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The Männergesangsverein Kappel with their standard

THE KAPPEL CHRONICLE (Satis Shroff, Kappel-Schwarzwald)

Lambert Weis: Whisper Words of Hope

It was a bright sunny day on the 6th of July 2010 and you could hear the birds chirping merrily in the adjacent birch and oak trees. We, the men of the Männergesangsverein were attending the funeral of Lambert Weis who was born in 23rd of August 1920. Almost ninety years and the picture above shows the house where he grew up as a child.

It was a funeral in the presence of the community in Kappel where he lived. His wife had preceded him fifteen years earlier. Ach, the suffering of this world, the darkness that befalls death. A life that death cannot tear away.

Lambert Weis had a special relationship to the Männergesangsverein where he was an active member for fifty years. We all knew him as an amiable, bespectacled man, who used to go around Kappel wearing his schieber-cap and a wandering stick, with emblems as reminders of the places he’d been to with his dear wife. It is in such times, when a soul departs that we think of the friendliness and sympathetic behaviour of the departed, and the signs of love a person has left behind. Such was the case of Lambert Weis, who died on the 29th of June 2010, who had a fall and succumbed to his internal injuries.

The paths are abandoned and we’re alone in these grey lanes, where no one comes.

Bless us Great Mother every day. Bless all hearts and every hut and town where people live. Spread your holy hands and whisper words of hope in his mouth. Blessings in death and dying, and in the life we’re living.

The ceremony began with a song ‘Wir sind nur Gast auf Erde’, that is, we’re only guests on this earth—sung together by all present at the St.Peter and Paul. Then followed ‘Sanctus’ and ‘Agnus Dei’ from the Deutsche Messe (Franz Schubert) sung by the colleagues of Lambert Weis from the Männergesangsverein (men’s choir) ‘Liederkranz.’

When Lambert Weis came from the last World War II, where he was detained as a prisoner of war, and had lost his index finger, he looked frail and had a haggard expression on his face. He knew what it was to be hungry during, and especially after the krieg. There were a lot of difficulties to be overcome and quite a few people in the Kappeler community thought out loud and said he wouldn’t survive. But Herr Weis showed them all that he was made of sterner stuff and outlived a lot of his colleagues. He built a home after what had been a long journey towards the end of the war and thereafter.

Due to the Second World War the activities of the men’s choir were reduced and almost came to a stop because most of the able-bodied men from the bergwerk and the Black Forest farmsteads had to do work as soldiers under the Wehrmacht in different fronts. They were replaced by prisoners-of-war from Poland,Later France, Russia and the Ukraine. Since there were very few men left, the men’s choir came closer with Littenweiler’s ‘Frohsinn’ and Herr Weiss was the conductor then. World War II brough a heavy loss to the Männergesangsverein because seven singers didn’t return. It was August Dold who brought the old and young singers together in 1946.

The new men’s choir ‘Liederkranz,’ which means a wreath of flowers, was founded on July 13,1947 after the then French government gave permission to the men to sing officially. The first chairman was Pius Trescher, who held his office till 1959. After that Herr Weiss, a senior school teacher, took over with twenty-four active and 67 passive members.

Comradeship and socialising together have always been important to the men’s choir, and excursions were undertaken together to the different towns and hamlets and the neighbouring countries: France, Switzerland and Austria.

The 16th and 17th of July 1950 was a special day for the men’s choir flag inauguration, and it began with a festival mass and honouring of the dead. And in the afternoon there was a big procession with the Kappeler verein. The people rejoiced and it took on the character of a folks-festival. On the following Monday there was the children’s and family-festival.

After the choir had sung the Grablied and the priest had sprinkled the holy water and bestowed a small spade of earth and spoken the words ‘from dust to dust and ashes to ashes,’ it was the turn of the men’s choir to do the same. Richard Lindner, the standard bearer of the Männergesangsverein, lowered the decorative flag of the verein into the open grave and marched out in two in their blue and black uniforms, after having spoken words of condolence to the sons and their wives of the deceased, waiting below the arcade to the graveyard.

He was a loveable person and that is why his love shall remain in the places and the hearts of those who knew him, for love goes beyond death. What remains is something eternal and becomes a part of eternity.

The epitaph goes thus:

Wenn die

Kraft

Zu Ende

Geht,

ist die

Erlösung

Gnade.

Autor Biographie

Satis Shroff ist Dozent, Schriftsteller, Dichter und Kunstler und außerdem Lehrbeauftragter für Creative Writing an der Albert Ludwigs Universität Freiburg.  Satis Shroff lebt in Freiburg-Kappel (poems, fiction, non-fiction) und schreibt über ökologische, medizin-ethnologische und kultur-ethnische Themen. Er hat Zoologie und Botanik in Nepal, Sozialarbeit und Medizin in Freiburg und Creative Writing in Freiburg und UK studiert. Da Literatur eine der wichtigsten Wege ist, um die Kulturen kennenzulernen, hat er sein Leben dem Kreatives Schreiben gewidmet. Er arbeitet als Dozent in Basel (Schweiz) und in Deutschland an der  Akademie für medizinische Berufe (Uniklinik Freiburg). Ihm wurde der DAAD-Preis verliehen.

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(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.

Disappear.

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 gypsies,

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.

Outlandish melodies,

Electronic beats you can’t catch up with.

Spinning on their heads,

Hip-hopping like robots,

Not humans.

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

Of me,

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,

An injustice,

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

With bahunis.

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,

Danyabad.

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,

‘Dhanyabad.’

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:

Kalapani.

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,

A Harijan,

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

Called sarangi.

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,

A conscience,

And we ought to meet each other

As brothers and sisters.

I tucked my sarangi in my armpit,

Clapped my hands and said:

‘That’s nice.

Noble thoughts.

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

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