Palema Gwara-Project Baja Nepal

Revival of Palema Gwara

“Gwara is a higher-level composition in Dafa culture. It is a fixed composition which is mostly composed in more than one taals. Some Gwaras have been composed in a single taal throughout the whole Gwara composition as well. On the other hand, Raag is strictly the same in a Gwara composition – more than one Raag is prohibited to be played in one Gwara composition. Dafa’s main singing style is Gwara-based. During the performance of a Gwara, Raag (based on which Gwara is being played) is sung at the beginning and middle. After performing the Gwara, a song (based on the same Raag) called ‘Chaali’ or ‘Ghosa’ must be performed. Again Raag is sung as an indication to end the Gwara composition. Gwara is also adapted by Dhaa Baja ensembles (consisting of instruments like Dhaa, Bhusiya, Taa, and wind instruments for melody).” -According to Bipu Shrestha’s research on Dafa Culture.

Ngata Tuladhar Baja Committee performing a Dhaa Baja Gwara ensemble

Palema Gwara is one of those Gwaras that is played with the same time signature (i.e. 6/4) or taal (Gitaal/ 6 matra) throughout the whole composition. The exact birth of Palema Gwara is not determined, but it is believed to be orally transmitted from generation to generation. The melody of Palema Gwara is based on Raag Silu, which is said to have been played during the time from Gunla month to Kage Astami.

The Palema Gwara composition is a prayer for Lord Nityashwor (Naasha dyah) describing the greatness of God, which also involves two other deities, Nandi and Bhrindi.

Lyric of the Palema Gwara Bhajan:

हाँदे श्री नाम नित्यश्वर भजलपे आव ।

हाँदे नन्दि भृन्दि निम्ह पासा, त्रिशुल डमरू जोसा ।

हाँदे यस नसा, गैव थुसा, जुईव जोगीया भेष भुवनस, मदु छि बिना नं ।

Haade shree naama nityashwor vajalape aava,

Haade nandi Bhrindi nimha pasa, trishula damaru josa,

Haade yesa nasa, gaiva thusa, juiva jogiyaa bhesa bhuvanasa, madu chi binaa na.

Melody on Raag Silu for Palema Gwara composed by Firoj Bajracharya

Here is an example of how the Dhaa Baja ensemble is done on Palema taal. Below is the bol of Dyah Lhyagu in Palema Taal played by Ngata Tuladhar Baja Committee. Here, in the first row, Tin and Chu represent the strokes of cymbal instruments (Taa and Bhusiya) played during the ensemble.

(Tin)		(Tin)		(Chu)
1	2	3	4	5	6
{घ्येंनि	घ्येंचा	घ्येंनि	घ्येंचा	ख	द्रिख} *2
{चाकं	धा	निकं	धा	घ्येंनि	घ्येंचा} *2
घ्येंनि	घ्येंचा	घ्येंनि	घ्येंचा	घ्येंनि	घ्येंचा
चाघ्यें	-चा	दिघ्यें	चा	घ्येंनि	खचा
घ्यें	घ्यें	चा	घ्यें	चाघ्यें	-चा
घ्यें	-	घ्यें	-	चा	- ।

Palema Gwara is played similarly with its structure with the accompaniment of wind instruments to play the melody lines. The structure for Dhaa Baja Gwara Ensemble: -

1. Dyah Lhyahgu

2. Raag

3. Chuma

4. Raag

5. Nhyatwa

6. Raag

7. Nhyatwa

8. Dathutwa

9. Tiktwa

10. Gho

11. Tikatwa

12. Dyah Lhyahgu

Although the formal meeting of Project Baja Nepal and Ngata Tuladhar Baja Committee happened in 2022 AD, Bipu Shrestha and Sabir Tuladhar from each community respectively had been in contact since 2018. Sabir appreciating Bipu’s works regarding research on the local music of Nepal in Project Baja, asked him to help the youths of Ngata Tuladhar Baja Khala to revive their lost bols and Gwaras. Out of many lost pieces, Palema Gwara got more attention as it was the piece with the most lost elements. Thus, with a formal meeting of Project Baja Nepal and Ngata Tuladhar Baja Committee in 2022, the project to revive the lost Palema Gwara started.

The joint effort of Project Baja Nepal and the youths of Ngata Tuladhar Baja Committee made the revival of Palema Gwara successful in 2022 AD. While Bipu Shrestha and Firoj Bajracharya from Project Baja Nepal contributed their knowledge on composing Baja bols and melody for the lost Gwara, a few youths from Ngata Tuladhar Baja Committee contributed their time and energy to transmit the given information to the larger mass.

During the composition process, the Baja bols were initially composed by Bipu, who first studied the drumming and bols patterns of the Ngata Tuladhar Baja Committee. And around the composed bols, Firoj composed the melody for Palema Gwara referencing to Raag Silu. Later, this information was sent to Sabir, who with Robit transcribed the bols in a more relatable manner. Sabir, Shreyak, and Robit jointly passed on the materials to other youths of their Baja Committee. Therefore, the first batch to learn Palema Gwara consisted of 13 youths of the Ngata Tuladhar Baja Committee. The following year, the number of participants in learning the Gwara increased within the Ngata Tuladhar Baja Committee. Also, the involvement of a few members of the Ngata Tuladhar Baja Committee was responsible for passing the information to another Baja committee, named Lagan Baja Khala.

Bols for Palema Gwara composed by Bipu Shrestha

Bols minimally transcribed by Robit Tuladhar to teach other members of the Committee

Appreciation ceremony during Paru of 2022, Ngata Tuladhar Baja Committee thanking Project Baja Nepal for their work

Two years after the revival of Palema Gwara, but yet there were and still are challenges, the youths have been facing. In the beginning, there were a lot of arguments and disagreements with seniors regarding the decision of revival. The lack of belief in the youths, the lack of interest among the youths in their culture, the reluctance of elders to try something new (with purpose), and the egoistical beliefs from elderly gurus that their knowledge will decline if shared could be some peak obstacles that may have slowed the revival process. Since the revival was so what viewed as a success, the youths have started to be in charge of future musical works in Ngata Tuladhar Baja Committee.

But was the revival of Palema Gwara actually successful? Analyzing the works of Project Baja Nepal, there raised some controversial questions: -

· How come the new Baja bols and bols from the book of Ngata Tuladhar Baja Committee are different?

· How can we be so sure that Bipu’s and Firoj’s works on composing bols and melodies are 100% accurate?

· Is the new melody of Palema Gwara the same as the old lost melody?

Yes, these are some valid questions. But I’d say Ngata Tuladhar Baja Committee and Lagan Baja Khala could not have played the lost Gwara again after decades without the same work from Project Baja Nepal.

With these raised questions, it could be anticipated that it will be solved on a mutual understanding in the future. With this ratio, the number of participants to learn Palema Gwara will increase year by year for sure. Also with this increasing ratio of energy in the youths to learn more about their culture, many lost elements (Other lost Gwaras, bols, etc.) will surely be revived likewise in the future. Also, the building relationship between Project Baja Nepal and Ngata Tuladhar Baja Committee will lead to more musical collaborations in the future. For instance, a Dafa Program is going to be held consisting of members of both Project Baja Nepal and Ngata Tuladhar Baja Committee.