Certain human emotions are
universal, and I’d always supposed the expression of those emotions to be so as
well. For instance fear initiates fight or flight, anger manifests itself in
yelling, pain causes crying. But what produces laughter? Or, put another way,
what makes funny things funny? Because in the past few weeks, there’ve been
dozens of instances when Nepalis laughed at something and I was left scratching
my head.
I should preface this by
acknowledging that these are my own impressions and may not be representative
of all Nepali comedy. Your sense of humor, for all I know, might match that of
Nepalis’ more than mine. Moreover, with my second-rate understanding of the
language and culture, it’s quite possible that I’ve been oblivious to some of
the more forms sophisticated forms of Nepali humor. But, in my experience, the
following examples are pretty typical of what makes the people in my village
laugh.
During a soccer game, I
injure my toe, let out gasp of pain, and hobble off the field. Laughter. One of
the boys takes a ball hard to the face. Pointing and laughter. While fishing, I
slip on a mossy rock and nearly fall into the water. From the complete
strangers sitting nearby, laughter. What to do these occurrences all have in
common? Clumsiness and pain. Or, in the words of my Nepali friend, “We think
it’s funny when people get hurt.” Not seriously hurt, of course; it’s more like
slapstick with a touch of sadism. I cringe, they laugh. Had most Nepalis had
internet on their phones five years ago, I imagine “Scarlet Takes a Tumble”
would have been a national sensation.
On another thread, Nepalis
love to joke with me about marriage. Virtually everyone I meet asks if I’m
going to marry a Nepali and take her back to America. Some even offer to search
for a potential wife for me. I can’t always tell if they’re joking or not, but what
little humor that conversation ever held has long expired for me. When I asked
my host brother about why people inevitably pop the marriage question, he
replied simply, “They think it’s funny.” Since that conversation, he now
explains to people that you shouldn’t joke with Americans about marriage,
death, or other serious topics.
On the subject of death,
I’ve never really understood Nepalis’ attitude towards mortality. The loss and
rituals are taken seriously, for sure, but death also seems to be acceptable as
a subject of humor. A friend’s host family once joked about a young girl who
had committed suicide. Another time, they asked if she’d like to go have a look
at the body of a woman strung up in a tree. Surfing Facebook last month, I came
across a Nepali meme of a man trying to hang himself on a banana tree, which
had bent under his weight and left him kneeling on the ground instead of
suspended in the air. Most of the comments were mocking.
Regarding Nepali comedy,
I’d heard mixed reviews (i.e. raves from Nepalis, universal disapproval from my
American friends) but I’d never watched any myself. I did know that the
humorous moments were accentuated with an absurd assemblage of boings, honks, whistles,
and waps. After some prompting, some of my village friends convinced me to give
a show—the funniest one on TV, they said—a chance. The episode took place in
tents, suggesting a location affected by the earthquake. Its plot was this: a
young guy with a weird voice (whom I’ll call Red Hoodie) tries to secure the
affection of a girl. He initial pursuit is flirtatious, but after repeated
rebuffing his behavior escalates to the point of harassment. He asks her to be
his wife and puts his arm around her multiple times despite he physical
resistance. She calls the chief of police and implores him to protect her. He places
a guard at the entrance of her tent to keep Red Hoodie at bay. All of this,
based on the reaction of my friends, seems to be funny.
But Red Hoodie has a few
pals who will help him in his quest. We meet one of them, (let’s call him Slim)
speaking to a dog in a languid, meandering voice that implies his stupidity. To
his surprise, the dog responds in a very deep voice (roaring laughter from the
audience). The second is a beatnik (that’ll do for his name) with hair like
Tito from Rocket Power (laughter at this, and a comment that “his hair is so
silly!”). Beatnik’s catchphrase, “slow motion,” provokes laughter as well.
Together, the three
friends approach the policeman keeping watch and begin asking him casual questions.
Where is he from? Gorkha. Was his home affected by the earthquake? Yes, it
collapsed. Did he lose anyone in his family? His grandmother, he replies
dolefully. At this point, Slim and Beatnik become dramatically commiserative
and lead the guard away from the doorway, allowing Red Hoodie to sneak into the
house. As he resumes his skeevy courtship, the three other men sit in a nearby
field, the policeman sobbing on his companions’ shoulders while they shed
contrived tears for the dead grandma.
Something tells me that in
the states, this gag, akin to joking about Hurricane Katrina just two months
after the fact, would not be well received. Too soon, we would shout
unanimously! But my five fellow viewers all found it hilarious.
Next, the woman complains
to the police chief. He relieves the policeman who failed in his duty and posts
another. To dispose of this guard, the friends commission a seductive female
friend to lure him away from the door. He, too, is replaced, but the friends
drug his successor, causing him to faint. These schemes, though maybe less
morbid than exploiting a man’s grief, are not really funnier. And, each time,
Red Hoodie invades the woman’s tent to hassle her some more.
I stopped paying attention
at this point, but I assume the show came to some conclusion. All in all, I’d laughed
exactly one time during the half-hour episode. My friends, on the other hand, had
visibly enjoyed it. When they were walking me back to my room, they suggested
that I must not have understood the dialogue. No, I got it, I said, I just
didn’t find it amusing.
Hi. nice blog really good i think this will help many people in nepal and other place. once again thanks for your blog
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