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उत्तराखंडी ई-पत्रिका

उत्तराखंडी ई-पत्रिका

Tuesday, June 17, 2014

Thirty Five Tal or Rag Ragini, Tal, Musical Notes or Music Scripts of Dhol-Damau Playing

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -172   
Rag Ragini, Tal, Musical Notes or Music Scripts in Garhwali Folk Songs and Folk Music part -2  

    गढ़वाली गीत संगीत (गढ़वाली लोक नाटकों में तालरागरागिनी
                             
                     Bhishma Kukreti (Folk Literature Research Scholar)

The dancers and audience enjoy the Dhol-Damau according to tunes. There are two theories of tunes for Dhol Damau. According to ‘ Ramcharan DholSagar’ , as per time, class and place , there are thirty five tunes in playing Dhol-Damau/Rauntal

1- Jangan man -- for earth prayer
2-Dhup Deep aur Dhwaj--- Prayer of own deities and nation
3- Surya Kiran ---Prayer of Sun
4- Kucche ki Naubat-Morning Play
5-Saras-- Worship of arms and ammunitions
6-Parikrama-- Circumambulation of earth
7-Badhai Shabad-- Happy news, Congratulation
8-Ghai Shabad- Initiation of war/battle
9-Jadkhamb- To ascend
10-Thaman-- Stopping
11-Utrai--To descend
12-Sone ki Naubat-- Resting period
13-Saat sanjha aur Nau Doha- Travel through ocean
14-Sagun- Conference hall/conference of deities
15-Chakravyuha---worship of deities
16-Ram Rahman- meeting place or Conjunction
17- Gadh ganga - at the River bank
18-Chakor Jojan- At the time of Tug of war
19-Machkaro - At the time of son birth
20-Bhair Khol-Bhitar Kohl - At the time of initiation of walking by child
21-Shabad Grah- Preventing bad omen
22-Chaurasi Ghai- Worshipping eighty four lakhs deities
23-Chauras- To call all deities in one place
24-Sarva sidhi-- For best wishes
25-Chauk Vijeta- Starting from country yard
26-Sarvagan Vijeta-- Best wishes for wins to all
27- Painsara- Step by step
28- Upgrah Vijeta-- Continuous walking
29-Chauhato-Chhablato-- Lanka dahan
30- Takkato- Head-on
31-Bajrahato- Undesired
32-Airali- Chait Pujan
33-Bairali- Welcoming/Worshipping of Auji
34-Jalvayu- Worshipping season
35-Holi Vijeta- Win over bad omen


Copyright@ Bhishma Kukreti 17 /6/2014 for interpretation notes  
Contact ID -bckukreti@gmail.com
Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter
                 References
1-Bharat Natyashastra
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
13-Manorama Sharma, Tribal Melodies of Himachal Pradesh: Gaddi Folk Music
14- Anoop Chandola, 1977, Folk Drumming in Himalaya: A Linguistic Approach to Music 
15- Jugal Kishor Petshali, 2002, Uttaranchal ke Lok Vadya
16- Jason Busniewski, Bagpiping in the Indian Himalaya
17- Ian Woodfield, 2000, Music of the Raj
18-Stefen Fiol, 2008, Constructing Regionalism: Discourses of Spirituality and Cultural Poverty in Music of Uttarakhand, North India
19- Andrew Alter, Mountainous Sound Spaces-Listening to History and Music in the Uttarakhand Himalayas 
20 Keshav Anuragi
21 Dayashankar Bhatt 
 XX
Thirty Five Tal or Rag Ragini, Tal, Musical Notes or Music Scripts of Dhol-Damau Playing  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Thirty Five Tal or Rag Ragini, Tal, Musical Notes or Music Scripts of Dhol-Damau Playing  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Thirty Five Tal or Rag Ragini, Tal, Musical Notes or Music Scripts of Dhol-Damau Playing  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Thirty Five Tal or Rag Ragini, Tal, Musical Notes or Music Scripts of Dhol-Damau Playing   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Thirty Five Tal or Rag Ragini, Tal, Musical Notes or Music Scripts of Dhol-Damau Playing  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Thirty Five Tal or Rag Ragini, Tal, Musical Notes or Music Scripts of Dhol-Damau Playing  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Thirty Five Tal or Rag Ragini, Tal, Musical Notes or Music Scripts of Dhol-Damau Playing    in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Thirty Five Tal or Rag Ragini, Tal, Musical Notes or Music Scripts of Dhol-Damau Playing   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia