21 जनवरी 2010, गुरूवार, सायं 7 बजे से
पर्वतीय नाट्य मंच
के तत्वाधान में
ममता भट्ट
द्वारा
समस्त उत्तराखण्डी प्रवासियों के लिए नव वर्ष की सप्रेम भेंट
बीर भड़ माधोसिंह भण्डारी (गीत नाटिका)
और
गीत नाटिका के पार्श्व गायक या पार्श्व गायिका
प्रीतम भरतवाण
मीना राणा
और विरेन्द्र राजपूत, बिक्रम कप्रवाण, जितेन्द्र पंवार,
मंजू सुंदरियाल, दीपा पंत आदि
स्थान ->: श्री षणमुखानंद सभागृह ( किंग्सर्कल स्टेशन समीप)
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उत्तराखंडी ई-पत्रिका
Saturday, December 19, 2009
Wednesday, December 2, 2009
नेताओ की पछयाण
नेता बल आम आदमियो से बिलकुल ही अलग हुन्दन अर पछीणे जदिनी ! जन कुतो माँ , खुजली वाल वालू कुता .... दूर बीटी ही पछ्याणे जांद उनी जनता का बीचम वो भी ! ऊकी , चाल- ठाल, उठूणु-बैठूणु, खाणु- पीणु , बुन- बच्याणु , सब , सब से अलग ही हुन्द ! जी हां , अलग ! संस्कृतं एक श्लोक च " लुन्ड़ो ; बिचतरो गती : " अर्थात जन की लुंड माने आवारा किस्म का आदमी की हर कुछ अलग ही हूँ उनी नेताओ की भी !
हमरा यख याने गडवाल बीटी वी नेता हूनी , जोन, द्वी -द्वी ब्यो कैनी ! जनकी हेम्वान्ती नदन बहुगुणा, शीबानद नोटियाल , जग मोहन सिह नेगी आदि आदि ! अबत कुमो बीटी भी य पर्था चली आण लगी ! हरीश रावत भी ये लग्यात माँ शामिल ह्वेगीनी ! या सबसे पहली पछयाण नेता हूँण की ! नेता त, कई ह्वनी ! पर, इन जन ना ! .. बाकी त जन बुलदं ना बल " बड गोर बल लूण बुकाऊ , अर छुटा थुबउड़ चाट " वनी !
ऊ बुल्दा कुछ छन अर करदा कुछ .. ! देख नी आपल, आज से १० साल पैली , एक बडो नेताल..., तब जू बुलद छो , की मेरी त अंतर्राष्ट्रीय राजनीत म दखल च ! त फिर मी प्रदेशीय राज्नितिम किलै जो ! मयारू दिमाग खराब च क्या ? है, ..... मि , कै पागल कुत्तो कटियु छो जू मी इनु काम कैरू ! कुई पागल ही ह्वालू जू प्रांतीय राजनीतंम जालू ! उन यख तक भी बोली दे छो की " राज्य ? कनु राज्य ...! अगर राज्य बनालू भी त मेरी लाश पर ????? ,,,,, अर जब राज्य बणीगे ! सया पिच्ल्या दरवाज बीटी राज्य की सब से अहम कुर्सी याने चीफ मिनिस्टर ह्त्येदी ! य दूसरी पछयाण च !
तैला मिल्या खुवाल, त , हमन सुणी भी , अर देखि भी छ ! पर, हर
चुनोमाँ , फिरका परस्ती , जजमानी -बामणी, खा- बा- डा अर बाजा बाज त गड्वाली कुमुनी नि चुकदी ताबा ! ये भै, कुई यूथे पूछा ....... /// तुम त हैरी जीती चली जैल्या .... पर हमत यख यखी रैण ! म्यारा गौ माँ कुई जाज काज होल त बामणलत काना ! कुई मोरी भाजिगे त हमले त हमने त हूँ ना कठा ? हमनै त, उठान ना ..मुरियु मुर्दा ? की ई आला देहरादून बीटी, हमरा गौ माँ मुर्दा उठानु कु ? जबरी यूथे हमरी चाड रैद त, कन घुम्दी, हमरा अग्वाडी पिछाडी लिडा कुकर सी ! अर जब हम थै युकी जरुरत पुडाद त तब पट दरवाज बद कैकी भैरम संतरी जू बितर त भीतर आगन्म तक नी आणि देदु ! युकू कुई मुवार्लुत वख सरकारी सरय मशीन दोडी डोदी ई जाली ! युका आसू पुच्णु बड़ा बड़ा अफसर मंत्री ऐजाला ! ये किक नि हुन्दन ये एक औरी पछ्यण च ! ईनी कै बता ओउरी भी छन !
पराशर गौर
नम्बर १६ दिनम ११.५५ पर
हमरा यख याने गडवाल बीटी वी नेता हूनी , जोन, द्वी -द्वी ब्यो कैनी ! जनकी हेम्वान्ती नदन बहुगुणा, शीबानद नोटियाल , जग मोहन सिह नेगी आदि आदि ! अबत कुमो बीटी भी य पर्था चली आण लगी ! हरीश रावत भी ये लग्यात माँ शामिल ह्वेगीनी ! या सबसे पहली पछयाण नेता हूँण की ! नेता त, कई ह्वनी ! पर, इन जन ना ! .. बाकी त जन बुलदं ना बल " बड गोर बल लूण बुकाऊ , अर छुटा थुबउड़ चाट " वनी !
ऊ बुल्दा कुछ छन अर करदा कुछ .. ! देख नी आपल, आज से १० साल पैली , एक बडो नेताल..., तब जू बुलद छो , की मेरी त अंतर्राष्ट्रीय राजनीत म दखल च ! त फिर मी प्रदेशीय राज्नितिम किलै जो ! मयारू दिमाग खराब च क्या ? है, ..... मि , कै पागल कुत्तो कटियु छो जू मी इनु काम कैरू ! कुई पागल ही ह्वालू जू प्रांतीय राजनीतंम जालू ! उन यख तक भी बोली दे छो की " राज्य ? कनु राज्य ...! अगर राज्य बनालू भी त मेरी लाश पर ????? ,,,,, अर जब राज्य बणीगे ! सया पिच्ल्या दरवाज बीटी राज्य की सब से अहम कुर्सी याने चीफ मिनिस्टर ह्त्येदी ! य दूसरी पछयाण च !
तैला मिल्या खुवाल, त , हमन सुणी भी , अर देखि भी छ ! पर, हर
चुनोमाँ , फिरका परस्ती , जजमानी -बामणी, खा- बा- डा अर बाजा बाज त गड्वाली कुमुनी नि चुकदी ताबा ! ये भै, कुई यूथे पूछा ....... /// तुम त हैरी जीती चली जैल्या .... पर हमत यख यखी रैण ! म्यारा गौ माँ कुई जाज काज होल त बामणलत काना ! कुई मोरी भाजिगे त हमले त हमने त हूँ ना कठा ? हमनै त, उठान ना ..मुरियु मुर्दा ? की ई आला देहरादून बीटी, हमरा गौ माँ मुर्दा उठानु कु ? जबरी यूथे हमरी चाड रैद त, कन घुम्दी, हमरा अग्वाडी पिछाडी लिडा कुकर सी ! अर जब हम थै युकी जरुरत पुडाद त तब पट दरवाज बद कैकी भैरम संतरी जू बितर त भीतर आगन्म तक नी आणि देदु ! युकू कुई मुवार्लुत वख सरकारी सरय मशीन दोडी डोदी ई जाली ! युका आसू पुच्णु बड़ा बड़ा अफसर मंत्री ऐजाला ! ये किक नि हुन्दन ये एक औरी पछ्यण च ! ईनी कै बता ओउरी भी छन !
पराशर गौर
नम्बर १६ दिनम ११.५५ पर
खंतडी मुडै छुई
रातिकू खाण-पीणा बाद
जनि हम द्वी झाण पवाडा
सुरक ऱजॆ , मुखं धैरी
खुस-पुश - खुश-पुश बच्याण बैठा
किलैकी ...........
भैरम ब्योई छेई सीई !
वा, बोली...............,
यैसुका साल
खेती-पाती बटवालण क बाद
तुमुन क्या सोची ?
मी थै दगडी लिजैल्या
य घारे रो ?
भाग्यानु का , सी छी
कुई खुच्ली पर त,
कुई पीठम छीन झुंटा खीना
मेरी दा , त ............. ,
बिधातल भी पट
आखी बुजिदी !
क्या छा सुचणा ?
कुछ बुल्ल्या भी य इनी ..
छी भै, युका दगड भी
उफ़ .......... ,
कुनस युका भी, जू
गिचु तक नि उफर्दा !
सुणु छो, सुणु छो
दगडा-दगडी सुचुणु भी छो
जू .. त्वे दगडी लिजोलू त
बोई कु क्या ह्वालू ?
इनकारा , की , मि थै छ्वाडा
उथै ही लिजाव इबरी
उकी दों खूब सोची
अर हमरी दा पीठ किलै ?
छई- साथ साल ह्वेगी ब्यो कया
भैका सो , ......,
सुनी डनड्याली अर
खालि भितरी मी , खाणु आन्द !
अरै ...,
नि समझ, नि समझ उलटा
ब्योईल कतका जी बचण
कखी , निरसे -फटगवसे` जालित ?
प्रभात पुछुलू बोई थै
क्या ?
जू ब्याललित , नि लीजो ..
त.... क्या ?
नि लिजोल . औरी क्या ... ? !
दिखादै दिख्द....
बियाणा धारम एगी
व, पाणी की चली गे
अर मी.....खंताडी पर मारी अंग्वाल;
सुचूणु रों , लीजो की, नि लीजो ?
खैर ........बिखुन्दा खाद बगत
बोई ल बोली ' बीटा ..
खेती-पाती संभालेगी
गोर बचुरु नि न
एक काम कैर ......
ब्वारी थै तखूंद ली जा
हवा पाणी भी बदली जालू अर
दिबा दैणी होई जाली त
क्या पता मी नाती कु मुख देखि सैकु ?
मिन वीक तरफ देखी
अर वींन मेरी तरफ
लगद जन बुलिद दिब्ल हमरी
बात सुणी याली छीई !
पराशर गौर
२७ नंबर ०९ ४.३० बजे स्याम
न्यू मार्किट कैनाडा
जनि हम द्वी झाण पवाडा
सुरक ऱजॆ , मुखं धैरी
खुस-पुश - खुश-पुश बच्याण बैठा
किलैकी ...........
भैरम ब्योई छेई सीई !
वा, बोली...............,
यैसुका साल
खेती-पाती बटवालण क बाद
तुमुन क्या सोची ?
मी थै दगडी लिजैल्या
य घारे रो ?
भाग्यानु का , सी छी
कुई खुच्ली पर त,
कुई पीठम छीन झुंटा खीना
मेरी दा , त ............. ,
बिधातल भी पट
आखी बुजिदी !
क्या छा सुचणा ?
कुछ बुल्ल्या भी य इनी ..
छी भै, युका दगड भी
उफ़ .......... ,
कुनस युका भी, जू
गिचु तक नि उफर्दा !
सुणु छो, सुणु छो
दगडा-दगडी सुचुणु भी छो
जू .. त्वे दगडी लिजोलू त
बोई कु क्या ह्वालू ?
इनकारा , की , मि थै छ्वाडा
उथै ही लिजाव इबरी
उकी दों खूब सोची
अर हमरी दा पीठ किलै ?
छई- साथ साल ह्वेगी ब्यो कया
भैका सो , ......,
सुनी डनड्याली अर
खालि भितरी मी , खाणु आन्द !
अरै ...,
नि समझ, नि समझ उलटा
ब्योईल कतका जी बचण
कखी , निरसे -फटगवसे` जालित ?
प्रभात पुछुलू बोई थै
क्या ?
जू ब्याललित , नि लीजो ..
त.... क्या ?
नि लिजोल . औरी क्या ... ? !
दिखादै दिख्द....
बियाणा धारम एगी
व, पाणी की चली गे
अर मी.....खंताडी पर मारी अंग्वाल;
सुचूणु रों , लीजो की, नि लीजो ?
खैर ........बिखुन्दा खाद बगत
बोई ल बोली ' बीटा ..
खेती-पाती संभालेगी
गोर बचुरु नि न
एक काम कैर ......
ब्वारी थै तखूंद ली जा
हवा पाणी भी बदली जालू अर
दिबा दैणी होई जाली त
क्या पता मी नाती कु मुख देखि सैकु ?
मिन वीक तरफ देखी
अर वींन मेरी तरफ
लगद जन बुलिद दिब्ल हमरी
बात सुणी याली छीई !
पराशर गौर
२७ नंबर ०९ ४.३० बजे स्याम
न्यू मार्किट कैनाडा
बाबाओ की दूकान ;
घुप्या जनि पैदा ह्वै , पैदा हुदै वेल बोई खाई दे ! सब्युन वे थै ट्व्का ट्व्का बुलण शुरू कैदी ! बुबा कारू भी त, क्या कारू ... खैर जनि कानी कैकी वेल वे थै पाल्ली पोसी बडो कई ! जनि वेल आठ पास कारी , बबल हाथ खडा कैदिनी य बोली की की " बिटा, अब म्यारा बसों नि राइ तेरी अग्वादी की पदाई को खर्च उठाणु ! इन कैर की ,तू भी त्खुन्द जैकी कुछ ध्यली पैसी कामो ! "
घुप्या अब, करू भी त क्या कारू ! .. कख जो? क्या कैरो ? नादाँ उम्र , पदाई लिखाई भी ज्यादा नि छ ! वो कपाल पर हात लगे की बैटीयु छो की तबरी एक बाब आई, वेसी पुछन लेगी .. " बेटा यहाँ पर रीखनी देबी नेगी का घर कहा पर है .." बाबा के साथ चार पांच चेले चांटा भी छाया ! वेल इशारा ल उंकू घोर बताई ! वो बोली " जरा चल वहा तक हमारे साथ " ? जनी वो वाख पोचिनी , घुप्या क्या दिखदा की रिखणी
बोडी लंप तंप कैकी वे बाबा का खुटो माँ पुड़ी गे ! जू नेगी जी खुणी खाणु त खाणु ,, चा तक नि बाणों दी छई , व, वे बाबो खुणी दाल भात, सब्जी , बन बनी का पकवान बाणोंण लगी ! बाबा पर खासी को रोग छो ! हर बगत खप खप कनु छो ! नेग्यण वेकु खंक्हरू तक चै उठोंण पर लगी जैन नेगी का कपड़ा तक णी उठाया !
घुप्या घर ग्या वेल अपना बा से बोली " बुबा ण त मिल अगनै पणई आर ना ही नौकरी कने ! " बबल जब य सुणी त, वेसे बुन बैठी " त क्या करिलू ..
चोरी च्पोरी ?
न -- न -- मी बाबा बनुलू बाबा .. !
त जोगी बणिली .. है ? बबल पूछी !
बड़े प्यार से वेल बाबा थे समझीइ ' अचा एक बात बतो .. ज्यादा पैडी लेखी की , ज्याद से ज्याद ३ ४ लाख साल का मिल्ला ना ? आर जू मी एक ही दिनम
इतका कामे दयुल त ...? बबबॆ की सम्झ्मा बात नि आई
घुप्या रात झणी कबरी सटक .. आज पट २० २५ साल हवे गीनी वे थे हर्च्या ! बुबा बिचरू आदा जाड़ों रैद पुचुणु की कहकी तुमल मेरु घुप्या भी देखि
घुप्या दिखया आज बाबा घुप्यानाथ बणी छ माल लुटूणु ! च्याला चान्तो की मोज ही मोज ! अर अफु क्या टाट बाट .. आबत वेल बाय्कैदा बाबा बाण नै की एक इंस्टीटुयुशंन भी खी याल जख हर साल एक ना की बाबा निकल दी !
पराशर गौर
नमम्बर २८ ०९ सुबह १०.२३
घुप्या अब, करू भी त क्या कारू ! .. कख जो? क्या कैरो ? नादाँ उम्र , पदाई लिखाई भी ज्यादा नि छ ! वो कपाल पर हात लगे की बैटीयु छो की तबरी एक बाब आई, वेसी पुछन लेगी .. " बेटा यहाँ पर रीखनी देबी नेगी का घर कहा पर है .." बाबा के साथ चार पांच चेले चांटा भी छाया ! वेल इशारा ल उंकू घोर बताई ! वो बोली " जरा चल वहा तक हमारे साथ " ? जनी वो वाख पोचिनी , घुप्या क्या दिखदा की रिखणी
बोडी लंप तंप कैकी वे बाबा का खुटो माँ पुड़ी गे ! जू नेगी जी खुणी खाणु त खाणु ,, चा तक नि बाणों दी छई , व, वे बाबो खुणी दाल भात, सब्जी , बन बनी का पकवान बाणोंण लगी ! बाबा पर खासी को रोग छो ! हर बगत खप खप कनु छो ! नेग्यण वेकु खंक्हरू तक चै उठोंण पर लगी जैन नेगी का कपड़ा तक णी उठाया !
घुप्या घर ग्या वेल अपना बा से बोली " बुबा ण त मिल अगनै पणई आर ना ही नौकरी कने ! " बबल जब य सुणी त, वेसे बुन बैठी " त क्या करिलू ..
चोरी च्पोरी ?
न -- न -- मी बाबा बनुलू बाबा .. !
त जोगी बणिली .. है ? बबल पूछी !
बड़े प्यार से वेल बाबा थे समझीइ ' अचा एक बात बतो .. ज्यादा पैडी लेखी की , ज्याद से ज्याद ३ ४ लाख साल का मिल्ला ना ? आर जू मी एक ही दिनम
इतका कामे दयुल त ...? बबबॆ की सम्झ्मा बात नि आई
घुप्या रात झणी कबरी सटक .. आज पट २० २५ साल हवे गीनी वे थे हर्च्या ! बुबा बिचरू आदा जाड़ों रैद पुचुणु की कहकी तुमल मेरु घुप्या भी देखि
घुप्या दिखया आज बाबा घुप्यानाथ बणी छ माल लुटूणु ! च्याला चान्तो की मोज ही मोज ! अर अफु क्या टाट बाट .. आबत वेल बाय्कैदा बाबा बाण नै की एक इंस्टीटुयुशंन भी खी याल जख हर साल एक ना की बाबा निकल दी !
पराशर गौर
नमम्बर २८ ०९ सुबह १०.२३
Critical History of Garhwali , Kumaoni, Himalayan Literature
Epic Uttarayan : A History of Civilization, Philosophy, and Spirituality
(Commentary of Dr. Shiva Nand Nautiyal on Uttarayan an Epic by Prem lal Bhatt)
Translation: Bhishma Kukreti
Uttarayan is a History, a philosophy of human life, but on top of it , it is poetry. The poet Prem Lal Bhatt used the imagination but there is total realism in the story. The epic is about philosophy but is not beyond common men.. One of the great poets of Garhwali language Prem lal Bhat took clue from Purans but took those stories, which are needed for proving humanity as the supreme power or force. The ’Narayan’ of Uttarayan is as old as his wife ‘Laxmi’ who is ‘Chanchala’ . Other name of ‘Laxmi’ is ‘Vasana’ the desire, yearning, craving, want, wish and so on. And whole earth moves around desire .
The cultural history of human beings is the history of ups and downs brought by power (Indriya- sensational organs) and desire (Vsana) .The desire and power together attack first on the devotion and faith.
Upnishad and Purans described ‘Shradha’ (devotion) with many names and forms. The eldest wife of Dharma or Vishwash (Faith) is Shradha among his thirteen wives. Shradha is the eldest daughter of Prajapati (the creator) . Prem Lal Bhatt took this clue only - Shradha and Vishwash because Shankar and Parvati are the form of belief (faith) and trust. If, the Shradha (trust) of Kamayani epic by Jai Shankar Prasad , along with Manu ( Focused thinking) develops humanity; the Shadha of Uttarayan cooperates with faith/belief and culture the humanity. The name of son of Faith (Dharma ) and Trust (Shradha ) is Shubh (auspicious or beneficial) in Uttarayan. Both Dharma (Faith) and Shradha ( Trust) .
For some time, for protecting their existence , Shradha and Dharma had to escape away from the kingdom of Narayan and Laxmi to Aryamandal. However, in Arymandal too, the people are divided between believers and non believers,. Here too Narayan and Laxmi (Power and desire) are ruling to people. Dharma and Shradha start to unite them and try to free the people from the bad effect of power and desire. Here, both happen to to meet Deena (Poverty) and her daughter Bhakti (extreme Devotion) . Bhakti tells the story of her struggle in life to Shradha.
Deena (Poverty) is the real fact of this earth. Karma (Acts ) always been deceiving Deena (Poverty). And those who who do not accept this immutable fact that he does not understand Karma (Act) and Karmic (Doer). The imaginary wives - Kinchana (Having) and Kinshasa (Not having or Deprived) of Karma in Puran are objective oriented. Deena is human being who is in pain and her husband Prabhu (The God) don’t hug her but Deena is always devoted to Parmeshwar (The God). The people exploited by Laxmi (wealthy and powerful) come under the banner of Vishwash and this ignites the Class -War in Aryamandal.
The Class war between haves and Haves not is the central point of Uttarayan, where Shakti is essential and Shakti is also exploiter of humanity . Prem lal Bhat proves his genius in describing the Class War , which is always there from the initiating point of human being taking birth in this earth.
Deena (Deprived) is representative of human sensitivity and her revolution against Power and Endless- Desire is the struggle for existence in Aryamandal. Shradha and Vishwash help to unite individual struggles of deprived class and help the humanity. Eradication of poverty is the main objective of humanity and for that the unity among deprived ones is essential ingredient.
The imagination of Swarg (heaven) above the earth is wishful thinking . Full of aspirated person becomes weightless and goes to Shunya (heaven) and reaches in devious position . Desire or wsh throws the human into wandering position. Narayan under the influence of Laxmi falls in wandering position. But Bhakti brings him down in the reality that is in the earth. Humanity and Bhakti protects His deity characteristics.
From today’s point of view, there is nothing wrong if learned people perceive the consumerism as the real face of Laxmi and East India Company as human face of Laxmi too. Indian people revolt against British ia nothing but the combined struggle of Faith and devotion for saving humanity. The Indian freedom fight is the repetition of Dev- Asur Sangram (War between Demons and Deities) .
The two attitudes Shadha and Vishwas (Trust and Faith) struggled against the Shakti and Bhogvadi Pravirti (Power and Consumerism) and got success. However, the prime objective of Shradha and Vishwash is not success but the amin aim is equality among all human beings and providing highest position to humanity in this galaxy. This war is never ending and the exploiters/terrorists and humanitarians will always clash with each other.
Scientific researches never believe that blood or flesh is living matter but for scientist blood is a matter only. In Uttarayan, the poet imagined the wealthy and powerful become ‘Shila’ (Stone or heartless)
When there will be struggle/clashes between the two opposite attitudes, then only the humanity will get heist position in this earth . Pralayntar or after revolution, humanity will definitely win
Curtsey and Copyright Shri Prem lal Bhatt for permitting translation
Uttarayan:
A Garhwali language Epic
Poet : Prem Lal Bhatt
Publisher : Sahta Sahitya Bhandar 57-B Pocket a Phase-II
Ashok Vihar New Delhi
Internet copyright Prem Lal Bhatt, New Delhi, 2009
(Commentary of Dr. Shiva Nand Nautiyal on Uttarayan an Epic by Prem lal Bhatt)
Translation: Bhishma Kukreti
Uttarayan is a History, a philosophy of human life, but on top of it , it is poetry. The poet Prem Lal Bhatt used the imagination but there is total realism in the story. The epic is about philosophy but is not beyond common men.. One of the great poets of Garhwali language Prem lal Bhat took clue from Purans but took those stories, which are needed for proving humanity as the supreme power or force. The ’Narayan’ of Uttarayan is as old as his wife ‘Laxmi’ who is ‘Chanchala’ . Other name of ‘Laxmi’ is ‘Vasana’ the desire, yearning, craving, want, wish and so on. And whole earth moves around desire .
The cultural history of human beings is the history of ups and downs brought by power (Indriya- sensational organs) and desire (Vsana) .The desire and power together attack first on the devotion and faith.
Upnishad and Purans described ‘Shradha’ (devotion) with many names and forms. The eldest wife of Dharma or Vishwash (Faith) is Shradha among his thirteen wives. Shradha is the eldest daughter of Prajapati (the creator) . Prem Lal Bhatt took this clue only - Shradha and Vishwash because Shankar and Parvati are the form of belief (faith) and trust. If, the Shradha (trust) of Kamayani epic by Jai Shankar Prasad , along with Manu ( Focused thinking) develops humanity; the Shadha of Uttarayan cooperates with faith/belief and culture the humanity. The name of son of Faith (Dharma ) and Trust (Shradha ) is Shubh (auspicious or beneficial) in Uttarayan. Both Dharma (Faith) and Shradha ( Trust) .
For some time, for protecting their existence , Shradha and Dharma had to escape away from the kingdom of Narayan and Laxmi to Aryamandal. However, in Arymandal too, the people are divided between believers and non believers,. Here too Narayan and Laxmi (Power and desire) are ruling to people. Dharma and Shradha start to unite them and try to free the people from the bad effect of power and desire. Here, both happen to to meet Deena (Poverty) and her daughter Bhakti (extreme Devotion) . Bhakti tells the story of her struggle in life to Shradha.
Deena (Poverty) is the real fact of this earth. Karma (Acts ) always been deceiving Deena (Poverty). And those who who do not accept this immutable fact that he does not understand Karma (Act) and Karmic (Doer). The imaginary wives - Kinchana (Having) and Kinshasa (Not having or Deprived) of Karma in Puran are objective oriented. Deena is human being who is in pain and her husband Prabhu (The God) don’t hug her but Deena is always devoted to Parmeshwar (The God). The people exploited by Laxmi (wealthy and powerful) come under the banner of Vishwash and this ignites the Class -War in Aryamandal.
The Class war between haves and Haves not is the central point of Uttarayan, where Shakti is essential and Shakti is also exploiter of humanity . Prem lal Bhat proves his genius in describing the Class War , which is always there from the initiating point of human being taking birth in this earth.
Deena (Deprived) is representative of human sensitivity and her revolution against Power and Endless- Desire is the struggle for existence in Aryamandal. Shradha and Vishwash help to unite individual struggles of deprived class and help the humanity. Eradication of poverty is the main objective of humanity and for that the unity among deprived ones is essential ingredient.
The imagination of Swarg (heaven) above the earth is wishful thinking . Full of aspirated person becomes weightless and goes to Shunya (heaven) and reaches in devious position . Desire or wsh throws the human into wandering position. Narayan under the influence of Laxmi falls in wandering position. But Bhakti brings him down in the reality that is in the earth. Humanity and Bhakti protects His deity characteristics.
From today’s point of view, there is nothing wrong if learned people perceive the consumerism as the real face of Laxmi and East India Company as human face of Laxmi too. Indian people revolt against British ia nothing but the combined struggle of Faith and devotion for saving humanity. The Indian freedom fight is the repetition of Dev- Asur Sangram (War between Demons and Deities) .
The two attitudes Shadha and Vishwas (Trust and Faith) struggled against the Shakti and Bhogvadi Pravirti (Power and Consumerism) and got success. However, the prime objective of Shradha and Vishwash is not success but the amin aim is equality among all human beings and providing highest position to humanity in this galaxy. This war is never ending and the exploiters/terrorists and humanitarians will always clash with each other.
Scientific researches never believe that blood or flesh is living matter but for scientist blood is a matter only. In Uttarayan, the poet imagined the wealthy and powerful become ‘Shila’ (Stone or heartless)
When there will be struggle/clashes between the two opposite attitudes, then only the humanity will get heist position in this earth . Pralayntar or after revolution, humanity will definitely win
Curtsey and Copyright Shri Prem lal Bhatt for permitting translation
Uttarayan:
A Garhwali language Epic
Poet : Prem Lal Bhatt
Publisher : Sahta Sahitya Bhandar 57-B Pocket a Phase-II
Ashok Vihar New Delhi
Internet copyright Prem Lal Bhatt, New Delhi, 2009
History of Garhwali, Kumaoni, Himalayan Literature
Sidhi Lal Vidyarthi : A Garhwali Poet of Dalit Consciousness
Bhishma Kukreti
Sidhi Lal Vidyarthi comes in the category of Ram Prakash Bagchhat , Surendra Pal who experienced the bitterness of class discrimination in our society and wrote about the discrimination against Dalit community .
Sidhi Lal was born in a remote village Chweecha , Pauri Garhwal on 20th May 1946. After passing Intermediate from St Mesmer College Pauri, Sidhi Lal joined arm force and retired from there as assistant commander in 2003.
Hindi story writer and translator Late Mohan Lal Thapliyal inspire young Siddhi Lal to take interest in literature and members of Dhah organization in Dehradun motivated Sidhi Lal Vidyarthi for creating poetry in Garhwali language
Sidhi Lal Vidyarthi wrote tens of poems in Garhwali and published in local periodicals.
Though Sidhi Lal Vidyarthi created poems on various subjects but the poems related to social discrimination aginst Dalits, women and girl child are more effective and sharp than his other subject poems.
His poem Niradhari ko Adhar is true representative of Dalit Consciousness, where in Sidhi Lal expresses that the poverty is bearable but social differences are always unbearable :
Bhuku pyasu raiki bagat kate hi jalu
Pan samajik dhutkar ku dank kankaik jhyale jalu
His Takrar poem also shows us the pain and frustration of social differences :
Kudrat ki taraf se sabi barabari ka hissed chhan
Hamari hi ulkani soch se bani kwee uncha neecha chhan
Sidh Lal Vidyarthi also expresses his annoyance against girl child killing, girl embryonic killing ,
Most of the poems of Sidhi Lal Vidyarthi shows the man made differences in the society. The poems are conventional ones in terms of body and tones.
Garhwali literature will remember Sidhi Lal Vidyarthi as the poet of Dalit consciousness in Garhwali literature .
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Sidhi Lal Vidyarthi comes in the category of Ram Prakash Bagchhat , Surendra Pal who experienced the bitterness of class discrimination in our society and wrote about the discrimination against Dalit community .
Sidhi Lal was born in a remote village Chweecha , Pauri Garhwal on 20th May 1946. After passing Intermediate from St Mesmer College Pauri, Sidhi Lal joined arm force and retired from there as assistant commander in 2003.
Hindi story writer and translator Late Mohan Lal Thapliyal inspire young Siddhi Lal to take interest in literature and members of Dhah organization in Dehradun motivated Sidhi Lal Vidyarthi for creating poetry in Garhwali language
Sidhi Lal Vidyarthi wrote tens of poems in Garhwali and published in local periodicals.
Though Sidhi Lal Vidyarthi created poems on various subjects but the poems related to social discrimination aginst Dalits, women and girl child are more effective and sharp than his other subject poems.
His poem Niradhari ko Adhar is true representative of Dalit Consciousness, where in Sidhi Lal expresses that the poverty is bearable but social differences are always unbearable :
Bhuku pyasu raiki bagat kate hi jalu
Pan samajik dhutkar ku dank kankaik jhyale jalu
His Takrar poem also shows us the pain and frustration of social differences :
Kudrat ki taraf se sabi barabari ka hissed chhan
Hamari hi ulkani soch se bani kwee uncha neecha chhan
Sidh Lal Vidyarthi also expresses his annoyance against girl child killing, girl embryonic killing ,
Most of the poems of Sidhi Lal Vidyarthi shows the man made differences in the society. The poems are conventional ones in terms of body and tones.
Garhwali literature will remember Sidhi Lal Vidyarthi as the poet of Dalit consciousness in Garhwali literature .
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan Folk Literature
Twenty Two Tunes of Dhol-Damau
Bhishma Kukreti
The dancers and audience enjoy the Dhol-Damau according to tunes . There are two theories of tunes for Dhol Damau . According to ‘ Ramcharan Dhol Sagar’ , as per time, class and place , there are thirty five tunes in playing Dhol-Damau or 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
However, some learned persons , basing on ‘Chistkala dhol Sagar’ call following twenty two tunes of Dhol Sagar :
1- Dhunyal
2-Panch Badhai
3-Daud Badhai
4-Daud Shabad
5-Chauk Shabad
6-Adtali
7-Khodawa Painsaro
8-Jeet ki Painsaro
9-Pai ko Painsaro
10-Solhaman ki shrawanee
11-Yudbheed ki Jhakadi
12-Suraj ki kiranee
13-Madirau Painsaro
14-Tamas ko Painsaro
15-Akash ko Painsaro
16-Bhair Doon Ko Painsaro
17-Uthda ko Painsaro
18-Baithda ko Painsaro
19-Khadi Chal
20-Baithi Chal
21- Rahmani Chal
22-Dudbudi Chal
Curtsey Dr Vichar das Suman
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
The dancers and audience enjoy the Dhol-Damau according to tunes . There are two theories of tunes for Dhol Damau . According to ‘ Ramcharan Dhol Sagar’ , as per time, class and place , there are thirty five tunes in playing Dhol-Damau or 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
However, some learned persons , basing on ‘Chistkala dhol Sagar’ call following twenty two tunes of Dhol Sagar :
1- Dhunyal
2-Panch Badhai
3-Daud Badhai
4-Daud Shabad
5-Chauk Shabad
6-Adtali
7-Khodawa Painsaro
8-Jeet ki Painsaro
9-Pai ko Painsaro
10-Solhaman ki shrawanee
11-Yudbheed ki Jhakadi
12-Suraj ki kiranee
13-Madirau Painsaro
14-Tamas ko Painsaro
15-Akash ko Painsaro
16-Bhair Doon Ko Painsaro
17-Uthda ko Painsaro
18-Baithda ko Painsaro
19-Khadi Chal
20-Baithi Chal
21- Rahmani Chal
22-Dudbudi Chal
Curtsey Dr Vichar das Suman
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumaoni , Himalayan Folk Literature /Folklores
Surji Nag a Chivalry Garhwali Folklore
Edited by Dr Shiv Prasad Dabral )
Commentary By Bhishma Kukreti
There are many folklores in Garhwal. Many are very popular among all areas of Garhwal . Garhwali historians are trying to print those folklores for preserving our oral heritage . Late Dr Shiv Prasad Dabral is one of the topmost writers who took keen interest in collecting folklores of Garhwal and Kumaun regions and published them by his own . Surji Nag is one of the folklores, Dr Dabral published the legendary poetic folk story of Surji Nag exclusively from Veer Gatha press Dogadda.
According to Vimal Negi the editor of Uttarakhand of Khabar Sar, Surji Nag folklore comes under the category of stories as Madho Singh Bhandari, Tillu Rautela Lodi Rikhaula, Kaffu Chauhan , Hari Hindwan and Rajula Malu Shahi . Dr Shiv Prasad Dabral took the help of Dr Haridatt Bhatt ‘Shailesh’ and hudkyas to collect, compile and edit the story of Surgu Naag or Surji Kaunl.
The story of Surji Nag or Kaunl is the mixture of chivalry, firmness, love and showing the immense effect of Guru Gorakhnath on our past lives in Garhwal .
Surji Nag the prince of Bhinwali Nagar, Garhwal saw the princess Jotmala of Bhotantak kingdom in his dream . Jotmala was the beautiful most girl of her time. After awakening, Surji Nag tells about his dream and princess Jotmala to his mother. Surji Nag tells his intention for bringing Jotmala as his wife from Bhotaa country. His mother describes the various types of great difficulties in going and coming from Bhinwali country to Bhotta kingdom. However, Surji Nag showed his keen desire to marry Jotmala and does not accept the suggestions of his mother not to go Bhotta country. Understanding the firm desire of her son Surji Nag , his mother sends Surji Nag to Guru Gorakhnath. After taking the blessing of Guru Gorakhnath, Surji Nag started his journey for Bhotta country. Surji nag faced many adversities and wins over all small and big challenges and usefully reaches to Bhotta kingdom. Later on Surji Nag brings to his kingdom Bhinwala with great pride Jotmala after marrying her .
This story is sung by women folks and by Jagris too
Those interested to read full poetic story of Surji Nag can read Uttarakhand Khabar Sar Pauri Garhwal from editions from first June till this edition .
Curtsey by Vimal negi, Uttarakhand Khabar Sar, Pauri, Pauri Garhwal
Copyright Bhishma Kukreti, Mumbai, India , 2009
Edited by Dr Shiv Prasad Dabral )
Commentary By Bhishma Kukreti
There are many folklores in Garhwal. Many are very popular among all areas of Garhwal . Garhwali historians are trying to print those folklores for preserving our oral heritage . Late Dr Shiv Prasad Dabral is one of the topmost writers who took keen interest in collecting folklores of Garhwal and Kumaun regions and published them by his own . Surji Nag is one of the folklores, Dr Dabral published the legendary poetic folk story of Surji Nag exclusively from Veer Gatha press Dogadda.
According to Vimal Negi the editor of Uttarakhand of Khabar Sar, Surji Nag folklore comes under the category of stories as Madho Singh Bhandari, Tillu Rautela Lodi Rikhaula, Kaffu Chauhan , Hari Hindwan and Rajula Malu Shahi . Dr Shiv Prasad Dabral took the help of Dr Haridatt Bhatt ‘Shailesh’ and hudkyas to collect, compile and edit the story of Surgu Naag or Surji Kaunl.
The story of Surji Nag or Kaunl is the mixture of chivalry, firmness, love and showing the immense effect of Guru Gorakhnath on our past lives in Garhwal .
Surji Nag the prince of Bhinwali Nagar, Garhwal saw the princess Jotmala of Bhotantak kingdom in his dream . Jotmala was the beautiful most girl of her time. After awakening, Surji Nag tells about his dream and princess Jotmala to his mother. Surji Nag tells his intention for bringing Jotmala as his wife from Bhotaa country. His mother describes the various types of great difficulties in going and coming from Bhinwali country to Bhotta kingdom. However, Surji Nag showed his keen desire to marry Jotmala and does not accept the suggestions of his mother not to go Bhotta country. Understanding the firm desire of her son Surji Nag , his mother sends Surji Nag to Guru Gorakhnath. After taking the blessing of Guru Gorakhnath, Surji Nag started his journey for Bhotta country. Surji nag faced many adversities and wins over all small and big challenges and usefully reaches to Bhotta kingdom. Later on Surji Nag brings to his kingdom Bhinwala with great pride Jotmala after marrying her .
This story is sung by women folks and by Jagris too
Those interested to read full poetic story of Surji Nag can read Uttarakhand Khabar Sar Pauri Garhwal from editions from first June till this edition .
Curtsey by Vimal negi, Uttarakhand Khabar Sar, Pauri, Pauri Garhwal
Copyright Bhishma Kukreti, Mumbai, India , 2009
History of Garhwali, Kumaoni, Himalayan Literature
Surendra Pal : A Garhwali Poet of Dalit Consciousness
Bhishma Kukreti
There is no shortage of Garhwali Shilpkar poets in Garhwali language but very few could express the social injustice of touch-ability and un-touchablity of our society for more than five thousand years in India. Late Ram Prakash Arya ‘Bagchhat’ used to sing song of Dalit’s human right on the cultural programs and in the small geometers of poetry lovers. However, he could not publish his poems and even after a request to many, this author could not get the diary of Ram Praksh in which he used to write poetries of Dalit’s human right, the frustrating state of Dalits for social injustice, the poor economic conditions of Dalits due to no ownership of land among Dalits of Garhwal . Surendra Pal had been initiating Dalit consciousness in the society through his poetries. Though his poetries do not attack by abusive words on upper class directly but uses indirect way and with effective mannerism, Surendra is famous in garhwali poetic field for attacking the inhuman culture of social divides among Hindus for his life through poetries.
Surendra pal was born on 23rd March, 1952 in a Himalayan village Gadhamonu , Khatsyun of Pauri Garhwal, Uttarakhand. Surendra expired in his early age of 48 on 28th January , 2000 AD
After passing Intermediate , Surendra pal passed degree in Flute playing from Prayag Sangeet Samiti , Allahabad. A prestigious organization in music training. Surendra Pal provided music to many concerts of Garhwali cultural programs, stage plays. Surendra was expert of playing Garhwali folk music instruments as Flute , Hudki, Mochhang. Being trained on western music, Surendra did many successful experiments in music by mixing Garhwali orthodox music with western style music.
Surendra pal published hundred of poems in local periodicals. Surendra pal receved Pundit Aditya Ram Navani award for ‘Chungti ’ a collection of forty three Garhwali poems .
The profound Gazal maker in Garhwali language, editor and a critic Madhusudan Thapliyal writes that Surendra Pal is the sole representative of Dalit consciousness in Garhwali language poetic field. Madhusudan Thapliyal praises the poems of Surendra pal related to colour discrimination among human being, inhuman treatments to deprived class in caste system, dangers of religious divides .
Though Surendra criticizes the caste systems religious divide etc but never leaves the optimism that one day will come when equality will be there in this world.
Surendra Pal used many forms and styles in creating Garhwali language poems. However, having knowledge of music , Surendra’s poems are melodious. He uses common Garhwali imagery, symbols, figure of speeches for creating easily understandable poems.
As American literature is proud of James Weldon Johnson, Claude McKay, Etheridge Knight, Paul Lawrence Dunbar , Langston Hughes, Z.N Hurston, Countee Cullen, Gwendolyn Brooks, Rita Dove, Jessie Redmon Fauset, Robert Hayden, Arna Bontemps, Quincy Troupe, Alice walker, Natasha Trethewey , Jupiter Hammon, Forest Hamer, Aundre Lorde , Wanda Phips, Maya Angelou, Lucile Clifton, Cornelius Eady , for their contribution in awakening African consciousness, talking about human rights, bringing the racial pain before the world, frustration of discrimination by human to human, dreaming of equal social structure , fight for the human rights and equality , finishing injustice to deprived class from the society, Garhwali literature is proud of Surendra Pal for his poems of Dalit consciousness.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
There is no shortage of Garhwali Shilpkar poets in Garhwali language but very few could express the social injustice of touch-ability and un-touchablity of our society for more than five thousand years in India. Late Ram Prakash Arya ‘Bagchhat’ used to sing song of Dalit’s human right on the cultural programs and in the small geometers of poetry lovers. However, he could not publish his poems and even after a request to many, this author could not get the diary of Ram Praksh in which he used to write poetries of Dalit’s human right, the frustrating state of Dalits for social injustice, the poor economic conditions of Dalits due to no ownership of land among Dalits of Garhwal . Surendra Pal had been initiating Dalit consciousness in the society through his poetries. Though his poetries do not attack by abusive words on upper class directly but uses indirect way and with effective mannerism, Surendra is famous in garhwali poetic field for attacking the inhuman culture of social divides among Hindus for his life through poetries.
Surendra pal was born on 23rd March, 1952 in a Himalayan village Gadhamonu , Khatsyun of Pauri Garhwal, Uttarakhand. Surendra expired in his early age of 48 on 28th January , 2000 AD
After passing Intermediate , Surendra pal passed degree in Flute playing from Prayag Sangeet Samiti , Allahabad. A prestigious organization in music training. Surendra Pal provided music to many concerts of Garhwali cultural programs, stage plays. Surendra was expert of playing Garhwali folk music instruments as Flute , Hudki, Mochhang. Being trained on western music, Surendra did many successful experiments in music by mixing Garhwali orthodox music with western style music.
Surendra pal published hundred of poems in local periodicals. Surendra pal receved Pundit Aditya Ram Navani award for ‘Chungti ’ a collection of forty three Garhwali poems .
The profound Gazal maker in Garhwali language, editor and a critic Madhusudan Thapliyal writes that Surendra Pal is the sole representative of Dalit consciousness in Garhwali language poetic field. Madhusudan Thapliyal praises the poems of Surendra pal related to colour discrimination among human being, inhuman treatments to deprived class in caste system, dangers of religious divides .
Though Surendra criticizes the caste systems religious divide etc but never leaves the optimism that one day will come when equality will be there in this world.
Surendra Pal used many forms and styles in creating Garhwali language poems. However, having knowledge of music , Surendra’s poems are melodious. He uses common Garhwali imagery, symbols, figure of speeches for creating easily understandable poems.
As American literature is proud of James Weldon Johnson, Claude McKay, Etheridge Knight, Paul Lawrence Dunbar , Langston Hughes, Z.N Hurston, Countee Cullen, Gwendolyn Brooks, Rita Dove, Jessie Redmon Fauset, Robert Hayden, Arna Bontemps, Quincy Troupe, Alice walker, Natasha Trethewey , Jupiter Hammon, Forest Hamer, Aundre Lorde , Wanda Phips, Maya Angelou, Lucile Clifton, Cornelius Eady , for their contribution in awakening African consciousness, talking about human rights, bringing the racial pain before the world, frustration of discrimination by human to human, dreaming of equal social structure , fight for the human rights and equality , finishing injustice to deprived class from the society, Garhwali literature is proud of Surendra Pal for his poems of Dalit consciousness.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan Folk Songs
Garhwali Bal LokGeet : A Collection of Garhwali Folk Songs for Children
(Collected and edited by Dr Nand Kishor Dhoundiyal and Dr Manorama Dhoundiyal )
Review By Bhishma Kukreti
Garhwali language is unique language in the sense that Garhwali language has the highest most proverbs and sayings among all current languages . This fact of proverbs and sayings suggest that Garhwalis have been proactive in teaching management to their children through poetic and other simple media. Creating poetries for children is also a part of teaching management to the children in any society. Garhwalis have been expert in creating folk songs for children.
Abodh Bandhu Bahuguna was first literate person who collected and edited Garhwali folk songs meant for children in the book ‘Ankh-Pankh” . There are twenty Garhwali folk poems for children in the book ‘Ankh-Pankh’
Garhwali society will always remember Dr Nand Kishor Dhoundiyal and Manorama Dhoundiyal for their book ‘Garhwali Bal-LokGeet’ published in 2009 by Dhad Prakashan . Though, this author totally condemns the statement of Dhoundiyal and Dhoundiyal in this book that there would not be more than hundred folk songs in Garhwal in Garhwal meant for children because they did forget that each mother creates songs for her child and that song does not come on the surface as millions of Bajuband Garhwali poems do not come out of the village. This author and his fellows of Jaspur Dhangu had created many folk songs in their childhood in home, in jungle or in traveling. But these songs were of short lived and limited to them only for one day. However, this author appreciates the step of Nand Kishor and Manorama for their efforts in collecting and editing the folk poems which are dying from Garhwal due to fast changes in the society.
Dhoundiyal due first explain the process of child coming in contact of different kinds of poetries in his life span from the birth to marriage. They also classified Garhwali folk songs for children into following categories:
1-Lullby Folk Songs: Nand Kishor Dhoundiyal and Manorama Dhoundiyal provided only three examples of such poems
One poem is as :
Inda binda ravan jholi gheeya kamoli
Yeka kapal par ghyu dhudha ko patak binda
2-Indistinct and meaningless Songs: The child creates such types of songs and such songs are neither collected by parents or learned persons as Dhoundiyal due. An example of indistinct song is as:
Atangan patangan chhai chhai chhatangan kakad vekad jhalya baud a a a
There are four songs in this collection. This author is confident that each Garhwali child of Garhwal creates more than fifty such poems in his childhood. The reason is that many times, being alone, in jungle as shepherd, filed, bringing water from water source, or another time, the child creates such indistinct poems for removing boredom or many times removing fear.
3-Songs for expansion of language knowledge: The writers provided examples of four songs in this category. One example is as :
Kumbha rani kumbha rani
Kumbha ranin muso mari
4- Songs related to learning Alphabets : The authors presented nine poems related to alphabets learning . Here also Bhishma Kukreti states that each village has creators who create different types of poems for children that children learn alphabets
5- Songs related to numbers and arithmetic: Nand Kishor and Manorama presented only seven poems related to learning numbers and arithmetic. Here, the writers contradicted their own statement that Garhwali language would not have more than hundred folk songs for children. In this chapter, both authors say that there are songs related to learning weight measurements -as ser, chhtang, rati, or astrological numbers, many types of measurements and so on.
6- Songs of farms, jungle etc: Manorama and Nand Kishor presented us six songs which are sung in many types of works and work places.
7- Songs of entertainment : These songs are humorous and entertaining. There are eight such songs in this book
8- Songs related to children games/sports: Dhoundiyals collected nine songs related to sport/games of children
9- Songs related to birds and animals: Dr Nand Kishor Dhoundiyal and Dr Manorama Dhoundiyal three songs related to birds and animals of Garhwal.
10-Misclenious Folk Songs for Children: Manorama and Nand Kishor make available three songs which are milieus of nature.
11- Songs taken from other languages as they are: Due to floating population and dual migrating tendency , Garhwalis have also taken songs for children from other languages -Hindi, Braj, Awadhi etc. There are four such songs in this collection ‘ Garhwali BalLokgeet’.
Dr Nand Kishor and Dr Manorama also explained each types of songs for children from many angles .
The songs are in simple words understandable to children, which show the expertise of creator as children psychologist.
This volume is definitely a treasurer for the society and folk literature lovers. This author congratulate husband wife Nand Kishor and Manorama for their efforts in collecting, editing and publishing a well needed book
The migrated Garhwalis should buy this book for their children learning Garhwali
Garhwali Bal LokGeet
Dhad Prakashan
74 Anew Connaught Place
Dehradun
dhadprakashan@yahoo.in
Price paper back-Rs 50.00
Hard cover: Rs100.00
Copyright @ Bhishma Kukreti, Mumbai, India 2009
(Collected and edited by Dr Nand Kishor Dhoundiyal and Dr Manorama Dhoundiyal )
Review By Bhishma Kukreti
Garhwali language is unique language in the sense that Garhwali language has the highest most proverbs and sayings among all current languages . This fact of proverbs and sayings suggest that Garhwalis have been proactive in teaching management to their children through poetic and other simple media. Creating poetries for children is also a part of teaching management to the children in any society. Garhwalis have been expert in creating folk songs for children.
Abodh Bandhu Bahuguna was first literate person who collected and edited Garhwali folk songs meant for children in the book ‘Ankh-Pankh” . There are twenty Garhwali folk poems for children in the book ‘Ankh-Pankh’
Garhwali society will always remember Dr Nand Kishor Dhoundiyal and Manorama Dhoundiyal for their book ‘Garhwali Bal-LokGeet’ published in 2009 by Dhad Prakashan . Though, this author totally condemns the statement of Dhoundiyal and Dhoundiyal in this book that there would not be more than hundred folk songs in Garhwal in Garhwal meant for children because they did forget that each mother creates songs for her child and that song does not come on the surface as millions of Bajuband Garhwali poems do not come out of the village. This author and his fellows of Jaspur Dhangu had created many folk songs in their childhood in home, in jungle or in traveling. But these songs were of short lived and limited to them only for one day. However, this author appreciates the step of Nand Kishor and Manorama for their efforts in collecting and editing the folk poems which are dying from Garhwal due to fast changes in the society.
Dhoundiyal due first explain the process of child coming in contact of different kinds of poetries in his life span from the birth to marriage. They also classified Garhwali folk songs for children into following categories:
1-Lullby Folk Songs: Nand Kishor Dhoundiyal and Manorama Dhoundiyal provided only three examples of such poems
One poem is as :
Inda binda ravan jholi gheeya kamoli
Yeka kapal par ghyu dhudha ko patak binda
2-Indistinct and meaningless Songs: The child creates such types of songs and such songs are neither collected by parents or learned persons as Dhoundiyal due. An example of indistinct song is as:
Atangan patangan chhai chhai chhatangan kakad vekad jhalya baud a a a
There are four songs in this collection. This author is confident that each Garhwali child of Garhwal creates more than fifty such poems in his childhood. The reason is that many times, being alone, in jungle as shepherd, filed, bringing water from water source, or another time, the child creates such indistinct poems for removing boredom or many times removing fear.
3-Songs for expansion of language knowledge: The writers provided examples of four songs in this category. One example is as :
Kumbha rani kumbha rani
Kumbha ranin muso mari
4- Songs related to learning Alphabets : The authors presented nine poems related to alphabets learning . Here also Bhishma Kukreti states that each village has creators who create different types of poems for children that children learn alphabets
5- Songs related to numbers and arithmetic: Nand Kishor and Manorama presented only seven poems related to learning numbers and arithmetic. Here, the writers contradicted their own statement that Garhwali language would not have more than hundred folk songs for children. In this chapter, both authors say that there are songs related to learning weight measurements -as ser, chhtang, rati, or astrological numbers, many types of measurements and so on.
6- Songs of farms, jungle etc: Manorama and Nand Kishor presented us six songs which are sung in many types of works and work places.
7- Songs of entertainment : These songs are humorous and entertaining. There are eight such songs in this book
8- Songs related to children games/sports: Dhoundiyals collected nine songs related to sport/games of children
9- Songs related to birds and animals: Dr Nand Kishor Dhoundiyal and Dr Manorama Dhoundiyal three songs related to birds and animals of Garhwal.
10-Misclenious Folk Songs for Children: Manorama and Nand Kishor make available three songs which are milieus of nature.
11- Songs taken from other languages as they are: Due to floating population and dual migrating tendency , Garhwalis have also taken songs for children from other languages -Hindi, Braj, Awadhi etc. There are four such songs in this collection ‘ Garhwali BalLokgeet’.
Dr Nand Kishor and Dr Manorama also explained each types of songs for children from many angles .
The songs are in simple words understandable to children, which show the expertise of creator as children psychologist.
This volume is definitely a treasurer for the society and folk literature lovers. This author congratulate husband wife Nand Kishor and Manorama for their efforts in collecting, editing and publishing a well needed book
The migrated Garhwalis should buy this book for their children learning Garhwali
Garhwali Bal LokGeet
Dhad Prakashan
74 Anew Connaught Place
Dehradun
dhadprakashan@yahoo.in
Price paper back-Rs 50.00
Hard cover: Rs100.00
Copyright @ Bhishma Kukreti, Mumbai, India 2009
History of Garhwali, Kumaoni, Himalayan Literature
Neeta Kukreti : The Garhwali poetess of Bramasa , Praising Garhwal and Creating Imagery Poems
Bhishma Kukreti
Neeta Kukreti published more than 150 poems in Garhwali language . She is specialist of creating poems for praising geographical beauty, cultural supremacy, peaceful but industrious and honesty oriented social structure of rural Garhwal, narrating seasons in tune of folk songs-Baramasha.
Neta was born on 7th September 1952 in Narendra Nagar Tihri Garhwal. From father’s sir name, she is Kala and belongs to famous village of Garhwal -Sumadi. She is married to Shri H. Kukreti of village Gweel , Malla Dhangu Pauri Garhwal.
After completing post graduation in Economics and Political Science and passing M.Ed., Neeta Kukreti joined Guru Ram rai Inter College Shubuta , Dehradun as teacher and now Neeta is principle of the same college.
Neeta Kukreti is also Sangeet Prabhakar a diploma holder in music.
Neeta Kukreti had been writing Garhwali poems from her young age and publishing them in various regional periodicals . Neeta published more than 150 Garhwali language poems and Akashvani Nazibabad has been relaying her Garhwali language pomes regularly from 1979.
Neeta Kukreti contributed Garhwali literature too by publishing more than fifteen thought provoking articles in various magazines and newspapers.
Neeta has created poems on various subjects pertaining to Garhwal and Garhwalis . Her area of expertise of Garhwali poem creation is high praise for Garhwal, Garhwalis and geographical beauty of Garhwal . Neeta sees god in a small round stone of Ganga river. She narrates the season of Garhwal, Himalaya very effectively for making beautiful images in the reader’s mind.
Sarag ko gagdat gadinyun ko sarsarat
Udas parani ni manand ….
..
Mi khudenu chhaun
Neeta is expert of relating season and seasonal changes with the human emotions. Neeta Kukreti uses common and self created symbols of Garhwal and Garhwali for connecting seasons with various human emotions and pleasures/sadness.
There is one eighty degree changes in Garhwal for the sake of development and Neeta also points out those wrong ways of developing rural Garhwal by non-sensitive and ignorant authorities who are unaware of reality of Garhwal and its geographical bases. Many of her poems are related to frustrations about the indifferent thinking for Garhwal by Uttar Pradesh government authorities , Definitely such pomes are in support of separate Uttarakhand movement.
Neeta does not do much experiments in terms of form and style but does not stick to conventional ways of creating Garhwali poems. She opts balance way of form and style in Garhwali poem creation.
The language and words are simple in her poetry to connect the poems with the hearts of readers easily.
Conclusively, Neeta Kukreti is praised for her Prakritivad (describing natural beauty and season of Garhwal) in Garhwali language poem creation
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Neeta Kukreti published more than 150 poems in Garhwali language . She is specialist of creating poems for praising geographical beauty, cultural supremacy, peaceful but industrious and honesty oriented social structure of rural Garhwal, narrating seasons in tune of folk songs-Baramasha.
Neta was born on 7th September 1952 in Narendra Nagar Tihri Garhwal. From father’s sir name, she is Kala and belongs to famous village of Garhwal -Sumadi. She is married to Shri H. Kukreti of village Gweel , Malla Dhangu Pauri Garhwal.
After completing post graduation in Economics and Political Science and passing M.Ed., Neeta Kukreti joined Guru Ram rai Inter College Shubuta , Dehradun as teacher and now Neeta is principle of the same college.
Neeta Kukreti is also Sangeet Prabhakar a diploma holder in music.
Neeta Kukreti had been writing Garhwali poems from her young age and publishing them in various regional periodicals . Neeta published more than 150 Garhwali language poems and Akashvani Nazibabad has been relaying her Garhwali language pomes regularly from 1979.
Neeta Kukreti contributed Garhwali literature too by publishing more than fifteen thought provoking articles in various magazines and newspapers.
Neeta has created poems on various subjects pertaining to Garhwal and Garhwalis . Her area of expertise of Garhwali poem creation is high praise for Garhwal, Garhwalis and geographical beauty of Garhwal . Neeta sees god in a small round stone of Ganga river. She narrates the season of Garhwal, Himalaya very effectively for making beautiful images in the reader’s mind.
Sarag ko gagdat gadinyun ko sarsarat
Udas parani ni manand ….
..
Mi khudenu chhaun
Neeta is expert of relating season and seasonal changes with the human emotions. Neeta Kukreti uses common and self created symbols of Garhwal and Garhwali for connecting seasons with various human emotions and pleasures/sadness.
There is one eighty degree changes in Garhwal for the sake of development and Neeta also points out those wrong ways of developing rural Garhwal by non-sensitive and ignorant authorities who are unaware of reality of Garhwal and its geographical bases. Many of her poems are related to frustrations about the indifferent thinking for Garhwal by Uttar Pradesh government authorities , Definitely such pomes are in support of separate Uttarakhand movement.
Neeta does not do much experiments in terms of form and style but does not stick to conventional ways of creating Garhwali poems. She opts balance way of form and style in Garhwali poem creation.
The language and words are simple in her poetry to connect the poems with the hearts of readers easily.
Conclusively, Neeta Kukreti is praised for her Prakritivad (describing natural beauty and season of Garhwal) in Garhwali language poem creation
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Critical History of Garhwali , Kumaoni, Himalayan Literature
Mahesh Tiwadi : A Poet , Singer, and a Composer
Bhishma Kukreti
Mahesh Tiwadi had been a prominent figure of composing music for Garhwali plays staged between eighties and twenties in Delhi . However, Mahesh Tiwadi was also a poet and his poems are emotional, melodious, with realism and many poems are so provocative that the readers feel restlessness. Most of his poems are in tune of Geet style . Mahesh used pure Garhwali words and avoided to use Hindi words in his poems.
Mahesh Tiwadi was born in a Himalayan village Pokhari, Patti Sitounsyun of British Garhwal (Pauri Garhwal) in 1943. Mahesh Tiwadi got music and lyric training from Dharni Dhar Chandola the famous Garhwali music director, innovator of music instrument -Vichitra Bela and a painter.
The people never forget the services of Mahesh Tiwadi for providing music to tens of Garhwali dramas and cultural programs as Ardhgrameshwar , Lati ko Byau, Dyur Bhauj staged in Delhi, Lucknow, Kanpur Mumbai etc. Akashvani relayed many musical programs and poems of Mahesh Tiwadi . Mahesh worked with Akashvani till his death on 14th December 1997. Mahesh tiwadi had been a very famous poet of Garhwali Kvisammelans too .
Mahesh Tiwadi created many Garhwali Geet for cultural programs and Garhwali plays. Mahesh wrote more than hundred poems but he could never publish his geet and poems in his life time . However, Garhwali Sahitya Parishad Kanpur published fiftee three poems of Mahesh Tiwadi by the name ‘Vedi Ma ka Vachan’.
Mahesh Tiwadi created poems of varied subjects as ruining of villages due to migration, fast declining of the cultural values and idealism in he society, destruction of natural environment ,geographical beauty of Garhwal , inspiriting poems, Uttarakhand separate state movement, relationship -importance and reality of breaking the old culture about relationship. Mahesh always, tried to be near realism and avoided unnecessary intellectual fantasy creation his poems.
His poem about Ganga is an example of his innovative thinking and creating provocation through realism in life. Most of Garhwali and even Hindi/Sanskrit poets of Garhwal or elsewhere praised reverend rive Ganga but Mahesh revealed a new aspect of Ganga for Garhwalis
aryaun ku lagai hola tin amrit ki dhara ssss
Bhag ma hamari aini tera dhunga ar gara sssss
Tu che bal s matami kilai boli hola badon
Kya kam aun hamari , bol tera ganglwadan sssss
The poet says that though Ganga have been eternal river for Aryans , Ganga have been a reverend river , Ganga have been a source of water for half of Northern and eastern India but for Garhwal, Ganga is worthless and provide stones and stones.
Mahesh also took clue from exclusive style and subject of Garhwali folk song Baramsa and wrote poems on those lines too.
baudi aigen chait ki chaitwali, dalyun uli gen general
Bhiti bhorin fyunli ka fulun, dandi mauli gen bugyal
His style is limited to Geet and melody has been the primary objective of Mahesh Tiwadi. In a couple of case, Mahesh seems be influenced by Expressionism but most of his poems are influenced by realism . Mahesh Tiwadi never avoided hum in his poetry to make them melodious.
Mahesh is the master of creating emotions , pathos, love in the reader’s mind and narrating geographical beauty of Garhwal.
Copyright @ Bhishma Kukreti, Mumbai , India, 2009
Bhishma Kukreti
Mahesh Tiwadi had been a prominent figure of composing music for Garhwali plays staged between eighties and twenties in Delhi . However, Mahesh Tiwadi was also a poet and his poems are emotional, melodious, with realism and many poems are so provocative that the readers feel restlessness. Most of his poems are in tune of Geet style . Mahesh used pure Garhwali words and avoided to use Hindi words in his poems.
Mahesh Tiwadi was born in a Himalayan village Pokhari, Patti Sitounsyun of British Garhwal (Pauri Garhwal) in 1943. Mahesh Tiwadi got music and lyric training from Dharni Dhar Chandola the famous Garhwali music director, innovator of music instrument -Vichitra Bela and a painter.
The people never forget the services of Mahesh Tiwadi for providing music to tens of Garhwali dramas and cultural programs as Ardhgrameshwar , Lati ko Byau, Dyur Bhauj staged in Delhi, Lucknow, Kanpur Mumbai etc. Akashvani relayed many musical programs and poems of Mahesh Tiwadi . Mahesh worked with Akashvani till his death on 14th December 1997. Mahesh tiwadi had been a very famous poet of Garhwali Kvisammelans too .
Mahesh Tiwadi created many Garhwali Geet for cultural programs and Garhwali plays. Mahesh wrote more than hundred poems but he could never publish his geet and poems in his life time . However, Garhwali Sahitya Parishad Kanpur published fiftee three poems of Mahesh Tiwadi by the name ‘Vedi Ma ka Vachan’.
Mahesh Tiwadi created poems of varied subjects as ruining of villages due to migration, fast declining of the cultural values and idealism in he society, destruction of natural environment ,geographical beauty of Garhwal , inspiriting poems, Uttarakhand separate state movement, relationship -importance and reality of breaking the old culture about relationship. Mahesh always, tried to be near realism and avoided unnecessary intellectual fantasy creation his poems.
His poem about Ganga is an example of his innovative thinking and creating provocation through realism in life. Most of Garhwali and even Hindi/Sanskrit poets of Garhwal or elsewhere praised reverend rive Ganga but Mahesh revealed a new aspect of Ganga for Garhwalis
aryaun ku lagai hola tin amrit ki dhara ssss
Bhag ma hamari aini tera dhunga ar gara sssss
Tu che bal s matami kilai boli hola badon
Kya kam aun hamari , bol tera ganglwadan sssss
The poet says that though Ganga have been eternal river for Aryans , Ganga have been a reverend river , Ganga have been a source of water for half of Northern and eastern India but for Garhwal, Ganga is worthless and provide stones and stones.
Mahesh also took clue from exclusive style and subject of Garhwali folk song Baramsa and wrote poems on those lines too.
baudi aigen chait ki chaitwali, dalyun uli gen general
Bhiti bhorin fyunli ka fulun, dandi mauli gen bugyal
His style is limited to Geet and melody has been the primary objective of Mahesh Tiwadi. In a couple of case, Mahesh seems be influenced by Expressionism but most of his poems are influenced by realism . Mahesh Tiwadi never avoided hum in his poetry to make them melodious.
Mahesh is the master of creating emotions , pathos, love in the reader’s mind and narrating geographical beauty of Garhwal.
Copyright @ Bhishma Kukreti, Mumbai , India, 2009
History of Garhwali, Kumaoni, Himalayan Literature
Kamal Sahityalankar : A Garhwali Language Poet of Nature and Inspiration
Bhishma Kukreti
Kamal Sahityalankar is prominent signature in Hindi poetry world and critics as Ram Chandra Shukla , Mahaveer Prasad Dwivedi, dr Vasudev Sharan Agarwal, Dr Pitamber datt Barthwal, Babu Shyam Sundar Das , Babu Gulabrai praised for his geographical nature oriented and directive poems . However, Kaml Sahityalankar wrote more than hundred poems in Garhwali language . Kamal Sahityalankar is famous for using Salani dialects, memorizing geographical beauty of Garhwal and writing inspirational or directive poems in Garhwali language.
Kamal Ghansala ‘Sahityalankar’ was born on 15th May 1909 in a Himalayan village Hali, Patti Talai , Salan Pauri Garhwal. Kamal got educational degree of Intermediate, Madhyama, Sahiyashashtri, Kavya Manishi and Sahityalankar from Pauri Garhwali, Punjab, Uttar Pradesh and Bihar .Initially, he worked in Queta (now in Pakistan), shifted to Delhi after independence, and retired from All India Radio.
Kamal Sahityalankar published his poems in various regional periodicals and published his collection of poems book ‘ Swar Mandakini’ (1982). All India Radio also relayed Garhwali poems of Kamal Ghansala Sahityalankar .
The Garhwali poems of Kamal Sahityalankar are related to describing the natural beauty of Garhwal, patriotism, providing direction to next generation. Kamal used symbolic words , create imagery in the mind of readers, used metaphor in praising Garhwal region. Many poems of Kamal Sahityalankar are symbolic too
Mi thain jalam bhumi teri khud lagdi bhair
Sadani yad aundi dialam jun jani pyari
In many poems he tries to use ham
Saujadyaon (ahaha )
Mi gadhali chhaun
Min badi kandali khaya
Mattha milaik chhanch khaya
This is one example of his directive poem
Nati nantan put santan
Pet bhori khayan
This is one example of his description of natural beauty of Garhwal:
Yun laya ka phool ma jab
Lay hwai jand man myaro
Tab yunka sankyun fankyun ma
Darshan pando me tyaro
Kamal Sahityalankar is no more with us.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Kamal Sahityalankar is prominent signature in Hindi poetry world and critics as Ram Chandra Shukla , Mahaveer Prasad Dwivedi, dr Vasudev Sharan Agarwal, Dr Pitamber datt Barthwal, Babu Shyam Sundar Das , Babu Gulabrai praised for his geographical nature oriented and directive poems . However, Kaml Sahityalankar wrote more than hundred poems in Garhwali language . Kamal Sahityalankar is famous for using Salani dialects, memorizing geographical beauty of Garhwal and writing inspirational or directive poems in Garhwali language.
Kamal Ghansala ‘Sahityalankar’ was born on 15th May 1909 in a Himalayan village Hali, Patti Talai , Salan Pauri Garhwal. Kamal got educational degree of Intermediate, Madhyama, Sahiyashashtri, Kavya Manishi and Sahityalankar from Pauri Garhwali, Punjab, Uttar Pradesh and Bihar .Initially, he worked in Queta (now in Pakistan), shifted to Delhi after independence, and retired from All India Radio.
Kamal Sahityalankar published his poems in various regional periodicals and published his collection of poems book ‘ Swar Mandakini’ (1982). All India Radio also relayed Garhwali poems of Kamal Ghansala Sahityalankar .
The Garhwali poems of Kamal Sahityalankar are related to describing the natural beauty of Garhwal, patriotism, providing direction to next generation. Kamal used symbolic words , create imagery in the mind of readers, used metaphor in praising Garhwal region. Many poems of Kamal Sahityalankar are symbolic too
Mi thain jalam bhumi teri khud lagdi bhair
Sadani yad aundi dialam jun jani pyari
In many poems he tries to use ham
Saujadyaon (ahaha )
Mi gadhali chhaun
Min badi kandali khaya
Mattha milaik chhanch khaya
This is one example of his directive poem
Nati nantan put santan
Pet bhori khayan
This is one example of his description of natural beauty of Garhwal:
Yun laya ka phool ma jab
Lay hwai jand man myaro
Tab yunka sankyun fankyun ma
Darshan pando me tyaro
Kamal Sahityalankar is no more with us.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Girish Sundriyal : A Modern Garhwali Geet Creator
(A Review of Garhwali, Kumaoni, Himalayan Literature)
Bhishma Kukreti
Madan Duklan the editor of Hamari Chitthi says that Girish Sundriyal is the strong pillar of contemporary Garhwali poetry and representative of new generation. Girish Sundriyal deals with various subjects in his poetries and does many experiments in poetic form and style. Girish is called the expert of using ornamental Garhwali poetry and marvelously uses metaphors, simile and onomatopoeia in his poetic version.
Girish Sundriyal was born in May, 1968 in Churedgaun, Ringwadsyun Patti of Pauri Garhwal, Himalaya. Sundriyal is M.A in English, Hindi and Sanskrit . Sundriyal is lecturer in Garhwal, Himalaya.
Girish Sundriyal started publishing his poems from his early youth and published his Garhwali poems in periodicals as Hilans, Dhad, Chitthi Patri, Hamari Chitthi, Sahara, Nav Bharat Times, Samy Saxi, Though, Girish has written essays and stories in Garhwali but he is identified and respected for his Garhwali Geet. Girish is also appreciated to pull the crowds in Garhwali Kavi Sammelan across all cities of India.
So far, Girish Sundriyal published two volumes of collections of Garhwali language poetries - Anwar (2006) and Maulyar ( 2008). Both collections of Garhwali language poetries are marvelous pieces of world literature . There are seventy two poems in Anwar and fifty two poems in Maulyar .All poems are of different subjects of rural Garhwal and different moods of society and the poet too. The Garhwali language critics as Madan Duklan and Bhishma Kukreti positions Girish Sundriyal among Andrei Codrescu , Russell Edson and Maxine Chernoff for surrealism, Gwendolyn Brooks, Maya Angelou e,Detric Hughes, Lyn Hejilinian , Ron Silliman , Bob Perelman, Adrianne Rich, Jean Valentine, L Ephemere , Andre du Bauchet, Jaques Duplin,Ezra Pound, William Carlos Williams, George Oppen, Tahnasis Athanasious, Dimitris Lyacos, Alaxis Stamatis, Antonis Fostieris , Cesare Pavese, Giuseppe Ungaretti , Eric Mottram, Simon Armitage , Kathleen, Jamie , Jacob Polly, Perdika Press in terms of bringing modernity, doing experiments, multicultural poetries etc.
The poems of Girish Sundriyal are also translated in English . The specialty of poems of Girish are that they are melodious and with simple, understandable wordings . Girish Sundriyal never hesitates in doing experiments with Garhwali poetry creation but never leaves melody. Sundriyal wrote Gazals in Garhwali too and he is effective making much bigger picture by few words.
Madan Duklan surmises about poetries of Girish Sundriyal, “ the songs of Shri Girish are adorned with metaphor, simile and onomatopoeias etc. His love songs are the matchlessly creative, .it can rightly be said that Girish Sundriyal is the master of the love song maker of this century . The folk colour and lure of Garhwal, Himalaya are preserved in his heart, that is why he is able to create such marvelous and wonderful songs--
She has tolen my youth
By squeezing it out of life
Now stricken by love she hums within…”
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Madan Duklan the editor of Hamari Chitthi says that Girish Sundriyal is the strong pillar of contemporary Garhwali poetry and representative of new generation. Girish Sundriyal deals with various subjects in his poetries and does many experiments in poetic form and style. Girish is called the expert of using ornamental Garhwali poetry and marvelously uses metaphors, simile and onomatopoeia in his poetic version.
Girish Sundriyal was born in May, 1968 in Churedgaun, Ringwadsyun Patti of Pauri Garhwal, Himalaya. Sundriyal is M.A in English, Hindi and Sanskrit . Sundriyal is lecturer in Garhwal, Himalaya.
Girish Sundriyal started publishing his poems from his early youth and published his Garhwali poems in periodicals as Hilans, Dhad, Chitthi Patri, Hamari Chitthi, Sahara, Nav Bharat Times, Samy Saxi, Though, Girish has written essays and stories in Garhwali but he is identified and respected for his Garhwali Geet. Girish is also appreciated to pull the crowds in Garhwali Kavi Sammelan across all cities of India.
So far, Girish Sundriyal published two volumes of collections of Garhwali language poetries - Anwar (2006) and Maulyar ( 2008). Both collections of Garhwali language poetries are marvelous pieces of world literature . There are seventy two poems in Anwar and fifty two poems in Maulyar .All poems are of different subjects of rural Garhwal and different moods of society and the poet too. The Garhwali language critics as Madan Duklan and Bhishma Kukreti positions Girish Sundriyal among Andrei Codrescu , Russell Edson and Maxine Chernoff for surrealism, Gwendolyn Brooks, Maya Angelou e,Detric Hughes, Lyn Hejilinian , Ron Silliman , Bob Perelman, Adrianne Rich, Jean Valentine, L Ephemere , Andre du Bauchet, Jaques Duplin,Ezra Pound, William Carlos Williams, George Oppen, Tahnasis Athanasious, Dimitris Lyacos, Alaxis Stamatis, Antonis Fostieris , Cesare Pavese, Giuseppe Ungaretti , Eric Mottram, Simon Armitage , Kathleen, Jamie , Jacob Polly, Perdika Press in terms of bringing modernity, doing experiments, multicultural poetries etc.
The poems of Girish Sundriyal are also translated in English . The specialty of poems of Girish are that they are melodious and with simple, understandable wordings . Girish Sundriyal never hesitates in doing experiments with Garhwali poetry creation but never leaves melody. Sundriyal wrote Gazals in Garhwali too and he is effective making much bigger picture by few words.
Madan Duklan surmises about poetries of Girish Sundriyal, “ the songs of Shri Girish are adorned with metaphor, simile and onomatopoeias etc. His love songs are the matchlessly creative, .it can rightly be said that Girish Sundriyal is the master of the love song maker of this century . The folk colour and lure of Garhwal, Himalaya are preserved in his heart, that is why he is able to create such marvelous and wonderful songs--
She has tolen my youth
By squeezing it out of life
Now stricken by love she hums within…”
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
Spiritual and Philosophical Literature in Garhwali Language
Spiritual and Philosophical Literature in Garhwali Language
Bhishma Kukreti
Whenever there will be talk, discussion of philosophical literature or spiritual literature in Garhwal or Garhwali, Dhol sagar will be first chapter , which has to be discussed first. However, there is least knowledge about the importance and reality of Dhol Sagar among Garhwalis. Garhwalis think that Dhol Sagar is related and for Auju or Das caste. In fact, Dhol Sagar and other such literature is our real heritage of spiritualism, philosophical concept, the height of our religious thinking. Since, Dhol-Sagar and suc literature was sung and protected by Auji society, less attention was given to these marvelous pieces of oral literature, which is more than thousand years available literature in Garhwali and of Garhwal.
The Dhol Sagar is about the talk or discussion between lord Shiva and his wife Parvati about origin of galaxy and pain of human beings as is in Vigyan Bhairav
Parvati--are auji nahi sas nahi as
Nahin giri nahin kavilas
Sarvat dhund dhundkaram
Tai din ki utpati boli de
Shivji---hami onkar tain dhaudhokar
Nad-bund hami kvato, hami binto
Narakar nirnkar hamro naun
Nirakar te sakar sristi rachi lei
Rachi lei naukhand prithavi
You all will be surprised that Dhol Sagar contains the following subjects
1- The creation and concept of this galaxy
2-The creation of seven continents and nine main regions of the earth
3- Solar system and galaxy
4-Sixteen types of decoration, make up or Shrigar
5- Thirty two types of jewels and jewelries
6- Forty six types of Ragas or musical modes
7-Thirty six types of Raganiyan or transformation of musical modes
8-36 Musical Instruments
9-The chronological development of life and biological progression in this world
10-Sanyas and how to take it
11- Explanation of Yoga
12-Tal and their importance in our life
Dhol Sagar is nothing but expansion of Samved, the extract of philosophies of all Shat Darshan (Six Hindu Philosophies- Two Mimansa or Vedant Darshan, Vaishishiki, Nyayashastra, Shankhyaki, Patanjali’s Yogasamhita ), Upnishads, Gorakhvani, Nad-Bhairav, Vigyan Bhairav. Gorakhvani or the preaching of Guru Gorakhnath is the main source of creation of Dhol Sagar and other such oral literature
Since, there is description of music and musical instruments and make up science in this philosophical science, the modern Garhwalis did not write much about it and never did any attempt to popularize Dhol Sagar out of Garhwali societies except some references provided by Mohan Babulkar, Abodh Bandhu Bahuguna , madna Chandra Bhatt, Dr Shanti Prasad Chandola.
Keshav Anuragi is called the main source of bringing Dhol Sagar in lime light among Intellectuals of Garhwal and other societies. Dr Vishsnu Datt Kukreti is called the master of Dhol Sagar and other such literature. Recently, Recently, in Shailvani Kotdwara, Vijay Das has written in details about Dhol Sagar and other such Garhwal’s original philosophical oral literature.
Uttam Das of Savali Tihri is progressing marvelously for popularizing Dhol Sagar .
Apart from Dhol Sagar, following oral philosophical , spiritual manuscripts of Garhwal in Garhwali language of past are also discovered by researchers as Dr Vishnu Datt Kukreti:
1- Dhol Sagar
2- Damau Sagar
3-Ukhail
4-Bairi Binash
5- Jogeshwari Sakhi
6-Ghat Staphana
7-Nadbud
8-Chaudiyabeer Masan
9-Samain
10-Indrajal
11-Kamrup jap
12-Saidwali
13-Mahavidya
14-Narsingh ki Chauki
15-Ath Hanmant
16- Bhairavali
17-Narsingwali
18-Chhidrawali
19- Anchharwali
20-Mochwali
21- Rakhwali
22-Maimda Rakhwali
23-Kali Rakhwali
24-Kalua Rakhvali
25-Dain Rakhwali
26-Jur Todi archival
27-Mantrawali
28-Fodibayali
29-Kurmastak
30-Ganit Prakash
31-Sankracharj bidhi
32-Dariyau
33-Olyachar
34-Bhavuna Beer
35-Mantra Goril kai
36-Panchmukhi Hanuman
37-Bhairvastak
38-Dadiya Mantra
39-Saub Jadu Ukhel
40-Sabdiyan
41-Ap Raksha
42-Chudamantra
43-Chudail ko Mantar
44-Dakhan Disha
45-Lochda ki Baidai
46-Hauri mantar
47- Guru Paduka
48-Shrinath ko Suklesh
49-Nath nighantu
50-Daint sanghar
Dr Vishnu Datt Kukreti proved that these types of literature was available in Garhwal before year 750AD .
An example of such spiritual and philosophical prose is :
om namoh guru ko juhar
Vidya ku namsakar
Kala kalua, kali rati
Toi hankaro re kalua adi raati
Hatai gosa ko deemad leejai
Turant mero kaj kari deejai
Mero satur bairi ko mush baithi
Charai hat paun bantho
Nali gali ko bantho
Copyright @ Bhishma Kukreti, Mumbai, India 2009.
Bhishma Kukreti
Whenever there will be talk, discussion of philosophical literature or spiritual literature in Garhwal or Garhwali, Dhol sagar will be first chapter , which has to be discussed first. However, there is least knowledge about the importance and reality of Dhol Sagar among Garhwalis. Garhwalis think that Dhol Sagar is related and for Auju or Das caste. In fact, Dhol Sagar and other such literature is our real heritage of spiritualism, philosophical concept, the height of our religious thinking. Since, Dhol-Sagar and suc literature was sung and protected by Auji society, less attention was given to these marvelous pieces of oral literature, which is more than thousand years available literature in Garhwali and of Garhwal.
The Dhol Sagar is about the talk or discussion between lord Shiva and his wife Parvati about origin of galaxy and pain of human beings as is in Vigyan Bhairav
Parvati--are auji nahi sas nahi as
Nahin giri nahin kavilas
Sarvat dhund dhundkaram
Tai din ki utpati boli de
Shivji---hami onkar tain dhaudhokar
Nad-bund hami kvato, hami binto
Narakar nirnkar hamro naun
Nirakar te sakar sristi rachi lei
Rachi lei naukhand prithavi
You all will be surprised that Dhol Sagar contains the following subjects
1- The creation and concept of this galaxy
2-The creation of seven continents and nine main regions of the earth
3- Solar system and galaxy
4-Sixteen types of decoration, make up or Shrigar
5- Thirty two types of jewels and jewelries
6- Forty six types of Ragas or musical modes
7-Thirty six types of Raganiyan or transformation of musical modes
8-36 Musical Instruments
9-The chronological development of life and biological progression in this world
10-Sanyas and how to take it
11- Explanation of Yoga
12-Tal and their importance in our life
Dhol Sagar is nothing but expansion of Samved, the extract of philosophies of all Shat Darshan (Six Hindu Philosophies- Two Mimansa or Vedant Darshan, Vaishishiki, Nyayashastra, Shankhyaki, Patanjali’s Yogasamhita ), Upnishads, Gorakhvani, Nad-Bhairav, Vigyan Bhairav. Gorakhvani or the preaching of Guru Gorakhnath is the main source of creation of Dhol Sagar and other such oral literature
Since, there is description of music and musical instruments and make up science in this philosophical science, the modern Garhwalis did not write much about it and never did any attempt to popularize Dhol Sagar out of Garhwali societies except some references provided by Mohan Babulkar, Abodh Bandhu Bahuguna , madna Chandra Bhatt, Dr Shanti Prasad Chandola.
Keshav Anuragi is called the main source of bringing Dhol Sagar in lime light among Intellectuals of Garhwal and other societies. Dr Vishsnu Datt Kukreti is called the master of Dhol Sagar and other such literature. Recently, Recently, in Shailvani Kotdwara, Vijay Das has written in details about Dhol Sagar and other such Garhwal’s original philosophical oral literature.
Uttam Das of Savali Tihri is progressing marvelously for popularizing Dhol Sagar .
Apart from Dhol Sagar, following oral philosophical , spiritual manuscripts of Garhwal in Garhwali language of past are also discovered by researchers as Dr Vishnu Datt Kukreti:
1- Dhol Sagar
2- Damau Sagar
3-Ukhail
4-Bairi Binash
5- Jogeshwari Sakhi
6-Ghat Staphana
7-Nadbud
8-Chaudiyabeer Masan
9-Samain
10-Indrajal
11-Kamrup jap
12-Saidwali
13-Mahavidya
14-Narsingh ki Chauki
15-Ath Hanmant
16- Bhairavali
17-Narsingwali
18-Chhidrawali
19- Anchharwali
20-Mochwali
21- Rakhwali
22-Maimda Rakhwali
23-Kali Rakhwali
24-Kalua Rakhvali
25-Dain Rakhwali
26-Jur Todi archival
27-Mantrawali
28-Fodibayali
29-Kurmastak
30-Ganit Prakash
31-Sankracharj bidhi
32-Dariyau
33-Olyachar
34-Bhavuna Beer
35-Mantra Goril kai
36-Panchmukhi Hanuman
37-Bhairvastak
38-Dadiya Mantra
39-Saub Jadu Ukhel
40-Sabdiyan
41-Ap Raksha
42-Chudamantra
43-Chudail ko Mantar
44-Dakhan Disha
45-Lochda ki Baidai
46-Hauri mantar
47- Guru Paduka
48-Shrinath ko Suklesh
49-Nath nighantu
50-Daint sanghar
Dr Vishnu Datt Kukreti proved that these types of literature was available in Garhwal before year 750AD .
An example of such spiritual and philosophical prose is :
om namoh guru ko juhar
Vidya ku namsakar
Kala kalua, kali rati
Toi hankaro re kalua adi raati
Hatai gosa ko deemad leejai
Turant mero kaj kari deejai
Mero satur bairi ko mush baithi
Charai hat paun bantho
Nali gali ko bantho
Copyright @ Bhishma Kukreti, Mumbai, India 2009.
Critical History of Garhwali, Himalayan literature
Nityanand Maithani as a Garhwali Language Poet
Bhishma Kukreti
Nityanand Maithani is a prominent figure in Garhwali literature for his contribution in Radio plays, Radio essays , dramas, translations . Apart from writing novel in Garhwali, Nityanand Maithani wrote poetries in Garhwali language too. His poetries deal with different subjects related to rural Garhwal and emigrant Garhwalis scattered across India. Nityanand Maithani is famous for avoiding Hindi words in his Garhwali language poetries and he got appreciation for his describing nature, season, day to day life of Garhwal in his poetries.
Nityanand Maithani was born on 10th November, 1934 in Shrinagar, Pauri Garhwal, Uttarakhand. His inclination towards music brought him to All India radio and he served in various centers of All India Radio. His transfer to Naziabad center of All India Radio became blessing for Garhwali language . Nityanand Maithani started many programs in Garhwali language from All India Radio Nazibabad relay centre.
Nityanand Maithani wrote tens of poems in Garhwali. Latu Gunduru, Ramdei, Ko chu Bal Va’, Mayedi aj Des Vikral are his famous and well heard Garhwali language poems. Using metaphors , memoir , pure Garhwali words , describing the contemporary life style of Garhwal and comparing with the past , personification of animals and plants are some specific specialty of Maithani . The poems are melodious and seemed to be not written by an intellectual but by a common man . Nityanand Maithani is popular poet of Kavi Sammelan too because of his simple wordings, perfect and understandable figure of speech, common symbols and imagery wordings in his poems.
Chhota ma dekhi chhau twai he ramdei
Ab ni chhai kakh chai batau he ramdei
Dhoti theglya chirin angadi tutin dhagula
Thainch bujnani khosi-mausi chhai ramdei
Copyright @ Bhishma Kukreti, Mumbai, India.2009.
Bhishma Kukreti
Nityanand Maithani is a prominent figure in Garhwali literature for his contribution in Radio plays, Radio essays , dramas, translations . Apart from writing novel in Garhwali, Nityanand Maithani wrote poetries in Garhwali language too. His poetries deal with different subjects related to rural Garhwal and emigrant Garhwalis scattered across India. Nityanand Maithani is famous for avoiding Hindi words in his Garhwali language poetries and he got appreciation for his describing nature, season, day to day life of Garhwal in his poetries.
Nityanand Maithani was born on 10th November, 1934 in Shrinagar, Pauri Garhwal, Uttarakhand. His inclination towards music brought him to All India radio and he served in various centers of All India Radio. His transfer to Naziabad center of All India Radio became blessing for Garhwali language . Nityanand Maithani started many programs in Garhwali language from All India Radio Nazibabad relay centre.
Nityanand Maithani wrote tens of poems in Garhwali. Latu Gunduru, Ramdei, Ko chu Bal Va’, Mayedi aj Des Vikral are his famous and well heard Garhwali language poems. Using metaphors , memoir , pure Garhwali words , describing the contemporary life style of Garhwal and comparing with the past , personification of animals and plants are some specific specialty of Maithani . The poems are melodious and seemed to be not written by an intellectual but by a common man . Nityanand Maithani is popular poet of Kavi Sammelan too because of his simple wordings, perfect and understandable figure of speech, common symbols and imagery wordings in his poems.
Chhota ma dekhi chhau twai he ramdei
Ab ni chhai kakh chai batau he ramdei
Dhoti theglya chirin angadi tutin dhagula
Thainch bujnani khosi-mausi chhai ramdei
Copyright @ Bhishma Kukreti, Mumbai, India.2009.
परसी ओंकी चिटटी आइ
परसी ओंकी चिटटी आइ, कि रुडियों माँ मिन घौर औन.
मि त हकोदक छुं, कि ऊकु मिन क्या जू खिलोन.
सावन औंदा भादो औंदा, काखड़ी मुंगरी खे कि जांदा.
सायद च कि नौकरी छूटी, घौर नि औंदा त कख दी जांदा.
ब्यो से पैली खबर छे , कि नौनु बडू होसियार च.
थोड़ा भौत बिग्दियों छो, पर अब त कमोदर च
एनु लेगी द्यो जब ह्वेगी ब्यो, खीसा उंका झाडे गेनि.
रूप्या पेंसा जुलम बात, खीसा भी मिन फत्या पैनी.
लोक्हू भाग्यनु चा, चीनी,चोणी, मिठे लती कपरी.
चूडी, झुमकी, धोति साड़ी जरा दगड़ा माँ नरयूले कत्री.
छट, छटकि जिकुड़ी मेरी, जनि ओंकू झोला खोळी.
अपड़ी लती कपरी, धेरी, अर् मीकू थें मुन्डारे गोळी.
इना देसी चूले त नौंना अपड़ा हौल सिखा.
झूठ मूठे चलक फलक, बेटी वालू थें ना दिखा.
घौर बोण, साळी, खरक, पुन्गीरियों माँ हौल त लगली.
कभी इन आस त रौली कि आज रोटी बणी मिलली.
धन्यवाद
विक्रम सिंह रावत
मि त हकोदक छुं, कि ऊकु मिन क्या जू खिलोन.
सावन औंदा भादो औंदा, काखड़ी मुंगरी खे कि जांदा.
सायद च कि नौकरी छूटी, घौर नि औंदा त कख दी जांदा.
ब्यो से पैली खबर छे , कि नौनु बडू होसियार च.
थोड़ा भौत बिग्दियों छो, पर अब त कमोदर च
एनु लेगी द्यो जब ह्वेगी ब्यो, खीसा उंका झाडे गेनि.
रूप्या पेंसा जुलम बात, खीसा भी मिन फत्या पैनी.
लोक्हू भाग्यनु चा, चीनी,चोणी, मिठे लती कपरी.
चूडी, झुमकी, धोति साड़ी जरा दगड़ा माँ नरयूले कत्री.
छट, छटकि जिकुड़ी मेरी, जनि ओंकू झोला खोळी.
अपड़ी लती कपरी, धेरी, अर् मीकू थें मुन्डारे गोळी.
इना देसी चूले त नौंना अपड़ा हौल सिखा.
झूठ मूठे चलक फलक, बेटी वालू थें ना दिखा.
घौर बोण, साळी, खरक, पुन्गीरियों माँ हौल त लगली.
कभी इन आस त रौली कि आज रोटी बणी मिलली.
धन्यवाद
विक्रम सिंह रावत
Tuesday, November 17, 2009
A Report - YU 4th successful free Medical Camp @ Pauri Garhwal
कार्यक्रम:- यंग उत्तराखंड का चौथा निशुल्क: ह्रदय एवं सामान्य रोग जाँच शिविर
स्थान:- राजकीय इंटर कालेज नौगाँवखाल, पौडी गढ़वाल, उत्तराखंड
दिनांक:- 10 एवं 11 नवम्बर 2009.
प्रसंग :-
यंग उत्तराखंड (पंजीकृत) का चौथा निशुल्क: ह्रदय एवं सामान्य रोग जाँच शिविर दिनांक:- 10 एवं 11 नवम्बर 2009 को राजकीय इंटर कालेज नौगाँवखाल, पौडी गढ़वाल, उत्तराखंड में विश्व विख्यात ह्रदय रोग विशेषज्ञ डा. नरेश त्रेहन एवं डा. आर आर कासलीवाल मेदंता दा मेडिसिटी अस्पताल (गुडगाँव) के चिकित्सक एवं सहयोगी सदस्य दल के सहयोग से सफलता पूर्वक संपन्न हुआ
मेदंता दा मेडिसिटी अस्पताल के चिकित्सक एवं सहयोगी सदस्य :-
(1) डा. भूपेंद्र सिंह (ह्रदय रोग विशेषज्ञ)
(2) डा. राकेश पांडये ((ह्रदय रोग विशेषज्ञ)
(3) श्री आर. जी. सिंह (सहयोगी)
(4) श्री प्रियेष (सहयोगी)
(5) सुश्री समना (सहयोगी)
(6) सुश्री उरुषी (सहयोगी)
(7) श्री प्रदीप (सहयोगी)
स्थानीय चिकित्सक दल:
(1) डा. मनमोहन घिल्डियाल ( सामान्य रोग विशेषज्ञ )
(2) डा. द्वारका प्रशाद कैंथोला ( नेत्र रोग विशेषज्ञ )
(3) डा. अनु रावत (महिला एवं बाल रोग विशेषज्ञ )
यंग उत्तराखंड स्वयम सेवक दल के सदस्य :-
(1) श्री चंद्रकांत नेगी
(2) श्री विपिन पंवार
(3) श्री आशीष पांथरी
(4) श्री विवेक पटवाल
(5) श्री धीरेन्द्र चौहान
(6) श्री सुशील सेन्दवाल
(7) श्री विजय सिंह बुटोला
व्याख्या:-
दिनांक 09 नवम्बर 2009 को रात 10:30 पर यंग उत्तराखंड स्वयम सेवक दल के सभी 7 सदस्य यंग उत्तराखंड के चौथे निशुल्क: ह्रदय एवं सामान्य रोग जाँच शिविर में भाग लेने नौगाँवखाल, पौडी गढ़वाल, उत्तराखंड को दिल्ली से रवाना हुए
रात करीब 1:oo बजे हम मीरापुर पहुंचे, वहा पर हमें रात का भोजन किया और उसके पश्चात हम अपने गंतव्य की और निकल पड़े
रात 3:30 बजे हम सभी कोटद्वार पहुचे वहा से हमने डा. अनु रावत (महिला एवं बाल रोग विशेषज्ञ) को साथ लिया और जल-पान के पश्चात अपनी शेष यात्रा को पूरा करने निकल पड़े
भोर 7 बजे हम सभी बमोला गाँव पहुचे वंहा पर श्री कैलाश बमोला जी के घर पर हमारे चाय की व्यस्था थी चाय पी कर हम कैम्प स्थल नौगाँवखाल के लिए निकल पड़े
नौगाँवखाल बाजार में श्री चन्दन सिंह रावत (श्री चंद्रकांत नेगी जी के मौसा जी ) के घर पर पहुंचे वहा चाय पी कर हम कैम्प स्थल के लिए निकल पड़े
कैम्प स्थल पर पहुच कर हमने वंहा कमरों में चिकित्सको के बैठने की व्यस्था की तकनीकी सहयोगी दल के साथ मिल कर हमें मशीनों को रखवाया व सभी प्रकार की व्यस्था की
कैम्प के स्थानीय सहयोगकर्ता श्री नीरज पांथरी (सदस्य राज्य युवा कल्याण मोर्चा) व श्रीमती आशा पांथरी (जिला पंचायत सदस्य ) ने कैम्प में पहुच कर व्यस्था करने में हमारी सहायता की
कैम्प में विद्यालय भवन के प्रथम तल पर डा. भूपेंद्र सिंह ह्रदय के रोगियों की जाँच कर रहे थे तथा उसी कमरे में सुश्री समना रोगियों की ई.सी.जी.जाँच व सुश्री उरुषी रोगियों का इको-कार्डियो कर रही थी
डा. राकेश पांडये (ह्रदय रोग विशेषज्ञ) व डा. मनमोहन घिल्डियाल ( सामान्य रोग विशेषज्ञ ) भी इसी कमरे में रोगियों की जाँच कर रहे थे तथा श्री आर. जी. सिंह मरीजो व चिकित्सकों के मध्य समन्वय स्थापित कर रहे थे
वंही विद्यालय के उपरी भवन में डा. द्वारका प्रशाद कैंथोला (नेत्र रोग विशेषज्ञ ) एवं डा. अनु रावत (महिला एवं बाल रोग विशेषज्ञ ) रोगियों की जाँच कर रही थी
इस कैम्प के पहले दिन लगभग 250 रोगियों का नामाकन तथा जाँच हुई कैम्प से दुसरे दिन 110 रोगियों की जाँच हुई तथा निशुल्क: दवाओ का वितरण किया गया
दोपहर 1 बजे हमें समापन समारोह का आयोजन किया जिसमे श्री विवेक पटवाल जी ने डा. भूपेंद्र सिंह को स्मृति चिन्ह भेंट कर सम्मानित किया श्री धीरेन्द्र चौहान जी ने श्री नीरज पांथरी जी की स्मृति चिन्ह भेंट कर सम्मानित किया व इसके पश्चात श्री विजय सिंह बुटोला ने श्रीमती आशा पांथरी जी को स्मृति चिन्ह भेंट कर सम्मानित किया
कैम्प में भाग लेने वाले चिकित्सीय दल के सहयोगी सदस्यों को श्री चंद्रकांत नेगी जी , श्री विपिन पंवार जी, श्री सुशील सेन्दवाल व श्री आशीष पांथरी जी ने प्रमाण-पत्र भेंट कर सम्मानित किया
इस प्रकार यंग उत्तराखंड का यह चौथा निशुल्क मेडिकल कैम्प सफलता पूर्वक संपन्न हुआ दोपहर 2:20 पर यंग उत्तराखंड स्वयम सेवक दल के सदस्य व चिकित्सक एवं सहयोगी सदस्य नौगाँवखाल से दिल्ली के लिए रवाना हुए
यंग उत्तराखंड के इस निशुल्क मेडिकल कैम्प में उत्तराखंड की दो अन्य संस्थाए क्रियेटिव उत्तराखंड (नई दिल्ली) एवं उत्तराँचल एशोसियेशन ऑफ नॉर्थ अमेरिका ने भी सहयोग दिया
यंग उत्तराखंड की ओर से मैं उन सभी भाई बहिनों को हार्दिक धन्यवाद देता हूँ जिन्होंने इस निशुल्क मेडिकल कैम्प के आयोजन में प्रत्यक्ष व परोक्ष रूप से भाग लिया तथा यह कामना करता हूँ की भविष्य में भी यंग उत्तराखंड की आगामी समाज सेवी कार्यकमों में इसी प्रकार भागीदार बन कर अपनी जन्म भूमि के लिए यथा योग्य व यथा शक्ति योगदान देंगे
Monday, November 2, 2009
Garhwali, Kumaoni, Himalayan Literature
Lokesh Navani : The Father of Kavita Andolan - Poetry Movement in Rural Garhwal
Bhishma Kukreti
Lokesh Navani is with versatile personality. Navani is a poet, a critical commentator of Garhwali literature, have been editor of Dhad a Garhwali literature magazine but his contribution is more sought for his Garhwali Kavita Andolan or Garhwali Poetry Movement in rural Garhwal though social activities.
Lokesh Navani was born in 1956 in a Himalayan village Gavani, Kimgadigadh, Pauri Garhwal, Uttarakhand. After getting graduation , Lokesh joined Rehabilation Centre for Visionary Handicaps Delhi and then was transferred to Dehradun
In Delhi he published his Garhwali poetry collection book ’ Fanchi’in 1977
. The poems of Lokesh are in Geet form and hos old friends say that those gett were always, in demand in Kavisammelan because of narration of Garhwali life, perfect uses of figure of speech, uses of Garhwali symbols to explain the life of Garhwal and the poems being melodious. In many poems the poet criticized the old customs irrelevant to the modern society. The readers attached easily with the poems of Lokesh because of tenderness of the poems.
Buransa bagwan ma , ganga ka guthya re
Paita myara saunjad yo voon dandyun ka dhwar re
Raunteli kanthyun ma ganga gaddesh ma
Basidin dev jakh manikhun ka besh ma
Vakh jhangora kauni ki chhan sar re
Lokesh Navani became a prominent figure among Garhwali literary field of Delhi and became active in organizing conferences , small discussion meets among Garhwali intellectuals interested in literature.
After shifting to Dehradun, Lokesh Navani became involved in publishing Dhad a monthly magazine from Dehradun. Dhad has provide us many Garhwali creators because Navani inspired tens of youth to take creating Garhwali language literature. However, due to financial problem, Lokesh had to stop publishing the respected magazine .
Garhwali people appreciate Lokesh Navani for his Poetry and Plays Movement through social works. Lokesh is of opinion that just by reading the poetry , people will not be interested in Garhwali poems but the creative should involve themselves with them in uplifting their standard of living . Dhad a brain child of Lokesh Navani has branches at most of the places in Garhwal. Social organization Dhad take social acts in hand and side by side arranges Kavisammelan to popularize Garhwali literature at grass root level in rural Garhwal.
Dhad has been a front figure in publishing dozen of books on Garhwali language and subjects of related to Uttarakhand . Without mentioning Dhad no one can complete the journey of Garhwali literature .
Lokesh will always appreciated for his collection of poetries Funchi and for Garhwali Poetry Movement in rural Garhwal and being godfather of tens of Garhwali poets.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Lokesh Navani is with versatile personality. Navani is a poet, a critical commentator of Garhwali literature, have been editor of Dhad a Garhwali literature magazine but his contribution is more sought for his Garhwali Kavita Andolan or Garhwali Poetry Movement in rural Garhwal though social activities.
Lokesh Navani was born in 1956 in a Himalayan village Gavani, Kimgadigadh, Pauri Garhwal, Uttarakhand. After getting graduation , Lokesh joined Rehabilation Centre for Visionary Handicaps Delhi and then was transferred to Dehradun
In Delhi he published his Garhwali poetry collection book ’ Fanchi’in 1977
. The poems of Lokesh are in Geet form and hos old friends say that those gett were always, in demand in Kavisammelan because of narration of Garhwali life, perfect uses of figure of speech, uses of Garhwali symbols to explain the life of Garhwal and the poems being melodious. In many poems the poet criticized the old customs irrelevant to the modern society. The readers attached easily with the poems of Lokesh because of tenderness of the poems.
Buransa bagwan ma , ganga ka guthya re
Paita myara saunjad yo voon dandyun ka dhwar re
Raunteli kanthyun ma ganga gaddesh ma
Basidin dev jakh manikhun ka besh ma
Vakh jhangora kauni ki chhan sar re
Lokesh Navani became a prominent figure among Garhwali literary field of Delhi and became active in organizing conferences , small discussion meets among Garhwali intellectuals interested in literature.
After shifting to Dehradun, Lokesh Navani became involved in publishing Dhad a monthly magazine from Dehradun. Dhad has provide us many Garhwali creators because Navani inspired tens of youth to take creating Garhwali language literature. However, due to financial problem, Lokesh had to stop publishing the respected magazine .
Garhwali people appreciate Lokesh Navani for his Poetry and Plays Movement through social works. Lokesh is of opinion that just by reading the poetry , people will not be interested in Garhwali poems but the creative should involve themselves with them in uplifting their standard of living . Dhad a brain child of Lokesh Navani has branches at most of the places in Garhwal. Social organization Dhad take social acts in hand and side by side arranges Kavisammelan to popularize Garhwali literature at grass root level in rural Garhwal.
Dhad has been a front figure in publishing dozen of books on Garhwali language and subjects of related to Uttarakhand . Without mentioning Dhad no one can complete the journey of Garhwali literature .
Lokesh will always appreciated for his collection of poetries Funchi and for Garhwali Poetry Movement in rural Garhwal and being godfather of tens of Garhwali poets.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali , Kumaoni, Himalayan Literature
Gunanand Dangwal ‘Pathik’: The Translator of Rama Story in Garhwali
Bhishma kukreti
Gunanad Pathik has versatile personalities. In true sense, Gunanad Pathik was a born revolutionary person but at the same time, Gunanand respected those cultural aspects which are important for humanity at all levels. In garhwali literature, Gunanand Daangwal ‘Pathik’ is considered for his translation of Ramayan in melodious song style and useful for playing Ramlila long play in Garhwali language .
Gunanand Dangwal was born in 1913 in a Himalayan village of Tihri Riyasat . His father a moneylender was a millionaire from today’s angel. However, father of Gunannad never appreciated Gunanand that Gunanand goes to school for higher study. His father wanted that Gunannad manage the money lending business and be devotee of Tihri Maharaj but Gunanad refused to obey his father and choose to be with freedom fighters.
After independence, Gunanand shifted to Dehradun. Gunanand has been a poor man for ever in his life.
Gunanand wrote hundred of poems in Garhwali and published Garhwali poetry collections as ‘Paun pani’, Uljhare Parani, Bigul Raibar, Gandhi Ji ka Pyara harijan, and Geetang Gailya etc.
Gunanand is always remembered in Garhwali literature for his book Gadh Bhasha Lila Ramayana. The story is the universally told story of Rama but Gunanand Dangwal Pathik was successful in his work that Garhwalis feel that the happenings of Ramayana are happenings in their area. Gunanand created the scenes related to Garhwali culture and rituals in his Lila Ramayana .
The language of gadh bhasha Lila Ramayana is very simple and i created in melodious tone. Gunanand Pathik used conventional tone of Garhwali folk songs for writing the dialogues of Lila Ramayana. The aim of Gunanand was that ramlila is played in Garhwali language than in the Khadi Boli of Radheshyam bachak. Gunanand has been successful in gaining his objective . The first staging of this Ramayana was started on 23rd November 1977 and ran for twelve days. The Ramlila in Garhwali language became so popular that people came to watch the play for twelve days in the winter night of November too.
Gunanand used Garhwali symbols, images, proverbs, sayings, life style of Garhwal in narrating Ramayana that average Garhwali was attracted to watch the play.
Gunanand Dangwal Pathik is no more with us but his created heritage Gadh Bhasha Lila Ramayana will always remembered in Garhwal and Garhwali literature.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma kukreti
Gunanad Pathik has versatile personalities. In true sense, Gunanad Pathik was a born revolutionary person but at the same time, Gunanand respected those cultural aspects which are important for humanity at all levels. In garhwali literature, Gunanand Daangwal ‘Pathik’ is considered for his translation of Ramayan in melodious song style and useful for playing Ramlila long play in Garhwali language .
Gunanand Dangwal was born in 1913 in a Himalayan village of Tihri Riyasat . His father a moneylender was a millionaire from today’s angel. However, father of Gunannad never appreciated Gunanand that Gunanand goes to school for higher study. His father wanted that Gunannad manage the money lending business and be devotee of Tihri Maharaj but Gunanad refused to obey his father and choose to be with freedom fighters.
After independence, Gunanand shifted to Dehradun. Gunanand has been a poor man for ever in his life.
Gunanand wrote hundred of poems in Garhwali and published Garhwali poetry collections as ‘Paun pani’, Uljhare Parani, Bigul Raibar, Gandhi Ji ka Pyara harijan, and Geetang Gailya etc.
Gunanand is always remembered in Garhwali literature for his book Gadh Bhasha Lila Ramayana. The story is the universally told story of Rama but Gunanand Dangwal Pathik was successful in his work that Garhwalis feel that the happenings of Ramayana are happenings in their area. Gunanand created the scenes related to Garhwali culture and rituals in his Lila Ramayana .
The language of gadh bhasha Lila Ramayana is very simple and i created in melodious tone. Gunanand Pathik used conventional tone of Garhwali folk songs for writing the dialogues of Lila Ramayana. The aim of Gunanand was that ramlila is played in Garhwali language than in the Khadi Boli of Radheshyam bachak. Gunanand has been successful in gaining his objective . The first staging of this Ramayana was started on 23rd November 1977 and ran for twelve days. The Ramlila in Garhwali language became so popular that people came to watch the play for twelve days in the winter night of November too.
Gunanand used Garhwali symbols, images, proverbs, sayings, life style of Garhwal in narrating Ramayana that average Garhwali was attracted to watch the play.
Gunanand Dangwal Pathik is no more with us but his created heritage Gadh Bhasha Lila Ramayana will always remembered in Garhwal and Garhwali literature.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan Literature
Sher Singh ‘Gadhdeshi’ : A Garhwali Poet and Playwright
Bhishma Kukreti
Sher Singh ‘Gadhdeshi’ published hundred of Garhwali poems in regional periodicals. Sher Singh Gadhdeshi is known for his poetries about relationship between males and females of rural Garhwal, the changes happening in Garhwal and required changes in Garhwal, unemployment, migration from Garhwal and its pain for all . His language is simple and delighting too. Creation of Pathos in poems is specialty of Gadhdeshi.
Sher Singh was born on 31st December, 1934 in a Himalayan village Shrikot, Katalsyun of Pauri Garhwal , Himalaya .
After High Schooling, Sher Singh became electro-technician and made this profession as earning source for his family.
Sher Singh Gadhdeshi published hundred of poems in Garhwali language in various regional periodicals.
The poems of Sher Singh deal with various subjects related to the life in rural Garhwal and emigrant Garhwalis . As a poet , Sher Singh Gadhdeshi is successful in portraying -the life in rural Garhwal, the flora and fauna of Garhwal, the political and humanly happenings in society , the conflicts, confrontations and love/friendship about the relationship between males and females , the pain of migration from own motherland to foreign places, social evils found in the modern Garhwal, escaping mentality and non-enthusiasm among youth grown because of unemployment and no direction for the future.
Sher Singh Gadhdeshi created poems on conventional structure and style. Gadhdeshi avoided experimenting with new form and style in his poems.
Sher Singh Gadhdeshi used common symbols and imagery to create impact on the readers and create affectivity in his poems . The figure of speech used by Sher Singh make his poems delightful. Many times, Sher Singh sends direct messages to the readers what to do and what not to do.
Sher Singh Gadhdeshi wrote plays in Garhwali language too. Critics appreciate his three plays - Panch Parmeshwar, Akhar and Chhuwachhut . The plays of Sher Singh are written for offering messages directly and not as hidden agenda of a the playwright. Due to agenda of offering direct messages to the audience, the dialogues and the effect of plas are as if a teacher is preaching to his students.
The language and words of Sher Singh are pure Garhwali and he successfully avoided Hindi words as much as possible both in poems and plays too.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Sher Singh ‘Gadhdeshi’ published hundred of Garhwali poems in regional periodicals. Sher Singh Gadhdeshi is known for his poetries about relationship between males and females of rural Garhwal, the changes happening in Garhwal and required changes in Garhwal, unemployment, migration from Garhwal and its pain for all . His language is simple and delighting too. Creation of Pathos in poems is specialty of Gadhdeshi.
Sher Singh was born on 31st December, 1934 in a Himalayan village Shrikot, Katalsyun of Pauri Garhwal , Himalaya .
After High Schooling, Sher Singh became electro-technician and made this profession as earning source for his family.
Sher Singh Gadhdeshi published hundred of poems in Garhwali language in various regional periodicals.
The poems of Sher Singh deal with various subjects related to the life in rural Garhwal and emigrant Garhwalis . As a poet , Sher Singh Gadhdeshi is successful in portraying -the life in rural Garhwal, the flora and fauna of Garhwal, the political and humanly happenings in society , the conflicts, confrontations and love/friendship about the relationship between males and females , the pain of migration from own motherland to foreign places, social evils found in the modern Garhwal, escaping mentality and non-enthusiasm among youth grown because of unemployment and no direction for the future.
Sher Singh Gadhdeshi created poems on conventional structure and style. Gadhdeshi avoided experimenting with new form and style in his poems.
Sher Singh Gadhdeshi used common symbols and imagery to create impact on the readers and create affectivity in his poems . The figure of speech used by Sher Singh make his poems delightful. Many times, Sher Singh sends direct messages to the readers what to do and what not to do.
Sher Singh Gadhdeshi wrote plays in Garhwali language too. Critics appreciate his three plays - Panch Parmeshwar, Akhar and Chhuwachhut . The plays of Sher Singh are written for offering messages directly and not as hidden agenda of a the playwright. Due to agenda of offering direct messages to the audience, the dialogues and the effect of plas are as if a teacher is preaching to his students.
The language and words of Sher Singh are pure Garhwali and he successfully avoided Hindi words as much as possible both in poems and plays too.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan Literature
Gunanand Thapliyal : As a Garhwali poet
Bhishma Kukreti
Gunanand Thapliyal is famous for his contribution in Hindi than writing in Garhwali. His few Garhwali poems are appreciated by critics.
Gunanand Thapliyal was born in Thapli-Ad badri of Chamoli Garhwal in 1942.
He was editor of many Hindi magazines as ‘Doot’ of UNESCO
In Hindi, he has written stories, poems and plays.
In Garhwali language, Gunanand Thapliya created a couple of poems . Those poems are related to philosophy and rituals. No doubt from the poetical point of view, the potries of Gunand are appreciable but Gunanand was much influenced by Hindi and Sanskrit that Gunanand used Hindi words frequently in is Garhwali poems ,
Gajab cha gajab cha prabhu teri maya
Kakhi sheet -garmi kakhi dhoop chhaya
Tyari chhaya maya se ya duniya banee cha
Tyari hi daya se y prithvee khadee cha
Copyright@ Bhishma Kukreti , Mumbai, India
Bhishma Kukreti
Gunanand Thapliyal is famous for his contribution in Hindi than writing in Garhwali. His few Garhwali poems are appreciated by critics.
Gunanand Thapliyal was born in Thapli-Ad badri of Chamoli Garhwal in 1942.
He was editor of many Hindi magazines as ‘Doot’ of UNESCO
In Hindi, he has written stories, poems and plays.
In Garhwali language, Gunanand Thapliya created a couple of poems . Those poems are related to philosophy and rituals. No doubt from the poetical point of view, the potries of Gunand are appreciable but Gunanand was much influenced by Hindi and Sanskrit that Gunanand used Hindi words frequently in is Garhwali poems ,
Gajab cha gajab cha prabhu teri maya
Kakhi sheet -garmi kakhi dhoop chhaya
Tyari chhaya maya se ya duniya banee cha
Tyari hi daya se y prithvee khadee cha
Copyright@ Bhishma Kukreti , Mumbai, India
Garhwali, Kumaoni, Himalayan Literature
Jagdish Bahuguna ‘Kiran’ : A Garhwali language poet
Bhishma Kukreti
Jagdish Bahuguna was born in village Bughani Chalansyun the original village of all Bahugunas of Garhwal. He was born on 15th June 1932
Jagdish Bahuguna ‘Kiran’ had been a labor union activist and was leader of labour union of Delhi. No doubt , there are visible effects of his struggle to fight for the rights of labor in his poems but he is famous for those Garhwali poems, which are based on the rural Garhwali life specially his childhood memories of his village.
Jagdish is credited in Garhwali language literature for his collection of poem ‘Ghama’.
Jagdish portrayed the childhood memories in his poetries very effectively and those poems are delightful too.
Vo khas khas radno radee tain chadhno
Chhau ha bachpan ko swana sapna
This poem is not related to memories of childhood but states something about the struggle of the labour class in the industrial era too.
The poems of Jagdish Bahuguna of day to day life in Garhwali village are enjoyable and the readers experience the happenings in Garhwali village. His uses of figures of speech or metaphor are marvelous pieces of Garhwali literature . A couple of poems of Jagdish are on the base of paradoxes in our life. Many poems of jagdish are inspirational and philosophical or psychological ones.
The language of Jagdish is Shrinagarya and simple. Jagdish avoided using Hindi words, whose alternate are available in Garhwali.
Sona jani baludi baludi chandi jani dali
Bhair bhitar udyau hwege ab na rava khali
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Jagdish Bahuguna was born in village Bughani Chalansyun the original village of all Bahugunas of Garhwal. He was born on 15th June 1932
Jagdish Bahuguna ‘Kiran’ had been a labor union activist and was leader of labour union of Delhi. No doubt , there are visible effects of his struggle to fight for the rights of labor in his poems but he is famous for those Garhwali poems, which are based on the rural Garhwali life specially his childhood memories of his village.
Jagdish is credited in Garhwali language literature for his collection of poem ‘Ghama’.
Jagdish portrayed the childhood memories in his poetries very effectively and those poems are delightful too.
Vo khas khas radno radee tain chadhno
Chhau ha bachpan ko swana sapna
This poem is not related to memories of childhood but states something about the struggle of the labour class in the industrial era too.
The poems of Jagdish Bahuguna of day to day life in Garhwali village are enjoyable and the readers experience the happenings in Garhwali village. His uses of figures of speech or metaphor are marvelous pieces of Garhwali literature . A couple of poems of Jagdish are on the base of paradoxes in our life. Many poems of jagdish are inspirational and philosophical or psychological ones.
The language of Jagdish is Shrinagarya and simple. Jagdish avoided using Hindi words, whose alternate are available in Garhwali.
Sona jani baludi baludi chandi jani dali
Bhair bhitar udyau hwege ab na rava khali
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan Literature
Vidyawati Dobhal : A poetess of Social Awareness
Bhishma Kukreti
Vidyawati Dobhal has been famous for her social activities in Dehradun . Her works of freedom movement, social awareness about the rights of women in the society, philosophical thinking is visible in her works of Garhwali poetries.
Vidyawati Dobhal was born in 1902, in village Sainj (Niyali) of Tihri Garhwal, Himalaya. She worked with mahatma Gandhi from 1916 to 1936 for freedom movement and late on she devoted herself for development of women of Dehradun and Garhwal.
She was a prose writer and poet of Hindi language but wrote tens of poems in Garhwali too.
Mohan Babulkar (1989) informed that Vidyawati published a couple of collections of Garhwali poems but Bahuguna is silent on her contribution as poet except providing an example of only on poem in Shailvani, which is an authentic book on history of Garhwali language poetry.
Babulkar wrote that Vidyavati Dobhal created Garhwali verses for many subjects and in many forms . Vidyawati Dobhal being a social activist and freedom fighter and therefore, her works of social awareness, freedom fight movement is clearly visible in her work of Garhwali poetries. She is famous for directive poetries, pathos and directive or inspiration poems in Garhwali language.
Vidyawati Dobhal expired in 1998.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Vidyawati Dobhal has been famous for her social activities in Dehradun . Her works of freedom movement, social awareness about the rights of women in the society, philosophical thinking is visible in her works of Garhwali poetries.
Vidyawati Dobhal was born in 1902, in village Sainj (Niyali) of Tihri Garhwal, Himalaya. She worked with mahatma Gandhi from 1916 to 1936 for freedom movement and late on she devoted herself for development of women of Dehradun and Garhwal.
She was a prose writer and poet of Hindi language but wrote tens of poems in Garhwali too.
Mohan Babulkar (1989) informed that Vidyawati published a couple of collections of Garhwali poems but Bahuguna is silent on her contribution as poet except providing an example of only on poem in Shailvani, which is an authentic book on history of Garhwali language poetry.
Babulkar wrote that Vidyavati Dobhal created Garhwali verses for many subjects and in many forms . Vidyawati Dobhal being a social activist and freedom fighter and therefore, her works of social awareness, freedom fight movement is clearly visible in her work of Garhwali poetries. She is famous for directive poetries, pathos and directive or inspiration poems in Garhwali language.
Vidyawati Dobhal expired in 1998.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan Literature
Dharma Nand Uniyal ‘Pathik’ : A Garhwali Language Poet
Bhishma Kukreti
Dharma Nand Uniyal was a versatile personalities and was a journalist, Hindi prose maker, Hindi poet and social worker of Shrinagar too ,
Dharma Nand Uniyal was born in March 1936 in village Kafna, of Patti -Kadakot of Tihri Garhwal, Himalaya.
Dharma Nand Uniyal published three collections of Garhwali language poems- ‘Alaknanda ki Badh, Hisar Kingodu Kafal, Gadhwal Darshan’. Most of the poems of are created in conventional song forms, are lyrical, delightful. Most of poems of Uniyal are praise or narration of positive points of Garhwal region. We may find, geography, historical accounts in Unyal’s poems as:
Ava baccho jhanki dyakha apna ye Garhwal ki
Tilak lagava mati ko tum bharat ka ye bhal ko
The poems are barometer of love of Dharma Nand Uniyal for his mother land Garhwal. Language is mixed with Hindi words and are visible .
Dharma Nand Uniyal expired in 2009
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Dharma Nand Uniyal was a versatile personalities and was a journalist, Hindi prose maker, Hindi poet and social worker of Shrinagar too ,
Dharma Nand Uniyal was born in March 1936 in village Kafna, of Patti -Kadakot of Tihri Garhwal, Himalaya.
Dharma Nand Uniyal published three collections of Garhwali language poems- ‘Alaknanda ki Badh, Hisar Kingodu Kafal, Gadhwal Darshan’. Most of the poems of are created in conventional song forms, are lyrical, delightful. Most of poems of Uniyal are praise or narration of positive points of Garhwal region. We may find, geography, historical accounts in Unyal’s poems as:
Ava baccho jhanki dyakha apna ye Garhwal ki
Tilak lagava mati ko tum bharat ka ye bhal ko
The poems are barometer of love of Dharma Nand Uniyal for his mother land Garhwal. Language is mixed with Hindi words and are visible .
Dharma Nand Uniyal expired in 2009
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan literature
Taradatt Lakheda ‘Naxatra’: A Garhwali poet
Bhishma Kukreti
The poetries of Taradatt are of various raptures but Lakheda iss master in creating poetries of pathos and love.
Taradatt Lakheda was born in Jakhand village of Tihri Garhwal, Himalaya. Lakheda published three collections of Garhwali language poetries- Satya Prem, Virahani Vala and Ma.
Taradatt has created many types of poems but his expertise is praised by critics for his depiction of pain of separation, love rapture and the love with dedication for mother .
The critics as Bahuguna 91981) state that Taradatt Lakheda had been one of the pillars in popularizing Garhwali literature among common man.
Copyright @ Bhishma Kukreti, Mumbai, 2009
Bhishma Kukreti
The poetries of Taradatt are of various raptures but Lakheda iss master in creating poetries of pathos and love.
Taradatt Lakheda was born in Jakhand village of Tihri Garhwal, Himalaya. Lakheda published three collections of Garhwali language poetries- Satya Prem, Virahani Vala and Ma.
Taradatt has created many types of poems but his expertise is praised by critics for his depiction of pain of separation, love rapture and the love with dedication for mother .
The critics as Bahuguna 91981) state that Taradatt Lakheda had been one of the pillars in popularizing Garhwali literature among common man.
Copyright @ Bhishma Kukreti, Mumbai, 2009
Garhwali, Kumaoni, Himalayan Literature
Amarnath Sharma: a Garhwali Playwright and Poet
Amarnath Sharma was born in may, 1920 in Sirala village of Kandwalsyun Patti of Pauri Garhwal. Amarnath Sharma is panda-Purohit of Badrinath temple.
Amarnath Sharma has been a political and social activist . Amarnath Sharma is an artist and famous astrologer of his area .
Amarnath Sharma published his play with a name - Andhvishwash in 1966. The play is about wrong belief and play provide a message that the people should stop blind belief and be rational .
Amarnath Sharma had been creating poetries in Garhwali too. He has written more than fifty poems in Garhwali. However, it is not known whether his well planned collection of poetries ‘Huntyali dali’ is published or not .
Bahuguna (1981) writes about poetries of Amarnath Sharma that those poems are well structured, simple and enjoyable. The dialects are either Shrinagarya or near to Devprayag.
Copyright @ Bhishma Kukreti, Mumbai, India 2009
Amarnath Sharma was born in may, 1920 in Sirala village of Kandwalsyun Patti of Pauri Garhwal. Amarnath Sharma is panda-Purohit of Badrinath temple.
Amarnath Sharma has been a political and social activist . Amarnath Sharma is an artist and famous astrologer of his area .
Amarnath Sharma published his play with a name - Andhvishwash in 1966. The play is about wrong belief and play provide a message that the people should stop blind belief and be rational .
Amarnath Sharma had been creating poetries in Garhwali too. He has written more than fifty poems in Garhwali. However, it is not known whether his well planned collection of poetries ‘Huntyali dali’ is published or not .
Bahuguna (1981) writes about poetries of Amarnath Sharma that those poems are well structured, simple and enjoyable. The dialects are either Shrinagarya or near to Devprayag.
Copyright @ Bhishma Kukreti, Mumbai, India 2009
Garhwali, Kumaoni, Himalayan literature
Murli Manohar Sati ‘Gadhkavi’: The Poet of Optimism, Imagery, Symbolism and Personification
Less discussed by critics in Garhwali literature , Murli Manohar Sati ‘Gadhkavi’ has been contributing Garhwali poetry development for many decades and is called the poet of people ‘Gadhkavi’. his poems are full of understandable figures of speech, symbolic symbols, imagery and related to the life style of common men in rural Garhwal.
Murli Manohar Sati ‘Gadhkavi’ belongs to Devsthan village of Bichhla Nagpur , Chamoli Garhwal , Himalaya. Sati is born on 17th October, 1915.
Murli Manohar Sati belongs to a Karmkandi Brahmin of Upper Garhwal . Hence the spirituality, religious symbols, fear and benefits of religious rituals are commonly found in the poems of Sati .
Murli Manohar Sati is credited for more than seven poetry collections in Garhwali language and each collection plays significant role in Garhwali poetry field. The poetry collection ‘ Gadhwal ki Jhanki published in 1949 narrates the life of rural Garhwal specifically Nagpur area and shows the social, religious, economical structure of rural Garhwal. The poems of Gadhwal Jagran (197) are inspirational poems and the poet dreams about a happy, prosperous and spiritual Garhwal where poverty is not seen but there is no infighting or jealousy for the ownership. The poems of ‘Panchayat raj ki Jhalak‘ (1952) ‘ are influenced by Gandhian philosophy that India is the country of villages and villages are the backbone of Indian economy, political structuring, social alignments, agriculture the back bone of Indian advancement .
Dhad lagaundi dharti tumtain
Jhatpat kara gudai
‘ The poems of Gopi Geet ‘ (1965), ‘Gadh Gitika’ (1965) and ‘Banyt Chandrika (1978) are having narration of different subjects as social engineering, social causes, agro-economy, role of spirituality and philosophy in day to day life, natural beauty of Garhwal , ritualism .
Murli Manohar Sati is expert of using different metaphors or figurative words-sentences, proverbs, symbolic words and weaving perfectly to the subject or objectives , uses of imagery to take the readers into different world.
Murli Manohar Sati has been also successful in personification of Ghughuti the common bird of Garhwal in his poems as
Hey Ghughti !jayeen chhe mal, lauti ayege apna gaun
Meen te bhair khud lagyeen sachi bonu chhaun tero saun
The language of Sati is very simple and readers feel at home in listening the poems. Murli Manohar Sati did not avoid using dialects of Nagpurya Chamoli Garhwal, The uses of Nagpurya dialects create exclusive place for Mulri Manohar
This author read the commentary of Abodh Bandhu Bahuguna about Murli Manohar Sati in his edited historical book ‘Shailvani and Bhishma Kukreti don’t hesitate to criticize Bahuguna for his miseries in praising the poet as Murli Manohar Sati Gadhkavi’ as per his contribution, potentiality and his capabilities , The poetry critics of Garhwali poetry require revision in reviewing the poems of Murli Manohar Sati. This author is also shocked that Abodh Bandhu Bahuguna can position himself ‘Pran and Mahakvi of Garhwali poetry , then Abodh Bandhu should have written more about Murli Manohar Sati as has every right to be praised by critic like Bahuguna .
Bahuguna did not mention the best uses of personification and perfect uses of symbols in his many poems by Gadhkavi Idf Kalidas is praised for using cloud as the symbols of messenger, Murli Manohar Sati used Ghughuti for a married female of rural Garhwal and even then the poem ’Mal ki Ghughti’ is easily understandable by illiterate person too. Sati has been successful in creating sadness , aloofness by separation from the lovers, and the poet also successful in narrating the jungle scenes of Garhwal with emotional values. No doubt, Sati took the base of Garhwali folk songs ‘Baramasa’ but he modernizes the narration of ‘Baramasa differently as per the requirement of creating modern poetry in Garhwali language .
This author feels that Murli Manohar Sati ‘Gadhkavi’ requires another review for his contribution to the Garhwali literature .
Copyright @ Bhishma Kukreti, Mumbai, India 2009.
Less discussed by critics in Garhwali literature , Murli Manohar Sati ‘Gadhkavi’ has been contributing Garhwali poetry development for many decades and is called the poet of people ‘Gadhkavi’. his poems are full of understandable figures of speech, symbolic symbols, imagery and related to the life style of common men in rural Garhwal.
Murli Manohar Sati ‘Gadhkavi’ belongs to Devsthan village of Bichhla Nagpur , Chamoli Garhwal , Himalaya. Sati is born on 17th October, 1915.
Murli Manohar Sati belongs to a Karmkandi Brahmin of Upper Garhwal . Hence the spirituality, religious symbols, fear and benefits of religious rituals are commonly found in the poems of Sati .
Murli Manohar Sati is credited for more than seven poetry collections in Garhwali language and each collection plays significant role in Garhwali poetry field. The poetry collection ‘ Gadhwal ki Jhanki published in 1949 narrates the life of rural Garhwal specifically Nagpur area and shows the social, religious, economical structure of rural Garhwal. The poems of Gadhwal Jagran (197) are inspirational poems and the poet dreams about a happy, prosperous and spiritual Garhwal where poverty is not seen but there is no infighting or jealousy for the ownership. The poems of ‘Panchayat raj ki Jhalak‘ (1952) ‘ are influenced by Gandhian philosophy that India is the country of villages and villages are the backbone of Indian economy, political structuring, social alignments, agriculture the back bone of Indian advancement .
Dhad lagaundi dharti tumtain
Jhatpat kara gudai
‘ The poems of Gopi Geet ‘ (1965), ‘Gadh Gitika’ (1965) and ‘Banyt Chandrika (1978) are having narration of different subjects as social engineering, social causes, agro-economy, role of spirituality and philosophy in day to day life, natural beauty of Garhwal , ritualism .
Murli Manohar Sati is expert of using different metaphors or figurative words-sentences, proverbs, symbolic words and weaving perfectly to the subject or objectives , uses of imagery to take the readers into different world.
Murli Manohar Sati has been also successful in personification of Ghughuti the common bird of Garhwal in his poems as
Hey Ghughti !jayeen chhe mal, lauti ayege apna gaun
Meen te bhair khud lagyeen sachi bonu chhaun tero saun
The language of Sati is very simple and readers feel at home in listening the poems. Murli Manohar Sati did not avoid using dialects of Nagpurya Chamoli Garhwal, The uses of Nagpurya dialects create exclusive place for Mulri Manohar
This author read the commentary of Abodh Bandhu Bahuguna about Murli Manohar Sati in his edited historical book ‘Shailvani and Bhishma Kukreti don’t hesitate to criticize Bahuguna for his miseries in praising the poet as Murli Manohar Sati Gadhkavi’ as per his contribution, potentiality and his capabilities , The poetry critics of Garhwali poetry require revision in reviewing the poems of Murli Manohar Sati. This author is also shocked that Abodh Bandhu Bahuguna can position himself ‘Pran and Mahakvi of Garhwali poetry , then Abodh Bandhu should have written more about Murli Manohar Sati as has every right to be praised by critic like Bahuguna .
Bahuguna did not mention the best uses of personification and perfect uses of symbols in his many poems by Gadhkavi Idf Kalidas is praised for using cloud as the symbols of messenger, Murli Manohar Sati used Ghughuti for a married female of rural Garhwal and even then the poem ’Mal ki Ghughti’ is easily understandable by illiterate person too. Sati has been successful in creating sadness , aloofness by separation from the lovers, and the poet also successful in narrating the jungle scenes of Garhwal with emotional values. No doubt, Sati took the base of Garhwali folk songs ‘Baramasa’ but he modernizes the narration of ‘Baramasa differently as per the requirement of creating modern poetry in Garhwali language .
This author feels that Murli Manohar Sati ‘Gadhkavi’ requires another review for his contribution to the Garhwali literature .
Copyright @ Bhishma Kukreti, Mumbai, India 2009.
Garhwali, Kumaoni, Himalayan Literature
Jeevanand Shriyal : A Garhwali Poet of Depicting Rural Garhwal
Bhishma Kukreti
Jeevanand Shriyal is famous for his poems on the subject of agriculture, farming, farmers, social and religious life style of rural Garhwal specially the life of rural Tihri Garhwal. Shriyal created poems based on the lyric style of Sanskrit. Jeevanand is a famous Garhwali language singer of Garhwal too. Most of of his poems are directive and with touch of inspiration.
Jeevanand Shriyal was born on 24th May, 1924 in a village Jakhnyali, Patti -Bailchami of Tihri Garhwal, Himalaya. Shriyal did not get any higher education but is capable of creating songs and sing the songs in various types of conferences in Garhwal region. Shriyal awarded by many social organizations, eminent individuals and institutions for his singing and creating Garhwali language related to the people of rural Garhwal.
Jeevanand Shriyal is a social activist too and is attached to Chipko Andolan .
Jeevanand Shriyal published three books of Garhwali poetry collections -- Gadh Sahitya Sopan -I (1966), Gadh Sahitya Sopan II (1969) and Gadh Sahitya Sopan III. Akashvani has been broadcasting poems of Jeevanand regularly . Jeevanand is prominent figure of Kavisammelans (poetry reading conferences) in Garhwal and Dehradun. Regional periodicals also has been publishing the poems of Shriyal.
Jeevanand Shriyal uses conventional style for creating Garhwali poems and they are with versatile subjects of life and life styles of rural Garhwalis specially farmers and farming. The words in his poems are simple and with touch of Tiryali dialects . Jeevanand Shriyal touched many subjects of new changes coming in the society and rural Garhwal too. In many poetries, Shriyal has also compared the old life style and new life style of rural Garhwal
Copyright @ Bhishma Kukreti, Mumbai, India 2009
Bhishma Kukreti
Jeevanand Shriyal is famous for his poems on the subject of agriculture, farming, farmers, social and religious life style of rural Garhwal specially the life of rural Tihri Garhwal. Shriyal created poems based on the lyric style of Sanskrit. Jeevanand is a famous Garhwali language singer of Garhwal too. Most of of his poems are directive and with touch of inspiration.
Jeevanand Shriyal was born on 24th May, 1924 in a village Jakhnyali, Patti -Bailchami of Tihri Garhwal, Himalaya. Shriyal did not get any higher education but is capable of creating songs and sing the songs in various types of conferences in Garhwal region. Shriyal awarded by many social organizations, eminent individuals and institutions for his singing and creating Garhwali language related to the people of rural Garhwal.
Jeevanand Shriyal is a social activist too and is attached to Chipko Andolan .
Jeevanand Shriyal published three books of Garhwali poetry collections -- Gadh Sahitya Sopan -I (1966), Gadh Sahitya Sopan II (1969) and Gadh Sahitya Sopan III. Akashvani has been broadcasting poems of Jeevanand regularly . Jeevanand is prominent figure of Kavisammelans (poetry reading conferences) in Garhwal and Dehradun. Regional periodicals also has been publishing the poems of Shriyal.
Jeevanand Shriyal uses conventional style for creating Garhwali poems and they are with versatile subjects of life and life styles of rural Garhwalis specially farmers and farming. The words in his poems are simple and with touch of Tiryali dialects . Jeevanand Shriyal touched many subjects of new changes coming in the society and rural Garhwal too. In many poetries, Shriyal has also compared the old life style and new life style of rural Garhwal
Copyright @ Bhishma Kukreti, Mumbai, India 2009
Garhwali, Kumaoni, Himalayan Literature
Kulanand Bhartiya : Garhwali poet of Idealism and Inspiration
Bhishma Kukreti
Most of the Garhwalis know late Kulanand Bhartiya as famous Garhwali social worker and politician of Delhi. However, Kulanand Bhartiya has been publishing his poems in regional periodicals. Critics praise his famous small-epic (Khand Kavya ) ‘Daulya’ for his story narration and subject of discussion on the so called benefits of migration and to search employment in Garhwal only.
Kulanand Bhartiya was born ina Himalayan village Jamni, Malla Salt of Salan Pauri Garhwal .
Late Kulanad is famous in Garhwali literature for his khandkavya (small -epic) ‘ Daulya’. The poems are in lyric form and are very pleasure some. The story surrounds two illiterate friends of a Garhwali village who come to delhi in search of job. One take job in different hotels . Another fellow gets job as butler with a learned professor. This fellow with professor study in night schools and become manger with a private firm after gaining higher education through night schools. Time comes when the illiterate fellow wants to marry his daughter with the son of his friend but the educated fellow goes to village for marrying his son that there would be link with Garhwal.
Small epic ‘ Daulya’ is effective so many variables between the life of cities and villages, the changing psychology of villagers towards working in the village, the desire of village youth for work in cities and their escaping psychology for easy works available in villages. The poet depicted successfully the life and confusion, confrontation , frustration of villagers and city workers simultaneously in ‘Daulya’.
According Bahuguna (1981) , Kualanand Bhartiya used imagery tool in depicting geography of Garhwal and simple Salani dialects in his poetry.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Most of the Garhwalis know late Kulanand Bhartiya as famous Garhwali social worker and politician of Delhi. However, Kulanand Bhartiya has been publishing his poems in regional periodicals. Critics praise his famous small-epic (Khand Kavya ) ‘Daulya’ for his story narration and subject of discussion on the so called benefits of migration and to search employment in Garhwal only.
Kulanand Bhartiya was born ina Himalayan village Jamni, Malla Salt of Salan Pauri Garhwal .
Late Kulanad is famous in Garhwali literature for his khandkavya (small -epic) ‘ Daulya’. The poems are in lyric form and are very pleasure some. The story surrounds two illiterate friends of a Garhwali village who come to delhi in search of job. One take job in different hotels . Another fellow gets job as butler with a learned professor. This fellow with professor study in night schools and become manger with a private firm after gaining higher education through night schools. Time comes when the illiterate fellow wants to marry his daughter with the son of his friend but the educated fellow goes to village for marrying his son that there would be link with Garhwal.
Small epic ‘ Daulya’ is effective so many variables between the life of cities and villages, the changing psychology of villagers towards working in the village, the desire of village youth for work in cities and their escaping psychology for easy works available in villages. The poet depicted successfully the life and confusion, confrontation , frustration of villagers and city workers simultaneously in ‘Daulya’.
According Bahuguna (1981) , Kualanand Bhartiya used imagery tool in depicting geography of Garhwal and simple Salani dialects in his poetry.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan Literature
Kulanand Bhartiya : Garhwali poet of Idealism and Inspiration
Bhishma Kukreti
Most of the Garhwalis know late Kulanand Bhartiya as famous Garhwali social worker and politician of Delhi. However, Kulanand Bhartiya has been publishing his poems in regional periodicals. Critics praise his famous small-epic (Khand Kavya ) ‘Daulya’ for his story narration and subject of discussion on the so called benefits of migration and to search employment in Garhwal only.
Kulanand Bhartiya was born ina Himalayan village Jamni, Malla Salt of Salan Pauri Garhwal .
Late Kulanad is famous in Garhwali literature for his khandkavya (small -epic) ‘ Daulya’. The poems are in lyric form and are very pleasure some. The story surrounds two illiterate friends of a Garhwali village who come to delhi in search of job. One take job in different hotels . Another fellow gets job as butler with a learned professor. This fellow with professor study in night schools and become manger with a private firm after gaining higher education through night schools. Time comes when the illiterate fellow wants to marry his daughter with the son of his friend but the educated fellow goes to village for marrying his son that there would be link with Garhwal.
Small epic ‘ Daulya’ is effective so many variables between the life of cities and villages, the changing psychology of villagers towards working in the village, the desire of village youth for work in cities and their escaping psychology for easy works available in villages. The poet depicted successfully the life and confusion, confrontation , frustration of villagers and city workers simultaneously in ‘Daulya’.
According Bahuguna (1981) , Kualanand Bhartiya used imagery tool in depicting geography of Garhwal and simple Salani dialects in his poetry.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Most of the Garhwalis know late Kulanand Bhartiya as famous Garhwali social worker and politician of Delhi. However, Kulanand Bhartiya has been publishing his poems in regional periodicals. Critics praise his famous small-epic (Khand Kavya ) ‘Daulya’ for his story narration and subject of discussion on the so called benefits of migration and to search employment in Garhwal only.
Kulanand Bhartiya was born ina Himalayan village Jamni, Malla Salt of Salan Pauri Garhwal .
Late Kulanad is famous in Garhwali literature for his khandkavya (small -epic) ‘ Daulya’. The poems are in lyric form and are very pleasure some. The story surrounds two illiterate friends of a Garhwali village who come to delhi in search of job. One take job in different hotels . Another fellow gets job as butler with a learned professor. This fellow with professor study in night schools and become manger with a private firm after gaining higher education through night schools. Time comes when the illiterate fellow wants to marry his daughter with the son of his friend but the educated fellow goes to village for marrying his son that there would be link with Garhwal.
Small epic ‘ Daulya’ is effective so many variables between the life of cities and villages, the changing psychology of villagers towards working in the village, the desire of village youth for work in cities and their escaping psychology for easy works available in villages. The poet depicted successfully the life and confusion, confrontation , frustration of villagers and city workers simultaneously in ‘Daulya’.
According Bahuguna (1981) , Kualanand Bhartiya used imagery tool in depicting geography of Garhwal and simple Salani dialects in his poetry.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali , Kumaoni, Himalayan Literature
Parushram Thapliyal ‘Burans’: Who translated Ramcharitmanas
Bhishma Kukreti
Parishram Thapliyal belongs to the family of Bhawani Datt Thapliyal -‘The father of modern Garhwali Dramas‘. Parushram Thapliyal was born on 10th April, 1927in Khaid-Gangolisain village, Khatsyun Patti of Pauri Garhwal , Himalaya.
Parushram Thapliyal published the translation of Ramcharitmanas into Garhwali in the year 1978.
Thapliyal used Doha, Chaupaya, for creating Garhwali language Ramcharitmanas and have been effective in Garhwalization of subject of Ramcharitmanas.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Parishram Thapliyal belongs to the family of Bhawani Datt Thapliyal -‘The father of modern Garhwali Dramas‘. Parushram Thapliyal was born on 10th April, 1927in Khaid-Gangolisain village, Khatsyun Patti of Pauri Garhwal , Himalaya.
Parushram Thapliyal published the translation of Ramcharitmanas into Garhwali in the year 1978.
Thapliyal used Doha, Chaupaya, for creating Garhwali language Ramcharitmanas and have been effective in Garhwalization of subject of Ramcharitmanas.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan Literature
Sachidanand Kandpal: A Garhwali language poet of love, nature and humour
Bhishma Kukreti
Sachidanand Kandpal created hundred of Garhwali language poems and his poems are the poems related to love rapture, depicting geographical beauty of Garhwal and many poems are humorous too. The poems of Kandpal have clear visible influence of spirituality too.
Sachidanand Kandpal was born in 1930 , in Ghatudi village , Dasjyula Nagpur of Chamoli Garhwal, Uttarakhand , Himalaya.
After post graduating , Sachidanand Kandpal joined education department in Himachal Pradesh and had been professor in government colleges till his retirement. Sachidanand was learned person and has great knowledge about astrology, Vedic philosophy and Sanskrit classics.
Sachidanand created hundred of poems in Garhwali. Around eighties , Kandpal published his first collection of Garhwali poetries -’Raibar. Bahuguna (1981) informed from the source of Kandpal that ‘Ghunghyat’, ‘ Banjai Fanki’, ‘Khubsat’, Gumnat’, and ‘Khajyali’ collections of poetries were being published very soon.
Sachidanand Kandpal created various types of poems such as narrating landscape of Garhwal and its beauty, poems about worldly love and eternal love , spiritual, philosophical and humorous poetries. The poetries of Kandpal are sophisticated in terms of language and weaving the words. Kandpal is expert of imagery poems. However, the poems of Sachidanand Kandpal are easily understandable. The dialects of Chamoli Garhwal are also commonly used by Sachidanand :
Goad ma swani laguli ka phool dwee khilyan chha
Parvaton ka beech baun ma mull mulki hainsana chha
Udmada yauvan bharyan dwee lair ma apni chadhik
Hainsana chha bat gupchup pyar ki apni kaurik
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Sachidanand Kandpal created hundred of Garhwali language poems and his poems are the poems related to love rapture, depicting geographical beauty of Garhwal and many poems are humorous too. The poems of Kandpal have clear visible influence of spirituality too.
Sachidanand Kandpal was born in 1930 , in Ghatudi village , Dasjyula Nagpur of Chamoli Garhwal, Uttarakhand , Himalaya.
After post graduating , Sachidanand Kandpal joined education department in Himachal Pradesh and had been professor in government colleges till his retirement. Sachidanand was learned person and has great knowledge about astrology, Vedic philosophy and Sanskrit classics.
Sachidanand created hundred of poems in Garhwali. Around eighties , Kandpal published his first collection of Garhwali poetries -’Raibar. Bahuguna (1981) informed from the source of Kandpal that ‘Ghunghyat’, ‘ Banjai Fanki’, ‘Khubsat’, Gumnat’, and ‘Khajyali’ collections of poetries were being published very soon.
Sachidanand Kandpal created various types of poems such as narrating landscape of Garhwal and its beauty, poems about worldly love and eternal love , spiritual, philosophical and humorous poetries. The poetries of Kandpal are sophisticated in terms of language and weaving the words. Kandpal is expert of imagery poems. However, the poems of Sachidanand Kandpal are easily understandable. The dialects of Chamoli Garhwal are also commonly used by Sachidanand :
Goad ma swani laguli ka phool dwee khilyan chha
Parvaton ka beech baun ma mull mulki hainsana chha
Udmada yauvan bharyan dwee lair ma apni chadhik
Hainsana chha bat gupchup pyar ki apni kaurik
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan Literature
Vasundhara Dobhal :Patriotic and Idealist Garhwali Poetess
Bhishma Kukreti
A social worker of Dehradun , Vasundhara Dobhal is famous for more for Hindi poetries than Garhwali poetries. Her poems of Garhwali language are full of patriotism , idealistic in nature and are directive as teacher offers direction.
Vasundhara Dobhal was born in a famous Himalayan city Dehradun on 4th June 1920.
Dobhal published her Garhwali poems in various regional periodicals of Dehradun and Garhwal.
There is plenty of tenderness in her poems , even poems of directive, patriotic and inspirational nature are having kindheartedness and warmth .
Matha ma teri charan dhuli ko
Tilak lagaulu bharat mata
Hath jodik sheesh navaik
Pranam chha twaiku bharat mata
The poem of Vasundhara Dobhal that the educated Garhwalis are inclined to use Hindi words in Garhwali literature , though, there are available Garhwali words to discard Hindi words . If Vasundhara Dobhal and other Garhwali language creative will be praised for their contribution for Garhwali language development, these creative will also be criticized sternly for corrupting rich Garhwali language by Hindi words.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
A social worker of Dehradun , Vasundhara Dobhal is famous for more for Hindi poetries than Garhwali poetries. Her poems of Garhwali language are full of patriotism , idealistic in nature and are directive as teacher offers direction.
Vasundhara Dobhal was born in a famous Himalayan city Dehradun on 4th June 1920.
Dobhal published her Garhwali poems in various regional periodicals of Dehradun and Garhwal.
There is plenty of tenderness in her poems , even poems of directive, patriotic and inspirational nature are having kindheartedness and warmth .
Matha ma teri charan dhuli ko
Tilak lagaulu bharat mata
Hath jodik sheesh navaik
Pranam chha twaiku bharat mata
The poem of Vasundhara Dobhal that the educated Garhwalis are inclined to use Hindi words in Garhwali literature , though, there are available Garhwali words to discard Hindi words . If Vasundhara Dobhal and other Garhwali language creative will be praised for their contribution for Garhwali language development, these creative will also be criticized sternly for corrupting rich Garhwali language by Hindi words.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan Literature
Ram Prasad Gairola ‘ Vinayee’ : The Poet of Women’ s Sorrows
Bhishma Kukreti
The poems of Ram Prasad Gairola mostly are about the sufferings , sorrows , physical ,psychological and social struggles of Garhwali -Kumaoni women. Ram Prasad Gairola belongs to the area which is in the border of Chamoli and Pithoragarh districts of Uttrakhand . Hence, the dialects of both the district are commonly found in his poems .
Ram Prasad Gairola ’Vinayee’ was born in 1932 in a Himalayan village Kandara of Chamoli Garhwal Uttarakhand.
The critics, highly, praise the poems of ‘Saddyal’ (1967’s publication) of Ram Prasad Gairola ‘Vinayee’ , which is about the life of a widow of a soldier who lost his life in a battle. The poem is a true example of pathos rapture and at the same time, the poet shows other realities of rural Garhwal before seventies. When the husband is alive and is serving in army , the wife passes through many pain of separations. Ram Prasad Pandey is successful in depicting the anxiety, the physical need of meeting mate, the waiting of the letter from husband and the struggle to find out a person who can write to her husband on her behalf without telling others. The struggle of a women is not limited to the pain of separation of a widow woman from her husband due to his sudden death but she has to experience other social burdens imposed on the women and not to men. The widow has to pass many awkwardness after loosing her husband .
Ram Prasad uses the regional dialects of border area of Chamoli and Pithoragarh in his poems . This specialty of Ram Prasad Pandey separates him from other average Garhwali poets.
Chitthi banchi sab sajan bhaut yon sochdi
Sari peeda hridaya taul ki kanth mu rokdi chai
Veeratma ki kushal grihani yeaning sunita
Pyari shyama Karun dil ki swachh mugdha sunita
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
The poems of Ram Prasad Gairola mostly are about the sufferings , sorrows , physical ,psychological and social struggles of Garhwali -Kumaoni women. Ram Prasad Gairola belongs to the area which is in the border of Chamoli and Pithoragarh districts of Uttrakhand . Hence, the dialects of both the district are commonly found in his poems .
Ram Prasad Gairola ’Vinayee’ was born in 1932 in a Himalayan village Kandara of Chamoli Garhwal Uttarakhand.
The critics, highly, praise the poems of ‘Saddyal’ (1967’s publication) of Ram Prasad Gairola ‘Vinayee’ , which is about the life of a widow of a soldier who lost his life in a battle. The poem is a true example of pathos rapture and at the same time, the poet shows other realities of rural Garhwal before seventies. When the husband is alive and is serving in army , the wife passes through many pain of separations. Ram Prasad Pandey is successful in depicting the anxiety, the physical need of meeting mate, the waiting of the letter from husband and the struggle to find out a person who can write to her husband on her behalf without telling others. The struggle of a women is not limited to the pain of separation of a widow woman from her husband due to his sudden death but she has to experience other social burdens imposed on the women and not to men. The widow has to pass many awkwardness after loosing her husband .
Ram Prasad uses the regional dialects of border area of Chamoli and Pithoragarh in his poems . This specialty of Ram Prasad Pandey separates him from other average Garhwali poets.
Chitthi banchi sab sajan bhaut yon sochdi
Sari peeda hridaya taul ki kanth mu rokdi chai
Veeratma ki kushal grihani yeaning sunita
Pyari shyama Karun dil ki swachh mugdha sunita
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan Literature
Shivanand Pandey ‘Premesh’ : Garhwali Language Poet of Spirituality and Emotions
Shivanand pandey ‘Premesh’ is famous for his inspiring , emotional, spiritual, poetries in Garhwali and at the same time showing the reality of political and bureaucratic corruptions at low level in the rural Garhwal.
Shivanand Pandy was born in 1933 in a Himalayan village Toranu , Khas Patti of Tihri Garhwal. Since, Shivanand belongs to the area of Chandrabadani temple , Shivanand is influences by spiritual importance of Chandravadani and the influence is visible in his poems.
Shivanand Pandey published two collections of Garhwali language poems - ‘Ujjyali’ and ‘Chandravadani Chalisa’.
In ‘Ujjyali, most of the poems of Shivanand are related to subjects of rural Garhwal and most of the poems are inspirational ones, as:
Gadhwali gaurav tab dainu holu
Jab bhala sahitya ka srijan holu
The poems of Sivanand Pandey ass ‘Chal beta gahr jaula’ are also inspirational . Many poems as ‘ gadhdesi yojana’ deal with wrong happenings in Garhwal and he showed the discriminations by planning officers for Garhwal and carrying out more developmental works in the plains than hilly areas :
Sabhi bharti yojana aundi rain
Gadhdesi yojna tapraundi rain
…
Swatantrata prakash maidani raige
Pyaru Garhwal hamari ini raige
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Shivanand pandey ‘Premesh’ is famous for his inspiring , emotional, spiritual, poetries in Garhwali and at the same time showing the reality of political and bureaucratic corruptions at low level in the rural Garhwal.
Shivanand Pandy was born in 1933 in a Himalayan village Toranu , Khas Patti of Tihri Garhwal. Since, Shivanand belongs to the area of Chandrabadani temple , Shivanand is influences by spiritual importance of Chandravadani and the influence is visible in his poems.
Shivanand Pandey published two collections of Garhwali language poems - ‘Ujjyali’ and ‘Chandravadani Chalisa’.
In ‘Ujjyali, most of the poems of Shivanand are related to subjects of rural Garhwal and most of the poems are inspirational ones, as:
Gadhwali gaurav tab dainu holu
Jab bhala sahitya ka srijan holu
The poems of Sivanand Pandey ass ‘Chal beta gahr jaula’ are also inspirational . Many poems as ‘ gadhdesi yojana’ deal with wrong happenings in Garhwal and he showed the discriminations by planning officers for Garhwal and carrying out more developmental works in the plains than hilly areas :
Sabhi bharti yojana aundi rain
Gadhdesi yojna tapraundi rain
…
Swatantrata prakash maidani raige
Pyaru Garhwal hamari ini raige
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali , Kumaoni, Himalayan Literature
Bhagwan Singh Rawat ‘Akela’ : Strong Supporter of Regional Dialects in Garhwali Literature
Bhishma Kukreti
Critics as Abodh Bandhu Bahuguna (1981) criticizes Bhagwan Singh Rawat ‘Akela’ for his weakness of language in his poems but this author fully supports ‘Akela’ for his using regional dialects of upper Garhwal “Nagpurya’ in his poems . This author always, cautions the intellectuals prose writers as Abodh Bandhu Bahuguna and Bhagwati Nautiyal that by avoiding regionalism in Garhwali literature creation the creative are inclining towards Hindi . This author states that by using regional dialects , the writers can protect purity of Garhwali language.
Bhagwan Singh ‘Akela’ is famous for his Geet in Garhwali poems. Those Garhwali Geet are melodious and are very attractive in listening them alone and in chorus too.
Bhawan Singh Rawat ‘Akela’ was born in a Himalayan village Siwai , Nagpur Pargana of Chamoli Garhwal, Uttarkhand on 2nd December, 1932.
Bhagwan Singh Rawat ‘Aklea’ joined Shipping Corporation of India Mumbai and retired from there. Bhagwan Singh ‘Akela ‘ was one of the famous signatures in Garhwali cultural programs for many decades in Mumbai. Bhagwan Singh Rawat ‘Akela’ created Geet and used sing them in Garhwali cultural programs of Mumbai and once, he was having thousands of fans in Mumbai . His Geet are always melodious and remind the audience the pain, joy, struggle, delights of rural Garhwali society before independence. Many his fans as Geeta Ram Bhatt praises Bhagwan Sing for his attracting capability to audience by his wording of Geet and is tone in singing them.
Bhagwan Singh Rawat ‘Akela ‘ published two Garhwali poetry collection books ‘ ‘Samun’ and ‘Maya Meludi’ . The poetries of Bhagwan Singh Rawat are unique in the sense that each poem has strong touch and aroma of Chamoli Garhwal. The readers can feel the pain of separation, the true geographical scenes of Garhwal, love, pathos in the poems of Bhagwan Singh. Bhagwan Singh used vividly the figure of speech, metaphors, symbols, imagery, popular proverbs and sayings of Chamoli Garhwal in his poems.
An example of his poem Ganga Mai --
Shivji ki jata chhodi bagdi tu ai
Himvanti gunvanti meri ganga mai
Aundi meri ganga vakh biten jakh dev-sthan
Jakh baramasa kaunla phool phulldan
Bhagwan Singh Rawat ‘Akela’ is also famous for his poem about praising the landscape and people of Uttarakhand.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Critics as Abodh Bandhu Bahuguna (1981) criticizes Bhagwan Singh Rawat ‘Akela’ for his weakness of language in his poems but this author fully supports ‘Akela’ for his using regional dialects of upper Garhwal “Nagpurya’ in his poems . This author always, cautions the intellectuals prose writers as Abodh Bandhu Bahuguna and Bhagwati Nautiyal that by avoiding regionalism in Garhwali literature creation the creative are inclining towards Hindi . This author states that by using regional dialects , the writers can protect purity of Garhwali language.
Bhagwan Singh ‘Akela’ is famous for his Geet in Garhwali poems. Those Garhwali Geet are melodious and are very attractive in listening them alone and in chorus too.
Bhawan Singh Rawat ‘Akela’ was born in a Himalayan village Siwai , Nagpur Pargana of Chamoli Garhwal, Uttarkhand on 2nd December, 1932.
Bhagwan Singh Rawat ‘Aklea’ joined Shipping Corporation of India Mumbai and retired from there. Bhagwan Singh ‘Akela ‘ was one of the famous signatures in Garhwali cultural programs for many decades in Mumbai. Bhagwan Singh Rawat ‘Akela’ created Geet and used sing them in Garhwali cultural programs of Mumbai and once, he was having thousands of fans in Mumbai . His Geet are always melodious and remind the audience the pain, joy, struggle, delights of rural Garhwali society before independence. Many his fans as Geeta Ram Bhatt praises Bhagwan Sing for his attracting capability to audience by his wording of Geet and is tone in singing them.
Bhagwan Singh Rawat ‘Akela ‘ published two Garhwali poetry collection books ‘ ‘Samun’ and ‘Maya Meludi’ . The poetries of Bhagwan Singh Rawat are unique in the sense that each poem has strong touch and aroma of Chamoli Garhwal. The readers can feel the pain of separation, the true geographical scenes of Garhwal, love, pathos in the poems of Bhagwan Singh. Bhagwan Singh used vividly the figure of speech, metaphors, symbols, imagery, popular proverbs and sayings of Chamoli Garhwal in his poems.
An example of his poem Ganga Mai --
Shivji ki jata chhodi bagdi tu ai
Himvanti gunvanti meri ganga mai
Aundi meri ganga vakh biten jakh dev-sthan
Jakh baramasa kaunla phool phulldan
Bhagwan Singh Rawat ‘Akela’ is also famous for his poem about praising the landscape and people of Uttarakhand.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan Literature
Ratnamber Datt Chandola ‘ratna ’ : A Garhwali Language Poet of Imagery
Bhishma Kukreti
Ratnamber Chandola is more known for his poems, plays, articles in Hindi and works in English language. Ratnamber Datt Chandola created Garhwali poems in his young age and Garhwali magazine published many such poems around mid-thirties. Chandola was sparkling in portraying landscape of Garhwal and its inhabitants. The Garhwali poems of Ratnamber are influenced by Garhwali folk songs specially ‘Baramasa’ . Chandola was successful in depicting seasons of Garhwal.
Ratnamber Chandola was born in a Himalayan village , Thapli, Kafolsyun of Pauri Garhwal in 1901. He worked in armed force.
Ratnamber Datt contributed more to Hindi literature and is famous for his poetry books- Madhukosh; plays as Tuta Khilona, biography- mri man. In English language, Ratnamber is remembered for ‘Crusade to Colombo’ and ‘ A Romance of a Broken Doll’ .
Ratnamber Datt Chandola verses in Garhwali language in his young age. It clearly shows that Garhwali folk songs specially ’ Baramasa’ influenced him writing poems about nature. Chandola also wrote on the struggle of Garhwalis due to seasonal changes in Garhwal
An example is :
Ainsu ki rudiyun ma chhan gham chamkyan
Barkha jara ni hoi , chhan Indra devta Ruthann
Pani bina tisala chhan goru bhansa chatoyant
Hovan jan ki yunka talu man pran atkyan
Ratnamber Chandola expired on 27th February 1975 in Delhi .
Copyright @ Bhishma Kukreti
Bhishma Kukreti
Ratnamber Chandola is more known for his poems, plays, articles in Hindi and works in English language. Ratnamber Datt Chandola created Garhwali poems in his young age and Garhwali magazine published many such poems around mid-thirties. Chandola was sparkling in portraying landscape of Garhwal and its inhabitants. The Garhwali poems of Ratnamber are influenced by Garhwali folk songs specially ‘Baramasa’ . Chandola was successful in depicting seasons of Garhwal.
Ratnamber Chandola was born in a Himalayan village , Thapli, Kafolsyun of Pauri Garhwal in 1901. He worked in armed force.
Ratnamber Datt contributed more to Hindi literature and is famous for his poetry books- Madhukosh; plays as Tuta Khilona, biography- mri man. In English language, Ratnamber is remembered for ‘Crusade to Colombo’ and ‘ A Romance of a Broken Doll’ .
Ratnamber Datt Chandola verses in Garhwali language in his young age. It clearly shows that Garhwali folk songs specially ’ Baramasa’ influenced him writing poems about nature. Chandola also wrote on the struggle of Garhwalis due to seasonal changes in Garhwal
An example is :
Ainsu ki rudiyun ma chhan gham chamkyan
Barkha jara ni hoi , chhan Indra devta Ruthann
Pani bina tisala chhan goru bhansa chatoyant
Hovan jan ki yunka talu man pran atkyan
Ratnamber Chandola expired on 27th February 1975 in Delhi .
Copyright @ Bhishma Kukreti
Garhwali, Kumaoni, Himalayan Literature
Ratnamber Datt Chandola ‘ratna ’ : A Garhwali Language Poet of Imagery
Bhishma Kukreti
Ratnamber Chandola is more known for his poems, plays, articles in Hindi and works in English language. Ratnamber Datt Chandola created Garhwali poems in his young age and Garhwali magazine published many such poems around mid-thirties. Chandola was sparkling in portraying landscape of Garhwal and its inhabitants. The Garhwali poems of Ratnamber are influenced by Garhwali folk songs specially ‘Baramasa’ . Chandola was successful in depicting seasons of Garhwal.
Ratnamber Chandola was born in a Himalayan village , Thapli, Kafolsyun of Pauri Garhwal in 1901. He worked in armed force.
Ratnamber Datt contributed more to Hindi literature and is famous for his poetry books- Madhukosh; plays as Tuta Khilona, biography- mri man. In English language, Ratnamber is remembered for ‘Crusade to Colombo’ and ‘ A Romance of a Broken Doll’ .
Ratnamber Datt Chandola verses in Garhwali language in his young age. It clearly shows that Garhwali folk songs specially ’ Baramasa’ influenced him writing poems about nature. Chandola also wrote on the struggle of Garhwalis due to seasonal changes in Garhwal
An example is :
Ainsu ki rudiyun ma chhan gham chamkyan
Barkha jara ni hoi , chhan Indra devta Ruthann
Pani bina tisala chhan goru bhansa chatoyant
Hovan jan ki yunka talu man pran atkyan
Ratnamber Chandola expired on 27th February 1975 in Delhi .
Copyright @ Bhishma Kukreti
Bhishma Kukreti
Ratnamber Chandola is more known for his poems, plays, articles in Hindi and works in English language. Ratnamber Datt Chandola created Garhwali poems in his young age and Garhwali magazine published many such poems around mid-thirties. Chandola was sparkling in portraying landscape of Garhwal and its inhabitants. The Garhwali poems of Ratnamber are influenced by Garhwali folk songs specially ‘Baramasa’ . Chandola was successful in depicting seasons of Garhwal.
Ratnamber Chandola was born in a Himalayan village , Thapli, Kafolsyun of Pauri Garhwal in 1901. He worked in armed force.
Ratnamber Datt contributed more to Hindi literature and is famous for his poetry books- Madhukosh; plays as Tuta Khilona, biography- mri man. In English language, Ratnamber is remembered for ‘Crusade to Colombo’ and ‘ A Romance of a Broken Doll’ .
Ratnamber Datt Chandola verses in Garhwali language in his young age. It clearly shows that Garhwali folk songs specially ’ Baramasa’ influenced him writing poems about nature. Chandola also wrote on the struggle of Garhwalis due to seasonal changes in Garhwal
An example is :
Ainsu ki rudiyun ma chhan gham chamkyan
Barkha jara ni hoi , chhan Indra devta Ruthann
Pani bina tisala chhan goru bhansa chatoyant
Hovan jan ki yunka talu man pran atkyan
Ratnamber Chandola expired on 27th February 1975 in Delhi .
Copyright @ Bhishma Kukreti
Garhwali, Kumaoni, Himalayan Literature
Dr Mahveer Prasad Lakheda : A Garhwali Language Poet and Phonology’s Expert
Bhishma Kukreti
Dr Mahaveer Prasad Lakheda did not write much in Garhwali language but whatever, he wrote is appreciated by critics as Abodh Bandhu Bahuguna, Bhagwati Prasad Nautiyal for his brilliancy in using figures of speech, metaphors, symbols of Garhwali society and imagery in his few poems.
Dr Mahaveer Prasad Lakheda was born on 24th May, 1926 in a Himalayan village Jakhand of Tihri Garhwal, Uttarakhand. After getting M.A degree and getting Ph.D , Mahaveer Prasad became professor of Sanskrit in Allahabad University.
Dr Lakheda contributed more in Hindi language than Garhwali. However, his articles in Hindi language about Garhwali language are very important for understanding the linguistic science of Garhwali language . His book “ Garhwali Bhasha ki Lipi Peethika ‘ is about the phonology of Garhwali language and script. Dr Mahaveer Lakheda also collected a couple thousands Garhwali words for ‘Garhwali Dictionary’ but before he could complete his works for publishing Garhwali Dictionary , Dr Mahaveer Lakheda expired on 29 November 1982 in Allahabd.
Dr Mahaveer Lakheda was also sub-editor of Vasudhara published by garhwali Sahitya Parishad Allahabad . The articles in Vasudhara are about Garhwali literature and language.
Dr Lakheda created and published a few Garhwali poems. Those poems show his brilliancy in poetry creation. He was luminous in creating Garhwali language poems with figures of speech, using common symbols for gratifying the poems and his many poems are best examples of imagery in Garhwali poetry field.
Hinwali matha ma gangadhari ka lagaiki
Lalangi checkrail pithai kesari tilak
Chaupaso batoli saro gham ko pasaro
dandy on anchhlegye kathyon pachh udankaro
Copyright @ Bhishma Kukreti , Mumbai, India, 2009
Bhishma Kukreti
Dr Mahaveer Prasad Lakheda did not write much in Garhwali language but whatever, he wrote is appreciated by critics as Abodh Bandhu Bahuguna, Bhagwati Prasad Nautiyal for his brilliancy in using figures of speech, metaphors, symbols of Garhwali society and imagery in his few poems.
Dr Mahaveer Prasad Lakheda was born on 24th May, 1926 in a Himalayan village Jakhand of Tihri Garhwal, Uttarakhand. After getting M.A degree and getting Ph.D , Mahaveer Prasad became professor of Sanskrit in Allahabad University.
Dr Lakheda contributed more in Hindi language than Garhwali. However, his articles in Hindi language about Garhwali language are very important for understanding the linguistic science of Garhwali language . His book “ Garhwali Bhasha ki Lipi Peethika ‘ is about the phonology of Garhwali language and script. Dr Mahaveer Lakheda also collected a couple thousands Garhwali words for ‘Garhwali Dictionary’ but before he could complete his works for publishing Garhwali Dictionary , Dr Mahaveer Lakheda expired on 29 November 1982 in Allahabd.
Dr Mahaveer Lakheda was also sub-editor of Vasudhara published by garhwali Sahitya Parishad Allahabad . The articles in Vasudhara are about Garhwali literature and language.
Dr Lakheda created and published a few Garhwali poems. Those poems show his brilliancy in poetry creation. He was luminous in creating Garhwali language poems with figures of speech, using common symbols for gratifying the poems and his many poems are best examples of imagery in Garhwali poetry field.
Hinwali matha ma gangadhari ka lagaiki
Lalangi checkrail pithai kesari tilak
Chaupaso batoli saro gham ko pasaro
dandy on anchhlegye kathyon pachh udankaro
Copyright @ Bhishma Kukreti , Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan Literature
Umadatt Naithani : The Founder Member of Garhwali Sahitya Parishad and a Garhwali language poet
Bhishma Kukreti
Umadatt Naithani is one of the Garhwali language creator who worked more for organizing the conferences for reading poetries and discussion on Garhwali literature . Ummadatt Naithani is remembered for his translation of Shrimad Geeta and Meghdoot .
Umadatt Naithani was born in 1921 in a Himalayan village Bhetuli , Maniyarsyun, Salan of Pauri Garhwal. Umadataa Naithani worked with Public Works Department Delhi.
Umadatt was a social worker and he organized Night Classes for Garhwalis in Delhi . Umadatt is also one of the founder members of Garhwali Sahitya Mandal founded in 1943. The organization used to organize meeting and conferences of literature creative of Garhwal. Garhwali Sahitya Mandal used to publish handwritten Garhwali language magazine ‘ Girish’ and Umadatt used to contribute in writing and distributing the same.
Apart from publishing Garhwali language poems here and there, Umadatt is famous for his translation of Shrimad Gita and Greates poet Kalidas created Meghdoot . The flow of his translating two Sanskrit classics was the specialty of Umadatt Naithani and he was always in demand for reading his poems of Meghdoot or Gita in Garhwali literature conferences of Delhi. One example :
Takh dyakha vain, dwee sena beecha
Apna hi apna kwee gair neecha
Bhai Bhatia swara va syala
Jethu jawain sab dekha bhala
The wordings of Naithani create flow in the poems and readers become more interested in reading translation of these classics than the original ones.
Umadatt also wrote ‘ Garhwali Vyakaran ‘ a gramar book on Garhwali language and Abodh Bandhu Bahuguna regretted that it is great loss to Garhwali language that the book could not be published by Umadatt Naithani due to his sudden death.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Umadatt Naithani is one of the Garhwali language creator who worked more for organizing the conferences for reading poetries and discussion on Garhwali literature . Ummadatt Naithani is remembered for his translation of Shrimad Geeta and Meghdoot .
Umadatt Naithani was born in 1921 in a Himalayan village Bhetuli , Maniyarsyun, Salan of Pauri Garhwal. Umadataa Naithani worked with Public Works Department Delhi.
Umadatt was a social worker and he organized Night Classes for Garhwalis in Delhi . Umadatt is also one of the founder members of Garhwali Sahitya Mandal founded in 1943. The organization used to organize meeting and conferences of literature creative of Garhwal. Garhwali Sahitya Mandal used to publish handwritten Garhwali language magazine ‘ Girish’ and Umadatt used to contribute in writing and distributing the same.
Apart from publishing Garhwali language poems here and there, Umadatt is famous for his translation of Shrimad Gita and Greates poet Kalidas created Meghdoot . The flow of his translating two Sanskrit classics was the specialty of Umadatt Naithani and he was always in demand for reading his poems of Meghdoot or Gita in Garhwali literature conferences of Delhi. One example :
Takh dyakha vain, dwee sena beecha
Apna hi apna kwee gair neecha
Bhai Bhatia swara va syala
Jethu jawain sab dekha bhala
The wordings of Naithani create flow in the poems and readers become more interested in reading translation of these classics than the original ones.
Umadatt also wrote ‘ Garhwali Vyakaran ‘ a gramar book on Garhwali language and Abodh Bandhu Bahuguna regretted that it is great loss to Garhwali language that the book could not be published by Umadatt Naithani due to his sudden death.
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
Garhwali, Kumaoni, Himalayan literature
Keshvanand Kainthola: Creator of Chaunfula Ramayana
Bhishma Kukreti
Keshvanand Kainthola is famous for writing Garhwali poems in his youth, portraying the day to day life of rural Garhwali women , man-eater tiger’s terror in Garhwal, the chivalry of Garhwalis in first world war and in later stage of his life , writing Ramayana in Garhwali with touch of Garhwal for popularizing the ideal life of Rama.
Keshvanand Kainthola was born in 1887 in a Himalayan village Palkot, Mawalsyun Patti of British Garhwal ( Pauri Garhwal ).
Keshvanand Kainthola published his first poetry collection in 1928 naming ‘ Rang-Tarang’. The poems are written in his youth, hence, the poems are full of enthusiasm and portraying the life of Garhwali society especially Garhwali females, the daily life of a common farmer and his wife, the natural beauty of Garhwali village. Keshvanand Kainthola . Kainthola also wrote poetries on the chivalry of Garhwali soldiers in world war first who fought on behalf of British army. Keshvanand Kainthola used common Garhwali symbols in portraying Garhwali women and readers of modern time, still can enjoy the scenery of Garhwal in Kainthola’s poems because of his sensible uses of imagery in poems.
Jandi chhan ab pungudyun ma satyun godna
Kauni jhangora ku lageen chhan dhees teer chhodna
Kanthola’s poems were so lyrical that late Vishamber datt Kainthola used to sing this poem in Dehradun wherever possible and people used to enjoy the same :
Hans mor ghughti shuba gwathni kan basna chhan fazal
(As told by Mrs Shakti Naithani -daugher of Vishwamber Datt Kaithola
Keshvanand Kainthola used the form, style and mannerism of folk songs as baramasa style in his poems of his young age. Even, Kainthola did not leave the style and form of Garhwali folk song in creating Ramayana in Garhwali.
Keshvanand Kainthola published Chaufula Ramayan in 1935 from Dehra Dun Times , Dehradun .
Though, Keshvanand Kainthola created Ramayana on the basis of Ramcharitmanas of Tulsi Das but here also, he portrayed Garhwali life in various places in the story of Rama.
Keshvanand Kainthola expired in 1940 in Dehradun.
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
Keshvanand Kainthola is famous for writing Garhwali poems in his youth, portraying the day to day life of rural Garhwali women , man-eater tiger’s terror in Garhwal, the chivalry of Garhwalis in first world war and in later stage of his life , writing Ramayana in Garhwali with touch of Garhwal for popularizing the ideal life of Rama.
Keshvanand Kainthola was born in 1887 in a Himalayan village Palkot, Mawalsyun Patti of British Garhwal ( Pauri Garhwal ).
Keshvanand Kainthola published his first poetry collection in 1928 naming ‘ Rang-Tarang’. The poems are written in his youth, hence, the poems are full of enthusiasm and portraying the life of Garhwali society especially Garhwali females, the daily life of a common farmer and his wife, the natural beauty of Garhwali village. Keshvanand Kainthola . Kainthola also wrote poetries on the chivalry of Garhwali soldiers in world war first who fought on behalf of British army. Keshvanand Kainthola used common Garhwali symbols in portraying Garhwali women and readers of modern time, still can enjoy the scenery of Garhwal in Kainthola’s poems because of his sensible uses of imagery in poems.
Jandi chhan ab pungudyun ma satyun godna
Kauni jhangora ku lageen chhan dhees teer chhodna
Kanthola’s poems were so lyrical that late Vishamber datt Kainthola used to sing this poem in Dehradun wherever possible and people used to enjoy the same :
Hans mor ghughti shuba gwathni kan basna chhan fazal
(As told by Mrs Shakti Naithani -daugher of Vishwamber Datt Kaithola
Keshvanand Kainthola used the form, style and mannerism of folk songs as baramasa style in his poems of his young age. Even, Kainthola did not leave the style and form of Garhwali folk song in creating Ramayana in Garhwali.
Keshvanand Kainthola published Chaufula Ramayan in 1935 from Dehra Dun Times , Dehradun .
Though, Keshvanand Kainthola created Ramayana on the basis of Ramcharitmanas of Tulsi Das but here also, he portrayed Garhwali life in various places in the story of Rama.
Keshvanand Kainthola expired in 1940 in Dehradun.
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
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