Zeal Sentiment in Garhwali Folk Dramas

गढवाली लोक नाटकों में  भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -17

                                        Bhishma Kukreti

                     Bharat’s Natyshashtra states that Zeal sentiment in drama is projected in performance by firmness on the face, spirited movements, leadership and the like.  

            As everybody know that folk artists of older time Garhwal were not educated. However, the folk drama players were very much aware about human emotions and psychology.

   Examples of Zeal Sentiment in Garhwali Folk Drama

 There are tens of examples of showing zeal sentiment in Garhwali folk plays played by folk artist and common men and women.

 When Badis the professional cast folk dramatists used to perform entertaining drama and audience used to show happiness the Badis used to feel zeal and pride. The pride and zeal used to come on their faces.

         When Sacchida Nand dada ji made fool of   people

                           This author is witness an incident. Sacchida Nand dada ji of our village used to do many solo drama as per hi mood. One day, the time was just after evening and farming people were coming back to village through usual path. There was moon light. People returning to village saw a man lying still on the road. People recognized Sacchida Nand dada Ji. A couple of village fellow touched Sacchida Nand dada Ji. Sacchida Nand Dada ji was acting as if he was dead. People felt sorry and were afraid. When most of people were convinced that Sacchida Nand Dada Ji was dead Sacchida Nand Dada Ji   got up and started laughing. Later on there was feeling of zeal on his face for his completing drama and making fool to villagers. His walk was also showing pride and zeal. Zeal on his face and body was due to his total performance. Sacchida dada Ji was walking as if he had won the world.  

                           Zeal in Deepawali festival Celebration

 In Garhwal Deepawali festival celebration is not limited to burning earthen lamps in night but in day time people provide cooked rice and millets (called Badee) to cattle. The people make round shape of cooked rice or millet and in each ‘dhindhi ‘a flower is put.  The zeal of children for putting flower on Dhindhi of Badde is spectacular.

 The children show their zeal in folk dance when they start dance and song in community courtyard.

               गढवाली लोक नाटकों में उत्साह   भाव 

मुझे बादियों द्वारा खेले गए एक लोक नाटक (स्वांग ) नाटक याद आता है।  जिसमे दो भाई  प्रसन्न मुद्रा में और गर्व के साथ कहीं जा रहे हैं  और रास्ते  में एक पहचान वाला मिलता है।  वह पूछता  है

वह मनुष्य - हे जी ! आज द्वी भैयुं दौड़।  क्या बात कतिकु जी! आज तुमार मुख चलकणु च अर खुत इन चलणा छन जन बुल्यां उड़णा ह्वेल्या !

कतिकु - हाँ ज़रा नौनौ चिट्ठी रूप्या रळणा जाणा छंवाँ।  

 I remember a folk play played by Badis in my village around 1963-64

Two brothers were walking with pride and in happy mood. The walking was marvelous of both the characters. On their way, a person met them and he asked.

Man- O Katiku Ji ! Where are your aims? Your face is showing zeal and happiness; you are not walking but as if you are flying.

Katiku Ji- We are going for engagement of my son.

(In Garhwal it is not asked “Where are you going/” directly)

  There are many instances of zeal emotion in Jagar (folk ritual dance-song) too.

 The zeal is important emotion and Garhwali folk artists know to show Zeal sentiment in their folk dramas.

Copyright @ Bhishma Kukreti, bckukreti@gmail.com  17 /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 Folklife 

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

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