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Deepak Jangam and Beni Rawal’s textbook Sangeet Surabhi introduces the luminaries of the Nepali music world. This is what they have to say about Subi Shah. Passionate practitioners have a big hand in keeping the culture and traditions of any country alive. When speaking of Nepal today, we have to mention its ancient heritage, which is the one thing for which it is known throughout the world. Among the very few practitioners who have been contributing to maintaining this very heritage in the field of Nepali folk music, Subi Shah’s name comes to the fore, with his nearly sixty years of continuous contributions. Shah, who started his musical journey in the field of dance as a Maruni dancer at the age of 7 or 8, spent most of his life in the Royal Army. While moving between barracks in different places, living like the people of each new area became natural to him. Due to his interest in learning folk songs and folk dances wherever he went, he later became known as a collector and researcher of Nepali folk music. Countless folk songs that he collected are now being broadcast on radio and TV. For the past two decades, he has been collecting and preserving songs that have nearly become lost. He has made an important contribution to keeping the old melodies alive, especially those of Sorathi, Charitra, Jhaure and Khyali songs. He has done a great deal of research, and presented the old melodies and lyrics of Khyali songs to the public through articles in various journals. Even at almost seventy years of age, he has continued to do innovative research, at his own initiative and with his own funds, to preserve his ancient cultural heritage that is being lost. Shah has spent his whole life in service to Nepali society. In this context, his books Madal and Glimpses of the Balun Epics are important, among others. He conducted in-depth studies of the types of Nepali songs played with Madal accompaniment, especially the western Nepali versions of Sorathi, Charitra, Khayali, Chudka and Jhyaure songs, and collected many of their rare tunes. He said that in order to maintain the form and rhythms of the deteriorating national instrument, the Madal, the question of whether or not the Madal is suitable for playing the rhythms associated with other instruments should be carefully considered. However, by using the rhythms from other instruments on the Madal while keeping the form of the Madal as it is, a new instrument can be created” (Madal, p. 82). Subi Shah’s Thoughts About Folk Songs “The songs that should be called folk songs are those to which no one has individual rights, that all ethnic groups should equally be able to sing, and they must be based on popular rules and folk tunes. Because the rules of Nepali folk songs are learned from one person to another, their main path of transmission is the guru parampara.” “Folk songs are those songs created by different ethnic groups of people in different places influenced by differences in geography and environment, with poetic meters, rhythmic tunes, and spoken words based on their own ethnic languages and traditions. In these songs, historical descriptions, traditional rituals, religious descriptions, happiness and suffering, vernacular joking, and other themes must be present.” “Among the varied ethnic tunes that have been played as part of tradition, the “unmetered tunes” and the groups of notes bound together on the basis of various musical meters are all called folk tunes.” “The rhythmic patterns that follow standards developed according to the instruments of various ethnic groups and are performed together as part of a rhythmic cycle (tal), are considered folk tal.” Deepak Jangam and Beni Rawal, 2003. Sangeet Surabhi. Kathmandu: Bhrikuti Academic Publishers, pp. 141-142. Note: they don’t include citations for the works from which the quotations are drawn.
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दीपक जंगम र बेनी रावलको पाठ्यपुस्तक “संगीत सुरभि” मा नेपाली सङ्गीत जगतका दिग्गज व्यक्तित्वहरूको परिचय दिइएको छ । सुवि शाहका बारेमा उहाँहरूको भनाइ यस्तो छ : कुनै पनि देशको संस्कृति र परम्परालाई युगौंसम्म जीवित तुल्याउन त्यसै देशको संस्कृतिप्रति अनुराग राख्ने साधकको ठूलो हात रहन्छ । आज नेपालको कुरा गर्नु पर्दा विश्वमा चिनाउने हाम्रो एकमात्र सम्पदाका रूपमा रहेको प्राचीन संस्कृतिको नाम लिनु पर्छ । ती नै सम्पदालाई जगेर्ना गर्नका लागि नेपाली लोक सङ्गीत क्षेत्रमा झन्डै साठी वर्षदेखि अनवरत रूपले योगदान गर्ने धेरै नै कम साधकमध्ये सु. वि. शाहको नाम अगाडि आउँछ । झन्डै ७/८ वर्षको उमेरमा मारुनी भएर नृत्य क्षेत्रबाट आफ्नो साङ्गीतिक यात्रा सुरु गरेका शाहले आफ्ना जीवनको धेरै समय शाही सेनामा भर्ना भै सैनिक जीवन बिताएको पाइन्छ । विभिन्न ठाउँमा ब्यारेक सर्दा त्यही क्षेत्रका मानिसहरूसँग उठबस हुनु स्वाभाविक थियो । उनले आफू जहाँ गए त्यहाँको लोकगीत, लोक नृत्य सिक्ने जान्ने सौखले गर्दा कालान्तरमा उनी नेपाली लोक सङ्गीतको सङ्कलक अन्वेषकका रूपमा प्रकट भए । उनले सङ्कलन गरेका अनगिन्ती लोकगीतहरू रेडियो, टि.भि. बाट प्रसारण भैरहेका छन् । विगत २ दशकभन्दा बढी समयदेखि उनी लोप हुन लागेका पुराना मादले गीतको सङ्कलन तथा संरक्षणमा जुटेका छन् । विशेष सोरठी, चरित्र, झ्याउरे, ख्याली गीतहरूका पुराना भाकाहरूलाई जीवित राख्न उनको महत्त्वपूर्ण योगदान छ । ख्याली गीतहरूका पुराना भाकाहरूलाई उनले धेरै खोजी अन्वेषण गरेर विभिन्न पत्रपत्रिकाका माध्यमबाट जनसमक्ष प्रस्तुत गरेका छन् । झन्डै सत्तरी वर्षको उमेरमा पनि आफ्ना प्राचीन सांस्कृतिक धरोहर लुप्त प्राय: हुनलागेका परम्परालाई बचाउन आफ्नै निजी लगानीमा, निजी प्रयासबाट नवीन शोध कार्य गर्दै आइरहेका छन् । शाहले जीवनपर्यन्त केवल नेपाली समाजलाई दिने मात्र काम गरे । यस सन्दर्भमा उनको पुस्तक “मादल” “बालुन गाथाको झलक” आदि महत्त्वपूर्ण छन् । मादल and Glimpses of the Balun Epics are important, among others. उनले नेपाली मादले गीतहरूको विशेष पश्चिम नेपालको सोरठी, चरित्र, ख्याली, चुड्का, झ्याउरेका गहिरो अध्ययन गरी तिनका कैयन दुर्लभ प्राय: भाकाहरूलाई सङ्कलन गरी बालुनको प्राचीन शैलीलाई खोजेर पुस्तक छापी जनसमक्ष ल्याए । उनले बिग्रँदो राष्ट्रिय बाजा मादलको रूप र ताललाई आफ्नै रूपमा कायम गराउनका खातिर “मादललाई अरू बाजाको अनुरूप हुन्छ या हुँदैन यो विचारणीय छ, मादलकै रूपबाट अरू बाजाको रूप अपनाउनु मादलको अवहेलना गर्नु हो । बरु मादलको आधारबाट आकारमा पनि विकास गराई आवश्यक अनुसार अर्को रूप दिनाले मादलकै रूपमा रही एक नयाँ बाजा सिर्जना हुन सक्छ” भनेका छन् (मादल, पृष्ठ ८२) ।मादल, p. 82). सु. वि. शाहको लोकगीतसम्बन्धी भनाइ “लोकगीत त्यसलाई भन्नुपर्छ जुन गीतको हकवाला हुँदैन, समस्त जनजातिले समान रूपबाट गाउन पाउनु पर्छ साथै कुन किसिमको गीत हो, त्यसको प्रचलित अङ्गको नियम र लोक धुनमा अडेको हुनुपर्छ । नेपाली लोक गीतका नियम एकबाट अर्कोले सिक्दै जाने हुनाले गुरु परम्परा यसको मूलबाटो देखिन्छ ।” “भौगोलिक वातावरण अनुसार विभिन्न स्थानमा रहने मानव जातिहरूले आफ्नो जातीय भाषा लोक परम्परानुसार तोकिएको गीत छन्द र लयात्मक धुनको आधार वा कथिने शब्द समूहलाई लोकगीत भनिन्छ । यी गीतहरूमा ऐतिहासिक वर्णन, पारम्परिक रीतिरिवाज, धार्मिक वर्णन, सुखदु:ख, बोली-चाली ठूवा ठट्टा आदि भावहरू हुनु जरुरी छ ।” “आफ्नै जात जातीय धुन जो परम्परादेखि बजाई आएको होस् त्यो “अनिबद्ध धुन” र विभिन्न तालहरूको आधारमा बाँधिएको स्वर समूहलाई लोकधुन भनिन्छ ।” “आफ्ना आफ्ना जाति अनुसारका बाजाहरूबाट उत्पन्न भई सङ्गीतको मापदण्ड बोध गराउने ठेक्काहरू जुन विभिन्न किसिमको गीत लयात्मक धुनहरूलाई प्रस्तुत गरिने तालबोल समूहलाई लोक ताल मानिन्छ ।”tal), are considered folk tal.” दीपक जंगम र बेनी रावल, २००३ । संगीत सुरभि । भृकुटी पुस्तक तथा मसलन्द भण्डार, काठमाडौँ, पृष्ठ १४१-१४२ । Sangeet Surabhi. Kathmandu: Bhrikuti Academic Publishers, pp. 141-142. नोट : माथिका भनाइहरू कुन कृतिबाट साभार गरिएका हुन् भन्ने सम्बन्धमा स्रोत उल्लेख गरिएको छैन ।