So, is it necessary that we actually require franchisee to gain public attention? Would Nepal Idol be less popular if it was not under this name but with equal level of management effort? There could lie a question to discuss and argue upon; but a fact about musical reality show globally is their inability to sustain the ultimate idol. David Archuleta, American Idol of 2008; who had been pretty much popular then is no where in musical world today. The case repeats with Indian Idol, Prashant Tamang too. It's not about American or Indian Idol - but be that British, Canadian or any other spaces - the sustainability has always remaind a question. So, we still recognize Dipak Limbu and Dharmendra Sewan as final contestant of Nepali Tara - and thankfully they are still into Nepali Music. But, where did Nepal Star's winner, or Nepali Tara other season winners disappear?
It is understandable that the
show is all about business, with the primary motive of profit. It is the number
of SMS that will decide winner till end; but these shows fail to present contestant’s
inner desire towards music. Because, five years down the line, if these winners
disappear; the charm would disappear, craze of these franchised brand will
diminish and judges short term vision will be blamed - after all, it is tough
to sustain just through music in Nepalese context.
However, turning the other side
of leaf, there has been large number of upliftments that these reality shows
are able to bring out - from Myanmar to Bhutan, from Leh Laddakh to Sikkim;
those Nepalese speaking mass have been watching the show with full attention.
Tracks of Suraj Thapa, or Kenjal Mehar Shrestha gained the popularity. And,
what mattered the most was - these shows are reviving back Nepali Music scene
as a whole.
Didn't Sagar Ale revive Prem Dhoj
Pradhan's Para Laijau Phool Haru in prevision season? Or, didn't Ravi Sharma
gave re birth to classical Isara le Bolaunu Pardaina song? Indeed, they did.
Next bunch of audiences actually searched for those original numbers. Thanks to
these reality shows for reviving lost Nepali music. Also, these reality shows
are actually letting the young generation feel the old great numbers - be it
within Nepal or abroad. Taking average, late Y-Generation and the stage there
after had no idea about what Narayan Gopal, Arun Thapa, Tara Devi, Prem Dhoj
Pradhan etc actually were. These reality shows are actually re-introducing
those songs, which the DJ era in Nepali music failed at larger scale.
Organizers have to be ethical
from their level; the management has to be strong enough, unlike earlier
situation where the live broadcast turned out to be failure; judges or the
coaches need to be responsible enough, and upon failing to understand, they
need to let management understand rather than coming over an aggression.
Decision of judges will not just be counted today, but decade down the line
too. Contestants need to prove themselves, because they had already taken a
step, and those rejected ones need to prove making judges regret over their
decision, whereas those who proceed ahead should feel the responsibility that
they own over Nepali music. None of previous Nepal Idol Top 3’s solo has made a
huge success and audiences need to realize that these shows are meant for
business, serving entertainment. Sooner the audiences realize that these shows
are scripted at larger scale; the process would go on.
The discussion might go on -
Nepal Idol or The Voice of Nepal? How fair were judges? SMS voting went unfair,
or the attitude among the judges - as that happens everywhere; but the
contribution it has been granting to Nepali Music has to be appreciated in the
end.
No comments:
Post a Comment