Added At: 2011-07-01 11:11 PM Last Updated At: 2011-07-01 11:11 PM
SHARADA ADHIKARI
KATHMANDU: There is something endearing about poet Bairagi Kainla — the moment he starts talking, you feel this instant liking for him. The way he speaks, the resonance in his voice, his thoughtful expressions and the balance he maintains in his speech — everything is impressive.
Equally impressive is his contribution to the Nepali language and literature.
Not just a poet, this man is one of the founders of Tesro Aayam, and is also a researcher of Limbu culture.
At present this 72-year-old man is the Chancellor of Nepal Academy.
An average kid Kainla likes to call himself “an average child”. “I was a simple child who never did any kind of mischief. I was neither clever nor courageous,” claims Kainla, who was born at Pauwa Sartap village of Panchthar district in 1939.
The fourth son of Subba Khadga Bahadur Nembang and Saraswoti Devi Nembang, Kainla grew up in a large family “that was not prosperous but able to fulfil basic needs”.
“My father had six wives, eight sons and six daughters,” shares Kainla adding, “I don’t know why he married so many women.”
He learned reading and writing from the baidars and pundits of the village. As there were no schools in his village, Kainla went to Ilam at the age of eight to start his formal education.
“My family understood the value of education,” remembers Kainla with gratitude. Kainla completed his Grade VII at Ilam High School and joined Government High School (GHS) in Darjeeling to pursue his further studies.
Birth of Bairagi Kainla
Born Til Bikram Nembang, he got his literary name Bairagi Kainla in Darjeeling where his literary life started.
“Darjeeling was the centre of Nepali literature then. Students used to publish hand written newspapers,” Kainla recalls. Influenced by what was happening, Kainla and his friends also published hand written newspaper in 1954.
“I still remember my poem Aanshu was published in that newspaper,” Kainla shares.
They used to participate in literary programmes and he vividly remembers how prominent Nepali litterateurs like Bal Krishna Sama, Siddhi Charan Shrestha, Bhawani Bhikchhu, Kedar Man Byathit and even Bisheswor Prasad Koirala
would come to take part in those literary programmes.
“The arrival of such people always gave energy and inspiration to young people like us,” he comments.
In 1957, he joined the Government
College in Darjeeling and while there he began to get actively involved in literary activities.
“It was then that I began to write under my literary name Bairagi Kainla,” he reveals. The best of his works like Parbat, Ganga Neelo Bagchhu, Aunla Haru Chumera, Mateko Manchheko Bhashan: Madyarat Pacchiko Sadak Sita came out between 1959 to 1970.
Literary struggle
His inclination towards poetry began after he got involved in literary activities. He shares that he always had this wish to give something new to Nepali literature which is why he initiated the Tesro Aayam movement. Defining what Tesro Aayam is all about, Kainla narrates, “Literature should not talk only about an individual or single group being one-sided. It should talk about ‘the whole’ and writers should be separate from their creations.”
The movement initiated by Kainla with poet Ishwor Ballav and Indra Bahadur Rai began during the 60s. They used to organise kothe gostis (room meetings) where they discussed poetry and writing. They also organised elocution competitions
at the district level on the verses of Ramayana and even brought out fortnightly literary journal called Ful, Pat, Patkar.
Several well-known writers used to participate in those meetings. “Literature is not a slave of a particular opinion or philosophy. Literature is independent,” argues Kainla who raised the same issue through that literary movement.
However, it was not an easy task to challenge tradition.
“People used to follow a particular ‘ism’ at that time and they protested our movement a lot. Still we continued our work. We wanted to develop a writing process that would be free from subjectivity,” adds Kainla putting forth his poem Parbat that exemplifies the movement.
Preserving Limbu culture
Besides being a poet, Kainla has also developed his identity as a researcher of Limbu culture. He developed his interest towards Limbu culture after he met Iman Singh Chemjong, a Limbu cultural historian.
“I was impressed by the way he was writing Limbu script,” opines Kainla who used to make audio records whenever there used to be puja or any other kind of cultural activities in his house. He transcribed all the recorded Limbu folklore and oral traditions in 1990.
The compilation of Limbu-English-Nepali dictionary with more than 10,000 headwords is one of his major works.
He also published two books on Tongsing (three-night oral ritual for accidental death) and developed the Limbu script on computer.
A new role
As of February 2010, Kainla has shouldered the responsibility of the Chancellor of Nepal Academy. He had been nominated as the member of Royal Nepal Academy twice —1990 and 1994.
However, Kainla who still wants to do more for the Limbu folk literature says, “This is not the work of my choice.”
Other people his age might be enjoying a retired life, but Kainla is still very active despite health problems. “I was taken to ICU due to severe nose bleeding some four years ago,” shares Kainla.
But then for him writing is everything. “I wrote very few poems. I feel I have not made much contribution to Nepali literature, but that literature has given me more than I really deserve. I have known no other work except writing. Nor have I collected enough money that would support me in my old age,” states Kainal who claims he is going through “an insecure old age”.
Source: http://www.thehimalayantimes.com/fullNews.php?headline=A+dedicated+soul&NewsID=293925