‘We don’t teach that to females,’ they were told. They learned anyway

In Biratnagar, a quiet revolution is playing out, orchestrated by the resonant sounds of the naumati baja, traditionally an all-male domain. Four years ago, a modest government allocation of Rs0.5 million, championed by Sangita Karki Bhandari and her friends, broke down long-standing gender and caste barriers, enabling 32 women to master these complex traditional instruments. This initiative, born from Bhandari's personal inspiration, faced initial resistance rooted in restrictive cultural perceptions. Yet, through persistent advocacy, women from all 19 wards of Biratnagar joined, learning from elderly male musicians and forming four vibrant female-led ensembles, including Bhandari's own 'Srijansheel Naumati Panchebaja' group.

“

No women from Chhetri and Bahun communities had participated initially.

For these women, playing in the naumati baja is more than just a hobby; it's a source of joy, a productive way to spend time away from isolation, and a therapeutic outlet for stress. The article underscores that this movement is part of a larger, often underappreciated narrative of women in Nepal pushing against societal constraints. It draws parallels with Indira Lachhimasyu, one of Nepal's first female dhime players, who faced significant criticism in 1994 for defying patriarchal norms dictating women's roles, even in artistic expression. Her personal triumph resonates with the growing presence of women in traditional folk music.

“

Currently, we simply enjoy being in a band. A promising way to spend time, rather than staying alone at home.

Musician Sarada Dongol further emphasizes this point, viewing women's participation in folk instruments as a powerful act of defiance against gender and caste stereotypes, while simultaneously serving to preserve and promote Nepal's rich cultural identity. She sees it as a direct challenge to traditional views, highlighting how deeply ingrained these restrictions have been. The narrative presented here is not just about music; it's about reclaiming cultural heritage and asserting agency in a society still grappling with deeply rooted patriarchal structures.

“

Change arrives only when we remain persistent.

From a Nepali perspective, this story is profoundly inspiring because it showcases resilience and the quiet, yet determined, subversion of norms that have historically limited women's participation in public life and cultural expression. While Western media might frame this as a simple story of female empowerment, for us, it represents a significant cultural reclamation and a vital step towards gender equality within the very fabric of our traditions. The success of these women in mastering instruments like the naumati baja and dhime baja is a powerful testament to persistence and a hopeful sign for the future of cultural preservation and gender equity in Nepal.

“

I take it as challenging the traditional view as well. In our society, we have a small scale of acce