सम्झनामा चीन भ्रमण

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Jivendra Deo Giri              

Wit and  the Wisdom: Ghāuta Folk Songs of Nepal

GHĀUTĀ IS ONE OF THE types of the folk song sung in Karnali region situated in one of the five development regions of Nepal known as the Mid-Western Development Region. Though Ghāutā is generally sung in hilly areas, it has spread in Tarāi and Madhes areas as well due to the migrating people of the hill region. The Sinjā valley which is claimed to have been the origin place of birth of Nepali language lies in the same region. Vāmukhandkāko stambha abhilekh (1094 A.D.) was published as the first inscription of Nepali language (Khanal, 2012: 17) and many other inscriptions of ancient Nepali language are found in this region. Besides, this region is rich in its cultural heritage. People of different races and castes live here in harmony with each other and follow their own customs and traditions. One of the unique features of this region is the nomadic Rautes living in the forest and depending on barter system even now for their livelihood.

              Deudā, Fāg, Sairelo, Bhuo, Bhajan, Tijgeet etc. are some of the popular folk song forms of this region. Dances like Laharyā (Painsari), Singāru, Garrā, Jhyāure, Sakhiyā, Hurdangawā, Rāute nāch etc. and folk dances such as Bhārat, Ghātu, Māruni etc. are some of the other performing art forms that can be highly appreciated in this culturally rich zone of Nepal. This region is also rich in variety of folktales, ballads, proverbs, idioms and riddles. Ghāutā is one of the popular songs which is sung in Doh-

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Journal of Indian Folkloristics. Vol. XIV. Nos. 1/2.  2013. (NS).

        Copyright © 2013. Zooni Publications. Mysore. India    

ari or Juhāri like Deudā and Fāg. Dohari or Juhāri is a way of performing songs in Nepal which are sung in groups of the same or opposite sexes. So, these songs employ the technique of questions and answers. Bandhu (2001:313) treats the Ghāutā songs as riddles and states that these songs are sung to puzzle the competitors or at their best to put the opponent into difficulty. These songs are also identified with their alternative names as Adko, Jhyanga and Jhinga Thapani (Acharya, 2005:57).

Performing the songs

On the basis of the style of performance, Ghāuta is similar to the type of Deudā and Fāg songs.  It is sung by two groups of singers mostly on the festive occasions. Usually, two groups of same or opposite sexes are formed and each contests through the method of question and answer in musical tune. Deudā song is famous not only in Karnali region but also in Doti region. Fāg mentioned here is quite different from the Fāg which is related to Māgal and is sung during the ceremonies like marriage and birth ceremonies as a part of these rituals. It is the Fāg which is sung on the occasion of Tihār festival as a Dohari song in some areas of Karnali region by Saireli and others. Sairelis are the performing young ladies who are invited to sing this type of song during the festival of lights – the Deepawali Tihar by the nearby villagers (Giri, 2000:66). Sairelo system is vanishing these days due to its feudal outlook and character. Fāg also can be heard rarely.

                 While singing Deudā and Fāg, men stand on one side and the women on the other side forming a circle. Sometimes only women form two groups and similarly men also do the same thing. Ghāuta songs are sung as the parts of Deudā or Fāg. Questions are put by one group to be answered by the other group in the course of singing. In doing so a person of a group starts singing first and others follow him/her. The song is repeated for a few minutes by both the groups giving each other an opportunity to guess the possible question and its possible answer. The questions contained in such songs are puzzling and mysterious. They are very interesting to listen to and deserve a lot of brainstorming.

               The singers dance slowly with the tune of the song.  In such a dance, the singers emulate different jesters like raising the fingers up, moving the legs, making the eyes big or small and by movement of the eyebrows so that they dominate the competitor and impress the audience too. Both groups try their best to be victorious over their opponents. Hence, the participants have to answer any question forwarded to them within a few minutes. The process is a test of the participants' wisdom and wit. Thus the participants get a chance to express and evaluate their abilities and they are also evaluated by audience gathered on the spot. The singers winning the competition earn name and fame with the exercise of their intelligence and wit. People also benefit as they are fully entertained and derive mental satisfaction from Ghāutas as these songs are quite charming and full of wit and wisdom.

Forms of the songs                   

              Each Ghāutā folk song is composed of two lines. Generally the first line comes for tukbandi or creating rhythm and the second line gives the main message. There are fourteen syllables in each line. The last line is known as the top and the first as the bottom. The message is contained in the top entwined with the emotional expressions. There may or may not be coherence of meaning between these two, but assonance is definitely found to have been deployed in these expressions to enhance the melody and rhyme. In fact, these songs are melodious question-answers produced in musical tunes. The questions are the problems used to challenge the opponents whereas the answers are the solutions used by the opponents to tackle the problem.

Content of songs: testing the wit

                 Question-answers in Ghāuta are related to knowledge, experience, feeling and perception of the singers. They deal with wide range of subjects such as mathematics, geography, education, natural science, history, legends, biology etc. Not all Ghāuta questions are difficult. Some of them can sufficiently be tackled with simple knowledge. However, some are seriously complicated and demand brainstorming and high level of talent for the answers.

               An attempt has been made here to provide some examples of different kinds of Ghāuta songs and initiate a discussion thereafter. These songs were collected both from the field and from small archives kept in the libraries. Some Ghāutas presented here are from Simta area of Surkhet district and 'H' village of Banke district which were collected by author of this paper during a field visit and published in Giri (2000) and Giri (2010); and some are borrowed from the works of Pande (2003), Acharya (2005) and Lamichhane (2008). As there are abundance of these songs, only a few of them are discussed here as examples. A Ghāuta related with mathematical knowledge reads as following:

               “Nawai muri dhāna kuti kati chāmal bhayā?

               Barsa din eutāle khāina kati bānki rayā?”

[How much rice can we get out of nine muri ² of paddy? How much is the remainder after a person eats it for a year?].

                                                                                               [Giri, 2000:75].

“Sāt sau bis mānā chāmal kutyun ra dhān bhayo

 Barsa din eutāle khain bhusai bānki rayo.”

[Seven hundred and twenty mānā of rice is received out of the paddy.

Only the husk is the remainder after a person eats it for a year].

                                                                                 [Giri, 2000:76].

               Here, the question mentioned muri and mānā, which are the traditional measurement system of grains in Nepal. In this system one muri equals to twenty pāthi and one pāthi equals eight mānā. So one muri has 20 ×8=160 mānā. According to this measurement 9 muri equals 160×9=1440 mānā. It is assumed that out of 1440 mānā of paddy, half of it or 720 mānā will be separated as husk and 720 mānā will remain as rice. Since a hard working person can take one mānā in the morning and one mānā in the evening he/she will eat 30×2 = 60 mānās in a month. So he/she will finish 60×12=720 mānās in a year and only husk will be left. The question of Ghāuta is solved using this arithmetic.

                      Another Ghauta is presented here which is related to knowledge about geography. It says: 

                     “Bharkharaiko gaunde bhetu tirsanā gardā chhan

                     Asia mahādeshbhitra kati desh pardā chhan?”

                     [Since one has no time to talk to the other, they are willing to meet again.

                   How many countries are there in the Asian continent?]

                     “Asia mahādeshbhitra painchālis chhan desha

                    Ki māyān nalāunu thiyo lāunlā jālyā mesa.”

                                                                                                                                                                      

[There are forty five countries in Asia. It does not matter if there was no love. Since I have already fallen in love, I will play a trick to make love].

                                                                         [Pande, 2003:58].

                       This Ghāutā mainly intends to test the geographical knowledge of the competitor. The answer is according to the knowledge gained by the Ghāuta singer. The reference of meeting and starting of love also is touched upon in the question. So the answer also has assured to get one in the “net of love.”

                       Sometimes geographical, natural, spiritual and social matters come together in the Ghāuta. They raise more curios questions among the audience. Here is an example:

                   “Pirthimimā rājā kati sagara rat kati?

                  Samundramā pāni kati mānchhakā jāt kati?”

[How many kings are there on the earth and how many nights in the sky? What is the volume of water in the sea and how many castes of the men?]

                       “Pirthimimā rājā ekai sagara ek rāta

                        Samundramā pāni ekai mānchhakā dui jāta.”

[There is only one king on the earth and a single night in the sky. Unknown volume of water in the ocean, however, man has two castes].

       [Giri, 2000:76].

                       Interestingly, almost all Ghāutā singers are illiterate. So they do not know much about the world. However, they are good at general knowledge. So, they assume that the earth is run by only one king although it is not described who he is in the Ghāuta. Since it is impossible to count the nights in numbers, the answer says that the night is single one. They may say so because the world is undividable. They also consider the volume of water in the sea as a single unit and not weighable. For man's caste this Ghāuta brings up a new idea. It says there are only two castes of mankind-- men and women. It seems that all the above answers are unquestionable; however man's caste poses a new question which is as follows:

                        “Jo hunchha Hariko bhakta uika kura sānchā

                       Mānchhakā dui jāt bhayā kyā kyā lāgchha nata?”

                                                                                                           [Giri, 2000:76].

[One, who is the devotee of Hari, the Hindu God, their talks are true. If man has two castes, what is the relation between them?].

                       “Ghar chhaina pirauti lāina ma hajurkā bhara

                       Bhagavanle banai diyo ek nari ek nara.”

[Neither have I fallen in love with anyone except you nor have I been a married person. Man and woman are the only two castes created by the God].                         

                                                                                    [Giri, 2000:75].

                This song has tried to break down the traditional thinking pattern about many castes. It says if mankind has to be divided into castes then there will be only one division which is man and woman. According to the song only man and woman are created in different ways by the God, all other differences of castes and races have no relation with his creation.

               In Nepalese society there are many castes and traditional customs. Some think themselves to be superior to others just on the basis of the caste which they are endowed with birth and try to dominate other people who are treated as “lower castes.” Surprisingly, question regarding this issue also arises in Ghāuta which can be seen as following:

                  “Ek Meltoli dui Meltoli Meltoli Meltoli

                 Hāmisita jodi khojnyā kami hau ki dholi?”

 [One Meltoli, two Meltoli, Meltoli and Meltoli.

 Are you a blacksmith or a drum beater who is competing us?].

               “Kasmirā kālai ta hunchha rājāle lāi hālchha

                Hiunchuli setai ta hunchha khuttā ta khāi hālchha.”

[Kasmirā is black but is worn by the king. The snow capped mountain is white but can destroy the legs].

                                                                                                           [Giri, 2012:59].  

                In the above question, we can see the pride of the persons belonging to higher caste. The question aims to dominate the singer who belongs to the so called lower caste as that of blacksmith or drum beater.  This statement also touches upon the skin colour of human being as an indicator in cast discrimination. So the answer has suggested not to boast on colour or caste in symbolic voice. It says, as the black colored cloth named Kasmira is worn by the higher class person like the king, how can it be blamed of its colour? It further adds the colour of the snow covered mountain is white but if we walk on it bare-footed, our legs will be badly hurt. We can imagine how beautiful examples are given here to guide anyone towards humanitarian thinking at the hour of identity crisis caused due to the caste and colour dominance!

               Ghāuta songs do have a psychological aspect as well in their  feminist point of view which needs academic attention. Sometimes a female participant in the singing tries to challenge the masculinity of man. The following Ghāuta is an example:

                 “Asmāni patukā hoi ki janānā dhoti hoi?

               Bāsanyā pahari hoi ki phul parnyā pothi hoi?”

[Are you woman's dhoti, the cloth that a Nepalese woman wrap round the lower body known as patuka, the cloth which is blue and tied round the waist/hips or are you the cock that crows or the hen that lays eggs?].      

               “Gitā hoina Rāmāin hoina piram lahari hun

                Phul pārnyā pothiko poi hun bāsnyā pahari hun”].

[Neither am I the Geeta  nor the Ramayana but I am a Prem Lahari--a lover of love songs. I am the cock which crows and the husband of the hen which lays eggs].

                                                                                                                        [Giri, 2000:76].

               This is the challenge of female singer during the Ghāutā performance. She puts a question to him whether he is a male character or not. She also requests him to clarify his position as a man. She compares him not only to the hen but also to the clothes worn by woman to cover the lower parts of the body. In the reply, the male singer introduces himself as a follower of Prem lahari, a book of love songs instead of the Geeta or the Ramayana. He also introduces himself as the husband of egg laying hen. In other words, he says that he belongs to that male group who has the capacity of being husband of any female.

               Again the female singer raises another question about his personality and asks:

                 “ Rātiko  pahari hoi ki diunsoko bhālyā hoi ?

                Purāno kampani hoi ki naulo chha sālyā hoi?”

                  [What type of cocks are you?

Are you  a bhale that crows only during

The day or the pahari which wakes up people ?

Are you the old kampani, the valuable silver coin,

Or the less valuable copper coin which was

Introduced in 2006 B.S. (1949 A.D.)]?”

              “Lāljhāriko damārmāthi bāgmāri phālyāko

               Kampaniko chalan chhaina chalan chha sālyāko.”

                [The killed tiger is thrown in the dense forest of Laljhadi.

Since the kampani is no longer in use, the newly introduced

Coin in 2006 is everywhere].

                                                         [Lāmichhāne, 2008:149].

In the question two types of cocks represent two types of male characters: a male who focuses only on sexual behaviour and a male who is responsible for other activities as well. The old coin and the new coin are also mentioned to compare a genuine and ordinary person.

In the answer, the male singer says that as the dead tiger is not feared and the old coin is not in practice, both are equally meaningless. So he says he is more valuable than those old ones.

Education, Botany, Biology and legends can also be the subject matter of Ghāuta. Some Ghāutā regarding these subjects are presented here:

             “Nyāo chari Nyāo

            Hātle chharne mukhle tipne kyā ho nyāule bhāna?”

           [The bird chants Nyāo and Nyāo.

           What do you know about that thing which

           Is “scattered” by hands and “picked up” by the mouth?].

           “Kātyo simal gāibhainsilai pālyo simal ghoki

         Hātle chharne mukhle tipne achher lekhyā hoki?”                                                          

 [Silk cotton tree is cut for cows and buffaloes and

If not cut, it gives fruit. The answer is the “letter”

Which is written with hands and pronounced with the mouth].

                                                                                            [Aācharya, 2005:294].

This Ghāuta gives knowledge about writing and speaking of the language. In the question the meaning is kept secret and is expressed in symbolic manner.

“Pāni jamyo bādalbāta ghiu jamyo daibāta

     Rāma janmyā Dasharath bāta Dashratha  kaibāta?”

               [Water is  formed from the cloud and the ghee from the curd.

Accordingly Dasharath is the father of  Ram . Who is the father of  Dasharath?].

  “ Musālāi 'mushika' bhandā hātti pana 'gaja'

               Rāmakā Dasharath bhayā Dasharathkā Aja.”

               [As the mouse is called mushika,

So the elephant is called gaja. As Rama's father is Dasharath,

So is Aja -- the  father of Dasharath].

[Pānde, 2003:108].

 The Ghāuta singer tests the knowledge of the opponent about  Ramayana. In the question the formation of water from the cloud or ghee from the curd is related to scientific and practical knowledge while the relation of Rama and Dasharatha is of the Ramayana, the famous Hindu epic. It shows that the Ghāuta singers have the knowledge of science as well as  of the scripture--the Ramayana.

            The  Sanskrit words mushika and gaja allows the singer partner to know his knowledge of Sanskrit first and then gives the name Aja, Dasharath's father, as the question demands.

            This Ghāuta shows that the Ramayana is well known  in Nepalese society and has become the source of knowledge. It also shows the affection towards the Sanskrit language.

 “Jetha na Baishākhabhitra Nyāo chari nyāo

            Sāl agi chha gāb pachhi chha kyā ho nyāule jāna?”

            [Neither it is the month of Jetha  nor  is Baishakh

 (months of Nepalese calendar) but the Nyāuli bird

chants nyāo nyāo. What is that which makes out the

placenta firstly and then the embryo later ? Tell me  my dear].

                                                                                    [Lāmichhāne, 2008:149].

“Bātaiti pindālu lāyān mahalyāilo gānu

           Sāl agādi gab pachhādi bāri kerāu thānu.”

          [I planted arum near the road which has sweet root.

The banana tree in the field makes out placenta firstly

and then the embryo later].

                                                                                   [Lāmichhāne, 2008:150].

             This Ghāuta has given the reference of the Nyāuli bird which is famous in this region. Its voice is very sweet and melodious. The word Nyāule also is used for anyone's beloved as in the Ghāuta. Here, the process of producing banana which is quite different from the process of  the birth of human being is noticed which has a very symbolic meaning and very nicely tests the knowledge about the birth of a human being.  

               There are some other questions and problems in Ghāuta which need knowledge as well as the wit for the right answers. They are related to complicated issues. So answers of those issues have conditions, puzzles and counter questions which are presented here:

“Pāriuna bājitra bājyā janti ollyā rola

                Tinai muri kasturiko kati holā mola?”

                [The marriage procession of groom to bride’s place

 came down to Rola as musical instruments are played in that side.

 What will be the  price of musk amounting in three muri?].

                           “Madhesa toriko tela baldaina barati

               Bās marigo Kasturiko bigāundaina katti.”

                [In the Madhes or Tarai, mustard oil is not used

as fuel to light the lamp. Since  the musk has lost its 

perfume  it  cannot  be purchased by anyone].

[Giri,2012:30].

              The musk is very expensive. In the Ghāuta, the price of a deer musk weighing as much as three muri (about 500 kg.) is inquired about.  But it is impossible to get such a large amount of kasturi in one place if it has not lost its quality. So, the answer  is  that the pile of musk shows it has no  smell or the desired quality, it is valueless. Kasturi or musk is used in a symbolic manner  by the lovers. So, it also tends to show that the participants who are three in number and are asking this question  have lost their  value.

             “Kumākhaka tallā chaurmā kuiyā pāni kuiyā

            Bara dharni  phalāmakā kati hunan suiyā ?”

[In the lower meadow of Kumākha, there is dirty water  called kuiyā pāni.

How many needles can be built from twelve dharni (nearly 30 kg) iron?].

(Lāmichhāne,2008:86)

“Nepālganj bazāramā ruppyān dhārni ghuiyā

           Gannel sāi! sagraikā tārā tyati hunan suiyā.’

[In Nepalganja city the root of arum costs one rupee per dharni (almost two and half kgs). Count down dear, the number of the needles will be the same as the number of the stars in the sky].

                                                                                                [Lāmichhāne,2008:48].

            The first line of  the question  and  the answer give some information of the high mountain named Kumakh which lies in Salyan district of Nepal and the city named Nepalganja which is the main market of the Karnali region. The second lines of both question and answer contain the main thrust of Ghāuta. The question gives a task to the counterpart to find out the number of needles made from twelve dharni iron which is not an easy job. The answer points out to the stars in the sky and tells the opponent that  the number of needles  is equal to them. High level of wit is required on the part of  the competitors to answer such questions:

“Ser bisauli tāmā tāuli bisaulyā ra dhana

           Tettiki paigyālu sāile sagratārā gana.”

[A cooking copper pot weighs one bisauli i.e.

One kilo and quarter,  so it is called bisauliko dhan

Or wealth of  bisauli. Since you are so intelligent,

Please count down the number of stars, dear!].

           “Obidhungo  khopinaina sildhungi khopana

            Sagratārā ma ganulā bijuli ghopana.”

           [Obidhunga, a hard stone, is not carved,

So carve  sildhuŋŋi, the soft one. I will count down the stars,

Please thrust the thunderbolt].

           It is impossible to count or find out the number of stars. So, the Ghāuta singer seeks another way to solve the problem. He gives the job to thrust the thunderbolt to the opponent before he starts counting  the stars. So impossible condition is kept for the answer:

“ Alika ganāri kheta dhānaiko biu ropchhu

           Sunau lisno lāunyā bhayā bijuli ma gopchhu.”

[I plant the sprout of paddy in the muddy land of āli.

If you erect the ladder of gold I will thrust the thunderbolt].

                                                                                                           [Giri, 2000:77].

 Neither can the thunderbolt be thrust nor can a golden ladder withstand the thunderbolt. Both are impossible tasks. The Ghāuta itself makes it clear that how mind is used to solve the problems in such conditions.

Conclusion

          As mentioned above we can see that Ghāuta is a unique type of  folk song of Karnāli region in Nepal. It grows peoples' knowledge and widens their thinking horizons. Questions are answered in logical and decent manner in these folk song sessions. Singers or  competitors  face the  intelligence test in many ways thereby entertaining the audience and helping them to learn important knowledge by this design of wit and wisdom that these important Nepali folk songs present. This genre of folk song seems to highlight the following points:

a)    Participants' arithmetic knowledge is tested through Ghāuta.

b)    The geographical folk knowledge available in the society is tested in these songs.

c)    Ghāuta  avail an opportunity  to brainstorm on race and caste.

d)     Knowledge related to serious scientific truths  are questioned and answered satisfactorily in these songs.

e)    Questions related to psychology, man's virility and personality are raised in Ghāuta and answered.

f)     Dominance of patriarchal society also is reflected in these songs.

g)    These songs also test people's knowledge of Sanskrit and the famous books such as the Ramayana, the Bhagavat Geeta and Prem lahari.                                      

h)    When the participant is unable to answer the question posed in the song, he / she  puts up a counter question if there is no exact answer or solution. They are more puzzling and these develop then a series of songs and enrich the genre.

 References

Acharya, Govinda 2005: Rapti Lok Sahitya. Kathmandu: Pairavi Books.

Bandhu, C. M. 2001: Nepali Lok Sahitya. Kathmandu: Ekata Books.

Giri, Jivendra Deo 2000: Lok Sahityako Avalokan. Kathmandu: Ekata Publication.

: 2010: Nepali Lok Sahityama Jana Jeevan. Kathmandu: Ekata Publication.

: 2012: Simtali Lok Geetko Adhyan. [Unpublished research report presented to                    Nepal Sangeet and Natya Academy. Kathmandu].

Khanal, Mohan Prasad 2012: Nepali Bhasha ka Hajar Varsha. Kathmandu: Raino Publication.

Lamichhane, Manohar: 2008. Lok Sahitya Ra Sanskritika Kehi Pataharu. Kathmandu: Sajha Prakashan.

Pande, Govinda Prasad 2003: Deuda: Vigat Dekhi Vartaman Samma. Jumla: The Author.

Parajuli, Motilal and Jivendra Deo Giri 2010: Nepali Lok Sahityako Rooprekha.

Lalitpur: Sajha Prakashan.

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*Central Department of Nepali 

  Tribhuvan University

  Kathmandu, Nepal 

 <jivendra22@yahoo.com>

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