(c) Art & Nepali poem by satisshroff
The way was long, the wind cold
The minstrel was infirm and old;
His withered cheek and tresses grey
Seemed to have known a better day
(Sir Walter Scott in ‘The Lay of the Last Minstrel’)
Gainey: A Minstrel’s Songs of Love and Sorrow (Satis Shroff)
Go away, you maya.
Haunt me not
In my dreams.
What has become of my country?
My grandpa said:
“In Nepal even a child
Can walk the countryside alone.”
It’s just not true,
Not for a Nepalese,
Born with a sarangi in his hand.
I’m a musician,
One of the lower caste
In the Hindu hierarchy.
I bring delight to my listeners,
Hope to touch the hearts
Of my spectators.
I sing about love,
Hate and evil,
Kings and Queens,
Princes and Princesses,
The poor and the rich,
And the fight for existence,
In the craggy foothills
And the towering heights
Of the Himalayas.
The Abode of the Snows,
Where Buddhist and Hindu
Gods and Goddesses reside,
And look over mankind
And his folly.
I was born in Tanhau,
A nondescript hamlet in Nepal,
Were it not for Bhanu Bhakta Acharya
Who was born here,
The poet who translated the Ramayana,
From high-flown Sanskrit into simple Nepali
For all to read.
I remember the first day
My father handed me a sarangi.
He taught me how to hold and swing the bow.
I was delighted with the first squeaks it made,
As I moved the bow on the taught horsetail strings.
It was as though my small sarangi
Was talking with me.
I was so happy,
I and my sarangi,
My sarangi and me.
Tears of joy ran down my cheeks.
I was so thankful.
I touched my Papa’s feet,
As is the custom in the Himalayas.
I could embrace the whole world.
I remember my Papa saying to me:
‘My son, it was God Shiva
Who taught us humans music.
God Krishna plays the lute,
His Gopinis listen to him full of rapture.
Saraswati is always depicted with the sitar.
So you see, my son,
It was the Gods who taught us music.
You only have to listen
To Nature in the wee morning hours
Or at night,
You will hear glorious melodies
That you capture with your sarangi.
Your instrument becomes
The voice of Prakriti.
My father taught me the tones,
And the songs to go with them,
For we, gaineys, are minstrels
Who wander from place to place,
Like butterflies in Spring.
We are a restless folk
To be seen everywhere,
Where people dwell,
For we live from their charity
And our trade.
The voice of the gainey,
The sad melody of the sarangi.
A boon to those who love the lyrics,
A nuisance to those who hate it.
Many a time, we’ve been kicked and beaten
By young people who prefer canned music,
From their ghetto-blasters.
Electronic beats you can’t catch up with.
Spinning on their heads,
Hip-hopping like robots,
It’s the techno, ecstasy generation
Where have all the old melodies gone?
The Nepalese folksongs of yore?
The song of the Gainey?
“This is globanisation,” they told me.
The grey-eyed visitors from abroad,
‘Quirays’ as we call them in Nepal.
Or ‘gora-sahibs’ in Hindustan.
The quirays took countless pictures of me,
With their cameras,
Gave handsome tips.
A grey-haired didi with spectacles,
And teeth in like a horse’s mouth,
Even gave me a polaroid-picture
With my sarangi,
My mountain violin.
Sometimes I look at my fading picture
And wonder how fast time flows.
My smile is disappearing,
Grey hair at the sides,
The beginning of baldness.
I’ve lost a lot of my molars,
At the hands of the Barbier
From Muzzafapur in the Indian plains.
He gave me clove oil
To ease my pain,
As he pulled out my fouled teeth,
In an open-air salon,
Right near the Tribhuvan Highway.
I still have my voice
And my sarangi,
And love to sing my repertoire,
Even though many people
Sneer and jeer at me,
And prefer Bollywood texts
From my larynx.
To please their whims,
I learned even Bollywood songs,
Against my will,
Eavesdropping behind cinema curtains,
To please the tourists
And my country’s modern youth,
I even learned some English songs.
Oh money, dear money.
I’ve become a cultural prostitute.
I’ve done my Zunft, my trade,
But I did it to survive.
I had to integrate myself
And to assimilate
In my changing society.
Time has not stood still
Under the shadow of the Himalayas.
One day when I was much younger,
I was resting under a Pipal tree
When I saw one beautiful tourist girl.
I looked and smiled at her.
She caressed her hair,
And smiled back.
For me it was love at first sight.
All the while gazing at her
I took out my small sarangi,
With bells on my fiddle bow
And played a sad Nepali melody
Composed by Ambar Gurung,
Which I’d learned in my wanderings
From Ilam to Darjeeling.
I am the Sky
You are the Soil,
Even though we yearn
A thousand times,
We cannot be together.
I was sentimental that moment.
Had tears in my eyes
When I finished my song.’
The blonde woman sauntered up to me,
And said in a smooth voice,
‘Thank you for the lovely song.
Can you tell me what it means?’
I felt a lump on my throat
And couldn’t speak
For a while.
Then, with a sigh, I said,
‘We have this caste system in Nepal.
When I first saw you,
I imagined you were a fair bahun girl.
We aren’t allowed to fall in love
It is a forbidden love,
A love that can never come true.
I love you
But I can’t have you.’
‘But you haven’t even tried,’
Said the blonde girl coyly.
‘I like your golden hair,
Your blue eyes.
It’s like watching the sky.’
‘Oh, thank you,
She asked: ‘But why do you say:
‘We cannot be together?’
‘We are together now,’ I replied,
‘But the society does not like
Us gaineys from the lower caste.
The bahuns, chettris castes are above us.
They look down upon us.’
‘Why do they do that?’
Asked the blonde girl.
I spat out:
‘Because they are high-born.
We, kamis, damais and sarkis, are dalits.
We are the downtrodden,
The underdogs of this society
In the foothills of the Himalayas.’
‘Who made you what you are?’ she asked.
I told her: ‘The Hindu society is formed this way:
Once upon a time there was a bahun,
And from him came the Varnas.
The Vernas are a division of society
Into four parts.
Brahma created the bahuns
From his mouth.
The chettris who are warriors
Came from his shoulder,
The traders from his thigh
And the servants
From the sole of his feet.’
‘What about the poor dalits?’
Quipped the blonde foreigner.
‘The dalits fell deeper in the Hindu society,
And were not regarded as full members
Of the human race.
We had to do the errands and menial jobs
That were forbidden for the higher castes.’
‘Like what?’ she asked.
‘Like disposing dead animals,
Making leather by skinning hides
Of dead animals,
Cleaning toilets and latrines,
Clearing the sewage canals of the rich,
High born Hindus.
I am not allowed to touch a bahun,
Even with my shadow, you know.’
‘What a mean, ugly system,’ she commented,
And shook her head.
‘May I touch you?’ she asked impulsively.
She was daring and wanted to see how I’d react.
‘You may,’ I replied.
She touched my hand,
Then my cheeks with her two hands.
I found it pleasant and a great honour.
I joined my hands and said sincerely,
I, a dalit, a no-name, a no-human,
Had been touched by a young, beautiful woman,
A kuiray tourist,
From across the Black Waters:
A wave of happiness and joy
Swept over me.
A miracle had happened.
Like a princess kissing a toad,
In fairy tales I’d heard.
Perhaps Gandhi was right:
I was a Child of God,
And this fair lady an apsara.
She, in her European mind,
Thought she’d brought human rights
At least to the gainey,
This wonderful wandering minstrel,
With his quaint fiddle
She said in her melodious voice,
‘In my country all people are free and equal,
Have the same rights and dignity.
All humans have common sense,
And we ought to meet each other
As brothers and sisters.
I tucked my sarangi in my armpit,
Clapped my hands and said:
It works for you here, perhaps.
But it won’t work for me,’
Feeling a sense of remorse and nausea
Sweep over me.
* * *
About the Author:
Satis Shroff teaches Creative Writing at the University of Freiburg, and is the published author of three books on www.Lulu.com: Im Schatten des Himalaya (book of poems in German), Through Nepalese Eyes (travelgue), Katmandu, Katmandu (poetry and prose anthology by Nepalese authors, edited by Satis Shroff). His lyrical works have been published in literary poetry sites: Slow Trains, International Zeitschrift, World Poetry Society (WPS), New Writing North, Muses Review, The Megaphone, Pen Himalaya, Interpoetry. Satis Shroff is a member of “Writers of Peace,” poets, essayists, novelists (PEN), World Poetry Society (WPS) and The Asian Writer. He also writes on ecological, ethno-medical, culture-ethnological themes. He has studied Zoology and Botany in Nepal, Medicine and Social Sciences in Germany and Creative Writing in Freiburg and the United Kingdom. He describes himself as a mediator between western and eastern cultures and sees his future as a writer and poet. Since literature is one of the most important means of cross-cultural learning, he is dedicated to promoting and creating awareness for Creative Writing and transcultural togetherness in his writings, and in preserving an attitude of Miteinander in this world. He lectures in Basle (Switzerland) and in Germany at the Akademie für medizinische Berufe (University Klinikum Freiburg) and the Zentrum für Schlüsselqualifikationen (Lehrbeauftragter für Creative Writing, Albert Ludwigs Universität Freiburg). Satis Shroff was awarded the German Academic Exchange Prize.
What others have said about the author:
“I was extremely delighted with Satis Shroff’s work. Many people write poetry for years and never obtain the level of artistry that is present in his work. He is an elite poet with an undying passion for poetry.” Nigel Hillary, Publisher, Poetry Division – Noble House U.K.
Satis Shroff writes with intelligence, wit and grace. (Bruce Dobler, Associate Professor in Creative Writing MFA, University of Iowa).
‘Satis Shroff writes political poetry, about the war in Nepal, the sad fate of the Nepalese people, the emergence of neo-fascism in Germany. His bicultural perspective makes his poems rich, full of awe and at the same time heartbreakingly sad. I writing ‘home,’ he not only returns to his country of origin time and again, he also carries the fate of his people to readers in the West, and his task of writing thus is also a very important one in political terms. His true gift is to invent Nepalese metaphors and make them accessible to the West through his poetry.’ (Sandra Sigel, Writer, Germany).
‘Brilliant, I enjoyed your poems thoroughly. I can hear the underlying German and Nepali thoughts within your English language. The strictness of the German form mixed with the vividness of your Nepalese mother tongue. An interesting mix. Nepal is a jewel on the Earth’s surface, her majesty and charm should be protected, and yet exposed with dignity through words. You do your country justice and I find your bicultural understanding so unique and a marvel to read.’ Reviewed by Heide Poudel in WritersDen.com 6/4/2007.
‘The manner in which Satis Shroff writes takes the reader right along with him. Extremely vivid and just enough and the irony of the music. Beautiful prosaic thought and astounding writing.
‘Your muscles flex, the nerves flatter, the heart gallops,
As you feel how puny you are,
Among all those incessant and powerful waves.’
“Satis Shroff’s writing is refined – pure undistilled.” (Susan Marie, www.Gather.com