Bhajan in Transition: Contemporary Attitudinal Shifts in Dapha

Speaker: Bigyesh Nepal

Dapha bhajan, practised by the Newar communities from Nepal, constitutes a fundamental aspect of Newah heritage, incorporating much more than audible sounds that we call music. This tradition, tracing its origin to the time of the 16th-century CE king Mahindra Malla of Kathmandu—or possibly even earlier—naturally positions itself as a pivotal Newar heritage owing to its antiquity, social significance, ritual function, and role in community cohesion. Dapha is now undergoing a significant change due to the shift in the socio-cultural-economic aspects of life among the locals, positioning ‘change and continuity’ as central in the discussion of dapha.

Discussion on ‘change and continuity’ within the context of dapha is an interesting topic in itself. The concept of ‘change’ is vehemently shunned by most of the existing gurus and practitioners, as dapha is a practice strictly bound in religion, rituals and tradition. On the other hand, the same gurus and practitioners not only emphasise continuity but consider it ineluctable. Hence, their idea of dapha sustenance can be summarised in two words, ‘continue unchanged’, a notion that is perhaps as old as the tradition itself. Paradoxically, it has been observed that change is not a strange phenomenon in dapha; it has always been there, in the past and the present. What is interesting, however, is that the changes that are taking place currently are abrupt, significant and consciously enacted compared to the seemingly gradual evolutions of the past. This is perhaps the very reason why change and continuity have been a preeminent theme within academic and non-academic discussions about intangible heritage today.

My study examines this very realm of ‘change and continuity’ by engaging with a crucial demographic related to this phenomenon—the younger generations. I present my findings based on an ethnographic study in the locality of Chyasal in Patan employing methods like participatory and non-participatory observations, and formal and informal interviews. My interlocutors include dapha practitioners, teachers, and community members, but most importantly, a group of recent trainees. Grounded in their lived experience of going through a rigorous training program to participating in community performances, I present my findings on the motivation and demotivation of the younger generations, shedding light on the contemporary shifts in attitude and perception. This includes seeing dapha as difficult, obligatory, old-age music to valuing it as an important heritage integral to their identity. By analysing these contemporary shifts in attitudes and perceptions, my research aims to contribute to broader discussions on the sustainability of dapha and its evolving transmission.