Christa Drigalla: Helping the Nepalese to Help Themselves (Satis Shroff)

Christa Drigalla is an amiable German lady, a hospital managers who worked at the Diakonie hospital in Freiburg (South-west Germany), where she did Nursing Management. Sometime back, this author had the opportunity of going for a walk to the Emperor’s Chair (Kaiserstuhl), a volcanic wine-growing area in the vicinity of Freiburg, with Christa.
‘I’d love to trek to the Rara lake. I saw colour transparencies of Rara shown by a Freiburger professor in St. Georgen and was so fascinated’, said Christa. She has been to Annapurna, Chitwan and Langtang. ‘Springtime in the Himalayas is wonderful’, she said as she drank her Nepal tea and mentioned names like Kanchan Gompa, Laurebina-pass and Sundari and about 17 to 18 degrees centigrade temperatures in the month of November. But she said she liked to brave it all and wouldn’t miss trekking a bit.
At the beginning Christa worked as a nurse at the Shanti Seva Griha, a leprosy clinic run by the Dortmunderin Marianne Grosspietsch, which is located in Pashupati, near the river. She helps where she can, and is uncomplicated. The small 12-bed clinic, an outdoor Ambulanz (In German Ambulanz is not a car to transport injured patients, but a ward to cater to the needs of the outdoor patients. An ambulance in the English sense of the word is called a Rettungswagen). Shanti Seva also runs a school for the children of the leprosy patients. There’s a coffee-shop, a tailoring-service and a branch in Budanilkantha, which is open twice a week. The outdoor ward has over 2,300 registered patients.
The poor, ill, blind, lame and lepers come from the miserable, smoggy streets of Katmandu and the temple complex of Pashupatinath, Nepal’s biggest and holiest gold-roofed hinduistic temple. The sickly beggars are never too tired to beg for alms from pious people (Hindus from Nepal and India), who are allowed to worship in the sancrum sanctorum of the Shiva-temple.
The other curious visitors who are obliged to remain in the periphery of Pashupatinath are the camera-toting foreign tourists. Whether it’s coy and ashamed bathing Nepalese women in wet, sticky saris, burning Hindu corpses and the mourning relatives of the deceased, hungry lepers or agile Rhesus temple-monkeys, the dauntless tourists photograph everything for their transparency, video and DVD-shows back home. The Shanti Seva Griha takes care additionally of the white-haired, wrinkled widows, women and children from the neighbourhood. And the treatment is free. The Griha also has a rehabilitation-centre near the Royal Golf Club Nepal. It has a tailoring workshop where stigmatised Nepali lepers work in peace. Lepers are still heavily stigmatised in Nepal, like the people with plague in the Middle Ages in Europe. Today, it’s possible to cure the disease by using an antibiotic cocktail.
Christa said that she put up at a small lodge near the Clinic, and lived sometimes with Nepalese friends near the Ring-road. There’s a German nurse named Irma who hails from Achern and she has additionally a leading role at the Nursing Campus (Patan). Christa comes from a hamlet named Albringhausen, with a population of 229 in Lower Saxony, a flat state at an elevation of 14metres above sea-level.
‘It’s all farms, corn-fields, meadows and windmills. More and more farmers are giving up their farms and the farms are in poor conditions due to the bad EU agricultural politics. It’s East Friesian country with fishers, crabs, cows.’ She has a brother and a sister out there in Lower Saxony but she lives the mountains. If she’s not trekking in the Himalayas then she’s invariably wandering up and down the Swiss Alps or in the Black Forest Mountains.
‘I have it in my genes, this Wanderlust,’ she says almost apologetically. Christa Drigalla has been running the Interplast Germany’s hospital in Nepal for a long time. Interplast is a US- German undertaking which carries out plastic surgery on leprosy patients, which is extremely useful for the poor Nepali patients, who are ostracised and shunned by the Nepali society.
She talks at length about the corruption scandals in Kathmandu. ‘Everybody is pumping money into Nepal but where is it vanishing? The number of beggars in Katmandu, and Nepal in general, seem to multiplying. I don’t see any structure in Nepal. There are so many NGO projects, and there’s hardly any monitoring done.’ All the NGOs ought to be coordinated by the new government’s Social Ministry. Every big foreign country has, in addition to its official development volunteer programme, a bevy of NGO projects. Even local NGOs are cropping up like mushrooms after a monsoon shower. And all international organisations want to help the fifth poorest country in the world to get up on its feet.”
Where are the priorities? For instance, most of the foreign projects have programmes in the educational sector, but they don’t dare to intervene and help develop new, attractive vocational curricula. They just open or support existing schools, and let the Nepalis carry on with their own anachronistic teaching methods and curricula. Only the rich have access to modern education. What are Nepal boys and girls to do after they have done their School Leaving Certificate? Who is going to finance higher education? There are just not enough vocational outlets.
There’s no question about the need for NGOs but where does the money disappear? Isn’t it literally helping others to help themselves through the aid-industry? The money and effort just doesn’t seem to trickle down to the grassroots. Quo vadis development aid?
Christa Drigalla says, ‘‘A deep orthodox faith in religion is not good for these modern times. For now. It’s better to try and improve one’s present life(style) than to expect that it will be better in one’s next life. I often hear paralysing fatalistic opinions like ‘ke garnu? jindagi jestai chha (What shall I do? Life is like that). Or ‘ke garnu? upai chaina! (What shall I do? There’s no way). Modern educated Nepalis tend to say ‘Where there’s a will, there’s a way’. Perhaps that is the value of education.’.
‘Practical steps are useful in pepping oneself up. When I was at Shanti Griha we constructed a shower for the staff and patients. She longs to see the friendly faces of Prabha the social worker, Hari the sanitater, Krishna the physiotherapist, Dr. Singh the team-physician and Marianne.
‘I’ve been expanding the plastic surgery hospital project run by Interplast at Salambutar, near Sankhu,’ says Christa Drigalla. This new hospital was opened officially in November 1997 and was dubbed Sushma Koirala Memorial Hospital (SKMH) after the daughter of the former Nepalese Prime Minister who burnt to death in her sari. The international medical team of the SKMH is busy with operative corrections of patients who have scars from burns, deformities from birth, or have lost a part of their hands or feet through leprosy-infection. This medical area has been the connecting link with the Shanti-Griha-Project with its leprosy patients. Besides rendering concrete medical help to these Nepalese patients, the aim of the ‘Interplast’ organisation in the whole world is to teach local surgeons special operation-techniques, and to give their know-how to them so that they can operate independently at a later stage. Other members of the medical-staff like nurses, sanitaters, physiotherapists also receive special training and instructions to take optimal care of the post-operative patients. The Interplast-run hospital is, after a period of initial financial and intellectual help, to be overtaken by the Nepalese counterparts.
Christa has been working for more than a decade in Nepal and has survived the revolution of the eighties, the nineties and now the Maoist take over at the recent polls.
‘I’m sure that this ‘help to self-help’ (Hilfe zur Selbsthilfe) is the most effective solution towards improving the situation of the patients in Nepal,’ says Christa Drigalla. She has always had an inner desire for a long time to get to know Nepal not only as a tourist, but to live here and to experience the entire seasonal changes of Nature, with winter and sommer, the dry period and monsoon, to get to know and understand the people better and to do more trekking’. And that’s exactly what she has been doing all these years and has even built a wonderful house in scenic Nagarkot from where she can peer at the Himalayas..
One can only admire her courage, endeavour and the ability to assert herself and I’d like to wish her well. She is what we call in German eine gute Seele, a good soul, and is the personification of togetherness, Miteinander.

Public Viewing Zeitgeist (Satis Shroff, Freiburg)

The scene is at the Joggeli ,
A stadium in Basel, Switzerland.
The Czechs think the Germans are going to be behind them.
Karel Brückner wears a black muffler on this humid afternoon.
The Swiss Nati enters the arena.
Yodel songs, Alp horns, an elegant Miss Swiss saunters by,
Samba music reminiscent of Guggemusik at Fasnet,
Swiss fans with red and white flags,
Effigies of Swiss cows, blondes wearing hats,
Caps and motley headgear,
Blonde farmers on stilts, soccer ball skirts and milk-cans,
Amid cow bells and the cries of the spectators.
Mountain pixels: Jungfrau, Mönch and Eiger,
Skiing figures of a Ski nation,
Barock costumes, dancing figures
In black n’ white,
The waltz and techno music.
Magic cube effects on the soccer field.
Symbols for Swiss watch industry,
Flags galore.
A coy Amanda Amman,
Miss Switzerland in scarlet silk.
“She’s half Swiss and half Czech” quips someone.
The Swiss are celebrating a big soccer festival.
The entire stadium becomes a soul,
Unified as 100,000 fans shout in defiance
Through their larynx and lungs.
From Ortenau to Schaffhausen,
The fans are streaming in,
Controlled by Swiss, German
And French security men and women,
Armed with guns, sticks, Alsatian dogs,
And Luftwaffe aircraft doing sorties in the sky,
The fear of Al Kaida is everywhere.
42000 in the St. Jakob’s arena,
35 000 in the Fan Zone,
Another 20 000 in the inns, taverns
Public viewing places in Basle.
Discussions center on
The four-man defence chain,
Tactics, strategies of trainers,
Performances in the Bundes and other leagues.
A big chance for Switzerland.
438 green balloons reach for the sky.
Fireworks,
Standing ovation from the spectators,
The Swiss hold hands
To the national hymn
Standing ovation for a knie injured captain,
Alexander Frei the surest Swiss striker,
Is in tears against the Czechs.
0:2 says the gigantic stadium neon chart,
Against the Turks.
Köbi Kuhn the dignified thoughtful Swiss man’s
Euro dream disappears.
The best Euro host takes its bow.
You can still read the disappointment on our faces.
Ach, Helvetia you’re great even in defeat.

Satis Shroff receiving the DAAD-Prize

A Tribute to Anzu Furukawa and The Rite of Spring (Satis Shroff)
I’d often seen an outsized portrait of Anzu Furukawa in Wolfgang Graf’s home, and when we talked about Anzu and he said, “My own experience with Anzu came in 1999, during the San Francisco Buto Festival. I participated in her workshop and found her to be a good teacher, able to communicate well to her students despite the fact the her English was somewhat limited. She used humour to break the tension that so often can hamper a student from learning. That same humour was communicated in her performance of one of her most famous works, Crocodile Time.”
Anzu Furukawa was born in Tokyo in 1952. She studied in 1972-75 under professor Yoshiro Irino in the Toho-gakuen College of Music. She worked since 1973 as a choreographer, performer and scenarist in various groups in Japan and Europe on many international festivals. Among others she also worked in 1979 as a solo dancer in the Dairaku-kan buto group. An accomplished ballet dancer, modern dancer, studio pianist for ballet companies and a student of modern composition of music in addition to being both a teacher and performer of Buto dance.
In this connection it is necessary to talk about the Buto. 'What is 'Buto?' you might ask.
Buto is a school of modern Japanese dance which was born at the turn of the fifties and sixties. Buto dance has also influenced the development of dance in Finland and in Europe in general. Buto was born amid the upheavals in Japan, in the atmosphere characterised by student revolts, performance acts and agitation prop. The founder of the school was Tatsumi Hijikata (1928-1986), who came from Northern Japan to Tokyo. He started with violent and anarchistic dance performances, after which his relations with the official school of Japanese dance were cut off. In his later work, he created a kind of basic technique for buto, which, however, differed from Western aesthetics. Another “first generation buto artist“ is Kazuo Ohno (1906-) who also visited Finland.
Anzu gave her debut in 1973 as a director and choreographer with the first piece "grand conceptual opera" SALOME TALE at the German Cultural Centre in Tokyo. From 1974 till 79 she worked as a soloist in the dancer performance Dairaruda-kan directed by Akaji Maro. She also worked with Carlotta Ikeda, Ko Muroboshi, Ushio Amagatsu.
In 1979-86 she founded and led, together with Tetsuro Tamuro, the Dance Love Machine group. Then she founded in 1987 the Anzu Dance School in Tokyo and began solo performances in Japan and Europe. In 1987 she created many successful works such as the Anzu´s Animal Atlas, Cells of Apple, Faust II, Rent-a-body, The Detective from China, and A Diamond as big as the Ritz. From 1991 till 1997 she held University Professorship in Hochschule fur Bildende Kunste Braunschweig, Germany (schwerpunkt Performance) . She received many grants and prizes from the Goethe Institut Tokyo Contemporary music series, The Japan Foundation, Nippon Geijutsu Bunka Shinko Kikin, Afred Kordelin Foundation, The Art Council of Province of Central Finland and the Astro-Labium prize, The International Electronic Cinema Festival-Montreux, Kolner Theatre Prize
As a visiting instructor at a Finnish university, Anzu Furukawa concentrated on collaborative productions at the Helsinki City Theatre and staged works like the Rite of Spring in 1994 and the Buto works Bo (Keppi) and Shiroi mizu (Villi Vesi) in 1995 using mostly Finnish dancers. In Western Europe, most people believe that a dancer should stop performing at the top level sometime in their 40s. Due to the attitude of placing importance on the realities of the body mentioned earlier in regard to the interest in Buto, or perhaps the influence of Buto itself, many Finnish dancers still continue to perform into their 50s.
It is the presence of cross-over type activities that transcend conventional category boundaries, like the works of Uotinen that give Finnish dance its contemporary strength. There is also active collaboration with artists from other genre, especially collaborations with media artists and lighting creators. This writer has personally feels that there is a lot of beautifully created light work in Finnish dance, and it seems as if the sensitivity of the lighting art is not unrelated to a dramatic element that originates in the Finnish natural environment with the shining brightness of the midnight sun in summer, the darkness that dominates the winter and the fact that its polar proximity makes the Aurora borealis a common sight. This light-effect is brought onto the stage by no other than Mikki Kunttu, Finland’s representative lighting designer.
In the work of Saarinen mentioned at the beginning, the natural light effect designed by Mikki Kunttu helped to bring an abstract expression of the religious spirituality achieved through a life of denial of human desires that is the theme of the work.
The solo Hunt that takes Stravinsky’s Rite of Spring as its motif, is an impressive solo that brings the theme to life within the burning energy of the dance. Beginning from silence and having the body spring to life with the music, the piece proceeds to the closing stage to build as images of Marita Liulia projected on the body in a way that created a visual expression of the human body in the information age. I personally like Igor Stravinsky’s “Der Feuervögel”, the firebird very much and it is performed in many German schools. There’s a strong interest in Buto in the Finnish dance world and there are many choreographers and dancers who have studied Buto or been influenced by it. This is the result of an expansive approach to the natural world and the physical implications of the fact that the distant roots of the Finnish people who make up most of the population live in Asia. I’d say “Pippis!” to that as a South Asian.
For instance, the approach to nudity that has resulted from Finland’s sauna culture, which is an integral part of Finnish life, is completely different from that of other European countries and even its neighbour Sweden. For the Finnish, nudity is neither implicative of the taboos of sexuality or the diametrically opposed concepts of utopia but simply a natural state that is part of daily life. This fact further deepens the interest in Buto as a form of dance that examines the truths of the body, and the darker sides of life, and seeks to encompass expressions of ailment and death as a part of dance. Dance does not necessarily have to be artificial and aesthetic at all times. In contemporary times we have the Riverdance, Bollywood dancing, Bolshoi or Royal Ballet, in which the body plays a dominant role but the emphasis is on the footwork and a minimum of facial expressions that are used to display the emotions. Not so in Boto performances.
The artistic director of the previously mentioned Kuopio Dance Festival from 1993 to 98, the Asian arts researcher Jukka O. Miettinen, was one of the first to take an interest in Buto and play an active role in introducing Buto artists Carlotta Ikeda, Ko Murobushi, Kazuo Ohno, Sankaijuku and Anzu Furukawa: The festival did help establish an audience for Buto in Finnland.
Among the front-line dancers and choreographers in Finland are a number who have journeyed to Japan to study Buto. Tero Saarinen, who performed as a dancer for the Finland National Ballet Company, before forming his own Tero Saarinen & Company, studied Buto for a year in Tokyo at the Kazuo Ohno Dance Studio. And, Arja Raatikainen and Ari Tenhula also studied under Ohno and Anzu Furukawa.
Other Buto artists who have visited and worked in Finland include Masaki Iwana, but the influence of the late Anzu Furukawa who visited Finnland numerous times. and gave many workshops, was especially strong. After performing with Dairakudakan, Furukawa formed Dance Love Machine with Tetsuro Tamura. Later she moved to Germany and continued her activities based in Europe, forming a multinational dance group called Dance Butter Tokio. The reason for her popularity was probably the wild dance theatre type composition of her works that made use of unexpected or comic twists and the exaggerated deformé type body movement that connected in some ways to German expressionist dance.
In an e-mail posted by Chikashi Furukawa, Anzu's 'little boy' brother dated October 23rd you could read: "I am sorry to inform you that Anzu passed away early this morning. She had been sleeping for more than 30 hours and stopped breathing in peace with her two lovely children holding her hands. She danced at Freiburg New Dance Festival only 20 days ago. In my memory, Anzu was and is always a 'little girl in an oversized dress'. She ran through all of us in such a hurry."

Goethe: A Writer of the First Rank (Satis Shroff, Freiburg)
Johann Wolfgang Goethe, who was lifted to nobility as J. W.von Goethe in 1782, was born on August 28, 1749 in the town of Frankfurt. The Goethes lived in a large, comfortable house in the Hirschgasse, now called Goethe Haus. Besides practical, scientific and autobiographical writings, he left behind more than 15,000 letters, diaries relating to the 52 years of his life and also countless conversational writings of people he’d met.
Even though Goethe’s work is fragmentary in general, it reveals the essence of his literary genius. Goethe himself said: ‘Alle meine Werke sind Bruchstücke einer großen Konfession.’
He remains to date one of the most original and powerful German lyric poets and his Faust is no doubt a work of inexhaustible ambiguity and wonderful poetry.
The atmosphere that was evident in his parent’s home was that of the educated and their lifestyle in those days, and through his writings we get an exact idea of the Zeitgeist of Goethe’s days. He held the town of his birth in high esteem for it was the environment and intellectual background of his youthful development. Young Goethe loved to lose himself in the crowd around the Dome or in the Roman hill (Römerberg), which he always remembered as a fine place to go for a walk.
The closest relationship of his youth was his sister Cornelia, who sadly enough died at the age of 27. Asked about the influence of his parents on him, Goethe summed it this way:
From father I have the stature,
To lead an earnest life.
From mother the good nature,
And the joy of story-telling.
Goethe was taught by house-teachers. After learning the old languages, he started learning French, English and Hebrew. At the age of 10 he read Aesop, Homer, Vergil, Ovid and also the German folks-books. Besides education in humanities and science, he was also taught religion, which was determined by the dominating explanatory issue of Lutherdom in Frankfurt.
The big earthquake in Lissabon in 1755 was important for the development of Goethe’s mind, as it went into history as one of the greatest natural catastrophies of the century. Besides these natural calamities there were also religious and historical movements which left a deep impression in Goethe’s mind, for example the Seven-Years War between Prussia and Austria wherein he saw the consequences of the general political situation in his own life. Another important event during the occupation of Frankfurt by Napoleon’s troops was his fascination for a troupe of French actors, who’s shows he was allowed to visit regularly. That was the awakening in Goethe of his interest for theatre, and which had been sparked earlier in his life through a puppet-stage (Puppenbühne) and which can be seen in some scenes from ‘Wilhelm Meister’s Theaterical Shows.’
At the age of 16 Goethe was prepared for his academic studies. His father wanted him to study law in Leipzig. This was a city known for its trade, commerce, rich people in a wealthy epoche, and was filled with the spirit of Rokoko. Although Leipzig made a lasting impression on Goethe, he found the lectures on law rather boring. Nevertheless, the town of Leipzig brought to Goethe his passion for Anna Katherina, the daughter of a man who owned an inn, where he used to eat lunch since 1766.
In his first completed play ‘The Whims of a Lover’ (Laune des Verliebten) which is based on the times of the Rokoko (Schäferstücke), he drew his own glowing passion. It was his inner desire to put into poetry the themes that were burning within him. In March 1770 Goethe arrived in Strassburg to complete his university studies in law.
Like in Leipzig, Goethe found friends in Strassburg. One of the most important events was his meeting with Herder, who due to his eye-disease was obliged to stay in Strassburg for a couple of months. Here’s what Goethe said about Herder: “Since his conversations were important at all times, he used to ask, reply or express himself in another way, and in this manner I had to express myself in new ways and new views, almost every hour.” It was Herder who brought Goethe to the immeasureability of Shakespeare, told him about Ossian and Pindar, and opened his vision for Volkspoetry. Influenced by Herder’s appreciation of Shakespeare’s genius, he wrote at speed a pseudo-Shakespearean tragedy called: “Geschichte Gottfrieds von Berlichingen.” This was so ill-received by Herder that he put it aside.
Shortly after his return from Strassburg, he turned 22 and started working as a lawyer at the Frankfurter Schöffengericht. Goethe couldn’t care less about the traditions of the citizens in Leipzig and his relatives, his parents’ home. As a lawyer in the courtrooms he had to suffer a bit due to his strange way of putting proceedings to paper, and gradually he began to write farces and parodies about well-known authors of his times and railed upon his own friends, took interest in Alchemy experiments and sought out open-minded literary circles of Frankfurt and in his neighbourhood.
At 24 Goethe was already a well-known author of Germany. No other time in Goethe’s life was filled with prolific poetic works than in this period in Frankfurt. The time before and after his work ‘Werther’ was not only a time of multiple literary production, but also a period in which he spent a lot of time on seeking answers for questions on religion.
The last Frankfurter year (1775) brought Goethe another year of passionate love in the form of Lili Schönemann, a 16 year old daughter of a Frankfurter trader. He experienced one of the most exciting and happiest times in his life. Alas, Goethe drifted between his love for Lili and the feeling that he’d settled for a happiness at home wouldn’t be enough for him. An episode from outside helped him to bear and make the separation from Lili possible.
On November 7, 1775 Goethe came to Weimar, which was in those days a town with a population of 6000. In July 1776 Goethe joined the state service formally as its Secret Legislations Council. Goethe’s new position in the Geheim Konsil brought him soon enough in contact with almost all the pre-commissions of the state-administration.
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In 1779 he was appointed the War Commissioner and was responsible for the 500 soldiers of the state. Three years later he had the Chamber under him and became the highest financial administrator. Through his participation in the reading-evenings, redouts and other functions at the court and its high and snobbish society, the events became rather extravagant. And through Goethe’s presence and mediation Weimar gained importance.
However, it was the serene, tempered lady-in-waiting (Hofdame) Charlotte von Stein, a cold beauty, who was unhappily married, who gained more influence on Goethe. From the first moment they met, she reminded Goethe of his sister Cornelia, and he felt drawn to her. In the years to come Goethe couldn’t do without her clear, mature way of doing things. He called her ‘the serene,’ an angel, even a Madonna. A friendship of kindred souls began, which was a puzzle to Goethe himself. It was in these Weimar years that Goethe wrote poems such as: Harzreise im Winter, An den Mond, Gesang der Geister über den Wassern, Wanderer, Nachtlied and so forth. Moreover, many of his songs and poems were set to music by composers ranging from Mozart and Frederik Schubert to Othmar Schoeck (1886-1957). Under the influence of Charlotte von Stein began a decisive change within Goethe. It was during this period in the months of February and March 1779, when he had to go to different places of the Dukedom to recruit soldiers, to keep an eye on them, to inspect the conditions of the roads, that he wrote the first edition of ‘Iphigenie and Taurus.’ This drama became the mirror of his search for purity. The period after ‘Iphigenie’ was penned in 1779 was a phase in the inner development of Goethe’s life, till he travelled to Italy. Goethe became not only confident as an administrator but also improved the purity and quality of his verses.
The more prosaic he became in his daily duties, the more he endeavoured to bring a sense of order and system in all what he did. In addition to the completion of Iphigenie, he also started ‘Wilhelm Meisters Lehrjahre,’ wrote the concept for ‘Tasso’ and some parts of his ‘Faust.’ These were the fruits of lyrical productions. And just before his Italian journey, he did extensive studies in the natural sciences. His activities at the University of Jena brought him in intensive contact with comparative anatomy. In those days there was a conception regarding the original form and relationship between all living beings, and he proved the existence of the ‘Zwischenkieferknochen’ in humans, which was thought to be known only in the animal world. Goethe showed the biological development of living beings almost 100 years ahead of Charles Darwin.
Goethe’s interest in natural science showed him how his career in the state service brought him away from things he most cherished to do. So he decided on the tenth year of his period in Weimar that he had to break up his service. After arranging his farewell from the state service and personal matters, he asked the Duke for a prolonged leave. He left abruptly, like in 1772 in Wetzlar and 1775 in Frankfurt, as though he was fleeing from something. Even in the presence of Duke and Charlotte von Stein he didn’t utter a word about his concrete plans. He embarked upon the biggest journey to Italy after a short spa sojourn in Böhmen (Bohemia).
After a week-long ride in a coach he reached bella Italia. The first stop was in Rome, where Goethe stayed for four months. It had always been the middle point of his life to study the works of art history in Rome He went to the theatre and attended court cases, watched processions, took part in church festivals, and towards February 1788 even visited the Carnival in Rome. He expanded his knowledge of art history systematically. Goethe found it difficult to say adieu to Rome. The return to Germany was disappointing for Goethe and he felt isolated. Goethe’s record of his journey to Italy (Italienische Reise) appeared in 1816-17. Instead of the Weimar politicians and administrators, Goethe sought to fraternise with professors of the Weimar University. He met Schiller often.
Goethe found a new love: Christiane Vulpius, a handsome woman of lower rank who became his mistress, and with whom he had five children, but only one survived, his first son August, born in 1789. Goethe put his energy in the Weimar Court Theatre, founded in 1791, and developed it within a few years to one of the most famous German stages. Goethe’s loss of Rome was compensated to some extent by his meetings with Schiller, which did him good. Out of the first meeting with Schiller developed an intensive exchange of thoughts in spoken word and writing that was of mutual benefit for both. It was based on their common classicism and on their conviction of the central function of art in human affairs. Goethe’s epic poem ‘Hermann und Dorothea’ (1779) was well received.
Goethe was instrumental in changing Schiller’s tendency to go to extremes, and his habit of indulging in philosophical speculations.
On the other hand, Schiller brought back Goethe from his scientific studies to literature and poetic production. In 1797 Schiller stimulated Goethe to carry on with Faust and it preoccupied him for the next nine years. Part One appeared in 1808, Part Two in 1832. Goethe didn’t stand near Schiller since 1794 and two long journeys to Weimar took him away from his intellectual friend, and in the year 1805 Schiller passed away. Schiller’s death in 1805 coincided with the end of Goethe’s classical phase. After Schiller’s demise, Goethe saw an epoche of his life disappearing. He tried to struggle against the uncertainty of time by concentrating and delving into his own work. Without the regular intellectual argumentation that the company of Schiller brought to Goethe, he felt politically isolated through his distance towards the anti-Napoleon attitude of the public and started living like a recluse.
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In 1806 war broke out between France and Prussia and the decisive battle was fought at Jena and French soldiers who occupied Weimar broke into Goethe’s house. Goethe believed tristiane had saved his life from the French marauders. He married her a few days later. Goethe met Napoeon at Erfurt and Weimar in 1808. The Bastille was stormed when Goethe was 39. In 1809 he wrote the subtle and problematic novel: Die Wahlverwandschaften in which the interrelations of two couples are described.
Besides working for the hat Chance. Soldiers who occupied b Science Institutes of the University, he also carried forth botanical studies. The last two decades in Goethe’s life were devoted not to outer happenings but daily routine work.
A key towards understanding Goethe’s various interests was his conception of human existence as a ceaseless struggle to make use of time at one’s disposal. Despite such intensive devotion to his writings, the ageing Goethe didn’t remain so isolated from his environment as he’d done in his younger years. Since he was seldom out of Weimar, he opened his house for the world. It is interesting to note that among his many visitors were not many poets and writers but more Nature researchers and art historians, discoverers who travelled, educators and politicians. The innermost circle around Goethe was his own family.
In order to avoid the pompous celebration of his 82nd birthday, Goethe left Weimar in August 1831 for the last time.
The most meaningful work of poetry in the German language, Goethe’s tragedy Faust, took a long time to develop. Goethe wrote his Faust almost a life long, and before him were writers who worked on the material. According to his own memories Goethe played with the thought of writing a Faust-drama even during his Strassburger student days. Perhaps the most important aspect of tragedy of Goethe is that these twists and turns took place not only in the outside world but also in the soul of Doctor Faustus.
Despite the colourful scenes and the manifold happenings, Goethe’s Faust remains a drama of the soul, with a chain of inner experiences, struggles and doubts. Among his best works was Novelle, started thirty years ago. Goethe worked away at the last volume of Dichtung und Wahrheit and at Faust II which he finished before his death.
On March 22,1832 at 11:30 in the morning Goethe died at the age of 82, the last universal man and the most documented creative writer.
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Johann Peter Eckmann saw the deceased on the following day and said: “Stretched on his back, lay he like someone sleeping. Profound peace and fastness were to be seen in the eyes of his noble face. The mightiest forehead seemed still to be thinking…”

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Morgenstraich: Switzerland’s Famous Carnival (Satis Shroff)

Switzerland’s famous carnival, the Morgenstraich, began on Monday morning at 4am, and is a world attraction with its magical atmosphere. The official lights of this cultural town went out and suddenly artistically decorated, self-made lanterns began to glow in the darkness that had enveloped Switzerland’s second biggest city.

The cliques of the Basler Fastnacht were gathered in their individual costumes in the narrow cobbled alleys of the olde historical town. Just before the signal was given, the motley clad people donned their outsized masks (Larven) and stood in formation like infanterists out to conquer a town, not with muskets but music. You hold your breath for a second in the darkness, even though you know that Basle vibrates with life.


Someone shouted at the top of his voice: “Morgenstraich, forwards march!” The people began to move to the melody of drums and piccolo flutes. If you didn’t want to lose contact with your near and dear ones you had to catch hands lest they be lost in the crowd. The piccolo flutes with their shrill notes are characteristic of Basle.


In the three days that follow there’s an outburst of colour, grotesque masks, music and satirical comments that are distributed on long strips of coloured paper along with tons of confetti and goodies for all and sundry. The people of Basle do it perfection, painstaking creativity and you can sense the dedication behind the celebrations.


The Rhine town vibrates to the music of the Fastnacht for three days and nights till Thursday at 3:59 according to Swiss time. The celebrations have an air of joy combined with disciplined behaviour, especially among the members of the Swiss cliques, where they see to it that no clique members starts dancing out of the disciplined formation. It is indeed the biggest flute concert in the world along the cobbled old town as they go about with their piccolos and drums---peacefully and traditionally. There’s none of the noisy ‘Narri, narro, helau’ that you hear and get to see on the German side of the Rhine.


And when you’re tired of walking around in the cold, cobbled streets of Basle, you enter one of the Altstadt Cafes where you can eat the traditional brown Mehlsuppe (flour-soup) with white Swiss wine and round onion and cheese cakes.


The Basler Fasnacht is regarded this year as an ideal chance to integrate foreign youth in the cliques, since they live in the town and their parents work who are migrants work in the area. Thomas Kessler, a guy from Zürich, who’s an admirer of the Basler Fastnacht, is also the chief of the ‘Integration Basle’ of the Security Department. He has integrated the second generation of migrant youth into the cliques because they need new members to carry out the Swiss tradition. The number of Swiss nationals taking part in the Basler Fastnacht has gone down to 20 per cent but a lot of children of the foreigners living in Basle and its suburbs take delight in the celebration and join the cliques when they reach their teens. To this effect the cliques have distributed flyers in nine languages in Basle’s schools. More and more Turks, who are actually Moslems, have been buying Fastnacht costumes for their kids so that their children have a sense of belonging to Basle’s Fastnacht tradition, which in turn is a Catholic festival. When it comes to the Basler Fastnacht, the boundaries between culture, religion and tradition seem to disappear. What counts is: do in Basle as the Basler do, namely celebrate Morgenstraich in this world-open city. And the Basler are an exuberant, fun-loving folk. Celebrating the Morgenstraich can be infectious and visitors are known to come again and again. Like yours truly for instance.


In the pre-Fastnacht days there are a lot of events in the theatres with the many cliques carrying names like: Barfiessler (barefoot), drummeli (drums) for music lovers, Pfyfferli for the friends of theatre, Mimosli for people who’re jolly, Zofinger-conzärtli for two finger concerts, which is meant for insiders, Drufftaggt for those who’d like to experiment, and the Charivari at the Volkshaus, which was originally created as an alternative to the Drummli and which was visited by Miss Switzerland Claudia Wambululu, and naturally a children’s Charivari version for the kiddies at the Theatre Basle, in which a certain Frau Fastnacht wants to do away with the Fastnacht celebrations, because she thinks that the children only think about the forthcoming Euro 08. The list of the pre-Fastnacht events seem to be longer each year.


The taverns, inns and restaurants are open all the time for the next 72 hours. The three beautiful days are called ‘drey scheenste Dääg’ in Schwyzer Deutsch. You can google or yahoo for these celebrations and events till Thursday in the internet under: http://fastnacht.ch/.


Gruezi Miteinander. Cherrio.

Fastnachtzeit in Friburg (Germany) and Basle (Switzerland) (Satis Shroff)

When we cry ‘Narri, Narro!’in Freiburg, they rejoice in Cologne, Mainz and Düsseldorf, for it is carnival-time. And the German and Swiss TV channels have mostly carnivals on their screens. But most of the people, young and old, are out in the streets of their towns and enjoying themselves with merry-making and repitition of Fasnet slogans.

In Freiburg there were the usual shoppers and pedestrians between the Kaiser-Joseph street and the town council (Rathaus) and small costumed kids dubbed “the Eckeplätzer” came with flutes, trumpets and drums what the Germans and Swiss are wont to call ‘Guggemusic.’ The knaves shouted ‘Narri, Narro’ on top of their voices, and the onlookers were treated with long red sausages, crepe,` Flammkuchen, a speciality with cheese and bacon from Alsace and, of course, American doughnuts introduced by the occupation GIs.

This was followed by the big procession of the Badische knaves organisation in the third meeting of the knaves (Narren) with 10,000 participants and many other Freiburger knaves, witches, ghoulish figures as the highlight of the Fasnet celebrations.

On Rose-Monday you are awakened the Wühlmäuse, people masked and costumed as moles at 7:30 am, and a bit later at 8:11 your are startled by the cries of the Ribblinghieler. On February 5, which is called the Fasnet-Zischdig, the celebrations come to an end, like in Tiengen where the decorated Fasnet tree is pulled down , followed by the burial of Ignaz at the Tuniberg house. The Fasnets-burning takes place at 12 o’clock in the night, which symbolises the end of the days of fasting. And on Ash Wednesday the purses and wallets are washed in front of the Freiburger town council building (Rathaus). This tradition demands that empty wallets and purses be immersed in the water of the Freiburger Bächle because till the next year the water of the Bächle is expected to turn into currency notes. What a wonderful Allemanic belief, isn’t it? And they say, if you are a stranger and fall into the Freiburger Bächle (small water-canal), which runs through the city, then you are obliged to marry a Freiburger damsel. I must admit it happened to me, and I wouldn’t change this Allemanic damsel for another. Great customs and beliefs, don’t you think so?

I like it in these times of Fasnet when people are merry, sociable, laughing and there’s a lot of clownery and no seriousness, because life is earnest enough, provided there’s not much alcohol, alcopops involved.

In the Black Forest town of Wolfach the people come out at 5:30 in the morning costumed Narren figures come wearing white night gowns, long caps and white stockings like out of a Carl Spitzberg oil painting. The people of Wolfach are woken up by a lot of noise-making using trumpets, trombones, flutes, drums and in the afternoon there’s a jolly big procession. The Germans and the Swiss like it loud with brass-bands, samba dancing, percussions-on-wheels, Gugge-music and a lot of oomph.

The Fasnet Monday begins in Rottweil at 8am with a four-hour ‘springing-of-the-knaves’ (Narrensprung). Thousands of classical costumed Narren figures come through the old gate of Rottweil and scatter themselves everywhere in the olde town historical town. The Rottweiler do it with style. In Munderking there’s a fountain around which the knaves dance at first before jumping three times into the icy waters of the fountain. They strengthen themselves with a swig of hot wine.

The highlight of the Fasnet Sunday is in Elzach at 8pm when the torch procession takes place. The torches are lit and the famous and notorious Schuddig, with his inflated pig’s bladder dangling from a stick with which he clobbers the teasing onlookers, walks along this Black Forest town---which is immersed in a ghostly light.

Swiss Fastnacht: It must be mentioned that last year’s Fastnacht celebration in Basle (Switzerland) was marred by the death of a boy, who was eagerly collecting goodies in the street and he was crushed by a procession wagon. This year the security committee has promised to be stricter so that such accidents don’t occur again. 12,000 active members of the Swiss Fastnacht will be taking part in the street parades, and this year 485 groups will be walking, dancing or driving by distributing sweets, chocolates, flying kisses and bombarding the spectators with confetti cannons to the sound of reggae, hip hop, salsa, samba, techno and other rhythms. There will be around 100 sujets or themes, a few of which are listed here: the noise-tolerance of the Basler citizens, littering (the Swiss want to keep their country clean), SVP, a political party, women and gendering, Euro 08 and global climate-problems with Swiss undertones.

You can hear the noisy Guggen music again in Lucern, the monsters dance and quite a few Luzerner are high on alcohol and sway around the sidewalks. Fastnacht, the nights of fasting, have begun in catholic Switzerland. A big bang opens the Narrenzeit with 12,000 early risers, which is 2000 more than last year, and the ‘most beautiful week of the year’ begins. No one is spared in the week of merry-making, satire and lampoonery, not even the politicians, with all their misdeeds of the past year. In traditional Luzern a person named Brother Fritschi get kidnapped and jailed in the town council hall by costumed Swiss soldiers. 500 years ago the Basler stole Luzern’s Fasnacht figure of identification, and the two Swiss cities re-enact the spectacle from those days. Brother Fritschi is put in chains for half a year, till he is kidnapped by the Basler.

On the day of Basle’s Morgenstraich, when the lights go out, people in the streets hold hands and celebrate the traditional Fastnacht, Brother Fritschi and Frau Basilea are invited as the guests of honour by the local government and peer at the Basler Fastnacht procession from the terrace of the town council.

After the long Morgenstraich, I love to have the traditional Basler Mehlsuppe (flour soup), croissant and coffee. You ought to try it too. I personally prefer the Swiss Fasnet to the German one because it’s well-organised, and when the lights go out at 5am in Switzerland’s second biggest city Basle, there’s an eerie atmosphere when the drums begin to beat, followed by the shrill and high sound of the typical piccolo flutes. When the sun shines you see isolated, masked piccolo flute players in their colourful costumes in different parts of the Swiss town playing on their flutes---oblivious of the world.

Longing for the Himalayas (Lulu.com)
von Satis Shroff
"Longing for the Himalayas" is an art collection that the multi-published lecturer, poet and writer Satis Shroff has painted. The paintings have appeared in his blogs for his poems and articles. He writes about the Sehnsucht or longing for the Himalayas in his lyrics.Anfangsdatum: January 1st, 2008Dauer: 12 Monate(26 Seiten) Kalender: €14.09

Calender and three books by the author on http://www.lulu.com/:

Longing for the Himalayas
by Satis Shroff
"Longing for the Himalayas" is an art collection that the multi-published lecturer, poet and writer Satis Shroff has painted. The paintings have appeared in his many blogs for his poems and articles. He writes about the Sehnsucht or longing for the Himalayas in his lyrics. Start Date: January 1st, 2008 Duration: 12 months(26 pages) Calendar: €14.09


Katmandu, Katmandu
by Satis Shroff
Satis Shroff’s anthology is about a poet caught between upheavals in two countries, Nepal and Germany, where maoists and skin-heads are trying to undermine democratic values, religious and cultural life. Satis Shroff writes political poetry, in German and English, about the war in Nepal (My Nepal, Quo vadis?), the sad fate of the Nepalese people (My Nightmare, Only Sagarmatha Knows), the emergence of neo-fascism in Germany (Mental Molotovs, The Last Tram to Littenweiler) and love (The Broken Poet, Without Words, About You), women’s woes (Nirmala, Bombay Brothel). His bicultural perspective makes his poems rich, full of awe and at the same time heartbreakingly sad. In writing ‘home,’ he not only returns to his country of origin time and again, he also carries the fate of his people to readers in the West, and his task of writing is a very important one in political and social terms. His true gift is to invent Nepalese metaphors and make them accessible to the West through his poetry.(187 pages)
Paperback: €13.84 Download: €6.25


Through Nepalese Eyes
by Satis Shroff
‘Through Nepalese Eyes’ is about the journey of a young Nepalese woman to Germany to meet her brother, who lives with his German wife and daughter in an allemanic town named Freiburg. It is a travelogue written by a sensitive, modern British public-school educated man. He describes the two worlds: Asia and Europe and the people he meets. There is a touch of sadness when his sister returns to her home in the foothills of the Himalayas.(205 pages) Paperback: €12.00 Download: €6.25


Im Schatten des Himalaya
by Satis Shroff
Themen der Geschichten und Gedichten sind u.a.: Kampf um Demokratie (My Nepal: Quo vadis?), Transition (Wenn die Seele sich verabschiedet), und die Stellung der Frau (Bombay Bordel, Nirmala: Zwischen Terror und Ekstase), die verführerische Bergwelt (Die Himalaya rufen, Die Sehnsucht der Himalaya), das Leben in der Fremde (Gibt es Hexen in Deutschland?), Soldatenleben und Krieg (Der Verlust einer Mutter, Die Agonie des Krieges, Kein letzte Sieg), Tod nach Tollwut (Fatale Entscheidung), Trennung und Emanzipation (Santa Fe), Migration und Fremdenhass (Mental Molotovs, Letzte Tram nach Littenweiler), Tourismus (Mein Alptraum, Die Götter sind weg), Alkoholismus (Der Professors Gattin), Gewalt (Krieg), Trennung (Die Stimme, Der Rosenkrieg), Nachbarn (Die Sommerhitze) und die Liebe (Der zerbrochene Dichter, Eine seufzende Prinzessin, Ohne Wörter), die Familie (Meine Maya), der Tod (An Carolin Walter, Wenn die Seele Abschied nimmt).
(87 pages) Paperback: €11.84 Download: €6.25

Ethnic Self-help in Nepal's Development (Satis Shroff)

Kulturspezifische ethnische Self-help in Nepal (Satis Shroff)

Das Prinzip der Hilfe zur Selbsthilfe hat eine emanzipatorische und eine restriktive Seite. Es unterstreicht die anthropologische Annahme, daß Menschen in der Lage sind, ihr Leben in eigener Bestimmung und Verantwortung zu gestalten. Die Betonung von Selbsthilfe (Selbstorganisation) kann einerseits als Warnung vor staatlicher Bevormundung verstanden werden, andererseits kann sie als Rechtfertigung staatlicher Untätigkeit in strukturellen Krisensituationen benutzt werden. Selbsthilfegruppen in Nepal sind kulturspezifisch. Messerschmidt1 schreibt: „Die Idee von kleinen Gruppen von Verbrauchern, die als Nachbarfamilien zusammenarbeiten, produktive Aktivitäten gestalten, gemeinsames Landmanagement oder öffentliche Arbeitsentwicklungen sind eine gut etablitierte Tradition in Nepal.“

Der Entwicklungswerker könnte auch hier tätig werden mit ergänzender Schuldner- bzw. vernünftiger Finanzberatung und sozialen, psychosozialen Beratungs- und Betreuungsangeboten. Solche ergänzende Hilfen sind sehr wichtig für die einfachen, ungebildeten ländlichen Einwohner Nepals. Eines der Prinzipien der Entwicklungshilfe sagt, man solle „dort anfangen, wo der Klient steht.“ In den beratenden und helfenden Angeboten kann der Entwicklungswerker nicht über die Geisteshaltung des Klienten hinwegsehen. Die Nichtachtung oder Mißachtung einer soziokulturellen Gegebenheit kann von vornherein die Kommunikation zwischen Entwicklungshelfer, Sozialarbeiter (NGO-Experte, Ärzte, Schwestern, Pflegepersonal) verkümmern lassen. Auf die erkannte Fähigkeit des Klienten zu vertrauen, sein Selbstwertgefühl zu stärken und ihn ein Weg zur Selbsthilfe sein, ist die Aufgabe des Entwicklungshelfers.

Es wäre wichtig, solche traditionellen2 Organisationsformen zu unterstützen und zu fördern, damit die Ethnien in Nepal davon lernen und profitieren können. Denn es ist höchste Zeit, daß den ländlichen Armen,3 die seit Jahrhunderten von den höheren Kastenangehörigen sozial,-, kulturell, politisch und wirtschaftlich dominiert, unterdrückt und benachteiligt worden sind, endlich geholfen wird, auf eigenen Füßen zu stehen. Dieses Ziel wäre durch die Re-vitalisierung der induzierten Selbsthilfegruppen in den verschiedenen Ethnien zu erreichen.

Die GTZ RRD4 Projekte haben in der Vergangenheit gezeigt, daß die induzierten Selbsthilfe organisationen durchaus funktionieren. Hinzu kommen die einheimischen intraethnischen Selbsthilfeorganisationsformen, die jahrzehntelang erfolgreich eingeführt worden sind. Die ländlichen Bewohner Nepals sind familiär mit kurzfristigen oder wenig permanenten Selbsthilfegruppen, die für verschiedene Zwecke zusammengestellt werden. Zum Beispiel:
Landwirtschaftliche Selbsthilfegruppen wie kulobanaune (irrigation channel maintenance Gruppe), mal bokne (Düngeträger), khetala (Feldarbeitern), ropahar (Pflanzer von Getreiden), hali (Pflüger/Bauer), parma (Gruppenarbeitsaustausch Gemeinschaft) und gothalo (Schäfer).
Forstwirtschaftselbsthilfegruppen wie bana djane (Waldarbeiter), ghas katne (Grassschneider), pat tipne (Futtersammler), und daura tipne (Feuerholzsammler).

Soziokulturelle Selbsthilfegruppen wie guthi (bei den Newars vom Katmandutal), rodi (Kommunale Gruppe von den Gurungs) und bheja (kommunale Gemeinschaft).
Religiöse Selbsthilfegruppe wie kirtan-bhajan mandali (Hymne bzw. Gesangsgruppe).
Politische Selbsthilfegruppe wie die canton ko bhaladmi (ehrenhafte Gentlemen des Cantons) und dharma canton (örtlicher Rat).

Andere, auf der kommunalen Ebene auch wichtige Organisationsformen in Nepal sind: die dhikuri vom Thakalistamm, wobei es um freiwillige Rotations-Kredit-Gemeinschaften geht; die Guthisysteme von den Newars (hier handelt es sich um kommunale Tempel und Land „tenure“ Gemeinschaften; die parma/nogar/pareli/porima (Gruppenarbeitstauschkooperativen); Baglungs Hängebrücke (suspension bridge) Baubewegung; chhatis maudja Kommunale Irrigation Organisation. Manche Organisationen scheinen formell zu sein, aber strukturell sind sie informell. Manche sind kasten- bzw. ethnien-bezogen, und andere sind weit verbreitet in ganz Nepal. Bhattachan5 meint, dass „obwohl die dhikuri, parma und guthi in der Natur ad hoc sind, sind sie dennoch sehr beständig, produktiv und lohnend für die Mitglieder.“

Des weiteren stellen verschiedene Projekte und Initiativen in eigener Trägerschaft ein Beratungsfeld für Entwicklungshelfer dar, wie die Strassenkinder von Katmandu und die Slumarbeit im Sinne von Mutter Theresas Orden in Kalkutta. Solche NGOs suchen auch die Zusammenarbeit mit Entwicklungshilfeinstitutionen (wie UNDP, GTZ, DED, Helvetas, OXFAM etc.) damit gute Kooperation entstehen kann.

Deutsche Regierungsorganisationen (GOs und NGOs 6) in Nepal: Dem Gesundheitssektor Nepals wird allgemein bei der Entwicklungszusammenarbeit ein hoher Stellenwert eingeräumt. Dies drückt sich nicht zuletzt darin aus, daß viele Organisationen und Einrichtungen sich in diesem Sektor engagieren. Neben den multilateralen Organisationen wie Weltbank, WHO, UNICEF, UNFPA etc. ist vor allem das britische DFID (Department for International Development) stark in Nepal vertreten.

Der Gesundheitssektor stellt einen Schwerpunktsektor der deutschen7 Entwicklungszusammenarbeit mit Nepal dar. Gegenwärtig werden folgende Vorhaben in Nepal gefördert:

Primary Health Care Project (PHC): Dieses Vorhaben hat die Stärkung der zentralen Programm-Planung und -Steuerung im Gesundheitsministerium, Verbesserungen der Aus- und Weiterbildung des Gesundheitspersonals sowie die Entwicklung von dezentralisierten Gesundheits- und Familienplanungssystemen zum Gegenstand. Das Projekt existiert seit 1994, und die Planung reicht bis weit in das nächste Jahrhundert.

Im Frühjahr 1998 werden zwei weitere durch die GTZ geförderte Projekte beginnen. Zum einen das Vorhaben Reproduktive Gesundheit, welches darauf abzielt, daß Frauen, Männer und Jugendliche verstärkt die Möglichkeit nutzen, vorbeugende, gesundheitsfördernde und kurative Praktiken im Bereich reproduktiver Gesundheitsförderung anzuwenden. Desweiteren ist das Projekt Instandhaltung im Gesundheitswesen geplant, das eine Verbesserung des administrativen Instandhaltungssystems sowie die Verbesserung des Zustandes medizinischer Geräte und Ausrüstungsgegenstände in Gesundheitseinrichtungen zum Inhalt hat.

Bis neulich hatten 93% von Nepals Einwohner keine Möglichkeit Gesundheitsfürsorge zu erhalten. Im Jahre 1991 hat die nepalesische Regierung eine „New Health Policy“ verabschiedet, wobei 4000 Sub Health Posts (SHPs) eingeführt werden sollen, um eine primäre Gesundheitsfürsorge zu fördern. Dieses Programm wird von GTZ (beratende Funktion) und KfW (zuständig für die Ausrüstung und Medikamente mit 10 Mio DM Kapital) unterstützt. Die Idee ist, ein neues und landesweites Netzwerk von Sub Health Posts zu errichten. Die Dörfer sollen die SHPs selbst unterstützen. Seit 1991 sind viele Nepalis im Gesundheitsbereich trainiert worden und jedes Jahr werden 500 SHPs eröffnet. Die Träger dieses Projektes sind: Die japanische Regierung, UNICEF, Nippon Foundation und die deutsche Kreditanstalt für Wiederaufbau (KfW).

NGOs: Als Konkurrenz zu Nepals Ministerien oder als Ergänzung? „Es gibt zu viel Konkurrenzdenken unter den Geldgeber-Nationen und somit ist jede Kooperation gescheitert“ schreibt einst Toni Hagen (Schweiz9). Der Nepali-Publizist Kanak Mani Dixit fragt: „Die zentrale Frage bei der Vergabe von Entwicklungsgeldern ist, ob die Geber etwas für ihr Geld sehen. Hat die ausländische Finanzhilfe als Katalysator gewirkt, um den Lebensstandard der Bevölkerung zu erhöhen? Hat das Land ein Ziel erreicht, das Nepal auf anderem Weg nicht hätte erreichen können? Die Antwort lautet nein.“

Harka Gurung10 war der Meinung, dass „For environment, population control, women’s development, NGO11 is the latest fag. Home governments don’t like the NGOs because there is too much of paper processing by the immigration department. But the NGOs are the creation of the donor agencies as an alternative mechanism. They say your normal administrative channel never reaches the poor which the NGOs can do. So this is also an imposed idea. But the problem is: How do you coordinate 480 projects and 900 NGOs?“

„Das Geld ausländischer Steuerzahler ist in Nepal verschwendet worden und das, obwohl es zugleich die Energie zur Eigeninitiative für Nepali untergrub“. Dixit ist der Meinung, dass die ausländische Hilfe die in Katmandu ansässigen Eliten des Landes vergiftete und das gesamte Land wie von einer Droge abhängig machte. Hier muß man erwähnen, daß es auch außergewöhnliche Programme seitens der Deutschen oder Schweizer12 gibt, die bescheiden und effektiv darum bemüht sind, das nepalesische Leben zu verbessern. Die meisten Geber konzentrieren ihre Gelder kaum auf die wirklichen Probleme. Die auswärtige Entwicklungshilfe hat die Macht und die Privilegien im Katmandutal zentralisiert. Sie hat die alten Reichen hofiert und unterstützend dazu beigetragen, daß eine Gruppe Neureicher entstand. Die Entwicklungshilfe hat somit ein Abhängigkeitssyndrom13 geschaffen, das sich von der Regierungsebene bis hinunter auf das Dorfniveau erstreckt. Daher erwartet jedermann in Nepal ein Entwicklungshilfeteam, gleichgültig, ob dieses eine Fernstraße bauen oder nur ein paar Setzlinge einpflanzen soll.

In Nepal bildet ein weitverzweigtes Fußwegnetz das Rückgrat jeglicher Kommunikation und Entwicklung. Ab Ende der 50er Jahre setzte Helvetas die ersten Schweizer Ingenieure für Hängebrückenprojekte ein. Nepal verfügt über eine jahrhundertealte Tradition im Bau von Brücken, welche die zahllosen Gewässer überquerten. Wo einfache Holzstege nicht mehr genügten, bauten die nepalesischen Fachleute Hängebrücken mit handgeschmiedeten Ketten. Dennoch konnten breitere Flüsse auf diese Weise nicht überbrückt werden. Die Regierung beauftragte zuerst eine schottische Firma, an verschiedenen Flussübergängen Brücken mittels Kabel zu bauen. Abgestützt auf die von dem Schweizer einstigen Geologen Toni Hagen erarbeiteten Grundlagen entstanden Ende der 50er Jahre unter der Leitung der ersten Helvetas-Fachleute im Marsyandi-Tal, einer wichtigen alten Handelsroute , vier Hängebrücken. Ab 1987 entstand das Konzept des „Brückenbaus auf lokaler Ebene“. Es geht davon aus, daß vielerorts Wissen über die Brückenbau vorhanden ist, daß die Nepalesen im Stande sind, ihre Bedürfnisse zu artikulieren und daß sie wissen, wo sie ihre Brücke haben wollen, und auch daß sie bereit sind; die Verantwortung für die Durchführung eines solches Projektes zu übernehmen und, soweit möglich, eigene Ressourcen zu mobilisieren.

-------------------------------------------------------------------------------------Satis Shroff versteht sich als ein Vermittler zwischen westlicher und östlicher Kultur im schriftstellerischen und poetischen Sinne.

The Japanese Garden (Satis Shroff)

Nine Hauptschule kids in their teens,
Sit on benches in the Japanese Garden,
Near the placid, torquoise lake.

The homework is done sloppily.
Who cares?
The boys are bursting with hormones,
As they tease the only blonde from Siberia.

A fat guy named Heino likes the blonde,
But she doesn’t fancy him.
Annäherung, Vermeidung:
A conflict develops.

The teacher tells him in no uncertain terms:
“Lass Sie bitte in Ruhe!”
But Heino with the MP3 doesn’t care
And carries on:
Grasping her breasts,
Caressing her groin.
She puts up a fight to no avail.

Heino is stronger, impertinent,
And full of street rhetoric.
Meanwhile, the other teenies
Are climbing, kicking the Japanese pavilion,
Spitting, cursing shouting
At all and sundry in German.

The grey-haired gardener in charge comes,
Tells the boys to behave
And goes.
Boredom in the afternoon.
The boys don’t want to play soccer,
Handball or basketball.
Sitting around, criticising, irritating each other,
Is cool.

Creative workshops: music, songs, essays, own movies?
Nothing interests them.
Killing time together,
Cursing at each other,
Getting a kick provoking passersby,
This is the Hauptschule in Germany today.

The clever kids go to the Gymnasium,
After the fourth class.
The trouble-makers, aggressive alpha-wolves
And clowns remain in the Hauptschule.
An ironical name for a school,
For Haupt means the ‘main’
Comprising the lower class of the society:
Kids of foreigners, ethnic Germans from the east Bloc,
Who hope to make it somehow,
As apprentices for hair salons, car repair garages,
Kebab shops, Italian restaurants, Balkan kitchens,
Roofers and masons.

The Japanese Garden, a present from Matsuyama
To the people of Freiburg,
With truncated shrubs and rounded trees.
A waterfall and quiet niches,
A place for contemplation and solitude.

For the Hauptschule kids,
A place to get together,
Be loud, grunt, fight with fists, shove, scratch,
Slap, spit everywhere,
And play the gangsta.
“At night they throw empty alcohol bottles
Where ever they like,” says an elderly lady
From the neighbourhood.
Wonder how the kids are in Matsuyama?

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Miscarriage and Sonderschule (Satis Shroff)

“Halt’s Maul, Du Missgeburt!”
Says one to the other.
‘Halt dein Mund, Du Jude!
Ich hasse Juden, Mann!’ barks an obese Hauptschuler.

The others play football in the classroom.
The teacher says emphatically,
‘It’s forbidden to play soccer here!’
They reply in chorus:
‘It doesn’t disturb anybody.’
A grey-blonde teacher barges into the room and says:
‘Leben Sie hier noch?’ to his colleague.
Are you still alive?

Boris has an appointment with the police.
They nabbed him stealing a car.
Nicky quips to Suleika:
‘Du hast einen fetten Arsch!
Gebärfreudige Hintern.’

Albin runs helter skelter,
Settles down on a table,
Chewing gum between his yellow teeth,
Doesn’t like authority.
Hans, Fritz and Bruno do their extra homework,
Meted out as a punishment by the English teacher.

Vitaly throws scissors in the classroom,
Which land with a thud on the cork wall.
Heino is doing his best to disturb the group,
With his loud MP3 music.
‘Ha! Ha! Ha! Du Hurensohn!’ he says,
To a fellow classmate.

A Kosovo-kid who’s hyperactive,
Steals and fights at school.
The Germans send him to a Sonderschule.
His father’s proud for ‘sonder’ means ‘special.’
His son is attending an elite school, he thinks,
Only to realise later,
It was a school for difficult children.
A dead-end.
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East Bloc Kid Goes West (Satis Shroff)

A pair of heavy scissors fly
In a dark Hauptschule classroom,
Thrown by an Aussiedler school-kid,
Near Freiburg’s Japanese Garden.

The scissors can slash your face,
Or mine.
You can be maimed for life,
Like Scarface,
If the sharp ends
Bury in your eyes,
Or mine.

Let there be light.
Vitaly, a boy from the former east Bloc
Comes to the West,
In search of ancestors and heritage.
What he gets is rejection but freedom.
Freedom to do as he pleases,
With pleasant negative sanctions.
‘Even in jail they have TV,’ he says with a laugh.

He grows up in a ghetto,
And his anger burns.
Anger at his ageing parents,
Who forced him to come to the West,
But who are themselves lost in this new world
Of democratic, liberal values,
Luxurious and electronic consumer delights,
Where everyone cares for himself or herself,
Where the old structures of the society
They clung to in the east Bloc days
Don’t exist.

A brave new world,
A Schlaraffenland,
Where economy and commerce flourishes,
Where the individual’s view is important,
To himself,
To herself
And to others.

The East Bloc boy learns
To assert himself in the West,
Not with solid arguments and rhetoric
But with his two fists.
He fancies cars and their contents,
Breaks open the windows,
Takes all he wants.
Brushes with the police
At an early age.

English, Latin and French at school,
Irritates him,
He prefers to play the clown:
To dance on the table,
Make suggestive moves with his groin,
High on designer drugs,
High all the time.
Opens the classroom door,
Sees a girl from the seventh grade,
And yells at her:
‘Nach der Schule fick ich Dich.’
‘Screw you after school.’

His behaviour brings laughter
But he turns off the girls he admires.
He grins and insults his peers.
Rejected by youngsters,
Admonished by grown-ups.
He watches the society.

Chic clothes, streamlined cars, plastic money,
But he forgets that there’s personal performance
Behind these worldly riches.
‘The rich German drives his BMW
With his head in the air.
What does he care?
What does he care?’ thinks Vitaly.

A pair of scissors fly
In a dark classroom.
His pent-up emotions,
Let loose in a German Hauptschool,
Near the Japanese Garden.

His classmate from Croatia
Throws chairs at the another.
‘Aus Spass’ he says.
Just for fun.
He shouts at the Putzfrau,
Who cleans the classrooms:
‘Sie Geistesgestörte!’
You mad woman.
‚My French-cap is XXX’ he sings
And jerks his pelvis at her.

Is the school-system to blame?
Is western culture, tradition
Social, liberal values and norms to blame?
Are his parents who speak a conserved Deutsch to blame?
Is his Russian mother-tongue
And his great Russian soul to blame?

Nobody answers his questions,
Nobody cares,
Out in the West.
“Verdammt, I want to be heard!” screams Vitaly.
The people shake their heads,
Mutter, ‘Ein Spinner!’
And walk away.

A pair of sharp, long scissors
Fly in a dark classroom.
The scissors can slash your face,
Or mine.

Lyrik: Im Schatten des Himalaya (www.Lulu.com)Im Schatten des Himalaya
von Satis Shroff

Themen der Geschichten und Gedichten sind u.a.: Kampf um Demokratie (My Nepal: Quo vadis?), Transition (Wenn die Seele sich verabschiedet), und die Stellung der Frau (Bombay Bordel, Nirmala: Zwischen Terror und Ekstase), die verführerische Bergwelt (Die Himalaya rufen, Die Sehnsucht der Himalaya), das Leben in der Fremde (Gibt es Hexen in Deutschland?), Soldatenleben und Krieg (Der Verlust einer Mutter, Die Agonie des Krieges, Kein letzte Sieg), Tod nach Tollwut (Fatale Entscheidung), Trennung und Emanzipation (Santa Fe), Migration und Fremdenhass (Mental Molotovs, Letzte Tram nach Littenweiler), Tourismus (Mein Alptraum, Die Götter sind weg), Alkoholismus (Der Professors Gattin), Gewalt (Krieg), Trennung (Die Stimme, Der Rosenkrieg), Nachbarn (Die Sommerhitze) und die Liebe (Der zerbrochene Dichter, Eine seufzende Prinzessin, Ohne Wörter), die Familie (Meine Maya), der Tod (An Carolin Walter, Wenn die Seele Abschied nimmt).
(87 Seiten)Paperback: €11.84 Download: €6.25

Wenn man an die Gedichte Nepals des 20. Jahrhunderts denkt, fallen einem Dichter wie: Lekhnath Paudyal,Bhanu Bhakta Acharya,Balkrishna Sama und Lakshmiprasad Devkota in den Sinn. Nepals vielfältige und anspruchsvolle Literatur ist reich an Gedichten, da fast jeder Schriftsteller auch Gedichte schreibt. Das Gedicht hat immer eine besondere Rolle gespielt, weil es als Mittel benutzt wurde, um sozialkritische und politische Fragen in einer Gesellschaft zu postulieren, in der Regierungen Medien zensierten. Zensusfreie Literatur gibt es in Nepal erst seit November 1990 mit der Umwandlung der absoluten Monarchie in eine konstitutionelle Hindu-Monarchie mit demokratischen Grundprinzipien.

Die nepalesische Literatur beschreibt auch die Situation in anderen Himalayastaaten. Die Hochburg der Nepali Literatur findet man in Kathmandu aber auch in Darjeeling, Kurseong, Kalimpong, Assam, Nagaland und Gangtok (Sikkim). Hier gibt es literarische Gesellschaften und jährliche Auszeichnungen für Nepali Schriftsteller und Dichter. Die bekanntesten Preise sind: Royal Nepal Akademie Preis, Tribhuvan Puraskar, Madan Puraskar, Sajha Preis, Nepali Literatur Gesellschaft Preis (Darjeeling), Nepali Akademie Preis (West Bengalen) und Nationale Literatur Akademie Preis (Delhi). Budathoki's Best Nepalese On-line Writer Preis (International Nepali Literature Society, USA).

In seiner Anthologie von Lyrik und Prosa geht es zum Teil um politische Lyrik über den Krieg in Nepal, das traurige Schicksal der nepalesischen Bevölkerung, die Wiederentstehung von Neonazismus in Deutschland, Liebe und Frauenleiden. Seine bikulturelle Perspektive bereichern seine Gedichte, die herzzerreissend und traurig sind. Wenn er von 'Heim' spricht, kehrt er immer wieder zu seinem Herkunftsland und teilt das Schicksal der Nepalesen mit den westlichen Lesern.

Obwohl viele Besucher in Nepal wandern und neue Ideen und Fortschritt auf dem Vormarsch sind, hat sich das Dorfleben nicht verändert und das Kastensystem besteht weiterhin. Nepal hat noch immense politische, sozio-kulturelle- und religiöse- Probleme sowie im Wirtschaftssektor. Die Korruption in allen Sektoren und Schichten der Gesellschaft hat das Vertrauen von Generationen von Nepal erschüttert. Die viel proklamierte konstitutionelle Monarchie und die neue Demokratie haben die Versprechungen nicht einhalten können. Die neue maoistischen und demokratischen Kräfte kämpfen weiterhin auf der politischen Ebene um die Macht. Zwischen 1996 und 2005 haben die Maoisten 4,500 Landsleute getötet und die Royal Nepal Armee und Polizei ebenfalls 8,200 Nepalesen.

Die Zeit hat uns gezeigt, dass es keine schnelle Lösung für die Probleme dieses Landes gibt. Nepals Demokratie muss lernen zu krabbeln bevor sie eigenständig stehen und laufen kann, da sie noch in der Kindheitsphase ist. Die ständige Regierungswechsel und der wachsende Maoismus irritiert Nepals Bevölkerung und die helfenden Nationen. Trotz der 40,000 Nicht-Regierungs Organisationen (NGOs), gehört Nepal immer noch zu den am wenigsten entwickelten Länder der Welt. Da ist etwas schief gegangen in diesem Shangri-la, sonst würden 2000,000 Nepalesen ihre Heime nicht verlassen. Es gibt 1,8 Millionen Asyl Suchende in den Nachbarländern, unter denen sind Nepals Intellektuelle.

Das, was Satis Shroff schreibt ist wichtig aus sozialer und politischer Hinsicht. Er fühlt sich berufen, nepalesische Metaphern zu erfinden und sie an die westlichen Leser durch seine Gedichte weiterzuleiten.

Themen der Geschichten und Gedichten sind u.a.: Kampf um Demokratie (My Nepal: Quo vadis?), Transition (Wenn die Seele sich verabschiedet), und die Stellung der Frau (Bombay Bordel, Nirmala: Zwischen Terror undEkstase), die verführerische Bergwelt (Die Himalaya rufen, Die Sehnsucht der Himalaya), das Leben in der Fremde (Gibt es Hexen in Deutschland?), Soldatenleben und Krieg (Der Verlust einer Mutter, Die Agonie des Krieges, Kein letzte Sieg), Tod nach Tollwut (Fatale Entscheidung), Trennung und Emanzipation (Santa Fe), Migration und Fremdenhass (Mental Molotovs, Letzte Tram nach Littenweiler), Tourismus (MeinAlptraum, Die Götter sind weg), Alkoholismus (Der Professors Gattin), Gewalt (Krieg), Trennung (Die Stimme, Der Rosenkrieg), Nachbarn (Die Sommerhitze) und die Liebe (Der zerbrochene Dichter, Eine seufzende Prinzessin, Ohne Wörter), die Familie (Meine Maya), der Tod (An Carolin Walter, Wenn die Seele Abschied nimmt).

Zum Autor: Satis Shroff ist Dozent,Dichter, Journalist und Schriftsteller. Schule in Darjeelings North Point, Studium der Zoologie und Botanik an der Tribhuvan Universität (Kathmandu). Danach Tätigkeit als Lehrer der Naturwissenschaften an einer englischen Schule in Kathmandu und später Features Editor (The Rising Nepal). Verfasser der "Sprachkunde Nepals" (Horlemann Verlag) und Veröffentlichungen in: The Christian Science Monitor, epd-Entwicklungspolitik, Nepal Information (Köln), Himal Asia, The Rising Nepal, The Independent, Nelles "Nepal", Nepal: Myths & Realities (Book Faith India). Er studierte Creative Writing (bei Prof. Bruce Dobler,MFA Universität of Iowa, und Writers Bureau Manchester). Preisträger des DAAD-Preis, Mitglied bei World Poets Society (WPS),Canadian Federation of Poets, PEN Nepal.Der Autor ist sehr aktiv im Internet, wo er verschiedene Blogs betreibt. Er schreibt regelmässig für The American Chronicle (www.amchron.com.) und seine einundzwanzig Zeitungen,www.satisshroff.blogspot.com/ContemporaryWritings,www.satisshroff.blog.ch(Zeitgeistblues), und Gastautor bei www.Boloji.com, The Megaphone.net.

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Katmandu, Katmandu
von Satis Shroff et al(Editor)

Satis Shroff's anthology is about Nepal's poets caught between upheavals in two countries, Nepal and Germany, where maoists and skin-heads are trying to undermine democratic values, religious and cultural life. Satis Shroff writes political poetry, in German and English, about the war in Nepal (My Nepal, Quo vadis?), the sad fate of the Nepalese people (My Nightmare, Only Sagarmatha Knows), the emergence of neo-fascism in Germany (Mental Molotovs, The Last Tram to Littenweiler) and love (The Broken Poet, Without Words, About You), women's woes (Nirmala, Bombay Brothel).

His bicultural perspective makes his poems rich, full of awe and at the same time heartbreakingly sad. In writing 'home,' he not only returns to his country of origin time and again, he also carries the fate of his people to readers in the West, and his task of writing is a very important one in political and social terms. His true gift is to invent Nepalese metaphors and make them accessible to the West through his poetry. (187 Seiten)Paperback: €13.84 Download: €6.25

-------------------------------------------------------------------------

Through Nepalese Eyes
by Satis Shroff Travel book:

'Through Nepalese Eyes' is about the journey of a young Nepalese woman to Germany to meet her brother, who lives with his German wife and daughter in an allemanic town named Freiburg. It is a travelogue written by a sensitive, modern British public-school educated man. He describes the two worlds: Asia and Europe and the people he meets. There is a touch of sadness when his sister returns to her home in the foothills of the Himalayas.
(205 Seiten)Paperback: €12.00 Download: €6.25

What others have said about the author:
"Die Schilderungen von Satis Shroff in 'Through Nepalese Eyes' sind faszinierend und geben uns die Möglichkeit, unsere Welt mit neuen Augen zu sehen." (Alice Grünfelder von Unionsverlag / Limmat Verlag, Zürich).

-----------------------------------------------------------------------------------

"Satis Shroff writes political poetry-about the war in Nepal, the sad fate of the Nepalese people, the emergence of neo-fascism in Germany. His bicultural perspective makes his poems rich, full of awe and at the same time heartbreakingly sad. In writing 'home,' he not only returns to his country of origin time and again, he also carries the fate of his people to readers in the West, and his task of writing thus is also a very important one in political terms. His true gift is to invent Nepalese metaphors and make them accessible to the West through his poetry." (Sandra Sigel, poetess, Germany). An anthology of poems and prose 'Im Schatten des Himalaya' and poetry collection "Katmandu, Katmandu" (Satis Shroff) can be ordered or downloaded at www.Lulu.com/content/247475.Cherrio, and happy reading!

KATHMANDU, KATHMANDU
Lyrik Anthologie von Satis Shroff

Satis Shroff’s anthology is about a poet caught between upheavals in two countries, Nepal and Germany, where maoists and skin-heads are trying to undermine democratic values, religious and cultural life. Satis Shroff writes political poetry, in German and English, about the war in Nepal (My Nepal, Quo vadis?), the sad fate of the Nepalese people (My Nightmare, Only Sagarmatha Knows), the emergence of neo-fascism in Germany (Mental Molotovs, The Last Tram to Littenweiler) and love (The Broken Poet, Without Words, About You), women’s woes (Nirmala, Bombay Brothel).

His bicultural perspective makes his poems rich, full of awe and at the same time heartbreakingly sad. In writing ‘home,’ he not only returns to his country of origin time and again, he also carries the fate of his people to readers in the West, and his task of writing is a very important one in political and social terms. His true gift is to invent Nepalese metaphors and make them accessible to the West through his poetry.
(187 Seiten) Paperback: €13.84 Download: €6.25 Sprache: Deutsch & Englisch

What others have said about the writer:
Reviewed by Albert Hagenaars in WritersDen.com 8/17/2007 Fascinerend! Ik voel veel verwantschap met deze thematiek. Ik wil deze pagina's blijven volgen! Tot de volgende keer dus...

Reviewed by Heide Poudel in WritersDen.com 6/4/2007 Brilliant, I enjoyed your poems throughly. I can hear the underlying German and Nepali thoughts within your English language. The strictness of the German form mixed with the vividness of your Nepalese mother tongue. An interesting mix.

Nepal is a jewel on the Earths surface, her majesty and charm should be protected, and yet exposed with dignity through words. You do your country justice and I find your bicultural understanding so unique and a marvel to read.

--------------------------------------------------------------
<strong>THROUGH NEPALESE EYES
By Satis Shroff

‘Through Nepalese Eyes’ is about the journey of a young Nepalese woman to Germany to meet her brother, who lives with his German wife and daughter in an allemanic town named Freiburg. It is a travelogue written by a sensitive, modern British public-school educated man. He describes the two worlds: Asia and Europe and the people he meets. There is a touch of sadness when his sister returns to her home in the foothills of the Himalayas.
(205 Seiten) Paperback: €12.00 Download: €6.25

HINDUISM IN NEPAL (Satis Shroff, Freiburg)

Hinduismus ist das Ergebnis eines langwierigen Entwicklungsprozeßes. Hinduismus ist nicht nur eine Religion, sondern eine philosophische Weltanschauung und eine bestimmte Art zu leben. Hinduismus hat seinem Ursprung etwa 1000 v. Chr. Es war die Religion der nach Indien eingewanderten arischen Stämme. Diese arische Eroberung Indiens vollzog sich über viele Jahrhunderte. Im Verlauf der Zeit kam es zu einer allmählichen Verschmelzung der arischer Mythologie und Geisteswelt mit der der Einheimischen.

Naturverehrung ist bei den Hindus und Buddhisten Nepals und Indiens weitverbreitet. Hügel, Flüsse und Seen, Pflanzen und Bäume werden als Wohnsitz der Gottheiten, als günstig für Meditation betrachtet. Zahllose solcher Orte gibt es in Nepal, und ihre Heiligkeit wird täglich durch Rituale verstärkt. Als besonders heilig gelten Flußquellen und Einmündungen von Nebenflüssen. Sonnenstand und Mondphasen werden vergöttlicht, und den Gottheiten sind Tierinkarnationen zugeordnet. Der Unterschied zwischen Menschen und Tieren, belebter und unbelebter Natur wird als graduell und nicht wesensmäßig angesehen.

Die Quellen des früheren Hinduismus sind die Veden, eines der ersten literarischen Werke der Menschheit überhaupt. Die Veden1 sind in vier verschiedene Veda unterteilt:
1. Rigveda: Der Veda der Verse, das Wissen von den Lobeshymnen, der göttlichen Offenbarung.
2. Samaveda: Der Veda der Lieder, das Wissen von den Gesängen.
3. Yadshurveda: Der Veda der Opfersprüche, das Wissen von den Opferformeln.
4. Atharveda: Der Veda des Atharvan, das Wissen von den magischen Formeln.

Den vier Veden-Sammlungen folgen:
Brahmanas: Ritualistische Bücher in alter Sanskritprosa mit Erläuterungen über das Opfer; sie sind sehr wichtig für die Geschichte des Opferwesens.
Aranyakas: "Waldbücher", weil sie wegen ihres geheimnisvollen Inhalts in der Stille der Wälder gelernt und erwogen werden sollten.
Upanishads: Enthalten die in vertraulichen "Sitzungen" dem Schüler übermittelte Geheimlehren über Gott, Natur und Mensch. Das ist der Vedanta, der "Abschluß und Inbegriff des geschauten göttlichen Wissens". Diese spätvedische Literatur von riesigem Umfang enthält Bestandteile aus frühester Zeit und wuchs, bis sie um 500 v. Chr. einen gewissen Abschluß erlangste.

Die Bhagavadgita: Gehört zu der umfangreichen epischen Literatur, die aus den Epen Mahabharata und Ramayana besteht. Genauer gesagt ist sie ein Teil des Epos Mahabharata und umfaßt in dessen sechstem Buch (Parvan) die Kapitel 25 bis 42. Sie besteht also aus 18 Kapiteln (Gesängen), wie denn auch das ganze Epos 18 Bücher hat. Gerade das Mahabharata weist nun neben der eigentlichen Handlung zahlreiche Einschübe von Legenden, Episoden und didaktischen Stücken auf.

Die vedische Religion kannte keine Kultbilder. Im Zentrum stand das kultische Opfer, das ein außerordentlich kompliziertes Ritual hatte, das von Brahmanen ausgeführt wurde, die auch die Veden mündlich tradierten. Später wurde das kultische Opfer als zentrales religiöses Ereignis durch eine Puja2 ersetzt; die Verehrung der Bildnisse von Göttern.

Die Künste entstammen dem Ritual, das eine Mitte schafft, Energie bündelt, negative Kräfte austreibt und Übergangsriten feiert. Aus Beschwörungen entstehen Gesten, aus den Gesten das Opfergerät. Deren Form und Zusammenstellung schaffen das rituelle Kunstwerk. Die Ausrichtung des geweihten Raumes verlangt nach Tempel und Yantra, nach dem Mittelpunkt, dem abstrakten Symbol oder dem Bildwerk als Verkörperung göttlicher Kraft. Geopfert wird nur das Feinste und Reinste. Die Blüte der Morgendämmerung, ihr Duft, blutrotes Quecksilberoxyd, schneeweißer Kampfer, kühle Sandelpaste, Getreide und Kräuter der Jahreszeit, dem Zeitpunkt3 im zyklischen Leben der Gottheit entsprechend. Als Gegengabe bekommt der Gläubige prasad4 : eine Blüte, eine Farbmarkierung auf die Stirn und ein wenig von den Opfergaben (auch Süßigkeiten und amrit) , die dem Gott gereicht wurden.

Es wurde ein Trias der drei höchsten Götter aufgestellt, Brahma, Vishnu und Shiva5. Dabei erhielt Brahma die Funktion des absoluten Schöpfers des Universums, Vishnu die des Erhalters und Shiva die des Zerstörers zugewiesen. Die Dreieinigkeit Trimurti (Brahma, Vishnu und Shiva) des Hinduismus sind die Teile eines größeren Ganzen, für das die Hindus die heilige Silbe Om6 kennen und ihr als dem „höchsten Halt“ auch magische Kraft zusprechen. Die Relation des menschlichen Bewußtseins gegenüber dem göttlichen Prinzip im Universum wird auf diese Weise als Eingeständnis der menschlichen Unzulänglichkeit zum Ausdruck gebracht.

Nicht-arischen Ursprungs ist die Verehrung eines weiblichen Prinzips, des Shaktismus. Er entwickelte sich aus einem Kult um die "Große Mutter" und wurde dem Hinduismus beigefügt, indem jedem Gott eine weibliche Entsprechung assoziiert wurde, unter der Annahme, daß der Gott nur dann wirklich seine Kraft aktivieren könne, wenn er mit einer weiblichen Gottheit vereint sei. Die Muttergottheit wurde als Uma7 zur Frau Shivas (bzw. Rudra) gemacht, der als Umapati, als Herr Umas, bezeichnet wurde. Hinter dem Shaktismus steht die Samkhya-Philosophie, für die der große Gott als Purusha immer aktiv bleibt, während die große Göttin als Vertreterin des Prakriti-(Natur) Elements dynamische Aktivität besitzt. Im Volksglauben erscheint die große Muttergottheit vornehmlich als schrecklich. Wurden Tier- bzw. Menschenopfer dargebracht, so wurden diese niemals den Göttern, sondern immer der "Großen Mutter" dargebracht. Als Beispiel kann man Dakshinkali (Kali des Südens) nennen, die zu den beliebtesten Göttinnen des Katmandutales gehört. Sie wird heute noch mit einem blutigen Tieropfer verehrt.

Die Göttin Kali soll während der Schlacht gegen die Dämonen der Stirn Durgas entsprungen sein. Kali, die schreckliche Form der großen Göttin, erscheint als Zauberin, als Mutter, als Zerstörerin. Sie erweckt Erfurcht und Liebe. Sie ist von gräßlichen Symbolen umgeben, die jedoch doppelte Bedeutung haben.

Kali ( sfnL ) ist das Symbol der kosmischen Kraft der Zeit (kala sfn), und in dieser Hinsicht bedeutet sie Vernichtung. Der Tod trägt aber den Keim des Lebens in sich. Kali verkörpert Schöpfung, Erhaltung und Zerstörung. Sie wird schwarz dargestellt, denn "„ie alle farben im Schwarz verschwinden, so vergehen auch alle Namen und Formen in Ihr"(Mahanirvana Tantra8). Im tantrischen Ritual ist sie mit Raum bekleidet (digambari). Nackt ist sie frei von allen Schleiern der Illusion. Ihr zersaustes Haar ist ein Vorhang des Todes, der das Leben mit Geheimnis umgibt. Der Kranz aus fünfzig Schädeln, die für die fünfzig Buchstaben des Sanskritalphabets stehen, ist ein Symbol der Kraft des Wissens. Die Buchstaben sind keimhafte Klangschwingungen, die auf die Kraft der mantras verweisen. Sie trägt einen „Gürtel aus menschlichen Händen“, die auf die Wirkung des Karma, der angehäuften Taten, hindeuten und den Betrachter erinnern, daß die höchste Freiheit von seinem Handeln abhängt. Kalis drei Manifestationen herrschen über Vergangenheit, Gegenwart und Zukunft. Ihre weiße Zähne sind ein Sinnbild des Sattva9, der lichten Geistsubstanz, pressen die rote Zunge nieder, Sinnbild von Rajas, einer fest umrissenen Seinsebene, die hinunter führt zu Tamas, zur Trägheit. Kali hat vier Hände: eine linke hand hält einen abgetrennten Kopf, ein Hinweis auf die Zerstörung dunkler Kräfte, die andere das Schwert der Vernichtung, mit der sie das Verhaftetsein durchschneidet. Ihre beiden rechten Hände zerstreuen Furcht und mahnen zu spiritueller Stärke. Sie ist die grenzenlose Urkraft (adya-shakti), die den nichtmanifestierten, passiven Shiva zu ihren Füßen erweckt.

Die Samkhya Philosophie: 1. Natur 2. Geist 3. Seele: Nach der Samkhya-Schule gibt es ein doppeltes ewiges Sein, die Vielheit der Seelen und der Körper (Stoff). Die Samkhya-Philosophie hat einen Dualismus von Natur und Geist, und diese zwei gelten als anfangslos und ewig. Bestimmte Richtungen des Samkhya kommen somit ohne einen Gott aus. Die Seele ist erlöst, wenn sie ihre Verschiedenheit vom Körper erkennt. Die Seele umkleidet sich ja nur mit den einzelnen Körpern, ohne mit ihnen eins zu werden. Die Erkenntnis von der Geistigkeit der Seele befreit von der Verstrickung und bringt die Erlösung.

Andere Samkhya Richtungen amalgamieren sich dagegen mit dem Theismus bzw. Pantheismus (der die Welt zum Absoluten erhebt; das All wird Gott). Danach hat Gott zwei Naturen (Prakriti), eine niedere und eine höhere Natur:

Die niedere Natur besteht aus fünf Elementen: Erde, Wasser, Feuer, Luft und Äther, sowie aus feinmateriellen Faktoren: Geist, Bewußtsein und Individualisator. Die höhere Natur ist die Seele (Jiva). Nach der Samkhyavorstellung kann nur der Körper zerstört werden. Die Seele gilt für unzerstörbar, ewig, ungeboren, nicht verschwindend, alldurchdringend, nicht wandelnd, von alters her bestehend, nicht offenkundig, undenkbar und unwandelbar. Die Seele wechselt den Körper wie dieser die Kleider.

Theopanismus und Devotionalen Hinduismus: Man unterscheidet heute zwischen Pantheismus, der die Welt zum Absoluten erhebt – das All wird Gott -, und Theopanismus10, der umgekehrt aus dem ursprünglichen Geistig-Realen das Niedere hervorgehen läßt. Gott wird das All. In den alten Upanishads tritt sie klar zu Tage. Sie verkünden, oft in gehobener Sprache und in trefflichen Gleichnissen, daß das unpersönliche Sein (das Brahma), eins ist mit dem Atman, dem inneren geistigen Selbst des Menschen. Es entfaltet sich zur Welt. Die Erkenntnis der Einheit von Brahman und Atman bedeutet Erlösung und Glück.

Der kürzeste Weg zum Heil (Vereinigung mit Gott) ist durch Bhakti in devotionalen Hinduismus, die hingebungsvolle Liebe zu Gott durch Meditation. Dafür braucht man aber das rechte Wissen d.h. Jyana. Die Bhakti-Idee hat auf das hinduistische Geistesleben bis in die Gegenwart hinein den großten Einfluß ausgeübt. Sie ist sogar in den philosophisch völlig anders strukturierten älteren Buddhismus eingedrungen und hat ihn tiefgreifend verändert. Meditation und Abkehr von weltlichem Verlangen sind für die Vereinigung mit der Gottheit auch von Bedeutung.

Was verspricht Krishna denjenigen die ihm Bhakti entgegenbringen? Krishna verspricht seinen Anhängern Begreiung von Sündenlast, Kummerlosigkeit, Herzensfriede und Zugang zu ihm selbst (IX, 30-31.34). In XI.55 kann man die Quintessenz des ganzen Werkes sehen: Wer Krishna ehrt und liebt, der gelangt dereinst zu ihm.

Die Seele und die Seelenwanderung: Die Seele, von einem feinstofflichen Leib umgeben, wandert nach dem Tod in ein anderes Lebewesen, einen Gott, einen Menschen höherer oder niederer Kaste, ein Tier, eine Pflanze. Bestimmend ist das Karma, die Summe der guten und bösen Taten beim Abschluß des vergangenen Lebens, die sich dem feinstofflichen Leib eingeprägt und ihn zu einem entsprechenden neuen Dasein zwingt. Erst wenn kein Karma mehr übrig bleibt, erreicht der Kreislauf des Lebens (Sansara11) ein Ende in der Erlösung, dem Nirvana. Karma ist auch das Gesetz von Ursache und Wirkung. Die Seelenwanderung ist das Gemeingut der Hindus und hat seinen Ursprung in den urindischen animistischen Vorstellungen. Im übrigen glaubten auch die Christen bis zum Jahr 554 n. Chr. an die Wiedergeburt. Sie wurde durch einen hauchdünnen Mehrheitsbeschluß beim Akklamationskonzil zu Konstantinopel abgeschafft.

Der Körper ist der vorübergehende "Tempel der Seele" und wird nach dem Tod verbrannt. Die Hinterbliebenen helfen der Seele durch langwährende Rituale, zur Ruhe zu kommen. Für den Nepalesen ist die ersehnte Form des Hinübergleitens vom Leben zum Tode ein Sterben auf den Treppenstufen des Pashupatinath Tempels, während er die Füße in das heilige Wasser taucht.

Die Seele wird nicht geboren, noch stirbt sie.
Dies Selbst hat nicht einen Ursprung, ihm ist
nichts entsprungen. Geburtlos, beständig, ewig
und von altersher wird dies Selbst nicht getötet,
wenn der Körper getötet wird.
KATHA UPANISHAD

Die ganze Spanne des Menschenlebens ist von jeweils angemessene Ritualen begleitet. Kunstvolle Riten sind mit der Zeit vor der Geburt, mit dem Gebären, dem Heranwachsen, der Reifezeit, der Hochzeit und dem häuslichen Leben verknüpft, mit Rückzug und Entsagung, schließlich mit dem Tod. Auf jeder Stufe der Entwicklung werden häusliche Rituale vollzogen, bis sich der Körper wieder in seine Bestandteile auflöst. Der Tod ist nicht das Ende des Individuums, sondern ein neuer Anfang in einem dynamischen Prozeß. Nach der Bhagavadgita ist der Tod wie ein Ersetzen alter Kleider durch neue. Deshalb ist das Bestattungsritual antyeshti ein Übergangsritus. Das Individuum entsteht, entwickelt sich, verschwindet und wird wiedergeboren. Der Verlauf des nächsten Lebens wird vom gegenwärtigen bestimmt. Bis die Befreiung erreicht ist, beeinflußt das gesamte karmische Handeln die Struktur des zukünftigen Daseins. Der Tod ist daher nur eine „Zwischenstation“.

In der Katha Upanishad12 stellt der junge Nachiketas dem Todesgott Yama Fragen. Der antwortet ihm und sagt, daß der Atman, das wahre Selbst und ein Funke Brahmans, des universellen Selbst, beim Tod des Körpers niemals stirbt. Er ist zeitlos und endlos. Die Totenrituale verweisen auf die Einheit des Lebens, geben einen Ausblick auf die ewige Wirklichkeit, das Brahman. Leiden und Tod wie auch das Verglühen dessen, was einst einen Mensch beherbergte, sind in Nepal ins tägliche Leben miteinbezogen.

Die Kastengesetze stellen Schranken zwischen die Lebenden, der Tod reißt sie nicht nieder. Die erste in der steinernen Reihe der Plattform längs des Bagmatiflußes ist für die Kremation von Mitgliedern des Königshauses bestimmt, die zweite einst für Maharajas, heute für die höchsten Würdenträger des Staates. Dann folgen in respektvollem Abstand die Verbrennungsplätze der übrigen Kasten.