The ‘Untouchable’ Heritage

Mim Bahadur Pariyar

Nepal is famous not only for Himalayan Sangri-la but also for its diverse social heritage.  Within is tiny geographical terrain, there are numbers of cultural and natural heritages, which are preserved by the Nepali communities. Among them, the Damai community of Nepal is blessed with a musical heritage, though alongside, it is constrained by a ban imposed by Nepal’s casteist mentality. Though the word ‘Damai’ represents a particular caste and is indeed a caste, but Damai is not limited to caste alone. It inherits a glorious cultural and musical heritage of Nepal as well.

There are some myths and beliefs about the Damais. Historians believe that the word ‘Damai’ is associated with the musical instrument called ‘damaha’. Basically, a damaha is made from refined leather and molded by a copper or brass strip into an in oval shape. It is played with a pair of wooden stick known as gaja, used to beat on its two faces. It is believed that the one who plays the damaha is called a ‘Damai’. And his job is to play Damai music for society. 

Till this date, in many remote villages of Nepal, people from the Damai community perform for society at homes and temples for an extremely low return. In fact, there is no option for them besides playing the Damai music. Thus, ‘Damai’ also stands a social brand given by so-called high caste people to Damai music.

The Damai community of Nepal has a very long history, especially in creating music and musical instruments. Anthropologist Carol Tingey says, “The Damais occupy a unique place within this immense cultural diversity. They are thought to be an auspicious caste in Nepal who, are professional musicians while their supplementary caste occupation is tailoring.”  But the cateist mentality has sidelined this overwhelming culture aspect of the community, and has installed a contradictory wall of so-called caste system between the Dalits and non-Dalits in the name of caste and profession. This anti-humanity system has undermined the entire devotion, emotion and contribution of the Damais and the Damai musical heritage in the Nepali society.

On another side, the Damai musical heritage is the soul of the Khas culture. Damai Bajas (instruments) are compulsory in every cultural and religious rite or ritual of the Khas community. Without hearing the sound of the Damai music at temples, the worship is considered valueless and incomplete. Especially, three types of melodies—Mangal dhun, Ramkali dhun and Malashree dhun—are played on religious and other auspicious occasions. Similarly, a marriage ceremony, bartabandha or a puja needs Damai music. In Karnali region and Far West, Damai music is compulsory to invoke Devata (deities) in paitha (fairs). From this also, we can assume the richness, beauty and importance of Damai music in the Nepali society.

Mainly, Damai musical heritage is known for Panche Baja and Naumati Baja—two sets of musical instruments, comprising of five and nine instruments respectively. In Panche Baja, there are musical instruments like damaha, tamko, ihyali, sanai and dolaki. Similarly, Naumati Baja is the comprehensive form of Panche Baja, which includes karnaal /narsinga and pair of damaha and sanai to make a total of nine instruments. According to scholar Ramsaran Darnal, “Panche Baja was taken as a symbol of luck and fortune before the Vedic era. In Nepal’s temples, Nagara bell and other musical components of Panche Baja are played during worship sessions. Due to this religious values, the Panche Baja is known as Dev Baja (God’s Band)”. 

The use of Panche Baja is diverse. It is the fundamental requirement for all Hindu rites of passage such as wedding and other sacred rituals. The tune, beauty and magnanimity of Panche Baja and Naumati Baja are unique. This music is very authentic and playful as compared to the Western music. The aura of Damai music is directly connected with the soul of the Nepali culture.

Beside musical prosperity and cultural richness, the evil practice of the so-called caste system has ruined the divinity of Damai music and its importance in society. Today, foreign scholars have done their PhD in Damaha, Panche Baja, Naumati Baja. There have been theses written on Panche Baja by strangers, whereas, we ourselves have failed to study our own Damai musical heritage. We have failed to respect our own heritage. The irony lies within us. Someone who is almost unknown about the Damai music has done doctorate degrees. Contrary to it, we the natives, who possess the identity of music, are busy creating demarcation among ourselves. We create a line of ‘do’s and don’ts’ among us.

Music is known as the universal boon for entire human fraternity. It is said that music is beyond religions, languages and territory. It is unfixed. That is why people regard music as a pious and soulful element of life. But for us, music also testifies a caste; it has become the creed of a particular community. We take it as others’ cultural heritage. For instance we take Dhime Baja as the Newars’, Dhamphu-Tunguna as Tamangs’m, Damaha-Sanai as Damais’ band, etc. Unfortunately, our ethnocentric thoughts have ruined the universal values of music. Due to this, we have failed to adopt our own Nepali music. We are enforcing our upcoming generation to disrespect our native musical cultural. For instance, we have not seen parents buying a Damaha for their children. We have not seen a child playing the Sanai. Instead of Damaha and Sanai, youngsters are playing Western musical instruments like guitar, drum set, piano etc.

Music gives solace to human feelings. It gives immense pleasure to erase all pain, agony and sufferings of life. Moreover, the soothing sound of music heals human suffering. That is why the entire human race regards music as a boon to relive and rejoice. But in our context, music gives torture; it carries a tag, relegation to a place and a stereotyped identity to people. In many villages, the Damai musicians have to sit at the corner of the hosts’ house. They cannot enter; they cannot eat with others. Though the people dance to the Damai music and enjoy, they forget to respect the Damais. This gives life-long wounds, disrespect, discrimination and disgust as reward to the Damais.

Our musical heritage particularly carries castiest flavor and vibes. The so-called non-Dalits give the tags of ‘touchable’ and ‘untouchable’ on the basis of music people play. The Damai and the Gandarva communities of our country are classed among the ‘untouchables’. The sole reason is the profession they hold—the musical instruments they play. Though the scenario has slightly changed, the casteist mentality of the people has not changed. The thought and body gestures show how they take Damai music.

Outside, people say, “We all are equal; there is no discrimination at all.” But the truth is different. The national media publish at least four to six news stories of caste-based discrimination in a month. Day by day, news related to caste discrimination and its consequences is seen in the media. Murder, physical torture, social boycott, segregation, extortion etc. are the punishments given to the Dalits by so-called non-Dalit in the name of caste. Caste-based harassment has become like a tradition in the Nepali society. It does not matter whether people graduate from Oxford or TU the stereotyped mindset on caste has not changed. People still love to practice such a sick system.

Though the Constitution of Nepal provides legal safety to the Dalits, the old stereotyped castiest mentality overlaps the law. This so-called caste system ruins the cultural and musical heritage of Nepal. It destroys the beauty of our ethnic diversity. Our uniqueness in cultural prosperity is overshadowed by this discrimination. If we did not take this caste-based discrimination seriously, one day this evil will fragment our society into various pieces like in Rwanda. Our unity and goodwill will breakdown under the pressure of caste and religious. It does not matter whether a nation is rich in cultural and natural resources; for its development, there should be cooperation, equality and social emancipation among people. Only then will our cultural identity get recognition. Otherwise, our heritage will have to face the bias as faced by Damai musical heritage.