KATHMANDU, JUL 04 -
As an open theatre that showcases traditional forms of theatre and dance, the dabali has played a pivotal role in the dissemination of social, cultural and political information to the masses at large. Such dabalis, situated inside various toles within traditional Newar communities, are being underutilised, and in some cases, have begun to disappear altogether. The Nepal Academy of Music and Drama (NAMUDA) conducted an interaction programme at Sarvanam Theatre on July 1 to shed light on this topic with the primary agenda of sharing a working-paper prepared by theatre artist Som Nath Khanal titled ‘The importance of dabalis in Kathmandu Valley’s historic folk drama—a study’.
Invited as chief guests were veteran musician Ambar Gurung and senior dramatist Prachanda Malla. Gurung is currently the chancellor of NAMUDA while Malla is vice-chancellor.
Addressing a crowded hall of over 175 audience members, playwright Ashesh Malla, in his welcome speech, said, “We must not depend on the government or anyone else for the preservation of such heritage; it is our responsibility.”
Khanal then proceeded to share with the audience his working-plan that elaborates on the historical context of dabalis, pointing out their importance in preserving cultural activities within Kathmandu. Derived from the Newari word ‘daboo’, dabalis have served many a role during historic occasions. The dabali situated at Nasal Chowk in Basantapur Durbar Square, for example, was used for the coronation of kings of the Shah dynasty for decades.
“In contemporary society, where we are facing steady commercialisation of culture, drama has been squeezed into closed walls,” Khanal claimed in his conclusion, urging a revival of the dabali as a hotspot for cultural exchange, specifically through folk drama.
Tejeshwor Bahadur Ganga, senior Nepali writer, congratulated Khanal on his study, saying that he had done a commendable task considering the limited amount of time given to him. “He was only given 10 days to prepare this report and top prepare such a comprehensive document in such little time is no less than a feat.”
Ganga added that Khanal had worked as per the instructions given to him by NAMUDA. A resident of Bhaktapur, Ganga said that a lot of traditional plays are still being performed in the Valley. He did, however, inform the audience about the folk Newari dance ‘Kha Pyakha’ that has become extinct.
The audience, comprised of dramatists, writers and literary enthusiasts, was far more reluctant to accept Khanal’s work without criticism. While some said his study depended primarily on books rather than field research, others mentioned how he has focused on dabalis that have existed only in the Kathmandu Valley, thus undermining their cultural importance in areas such as Tokha that lie outside the Valley. Additionally, audience members pointed out that Khanal had not given detailed information about the type of plays shown in such platforms in historic times.
Lastly, the audience was clever enough to raise the question of why the interaction programme itself was held in a closed theatre instead of being held at a dabali.
Source: http://www.ekantipur.com/2012/07/04/entertainment/resuscitating-the-dabali/356576/
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