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उत्तराखंडी ई-पत्रिका

उत्तराखंडी ई-पत्रिका

Monday, January 20, 2014

Das Chakhuli Ban Gen (The Drum Players became Bird): A Garhwali Folktales for Creative Managers

Garhwali Folk Tales, Fables, Traditional Stories, Community Narratives -57

 Narrated by Shri Gopal Singh Rawat, Malan Ganv Painon Patti, Pauri Garhwal 

  Compiled and Edited by: Bhishma Kukreti (Management Training Expert)

             In old days to get a Das pair (the Dhol and Damau players) was more difficult than modern age. As there were quite a couple of Dhol playing trainers to train Bogsa (today’s Bogsa tribe people of Bhabhar) for not only playing Dhol and Damau but also singing Dhol Sagar and other folk songs as Pandon songs. It is said in Badalpur, Paino Pattis that the ancestors of Dhol –Damau players are Bogsa of Bhabhar.
             There was a young Uthma Das a Bogsa in Bhabhar near today’s Kolagdh dam region. He used to help Dhakari (those villagers who used to visit Mandi from village for purchases) in taking their loads on his head. People used to pay him his wages in form of grains etc. Uthma Das was more attached to Malanganv of Painon Patti (Talla Salan).  When villagers of Malan Ganv used to visit Buksad Saud for purchasing he used to take the load and used to reach Malanganv. Buksad Saud was far from Malanganv. In night Dhakari had to rest. Dhakari used to hear the Naubat (Drum Playing) from Khairagarh fort (Katyuri King’s Fort)  in night. Uthma Das used to repeat the Tal of Drum playing by thumping his stomach by his hands. Uthma Das became expert of matching the Tal of Drum of Khairagarh with his stomach beating Tal. Villagers of Malanganv used to request Uthma Das to beat his stomach and Uthma Das used to create same Tal as of Dhol-Damau playing. There was no Das in Paino Patti. Thokdar (Jameendar) of Malanganv asked Uthma Das to become village Das or drum player. Uthma Das told to Thokdar that he did not have proper training and he only learnt playing his stomach by listening Khairagarh drum echoes. Thokdar paid him coins to get training for Dhol-Damau playing and singing Dhol Sagar. Uthma Das and his brother Swanr Das took training for Dhol-Damau playing and singing Dhol Sagar from Jogi Das a Dhol Sagar Guru in Bogsa community.  Thokdar of Malanganv offered Gold coins to Uthma Das for making Dhol and Damau. When Uthma Das and Swanr Das became Dhol Sagar expert, Thokdar of Malanganv offered them house and  land for Uthma Das family. Uthma Das family migrated to Malangaon from Bhabhar as other Das used to settle.
        Villagers of Painon Patti were pleased to get Das (drum players). There was rivalry between Thokdar of Malangaon and Thokdar of nearby village Jhadta. Thokdar of Jhadta was jealous that Thokdar of Malangaon brought Das. He challenged Uthma Das and Swanr Das and called them in his village to show their expertise of Dhol-Damau playing. Uthma Das and Swanr Das agreed the challenge by Thokdar of Jhadta.
             Uthma Das and Swanr Das came to Jhadta. Thokdar told them to show their creativity.  Uthma Das played Dhol and Swanr Das played Damau. The leaves of Banyan tree fell down by their play. Thokdar of Jhadta instigated Uthma Das for more Dhol playing tricks. By Dhol-Damau play they opened doors and closed doors. However, Thokdar of Jhadta was not satisfied. He told them to show more difficult show.
                Now, Uthma Das and Swanr Das played Dhol in such vigor that the roof stones of village Houses flew  down on the courtyard. Villagers were shocked to see the power of Dhol players. Villagers requested Uthma Das and Swanr Das to get back the roof stones back. Uthma Das and Swanr Das played different Tal on Dhol-Damau and all roof stones flew and got back in their original places.
            Thokdar of Jhadta and his close men were afraid of the power of Das and they burnt Uthma Das and Swanr Das alive. Both cried,” Nai ! Nai. ..”

        Uthma Das and Swanr Das both became birds in their next birth and settled down in Deldhang and Dhikla region (their mother land, Bhabhar).  In Bhabhar whenever these birds see men they tweet,” Nai! Nai!”
    



Copyright @ Bhishma Kukreti 18/1/2014 for review and interpretation
Garhwali Folk Tales, Fables, Traditional stories, Community Narratives for Effective Managers, Effective executives, Effective Boss, Effective Supervisors or Stories for Effective management, management Lesson from Garhwali Folk Literature from Garhwal, to be continued …in next chapter

                                 References

1-Bhishma Kukreti, 1984, Garhwal Ki Lok Kathayen, Binsar Prakashan, Lodhi Colony, Delhi 110003, 
2- Bhishma Kukreti 2003, Salan Biten Garhwali Lok Kathayen, Rant Raibar, Dehradun
3- Bhishma Kukreti, Garhwali Lok Kathaon ma Prabandh Vigyan ka Tantu , Chitthi Patri’s Lok Kathayen Visheshank  , Dehradun

The Drum Player became Bird: A Garhwali Folktales for Creative Managers; The Drum Player became Bird: A Garhwali Folktales from Malangano Garhwal for Creative Managers; The Drum Player became Bird: A Garhwali Folktales from Painon Patti Garhwal for Creative Managers; The Drum Player became Bird: A Garhwali Folktales from Salan or South Garhwal for Creative Managers; The Drum Player became Bird: A Garhwali Folktales from Lansdowne Tehsil Garhwal for Creative Managers; The Drum Player became Bird: A Garhwali Folktales from Pauri Garhwal for Creative Managers; The Drum Player became Bird: A Garhwali Folktales from Buksad Garhwal for Creative Managers; The Drum Player became Bird: A Garhwali Folktales from Bhabhar region Garhwal for Creative Managers; The Drum Player became Bird: A Garhwali Folktales from Ramganga valley Garhwal for Creative Managers; The Drum Player became Bird: A Garhwali Folktales from Jhadta Gadan region Garhwal for Creative Managers; The Drum Player became Bird: A Garhwali Folktales from Khairagadh region Garhwal for Creative Managers; The Drum Player became Bird: A Garhwali Folktales from Deldhang Garhwal for Creative Managers;