Musical Nepal

Total Page:16

File Type:pdf, Size:1020Kb

Musical Nepal Musical Nepal Nepalese musical instruments have immense substance in its culture and society. No ritual, festival or any ceremony go without these instruments being played. If historic facts are anything to believe then Nepal has more than 200 musical instruments of its own and only about 100 have been discovered till date. Nepal has so many forms of music of its own to share with the rest of the world. Moreover, the musical tradition is so diverse along with lots of unique musical instruments being played. Every {tooltip} ethnic group {end-texte} An ethnic group (or ethnicity) is a group of people whose members identify with each other, through a common heritage, consisting of a common language, a common culture (often including a shared religion) and a tradition of common ancestry (corresponding to a history of endogamy). {end-tooltip} has their unique set of instruments that they play. Amongst many, an ethnic community that has historic touch with Nepalese music is the Damai. They are the traditional musicians who play musical instruments in ceremonies, occasions, etc. to perform the rituals and tradition. The connection of Damai seems to be attached with the innovation of a flat drum called Damaha which is generally prepared by wood or metal. The name Damai denotes the functional relation between Damaha and the one playing it. It is sad that there are still hundreds of instruments, which are unheard, untouched and unexplored but it is worse when beautiful instruments like the {tooltip} Sarangi {end-texte} 1 / 4 Musical Nepal DhimeyoldestAlthough{end-texte}Kathmandu,hasNepal.societyperformsprocessions.{end-texte}NewarexcelandstillHowever,communitytraditionsong.{end-tooltip}heartKathmandu NepaleseSarangimusiciansNewarsMan havealwayspaintings.have playingtouchingin Newari {end-tooltip} where isartshavethey elaborateits it beentheversiontheof iswhichOnce remained ownlike valley,theDifferent Sarangi,Lalitpurmademake mostslowly mostmusical theTheirtunes passing woodethnic characteristic abelongsofpeopletwoare complexwoodcarvings.lake,theircommonof and arts thebeen with and the thereligionsbrassmusicalNepalinstrument.crafting, {tooltip} it theyviolinlivingtoday Kathmandu arecenter theirtoBhaktapur.bestmovingto forthcoming musicalor the musicalarethe {end-tooltip} and byinstruments Sarangi.Sarangiaremusicalother coexist.pottery,Gandharbha ofIndo-Aryan flourishingindigenoussinging away ThisTheismainlyNepalese cultureloved metals instrumentSurroundedvalley Newarsplayersdrumrepertorymusic Caste from generationGandarbha displayedalso are by itis intoday, ethnic peopleis civilizationit tillcommunity (mainlysystemtheall this inandgetplayedare date.amongst and practicethe Nepalbyunion Himalayan missingDhimaygroup.till we sinceofin hillsNepaleseGeet ritual percussionexistsdateThe intemplesKathmandudo andof almost on theinhistory.{end-tooltip}notfrom Newarsorthreedutiesdevotedin{end-texte}was joyfulwithinthey all current GainetheNewars.getnation although centralpeople.the actually allNewar darkness.create andduringto festivals NewarValley.live ceremonialsides, toGeet, hearismodern wind their Ithilly Gandarbhainthat However, sister magicismanyfestivals amuch Kathmanducommunity aThey considered and instruments),regionancientBuddhist-Hinduof Sarangitype urbanization citiesofthe of occasions.when alsoof are {tooltip} of theirand the{tooltip}it of is cultural namelyfolktoday.known inis Nepal. theyamasters and houses asthefuneralvalleyDalit dance the playeach of Thetoskills By of EvenNagaratwootherconstructedhandisBhusyah its sticks. capacitysideanames.ethnic conchis (a another soundsThis pairfromgroups. Ittoor isinstrument ofproduce {tooltip} cylindrical often muchhistoriccymbals). played than Sankhaa Newari hasmultiple hollowed the inalso pair,other{end-texte} musical reverberatingbeen tree known side mentionedtrunkinstrument which as with Joh echo. carries leather Nagara. inwhich HinduDhimay a tuningispads Nagara mythologyactually is at alwayspaste both is a also kettleinside.althoughof accompanied its popular drumends. Its inmain playedvariousItswithin left withfeature with highlyusually Sankha{end-tooltip}regarded played during by the rituals. Hindus. is a musicalPlaying instrumentof Sankha indicatesin Nepal. startingIt is an ancient of any newinstrument work. Sankha and is is 2 / 4 Musical Nepal Anywhichstruckthe {tooltip} description alsoon both happens Madal ends, of Nepalese {end-texte}tousing be the a musicalrhythmic national instruments pattern. musical Nepaliinstrument is never Folk completeofdances Nepal. are Itwithout isalways a type a mentionaccompanied of drum of which Maadal by is NepalisorrowcolorfulAnotherperforminstrument.isa NepalMadal: tablaa very without folkand solo andNepaliwithout instrumentdiverse dances oftenItexecutedhave is hearing Music believedthe instrument aelaborate are lotworthbeats {end-tooltip}, by ofitsjam-packed good-naturedthata soft mentioningof master jewelry andtabla. itand originated can mellow can The andwith also is beteasing. ittablathedazzling isaccompanysoundswhenunforgettable. virtuallytabla. is actuallyDancersa premises beingmuchThe impossible Westernclassical twoolderplayed wear of drums, love,style traditional style tosomewhere. Kathak travel life,ofconsidered music. drum, religion, dancethrough costumes Thewas is as happiness, performanceanyimpossible"cut one that villagein two".are into Itof Likewise,ForDanceAgain,eventsintermixedmusicand instance,hair and thebetweentake ornaments. during Newarsdance.with place during music themall in have{tooltip} the inand croptheirNewara richdances Chariot harvestingcommunity history societies that festivals in not traditional,season,gatheringson a varioussingle {end-texte} the festival, classicaloccasions.along farming with feast andcouples sparklingIn orfolk fact, ceremony dances.celebrate the music Newars Variouspasses andwith are songs.the withoutdance so Dhimey duly 3 / 4 Musical Nepal impulsive Chariot {tooltip} Festival: Lakhe Kathmandu dance {end-texte} Nepal{end-tooltip}, the Newars witness the natural and MusicrelationshipdispersedthisaBuddhismtogodwithSimilarly, dance.and bodhisattva the nationarespecialhand godLakheand This demonstrated the signs,likehewhodanceand drumsbetweendance Dance Newar isassociatedits is foundedalso each ethnicity.thein calledhas essenceinBuddhists takenpeoplemirror oneNepal{end-tooltip}in religious the thisDhimey.with withCulturalas thatKathmandu tohasbeautiful atranscendent love peoplea meditationalreflectsbeliefs meaningalways and to stylizedperformof attachedtraditionaltheValley. beenthisin of thewisdombeauty, deity.{end-tooltip} itscountry. playingdance, {tooltip} streetTheown. to music it. nativityinphysical which ItwhichNepaleseaMahayana Manjushree is crucialand performed & is combinesanddance the actually dancerole music spirituallifeBuddhism. isto to pattern{end-texte} during thepromoteissoftand the a characteristicsvery formbodydancemusic rituals.ofIn pride harmonious theEsoteric of movementsManjushree of isclassical people. Itcymbalshighly& is soul credited of ofthe is 4 / 4.
Recommended publications
  • Nepal Side, We Must Mention Prof
    The Journal of Newar Studies Swayambhv, Ifliihichaitya Number - 2 NS 1119 (TheJournal Of Newar Studies) NUmkL2 U19fi99&99 It has ken a great pleasure bringing out the second issue of EdltLlo the journal d Newar Studies lijiiiina'. We would like to thank Daya R Sha a Gauriehankar Marw&~r Ph.D all the members an bers for their encouraging comments and financial support. ivc csp~iilly:-l*-. urank Prof. Uma Shrestha, Western Prof.- Todd ttwria Oregon Univers~ty,who gave life to this journd while it was still in its embryonic stage. From the Nepal side, we must mention Prof. Tej Shta Sudip Sbakya Ratna Kanskar, Mr. Ram Shakya and Mr. Labha Ram Tuladhar who helped us in so many ways. Due to our wish to publish the first issue of the journal on the Sd Fl~ternatioaalNepal Rh&a levi occasion of New Nepal Samht Year day {Mhapujii), we mhed at the (INBSS) Pdand. Orcgon USA last minute and spent less time in careful editing. Our computer Nepfh %P Puch3h Amaica Orcgon Branch software caused us muble in converting the files fm various subrmttd formats into a unified format. We learn while we work. Constructive are welcome we try Daya R Shakya comments and will to incorporate - suggestions as much as we can. Atedew We have received an enormous st mount of comments, Uma Shrcdha P$.D.Gaurisbankar Manandhar PIID .-m -C-.. Lhwakar Mabajan, Jagadish B Mathema suggestions, appreciations and so forth, (pia IcleI to page 94) Puma Babndur Ranjht including some ~riousconcern abut whether or not this journal Rt&ld Rqmmtatieca should include languages other than English.
    [Show full text]
  • Rikhi Ram Music Instrument Manufacturing Company
    Rikhi Ram Music Instrument Manufacturing Company https://www.indiamart.com/rikhirammusicalinstruments/ Manufacturer of sarangi, dholak and teak wood sitar. About Us Indian instruments belong to a tradition dipped in antiquity. It dates back to the Veena of Saraswati, Bansuri of Krishna and Damru of Shiva, corresponding to modern classifications of musical instruments under string, wind & percussions respectively. The journey of 'Rikhi Ram Musical Instrument Mfg.Co' started with founder Late Pt. Rikhi Ram, who was a great musicians and one of the best known musical instrument maker. Pt. Rikhi Ram's father Pt. Gobind Ram was also a musician and had inclinations towards making musical instruments and so manufacturing of musical instruments started in the family 85 years ago. Pt. Rikhi Ram learnt sitar playing from eminent musician Abdul Harim Poonchwala. Late Pt. Bishan Dass followed in his father's footsteps and started learning sitar at a very tender age under the guidance and supervision of his father. Later, he became a disciple of world renowed sitar maestro Pt. Ravi Shankar. He also worked in the maintainance cell of A.I.R. During his tenor at A.I.R he got associated with great musicians like Ustad Allauddin Khan, Ustad Hafiz Ali Khan, Ustad Vilayat Khan, Pt.Ravi Shankar and many others. From these great Ustads Bishan learnt that the primal value of a good instrument was its tonal quality. They would often discuss these aspects of an instrument and give him useful hints. "This extra interest fired my imagination and aroused in me the urge to produce quality instruments for the maestros" says Late Pt.
    [Show full text]
  • The Sarangi Family
    THE SARANGI FAMILY 1. 1 Classification In the prestigious New Grove Dictionary of Music and Musicians. the sarangi is described as follows : "A bowed chordophone occurring in a number of forms in the Indian subcontinent. It has a waisted body, a wide neck without frets and is usually carved from a single block of wood; in addition to its three or four strings it has one or two sets of sympathetic strings. The sarangi originated as a folk instrument but has been used increasingly in classical music." 1 Whereas this entry consists of only a few lines. the violin family extends to 72 pages. lea ding one to conclude that a comprehensive study of the sarangi has been sorely lacking for a long time. A cryptic description like the one above reveals next to nothing about this major Indian bowed instrument which probably originated at the same time as the violin. It also ignores the fact that the sarangi family comprises the largest number of Indian stringed instruments. What kind of sarangi did the authors visualize when they wrote these lines? Was it the large classical sarangi or one of the many folk types? In which musical context are these instruments used. and how important is the sarangi player? How does one play the sarangi? Who were the famous masters and what did they contribute? Many such questions arise when one talks about the sarangi. A person frnm Romhav-assuminq he is familiar with the sarangi-may have a different 2 picture in mind than someone from Jodhpur or Srinagar.
    [Show full text]
  • The Guthi System of Nepal
    SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Spring 2019 The Guthi System of Nepal Tucker Scott SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Asian History Commons, Asian Studies Commons, Civic and Community Engagement Commons, East Asian Languages and Societies Commons, Land Use Law Commons, Place and Environment Commons, Politics and Social Change Commons, Social and Cultural Anthropology Commons, and the Sociology of Culture Commons Recommended Citation Scott, Tucker, "The Guthi System of Nepal" (2019). Independent Study Project (ISP) Collection. 3182. https://digitalcollections.sit.edu/isp_collection/3182 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. The Guthi System of Nepal Tucker Scott Academic Director: Suman Pant Advisors: Suman Pant, Manohari Upadhyaya Vanderbilt University Public Policy Studies South Asia, Nepal, Kathmandu Submitted in partial fulfillment of the requirements for Nepal: Development and Social Change, SIT Study Abroad Spring 2019 and in fulfillment of the Capstone requirement for the Vanderbilt Public Policy Studies Major Abstract The purpose of this research is to understand the role of the guthi system in Nepali society, the relationship of the guthi land tenure system with Newari guthi, and the effect of modern society and technology on the ability of the guthi system to maintain and preserve tangible and intangible cultural heritage in Nepal.
    [Show full text]
  • Indian Music Instruments Sarangi Sitar Sitar Is of the Most Popular Music
    Indian Music Instruments Sarangi Sitar Sitar is of the most popular music instruments of North India. The Sitar has a long neck with twenty metal frets and six to seven main cords. Below the frets of Sitar are thirteen sympathetic strings which are tuned to the notes of the Raga. A gourd, which acts as a resonator for the strings is at the lower end of the neck of the Sitar. The frets are moved up and down to adjust the notes. Some famous Sitar players are Ustad Vilayat Khan, Pt. Ravishankar, Ustad Imrat Khan, Ustad Abdul Halim Zaffar Khan, Ustad Rais Khan and Pt Debu Chowdhury. Sarod Sarod has a small wooden body covered with skin and a fingerboard that is covered with steel. Sarod does not have a fret and has twenty-five strings of which fifteen are sympathetic strings. A metal gourd acts as a resonator. The strings are plucked with a triangular plectrum. Some notable exponents of Sarod are Ustad Ali Akbar Khan, Ustad Amjad Ali Khan, Pt. Buddhadev Das Gupta, Zarin Daruwalla and Brij Narayan. Sarangi Sarangi is one of the most popular and oldest bowed instruments in India. The body of Sarangi is hollow and made of teak wood adorned with ivory inlays. Sarangi has forty strings of which thirty seven are sympathetic. The Sarangi is held in a vertical position and played with a bow. To play the Sarangi one has to press the fingernails of the left hand against the strings. Famous Sarangi maestros are Rehman Bakhs, Pt Ram Narayan, Ghulam Sabir and Ustad Sultan Khan.
    [Show full text]
  • Kathmandu Valley, Nepal)
    Oral Tradition, 30/2 (2016):281-318 The House of Letters: Musical Apprenticeship among the Newar Farmers (Kathmandu Valley, Nepal) Franck Bernède “Etoit-il étonnant que les premiers grammairiens soumissent leur art à la musique, & fussent à la fois professeurs de l’un & de l’autre?” J. J. Rousseau, Essai sur l’origine des langues “Is it surprising that the first grammarians subordinated their art to music and were teachers of both?” J. J. Rousseau, Essay on the Origin of Language This article explores the principles of musical discourse among the Jyāpu farmers of the Kathmandu Valley as revealed through the teaching of the dhimay drum. During this purely ritual apprenticeship, it is through the transmission of a corpus of musical compositions, based on mimetic syllables that are perceived as an expression of the voice of Nāsadyaḥ, the local god of music and dance, that the discourse of authority of the masters is expressed. The instrumental pieces played during religious processions originate from these syllables, which imitate the sounds of the drum. In addition, dhimay drum apprenticeship is inextricably linked to that of acrobatics, which includes the virtuoso handling of a tall bamboo pole. I propose to discuss here the nature of this musical language in its traditional context, as well as its recent transformations in Newar society.1 In 1995 when I embarked on my investigations in Kathmandu Valley, I was looking for a master musician who would be willing to teach me the rudiments. At that time Jyāpu farmers 1 This article was translated from the French by Josephine Marchand.
    [Show full text]
  • Ritual Movement in the City of Lalitpur
    RITUAL MOVEMENT IN THE CITY OF LALITPUR Mark A. Pickett This article intends to explore the ways that the symbolic organization of space in the Newar city of Lalitpur (J;'atan) is renewed through ritualized movement in the many processions that take place throughout the year. Niels GUlschow (1982: 190-3) has done much 10 delineate the various processions and has constructed a typology of fOUf different forms, I In my analysis I build on this work and propose a somewhat morc sophisticated typology of processions that differentiates the lypes still further. Sets of Deities Space is defined by reference to several sels of deities that are positioned at significant locations in and around the city. Gutschow (ibid.: 165, Map [82) shows a set of four Bhimsen shrines and four Narayana shrines which are all located within the city. 80th sets of four ~hrines encircle the central palace area. Gutschow (ibid.: 65, Map 183) also shows the locations of eight Ganesh shrines that are divided into two sets of four. One of these groups describes a polygon that like those of the shrines of Bhimsen and Narayana, encircles the palace area. It is not clear what significance, if any, that these particular sets of deities have for the life of the city. They do not givc risc to any specific festival, nor are they visited, as far as I am aware in any consecutive manncr. Other sets of deities have very clear meaning, however, and it is to thesc that I shall now turn to first morc on the boundaries which give the city much of its character.
    [Show full text]
  • Indigenous Approaches to Knowledge Generation
    INDIGENOUS APPROACHES TO KNOWLEDGE GENERATION Unveiling the Ways to Knowledge Generation, Continuation, Distribution and Control of the Pariyars: Commonalities and Points of Departure from School Pedagogy By Ganga Bahadur Gurung This thesis is submitted to the Tribhuvan University In partial fulfillment of the requirements for The Master of Philosophy in Education January, 2009 Abstract The purpose of the study was to uncover the approaches to knowledge generation, continuation, distribution and control of the Pariyars, one of the least privileged caste groups of Nepal. I even tried to explore the commonalities and points of departure between the Pariyars' indigenous knowledge and our school pedagogy. The principal research question of my study was: How do the Pariyars of Nepal generate the knowledge regarding music and what are the indigenous approaches they use in knowledge generation? To ease my study, I formulated three subsidiary questions focusing on knowledge distribution, control and the ways to knowledge generation at home and at school. The review of the literature covered the general review of different types of literature regarding the Panchai Baja followed by the review of specific theoretical closures regarding the knowledge generation of the Pariyars and the issues linked herewith. As my study area was basically focused on the perceptions of the individuals regarding the culture they live in, their ways of knowledge generation and other ideas associated to indigenous knowledge, I adopted the qualitative research methods. Since my study was more cultural and was more linked with the perceptions of the individuals, I used ethnographic methods to unveil the indigenous knowledge of the Pariyars.
    [Show full text]
  • Documenting Nepalese Musical Traditions
    DOCUMENTING NEPALESE MUSICAL TRADITIONS Gert-Matthias We g n e r This paper gives a brief but updated account of the fieldwork car- ried out by ethnomusicologists in Nepal with some information on the re c o rded and published material. The re c e n t l y-founded (1996) Kathmandu University Department of Music in Bhaktapur is in the process of establishing a sound archives for Nepalese musical tradi- tions. The department has already published two CDs with Sherpa dance-songs from the Everest region. CD cover: ‘Music of the Sherpa People of Nepal’ (vol.1) published by Eco Himal Little Star Records. Photograph courtesy Gert-Matthias Wegner. Bhucha and betal dancers during a performance in Bhaktapur, 1988. Newar farmers playing bansri and dhimay during Biskit jatra in Bhaktapur. Newar farmers playing bansri and dhimay during Biskit jatra in Bhaktapur. Photographs courtesy Gert- Matthias Wegner. Nepalese Musical Tr a d i t i o n s 233 Until 1951, Nepal had been closed to the rest of the world for s e veral hundred years. The use of the wheel was restricted to ritual purposes. The only school in the country was reserved for members of the ruling Rana aristocracy who pursued a lifestyle similar to the Nawabs of Lucknow. The unique topography of Nepal (with 20 mil- lion inhabitants) helped preserve an extremely rich variety of ethnic g roups (speaking 36 languages) and their musical traditions on a t e rritory half the size of Germany. Despite natural and imposed restrictions on travel, there have been periods of exchange with Indian musical traditions, some of which were modified to local needs and inspired the unique musical culture of the Newar people of the Kathmandu Valley which arguably is the most complex musical tradi- tion in the entire Himalayas.
    [Show full text]
  • Classification of Indian Musical Instruments with the General
    Classification of Indian Musical Instruments With the general background and perspective of the entire field of Indian Instrumental Music as explained in previous chapters, this study will now proceed towards a brief description of Indian Musical Instruments. Musical Instruments of all kinds and categories were invented by the exponents of the different times and places, but for the technical purposes a systematic-classification of these instruments was deemed necessary from the ancient time. The classification prevalent those days was formulated in India at least two thousands years ago. The first reference is in the Natyashastra of Bharata. He classified them as ‘Ghana Vadya’, ‘Avanaddha Vadya’, ‘Sushira Vadya’ and ‘Tata Vadya’.1 Bharata used word ‘Atodhya Vadya’ for musical instruments. The term Atodhya is explained earlier than in Amarkosa and Bharata might have adopted it. References: Some references with respect to classification of Indian Musical Instruments are listed below: 1. Bharata refers Musical Instrument as ‘Atodhya Vadya’. Vishnudharmotta Purana describes Atodhya (Ch. XIX) of four types – Tata, Avnaddha, Ghana and Sushira. Later, the term ‘Vitata’ began to be used by some writers in place of Avnaddha. 2. According to Sangita Damodara, Tata Vadyas are favorite of the God, Sushira Vadyas favourite of the Gandharvas, whereas Avnaddha Vadyas of the Rakshasas, while Ghana Vadyas are played by Kinnars. 3. Bharata, Sarangdeva (Ch. VI) and others have classified the musical instruments under four heads: 1 Fundamentals of Indian Music, Dr. Swatantra Sharma , p-86 53 i. Tata (String Instruments) ii. Avanaddha (Instruments covered with membrane) iii. Sushira (Wind Instruments) iv. Ghana (Solid, or the Musical Instruments which are stuck against one another, such as Cymbals).
    [Show full text]
  • (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
    FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard
    [Show full text]
  • Times in India, EKT Edition
    This is a daily collection of all sorts of interesting stuff for you to read about during the trip. The guides can’t cover everything; so this is a way for me to fill in some of those empty spaces about many of the different aspects of this fascinating culture. THE Once Upon a TIMES OF INDIA PUBLISHED FOR EDDIE’S KOSHER TRAVEL GUESTS, WITH TONGUE IN CHEEK OCTOBER 2014 בן בג בג אומר: ”הפוך בה והפוך בה, דכולא בה“ )אבות ה‘( INDIA! - An Explorer’s Note Thanks to Eddie’s Kosher still dark. Thousands of peo- concept completely. Do not WELCOME Travel and you, I am coming ple were all over the place look upon India with western back to India now for the waiting for trains, I imagine, eyes, and do not judge it. If TO INDIA! 25th time; and every time I’m and sleeping on the station you do, you will diminish not quite sure what type of platforms. Here too, many both it and your experience. India I will find. Over the beggars are already at "work" Learn it. Feel it. Imbibe it. years that I have travelled coming up to me with hands Accept it. Wrap your head here regularly, I have grown outstretched. While I under- around it. Understand it for to love India, specially its stand the Indian worldview of what it is. For it is India. people, who seemed to have caste and karma, and why by an attitude of "there is always and large no one helps the When I was here for the first room for one more." I find poverty stricken, I find it time in 1999, India’s popula- the people in India to be pa- very, very disturbing.
    [Show full text]