Looking Back . . . .

Was it all bizarre? Was it all because of the elegance of God? Was it all because I had to experience that life menacing, breath holding and heartless incident to understand what human life is? I recall the air firing that took place in a political program prearranged by CPN Maoist in the year 2062 B.S. I feel cold when I elicit those bloody scenes and the horrors of war.

Looking back 2062

I used to hear about air firing, bombing, electric traps and bloodshed but that day I beheld all the gory events. At that time the whole country was convoluted in war. Many children were made parentless, numbers of women were made widowed and thousands were made homeless. Fighter helicopters, night vision aircrafts and bombs were all frightening things that I had heard about on those days. I used to think myself as a refugee. Life was uncertain because no one could forecast what would ensue the next day either in the farm or in the schools and offices.

An order to the villagers forced me as well to participate in the program. Maoists’ preparations and the crowd seemed carnivalesque. The program was given a regional value where several high commanding leaders and other officials from the party were supposed to be public from that day. The bulk of hundreds of guns, bombs, bullets and other arms, basket full of garlands, well decorated stage, and arrangement of systematic sound system were the attractions of the program.  The arms and weapons Maoists had captured from Nepal Army on the month of Falgun 2062 near Panchkhal were also kept in the display. Songs of Raktim group had made the whole surrounding musical. The program was about to start when a plane appeared high in the sky. For the common mass of local it was nothing new but the liberation army took their position holding rifles and ran towards the jungle. People from various sectors: student, teacher, farmer, doctor, journalist, foreigner, photographer etcetera had gathered in a single ground. The troop of people liberation army started hiding inside the houses as well. The plane disappeared after few minutes and again the troop arose and scattered in the ground. We were unaware about the happenings and those dramatic events. There was confusion for what to do and how to act ahead.

The place turned into a battle field when two fighting helicopters approached and opened the air firing. It happened very surprisingly and immediately that people had no idea what actually was happening. We were confused as to what to do and where to go. People started running all four directions. The distance between my house and the program staged place was about one kilometer. My mind totally went blank and stopped working.  We need to climb upwards for 5-10 minutes to catch a way towards home but for me the way turned out to be extended.  I held my uncle’s hand and started running. Because of his heavy weight, I could feel his inability to move faster. We tried to crawl upward witnessing the air firing, bombing, yelling, crying, and assassination. We had a challenge to make ourselves safe, escaping the battlefield. We had only just crossed half the way when my uncle stopped moving. He abruptly sat on the muddy ground and started coughing. We saw two fighting helicopters just above our head and also the army inside it. Just few meters away from us was a group of liberation army eyeing the helicopters and shooting.  We had no hope that we could escape the death.  For the reason that Nepal army might have seen the liberation army hiding behind the pine trees and promptly they could open the air firing. How could we be alive in that situation? It was for sure that Nepal army would start the operation to kill the liberation army.

 The only way we had left for us to save ourselves was to be away from the place. Uncle was already tired and too weak to move. Then we raised both our hands and gestured towards the helicopters. Perhaps the army noticed us and the helicopter changed its way. After few minutes I held my uncle and again we started moving. As soon as we reached the upper part, the place was attacked by 85 MM mortar and several liberation armies were killed. The atmosphere thundered with bombs and we could see nothing because of dust and smoke. The environment turned out to be horrific that made me numb. We had no options except reaching home as soon as possible and make the family members feel tenable.

When I reached home I did not find any of my family members. My house was congested with people far away from Melamchi to Chautara. The air firing and bombing was in its climax. I tried to search my mother in the crowd but I could not find her. It was not safe for me to ramble outside the house. So, I entered my brother’s house expecting to meet my mother and hid inside the house. I didn’t see her there as well but later I knew that she was hiding inside my uncle’s house.  After half an hour the air firing clogged and we came outside the house. That day I saw the horrors of war, the brutality and its inhumanness. The injured and dead liberation army was carried by the other liberation army. The battered shouted because of discomfort and the other used to show guns to make silent. The yard in front my house was covered with blood. The liberation army was carried in bed sheets and we could see the dripping of blood continuously from their body.

The people who were forcefully brought in the program seemed more alarmed and anxious. They had no idea what might happen ahead and how they would return to their home. At the same time I thought about the family members of those people who were struggling to make them alive.  They had no way what to do next and how to return back. People were in a very shocking and panicky state. Again after half an hour, later the helicopters appeared in the sky. By this time hundreds of injured liberation armies were carried away by their friends. The death number had also reached about hundred and it was sure for the rate to increase because many of the other injured liberation armies were in critical situation. The yard was covered with blood that plunged from the injured and dead bodies carried in the bed sheets. The air firing again started and we again hid inside. After an hour we heard the people that the army had landed nearby. We all came out of the houses and started morning towards the bombarded zone. This was the first time I saw the destruction of war and the ruined buildings. School, hospital, shops, VDC’s office, co-operative’s building, canteen, resource center, NGO’s buildings, hostel, teachers’ quarter and the village houses were destructed and smashed.

People had no words to speak. They just kept on spotting things. Some areas were already under control of the Nepal Army. The inquiry had already begun. Plenty of bags, foodstuff, artilleries, pamphlets, posters, books and many more were found by the military. They looked very excited and triumphant. Meanwhile, I remembered the liberation army and their situation. Nepal army started the investigation and found about a dozen dead bodies buried in several places. Some had no legs and many of them had no hands. Three of the dead bodies were beyond recognition because the teeth were out and whole appearance was divided into several parts. The scene was intolerable to observe and nauseating.

The college where I had taken my morning class was completely destroyed. The library, computer lab, meeting hall, administrative block all were smashed and destroyed. The roof of the houses, the beams, pillars, trees, walls of the buildings everywhere scars of bombs were clearly seen.  One of the inhabitants of ward no. 6, Bom Bahadur Karki was killed in the warfare. His both legs and hands had been apart because of the bombs. Many livestock were killed because the liberation army tried to hide themselves inside the cow shed during the air firing.

Next day a group of journalists, human rights activists, health assistants, officials reached the deserted place and interviewed the local people. Bhojraj Bhat, correspondent of the Kantipur daily and a Japanese lady journalist described all the events to the officials. I still recall that the Japanese lady newscaster had equated the happenings with the bombarding of Hiroshima and Nagasaki. Nepal army was busy whole day in the disposal of the bombs and grenades scattered throughout the nearby jungle by the liberation army. The military returned the district headquarter, Chautra completing the operation late evening. Despite the counsels and the commitments of the officials and security force local people were not able to have a sound sleep afterwards. Maoists, in the name of finding the one who leaked the information about the program continued kidnapping, threatening, and giving other physical punishments to the local people. The existing secretary of Thokarpa VDC was kidnapped and freed only after ninety-five days by the Maoists. The youth were tormented and enforced to be the member of people liberation army (PLA).

It was only after the succession of people movement II countrymen somehow got the chance to respire restfully. Thousands of innocents were made the scapegoat by the both sides: Nepal army and liberation army during the eleven years long civil war. The country neither progressed nor did the people feel secure. People were deprived of their human rights and smoked very violently and inhumanely.  I had the experience of that pitiless and unforgiving trial of war. Now, while remaining far away from my house and recalling those episodes I inquire myself about the intention of that warfare. What actually people got? What actually those who had tangled and conjured the war got?

Still today I have not got the responses to my queries. I know this very well that no one has the answers to my questions. Next, those who can offer answers have been caged themselves. They are now into the same quarries they had mined and no one knows when and how they will be capable enough of taking them out of the depths!

Rhetoric and Composition: in Steven Lynn’s Rhetoric and Composition.

Rhetoric and Composition: in Steven Lynn’s Rhetoric and Composition.

Janak Tamang

The word “Rhetoric” means by to persuade someone with an argument impressing and influencing way. It is the study of how writers, speakers, and artisans use words to impress and influence to an audience or readers.  And “Composition” means arrangement of words into sentences, and sentences into poetry or prose. It is an artistic manner of putting together words. Therefore, Rhetoric Composition means process of writing, a group of word which influenced to somebody.

Rhetoric is not a newly comers object of study, In the beginning it was used by people without knowingly, they try to convinced to jury and return back their lost property in persuasive way.  So, Rhetoric came as speech first than written form. That’s why; we can say that, Rhetoric is a tool which impressed and influenced the people as in both positive and negative way. It’s create the fear and playing with human emotion.  Mostly in Advertisement, the languages of Rhetoric are artificial, insincerity, and extravagant in order to create fear and word play with psychological aspect of people and they became success to convinced people. The political leader mostly uses the artificial and insincerity language (argument) to convinced people but people doesn’t knew that things and influenced and support with his argument.

Everything has their own purpose by using gesture, costume, gaze, and facial expression etc in rhetoric. In cause of Prime Minister, during his regime they always use the typical Nepali costume but before and after their regime they did not, because their appearance and looks makes them supreme and grace. As like in Television’s “Talk Show” programme the anchor uses different kinds of dresses as their programme’s subject matter to influence the audience. So it will indirectly cooperate with audience mind and plays with psychological aspect of audience. 

To compose all these things, process of building argument, and process of writing is composition. In artistic manner, Particular word in particular place and able to cooperate with situational demanded in order to create inspiration, fear, happy, against, violence, and support etc. Arrangement of words, words putting together, choosing the effective and persuasive words is a process of composition. Each word has their own meaning even it carries several synonyms, in particular place we must put particular prescribed word not simply synonyms because it might destroyed the meaning of text. 

Janak Tamang (Moktan)

MA 2nd Year, Universal  College.

2014.

आदिवासी जनजातिका परिभाषा तथा तमाङ पहिचानका लागी "डम्फु"

Janak Tamang

– जनक तमाङ मोक्तान

विश्वभरिका आदिवासी जनजाती बर्गहरु सबैले आफ्नो हक, अधिकार तथा पहिचानका सवालमा बर्षौ देखि आवाज बुलन्द गर्दै आएको पाइन्छ । नेपालमा पनि जातिय पहिचानका बारेमा सदन देखि चिया पसल सम्म बहस चलेको प्रशस्तै पाइन्छ । पछिल्लो समयमा मुलधारका जाति तथा शासक वर्गहरुले पनि आफुहरुलाई आदिवासी जनजातिको रुपमा स्थापित गराउन केहि कदम नचालेको भने होइन । यस अवस्थामा कुन कुन जातिलाई आदिवासी तथा कुन कुन जातीलाई मुलधारका जाति भन्ने क्रममा सदनमा बहस नचलेको पक्कै होइन । नेपालको सन्दर्भमा संख्यात्मक रुपमा कुल आदिवासी जनजाती मध्ये ४४ प्रतिशत तमाङ जाति रहेको आदिवासी जनजाति उत्थान समितिमा उल्लेख भएको पाइन्छ । वि.सं. १९९७ देखी हालसम्मका जनगणनालाई नै हेर्ने हो भने पनि विभिन्न आदिवासी जनजातिहरु भन्दा संख्यात्मक हिसावमा पनि दोस्रो स्थानमा भएको प्रष्ट देखिन्छ । आदिवासी जनजाति उत्थान राष्ट्रिय प्रतिष्ठान ऐन २०५९ र आदिवासी जनजाति सम्वन्धि आइएलओ महासन्धी नं. १६९ ले आदिवासी जनजातिका निम्न ९ वटा पहिचानहरु ठम्याइका छन । आई. एल. ओ. १६९ अनुसार परिभाषित गरेका आदिवासी जनजाति ती हुन् -

   

• राष्ट्रिय समुदाय (मुलधारका जाति वा शासक जाति) भन्दा फरक रहेको ।
• सामाजिक, सांस्कृतिक र आर्थिक अवस्थाहरु फरक रहेको ।
• आप्mनै परम्परा वा प्रथा वा विशेष कानुन वा नियमहरुबाट नियमित हुने ।
• वर्तमान सिमानाको स्थापना हुँदा कुनै भौगोलिक क्षेत्रमा बसोबास रहेको कारणले आदिवासी मानिएका ।
• सामाजिक, आर्थिक, सांस्कृतिक र राजनीतिक संस्थाहरु कायम रहेका जनताहरु ।

आदिवासी जनजातिू भन्नाले आप्mनो मातृभाषा र परम्परा रीतिरिवाज, छुट्टै सांस्कृतिक पहिचान, छुट्टै सामाजिक संरचना र लिखित वा अलिखित इतिहास भएको अनुसुची बमोजिमको जाति वा समुदाय सम्झनु पर्छ । आदिवासी जनजाति उत्थान राष्ट्रिय प्रतिष्ठान ऐन २०५९ अनुसार परिभाषित गरेका आदिवासी जनजाति ९ पहिचानका अधारमा ठम्माइएका छन ।

1. पहिचान नं. १. आफ्नो मातृभाषा ।
2. पहिचान नं. २. आप्mनो छुट्टै सामाजिक संरचना ।
3. पहिचान नं. ३. आप्mनो परम्परागत रीतिरिवाज (जीवन संस्कार) ।
4. पहिचान नं. ४. आप्mनो छुट्टै सांस्कृतिक पहिचान ।
5. पहिचान नं. ५. लिखित वा अलिखित इतिहास ।
6. पहिचान नं. ६. प्रथाजन्य कानुन ।
7. पहिचान नं. ७. आप्mनै सामाजिक, सांस्कृतिक, आर्थिक र राजनीतिक संस्थाहरु ।
8. पहिचान नं. ८. राष्ट्रिय समुदायको भन्दा फरक सामाजिक, सांस्कृतिक र आर्थिक अवस्थाहरु ।
9. पहिचान नं. ९. भौगोलिक क्षेत्र । 

यसरी ९ पहिचानका आधारमा आदिवासीको परिभाषा गरीएको छ , यसर्थ पनि के भन्न सकिन्छ भने आप्mनो मातृभाषा र परम्परा रीतिरिवाज, छुट्टै सांस्कृतिक पहिचान, छुट्टै सामाजिक संरचना र लिखित वा अलिखित इतिहास र निश्चित भौगोलिक क्षेत्रको निर्धारण भए बमोजिमको जाति वा समुदायलाई नेपालको आदिवासी जनजाति भन्न सकिन्छ । तमाङ जातिलाई आदिवासी जनजातिको रुपमा सूचीकृत गराउन हाम्रा अग्रजहरुले धेरै समय, अर्थ र बौािद्धक श्रमको लगानी साथै सडक तताएका थिए, ती लागानीलाई खेर जानु नदिनु हाम्रो दायित्व हो ।

यसैगरी विभिन्न सुचिकृत तमाङ पहिचान मध्ये सांस्कृतिक पहिचान नं. ४ अन्र्तगत पर्छ तमाङलोक बाजा ूडम्फुू । डम्फु मात्रै त्यो बाजा हो, जसले हामी तमाङ जातिको सांस्कृतिक पहिचान बोकेको छ । हाम्रो जातिय पहिचानलाई संरक्षण साथै संम्त्र्रद्धन गरी भोलीको पुस्ता समेतलाई जानकारी दिनका लागी पनि डम्फु संरक्षण आजको आवश्यकता हो । यदि डम्फुको प्रयोजन नगर्ने हो भने, हामी तमाङको सांस्कृतिक पहिचान माथि प्रश्न नउठाउलान भन्न सकिन्न । त्यसैले आजको पुस्ताले यो बारे जान्न आवश्यक छ, ूडम्फुू के हो ?, कसले बनायो ?, कसरी बनाइन्छ ?, कसले बजाउँछ ?, कहिले कहिले प्रयोग हुन्छ ?, र ूडम्फुू को समावेशी अर्थ के हुन्छ ?

तमाङ बस्त्रमा सजिएका तमाङ दाजुभाई लोक बाजा डम्फु बजाउदै ।

डम्फु तमाङहरुको एक मात्र प्राचिन लोक बाजा हो । यो कसले कहिले बनायो भन्ने कुरा लिखित रुपमा इतिहास नभए पनि वि. सं. २०१३ सालमा सन्तवीर लामा ज्यू बाट रचित गीतका अनुसार के तर्क गर्न सकिन्छ भने, हिमाली भु भाग नजिक पर्ने पहाड (नोवा ज्योमो गाङ) मा बस्ने सिकारी म्हेमे पेङ्दोर्जेले बनाएको आख्यान रहेको छ । हिमालय पर्वतमा सिकार खेल्दा मारिएको घोरलको छाला, कोइरालाको काठँ र बाँसको सुइरोबाट बनाएको भनि गितबाट प्रष्ट पार्न खोजिएको देखिन्छ । यसबाट के पनि प्रष्ट हुन्छ भने, म्हेमे पेङ्दोर्जेले तमाङ जातिका डम्फुू को निमार्ता मात्र नभई, पहिलो संगितकर्मी पनि भन्न सकिन्छ । डम्फुको निमार्ण प्रक्रिया पनि सरल भएकाले यो निकै प्राचिन बाजा हो भन्न सकिन्छ ।

तमाङ जाति भित्र पनि ताम्बा, गान्बा, लामा, चोहो र बोन्बो गरी पाँच थरिका फरक मानिसहरु पाँउदछ, जसको आ(आप्mनै काम, कर्तव्य र अधिकारको जिम्मेवारी रहेको हुन्छ । ताम्बाले परम्परागत संस्कृतिका जगेर्ना गर्ने, समाजका अगुवा व्यक्तिका रुपमा पनि चिनिन्छ । गान्बाले रीतिरिवाज, भाषाको संरक्षण गर्ने हुन्छ, परिवारको जेष्ठ सदस्य तथा उमेरले बुढापाकालाई जनाउदछ । लामा समाजका पढेलेखेका, ज्ञान प्रदान गर्ने, धर्म गुरुको काम गर्दछ । चोहो पनि समाजका विद्धावन वर्ग, समाजमा हुने विभिन्न किसिमका अराजकतालाई साम्य पार्ने, झै झगडा मेलमिलाप गराउने तथा न्यायको काम गर्दछ । बोन्बो समाजमा हुने विभिन्न रोग ब्याधीको औषधी उपचार गर्ने ब्यक्ति हो । यसरी आप्mनो पद सँगै समाजको लागी आप्mनै किसिमको जिम्मेवारी रहेको पाइन्छ ।

तमाङ समाजमा जति पनि हुनु गरेका जीवन संस्कार ( १) न्वारान, २) भातख्वाइ, ३) छेवार, ४) गुन्युचोली दिने, ५) विवाह, ६) मृत्युसंस्कार ) हरु छन्, तिनी सबैमा डम्फु बजाउदैनन् । ब्यक्तिको जन्म सगै न्वारनमा, भात ख्वाईमा, छेवार तथा गुन्युचोली लागाइमा र विवाहमा गरि जम्मा पाँच थरीको संस्कारमा डम्फुको प्रयोजन धेरै भएको पाइन्छ । विषेशत छेवारमा मामाको स्वागतको लागी र विवाहमा बेहुला बेहुलीको बंशवली थाहा पाउनका लागी डम्फु प्रयोग हुन्छ । र अन्य चाडपर्वमा भने रमाइलोका लागी डम्फु बजाइन्छ । यस अवसरमा ताम्बाले गीत गाउने र डम्फुरेले डम्फु बजाउदै नाच्ने गर्दछ । अहिले आएर यसको प्रयोग विभिन्न लोक तथा सम्पुर्ण तमाङ भाषाका गितमा रहेको छ । म्हेन्दोमाया, विभिन्न कालखण्डका फापरे गीत, तमाङ सेलोमा पनि डम्फुको यथेष्ट प्रयोग भएको पाइन्छ ।

डम्फुको समावेशी अर्थ हेर्ने हो भने, यो घोरलको छाला, कोइरालाको काँठ र बाँसको सुइरोले बनेको डम्फुमा, हिमाली भागको घोरलका छाला, पाहाडि भागको कोइरालाको काँठ र तराई भागको बाँसको प्रयोग भएको पाइन्छ । यसरी के देखिन्छ यसमा नेपालको तिनै वटा भु(भागको प्रतितिधित्व गरेको र तमाङहरु परापुर्बकाल देखिनै नेपालको भु(भागमा भोगचलन गर्दै आएको कुरालाई देखाउदछ साथै यस डम्फुले नेपालको तिनै वटा प्रदेशको महत्व बोकेको देखिन्छ ।

यसर्थ: आजको यस समयमा आदिवासीहरु पहिचानका सवालमा बहस गर्न तथा हाम्रो जातिय पहिचानलाई संरक्षण साथै संम्र्बधन गरी भोलीको पुस्ता समेतलाई जानकारी दिनका लागी पनि डम्फु संरक्षण आजको आवश्यकता हो । यस डम्फुसँग जोडिएको हाम्रो तमाङ सांस्कृतिक पहिचानका लागी डम्फु मात्रै एउटा त्यस्तो बाजा हो जसले तमाङ जातिको सांस्कृतिक पहिचान बोकेको हुन्छ । त्यसैले समाजमा जति पनि संरक्षणमा रहेको तथा जीर्ण डम्फुको सम्र्वद्धन गरि र भावी पुस्तालाई यसको विशेषता र आवश्यकताको बारेमा वोध गराउन जरुरी देखिन्छ । डम्फु रहे मात्र हाम्रो सांस्कृतिक पहिचान जिउदो रहनेछ ।

Janak Tamang २०७१ मङ्शिर १५ गते  सोमबार : संचार दर्शन बाट प्रकाशित !
 

Definition of Indigenous Tribe & Damphu for Tamang Identity

            World’s Indigenous people are raising their voice for fundamental right, freedom, liberty and identity. In context of Nepal, people are using to discuss the issue about racial identity from parliament to coffee shop. Tamang is the oldest & largest tribe among the other indigenous group of Nepal. According to the latest data of National Foundation for Development ofIndigenous Nationalities (NFDIN), Tamang have the 44% mass among the Nepali Indigenous group of People. If we look thoroughly the census of Nepal from 1940 to 2011, Census data shows that, Tamang tribe is the largest Indigenous tribe in Nepal. From the previous decade, Aristocratic & so-called higher castes people also claiming them as Indigenous people of Nepal. In this situation, parliament of Nepal has discussed about the categories of Indigenous Tribe & Caste of Nepal. Act of 2059 – National Foundation for Development of Indigenous Nationalities (NFDIN) & International Labor Organization (ILO) Convention No. 169 has declared about the certain characteristics of Indigenous tribe.

 According to the ILO Convention No. 169, Indigenous people are defined as following…

1)      Differentiation from the Nation Community (Aristocratic/Leading People).

2)      Differentiation in terms of socially, culturally, and economically.

3)      Having own culture, costume, code of conduct, rule & regulation, and tradition.

4)      Having special ancestral geographical arena & tenant of peculiar place.

5)      Limited peoples from socially, culturally, economically, and politically.

            Above points clarify that, Indigenous people means to having own language, culture, tradition, oral or written history, social norms, and code of conduct.

Act of 2059- NFDIN has defined using the nine indigenous identity markers of people.  

1)      Identity No. 1. Having own Mother tongue / Language.

2)      Identity No. 2. Having own social structure.

3)      Identity No. 3. Having own ancestral tradition (ritual tradition).

4)      Identity No. 4. Having differentiation of traditional culture. 

5)      Identity No. 5. Having oral or written history.

6)      Identity No. 6. Having Spiritual law & Norms.

7)      Identity No. 7. Having own social, cultural, economical, and political institutions.

8)       Identity No. 8. Having different culture, society, language from National Caste.

9)      Identity No. 9. Having certain geographical arena.

            According to these nine identity markers we can state that, those are Indigenous tribe who have own mother tongue, ritual tradition, social structure, specific geographical location, and oral or written history. Our ancestral fathers have invested lots of physical, economical, & insight effort. So, it is our responsibility to protect our position as Indigenous group of people.

            Among the several listed Indigenous identity markers, no. 4 is related with Damphu. ‘Damphu’ is the Tamang folk musical instrument. Damphu is one of musical instruments of Tamang, which holds the identity of the Tamang cultural tradition. To distribute & protect our Indigenous cultural tradition of Tamang Tribe and it is important to keep informing the new emerging generation about the Damphu. If we don’t use the Damphu as our cultural musical instrument, it may raise the question about our cultural traditional identity. Therefore, it’s significant to be familiar with Damphu on new generation of Tamang tribe. What is the Damphu, who made it, how does it made, who use to play, when does it to use & what is the federal meaning of Damphu?

Damphu is the only one ancient folk musical instrument of Tamang Tribe. We have no written history about who had made it but we can argue that with reference of Tamang Musician Santa Bir Lama’s song in 1956. He has explained that, Mheme Pengdorje lama who had lived in Himalayan range of Nepal. Mheme Pengdorje lama use to go hunting wild animal. At the mean time he had hunted Deer. With the synchronic of Deer skin, Koirala’s wood, & Bamboos’ sharpen instruments, he has made the Damphu. It shows that, Pengdorje is not only producer of Damphu in Tamang community; he is the first musician of Tamang society as well. Process of making Damphu is simple way, that’s why Tamang community claims that it is the ancient musical instrument of Tamang community.

            There are five types of leading people in Tamang community. They are Tamba, Ganba, Lama, Choho, & Bonbo. They have own responsibility as their title position. Tamaba always focused upon the ancient ritual culture, try to save their ancient ritual culture, & also known as the leader of Tamang community. Ganba’s major concern is to save the Tamang tradition & language, normally Ganba refers to the grandsire of family & old age people of community. Lama is the educated person in the community, teacher of religion, knowledge, & wisdom. Choho is the literate & lawyer of Tamang community. They try to control over the several negative activities in the society, & provide the justice for injustice people in community. Bonbo is the doctor of Tamang society. They use to provide the several organic herbal medicines, & use the Tantra with divine power to save the life of sick, illness people in society. As the position of society, they are contributing, sacrificing their responsibility for the development of Tamang society.

            Damphu is not bringing into play in all the ritual traditional ceremony (1. Birth Ceremony 2. Rice Feeding Ceremony, 3. Chhewar Ceremony / Gunyo Choli Ceremony, 4. Marriage Ceremoney, 5. Death ceremony) of Tamang society. Damphu is use to play in five ritual ceremony with the birth of people in Tamang society; Birth, Rice Feeding, Chhewar, Gunyo Choli, & Marriage ceremony. Especially, Damphu is use for the welcome to Mother’s Brother in Chhewar, Gunyo Choli ceremony and to know the heredity of bridegroom and bride’s in Marriage ceremony. Damphu is use to play just entertainment purpose in other normal cultural festivals. In this situation Tamba use to sing song, Damphure use to play Damphu and Dance. But nowadays, Damphu use in all Tamang language cultural folk songs. There are sufficient uses of Damphu in periodic folk songs, tamang selo songs, & Mhendo Maya Folk Songs.

            If we look federal meaning of Damphu, there are synchronic of Himalayan Range’s Deer’s skin, Hilly area’s Koiralo’s wood, & Terai Area’s Bamboos’ sharpen instruments make the complete perfect Damphu. It shows that, Damphu represents to all Nepali geographical arena, Tamang has cultivate to live from long time, and Damphu has carried the importance of all geographical areas of Nepal.

            Therefore, at the present time to distribute and protect our Indigenous cultural tradition of Tamang Tribe and it is important to keep informing the new emerging generation about the Damphu. If we don’t use the Damphu as our cultural musical instrument, it may raise the question about our cultural traditional identity. Therefore, it’s significant to be familiar with Damphu on new generation of Tamang tribe. For that reason, it’s necessary to protect the ancient Damphu. If we lost our Damphu, we will lose our cultural identity with Damphu.

Notes:

Damphu : Ancient Tamang Cultural Musical Instrument

Santa Bir Lama: Tamang Cultural Singer

Mheme Pengdorje Lama: First Tamang Musician & Creator of Damphu

Deer: A kind of wild animal

Koirala : A Kind of Tree, Easy to make circle.

Tamaba:  leader of Tamang community.

Ganba: the grandsire of family & old age people of community.

Lama is the educated person in the community, teacher of religion, knowledge, & wisdom. Choho is the literate & lawyer of Tamang community. They try to control over the several negative activities in the society, & provide the justice for injustice people in community.

Bonbo is the doctor of Tamang society. They use to provide the several organic herbal medicines, & use the Tantra with divine power to save the life of sick, illness people in society.

Tantra: Having Divine power

लैगिंक विभेद रहित तामाङ समाज

Janak Tamang

(जनक तामाङ (मोक्तान)

कुनैपनि व्यक्तिको जन्म सँगै पाएको लैगिंक अस्तित्व वा शारिरिक बनावटलाई आधारमानी प्रत्यक्ष वा अप्रत्यक्ष ढंगवाट हुने गरेका विभेदपुर्ण कार्यलाई लैगिंक असमानता भनिन्छ । समानता र असमानताको मतभेदलाई प्रष्ट पार्नका लागी समाजमा भएका हरेक किसिमका सामाजिक संरचना, मुल्य मान्यता, रितिरिवाज तथा परम्पराले मुख्य भुमिका खेलेको हुन्छ । सामान्यतय तामाङ समाजको तुलनामा अन्य समाजमा महिता भएकै कारण दासत्वको जिवन विताइरहेको पाइन्छ । विषेशगरि समाजमा हुने लैगिंक विभेदमा व्यैतिक स्वतन्त्रता, सामाजिक संस्कार तथा परम्परा, सामाजिक निती नियम तथा मुल्य मान्यता र भाषाले गर्दा समानता र असमानताको ठुलो खाडल वनाएको पाइन्छ । यद्दपि, तामाङ समाजमा भने यस्ता समस्या रहेको पाँइदैन ।

    कुनैपनि व्यक्तिको जन्मरुपी चिनारी, पहिचान तथा परिचय माथि प्रत्यक्ष वा अप्रत्यक्ष ढंगवाट हुने गरेका विभेदपुर्ण कार्यलाई लैगिंक असमानता भनिन्छ । व्यक्तिसँग सम्वन्धित जोडिएको जातिय उपनाम (जातिय नाम) वा थर नै पहिलो पहिचान हो । जुन कुरामा जब सम्म स्वतन्त्र तथा विभेद हट्दैन तब सम्म समानता सहितको समाज निर्माण गर्न सकिन्न । साधारणतय हाम्रो नेपाली संस्कारमा कुनै ब्यक्ति पुरुष भएमा उसको जन्म देखी मरण पश्चात सम्म पनि एउटै थरमा सिमित रहन्छ भने, कुनै ब्यक्ति महिला भएमा विवाह अघि र विवाह पछि थर परिवर्तन हुन्छ । विवाह पश्चात् आफ्नो श्रीमान् कुन थरको हा,े सोही अनुसार स्वत श्रीमतीको नाम संग श्रीमानको थर जोडिने चलन रहेको छ । तर हाम्रो तामाङ समाजमा कुनैपनि तामाङ चेलीको थर विवाह पश्चात पनि परिवर्तन हुदैन । विवाह पश्चात कुनै चेलीले थर परिवर्तन गरेर श्रीमान्को थर झुण्डाउनु भनेको श्रीमान् वा श्रीमान्को कुलको दासत्व आत्मासरण र आफ्नो अस्तित्व नाश गराउनु हो । जस्तै ‘मोक्तान’ थरकी चेलीले ‘बोम्जन’ थरको कुटुम्बसँग विवाह हुन्छ भने उनी ‘बोम्जन’ हुदैन, तामाङ समाजका नियम अनुसार उनी मोक्तान नै रहन्छे, अर्थात उसको थर परिवर्तन हुदैन । यसकारण के भन्न सकिन्छ भने, हरेक पुरुषको जन्म देखि मृत्यु पर्यन्त सम्म पनि एउटै थर भए भैm, हाम्रो तामाङ समाजमा जो कोहीको पनि जन्म देखि मरण पश्चात पनि एउटै थरमा सिमित हुन्छ । हरेक व्यक्तिमा आफ्नो नाम तथा थरको आफ्नो छुट्टै अस्तित्व रहेको हुन्छ । प्रत्येक महिलामा म आफु फलानो थरको र कुल घरको छोरी भनेर गर्व गर्नमा जति, म फलानो थरको र कुल घरको वुहारी भन्नमा त्यति गर्व रहेको हुदैन । तामाङ समाज मात्रै एउटा यस्तो लैगिंक विभेदमुक्त तथा समाबेशिता समाज हो, जहाँ कुनैपनि तामाङ चेलीको विवाह पश्चात उसको थर परिवर्तन हुदैन  ।

    तामाङ समाजमा कुनैपनि चेलीको विवाह गर्ने क्रममा कन्यादान दिने परम्परा छैन । विवाह भन्नाले माइतीले चेलीको रगत र मासु (भौतिक शरिर) मात्रै कुटुम्बलाई सुम्पिनु हो । जुनै बेलामा पनि त्यस चेलीको भौतिक शरिर परलोक (मृत्यु) भएको अवस्थामा त्यस चेलीको अस्थि (हाड) माइतीलाई फिर्ता गरिनु पर्दछ । उक्त हाडलाई थरको संज्ञा दिइन्छ । यसरी चेली जुन कुटुम्बको घर गएपनि, जन्म थरमै आफ्नो अस्तित्व कायम गर्दछ र मृत्यु पश्चात पनि उनी आफ्नो जन्म घर र थरमा नै फर्किएकी हुन्छे । यसर्थ विवाह पश्चात् पनि चेलीको अस्थि माइतीको वंशमा नै रहन्छ । त्यसैले तामाङ चेली गाईवस्तु वा बेचविखनको कुनै वस्तु होइन । विवाहपश्चात् पनि चेलीको हकहधिकार र कर्तब्य माइती घरमा रहिरहन्छ । 

    तामाङ चेलीहरुको इच्छा विपरित तथा कोही कसैको जर्वजस्ती, करकापमा परी विवाह गरिदैन । विवाहमा छोरीको राजीखुसी तथा केटा र केटीको आपासी मन्जुरिको ठुलो महत्व हुन्छ । यदि कुनै चेलीको कसैले बल प्रयोग गरि जवर्जस्ती वा अपहरण गरेर लगेतापनि सम्बन्धित चेलीले विमती जाहेर गरेमा उक्त विवाह माइती तथा तामाङ समाजलाई स्वीकार्य हुदैन । यस्तो अवस्थामा हप्तादिन सम्म पनि माइती घरमा फिर्ता ल्याउन सामाजिक स्वीकृत रहेको हुन्छ । चेली माइतीमा आउँछिन र चेलीकै इच्छाअनुसारको अर्को कुटुम्बसँग पुन विवाह गरिदिन्छन अर्थात चेलीको घरजमाको मामिलामा चेलीकै विचार सर्वोपरि हुन्छ ।

    समाजका विभिन्न संरचना अन्र्तगत भाषा एउटा यस्तो माध्यम हो जसका आधारमा लैगिंक हिंसा तथा असमानाताको जड गडेको पाइन्छ । साधारण अर्थमा भन्नुपर्दा महिला र पुरुषका लागि प्रयोग हुने भाषमा फरकपनले गर्दानै समाजमा लैगिंक असमानता भएको पाइन्छ । भाषा कै माध्यमबाट समाजमा लैगिंक विभेद सृजना गरेको पाइन्छ । तामाङ भाषा मात्रै एउटा यस्तो भाषा हो जहाँ लिगंको आधारमा विभेद हुदैन । आर्थत तामाङ समाजमा महिला या पुरुष दुवैलाई प्रयोग गर्ने भाषा एउटै हुन्छ ।

जस्तै :

नेपाली भाषामा, ‘रामको छोरा र उसका साथी दिपक स्कुलबाट आएछन्’ । (पुरुषको भाषा)

नेपाली भाषामा, ‘रामको छोरी र उसकी साथी दीपिका स्कुलबाट आएछिन्’ । (महिलाको भाषा)

 ईङ्रग्लिस भाषामा, ‘Ram's son and his friend, Deepak came from school’. (पुरुषको भाषा)

 ईङ्रग्लिस भाषामा,  ‘Ram's daughter and her friend, Dipika came from school’. (महिलाको भाषा)

 तामाङ भाषामा, ‘रामला जा थेन थेला रो दिपक स्कुल ग्यामसे खाजिम्’ । (पुरुषको भाषा)

 तामाङ भाषामा, ‘रामला जामे थेन थेला रो दीपिका स्कुल ग्यामसे खाजिम्’ । (महिलाको भाषा)

यहाँ नेपाली, ईङ्रग्लिस र तामाङ भाषामा महिला र पुरुषमा प्रयोग भएको लैगिंक असमानतालाई प्रष्टाउन प्रयास गरेको छु । जस्तै नेपाली र ईङ्रगलिस भाषामा उसका÷उसकी, आएछन्÷आएछिन् र His and Her को प्रयोग भएको छ भने, तामाङ भाषामा समान रुपमा एउटै शब्दलाई थेला र खाजिम् प्रयोग भएको छ । यस तामाङ समाजमा महिलाकै लागि भनेर फरक भाषाको प्रयोग तथा निमार्ण गरिएको हुदैन । महिला वा पुरुष विच कुनै भिन्नता छैन, सबैका लागि एउटै समान किसिमका भाषा प्रयोग गरिन्छ । यद्दपी क्षेत्री बाहुनहरुले तामाङ भाषालाई व्याकरण अशुद्धि भने पनि तामाङ समाजमा यसलाई लैगिंक विभेद रहित भाषाको संज्ञा दिएका छन् । यसर्थ के भन्न सकिन्छ भने भाषागत रुपमा तामाङ समाजमा विभेदरहित वा भाषाको माध्यमबाट लैगिंक विभेद मुक्त समाज भन्न सकिन्छ । यसका आधारमा के भन्न सकिन्छ भने तामाङ समाज मात्रै एउटा त्यस्तो समाज हो जहाँ लैगिंक विभेद रहित समाज हुन्छ ।

Contact: anxious.lama@gmail.com or fb@janaktamang02