typecast and Typecast(e)ing in Malayalam Cinema; Synoptique.” An Online Journal of Film and Moving Images Studies.3.1 (Spring 2014):  Print.

Luitel, Gunraj. “Pashupati ra Pashupati Prasad(Pashupati and Pashupati Prasad).” www.nagariknews.com.  Nepal Republic Media Pvt. Ltd.,2016. Web. 26 December 2016.

 “Nachakhi nahune Pashupati Prasad(Needs to taste).” www.onlinekhabar.com.  Online Khabar, 29 January 2016. Web. 26 December 2016.

 “Pashupati Kshetraka Kathama Pashupati Prasd(Pashupati Prasad on the story of Pashupati Area).” www.rajdhani.com.np. Rajdhani Daily, 27 January 2016. Web. 26 December 2016.

 “Pashupati Prasad Movie Review- Watch Without Compering Hollywood and Bollywood Movies.” www.filmyjoy.net. Filmy Joy, 31 January 2016. Web. 27 December 2016.

 “Extraordinary tale of a Common Man.” www.thehimalayantimes.com. Himalayan Times,30 January 2016. Web. 27 December 2016.

Admin, “Pashupati Prasad- A Prasad to the Nepali Film Industry.” Web. www.najushrestha.wordpress.com. Najushrestha, 30 January 2016. Web.  27 December 2016.

 “Pashupati Prasad Doesn't Advocate any Religion, Says Director Khanal.” www.myrepublic.com. Nepal Republic Media Pvt. Lte. ,28 January 2016. Web. 27 December 2016.

Taylor, Maryssa. “Breaking the Mould.” www.ekantipur.com. Kantipur Publication Pvt. Ltd. ,9 February 2016. Web.  27 December 2016.

Sharma, Bishnu. “Film Samiksha: Pashupati Prasad- Samabedana Bikchha( Film Review-Pashupati Prasad- Emotion is sellable).”. www.pahilopost.com. Pahilo Post, 30 January 2016. Web. 27 December 2016.

Karki, Dependra. “Film Review: “Pashupati Prasad, Ordinary Story, Extraordinary Narration.” www.karobardaily.com. Karobar Daily, 5 February 2016. Web. 27 December 2016.

Rai Ashokpyasi. “Herda Rahar Lagchha( Lures the attraction).” www.annapurnapost.com. Annapurna Post, 9 December 2016. Web. 27 December 2016.

Sapkota, Taranath.“ Krur Kathmandu ra Pashupatika Samayak Ankhaharu( Cruel Kathmandu and Righteous Eyes of Pashupati).” Web. www.lokantar.com. Lokantar Communication Pvt. Ltd.,14 May 2016. Web. 27 December 2016.

Yagyansh., “Pashupati Prasad Samikha: Bisarjanko Bhaya (Film Review Pashupati Prasad: Fear of Diminish).”   www.ekantipur.com. Kantipur Publication Pvt. Ltd., 6 February 2016. Web.27 December 2016.

“Cinema of Nepal.” wikipedia.org. Wikipedia. Web. 27 December 2016

Flight

- Bhim Parjol

Too cold environment enhanced to chill everything within short period of time. Hand full of water 

which I have collected to purify myself evaporate and flew away. It seems the season of evaporation. Season of condensation haze everything and make them indulge upon it. Nothing remains with me. Stinking cold season enters inside and roam around. It is made for us to increase the pile of miseries. Thick cloud, mist, malodorous wind stroke the heart. It is not safe to think forward. Mist and mist everywhere, which is the steam of tears for subaltern. Tear is for those who are always on the pile of miseries will get more. They are distressed time and again from several dimension of social, religious, economical as well as political system. They became the victim of every strike, movements, and wars of human kind along with nature itself.

It is the flight upon the cloud in mind. Different things turned in to vapor differently from the hand of subaltern. State, power, right, authority, sustainability, prosperity, peace etc evaporate one by one. There remains nothing for them. Only tear which also evaporates and remain nothing. Neither the problem of joining hands to mouth is solved nor have they freed by fog.

Catapult is seen on the hand of some people who are out from the cloud. They are making direction towards subaltern to shoot. There is no one to raise voice against the power. There seem some rights and more duties, traditional burden; ideologies are loaded in the catapult. Those who have catapults aimed to shoot those subalterns. Those will resist the plight with the ambrosia of fate.  There will certainly vapor from subaltern to accept these things.

Strike effects national economy and its development. People are habituated with these strike, blocked and movements. What will be the ultimate purpose of those strikes? Is strike in favor of those people who are in front lines of every movements and demonstration? Easily the thoughts change in to vapor. There remain the shades of dew which will evaporate within short duration of time. Mist of uncertainty leads nation towards the way of holocaust.

Snow capped houses, grazing land, cultivated area, hills and creeks added difficulties in the lives of local inhabitant along with the cattle for its grazing. Local inhabitants gather round the hearth drinking herbal tea with the sip of yak’s ghee make plan to migrate from their own native land to live in open ground of the jungle or caves with the cattle and their belongings. It makes me indulge on the problem of brain drain and its miserable condition. Dogs are barking with the chill rhythm to threat the howl of jackals. These melancholic sounds represent the pain with the piles of miseries of the nation and its identity. People conclude that the act is more fruitful for them to migrate seasonally. Obstacles and instability of the tragic life is forgotten with the huge miseries and obstacles. Pierce of needle is remaining meaningless with the wound of axe. People become ready to face axe rather needle.

Villages become baron. Snow capped roofs shine and there arose vapor which is going to make thick cloud around the village. Cloud gathers one after another and makes the crowds of cloud. Crowds of cloud mix with themselves. The existence of village is endangering within the cloud. The cloud of terror, illiteracy, underdevelopment, unemployment, superstitions and starvation etc gulp the villages which make people to suffer more. Inquest of relief from those cloud people move from villages. Empty villages once represent the supremacy of city dwellers. There appear hierarchies. Their need is the presence of alternative powers which ruptures the previous hierarchies. New sorts of hierarchies will appear again and again. It will rotate as it was. 

One flight is seen in the sky. It turned in to dot by flying up and up. Everything is pure dot and no more than that. One dot needs to rupture another one to enhance its size. If it discards the existence of other, it will be ended sooner or later. Cloud will come for those dots and evaporate them into its eternity. Every people runes after eternity of worldly things which disappear within some time. Vapor generates more vapors and there arose the massive presence of cloud.

Forests are filled with bombs and bullets. Once it was cultivated with weapons. They still remain solid. Neither they turned into vapor nor did they mix with the soil. Though people are engaged in identification the smell of soil. They have categorized it into differently. They have their own perception and nativity. Different sorts of soil is kept in the laboratory for its identity. They are busy with the miscellaneous identity not the sole identity. It becomes difficult task for identification from the time when it smells humanity. Researchers who are examining soil into the laboratory are confused with the distinct smell of humanity rather than individual one. The smell is not separated from soil and human beings.  Their conclusion concluded that the smell is mixed with its own smell. Those who have appointed the examiners of soil are generating the cloud of soil and slide the lab. Vapor of soil reaches nook to nook, mix with the cloud. It seems to be sunny in the following days.

One group people are gathered in the conference. The auditorium hall is already full with mist. There is the huge board which pronounces -“Intellectual Discussion for Eradication of the Contemporary Miasma.” Torch is needed for identification of those people who are gathered. They are gathered for the assimilation of the mist on which they favor. Different sort of fog is seen with those designers. Some are generating colorful mist which is ready to assemble with the privileged. It aims to flourish over the settlement area with its new appearance. Some are in the discussion of superiority and inferiority of themselves. Lets apart the fog, there is huge cloud on which we can easily survive. Starvation of thought and strike in will appear coincidently at the same time when the cloud disappear. Those who are gathered in the intellectual discussion forum prefer to live in the mist rather than sunny days. They announce to all be familiar with the mist and make it as their way of living. It only germinates repulsion toward them. Some voice will be heard   “Down with Fog.”

Everywhere and everything is covered with mist. There is no place to go.  I have to bath now but water evaporates and flies away one by one. Insects and virus are seen in discussion in the water tap. No one will give them commission of water if it evaporates one after another. “All of them are considered themselves, who will care about us.” Insect puts its word. Virus on the other hand seems happy that it can fly in the mist and makes its comfort zone anywhere. Who will suffer is clear in the ideas of virus.  

Those people who generate water from vapor can do whatever they like. Normal people will suffer more since they are powerless. They are unable to change something. Neither they have power to sustainability nor do they get right of liberty. They are passing their lives in such mystics, treachery world of uncertainty.    

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Bhailo, Power and Subaltern

-          Bhim Parjol

Abstract

The aim of this article is to investigate the process of hypnotizing subaltern along with the compulsion of the celebration of the carnival in social level. Such a study is important in Nepal to find out the causes and consequences of cruel power practice in terms of social carnivals. It enhances subaltern to think about the social impacts of carnival and how they are managed by their own activities. This research article is based on review of relevant literature and observation. Participation in the carnival strengthens the ideas which are presented here. From this research I have found the persuasion of power hegemony strong in the name of fundamentalism and traditionalism. The state power is imposed to the participants who consoled them to obey the power and praise it. Power holders are praised in every sector. Subaltern are only the followers of tradition which was established by elites to remain in power forever. Pure acceptance of hegemony remains under the shadow of authority without own representation. The main conclusion is to reform the tradition as the need of time and on behalf of subaltern. There should be equal participation of people in every social activity. In the name of tradition, culture, religion, carnival, festivals and several other aspects, subaltern should be represented well. Equal participation represents equality among people. If the carnivals are not reformed in time or remain bias to subaltern; those should be banned. With the knowledge and empowerment, subaltern should be represented well in each and every carnival; those carnivals which are for elites should be rejected. Equal representation is needed among the people who are the pure creators and pillars of those carnivals. The state has granted equality in the constitution. The guaranty of equality should implemented by reforming the bias social tradition, language, culture, festivals, carnivals and etc.  

Key words: Bhailo, Subaltern, Power Hegemony, tradition, Reformation.

Nepal is very rich in cultural heritage. Basically four ancient communities are spared in Nepali land. Mangolian, Indo Aryan, Khas and Ariban tribe settled in different parts of country with their unique religion, culture, tradition and territory. Later on by the sole autonomy of state power cultural solidarity is seen. Khas who were flourished and ruled from Karnali Region are now in the mainstream of social, political, religious dimension. Khas introduced several traditions, fundamental culture and several festivals/carnivals (Parva) on their own. They have started their own festivals and several carnivals for entertainment. Basically the agricultural community was not freed from their heavy task and unending concern. To get rid of those compulsions they managed several festivals by the help of all local habitants with the state authority. Later it got their fundamental culture. This is seen unique in performance along with its meaning at present. My concern is to give intensive look over Bhailo; the carnival of Khas, especially on internalization of power hegemony and representation of subaltern.

Bhailo is folk carnival of Kali- Karnali region of Nepal. Kali- Karnali region is the origin of Khas. Jumla was one of the most powerful states in western part of Nepal and its capitals were Sinja and Dullu for summer and winter respectively. The culture which was started in Khas state is still in practice over Kali and Karnali region, influence over the culture of Nepal. Bhailo song and dance in the form of carnival is performed in several districts of Western Nepal. Not only in Nepali territory but also it is performed in Kumau and Gadhawal of India.

Bhailo is celebrated in different times and places. Although there is differences on its performance and its style but the intention is quite same. The origin is to celebrate the victory on war. Initially it was celebrated as the festival of joy, later on it remain same in some of the places as well as slightly change on its performance  is carrying the same meaning and purpose. "Bhailo is celebrated on Aswin sankranti by burning the grass on the memory of victory of the then king Laxmi Chand of Kumaun over Garhwal"( Kurketi Bhishma).  Wher as in Jumla it starts from Mangsir full moon.

Sani Bhaili is performed in Mangsir Fool Moon and Thuli Bhaili is performed fifteen days after Sani Bhaili. It is performed by singing and dancing in group moving door to door. Children and youth perform Bhailo by going doors to doors of the locality. Thuli Bhaili is performed up to five days. Fifth day is called Chhada (open) Bhaili since it is performed on the open ground (Rimal).

Bhailo performed in the open ground as it is played like Deuda dance style. 

Huge mass of women spectators gathered around the ground where Bhailo is performed.

Mostly local people observe it as their own cultural dance and song in festival (Parva). Bhailo is kept in the category of Children folk song in Doti district (Chalise Vijaya), where as it is performed as folksong in Bajhang district (Khadaka Shyam Bahadur). I found typical in Dailekh district. The songs which are sang in group carry the same meaning as above mentioned the worship of victory on war but it includes the mixture form of Sani and Thuli bhaili quite differently than it is performed in Jumla district. It is performed in the Full Moon during Dashain (Kojagrat Purnima). Bhailio starts from the house of Thakuri and it moves towards the house of those people who were in power especially related with state power. It moves from one Tole to another but families consist the same power holders. Group of three or four people recite the songs and other people in group echo “Bhailiya Bhailo” or “Bhailo. While the leaders recite some focal events and emphasize on certain terms then the group echo “Sai Ho Sai Ho”(All Right, that’s true). The story reaches to Mansarobar, Jumla and the way comes nearer to the village. Different sub plots consist in the main journey. Later when Bhilo reaches in the respective houses it needs to separate from there by taking Winter Melon as the form of scapegoat as its reward and they leave the house. Performing songs and dance the Bhalo reaches to the open ground or field where it performs more systematically. There held fair with different sorts of singing and playing Deuda. Some especial Bhailo players and local musician (Damai) who play Damaha during the performance of Bhailo are given feast by those Bhailo leaders (elites).

Culturally it plays important role for mutual understanding among people by sharing their happiness and miseries.  The hidden meaning is not revealed for subaltern. It is most amusing but horrified. The emphasis is given to the power and its hegemony. Being the festival of celebration of victory, joy is obviously main purpose which can't deny the melancholic condition of ware feared and the defeaters. Celebration of power and its hegemony as well as to manipulate the mind of people to make worship of power unconsciously is one of the most dominant meanings it carries. So called the then power holders or their representatives are worshipped and highlighted more where as subaltern are not represented. Power is essential to rule over the world but when it is misused during its utilization makes subaltern suppressed and excluded from the representation. Subaltern are toiled more for the construction and to flourish Folk culture are unrepresented. “Representation of subaltern in Folk culture and literature is more than other forms of literature” (Shrestha Dr. Taralal), but it seems quite opposite in case of Bhailo. We can find huge participation of subaltern only as followers. Consciously and unconsciously subaltern are made to accept the power through this culture. Power is practiced either by force or by social contract. Social contract is more powerful then forceful supremacy. Power supremacy which is practiced by force seems cruel and inhuman, later or sooner suppressed reject it and it will end. But while it is exercised by social dogmas, culture, tradition, norms and values it becomes long lasting. Those who reject the power supremacy are accused immoral, asocial and social evils. It is the best way to suppress the powerless people. It is clarified by Taralal Shrestha “Elites are in power and their hegemony becomes more influence whether by social contract or use of force. Subaltern are exploited from social, religious, ethical and moral aspects.”(Shrestha, 39) 

Here in the case of Bhailo, it is the social contract of power hegemony. So called Panchayat’s  power holders such as Nayaks, Mukhiyas, Jimmawal, Sabhasad, and Pardhan are praised during Bhailo. Bhailo goes to their houses only which clearly shows the cruel nature of power. Starting Bhailo from the house of Thakuri,  who were once kings of the locality, its move towards the houses of so called power holders by singing and dancing impacts the psyche of subaltern that to accept power hegemony . Neither subaltern can speak nor do they accept to oppose the power. They internalize the power supremacy and practice it in their behavior to be the moral, social and ethical being. These are the terminology made by elites only to rule over subaltern. Neither people who are in power and its hegemony wants to be moral, social and ethical nor they leave to deliver speech on it. Social, moral and ethical terminologies are the shown teeth of elephant for power holders. Elites have power to define the words, term, law, and social customs. They define all the things in favor of themselves. They don't let go any definition against their hegemony.   If anything goes against the power they use state power which is obligatory for all to accept. Power connects more power and it becomes super power. Subaltern are unaware about the social contract of power. It seems logical that there needs power to rule over. But the transformation of power to elites only should be raised the question.

In the name of feasts Bhailo and like other folk festivals are in control of few power holders. If Bhailo like festivals are not kept in the category of folk culture people raise the question over it for its celebration. Playfully mind manipulation of subaltern is folk culture. In the songs there is impossible to find out the representation of subaltern. During the war between two sides the first liner fighter becomes from subaltern. Those who are captured in war basically the subaltern. Power and its hegemony get everything whatever elites need but the same thing is deprived for subaltern.  

Songs and dance with the rhythm of Damaha and Jhyali by carrying so called Nayaks(Leaders- icon of power) with the same dress and same rate of knots easily attracts the attention of people. Those people who perform dance give the impression as special and trained players. Different people take part in the dance as anticipation. Subaltern are made to praise the power take pleasure by thinking their own fundamental festival. The representation of players remain passive in the huge mass of people because of power hegemony of the then power holders. Elites don't want to be powerless. They want to give continuity of such festivals. Such types of festivals are the best way to exercise power. Continuity on such festival is seems continuity on their power hegemony. Socially they seem the preserver of tradition, constructor of culture but they intentionally give continuity on such traditions to remain in power. Other people who gather round there only to take pleasure from faire are hypnotized by sole power of the designers.

A view of Bhailo festival from upper distance.

Those fair and festivals are the greatest weapons to  worship of power. Political system or the change in political system, increasing literacy rate, increasing opportunities of employment, development can not destroy of the power hegemony neither is aware subaltern to speak against it if it is once internalized. People count the days for next year to enjoy the dance. Children play Bhailo in their games and compel their parents to tell the stories of Bhailo like festivals/carnivals. Women become spectators and are not allowed to dance with. Power hegemony double suppresses the women. Women are consider the carrier of folk culture which seems opposite in case of Bhailo. Bhailo can be taken as mass motivator factor to be suppressed. In the name of common and fundamental culture subaltern spontaneously involve strengthening the power of elites unknowingly.

Panchayat ideology of unitary culture, fairs, festivals, languages, customs is working up to those days strongly in our several activities. The system is changed or freed but subaltern who are hypnotized prefer to accept power hegemony of elites are the same.

“There are three key aspects to a human beings life- that is doing, feeling and thinking. Most of people are interested in what they are doing and how they are feeling about it, but the third dimension of "thinking" is more important (Sir Shree). Thought is the most influencing factor for behavior. Bhailo emphasizes more in thoughts rather than behavior. Those who were the founders seem more powerful that they focused on mind rather than behavior. I myself involved in Bhailo and played several time but I have realized it now. It is the continuity of power hegemony no more than that. Subaltern observe so called elites as their ideal heroes to perform any activities. Elites raise the issues of subaltern that how they become more and more oppressive than usual. Voices seem more suitable or predisposed for subaltern but its impacts play different roles as they expected since those voices are not in favor of subaltern. It is like characteristic of writers who give their own willing tone to the fictional characters. 

Different and innovative ideas are gathered by elites to oppress subaltern. In the illusion of common self they exploited subaltern from long duration of time. They have created literature, art, culture, policy, education, religion, festivals to dominate subaltern. Authority of define their coined term reserved with themselves. They use playful and dual meaning words or terminology and their dual meaning. Bhailo coined as folk culture/ festival is purely elite's ideology which flourishes among subaltern. Bhailo like so called folk festivals/carnivals play important roles to divert the mind of people easily that is one of the difficult tasks.

Finally Bhailo how it is performed and what meaning it convey is the elite's creation by the help of subaltern. Subaltern equally participate and internalize the festival as their own without considering deep meaning as well as effects. Being and coining as the folk festival Bhailo is hypnotizing subaltern. Bhailo has created its shape on the mind of subaltern then power holders find it comfort zone for utilization of power. Such biased folk festivals and carnivals are the strongest weapons to suppress powerless. We can’t find the equal representation of all local people on such carnivals. Playful term can’t represent the subaltern well. Such carnivals need to reform in time. Those festivals or carnivals should represent the common feelings of local inhabitant without being bias with power. Power should use on its positive aspects. If elites create the equal participatory environment for all then the carnivals get chance to sustain long. If the trained is continued as it was before and as it is going on in those days, will one day generate full stop. Such bias carnivals should be reformed or should end the performance.

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Sirshree. The Source... Power of Happy Thoughts Pune: O! Publishing. (2012). Print.

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Chalise, Vijay. Doteli Kosanskirti ra Sahitya (Doteli Folk culture and Literature).( Lalitpur:  Sajha Publication. (1982). Print.

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Chalmers, Rhoderick. “When Folk Culture Met Print Culture: Some Thoughts on the Commercialization, Transformation and Propagation of traditional Genres in Nepal.” Contributions to Nepalese Studies. 31.2( July 2004). 243-256. Print.

 Kurketi, Bhishma. “Starting of Khantuva or Bhail- Bhailo Festivalby King Lakshami Chandra.”www.e-magazineofuttarkhand.blogpost.com.Uttarakhandi E- Magazine.  11 December ,2016 .Web