They are not conducting this andolan through the might of their lathis (even though many carry a lot) but the strength of their lyrical compositions.[break]
By now, it has become apparent that the song and dance spectacles that have emerged on the streets all over the capital are at the very heart of the indefinite strike called by the Maoist party. Amidst the deserted streets, these organized, well-versed and lively shows are beaming with voices of revolutionary rhetoric.
At the junction of Bhotahiti and Ratna Park, a substantial crowd gathered in a circular form, the center of attention being the assembly of artists, dressed up, who have come from different parts of the country. They sang, danced and mocked the abilities of the current government, all in a celebratory atmosphere.
“Suna suna gaun suna sahar/Nepal ma cha kranti ko lahar,” sang Laxman Shesh and Chetan Sapkota, evoking a revolutionary sentiment among people.
“Music is one of the strongest and the most effective mediums to get the message across,” said Shesh, a musician who has been composing revolutionary songs since the 2006 April Revolution that toppled the monarchy.
Being a mainstream musician, Shesh, 37, said he was trying to do his part to make the ongoing movement a success. And on the same league were other artists like Sagar Chital and Sabitri Magar.
Hailing from Gorkha and now residing in New Baneshwor, Chital and Magar represent the Majdoor Shahid Smriti Sanskritik Parivar, one of the many cultural wings of the Maoist party.
The cultural wing was one of the most powerful instrument that was used during the decade-long “People’s War.” These cultural groups, mostly in the formation of a platoon, would visit far-flung villages where there was no state presence of any kind and perform revolutionary songs and dances to tell the tales of oppression and inequality to the villagers.
One was Magar, now 17, who joined the party at the tender age of 10.
“I joined the party out of my own will,” said Magar whose entire family has been active with the party for many years. “I joined so that there would be an end to exploitation suppression and inequality.”
Having only completed sixth grade in school, Magar does not regret her lack of education.
“Even people who have completed SLC are now doing dishes,” she said referring to the lack of youth employment in the country.
For people like Chital and Magar, their involvement with the party assures them their daily needs and while their cultural performances is an important aspect of their contribution to the party, they said they realize at the deciding junction, they must move beyond their artistry.
“For now, the message is equality and through our music, we’re spreading the message,” 19-year old Chitran said.
The same message reverberated on the May 1 Maoist rally. While thus far, their rallies and strikes have remained significantly peaceful, there are doubts among skeptics that they are bound to turn violent. But the artists see their roles as a peacekeeping force as well.
KP Pathak, a veteran Nepali producer and director who was active at the Ratna Park, claimed that their contribution is keeping the crowd occupied.
“People are being entertained. It’s a strike and everybody likes music. According to our skills, we are trying to spread the message and make people politically aware.”
More importantly, he further said that the ongoing musical movement was diverting people’s mind from the intense heat and was acting as a barrier to possible clashes with the security forces.
However, it is clear that this music and dance spectacle can only take the party so far.
Maila Lama, general secretary of the People’s Cultural Association and a coordinator for the music mania at Ratna Park, said the situation could change.
“Consensus is no longer an option,” said Lama who has a music album entitled Naya Sankalpa, a collection of revolutionary songs. “There has to be an end until we have peace and a constitution. If peaceful demonstrations don’t prevail, then we are ready for a revolt.”
The artists’ determination is reflected in their tone of voice.
Being an entertainer, Shesh believes that it is their responsibility to get the message across to the people doing what they do best.
“As a youth, a nationalist and a believer in national integrity, it becomes my responsibility to support the People’s Party,” said the general secretary of the All Nepal Film Artists Association-Revolutionary.
And this responsibility was felt throughout the masses that gathered at various junctions in Kathmandu. The peaceful and energetic atmosphere throughout the capital came to the surprise of many. While their hopes may be for peace, they are relentless in their determination to bring a change in the country.
As one of the songs in a Jhim Jhim Sano folk tune from Chitwan voiced, “Marna pare yuddha ko maidanama bhok bhokai marne chau,” a declaration of their determination to fight till death regardless of hunger and suffering.
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