Paisa Na Dhyallaa Nam ch Guman Sing Rautela: A Garhwali Drama about Diminishing Prosperity and Pride of Landlord

(Review of a Garhwali drama ‘Paisa na Dhyallaa Nam ch Guman Sing Rautela’ (1992) adapted and written by Famous Playwright Rajendra Dhashmana)

Notes on Dramas showing false pride for  lost glory and prosperity, Asian Dramas showing false pride for  lost glory and prosperity, South Asian Dramas showing false pride for  lost glory and prosperity, SAARC Country Dramas showing false pride for  lost glory and prosperity, Indian sub continent Dramas showing false pride for  lost glory and prosperity, Indian Dramas showing false pride for  lost glory and prosperity, North Indian Dramas showing false pride for  lost glory and prosperity, Himalayan Dramas showing false pride for  lost glory and prosperity, Mid-Himalayan Dramas showing false pride for  lost glory and prosperity, Uttarakhandi Dramas showing false pride for  lost glory and prosperity, Kumauni Dramas showing false pride for  lost glory and prosperity, Marathi Dramas showing false pride for  lost glory and prosperity, Garhwali Dramas showing false pride for  lost glory and prosperity

                                          Bhishma Kukreti

                      Asians will always remember the works of great Asian playwright Rajendra Dhashmana for his bringing newness and contemporary style and subject in local language as Garhwali dramas. Rajendra Dhashmana changed the format for Garhwali dramas and dramatization. Asians appreciate the original works of Rajendra Dhashmana for Asian local languages as Garhwali dramas. However, Rajendra Dhashmana also adapted the other language’s dramas into Garhwali dramas. A famous Asian literature critic, Hindi poet, Dams-activist, Stage play activist Rajendra Dhashmana adapted a Marathi Drama’ Bada Chirebandi’ written by famous Marathi Playwright Mahesh Elkunchvar into Garhwali Drama as ‘Paisa na Dhyallaa Nam ch Guman Sing Rautela’. The adapted drama Paisa na Dhyallaa Nam ch Guman Sing Rautela’ was successfully staged in Delhi in 1992 and 1993.  

          There used to be a class ‘Thokdar’ , ‘Jameedar’ or landlord s in hills of  Uttarakhand for centuries who were owner of land of a certain territory. Under the Thokdar, the Kabjedar, Sirtan and Khaikar used to be the land cultivators. Thokdar used to collect the revinew taxes for Garhwali king, Gorkha king or British ruler. After independence, Thokdari system was ended by Indian government. In the past, Thokdars were as powerful as the king of Garhwal. They had power and they were prosperous too. Howvwer, after diminishing of Thokdari system, the prosperity of averageThokdar also diminished .However, manay ‘thokdars’ did not lessen their expenses on lavish living or ‘That-bat’ and either had to borrow and sell their ancestral properties to their ex-subject.  The Garhwali drama ‘Paisa na Dhyallaa Nam ch Guman Sing Rautela ‘ shows the lost prosperity, loosing pride of such ‘Thokdars’ whose income has been diminishing with the time.

         Rajendra Dhashmana successfully adapted the Marathi drama ‘Bada Chirebandi’ as per Garhwali culture and system. The dialogues and staging technique are appreciable. There is lost pride, there is frustration of ex-landlord for losing power and prosperity, there is aggravation among family members of ex-landlord, there is confusion for bringing the old pride back among family members of ex-landlord family in the drama. Kesar sing Rautela is the symbol ofa  Thaokdar who can’t bear the losing old glory of being landlord,   Kesar is the son of ex-landlord and in frustration he always uses abusive language as ‘apan bwe k maisu’ , apan bani k maisu’ etc

  The drama is still relevant for those who show their prosperity pride without keeping in mind the real income.   Rajendra Dhashmana was able to show keeping false pride for protecting the old glory and old prosperity by selling current ancestral properties by ex-landlord.

   Asians are proud of Rajendra Dhashmana for bringing such contemporary drama of its time.

References:

A-Curtsey to Parashar gaur for supplying manuscript of Garhwali stage play ‘Paisa na Dhyallaa Nam ch Guman Sing Rautela ‘

1-Dr Anil Dabral, Garhwali Gady Parampara (Garhwali Dramas from beginning till 1990)

2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Garhwali dramas from beginning till 1975)

3-Dr Sudharani, Garhwal ka  Rangmanch (Garhwali Dramas  from beginning till 1985)

4-Drama special issue of Chitthi Patri magazine (Garhwali Dramas and plays staged in Delhi, Karachi, Mumbai, Dehradun and other places)

5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (Garhwali Drams and theatres from beginning till 1985)

6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Garhwali dramatists or theatres playwrights till 1985

7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution of Bhagwati Prasad Panthri for developing Garhwali drama)

8- Notes on Dramas of Uttarakhand by Parashar gaur –MeraPahad site

9-Sovinreers of Garhwal Sabha Dehradun, 2005 and 2007 for Lok Natya Mahotsava

Copyright@ Bhishma Kukreti

Notes on Dramas showing false pride for  lost glory and prosperity, Asian Dramas showing false pride for  lost glory and prosperity, South Asian Dramas showing false pride for  lost glory and prosperity, SAARC Country Dramas showing false pride for  lost glory and prosperity, Indian sub continent Dramas showing false pride for  lost glory and prosperity, Indian Dramas showing false pride for  lost glory and prosperity, North Indian Dramas showing false pride for  lost glory and prosperity, Himalayan Dramas showing false pride for  lost glory and prosperity, Mid-Himalayan Dramas showing false pride for  lost glory and prosperity, Uttarakhandi Dramas showing false pride for  lost glory and prosperity, Kumauni Dramas showing false pride for  lost glory and prosperity, Marathi Dramas showing false pride for  lost glory and prosperity, Garhwali Dramas showing false pride for  lost glory and prosperity to be continued….