Dāphā Calling 2021 consisted of five interviews and a round-table discussion. Building on the work that Tahnani Dāphā Khalah (TDK) and Folk Lok have been doing, the second Dāphā Calling attempted to increase interactions and conversations between different Dāphā groups in the Kathmandu valley and celebrate the diversity and differences in the way each of the Dāphā groups practice their tradition.

In its third year, Dāphā Calling Season III continues its attempt to revitalize the musical heritage. The event consists of panel discussions, kha pyakha and dāphā khalah performances, and a seminar on December 9 and 10 at Bhandarkhal Chowk in Patan Museum. You can register to observe the program HERE.

Dāphā Calling 2021 | SEASON II

Episode I: An Inter-generational and inter-city exchange 

Ages-old music tradition Dāphā is spread across Newar communities within Kathmandu valley and in its vicinity. Traditionally, it was common for Dāphā groups to invite Dāphā music bands and dancers from other towns to observe special ceremonies within one's community. The exchange of music and values isn't a new phenomenon within the Dāphā tradition. However, for a long period of time, primarily because of political hurdles and restrictions during the reign of Rana and Shah dynasties and later due to the advent of modern-day musical institutions, Dāphā music communities appear to have confined themselves among themselves, and limited their year-round activities to those that require lesser engagement. Dāphā Exchange is an attempt of going back to an earlier tradition of celebrating traditions not just of one's own but also that of others. Four dāphā groups from different cities within Kathmandu Valley speak about their khalahs and inform viewers about the rituals that they perform on the day of Sakhimana Puhni, the first full moon of a Newar Calendar.

Episode II Part 1: संगीतया सलय् एकरुपता व विविधता

Episode II Part 2: Uniformity and diversity in musical sounds

Convincing the younger generation that Dāphā music can be participated by younger participants remains a primary challenge for Dāphā instructors. Some of the instructors seem to be introducing new instruments like Harmonium or even Guitar to their groups to attract the younger generation. Kirtipur Municipality just recently to encourage Dāphā groups to keep practicing their music gifted away Harmoniums to 11 groups of the city. Why is it that certain music is considered more or less musical than others? What determines musicality for any person? What do instruments like Harmonium with its tempered scale do to music traditions that are not based on the practice of harmonies? Dr. Dalzell gives us some hints.

Episode III: ‘Faces of Nasa Dya’ with Guru Rajendra Maharjan 

Nasa Dya, the deity of aesthetics, is the tutelary deity of every Dāphā group and musician. A master initiates any student into the music tradition and brings the student out in public after months-long apprenticeship only after making special offerings and performing rituals in front of the Nasa Dya's shrine. Despite the diversity that Dāphā khalahs have among them, Nasa Dya is something that is common to all. In this 1 hour long interview, Guru Rajendra Maharjan speaks about various aspects of Nasa Dya and the relationship between this deity and Dāphā music. 

Episode IV: How much have we changed? Dr. Subhash Prajapati

Change is inevitable in every field and Newa Music tradition is no exception. However, Dr. Subhash Prajapati demonstrates that the change in Newa music is not very drastic but yet can be seen, heard, and felt. What are these changes? What factors have driven these changes?

Episode V: Part A: ‘Running a Dāphā Khalah?’ with Dilip Maharjan of Tahnani Dāphā Khalah

This interview helps us understand how the Dāphā Khalahs is currently being run. In the past, the annual activities of the Khalahs were possible through Royal patrons or from revenue and resources generated from guthi lands, much of this has changed. Many Khalahs today struggle to survive. Those surviving are finding it difficult to thrive. Yet, there are many others who are adapting to the current socio-political and economic environment. In this interview, Dilip Maharjan, chairperson of Tahanani Dāphā Khalah, will speak about their approach to functioning in current times.  

Episode V: Part B: 'Laal Heera Pyakha; remembering and re-envisioning.’ with Master Siddhi Narayan Maharjan

Towards the end of the year 2019, Tahnani Dāphā Khalah (TDK), a community-based hereditary local dāphā group from Kirtipur started collaborating with Folk Lok. Consistent and regular meetings and conversations led to the exchange of ideas and established a collective vision to recall the once-forgotten Laal Heera Pyakha. TDK’s masters who are above 60 years know that it existed, but have little idea of how it was practiced. However, by engaging in a continuous process of remembering and retelling over the last two years, master Siddhi Narayan Maharjan has been able to rewrite the script. This interview will give us an insight into the process of remembering and re-envisioning the Pyakha.

Episode VI: Where does our pati stand? With Prof. Christiane Brosius

The phalca or pati are public rest houses that play an important role in the Dāphā music tradition. These structures and spaces play an important role not just for the local residents to come together and mingle but are also used by the community during various festivals and religious occasions. For the urban-dwelling culture of the Newars whose agricultural lands were beyond the city’s limits, the phalcas and patis is closely tied to their way of being. In this interview, Prof. Dr. Christiane Brosius will talk about the history of phalcas and patis and the relation these structures have with the Newar lifestyle and culture.

This series is presented by the U.S. Embassy’s Book Bus and is jointly organized by the Tahnani Dāphā Khalah, Kipu, Satori Center for the Arts, and Quixote’s Cove.