PHILOSOPHY AND MESSAGE OF NEPALI PROGRESSIVE SONGS

A Preliminary Proposal (Concept Paper of PhD Research Theme)

Submitted to:

Department of Language and Mass Communications,

School of Arts, Kathmandu University

Submitted by:

Kedar Nath Gautam

2023
 Table of Contents

Background 1
Statement of the Problems 6
Objectives of Study 7
General Objectives 7
Specific Objectives: 8
Significance of Study 10
Literature Review 12
Methodological Review 12
Thematic Review 14
Access to the Theme 14
Review on Core Theme 15
Theoretical Review 17
Review of Previous Works Followed by the Research Gap 18
Research Design 18
1. Research Philosophy 18
2. Research Approach 19
3. Data Collection 19
4. Sampling 19
5. Data Analysis 20
6. Ethical Considerations 20
7. Timeline 20
8. Limitations and Delimitations 20
Chapterization for the Proposed PhD Research Project 22
References 23
 Philosophy and Messages of Progressive Nepali Songs
(Comparative Study between Socialist Realism and Eastern Vedic Philosophy)

Background:

Progressive Nepali songs are the central element of this study. Progressive songs are also
known as 'Jagaran Geet', 'Pariwartanka Geet', 'Rupantarankari Geet', 'Janawadi Geet',
'Pragatibadi Geet', 'Pragatishil Geet', 'Krantikari Geet' etc. Basically, that songs created,
presented and published/broadcasted by volunteer artists or organizations/institutions for the
purpose of social, cultural and political awakening without the expectation of income, business
or professionalism are recognized, understood, accepted and treated as progressive songs. In
Nepali society, these songs have a different identity than 'mainstream' or 'commercial' and
'entertaining' songs.

In fact, song is a sub-genre of Kaavya (poetry); the first genre among the four main genres of
literature - Kaavya, Aakhyan, Naatak and Nibandha (poetry, fiction, drama and essay). In
Eastern Sanskrit literature, the word Kavya was used to denote literature. This word used to
introduce all genres of literature. Later, this word came to be known as poetry. Poetry is the
oldest form of literature. The genre of poetry has been developed from folk songs, ballads
(Gaatha), Bhajans etc. (Neupane, 2067, p. 1). The combination of song (lyrics), playing of
instruments and dance is called Sangeet (music); therefore music is a broad term. This word is
formed from the word 'ge' prefixed with 'san'. Aesthetically, song is singing along with other
arts. A song that uses the best literature, vocal, tone or note, rhythm and mannerisms (acting)
becomes music (Upadhyay, 2040, p. 1).

The trend of progressive song is considered to be the creation of socialist realist trend in
literary-cultural language. In this context, progressivism is considered as a synonym of socialist
realism. The term socialist realism is derived from the combination of the two interrelated
terms socialism and realism. In other theories of art and literature, the art aspect is considered
to be the main one and the idea aspect or the philosophy it embraces, is considered to be
subsidiary. However, according to the socialist realist trend, the content of any creation of art-
literature, its idea aspect is considered to be the main one and the art aspect is considered to be
subsidiary. The socialist realist thinkers and critics have been explaining the art aspect as form
and its content or thought or philosophical aspect as essence. According to socialist realist

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thinkers, in the creation of any genre of literature and art, the essence aspect is the main one,
while the form aspect is subsidiary. (citations to be added....)

In socialist realist theory, emphasis is placed on the practical utility of art rather than its cultural
significance. While other theories of art-literature do not pay much attention to the practical
utility of art, its aesthetic and cultural value is the main focus. Socialist realist theory of art
and literature focuses on practical implication then just for cultural value. The deepest
expression of beauty is in art. Art is basically of two types – applicable art and fine art. There
is beauty in both applicable and fine arts. But applicable art is mainly based on physical use
and fine art on cultural use (Chaitanya, BS 2067, p. 48).

“Socialist realism is a method and vision of creating art; realism is its backbone. Artistic reality
is a collection of representative/reflective reality," Dhakal, Ghanshyam (BS 2066), a well-
known aesthetic thinker and author, writes - "realization is an endless process. Realism is based
on the reflection principle. Realism consists in recreating reality; not a photocopy. Realism in
art is a reflection of life-world" (Dhakal, BS 2066, p. 19). “Art is not progressive by itself, it is
also reactionary. Realistic art is always progressive. Progressive art opposes the status quo,"
Dhakal (BS 2066) has mentioned about the meaning, essence and character of progressiveness
of art and literature - "progressive art and literature has a great importance in anti-feudalism,
imperialism and expansionist movements. Progressive art is patriotic and populist. Progressive
art opposes superstition, racism, casteism, untouchability, conservatism and all kinds of bad
culture" (Dhakal, BS 2066, p. 25).

In the context of Nepal, 'cultural families' or 'cultural teams' or artists formed by being close to
or associated with some 'Communist' organizations often write, compose, sing and promote
such songs. In this sense, it seems that many understand and treat progressive songs as
'Communist songs'. Truly or in reality, progressive songs are not the only means or political
tools or weapons of any political party; they are the common property of all citizens and the
society. Art-literature and politics are not the same and politics cannot take the place of art
(Pandey, 1996, p. 1).

Animals only create things according to the needs and standards of their own species, while
humans know how to produce according to the standards of each species and how to use their
own standards of things in every place. Therefore, people create things according to the rules
of beauty (Marx–Engels, 1975, p. 277).

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 The work of presenting the existing beauty in art is being done from four angles as
artist, artwork, art connoisseur, and art critic. An artist is a creator who creates artwork
according to the rules of beauty. The rules related to the process of art creation are
active here. This rule is related to the artistic reflection of reality, modeling and artist's
craft consciousness. Artwork is a beautiful object and should be seen as the result of
the creative process. Cognitive, ideological and aesthetic values are embedded in
artwork. Here the law of aesthetic value is active. A connoisseur is a kind person who
appreciates art and the relationship of connoisseurs is aesthetic. Here the rules related
to aesthetic sense or aesthetic perception are active. A critic is an evaluator of art and
he evaluates the existing values in art based on historical and aesthetic criteria. The
rules of aesthetic values and standards work here (Chaitanya, BS 2067, p. 57).

"Art basically plays the role of emotional transformation during social transformation.
And that work is not possible only through the aesthetic quality of art, nor only through
its ideological quality. By neglecting the aesthetic role, art cannot fulfill the role of
emotional transformation in its absence. However, even if the aesthetic quality is
sufficient, it does not fulfill its role if it cannot achieve the useful and beautiful content
created by the ideological principle," Dr. Pandey (1996) writes – “Political standards
do not solve the overall aspect of the specific nature of art. The process of evaluation is
not complete without linking it to artistic standards. There can be no understanding of
the progressive standards without separating these two and accepting them as a whole
and integrated" (Pandey, 1996, p. 3-4).

It is from certain philosophy, knowledge and intelligence that the overall aesthetics, art-
literature and one of its elements i.e. song-music originate and exist. “Philosophy is ultimately
intellectual knowledge. Therefore, aesthetics is intellectual, somewhat complex and
synthesized. Philosophy is the result of labor, production-process and social activity of human
behavior," discussing the basic aspects of aesthetics, its nature and trends, Baral, Rishiraj (BS
2063) writes – “every field of social science is guided by philosophy. Philosophy and theory
from practice, practice from theory – this is the principle of practice and knowledge.” He
further explains: "The relationship of aesthetics is also intertwined with behavior and
knowledge, substance, consciousness and reflection. This is not something beyond the social
consciousness of people" (Baral, BS 2063, p. 1).

Progressive songs advocate activeness and hard work-culture while opposing labor-thief, lazy,
passive and thug tendencies. Senior progressive lyricist, musician and singer Pakhrin,
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Khushiram (BS 2063), discussing the meaning and difficulty of lyrics writing in this trend,
writes - "whatever is conscious, thoughtful, is connected with labor; it is associated with
forward-looking ideas and perspectives. ...that's why it's not so easy to write a song that can
really give a new consciousness and forward thinking to the society" (Pakhrin, BS 2063, p. h).
Baral (BS 2063) has also emphasized the relationship between progressive art-literature and
labor - "by nature, labor and beauty are closely intertwined with each other. It is natural to
include the qualities of beauty in things created by human labor" (Baral, 2063, p. 2).

After a brief discussion of the socialist realist concept related to art and literature, let us briefly
discuss another philosophical approach - Eastern Vedic philosophy. In relation to art-literature
and song-music, it seems that there has been a direct and interdependent relationship with
Eastern philosophy and especially with the Vedic tradition since ancient times. Therefore, the
relevancy of the Eastern philosophy adopted by the proposed research project, it follows for
study, interpretation, analysis and synthesis of this key subjects.

It seems that even before the systematic development and widespread publicity of western
philosophy and genre-related works to the song and music, there has been an important
development in the field from the source of Eastern philosophy, Vedic tradition and its treatises
i.e. Vedas, Upanishad, Natyashastra etc. One of the fundamental treatise of Eastern
philosophy, the famous Bharatavarsiya treatise Natyashastra, seems to have laid the
foundation for the basic principles, recognition, purpose, genre-structure, system and method
of the overall art, literature and culture including songs and music.

In an important work Theory and Practice of Communication - Bharata Muni, based on his
post-doctoral research on Natyashastra, Adhikary, N.M. (2014), a well-known Nepali
researcher and theorist in the field of mass communication, mentions -

The sixth Adhyaya of Natyashastra contains elaborate discussion of Rasa, this Adhyaya
mentions or briefly discusses about Bhava (the Psychological States), Abhinaya (the
Histrionic Representation), Dharmi (the Practices), Vritti (the Styles), Pravritti (local
usages), Siddhi (Success), Swara (the Notes), Atodya (the Instrumental Music), Gana
(Songs) and Ranga (the Stage) too. (Adhikary, 2014, p. 49).

In the seventh Adhyaya of Natyashastra, the themes raised in the sixth chapter have been
discussed in detail, Bhava, Vibhava, Anubhava, Sthayee Bhava, Vyabhichari or Sanchari
Bhava and Sattvika Bhava etc. Similarly, Adhikari (2014) has mentioned that various aspects

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of art and literature are explained from the Eighth to the Thirteenth Adhyaya of this treatise
(Adhikari, 2014, p. 49-52).

The Adhyaya from 28 to 33 ...are devoted to various aspects of music. Nritta, Nritya and Natya
are very closely associated with music, so Bharata presents elaborate description about both
vocal and instrumental aspect of it (Adhikary, 1014, p. 58).

The contents of these Adhyaya (from 28 to 33) are significant in connection with the
theory of Bhavatavarshiya music. The concepts of Saptaka (seven Notes - Shadja,
Rishabha, Gandhara, Madhyama, Panchama, Dhaivata and Nishada), Shruti (musical
intervals), Grama (scale), Murchhanas, Sthana (voice-registers), Jati (melody-types of
the recognized kind) etc. as well as the connection of Jatis with the Rasas provide the
foundation in this regard (Adhikary, 2014, p. 58).

Based on the content's theoretical approach, conveyed message and its characteristics,
the songs having the following characteristics are considered and recognized as
progressive songs in Nepal:

- Ending the distance and gap between the ruler and the ruled class.

- Fostering equality by opposing discrimination, injustice, oppression, exploitation, etc.

between people on the basis of class, gender, region (geography), economic status,
opportunity, etc.

- Maintaining equality in natural and socio-economic resources and opportunities.

- To create knowledge, awareness, conscience, awakening, enthusiasm and activism

against confusion, orthodoxy, ideological blindness, inferiority and ignorance.

- To respect hard work (labor), to promote labor-culture, to emphasize faith, inclination

and dedication to labor (hard work).

- Emphasis on social sentiment and collectivity against individualism.

- Emphasizing the establishment of civilized, gentle and noble people and society against
disorderliness, indecency, rudeness.

- To be free from obscenity, anarchy, arrogance, blinding and commercialization of

western power promoted in the name of music and songs.

- Advocating for originality, freedom, universality and brotherhood with international

equality, opposing the global interference, control and economic-cultural-social-

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 political interference and monopoly of the so-called 'rich' and 'powerful' Western
nations etc.

Song and/or Music has long been a powerful medium for cultural expression, social
commentary, and communication. Within the vibrant landscape of Nepali music, a notable
trend has emerged in the form of progressive songs that challenge traditional norms, address
contemporary issues, and contribute to the evolution of societal narratives. The symbiotic
relationship is in progressive Nepali songs with Eastern Vedic tradition and ancient treatise
Natyashastra. This title of research offers a rich terrain for exploration within the context of
mass communication. This proposed doctoral thesis aims to delve into this intriguing dynamic,
seeking to bridge the gap between socialist realistic theories and traditional artistic theories
with modern media practices.

Therefore, this study aims to analyze different aspects of progressive Nepali songs on the basis
of socialist realist philosophy and Vedic philosophy as its philosophical backbone.

Statement of the Problems:

Here are five major statement of the problems for my PhD research work according to the
proposed title and subject matter:

1. Lack of Comprehensive Analysis: There is a significant gap in the scholarly literature

regarding a comprehensive analysis that examines the interplay between progressive
Nepali songs, socialist realism; and Eastern philosophy, especially Bharatavarsha
Vedic tradition. This research aims to address this gap by conducting a comparative
study of these elements.

2. Limited Understanding of Ideological Influences: While it is acknowledged that

progressive Nepali songs draw inspiration from socialist realism and Eastern
philosophy, there is a lack of in-depth understanding of how these ideologies manifest
in song lyrics, melodies, and artistic expressions. This study seeks to elucidate the
specific ideological influences on Nepali music.

3. Cultural and Social Significance: The cultural and social significance of progressive
Nepali songs within the broader context of Nepal's history and identity remains
underexplored. This research will investigate how these songs have contributed to
shaping Nepali culture, politics, and societal values.

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4. Contemporary Relevance: The relevance and impact of progressive Nepali songs in
the contemporary Nepali society and their potential to resonate with younger
generations is uncertain. This study will assess whether these songs continue to be
relevant and meaningful in today's rapidly changing cultural and political landscape.

5. Integration of Eastern Philosophy: While Nepali songs often integrate Eastern

philosophical concepts, the extent and depth of this integration are not well-
documented. This research will examine the nuances of how Eastern philosophy is
incorporated into song lyrics and its implications for the cultural dimensions of Nepali
music.

By addressing these problems, proposed research will contribute to a deeper understanding of

the relationship between progressive Nepali songs, socialist realism, and Eastern philosophy,
shedding light on their cultural, ideological, and contemporary significance.

Objectives of Study:

General Objectives:

Here are five major objectives for my PhD research work according to the proposed title and
subject matter:

1. To Examine the Evolution of Progressive Nepali Songs: Investigate the historical

development and evolution of progressive Nepali songs, tracing their origins and key
milestones in the context of Nepal's socio-political landscape.

2. To Analyze Socialist Realistic Influence: Conduct a comprehensive analysis of the

influence of Socialist Realistic literature and ideology on Nepali progressive songs,
exploring themes, narratives, and artistic elements that reflect socialist ideals and
principles.

3. To Explore Eastern Philosophical Themes: Explore the presence and impact of

Eastern philosophy, particularly elements from Hinduism, Buddhism, and other
indigenous belief systems, in Nepali progressive songs. Analyze how these
philosophical concepts are incorporated and interpreted within the lyrics and themes.

4. To Conduct Comparative Study: Undertake a comparative analysis of progressive

Nepali songs that exhibit both socialist realistic and Eastern philosophical influences.

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 Identify commonalities and divergences in their thematic content, artistic expression,
and societal impact.

5. To Contextualize Societal and Political Implications: Examine the societal and

political implications of progressive Nepali songs in relation to socialist and Eastern
philosophical influences, assessing their role in shaping public discourse, cultural
identity, and political ideologies within Nepal.

These objectives will help structure my research and provide a clear direction for the study on
the analysis of progressive Nepali songs with Socialist Realism and Eastern philosophical
approach, especially Bharatavarsha's Vedic Tradition.

Specific Objectives:

This comparative study will contribute significantly to the field of mass communication by
providing a nuanced understanding of the relationship between philosophical frameworks and
media content creation. It will shed light on how socialist realistic and Eastern (Vedic)
philosophies shape the narratives, aesthetics, and messages of progressive Nepali songs,
offering insights that can inform media practitioners, scholars, and policymakers in Nepal and
beyond.

- There is strong presence of progressive songs in Nepali society. It is found that these
songs have a great contribution and role in the progressive transformation, education
and advancement of Nepali society. Lyricists, musicians, singers, dancers, actors,
technicians, etc., who work in progressive songs, seem to be making great sacrifices
and hard work without any expectation of income or opportunities. The quality and
attractiveness of such songs is also seems to be increasing. However, the mainstream
media does not give enough space or importance to progressive songs. Therefore, the
main objectives of this research is to establish and respect the role of those who work
in this field through in-depth study, analysis, review and discussion and to play a role
in creating a situation that provides such songs enough space and importance in the
mainstream media.

- Eastern philosophical treatise like Vedas, Natyashastra etc. are the initial sources of
song and/or music. These treatise embodies, defines and educates all its aspects even
the progressive songs are not beyond these realities. But there is a strong tendency,
which follows the basic aspects, knowledge and guidance of music, song, art and
literature created by Vedic civilization but ridicules, opposes and disobeys the Vedic

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 culture, its education and even the Natyashastra also. Therefore, contributing to reduce
this situation and playing a role in establishing and honoring the contributions of Vedic
civilization is the next objective of this research.

- In relation to progressive songs, it is often found that people who believe in the "Left"
ideology of Nepal have been working. It is found that they propagate and interpret the
Vedas, Vedic philosophy, Eastern philosophy, principles are taken as 'anti-ideology',
'unscientific belief' and 'conserve thought' and act accordingly. Like –

A) There is an example of some 'Left' components running 'Anti-Sanskrit

movement'.

b) It seems that the news that the central committee and various committees of
various 'Left' parties have made decisions and instructions that show disinterest,
confusion and malice towards Eastern philosophy, Vedas and Vedic traditions
are being published/broadcasted continuously.

c) While the 'Left' parties are effective at the level of government and policy
making, it seems that some decisions are not accordance to the Vedic traditions,
Eastern philosophy and principles have been made.

- Therefore, this study, analysis, its facts and logic can be an important intellectual asset
for establishment the reality that progressive songs and Vedic civilization, its culture
and education are not adversaries with each other, but they are complementary subjects
with interrelated relationships.

In conclusion, this research project seeks to explore the philosophical dimensions of

progressive Nepali songs within the context of socialist realistic and Eastern (Vedic)
philosophies. By delving into these philosophical approaches, we aim to unravel the intricate
interplay between philosophy and media communication, ultimately enhancing our
comprehension of the societal impact of progressive songs in Nepal.

Research Questions:

Here are some research questions for this proposed research project:

1. How have progressive songs evolved over time in terms of their thematic content,
lyrical narratives and artistic expressions; and how do these changes correlate with
shifts in Nepal's social landscape?
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2. To what extent does the influence of socialist realistic principles manifest in the themes,
narratives and aesthetics of progressive songs; and how has this influence evolved in
response to ideological changes in Nepal?

3. What are the predominant elements of Eastern philosophy, especially Vedic tradition,
found in the lyrics and musical compositions of progressive Nepali songs and how do
these elements contribute to the cultural dimensions of the music?

4. In what ways do progressive songs, socialist realism, and Eastern philosophy intersect
in terms of common themes, ideologies or artistic expressions; and how do these
intersections reflect broader social and cultural dynamics in Nepal?

5. What is the contemporary relevance and impact of progressive songs in Nepali society
and how do these songs contribute to shaping cultural identity, societal values and
intellectual discourse in modern Nepal?

These research questions will serve as the foundation for this comparative study, helping to
explore the connections and distinctions between progressive songs, socialist realism and
Eastern philosophy within the context of Nepal's rich cultural and historical heritage.

Significance of Study:

The proposed research project holds a distinctive and vital position within the realm of mass
communications. This study serves as a pioneering exploration at the intersection of songs, its
ideology and cultural communication, with significant implications for the field of mass
communications.

While discussions around Nepali music often focus on its cultural significance, the specific
examination of progressive songs in the comparative light of socialist realism and Eastern
Vedic traditions; especially Natyashastra's communication theories remains largely
unexplored. This research seeks to fill this gap by delving into the theoretical and practical
dimensions of this intersection. The study not only contributes to the fields of musicology and
mass communication but also offers insights into the broader scope of cultural evolution,
innovation, and transformation. The following points highlight the profound significance of
this study:

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- Songs occupies a significant part (space and/or time) of the content of mass media
(mainly on broadcast or electronic media- radio, television and online) in Nepal and
around the world, songs are appropriate and important genre of mass media research.

- There has already been enough study and research on many aspects and contexts of the
Nepali Progressive songs but it is not found that there has been a study on the topic and
subject matter of 'Nepali Progressive Songs' with the proposed level, method and
significance.

1. Cultural Communication and Identity: Mass communications play a pivotal role in

shaping cultural identities and transmitting societal values. This research delves into
Nepali progressive songs as a medium for conveying complex philosophical ideas,
offering insight into how music can be employed to communicate cultural and
ideological messages. It contributes to the understanding of how media, including
music, influences cultural identity formation and expression.

2. Media's Role in Social Change: Nepali progressive songs have historically been a
powerful tool for conveying messages of social change and political consciousness. By
examining the role of these songs within the broader media landscape, this study sheds
light on the efficacy of music as a means of promoting socialistic and Vedic
philosophical ideas. It underscores the transformative potential of media in driving
societal change.

3. Cross-Cultural Communication: This research transcends geographical boundaries,

making it relevant to the broader field of mass communications. It offers insights into
how diverse ideological frameworks can be communicated and reconciled through
music, fostering cross-cultural understanding. It provides a model for studying the
communication of complex ideas in multicultural societies.

4. Media and Philosophy: The examination of Nepali progressive songs in the context
of socialistic realism and Eastern Vedic philosophy enriches the discourse within mass
communications by emphasizing the critical interplay between media and philosophy.
It underscores the role of media in disseminating philosophical concepts and fostering
philosophical dialogue among audiences.

5. Media Consumption Patterns: Investigating the reception and consumption of Nepali

progressive songs in both domestic and international contexts can provide valuable data
on media consumption patterns. This information can be of interest to media

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 practitioners, policymakers, and researchers seeking to understand how audiences
engage with and interpret media content that contains philosophical and ideological
elements.

6. Educational Resource: This study's findings can serve as a valuable educational

resource within the field of mass communications. It offers a case study for educators
and students to explore the role of media in transmitting and shaping cultural and
philosophical ideas. It can enhance curricula focused on media studies and cultural
communication.

In conclusion, proposed study represents a multifaceted inquiry into the role of media in
conveying complex cultural and philosophical ideas. Its significance lies in its potential to
enrich our understanding of cultural communication, media's role in social change, and the
interplay between media and philosophy. This research contributes to the broader discourse on
media's influence on cultural identity and its ability to facilitate cross-cultural understanding,
making it a noteworthy endeavor within the field of mass communications.

Literature Review:

Methodological Review:

While deciding this research concept, it was mainly tried to select a title based on brief study,
observation and review of researches, works and articles of some Nepali scholars. Among them,
about half a dozen works and research articles of Adhikary, N.M. are decisively utilized for
this purpose. Majorly, Adhikary's research works and research articles- Theory and Practice
of Communication - Bharata Muni, Sahridayata in communication, The Sadharanikaran model
and Aristotle's model of communication: A comparative study, Communication Theorizing
based on Mimansa Philosophy, Sanchar-prakriyako Bhatta-Mimamsa-darshanik adhyayan
[The Bhatta- Mimamsa philosophical study of communication], Theorizing communication: A
model from Hinduism, etc are utilized for methodological review.

Adhikary (2014) has explained in detail about 'The Sadharanikaran Model of Communication'
which was first presented by him in 2003 and sketch revised in 2020. This chapter focuses on
the development of a 'Sadharanikaran Model' by analyzing and synthesizing their
communicative aspects, just as the Rasa Theory was developed from the rasa-sutras of
Natyashastra, taking the Vedas and the Upanishads as a basis. He writes – “Sadharanikaran, as

12
the communication process, consists of Sahridayas as the communicating parties. As a
'technical term', the word refers to people with a capacity to send and receive messages” (p.
321). He writes further – “They are the parties engaged in communication, and capable of
identifying each other as sender and receiver of the process. A Sahridaya is a person in such
state of emotional intensity which is coequal or parallel to that of other(s) engaged in
communication” (ibid.).

Just as Bharata Natyashastra is multi-genre rather than a single genre among the many fields
and genres of knowledge and science; in the same way, Adhikary (2014) has tried to establish
the argument that the communication genre is also multi-disciplinary. It seems that this study
has proved his claim to be true. Adhikary (2014) writes – “Meanwhile, communication, as an
academic discipline, has been changing. Scholars are beginning to realize that it is multicultural
and multi-paradigm discipline. It is not believed that one major paradigm is capable of
explaining all communication behavior” (Adhikary, 2014, p. 7).

Adhikary (2008), who has laid an important foundation in the construction of a model of
communication through this study, discusses the basis and sources of the 'Sadharanikaran
Model of Communication' theory he has built - "Sadharanikaran neither is the only possible
theory/model of communication from Hindu perspective nor is Natyashastra the only source
for theorization. Bhartrihari's Vakyapadiya is another example in this regard" (Adhikary, 2008,
p. 276).
Adhikary (2019) while explaining the Sadharanikaran Model of Communication developed by
him, writes -
"Vakyapadiya and Natyashastra are presented as source-texts for Hindu conceptual
communication theorizing, presenting examples to show that Hindu sages have thought
extensively about both verbal and non-verbal forms of communication since ancient
times. In addition, the theory of Sadharanikaran proposed in the context of conveying
of (literature) poetry has been generalized and explained as Hindu-communication-
theory. Finally, comparing the Hindu and Western concepts of communication on six
grounds, it is shown that they differ on all grounds” (Adhikari, 2009, p. 75).

Another communication theory explained by Adhikary, the research article titled

'Communication Theorizing based on Mimansa Philosophy' also reaffirms his contribution in
the field of theory building. Adhikary (2022) writes – "In the Bhatta-Mimamsa tradition,
psychological, cultural, environmental, etc. aspects are seen as defects in the communication

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process. Mimansaks seem well aware of the facts that the whole process of knowledge is
defective due to linguistic or conceptual defects, defects due to Karan, problems in self-
expression, diversity in perception, ignorance etc." (Adhikary, 2022,
https://gorkhapatraonline.com/news/14177).

There is no dispute or debate about the fact that Natyashastra is a well-established, well-known
and socially approved treatise in the field of Eastern philosophy, theory, belief and learning.
Scholars and researchers repeatedly emphasize that any media, its content, media-related
research, theories developed in this field, etc. must gain social acceptance. Professor, former
editor of The Rising Nepal and Sunday Dispatch weekly Kharel, P. (2016), sheds the light on
the field of dynamics, significance and its objectives - "Approval of society is based on long
held beliefs, widely appreciated. It has liberating force for tracking one's own trail. Social
approval and inherent duties dictate an individual's activity." (Kharel, 2016, p. 6).

The proposed PhD research title and its objectives are basically based on sociological theory
in its nature and point of view. Explaining the meaning and importance of researching mass
communication genre in a sociological perspective, Chalise, B. (BS 2064), a famous writer in
the Nepali literature and mass communication; the former editor-in-chief of Gorkhapatra daily,
writes: "This (sociological research of mass communication) theory, which tries to explain and
predict the future of aspects related to the nature, form and dynamics of human social
interaction, is based on the coordinated structure of personal observation and mutual
understanding of social life. That is, sociological theorists believe that sociological theories
strengthen the process of social integration and restructuring." (Chalise, BS 2064, p. 117).

Thematic Review:

Access to the Theme

There are mainly two types of media in the mass communication process - publication (print)
and broadcast (electronic) media. Newspapers, magazines, books, leaflets-posters etc. are
included in print media. Similarly, radio (both AM and FM), television and various platforms
of internet technology fall under the category of broadcast or electronic media. Both of these
mass media and the mass media process carried out through them mainly fulfill four purposes
- to inform, to educate, to provide entertainment and to motivate (citation should be inserted).

14
There are mainly two types of content published or broadcast by mass media. The first type of
media content is core media content that is published/broadcast as its basic duty to inform,
educate, entertain and motivate readers, listeners and/or viewers. In the same way, media or
communication organizations publish/broadcast materials with the purpose of promoting goods
or services by taking payment at a fixed rate for income-earning; i.e. 'advertisement' is the
second type of content flowing through mass media. The purpose of advertising is to increase
the dividends of an organization or business in the long term or to increase sales by creating
demand for goods or services produced or provided in the market (Aryal, BS 2070 p. 345).
Likewise, citing the American Marketing Association, Khan et al. (2011) writes - any paid
form of non-personal presentation of ideas, goods and services by an identified sponsor (Khan,
Kamble and Khatri, 2011, p. 1-2). Arun (2012) has written about the interrelationship and
conflict between other content and advertising in journalism - Conflicts between objective
journalism, or the role of the media as a 'fourth estate' of government, and the marketing
strategies required for audience acquisition, audience retention, and revenue maximization
during news programming appeared as issues in the very earliest literature of broadcasting and
journalism" (Arun, 2012, p. 269).

Under the first type of content, the format and/or genre of presentation includes news, features,
interviews, songs, music videos, documentaries, telefilms, movies, etc. Among these, song or
music is such a genre, which can fulfill all the above-mentioned four objectives simultaneously
through mass communication media or mass communication process. In other words, a single
song can perform all four functions of informing, educating, entertaining and inspiring alone.
Similarly, music is a type of media content that is widely used in both advertising and non-
advertising content. Journalism is an art in itself and so is literature. So it provides information
and knowledge as well as entertainment. However, the history of art-journalism as a genre is
not very old. Even though the subject of art has been covered in one form or another since the
beginning of journalism, art and entertainment journalism as a separate genre seems to have
gained a place only much later (Ghimire, BS 2080, p. 395).

Review on Core Theme

The period from BS 2007 to 2017 is the beginning of Janwadi song. From the point of view of
historical sequence, the period after BS 1990 can be called the beginning period in some
contexts, but since it is from this time that the song and populism were connected in a planned
and organized manner, it is reasonable to consider that Janawadi songwriting started from this
time (Baral, 2063, p. 26). Although some of the lyricists who appeared in the beginning,
15
Dharmaraj Thapa, Bhupi Sherchan, etc. took the path of escape, folk singers like Devi Prasad
(Kewalpure Kisan) and Gokul Joshi provide conceptual and practical continuity to the song. In
fact, Devi Prasad Kisan and Gokul Joshi are the central figures of this period and are also true
songwriters of the people (Baral, 2063, p. 26).

Gokul Joshi's songs against feudalism and imperialism were written during this period and
most of those songs are collected in Seemanako Deep. 'Bagh Ayo' (BS 2009), 'Nepal Nachho'
(BS 2010), 'Samatera Pachhar' (BS 2012), 'Chhi:Chhi:' (BS 2015), 'Sangharshako Thik Gara'
(BS 2016) are the products against economic, social and cultural disharmony achievements of
this period by Kewalpure Kisan (Baral, BS 2063, p. 26).

From the BS 2039, the development period (of progressive song) also leaps to another stage.
...Yuddhprasad Mishra, Ramprasad Pradeep, Modnath Prashrit, Ramchandra Bhattarai,
Darshan Rai, Rayan, Ramesh, Manjul are important Janawadi lyricists of this period.
Magazines like Suskera, Vedana, Sankalpa also played an important role in song-writing and
publishing (Baral, BS 2063, p. 27). Baral, R.R. (BS 2063) has mentioned that the modern era
of Nepali progressive songs should be understood in two stages. "The first mode from BS 2037
to BS 2046 and second mode from BS 2047 to the present", he writes - "writing and singing,
thinking and commitment are important achievements of this period" (Baral, 2063, p. 27).

"In the true sense, the 'cultural shift' in the field of Janawadi song and culture has appeared
during this period", Dr. Baral (BS 2063) writes – “Kewalpure Kisan and Yudhprasad Mishra
of the old generation; Rayan, JB Tuhure, Khushiram Pakhrin, Shyam Tamot, Vijay Subba,
Mani Thapa, Jeevan Sharma, Agnishikha, Dhrba Gyawali, Hitman Shakya, Girish Pun,
Dhankaji Gurung, Chunu Gurung and others appeared as the next generation during this
period" (Baral, BS 2063, p. 27-28). "This period is the period of publication of cassettes of
Janawadi songs. ...this period is also an important period from the point of view of publication",
Baral (BS 2063) writes – “During this period, song collections and many cassettes were also
published. 'Vedana Janageetimala' (Parts 1–2), 'Janataka Geetharu' (Parts 1–5), 'Hamra
Geetharu', 'Sangharshaka Geetharu', 'Janataka Geetharu' (Biratnagar), 'Sangharshaka Geetharu'
(DEKAFO, Banke), 'Chorus Janagiti Sangalo', 'ISAS Geeti Sangraha', 'Sangharshako Aanshu',
'Janataka Bakaharu' and many other song collections have been published. ...Actually, this
period is a period when Janawadi song and politics went hand in hand” (Baral, 2063, p. 28).

Thapalia, K. (BS 2067) has published a detailed research article discussing many aspects from
the history of progressive song to the present. He has reviewed hundreds of achievements in

16
this field. In that article, Thapaliya has done a detailed analysis and discussion of famous song
books, progressive musical teams across the country and dozens of cassettes of progressive
songs, songs included in them, etc. Reviewing the songs of 'Samana Pariwar', a leading national
level progressive musical team that has been continuously active for more than four decades,
he has written - the song cassettes of the central team of Samana Pariwar are 'Huri Chaldai
Chha, Aandhi Aaudai Chha' (Part-1), 'Jaljala' (Part-2), 'Abhiwadan' (Part-3), 'Raato Ghaam'
(Part-4), 'Naya Nepal' (Part-5) and VCD 'Rata Manchheharu' have been released decades ago.
Similarly, by the West Samana 'Paribartit Yugsangai' and East Saamana 'Ran Maidan' song
cassettes has published (Thapalia, BS 2067, p. 820).

Discussing the personality and work of K.R. Pakhrin, one of the top figure of progressive song-
music, Thapaliya writes - Khushiram Pakhrin, who has gone through a long and tireless musical
journey, is a heritage of the Nepali Janawadi musical movement. He not only energized the
cultural movement with his vocal, art and song; his sweat and blood also provided to strengthen
and to create the new speed (Thapalia, BS 2067, p. 856).

In his article, Thapalia (BS 2067) has discussed Samana, Senchyang, Pratirodh, Chunushilpa,
Kshitij, Sukhani and Chomolungma, Bheri-Karnali, Himali, Rara, Kanjirowa, Naumule,
Awalching and Chuli cultural families etc. Similarly, Tamsaling, Kanchenjangha, Mirak,
Sriantu, Chhintang, Purbi Kshitij, Purbi Khabar, Bisu, Saipal, Ramaroshan, Triveni, Balidan,
Chheda, Vishal, Bini, Sangam, Apisaipal, Shailung, Mithila, Rambriksha, Thanka Cultural,
Bedana, Juneli, Mangka Dabu, Indreni, Raktim, Sharada-Mirmire-Jhimruk, Tamang,
Dhaulagiri and dozens of other cultural families have been discussed in his article.

Concluding his article, Thaplia writes -

A song can influence a large part of the masses at once. In this sense, the effectiveness
of the song is clear. However, on the other hand, Janawadi songs are not as serious as
they should be. There is a need for modification in vocal. In some songs, the lyricist,
composer, singer and even the publication date are not visible, which makes it difficult
to measure the history. It seems that these songs still need to work hard to develop their
ability to fight against anti-polar songs (Thapaliya, BS 2067, p. 863).

Theoretical Review:

Song is basically a form of communication based on the magic of speech-art. Regarding the
power and strength of speech-art, many treatise of Eastern philosophy have been discussed in
detail. "Seriously scholarly research on the power of words and speech, i.e. the human voice,

17
has never been done anywhere else in Bharatavarsha," after mentioning these quotes of
Paramahansa Yogananda in his research article, Adhikary (2007) also quoting Pandit
Ramsuresh Tripathi wrote - "the Upanishads are full of melodious utterances and wise thoughts
on the art of speech ...to see which even today's student of linguistics would be surprised"
(Adhikary, 2007, p. 104).

Poems (including songs) that advocate progress against backwardness are called progressive
poems (songs). It includes spontaneous, humanistic, critical and socialist currents of realism.
Socialist realism plays a leading role in this and it is called progressivism (Chaitanya, 2064, p.
180). working on it....

Review of Previous Works Followed by the Research Gap:

working on it....

Research Design:

The research design for the proposed PhD thesis will be structured to facilitate a comprehensive
and systematic exploration of the subject matter. This design incorporates various research
methodologies, data collection techniques, and analytical tools to ensure the thorough
investigation of the research questions and objectives. The following sections outline the key
components of the research design:

1. Research Philosophy:

This study adopts an interpretive research philosophy, recognizing that the interpretation of
cultural artifacts, such as songs, requires an understanding of the cultural and contextual
nuances that influence their creation and reception. This approach allows for an in-depth
exploration of the social, cultural, and ideological dimensions of Nepali progressive songs.
Although socialist realism and Eastern Vedic philosophy appear to be opposites based on basic
theoretical assumptions, from a practical point of view, they have similar views in many more
aspects. The philosophical basis of this research will be in the comparative study, analysis and

synthesis between these two philosophical concepts.

2. Research Approach:

18
The research employs a mixed-methods approach that combines both qualitative and
quantitative methods to provide a holistic perspective on the study's subject matter. This
approach is chosen to capture the multifaceted nature of the research questions and to
triangulate findings for robust analysis.

The main theme of this study will be the progressive Nepali songs created based on the socialist
realist theory. In this research, presenting, explaining, analyzing and synthesizing the facts to
reach a conclusion, the Sadharanikaran Model of Communication developed on the foundation
of Eastern philosophy will be adopted as a guiding communication Theory.

3. Data Collection:

a. Qualitative Data Collection:

• Content Analysis: A comprehensive content analysis of Nepali progressive songs will

be conducted to identify recurring themes, lyrical content, and musical elements. This
will involve the systematic coding and categorization of song lyrics and musical
components.

• In-depth Interviews: Interviews will be conducted with key stakeholders, including

songwriters, musicians, and cultural experts, to gain insights into the creative processes
behind these songs, their intended messages, and their reception within Nepali society.

b. Quantitative Data Collection:

• Survey Questionnaires: Surveys will be administered to a diverse sample of Nepali

individuals to gauge their preferences, interpretations, and attitudes towards progressive
songs in relation to socialistic realism and Eastern Vedic philosophy. This data will be
analyzed using statistical methods.

4. Sampling:

Sampling for qualitative interviews will be purposive, selecting participants who have a deep
understanding of Nepali progressive songs and their cultural and mass media significance. For
quantitative surveys, a random sampling method will be used to ensure representativeness
among Nepali participants from different demographic backgrounds.

5. Data Analysis:

a. Qualitative Data Analysis:

19
 • The content analysis data will be analyzed thematically, identifying key themes and
patterns in the lyrics, musical composition and status of its dissemination.

• Interviews will be transcribed and subjected to thematic analysis to extract meaningful

insights into the creative and interpretive processes.

b. Quantitative Data Analysis:

• Survey data will be analyzed to identify correlations, trends, and patterns in participants'
responses and general public.

• Cross-tabulations and regression analysis may be used to assess relationships between

variables.

6. Ethical Considerations:

Ethical guidelines for research involving human subjects will be strictly followed. Informed
consent will be obtained from all participants, and their identities will be protected through
anonymization.

7. Timeline:

The research design includes a detailed timeline outlining the various stages of the study, from
literature review and data collection to analysis and thesis writing. This timeline ensures
efficient progress toward completing the PhD thesis within the stipulated timeframe.

8. Limitations and Delimitations:

The research design acknowledges potential limitations, such as constraints on the

representativeness of the sample and the potential for bias in survey responses. Strategies to
mitigate these limitations will be incorporated into the research plan:

1. Progressive songs have a universal dimension. This study will be limited only to the
progressive songs structured in the context and content of Nepal, whether within Nepal
and Nepali language and context in neighboring countries or abroad.

2. Progressive Nepali songs are also structured in many languages. Among these, this
study will be limited only to the songs structured in 'Devanagari script'. The songs of
Tamang, Tharu, Maithili, Bhojpuri, Kirati (Rai-Limbu), Far-Western, Muslim etc.
written in Devanagari script will be included in the study.

3. Mostly volunteer songwriters, musicians and singers who did not engage in the
commercial work of art and literature have worked in progressive songs. However,

20
 some songwriters, musicians and singers active in commercial music and art-literature
have also created and sung some progressive songs. Only those who write, compose
and sing more than 50 percent progressive songs will be included as the main subject
of this study. The progressive creations of such professional artists will also be
discussed for reference and context.

4. Socialist realism is a very comprehensive, profound and broad philosophical

proposition. It has many dimensions including political, social, economic, cultural and
literary-artistic. This study will be limited only to the cultural and art-literary aspects of
socialist realism.

5. Eastern philosophy is also called 'Indian philosophy'. That philosophy is actually not
'Indian philosophy' but 'Bharatavarsha' philosophy. Therefore, in this study,
Bharatavarsha philosophy is considered as an important philosophical basis of
research.

6. Hinduism, Jainism, Buddhism, etc., are included in Eastern or Bharatavarsha

philosophy. This philosophy has a very wide scope and dimension. In this study, the
reference to Eastern philosophy will be limited to the Natyashastra starting from the
Vedas.

7. Efforts will be made to balance gender equality and social inclusion (GESI) into the
overall theme of the study. However, depending on thematic achievement and the
availability of disciplines, equal participation may not be seen in all aspects.

8. The main theme of the study will be focused on from BS 2035-36 to 2080. Contextually
and in the case of historical developments, descriptions from ancient times to the
present can be included.

In summary, the research design for the proposed PhD thesis encompasses a mixed-methods
approach that combines qualitative and quantitative data collection and analysis. This
comprehensive approach aims to provide a nuanced understanding of the cultural, ideological,
and communicative dimensions of Nepali progressive songs.

Chapterization for the Proposed PhD Research Project

Chapter 1: Introduction
• Background and Context
• Statement of the Problem
• Objectives

21
 o General Objective
o Specific Objectives
• Research Questions
• Significance of the Study
• Limitations and Delimitations
• Research Design
Chapter 2: Literature Review
• Methodological Review
• Thematic Review
o Socialist Realism
o Eastern Vedic Philosophy
o Nepali Progressive Songs
• Theoretical Framework
• Review of Previous Works Followed by the Research Gap
Chapter 3: Methodology
• Research Philosophy
• Research Approach
• Sampling
• Data Collection
• Data Analysis
Chapter 4: Nepali Progressive Songs: Evolution and Themes
• Historical Evolution
• Lyrical Themes
Chapter 5: Audience Reception and Media Representation
• Audience Reception
• Media Representation
Chapter 6: Ideological Messaging, Social Change and Global Impact
• Ideological Messaging
• Contribution to Social Change
• Global Impact
Chapter 7: Findings and Conclusions
• Summary of Findings
• Theoretical Contributions
• Practical Implications
• Recommendations to Future Researchers
• Conclusion
References, Bibliography and Appendices
• References
• Bibliography
• Appendices

References:

Adhikary, N. M. (2010). Sahridayata in communication. Bodhi: An Interdisciplinary Journal,

4(1), 150-160.

22
Adhikary, N. M. (2018). Professionalism in journalism and indicators to assess it. In Saxena,
A., Mehta, P., and Chakraborty, S. (Eds.), Fake news, paid news and media trial (pp.
226-257). New Delhi: Kanishka Publishers.
Adhikary, N.M. (2008). The Sadharanikaran model and Aristotle’s model of communication:
A comparative study. Bodhi: An Interdisciplinary Journal, 2 (1), 268-289.
Adhikary, N.M. (2011). Theorizing communication: A model from Hinduism. In Y.B. Dura
(Ed.), MBM anthology of communication studies (pp. 1-22). Kathmandu: MBM
College.
Adhikary, N.M. (2012). Sanchar-prakriyako Bhatta-Mimamsa-darshanik adhyayan [The
Bhatta-Mimamsa philosophical study of communication] (Doctoral dissertation). Nepal
Sanskrit University, Nepal.
Adhikary, N.M. (2014). Theory and Practice of Communication - Bharata Muni. Makhanlal
Chaturvedi National University of Journalism and Mass Communication, Bhopal,
India.
Adhikary, N.M. (2019). Sanchar Siddhantikaran: Sanchar Dhanchako Abhinirman.
Sancharyog Media Pvt. Ltd., Kathmandu.
Adhikary, N.M. (2022), Communication Theorizing based on Mimansa Philosophy.
https://gorkhapatraonline.com/news/14177.
Aryal, B.R. (BS 2070). Bigyapan Ra Sanchar Griha. In D. Aryal, B. KC, and T. Pathak (Ed.),
Media Reader (pp. 345-348). Jagadamba Prakashan, Lalitpur.
Baral, R.R. (BS 2063). Sangeet Ra Saundarya: Aesthetics: Categories and Its Eastern and
Western Traditions. Pragatishil Sahitya Adhyayan Manch, Kathmandu.
Bhattarai, G.P. (BS 2077). Bharatamuniko Natyashastra (second ed., Translated and edited)
Nepal Pragya-Pratisthan, Kathmandu, Nepal.
Chaitanya (BS 2064). Kranti Ra Saundarya: Nepali Pragatiwadi Kavitama Kranti Ra Kalako
Sangati. Progressive Study Center, Kathmandu.
Chaitanya (BS 2067). Rules of Beauty: A Discussion. In G.S. Dhakal et al. (Ed.), Marxbadi
Sahitya Ra Janayuddhako Saundarya (pp. 35-58). Akhil Nepal Lekhak Sangh, Central
Committee.
Chalise, B. (BS 2064). Aamsancharka Siddhantaharu. Sajha Prakashan, Lalitpur.
Dhakal, G.S. (BS 2066). Saundaryashastrako Aankhijhyal. Akhil Nepal Lekhak Sangh, Central
Committee, Kathmandu.

23
Ghimire, R.N. (2023). Jeevanka Rangaharuko Prastuti. In B. Dhungel (Ed.), Bidhagat
Patrakarita (pp. 395-418). Office of Communication Registrar, Ministry of Home
Affairs and Law, Bagmati Province, Hetaunda.
Khan, R.R., Kamble, S.R. & Khatri, R. (2011). Advertising. Institute of Distance and Open
Learning, University of Mumbai.
Kharel, P. (2016). Media Medley: Issues and Ideas. Mandap Books, Bhrikutimandap,
Kathmandu.
Marx, K. & Engels, F. (1975). Collected Works of Marx and Engels (Vol. 3). Progress
Publishers, Moscow.
Neupane, S.R. (BS 2067). Aadhunik Nepali Kavita-Kavya. Pairavi Prakashan, Kathmandu.
Pakhrin, K.R. (BS 2063). Raktakrantika Geetharu: Mero Bhanai. Akhil Nepal Janasanskritik
Mahasangh, Central Committee, Kathmandu.
Pandey, T.K. (1996). Kalasahitya: Bhumika Ra Mulyankan. Chintan Prakashan Pvt. Ltd.,
Kathmandu.
Rahman-Davies, Abibat (2018). https://humanityinaction.org/knowledge_detail/we-shall-
overcome-what/?lang=nl. Accessed on September 8, 2023.
Thapaliya, K. (BS 2067). Krantikari Geetsangeet: Sanchhipta Paryavekshan (Revolutionary
Songs: A Brief Overview). In G.S. Dhakal et al. (Ed.), Marxbadi Sahitya Ra
Janayuddhako Saundarya (pp. 818-865). Akhil Nepal Lekhak Sangh, Central
Committee.
Upadhyaya, C.K. (BS 2040). Sangeet Shiksha (Music Education). Janak Education Materials
Center Ltd., Sanothimi, Bhaktapur.
Uprety, T. (BS 2067). Sanchar Anusandhan: Aamsanchar Anusandhan Bidhiharu. Sajha
Prakashan, Lalitpur.
Wimmer, R.D. & Dominick, J.R.4 (2011). Mass Media Research. CENAGE Learning, Delhi,
India.

24
 नेपाल� प्रग�तशील गीतहरूको दशर्न र सन्दे श

प�रचयः
प्रग�तशील गीतहरूलाई ‘जागरण गीत’, ‘प�रवतर्नका गीत’, ‘क्रािन्तकार� गीत’, ‘रूपान्तरणकार� गीत’, ‘प्रग�तवाद�
गीत’ आ�द प�न भन्ने ग�रएको छ । यस गीतको प्रव�ृ �गत धारालाई सा�हित्यक–सांस्कृ�तक भाषामा समाजवाद�
यथाथर्वाद� धाराको �सजर्ना भन्ने÷मान्ने ग�रएको छ ।

अध्ययनको मुख्य आधार र �व�धः

– मल
ू जग, जन्म, �वकास र �वस्तार वै�दक संस्कृ�त र नाट्यशास्त्रकै आधारमा ।
– सञ्चारको साधारणीकरण मोडेल, भाट्ट–मीमांसा दाशर्�नक दृिष्टकोण, सातत्य दृिष्टकोण र सहृदयता दशर्नसँग
अन्योन्या�श्रत सम्बन्धको �वषय ।
– उल्ले�खत दईु �व�ध, मान्यता र दशर्नका आधारमा गहन अध्ययन गर� नवीन �नष्कषर् �नकाल्दै �सद्धान्तका
रूपमा �वकास गनर् स�कने प्रबल सम्भावना ।

अध्ययनको औ�चत्य र मह�वः

– गीतसङ्गीतको प�हलो स्रोत सामवेद हो । त्यसप�छ यसका सवैजसो पाटा–प�लाई मूत�करण, प�रभा�षत र
�श��त–द���त गन� आ�दग्रन्थ नै नाट्यशास्त्र हो । अरु जन
ु सक
ु ै गीतजस्तै प्रग�तशील गीतहरू प�न यी
आधारभूत यथाथर्ताभन्दा बा�हर छै नन ् र हुनै सक्दै नन ् ।
– वै�दक सभ्यता, �श�ा र मागर्दशर्नवमोिजम �सिजर्त गीतसङ्गीत र कलासा�हत्यका आधारभूत प�हरूको
पालना र अनश
ु रण गन� तर वेद, उप�नषद्, नाट्यशास्त्रजस्ता ग्रन्थ तथा वै�दक सभ्यता, संस्कृ�त र �श�ाको
उपहास, �वरोध र अव�ा गन� एउटा प्रव�ृ � नेपालमा �नकै बलशाल� अविस्थ�तमा हावी छ ।
– प्रग�तशील गीतसङ्गीतका सम्बन्धमा प्रायः नेपालका ‘वाम’ �वचारधाराप्र�त आस्थावानहरूले काम गद�
आएको÷ग�ररहे को पाइन्छ । उनीहरूले वेद, वै�दक दशर्न, समग्र पव
ू �य दशर्न, �सद्धान्त र मान्यताहरूलाई
‘�वरोधी �वचारधारा’, ‘अवै�ा�नक मान्यता’ र ‘रुढ�वाद’ का रूपमा प्रचार र व्याख्या तथा सोह� अनस
ु ारको
व्यवहार गन� गरे को पाइन्छ । जस्तै–
क) क�तपय ‘वाम’ घटकहरूले ‘अ�नवायर् संस्कृ�त �वरोधी आन्दोलन’ नै चलाएको दृष्टान्त छ ।
ख) �व�भन्न ‘वाम’ पाट�का केन्द्र�य स�म�त र �व�भन्न क�मट�हरूले पव
ू �य दशर्न, वेद र वै�दक परम्पराप्र�त
अनास्था, �वभ्रम र द्वेष प्रकट गन� खालका �नणर्य एवम ् �नद� शनहरू गरे का खबरहरू �नरन्तररूपले
प्रकाशन÷प्रशारण हुँदै आएको दे �खन्छ ।
ग) ‘वाम’ दलहरू सरकार र नी�त �नमार्णको तहमा प्रभावी रहे का बेला वै�दक परम्परा, दशर्न र �सद्धान्त
प्र�तकूलका क�तपय �नणर्य भएको दे �खन्छ ।
– अतः अध्ययन, �वश्लेषण, तथ्य र तकर्का आधारमा प्रग�तशील गीतसङ्गीत र वै�दक सभ्यता, संस्कृ�त र
�श�ा परस्पर दश्ु मन नभई एकापसमा अन्योन्या�श्रत सम्बन्ध भएका प�रपरू क �वषयहरू हुन ् भन्ने यथाथर्ताको
उद्बोधन गर� स्था�पत गनुर् बौद्�धकजगतको कतर्व्य बन्न गएको छ ।
– नेपालमा र �वश्वभ�र नै आमसञ्चारका माध्यम (�वशेषतः �वद्यत
ु ीय– रे �डयो, टे �ल�भन र अनलाइन) ले प्रवाह
(मूलततः प्रशारण) गन� �वषयवस्तु (कन्टे न्ट) मध्ये उल्लेख्य �हस्सा (स्थान र समय) गीतले ओगट्ने भएकाले
यो �वधा आमसञ्चार अनस
ु न्धानको एउटा �नकै सान्द�भर्क र मह�वपण
ू र् �वधा हो ।
– गीतका अनेक� प� र सन्दभर्मा यसअ�घ नै पयार्प्त अध्ययन–अनस
ु न्धान भइसके ताप�न ‘नेपाल� प्रग�तशील
गीत’ का �वषयमा प्रस्ता�वत स्तर, �व�ध र मह�वका साथ अध्ययन भएको पाइँदैन ।
ठोस उद्दे श्यः
नेपालमा �व�भन्न समयमा भएका अनेक तह र प्रकारका �नवार्चनको प�रणामले यहाँको लगभग दईु �तहाई
जनसङ्ख्याको झुकाव, समथर्न र मत ‘वामपन्थी’ �वचारधाराप्र�त प्रकट गन� गरे को स्पष्ट रूपले दे खाउँ दै आएको
छ । प्रग�तशील गीतसङ्गीत यह� धारको प्र�त�न�धमूलक सांस्कृ�तक आन्दोलन हो र वैचा�रक प्र�त�बम्बन समेत
हो । प्रग�तशील गीतसङ्गीतले उनीहरूको प्रभाव स्थापना, �वकास र �वस्तारमा �नकै ठूलो योगदान प¥ु याउँ दै
आएको समी�ा अनेक� अध्येता र �वद्वानहरूले गद� आएका छन ् ।
मुलक
ु को जनसङ्ख्याको य�त ठूलो �हस्सालाई उनीहरूको वैचा�रक एवम ् आस्थागत मान्यताबाट �वमुख गराउनु
आवश्यक र सम्भव दव ु ै हुँदैन । तर, समाजको त्यस �क�ामा वेद, वै�दक संस्कृ�त, पवू �य दशर्न र सनातन
संस्कृ�त उनीहरूले अँगालेको ‘प्रग�तशीलता’ को �वरोधमा छै नन ् बरु एकापसमा अन्योन्या�श्रत र प�रपरू क छन ्
भन्ने �नष्कषर्, यथाथर्ता र सन्दे शले द���त गनप
ुर् न� जरुरत छ । यो अध्ययन त्यस �दशातफर्को प्रयासमा मह�वपण
ू र्
कोशेढुङ्गा हुने �वश्वास �लइएको छ ।

प्रव�ृ �गत दृिष्टः

– मान्छे –मान्छे बीच वगर्, �लङ्ग, �ेत्र (भग
ू ोल), आ�थर्क है�सयत, अवसर आ�दका आधारमा भइरहे का÷हुने �वभेद,
भेदभाव, अन्याय, अत्याचार, शोषण इत्या�दको �वरोध गद� समानताको प�पोषण गनुर् ।
– शासक र शा�सत वगर्बीचको दरू � र खाडल समाप्त पानुर् ।
– प्राकृ�तक एवम ् सामािजक–आ�थर्क स्रोत–साधन र अवसरमा समानता कायम गनुर् ।
– �वभ्रम, रुढ�वाद, अन्धता, ह�नता र अ�ानताका �वरुद्ध �ान, चेतना, �ववेक, जागरण, उत्साह र स�क्रयता
पैदा गनुर् ।
– व्यिक्तवादका �वरुद्ध सामािजक भावना र सामू�हकतामा जोड �दनु ।
– उच्छृङ्खलता, अभद्रता, असभ्यताका �वरुद्ध सभ्य, सौम्य र भद्र व्यिक्त तथा समाजको स्थापनामा जोड
�दनु । गीतसङ्गीतका नाममा प्रवद्र्धन ग�रएका÷ग�रने अश्ल�लता, अराजकता, उद्दण्डता, पिश्चमा शिक्तको
अन्धानक
ु रण र व्यापार�करणबाट मुक्त रहनु ।
– ‘सम्पन्न’ र ‘शिक्तशाल�’ भ�नएका पिश्चमा राष्ट्रहरूको वैिश्वक हस्त�ेप, �नयन्त्रण र आ�थर्क–सांस्कृ�तक–
सामािजक–राजनी�तक हस्त�ेप र एका�धरको �वरोध गद� मौ�लकता, स्वतन्त्रता, सावर्भौ�मकता र अन्तरार्िष्ट्रय
समानतायक्
ु त भाइचाराको वकालत गनर्ु । आ�द ।
गहन ढङ्गले अध्ययन गदार् र अनेक� दृष्टान्तहरूको कसीमा जाँच्दा वेद, उप�नषद्, नाट्यशास्त्र हुँदै अ�घ बढे का
वै�दक संस्कृ�त, पव
ू �य सभ्यता–ग्रन्थ, दशर्न, �सद्धान्त र मान्यतामा कह�ं–कतै प�न प्रग�तशील गीतसङ्गीतका
उल्ले�खत प्रव�ृ �को �वरोधी र �वपर�त दृिष्टकोण दे �खँदैन । बरु प्रायः सवैमा समान धारणा दे �खन्छ ।

�वषय�व�हरू
१. डा. ताराकान्त पाण्डेय
२. डा. ऋ�षराज बराल
३. डा. नन्द�श अ�धकार�
४. डा. गोपीन्द्र पौडेल
५. डा. भगवानचन्द्र �वाल�
६. प्रा.डा. सध
ु ा �त्रपाठ�
७. डा. ठाकुरप्रसाद भट्ट (काठमाड� �व.�व., स्कुल अफ म्यानेजमेन्ट)
८. रोशन जनकपरु �
९. गोपाल ठाकुर
१०. ईश्वरचन्द्र �वाल�
११. छायाद� न्यौपाने
१२. चैतन्य
१३. म�ण थापा
– आवश्यकताअनस
ु ार ५० जनासम्म पग्ु ने ।

अध्ययनका पात्रहरू
१. रामेश श्रेष्ठ
२. रायन श्रेष्ठ
३. श्याम तमोट
४. मञ्जल
ु
५. जेबी टुहुरे
६. खुसीराम पा�ख्रन
७. जीवन शमार्
८. माइला लामा
९. चुनु गरु
ु ङ
१०. च्याङ्बा लामा
११. �नमर्ला �घ�सङ
१२. मो�हत श्रेष्ठ
१३. झन्कार बढ
ु ा
१४. राजन राई
१५. शम्भु राई
१६. माधव प्रधान
– आवश्यकताअनस
ु ार २०० जनासम्म पग्ु ने ।

सीमा र प्र�तबद्धताः
नेपालको सन्दभर्मा ‘प्रग�तशील’ वा ‘प्रग�तवाद’ भन्नासाथ एउटा �निश्चत राजनी�तक प�, दल, समूह वा खेमाको
वकालत या प्रचार गरे को समेत अथर् लाग्न सक्दछ । यथाथर्तः नेपाल� गीतसङ्गीतको �ेत्र र त्यस�भत्रको एउटा
वैचा�रक प्रव�ृ �को समग्र अध्ययन, �वश्लेषण र �नष्कषर् �नरूपणमा मात्रै यो अनस
ु न्धान सी�मत रहने छ । यस
अध्ययनको सन्दभर्मा कुनै दल–समह
ू �वशेष र राजनी�तक प��वशेषका कुनै प�न राजनी�तक �सद्धान्त, दृिष्टकोण,
अवधारणा, एजेन्डा, नारा इत्या�दले �कमाथर् स्थान पाउने छै नन ्, ती कसैको नमोल्लेखन र नामोच्चारण ग�रने
छै न । प्रा��क, सा�हित्यक, सांस्कृ�तक, सैद्धािन्तक, सञ्चारगत र प्रा�व�धक सन्दभर्ले प्रसङ्गवश कुनै ऐ�तहा�सक
दस्तावेज र �सद्धान्तसम्मको भने यदाकदा चचार् हुन पग्ु नु बेग्लै कुरा हो ।

सन्दभर् सामग्रीहरूः
– नेपालमा प्रग�तशील गीतसङ्गीतको �ेत्रमा काम गरे का किम्तमा ५० वटा संस्थाहरूको अध्ययन, �वश्लेषण र
समी�ा गनर् स�कन्छ ।
– य�तबेला अिस्तत्ववान ् वा �क्रयाशील किम्तमा १५ वटा यस्ता संस्थाहरूको अध्ययन, �वश्लेषण र समी�ा गनर्
स�कन्छ ।
– यस प्रव�ृ �का गीतहरू रे कडर् भएका किम्तमा ५० वटा गी�त–एल्बम (क्यासेट, सीडी र यट्
ु यब
ु प्ले–�लस्ट) र
फुटकर समेत गर� किम्तमा एक हजार गीतहरू सङ्कलन गर� अध्ययन, �वश्लेषण र समी�ा गनर् स�कन्छ ।
– यस धाराका केह� चल�चत्र, नाटक, एकाङ्क�, अपेरा, कय� म्यिु जक �भ�डयो, नेपाल� प्रग�तशील गीतसङ्गीतको
�वषयमा �वदे शी अध्येताले तयार पारे का व�
ृ �चत्र र अनस
ु न्धान प्र�तवेदन आ�द समेतको अध्ययन, �वश्लेषण
र समी�ा गनर् स�कन्छ ।
– डा. ऋ�षराज बरालको ‘सङ्गीत र सौन्दयर्’, चैतन्यको ‘�हमाल� दशर्न’, डा. ताराकान्त पाण्डेयको ‘प्रग�तशील
काव्यकृ�तको समी�ा’, खस
ु ीराम पा�ख्रनका ‘आँशक
ु ो भाका’ र ‘रक्तक्रािन्त’, जीवन शमार्को ‘�समल� छायाँ’ र
‘रिक्तमका गीतहरू’ लगायत किम्तमा सयवटा पस्
ु तकहरू सङ्कलन, अध्ययन, �वश्लेषण र समी�ा गनर्
स�कन्छ ।
– चार वेद, उप�नषद्, नाट्यशास्त्र, पव
ू �य दशर्न र सा�हत्यकलासम्बन्धी अरु कय� कृ�तहरूको अध्ययन, �वश्लेषण
र समी�ा गनर् स�कन्छ ।
– डा. �नमर्लम�ण अ�धकार�का दजर्न आसपास कृ�त र अनस
ु न्धान प्र�तवेदनहरूको अध्ययन, �वश्लेषण र समी�ा
गनर् तथा �तनलाई आधार मानेर अनस
ु न्धान प्र�क्रया सम्पन्न गनर् स�कन्छ ।
– आमसञ्चार तथा पत्रका�रतासम्बन्धी स्वदे शी–�वदे शी लेखकहरूका अरु ५० आसपास सङ्ख्याका कृ�त तथा कय�
अनलाइन स्रोतहरूलाई मह�वपण
ू र् सन्दभर् सामग्रीका रूपमा �लन स�कन्छ ।