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उत्तराखंडी ई-पत्रिका

उत्तराखंडी ई-पत्रिका

Monday, November 11, 2013

Agitation Sentiment in Garhwali Folk Drama

 गढवाली लोक नाटकों में   आवेग     भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -36

                                        Bhishma Kukreti

               According to Bharat’s Natyashastra, agitation sentiment is shown in drama by performing by loosing limbs of body, disturbed mind, and change of color of face, sadness and surprise.
   The meaning of agitation sentiment in Bharat’s Natyashastra is when a mind becomes ill by sadness or fear and then person comes in agitation.
           This author remembers a folk drama played by Badi performer. The act was that a tiger is attacking on a man and his wife. First tiger tries to attack on man and woman. However, suddenly the performer in tiger act jumps on the audience. There was agitation sentiment on the face of a couple of audiences.
                There are many folk songs in Jagar where a character is irritated and the folk song describes character is agitating due to irritation or sadness.
  In the following Garhwali folk song (Pando Jagar) there is an example of agitation sentiment –
             पंडो नृत्य में अर्जुन वासुदत्ता प्रेमगाथा में आवेग     भाव

(स्रोत्रडा गोविन्द चातक,सन्दर्भ : डा शिवा नन्द नौटियाल)


द्रोपती अर्जुन सेयाँ छया
रातुड़ी होयें थोडं स्वीणा ऐन भौत
सुपिना मा देखद अर्जुन
बाळी वासुदात्ता नागुं कि घियाण ,
मन ह्वेगे मोहित , चित्त ह्वेगे चंचल
वींकी ज्वानी मा कं उलार छौ
वींकी आंख्युं मा माया को रैबार छौ
समळीक मुखड़ी वींकी अर्जुन घड्याण बिसे गे
कसु कैकु जौलू मै तै नागलोक मा
तैं नागलोक मा होला नाग डसीला
मुखड़ी का हँसीला होलापेट का गसीला
मद पेंदा हठी होलासिंगू वाल़ा खाडू
मरखोड्या भैसा होला मै मारणु आला
लोहा कि साबळी होली लाल बणाइ
चमकादी तलवार होली उंकी पैळयाँयीं
नागूं की चौकी बाड़ होलो पैरा
कसु कैकु जौलू मैं तै नागलोक मा
कमर कसदो अर्जुन तब उसकारो भरदो ,
अर्जुन तब सुसकारो भरदो
मैन मरण बचण नागलोक जाण
रात को बगत छयो , दुरपदा सेइं छयी
वैन कुछ ना बोले चाल्यो , चल दिने नागलोक
मद्पेंदा हाती वैन चौखाळी चीरेन
लुवा की साबळी नंगून तोड़ीन
तब गै अर्जुन वासुदत्ता का पास
घाम से घामपूनो जसो चाम
नौणीवालो नाम , जीरी वल़ो पिंड
सुवर्ण तरूणी छे , चंदन की लता
पाई पतन्याळीआंखी रतन्याळी
हीरा की सी जोत , ज़ोन सी उदोत
तब गै अर्जुन सोना रूप बणी
वासुदत्ता वो उठैकी बैठाए अर्जुन
वींको मन मोहित ह्व़े ग्याई
तब वीन जाण नी दिने घर वो
तू होलो मेरो जीवन संगाती
तू होलो भौंर मै होलू गुलाबो फूल
तू होलो पाणी मै होलू माछी
तू मेरो पराण छईत्वे मि जाण  देऊँ
तब तखी रै गे अर्जुन कै दिन तै
जैन्तिवार मा दुरपदा की निंद खुले ,
अर्जुन की सेज देखे वीन कख गये होला नाथ
जांदी दुरपदा कोंती मात का पास
हे सासू रौल तुमन अपण बेटा बि देखे
तब कोंती माता कनो सवाल दीन्दी
काली रूप धरे तीन भक्ष्याले
अब मैमू सची होणु आई गए
तब कड़ा बचन सुणीक दुर्पति
दणमण रोण लगी गे
तब जांदी दुरपदी बाणो कोठडी
बाण मुट्ठी बाण तुमन अर्जुन बि देखी
तब बाण बोदन , हम  सेयान छया
हमुन नी देखे , हमुन नी देखे
औंदा मनिखी पुछदी दुरपता
जांदा पंछियों तुमन अर्जुन बि देखे
रुंदी  बरडान्दी तब दुरपदी राणी
जिकुड़ी पर जना चीरा धरी ह्वान
तीन दिन ह्वेन वीन खाणो नी खायो
ल़ाणो नी लायो
तब आंदो अर्जुन का सगुनी कागा
तेरो स्वामी दुरपतिज्यूँदो  जागदो
नागलोक जायुं वासुदत्ता का पास
तब दुरपता को साँस एगी
पण वासुदत्ता  नौ सुणीक वा
फूल सी मुरझैगी डाळी सी अलसेगी
तिबारी रमकदों झामकदों
अर्जुन घर ऐगे

  The following lines show the agitation sentiment in the above folk song
पण वासुदत्ता  नौ सुणीक वा
फूल सी मुरझैगी डाळी सी अलसेगी

Copyright @ Bhishma Kukretibckukreti@gmail.com  10/11/2013


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

गढवाली लोक नाटकों में आवेग  भावटिहरी गढ़वाल के गढवाली लोक नाटकों में  आवेग भाव;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में आवेग  भाव;हरिद्वार गढ़वाल के गढवाली लोक नाटकों में आवेग   भाव;देहरादून गढ़वाल के गढवाली लोक नाटकों में  आवेग  भाव;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  आवेग  भाव;चमोली गढ़वाल के गढवाली लोक नाटकों में  आवेग  भावरुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में  आवेग  भाव;