Today’s A Journey through Aesthetic Realms will be presented in Nepalese, with subtitles in Arabic, Aulacese (Vietnamese), ## Aulacese (Vietnamese), Chinese, English, French, German, Hungarian, Indonesian, ## Hungarian, Indonesian, Japanese, Korean, Malay, Mongolian, Nepalese, Persian, Portuguese, Russian and Spanish.

The people in the western part of Nepal call it Jhyaure and Sangini tunes, and also there are different Sorathi tunes; all these different tunes can be played on the Madal. I will play a Sangini tune; it will be played in six portions. This is called the Sangini tune.

Greetings, vibrant viewers, and welcome to A Journey through Aesthetic Realms on Supreme Master Television. Nepal is a Himalayan country rich in dance and music traditions, with a variety of more than 400 folk musical instruments. In today’s show we will introduce a few popular Nepali percussion instruments through an interview with virtuoso drummer, Associate Professor Nhuche Bahadur Dangol of Tribhuvan University.

Namaste! (I greet the God in you.)

Namaste! (I greet the God in you.)

I would like to give you my short introduction. My name is Nhuche Bahadur Dangol. I am an Associate Professor at Tribhuvan University in Nepal. I have been teaching Nepali folk music, Nepali folk musical instruments, and folk tunes of Nepal for the last 36 years to the younger Nepali generation. I also do research work in folk music, such as in Dhime Baja, Khin Baja, and other instruments.

Nepalese instruments are played during important ceremonies such as Bratabandha (coming-of-age rite for Nepali Hindu boys), weddings, and welcoming occasions, as well as various festivals. Madal is a two-sided drum popular in all regions of Nepal.

I would like to share with you some knowledge about Madal.

Since 1956, I have been playing this instrument, Madal. I used to play the Madal when I was a kid. There are three types of Madal that are available in Nepal: one is played in the east, another played in the west, and the Madal played by Newars in the central region. It is customary to call Madal “Mardal” in the Newari language.

It is customary to play the Madal in Nepal during different occasions from Sorathi dance to singing of Sorathi songs, from Sangini songs to Newari Ghintangmai songs. Many Nepali people can be seen playing the Madal on a variety of occasions.

Professor Dangol introduces a few folk tunes from different Nepalese regions that use Madal as the main instrument. Now, there is a tune in this Madal to awaken the gods and goddesses, like a tune for awakening the goddess Saraswati which they do in the hills of Nepal. This was Saraswati.

Now without further ado, I will play a small portion of Sorathi; it’s also called the Laame tune. Sorathi is the name of a dance performed by the Gurung community. It is performed by 16 people called Raane, and hence it’s called Sorathi dance. In Sorathi dance, the Laame tune is played like this:

A new life is born. A new life is flowered.

A new life has emerged. New life… Bravo!

Sight of the king Sight of the beloved and the king Sight of the king and the two Sight of the king and the two! Bravo!

This is a Nepali rhythm played by Newars. This beat is called Chor. It is divided into four parts.

I am a girl, a daughter of Mother Nepal! I am a girl, a daughter of Mother Nepal! By birth I am yours, by fate I am of others, I am everyone's tool. I don’t want to end my life just like that of a toy! I don’t want to end my life just like that of a toy! I am a girl, a daughter of Mother Nepal!

This is a song in Newari language and they play the Madal this way. This type of rhythm is played in all types of festivals, like in festivals of gods, goddesses, in girls’ festivals, when they assemble in groups.

Due to its ability to express a wide spectrum of emotions, the Madal has become popular in other countries such as India and Japan, and has been used in musical compositions and motion picture scores. Distinguished Professor Dangol will now introduce another drum from Nepal.

Now I am going to introduce the Khee to you.

The Newar people of Nepal from Bhaktapur, Kirtipur, and Lalitpur play this. Newar people play it while worshipping. They play many instruments with this. Nowadays, this khee is also being played in Bajracharya's Charya. I am now going to play a little bit of Da Da Charya's tune. This is played by Newars in Newari songs and seasonal songs.

Damfoo is another Nepalese percussion instrument having a single circular-shaped surface. It is mostly played by the Tamang communities in the northern central hills.

Damfoo is played by Tamang in their different festivals. It is empty on one side. It is played with one hand. It is played by Tamangs in Tamang Selo and in different fairs and festivals, with people dancing to the rhythm. Generally it sounds like:

If you don’t want to speak, then don’t. Give my love back. Give my love back.

In this way Tamangs play the Damfoo in the hilly regions at different festivals, and they dance and sing songs. Generally to this tune we say “dum takadum dum takadum dum” tune for Tamang Selo.

For example: Boy, oh boy! Listen oh boy what the drum says today.

Girl, oh girl! Listen oh girl. Girl, oh girl! Listen oh girl, what the drum says today. Where should we go, where? Where should we go, where? Where should we go, where, where?

By using the sounds of the drum, it is played as “dum takadum dum takadum dum” in this way, “dum takadum dum takadum dum.”

Dholak from the Terai region has a special design, similar to Madal, that allows its pitches to be adjusted according to the position of its rings.

And I am going to present another instrument to you. This is played in the whole Terai region and known as Dholak. The sounds of this and this are different

The left one is called manka. This is nasa; this is manka. Rings are kept here. Rings are also kept in the Madal. It’s because it helps to tune its scale up and down. To play in the higher scale, this is pulled up, and to play in the low scale, the wires are pulled down. This is played in the Terai during Holi festival.

Terai residents sing this song during this occasion and Maithili dances and Dehati dances are also used. I will present to you a small section of it.

Oh, Horiya, Horiya, colors of Holi Horiya, Horiya, like colors of Holi

With colors of Holi... Holi, Holi Oh, Holiya, Horiya, like colors of Holi Horiya, Horiya, like colors...

And this one is called Nakhta. Now in the Kaharuwa tune:

Oh, this tika is lost, which was just here. Oh, this tika is lost, which was just here. Oh, this tika is lost, which was just here. Oh, this tika is lost, which was just here. Oh, this tika is lost, which was just here.

This was in Maithili language. This instrument is played in Terai during all kinds of festivals. This musical instrument produces a very vibrant kind of energy which makes one feel like dancing.

Through Professor Dangol’s illuminating discussion and demonstration of the various drums of Nepal, we are increasingly appreciative of their uniqueness and richness in expression. Our sincere thankfulness, Professor Nhuche Bahadur Dangol, for your vast knowledge and love of Nepali drums and traditional music. May this beautiful Himalayan nation thrive evermore, joyously developing Nepal’s wonderful culture and musical heritage on a gentle and long-lasting Earth.

Spirited viewers, thank you for your cheerful presence on today’s edition of A Journey through Aesthetic Realms on Supreme Master Television. Coming up next is Vegetarianism: The Noble Way of Living, after Noteworthy News. May heavenly music bring inner peace to your life.