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At that time, I used to go to villages to perform plays related to health and education. During that period, I met Prakash G.C. Dai in Suryachaur. He sang with me and told me that if I performed at Dohori Sajh, I could progress a lot as an artist. I told my mother about this, but she did not agree. At that time, I rebelled, saying that I had to go, even if only for a couple of months. At the age of 15, despite my mother’s refusal, I decided to go to Kathmandu.
I still remember—it was the night of Asar 10. I boarded the night bus to Kathmandu. In that night bus, I must have only slept for four or five hours in 24 hours. I was not very religious, but that day, I remembered Lord Shiva with every breath. It is true that God is there for those who have no one because I was neither educated nor mature by age.
When I stepped into Kathmandu, it felt like I had stepped somewhere unknown. But I had stepped into the right place. In this society, where men are often labeled as bad, I found men I could worship. Among them, after my father, there was Prakash G.C. Dai. I also respect Prithvi Thakali Dai just as much. There are other artists as well. This society also has men who are worthy of being revered. Another man, my husband, made this success possible. Until today, he has stood by my side.
Prakash G.C. Dai brought me here after recognizing my talent. The day I arrived in Kathmandu, he took me to various Dohori Sajh. First, I went to Dhaulagiri Dohori Sajh. I saw girls neatly dressed, dancing gracefully. Seeing their straightened hair, I found it fascinating. Despite visiting three or four places, I could not get selected.
The next day, I searched for more Dohori venues. I got my first opportunity to work at Triveni Trishuli Dohori Sajh. I had already tuned well with the artists there, but not many customers came. It was a struggling Dohori where I worked for 16 days.
On the 17th day, Anita Khadka Didi from my hometown, Rolpa, asked me to replace her at Ramailo Chautari in Bagbazar. After the owner liked my voice, I started working there.
A popular Dohori Sajh is always packed with people. I found joy in working there. That was where I met Yam Shrestha Sir, who treats me like his daughter, and I consider him like a father even today.
After I sang, he called me over and asked for my introduction. I played a little smart—I bluffed that another place had offered me Rs. 4,000. In reality, the older artists there earned Rs. 3,200 to Rs. 3,500, but I secured a Rs. 4,000 salary in my first month.
Initially, Prakash Khadka Dai helped me find a room. Then I stayed with Geeta Khadka, but after a month, I moved alone. When shifting, Anita Khadka Didi helped me—she provided a bed, utensils, and a blanket. I stayed in a room in Samakhusi’s Town Planning area for Rs. 1,200. That was where my struggles began. Although I was a daughter from a poor home, I was lazy when it came to cooking. I used to cry while cooking.
After getting a job, it was time to record songs. The first song I recorded was “Arubhanda Farak Ma Kina” by Shambhu Thapa Charchit. My second song was “Ghar Cha Tintale.” Later, after recording “Ektarfi Mayale Kati Pida Dinchha,” written and composed by Shiva Hamal, my career became a bit easier. This song featured my voice alongside Kulendra Bishwakarma.
My dedication to music started at Dohori Sajh. After four years, I finally started learning music. I went to Chandan Shrestha Guru, paid Rs. 7,000, and got enrolled. I studied classical music for four years. After that, I got busier.
Leaving my birthplace to come to Kathmandu was another phase of my struggle. But even though I struggled far from my parents, their blessings were always with me in my heart and mind. If we keep our parents close in our journey, we will never lose.
After my songs started gaining popularity, I dreamt of buying a house for my parents. Their 27–28 years had passed shifting from one rented house to another. I used to feel deeply sad whenever they moved, constantly wondering when we would have a permanent home.
However, in 2074 BS, I met with a major accident. My spine was fractured, and I became unable to stand. I even started thinking I would not survive. But I had to earn money to build a roof over my parents’ heads. After resting for a month, I resumed work. When I finally bought a house for my parents, they started calling it a palace. I used to tease my mother, saying, “How’s your palace, mom?” And she would reply, “Your palace is smiling.” Then I would laugh.
Till now, I have sung almost 3,000 songs. Until recently, I believed I was like a river flowing smoothly without obstacles. But as I kept flowing, I realized that obstacles come, and detours happen. Because of others, I have been badly hit, fallen, stumbled, and even cried. Yet, I continue to stand up, fight, and keep flowing.
(This is an edited excerpt from a conversation between singer Shanti Shri Pariyar and poet Deep Darpan at the Kathmandu Utsav event held at Nepal Tourism Board, Kathmandu. Shanti Shri Pariyar is the singer of several hit songs, including “Bol Maya,” “Galbandi,” “Rukum Maikot,” “Ghumi Ghumi,” and “Ghar Kata Ho Bainiko.”)
