Bajuband poetry or Geet : The Initial Garhwali Folk Poetry/Songs
(This write up is dedicated to late Shri Mal Chand Ramola who collected and published more than 250 Garhwali Bajuband poetry)
------------------------------
The folklore as Bajuband Geet in Garhwal are earlier than the alphabets would have started (Ramola, 1989). Ramola provides example of saying by Sinjwik that Bajuband folk songs are earliest for of Garhwali folk songs
“ ..These folklore are older than literature, older than alphabet .It is lore and belongs to the illiterate folks”.
Ramola says that these folk songs are there in Garhwal from the initiating point when the human beings started to live there in Garhwal .
Govind Chatak and Shiva Nand Nautiyal state that Bajuband Geet are equal to Nyaoli of Kumaun. Nautiyal (1981) positions that Dudo or teedu/teedo are another style of Bajuband Nritya Geet (Dance-Song).
Chatak, Nautiyal and Ramola agreed that these songs have been part and partial of Garhwali society. However, Nautiyal states that there is no more existence of dance, drama with these songs . Nauiyal and Chatak state that Bajuband but not Deedo/teedo are love-dance-songs are of Ravanee -Jaunsar-Jaunpur but Ramola proves that these are common songs of each Garhwali folks. This author also supports Ramola that even today, at one or more times a common Garhwal creates Bajuband poetry in his/her lifetime. The process of being poetic is nothing but to create Bajuband song or verse. It is natural to create poetic statement by all. Though, Ramola says that education becoming the medium of educated Garhwalis to ignore these initial Garhwali rhymes, however this writer feels that Garhwalis are not stopping to create newer types of Bajuband verses and these educated Garhwalis may not be using these verses as entertaining and communicating medium as used to be in older Garhwal.
No body will disagree with Ramola that there is musical experiencing in Bajuband songs . Ramola says that Bajuband songs are poetry by providing examples of Sanskrit experts
“ vakya rasatmak kavya”, which means that the sentence which provides delight is poetry and “ Ramaniyarth pratipadakah shabdah kavyam’ and it means that when the meaning of words provide delight , the composition of words is poetry.
The Bajuband songs are truly expressions of emotions, perceptions, knowledge of the creator and the wordings for Bajuband verses originate from the heart and not by intellect.
Ramola says that we should put Bajuband Kavya in the category of Mukta Chhand or stray poems.
There are two stanzas in Bajuband (couplets in Hindi) poem but the first part does have any relation with the poetry except it provides the musical alliteration or the first part of Bajuband poem is used for rhyming for the poem. In second line, the words should not ne more than six or seven words. Second part is meaningful. That is why it is said:
Bajuband ka geet jan rambans ka teer
Dikhan man chhwata ghau karam man ganbheer
Means the last stanza of Bajuband is smaller but is full of meaning.
A few examples of Bajuband poems are as follows :
1- Dahi khaee makhyun- duniya khandi gichhan tu khandee ankhyun
2-Dathuda ki dhar-ankhi teri futi jaya najar ni mar
3-banduki ku gaj- galvadi ko til, mukhdi biraj
4-khandit kadhaee-onthano par onthani mili, dantuni na ladaee
By analyzing we may understand that the second part of Bajuband is effective .the last stanza has five to seven words and are enough to express the whole expression of communicator.
There are all types Bajuband poems in Garhwali that there are all types of raptures
i.e. love, wrath, humor, tragedy, abhorrence, chivalry, humour and surprise. However, the rapture of love is found more prominently.
Some example of other raptures in Bajuband song are:
1-Paliingo sag-- mankhi jauli maya hondi purush jaula bhag
2-Pani bharun dibul-nag dikhya taiku pakyun timul
3-Panch ar panch das--kha guaoko ras
4-ringali ki mani-bain ankhi farki sua aund jani
Shiva Nand Nautiyal provides an astounding knowledge that there used to wars between two or two groups through Bajuband or Duda Dance-Song.
The Bajuband poetry is our heritage and the sensitive Garhwalis should not only take care in preserving or protecting these poems but there should not be stoage in creation of these poems
References:
1-Ramola, Malchand, 1989, Bajuband-Kavya,
2-Nautiyal, Shiva nand, 1981, Garhwal ke Lok Nritya Geet,page-279
3-Chatak, Govind, Garhwal ke Lok Geet, page 132-135
Copyright@ Bhishma Kukreti, Mumbai, 2009
(This write up is dedicated to late Shri Mal Chand Ramola who collected and published more than 250 Garhwali Bajuband poetry)
------------------------------
The folklore as Bajuband Geet in Garhwal are earlier than the alphabets would have started (Ramola, 1989). Ramola provides example of saying by Sinjwik that Bajuband folk songs are earliest for of Garhwali folk songs
“ ..These folklore are older than literature, older than alphabet .It is lore and belongs to the illiterate folks”.
Ramola says that these folk songs are there in Garhwal from the initiating point when the human beings started to live there in Garhwal .
Govind Chatak and Shiva Nand Nautiyal state that Bajuband Geet are equal to Nyaoli of Kumaun. Nautiyal (1981) positions that Dudo or teedu/teedo are another style of Bajuband Nritya Geet (Dance-Song).
Chatak, Nautiyal and Ramola agreed that these songs have been part and partial of Garhwali society. However, Nautiyal states that there is no more existence of dance, drama with these songs . Nauiyal and Chatak state that Bajuband but not Deedo/teedo are love-dance-songs are of Ravanee -Jaunsar-Jaunpur but Ramola proves that these are common songs of each Garhwali folks. This author also supports Ramola that even today, at one or more times a common Garhwal creates Bajuband poetry in his/her lifetime. The process of being poetic is nothing but to create Bajuband song or verse. It is natural to create poetic statement by all. Though, Ramola says that education becoming the medium of educated Garhwalis to ignore these initial Garhwali rhymes, however this writer feels that Garhwalis are not stopping to create newer types of Bajuband verses and these educated Garhwalis may not be using these verses as entertaining and communicating medium as used to be in older Garhwal.
No body will disagree with Ramola that there is musical experiencing in Bajuband songs . Ramola says that Bajuband songs are poetry by providing examples of Sanskrit experts
“ vakya rasatmak kavya”, which means that the sentence which provides delight is poetry and “ Ramaniyarth pratipadakah shabdah kavyam’ and it means that when the meaning of words provide delight , the composition of words is poetry.
The Bajuband songs are truly expressions of emotions, perceptions, knowledge of the creator and the wordings for Bajuband verses originate from the heart and not by intellect.
Ramola says that we should put Bajuband Kavya in the category of Mukta Chhand or stray poems.
There are two stanzas in Bajuband (couplets in Hindi) poem but the first part does have any relation with the poetry except it provides the musical alliteration or the first part of Bajuband poem is used for rhyming for the poem. In second line, the words should not ne more than six or seven words. Second part is meaningful. That is why it is said:
Bajuband ka geet jan rambans ka teer
Dikhan man chhwata ghau karam man ganbheer
Means the last stanza of Bajuband is smaller but is full of meaning.
A few examples of Bajuband poems are as follows :
1- Dahi khaee makhyun- duniya khandi gichhan tu khandee ankhyun
2-Dathuda ki dhar-ankhi teri futi jaya najar ni mar
3-banduki ku gaj- galvadi ko til, mukhdi biraj
4-khandit kadhaee-onthano par onthani mili, dantuni na ladaee
By analyzing we may understand that the second part of Bajuband is effective .the last stanza has five to seven words and are enough to express the whole expression of communicator.
There are all types Bajuband poems in Garhwali that there are all types of raptures
i.e. love, wrath, humor, tragedy, abhorrence, chivalry, humour and surprise. However, the rapture of love is found more prominently.
Some example of other raptures in Bajuband song are:
1-Paliingo sag-- mankhi jauli maya hondi purush jaula bhag
2-Pani bharun dibul-nag dikhya taiku pakyun timul
3-Panch ar panch das--kha guaoko ras
4-ringali ki mani-bain ankhi farki sua aund jani
Shiva Nand Nautiyal provides an astounding knowledge that there used to wars between two or two groups through Bajuband or Duda Dance-Song.
The Bajuband poetry is our heritage and the sensitive Garhwalis should not only take care in preserving or protecting these poems but there should not be stoage in creation of these poems
References:
1-Ramola, Malchand, 1989, Bajuband-Kavya,
2-Nautiyal, Shiva nand, 1981, Garhwal ke Lok Nritya Geet,page-279
3-Chatak, Govind, Garhwal ke Lok Geet, page 132-135
Copyright@ Bhishma Kukreti, Mumbai, 2009
Garhwali Bajuband Kavya -1 (Garhwali Love Poems )
presented by Bhishma Kukreti
Beauty of Lover
presented by Bhishma Kukreti
Beauty of Lover
1- फुर्कली पौन : छाजा माँ खड़ी ह्वै धार माँ कि सी जोने/जून
२-बांज को बुरीज : धार ह्वै जा दिख्वाली कांठा सी सुरीज
३-भुजेलो गुदयूं : मुखडी उदंकार जोनी कु सी उद्यौ
३-भेसो नि च चाँद : दुनिया घुमु पण कवी न देखी त्वै जन बांद
४- लोहा गढी छेणी: पिंग्लू रंग मुखडी को नथुली नि दिखेणी
५- पानी भरिया सोत : बांदू माँ कि बांद दिया जसी जोत
६- सुतरा कि दौंली : मुखडी बतौन्दी गोरी छे बल सौंली
Courtsey : Malchand Ramola from his book; Bajuband Kavyaa
चाल या हिटण
१- घट को भगवाडी : रुब्सी खुट्योंन तू चल अग्वाडी
२-बन्दूक कु गज : तू चल अग्वाडी मैं देखलू सज
मधुर वाणी
१-केला तोडी फली --- कै जगह सुणेली तेरी मोछंग सी गौल्ली (मोछंग एक वाद्य का नाम है )
२- घुघती को घोल ---गुद-बुद्या गिच्चिन हैक्कू बोल बोल
३-घुघती को घोल--- पाथो रुपया पड़ी जयां तेरी जुबानी को मोल (पाथो --अनाज नापने का लकडी का बर्तन )
४- बाखरी को रान : सौ रुप्यौं की दांती हजार की जुबान
सुकुमारता
१-साग लाई तोर --- नाक -डंडी tutige नथुली का जोर
२-बन्दूक कु गज : तू चल अग्वाडी मैं देखलू सज
मधुर वाणी
१-केला तोडी फली --- कै जगह सुणेली तेरी मोछंग सी गौल्ली (मोछंग एक वाद्य का नाम है )
२- घुघती को घोल ---गुद-बुद्या गिच्चिन हैक्कू बोल बोल
३-घुघती को घोल--- पाथो रुपया पड़ी जयां तेरी जुबानी को मोल (पाथो --अनाज नापने का लकडी का बर्तन )
४- बाखरी को रान : सौ रुप्यौं की दांती हजार की जुबान
सुकुमारता
१-साग लाई तोर --- नाक -डंडी tutige नथुली का जोर
कुच-कांति अथवा स्तन सौंदर्य
१-धनिया को बीज ----छाती का अनार तेरा तर्सौनिया चीज
माया --प्रेम
११- हरिया जौ का कीस--जन जन पे ठंदू पाणी तन तन बड़ी तीस
१२- यकुली को कंसो -माया लाण मन, शूरबीर करदू सान्सू
१३-सोना गढी संकल-- कित ब्यौना जयमाला की त रौलू खन्कल (खन्कल--अविवाहित)
१४-कुठारी कु खाना - अमीरू की माया छोडी फकीरूं बना
१५- कमोली को घ्यू --इन लाणी माया , माछी जन ज्यू
१६--- फूली जालो आरू- गौं पर की माया नजरूं कु सहारू
१७-- बखरा की सींगी ---फूल माथि भौंर बैठ्यूं त क्या करदी रिंगी
१८- सेरा लाई कूल ---रस चूसी भौंर ल्हीगे , रेगे बेरस फूल
१९- पाणी भरी घौडू-- परदेशी भौंरू कबी नि होन्दू अपडू
२०- बाखरा की सींगी - मायालू कु मायादार आंख्युं रिंगी
११- हरिया जौ का कीस--जन जन पे ठंदू पाणी तन तन बड़ी तीस
१२- यकुली को कंसो -माया लाण मन, शूरबीर करदू सान्सू
१३-सोना गढी संकल-- कित ब्यौना जयमाला की त रौलू खन्कल (खन्कल--अविवाहित)
१४-कुठारी कु खाना - अमीरू की माया छोडी फकीरूं बना
१५- कमोली को घ्यू --इन लाणी माया , माछी जन ज्यू
१६--- फूली जालो आरू- गौं पर की माया नजरूं कु सहारू
१७-- बखरा की सींगी ---फूल माथि भौंर बैठ्यूं त क्या करदी रिंगी
१८- सेरा लाई कूल ---रस चूसी भौंर ल्हीगे , रेगे बेरस फूल
१९- पाणी भरी घौडू-- परदेशी भौंरू कबी नि होन्दू अपडू
२०- बाखरा की सींगी - मायालू कु मायादार आंख्युं रिंगी
विविध
२१- भैंस को नाम छ चाँद ---मायालू की मायादार बांदू माँ की बांद
२२- कलम की रेक --बान्दून दुन्या भरीं मेरी मन की तू एक
२३-तिम्ला की पात ---सज्जन को संजोग लम्बी ह्वै जा रात
२४-नथुली पौंर---डाल्यूं डाल्यूं रस लेंदू रस-लोभी भौंर
२५-मालू तोड्या taantee ---घौन् गन का बतु नि आणू माया जांदी बाँटीं
२२- कलम की रेक --बान्दून दुन्या भरीं मेरी मन की तू एक
२३-तिम्ला की पात ---सज्जन को संजोग लम्बी ह्वै जा रात
२४-नथुली पौंर---डाल्यूं डाल्यूं रस लेंदू रस-लोभी भौंर
२५-मालू तोड्या taantee ---घौन् गन का बतु नि आणू माया जांदी बाँटीं
वाजुबंद काव्य में स्वप्न (गढ़वाल , उत्तराखंड, हिमालय के लोक गीतों में स्वप्न )
Dream in Folk Songs , Folk Poems of Garhwal, Uttarakhand, Himalayas
Collection: Ramchand Ramola
Presented by Bhishma Kukreti
१- मलेऊ की पांत --रातू का सुपिना नि औनु होंदी उकरांत
२- काटी जाली सुपारी --सुपिना की नींद टूटी आंखी ना उफारी
३- कू तोडी बंद --झट दर्शन दे जा सुपिना का धन्द
४- बाखरा की सींगी ---रातु का सुपिनी माँ आयी दिन आंख्युं माँ रीँगी
खुदेड़ बाजूबंद गीत (विरह श्रृंगारिक कवितायेँ Folk Songs of Separation)
१- तिमली को पट: बाटा हेरी मरयूं ठाडी कपाली हात
२- बखरी बिन्वार : कै पर देखुलू तेरी अन्वार
३- परोठो दूध को : मुखडी को पाणी सुकी तुमारी खुद को
४-चरीजालू भैरो : जादा नि खुदेणु रंग जालो तेरो
५- डाला पकी बेर : आज कु मिलणु ह्वै गे बरसू को फेर
संग्रह कर्ता : मालचंद रमोला
प्रस्तुति: भीष्म कुकरेती
१- तिमली को पट: बाटा हेरी मरयूं ठाडी कपाली हात
२- बखरी बिन्वार : कै पर देखुलू तेरी अन्वार
३- परोठो दूध को : मुखडी को पाणी सुकी तुमारी खुद को
४-चरीजालू भैरो : जादा नि खुदेणु रंग जालो तेरो
५- डाला पकी बेर : आज कु मिलणु ह्वै गे बरसू को फेर
संग्रह कर्ता : मालचंद रमोला
प्रस्तुति: भीष्म कुकरेती
Dear Dr Uniyal Ji, H C Kukreti, and et all
You are learned Hindi scholars among us and some of you written splendid literature in Hindi (Khadi) language , Dr Uniyal has Ph D in the folk literature in Hindi.
I means you all are well versed with Hindi literature.
I am throwing you a challenge :
You visit the following web sites to know about Garhwali Bajuband Kavya ( Garhwali Folk Poetry) and let us know if
Hindi (Khari Boli has capacity to offer such poems which are one line couplets and speak about much more than two lines
couplets, Doha, Chaupaya , Athpaya etc
http://www.merapahad.com/
http://younguttaranchal.com/
You are learned Hindi scholars among us and some of you written splendid literature in Hindi (Khadi) language , Dr Uniyal has Ph D in the folk literature in Hindi.
I means you all are well versed with Hindi literature.
I am throwing you a challenge :
You visit the following web sites to know about Garhwali Bajuband Kavya ( Garhwali Folk Poetry) and let us know if
Hindi (Khari Boli has capacity to offer such poems which are one line couplets and speak about much more than two lines
couplets, Doha, Chaupaya , Athpaya etc
http://www.merapahad.com/
http://younguttaranchal.com/
While, Bihari, Vidyapati Thakur, Mati Ram, Tulsi Das, Nazir, rasnidhi, Ghalib, Muhmmad, jayasi, Padmakar, Dag, Nazar Akkbarbadi, Ravindra Tagor, Gang, Maithil Kokil, Atish saheb, Firaque Gorakhpuri, Vikram, Raskhan, Kalidas of Sanskrit, kavi Rajhans, Kavi Sundar,Badrinarayan, Jalal Saheb , Mubarik Bill, Sayyad Ali, Akbar Illahabadi, Hhajak Saheb,hajrat Naasikh, Dwijdev, Keshav das, Premdhan, marsh Alsiyani, Ibrat Saheb, Meer saheb, hajrat Shefta, Ada jafri, and kabeer could had to spend more than fifteen words in describing same subject and emotions, which the illiterate Garhwalis could express same matter in seven or eight words
Now my challenge to Hindi lovers to let us know the poets or poems of Hindi which could compete Garhwali Bajuband Kavya in terms of few numbers of words for creating poetry
Now my challenge to Hindi lovers to let us know the poets or poems of Hindi which could compete Garhwali Bajuband Kavya in terms of few numbers of words for creating poetry
बाजूबंद काव्य एवम क्षनिकाएं में अंतर
Dear all,
When, I posted the letter of ' Challenge to Hindi Lover' I got call from literature friends and literature creator as MS Lokesh Navani, Madan Duklan, Puran Pant Pathik, Keshar Singh Bisht.
You also saw the letters of MS Vipin Panwar, Sunil Uniyal, Girish Dhoundiyal and Parashar Gaud.
in conversation, one matter came on the surface that " Khsanilayen" of Hindi poetry form are also smaller in size and numbers of words. However, the main differences between
Kshanikayen and Bajuband poems are
1- Bajuband poems are in lyrical nature or Bajuband poems are sung as song , बाजूबंद कवितायेँ गेय होती हैं
2- The first part of Bajuband is meaningless but is necessary for making Bajuband as lyrical
उदहारण:
पोरु
वीन
सुपिनों माँ
कैकी
नारंगी तोडीं
ऐंसू
जैका लिम्बो तोडे
(ललत केशवन कृत गढ़वाली में क्षनिका )
बाजूबंद के उदहारण :
१- धनिया को बीज--क्या तरसेन त्वै फर तू बिराणी चीज
२- लोहा गढ़ी छेणी -- कनु बिसर्युं तेरी भुक्की पेनी
गेयता का बड़ा अंतर xanikaa और बाजूबंद में है और यही करण है की बाजूबंद काव्य अभिनव, अनोखा, सर्व श्रेष्ठ काव्य कहलाया जाता है --
When, I posted the letter of ' Challenge to Hindi Lover' I got call from literature friends and literature creator as MS Lokesh Navani, Madan Duklan, Puran Pant Pathik, Keshar Singh Bisht.
You also saw the letters of MS Vipin Panwar, Sunil Uniyal, Girish Dhoundiyal and Parashar Gaud.
in conversation, one matter came on the surface that " Khsanilayen" of Hindi poetry form are also smaller in size and numbers of words. However, the main differences between
Kshanikayen and Bajuband poems are
1- Bajuband poems are in lyrical nature or Bajuband poems are sung as song , बाजूबंद कवितायेँ गेय होती हैं
2- The first part of Bajuband is meaningless but is necessary for making Bajuband as lyrical
उदहारण:
पोरु
वीन
सुपिनों माँ
कैकी
नारंगी तोडीं
ऐंसू
जैका लिम्बो तोडे
(ललत केशवन कृत गढ़वाली में क्षनिका )
बाजूबंद के उदहारण :
१- धनिया को बीज--क्या तरसेन त्वै फर तू बिराणी चीज
२- लोहा गढ़ी छेणी -- कनु बिसर्युं तेरी भुक्की पेनी
गेयता का बड़ा अंतर xanikaa और बाजूबंद में है और यही करण है की बाजूबंद काव्य अभिनव, अनोखा, सर्व श्रेष्ठ काव्य कहलाया जाता है --
Bhishma Kukreti
Similarities between the English Folk Poetries songs of Garhwal
Human emotions are universally same and that is why there are many similarities of form and emotions among folk songs created in different areas of the world.
The author is providing two similarities between the English Folk Poetries songs of Garhwal, Uttarakhand, Himalayas Folk Poetries .
Meaningless Interjection : in both cases, that is Folk poetries of Britain before mid -age and Garhwali, Himalayan folk poetries, the first stanza is meaningless for the poetry subject but very important for construction of song and for singing by chorus too. Or it may be said that the first meaningless stanza has the importance for choral adequacy as we see in the following folk poems of English and Garhwali languages
Hey , Hey, hey
I will haue the whetston and I may; (Ref-1 )
Po, po, po, po,
Loue brane & so do mo. (Ref-2)
And now Garhwali folk poetr--
Bakhari binvar--sakal dunya ghumi kwee ni mili teri anvar (ref-3)
Amoebaean Style : The critic analyzes in Transition English Song Collections (Ref-4),that questions and answers are another common form in English folk songs of old age . The readers may enjoy this beautifully illustration of a song of the early fourteenth century. The analyzer further says that the song is disposed in recitative, but, relieved of these repetitions:
Maiden in the moor lay
Seven nights full and a day.
“Well, what was her meet?”
“The primrose and the violet.”
“Well, what was her dryng?”
“The chill water of (the) well spring.”
“Well, what was her bower?”
“The rede rose and the lilly flour.”
Now the readers may find the similarities in Garhwali folk songs that Bajuband poetry (refr-5), where questions and answers are common and the meaningless interjection is used for chorus adequacy only :
Fooli jai jai ,
Banj katdari kai gaon ki chhai ?
Babla ki kuchi ,
Kai bi gaon ki holi tu kya kardi puchhi ?
Ganjela ki gaanj ,
Sarkari jangal keku katdee banj ?
Thakula ki thari
Raja kaunku bhare jaun band jangle karee
Dhamkalu ghan tu ini jande chhai t keku ayee baun?
……
These two examples show that the primitive Garhwalis and Englishmen used to create songs in somehow in same form and there was similarities in the subjects that invitation is for dance is already there in hidden form or explicit form as well
Reference:
1-. MS, Balliol ff. 226 b, 248 b—Anglia, XXVI, 270.
2- Bodleian MS., Eng. Poet. E. I. f. 29 b—Percy Society, LXXIII, 42.
3-Ramola, Malchand, Bajuband Kavya, Malchand Bhawan, Tihri, India, 1989,pp138
4- Characteristics of Folk-poetry,, XVI. Transition English Song Collections.
The Cambridge History of English and American Literature in 18 Volumes (1907–21).
Volume II. The End of the Middle Ages.
5-Nautiyal, Dr. Sivanand , 1981, Garhwali Nrityageet, Hindi , Sahitya Sammelan, Allahabad, pp279-282
Copyright @ Bhishma Kukreti, Mumbai, India, २००९
1-. MS, Balliol ff. 226 b, 248 b—Anglia, XXVI, 270.
2- Bodleian MS., Eng. Poet. E. I. f. 29 b—Percy Society, LXXIII, 42.
3-Ramola, Malchand, Bajuband Kavya, Malchand Bhawan, Tihri, India, 1989,pp138
4- Characteristics of Folk-poetry,, XVI. Transition English Song Collections.
The Cambridge History of English and American Literature in 18 Volumes (1907–21).
Volume II. The End of the Middle Ages.
5-Nautiyal, Dr. Sivanand , 1981, Garhwali Nrityageet, Hindi , Sahitya Sammelan, Allahabad, pp279-282
Copyright @ Bhishma Kukreti, Mumbai, India, २००९
Dear Sunil Uniyal Ji
You responded about my challenge in context of uniqueness and saying that Garhwali Bajuband poems are Top class poems not only in Garhwali
but in all languages of world too.
You said ......
"Dear Bhishma, you have rightly pointed out that Garhwali Bajuband
Kavya is Garhwal's unique contribution to literature. I've not come
across such short poems even in English literature. I think it is as
good as the Japanese haiku form, if not better.
Regards,
Sunil"
The biggest tragedy is that our educated, so called intelligent poets who copied other styles from other languages including Haiku
but those poets forgot, ignored to evoluate theis top class style of this oldest poetic form of Garhwali language .
You are witness that Hokku was developed into the language lover poets and masaoka Shiki gave Hokku a current name Haiku.
You are witness that before Shiki renamed Hokku to Haiku, Kobayashi Issa (1763-1827) ,Chio ne, Yosa, matashua Basho, Bancho, Kikako, onitsura ( all before Sholi) . Shiki (1867-1902) Hekigoto, Hosai, Ogiwara, Natsuem, Okutagava, Sankota (all after shiki) worked hard to preserve, to develop and to popularize Haiku in Japan.
it was their work that an English poet R H Blyth introduced haiku in the west along with Amrerican Japanese as Yasuda popularized haiku in west, including in India
Unfortunately, the so called modern Garhwali poets from the bigining (from 1850) never paid attention on bajuband .
No Garhwali Kavi, Mahakavi, Chhota Kavi, Badakavi did anything in Bajuband format except Malchand Ramola who collected Bajuband 251 poems and published these poems for preserving and popularizing them
But no modern poet did follow the adivce of Ramola Ji
What to say on a pity situation for Garhwali language , a stern supporter of Garhwali spoken language, a post graduate person from Kotdwara Shri Girish Dhoundiyal (his family in Mumbai is famous for speaking Garhwali ) knows about Haiku but does not know any thing about Bajuband poem. This is our reality.
Once Acharaya Gopeshwar Kothiyal wrote in Yugvani Dehradun......
पढ़े लिखे चपत मार कर चले गए....
This applies to Garhwali Bajuband Kavya that illiterate garhwalis could create Top Class poetry
However, educated Garhwali poets forgot the original garhwali form of poetry.....
I hope you would help to rejuvinate this format of poetry!!!!!
You responded about my challenge in context of uniqueness and saying that Garhwali Bajuband poems are Top class poems not only in Garhwali
but in all languages of world too.
You said ......
"Dear Bhishma, you have rightly pointed out that Garhwali Bajuband
Kavya is Garhwal's unique contribution to literature. I've not come
across such short poems even in English literature. I think it is as
good as the Japanese haiku form, if not better.
Regards,
Sunil"
The biggest tragedy is that our educated, so called intelligent poets who copied other styles from other languages including Haiku
but those poets forgot, ignored to evoluate theis top class style of this oldest poetic form of Garhwali language .
You are witness that Hokku was developed into the language lover poets and masaoka Shiki gave Hokku a current name Haiku.
You are witness that before Shiki renamed Hokku to Haiku, Kobayashi Issa (1763-1827) ,Chio ne, Yosa, matashua Basho, Bancho, Kikako, onitsura ( all before Sholi) . Shiki (1867-1902) Hekigoto, Hosai, Ogiwara, Natsuem, Okutagava, Sankota (all after shiki) worked hard to preserve, to develop and to popularize Haiku in Japan.
it was their work that an English poet R H Blyth introduced haiku in the west along with Amrerican Japanese as Yasuda popularized haiku in west, including in India
Unfortunately, the so called modern Garhwali poets from the bigining (from 1850) never paid attention on bajuband .
No Garhwali Kavi, Mahakavi, Chhota Kavi, Badakavi did anything in Bajuband format except Malchand Ramola who collected Bajuband 251 poems and published these poems for preserving and popularizing them
But no modern poet did follow the adivce of Ramola Ji
What to say on a pity situation for Garhwali language , a stern supporter of Garhwali spoken language, a post graduate person from Kotdwara Shri Girish Dhoundiyal (his family in Mumbai is famous for speaking Garhwali ) knows about Haiku but does not know any thing about Bajuband poem. This is our reality.
Once Acharaya Gopeshwar Kothiyal wrote in Yugvani Dehradun......
पढ़े लिखे चपत मार कर चले गए....
This applies to Garhwali Bajuband Kavya that illiterate garhwalis could create Top Class poetry
However, educated Garhwali poets forgot the original garhwali form of poetry.....
I hope you would help to rejuvinate this format of poetry!!!!!
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