Indolence Sentiment in Garhwali Folk Drama

 गढवाली लोक नाटकों में  आलस्य  भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -27

                                        Bhishma Kukreti

                   According to Bharat’s Natyashastra, indolence should be demonstrated by avoiding activity, lying down, sitting listlessly, drowsiness, sleeping and dreaming.

                     I remember a folk drama played by Badis (the professional caste class of Garhwal) in Village Jaspur, Pauri Garhwal, wherein two men sitting and gossiping. In between their gossip, the village council chief (Gram Pradhan) comes from far and one of gossipers introduces village council chief as   

पहला - ले प्रधान  काका बि  ऐगे। जख प्रधान  तै  दौड़ भाग करण चयेंद अर हमर प्रधानो  ज्यू बुल्यांद कि यूंक बांठा टट्टी पिसाब बि वैक पंच चली जावन  !

दूसरा - हाँ कुछ कामौ बान जावो त प्रधान बाडाक आँख बुज्याँ रौंदन अर जमै लीणु रौंद ……

 First person – see there! Village chief is coming. His work is to run for work but he desires that somebody goes even for urinating  on his behalf.

Second person – Yes, whenever we go for some work to him he is always sitting listlessly and always yawning…

The above dialogues describe the lazy nature of village council chief.  

Copyright @ Bhishma Kukreti, bckukreti@gmail.com  29/10/2013

              Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part to be continued… 

                    References

1-Bharat Natyam

2-Steve Tillis, 1999, Rethinking Folk Drama

3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 

4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research

5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India

6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 

7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12

8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet

9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments

10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach

11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara

12- Bhishma Kukreti, 2007, Garhwali lok swangun ma rasa ar Bhav , Chithipatri

Xx

Indolence Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Indolence Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Indolence Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Indolence Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Indolence Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Indolence Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Indolence Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Indolence Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;

गढवाली लोक नाटकों में आलस्य  भाव; टिहरी गढ़वाल के गढवाली लोक नाटकों में आलस्य  भाव;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में आलस्य  भाव;हरिद्वार गढ़वाल के गढवाली लोक नाटकों में    भाव;देहरादूनगढ़वाल के गढवाली लोक नाटकों में  आलस्य  भाव;पौड़ी गढ़वाल के गढवाली लोक नाटकों में   आलस्य भाव;चमोली गढ़वाल के गढवाली लोक नाटकों में आलस्य  भाव; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में आलस्य   भाव;