उत्तराखंड में

जल रहे हैं जंगल, धधक रही है ज्वाला,
देख रहे हैं उत्तराखंडी, कौन बुझाने वाला?

तरस रहे हैं उत्तराखंडी, सूख गया है पानी,
प्यासे हैं जलस्रोत भी, किसने की नादानी?

तप रही है धरती, गायब है हरयाली,
हे पहाड़ का मन्ख्यौं, तुम्न क्या करयाली.

पर्यटकों की हलचल, भाग रही हैं गाड़ी,
कूड़ा करकट फेंक रहे, सचमुच में अनाड़ी.

रोजगार गारंटी योजना, सर्वे सर्वा हैं प्रधान,
पहाड़ के सतत विकास का, यह कैसा समाधान.

मोबाइल संस्कृति छाई है, क्या बुढया क्या ज्वान,
पहाड़ की संस्कृति हो गयी, बीमार के सामान.

पहाड़ प्रेमी होने के कारण, घूमने गया गढ़वाल,
देखा अपनी आँखों से जो, मन में उठे सवाल.

(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिग्यांसू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
29.6.2009

कार्टून - कार्टून

उत्तराखंड का विकास

जनता ठगी ठगी सी है, बदल दिया कर्णधार,
ऐसा न जाने क्योँ किया, जो था ईमानदार.

बनवा रहे थे गाँव गाँव तक, पक्की सड़कों का जाल,
विकास की बयार बहती, समृद्ध होता कुमायूं गढ़वाल.

परिकल्पना साकार न हो सकी, तंत्री मंत्री थे परेशान,
भूखे बाघ की तरह भटक रहे, भृकुटी अपनी तान.

जो भी हो विजन था, उत्तराखंड का सही विकास,
जय हो राजनीती तेरी, आज जनता हुई निराश.

कुछ नहीं बदला उत्तराखंड में, तंत्र है वही पुराना,
नाम बदला काम नहीं, समझो क्या समझाना.

इस दुनिया में कौन है, सच्चाई के साथ,
साथ अगर दें सभी, कितनी अच्छी बात.

हम तो प्रवास भुगत रहे, उत्तराखंड से दूर,
सोचा था साकार होंगे, सपने हुए चकनाचूर.

(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिग्यांसू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
30.6.2009

IMPORTANT DATES IN THE HISTORY OF UTTARAKHAND

Adapted from the works of A.S. Rawat of Kumaon University and V.R. Trivedi

Early History

mid-1st millennium B.C. ?
First reference to Uttarakhand and her pilgrimage centers appear in the Skanda Purana and Mahabharata as Kedarkhand. As the land of perpetual snow, early Hindus identify Uttarakhand as the abode of gods and a holy place.

2nd-1st century B.C.
Sakas establish colonies in the hills.

1st century A.D.
Kirats (Tibeto-Burmese people) inhabit parts of the hills.

4th-5th century
Naga dominions include principalities between the Alaknanda and Bhagirathi.

620
Chinese pilgrim Huien Tsang visits India. Mentions a land governed by women in Uttarakhand (Brahmaputra).

c. 700
The Chand dynasty from Rajasthan begins it reign in Champawat. King Som Chand's small kingdom forms the foundation of what later becomes Kumaon.

mid-8th century
Silk worms are brought to Kumaon from Nepal and Tibet. Silk production continues until the 1791 Gurkha conquest.

9th-11th century
The Katyuri Dynasty holds sway from the Sutlej river in the west, to Almora in the east. At its maximum extent, the Katyuri Empire stretches from Kabul to Nepal. Originally seated at Joshimath, the Katyuris eventually move their capital to the Katyur valley in Almora. Enlightened and dynamic administration during the first century gives way to despotism and cruelty in later years. Empire fragments into numerous principalities by the 12th century.

869-1065
Khas (indigenous) chieftains rebel against the Chand dynasty and succeed in driving the royal court to the plains.

1065
Vir Chand returns to Champawat and regains his dynasty's lost kingdom.

Feudal Era

12th century
Mallas from Dullu in Western Nepal shatter the Katyuri kingdom. Katyur descendants continue to rule in isolated pockets throughout the Himalayas.

1358
King Ajay Pal of the Parmar dynasty ascends the throne of Chandpur principality. Originally from present day Gujarat, Ajay Pal succeeds in conquering and uniting all 52 Garhs or forts and becomes the first overlord of a united Garhwal. He transfers his court to Srinagar, which persists as capital until 1803. After complete unification, Ajay Pal, like Ashoka, develops a distaste for warfare and pursues a spiritual life.

14th-15th century
The Chand dynasty rule grows oppressive and despotic. While seeking favour from Emperor Mohammed Tughluq in Delhi, the Kumaoni kings try pacifying their subjects with acts of piety. Nepotism and profligate spending keep people from open revolt.

1437
With popular support, King Bharati Chand overthrows his corrupt uncle, King Vikram Chand and restores the popularity and fortunes of the Chands.

1500s
Mughal emperors sweep the plains of Hindu resistance. Garhwal retains her independence and a diplomatic presence at the Mughal court. Kumaon pays tribute.

1591
Battle of Gwaldam - Garhwal rebuffs Kumaoni invasion.

1610
English traveler William Finch visits Garhwal, describing a wealthy and prosperous Himalayan kingdom.

1591-1611
Kumaon invades Garhwal seven times. King Man Shah repels each incursion, eventually defeating King Laxmi Chand of Kumaon and taking his capital.

1624
In retaliation for raids by Tibetan bandits, King Mahipat Shah invades Tibet with 12,000 men. Though a courageous and able leader, Mahipat Shah retreats from heavy snowfall in the passes and vigourous Tibetan resistance.

In the same year, Portuguese Jesuit missionary Antonio de Andrade passes through Srinagar on his way to Tibet.

1631
Mahipat Shah dies. Queen mother Karnavati assumes reigns of power for her young son, Prince Prithvi Pat Shah.

1638
King Baz Bahadur Chand ascends the Kumaoni throne. At the time, Kumaon is a tributary state of the Mughal Empire. The King introduces Muslim court customs to Kumaon. Baz Bahadur Chand and his successors invade Garhwal frequently.

1640
King Baz Bahadur Shah incites Emperor Shah Jahan's Mughal forces to invade Garhwal. Led by Queen Mother Karnavati, the Garhwali defenders crush the numerically superior expeditionary forces from the plains. Rather than executing prisoners, she cuts off the noses of all captured troops. This act earns the Queen mother the title "Nak-katti-Rani", the queen who cuts off noses.

1650s
King Prithvi Pat Shah grows old enough to rule. Courage on the battlefield, liberalism, and religious tolerance marks his remarkable reign. He proves particularly friendly to the Jesuits who eventually return from their Tibetan mission to establish a church at Srinagar.

1667
In retaliation for King Prithvi Pat Shah granting sanctuary to his defeated enemy's son, Suleiman Shikoh, Emperor Aurangzeb intrigues to encourage the crown prince to revolt against his father. The king discovers the plot and banishes Prince Medni Shah from the kingdom. Due to renewed fighting with Kumaon and the threat of invasion by the Mughals, King Prithvi Pat Shah yields Suleiman Shikoh to Aurangzeb.

1667-1715
King Fateh Shah's reign is marked by the building of a Gurudwara in Dehra Dun by Guru Ram Rai. A brave and capable warrior, Fateh Shah leads raids against the plains and Tibet. He also invades Sirmor to the west, yet through the intercession of Guru Gobind Singh, peaceful relations are eventually established between the neighbours. Raids and counter-raids trouble the peace with Kumaon.

1716-72
Pradip Shah's years as king finds Garhwal at peace with Kumaon and general prosperity prevalent throughout the land.

1744-48
Muslim marauders from Rohilkhand invade Kumaon, vandalizing Hindu temples and idols. Garhwal comes to Kumaon's aid, yet only a peace settlement is achieved. The Rohillas demand a cash tribute, which is loaned to Kumaoni king Kalyan Chand by Pradip Shah.

1757
The Rohillas under Najib Khan also invade Garhwal, defeating Pradip Shah's forces and annexing the Dun valley.

1770
Garhwal reestablishes control over the Dun valley.

late-18th century
Garhwali kings patronize the Garhwali school of painting that compares favourably with the much admired Punjabi and Kangra styles. Mola Ram is the best known artist that worked at the royal court during this period.



Mola Ram




1779
Intrigue in the Kumaoni court draws Garhwal into her internal conflict. Lalit Shah install second son, Pradyumna Shah on the Kumaoni throne, but dies shortly after.

1780-1781
Lalit Shah cedes the throne to his eldest son, Jai Krit Shah who conspires to oust his stepbrother from the throne of Kumaon. In return, Pradyumna Shah invades Garhwal. Factionalism erupts in the Garhwali court, further weakening Jai Krit Shah's hold on power. Dehra Dun's governor, sensing a power struggle, rebels and seizes power in the capital. Jai Krit Shah, now desperate, asks Jagat Prakash, the king of Sirmor for help. Jagat Prakash succeeds against the combined rebel and Kumaoni forces, and reinstalls Jai Krit Shah in Srinagar. Shortly after his departure though, Jai Krit Shah goes on a pilgrimage. Pradyumna Shah seizes the opportunity, invading and taking the capital.


Pradyumna Shah

1782
Pradyumna Shah returns to Kumaon.

1785
New troubles prove too much for Jai Krit Shah. He ends his own life. Pradyumna Shah returns to Garhwal to assume leadership.

1785-1804
Years of turmoil: Garhwal slides into anarchy. Internecine strife and court intrigues rip apart Garhwal's political, administrative, and military foundations.

1790-91
Gurkhas overrun Kumaon and cross the frontier with Garhwal. The Gurkha forces reach as far as Fort Langurgarhi, where a desperate and heroic stand prevents further penetration by the Gurkhas for over year. The Gurkha forces retreat to ward off a Chinese invasion of Nepal.

1790s
Gurkha marauders and slavers loot and kidnap the inhabitants of the borderlands. Kumaoni and Garhwali frontier villages are burnt and whole regions made desolate. A brutal and arbitrary system of justice is administered including trials by ordeal and executions for minor offenses. Caste distinctions are intensified and caste rule infractions are made punishable by death. Border conflicts eventually culminate in the calamitous events of 1803-04.

1794-95
A terrible famine wracks Garhwal.

1803
Great earthquake shakes the foundations of Garhwal. This catastrophe portends the coming of conquest and subjection by the growing might of the Gurkhas.

1803-04
Gurkha attack Garhwal in strength. King Pradyumna Shah is dislodged from Srinagar and retreats across the Alaknanda River. Defeated again at Barahat, Uttar Kashi, Pradyumna Shah falls back towards the plains. At the Garhwali kingdom's final stand near Dehra Dun, the King dies with most of his men.

1804-1815
Gurkha rule proves to be despotic and tyrannical. Military despotism carries off over a third of the population into slavery. Retribution for the earlier defeat of Gurkha forces in 1791 is long and bloody. Indiscriminate killing and raping marks a military administration interested in solely the pillage and plunder of the land. An oppressive tax levy is imposed. Fields lie abandoned.

1804-1814
Sudarshan Shah, Pradyumna Shah's son, resides in poverty at Bareilly in the plains. Sudarshan Shah spends much of his time encouraging British intervention to end Gurkha tyranny.

British Era

1814-1815
Anglo-Gurkha war erupts along the Gurkha Empire's southern border. Major General Gillespie succeeds at driving out the Gurkhas from Kumaon by 1815. Treaty of Sagauli restores Sudarshan Shah to the much smaller Garhwali kingdom seated at Tehri. The Kumaoni Commissionery is established to administer Kumaon, and eastern (British) Garhwal for the British. British acquire the region's substantial natural resources and lucrative trade routes to Tibet and China.

1824
Sudarshan Shah is officially installed by the British as head of the nominally independent princely state of Tehri-Garhwal.

1827
The British establish a convalescent depot for their soldiers in Landour, marking the present day foundation of Mussoorie hill station.

1840
The British adventurer Wilson procures his first forest lease from Tehri-Garhwal. He exploits the forest by introducing the practice of floating logs down rivers. The government renews his lease in 1850 and again in 1864. Whole sale clearfelling of oak, cedar, and pine forests follows, ravaging the economy and environment of Uttarakhand.



'Pahari' Wilson

In the same year, Henry Ramsay begins service as Assistant Commissioner। Ramsay proves to be the ablest of British officials posted to Kumaon, enjoying wide-scale respect and support from the inhabitants। His unassuming and friendly demeanour with everyone, high and low, works to ensure the region's loyalty to the British. However, Ramsay establishes martial law throughout the region as anti-establishment comments are made punishable by internment or death.

1856
Henry Ramsay becomes Commissioner, serving British interests in British Garhwal and Kumaon for 28 more years.

1857
The Indian Mutiny spreads throughout the plains, but calls for insurrection go largely ignored in the hills. Memories of Gurkha oppression and British deliverance keep Uttarakhand loyal. King Sudarshan Shah supports the British with men and materièle. He also deploys troops to protect the Europeans that had fled the plains for Mussoorie and other hill stations.

1866
The explorer, Nain Singh Rawat, reaches Lhasa where he meets the Dalai Lama.



Nain Singh Rawat

1878
Forest Act of this year severely curtails the forest rights of the hill inhabitants. Large concessions are granted to outside commercial interests at the expense of the hill people.

1887
First all-Garhwali regiment, the 39th Garhwal Rifles, is raised and headquartered in Lansdowne. Garhwalis had previously served with distinction in British Gurkha regiments. This new job opportunity portends the rise of a money-order economy in the hills with the male population migrating to the plains for jobs and the women taking on the onerous burden of fending for the family and managing the farm.



Insignia upon formation in 1887, Phoenix adopted as regimental symbol

Insignia during WWI

Garhwal Rifles

1906
Villagers of Bangarh near Tehri protest the forest conservation policies of Tehri state and rough up the local forest officer.

1913
The Home Rule League organizes in the hills, bringing the independence movement to Kumaon and, later, Garhwal. The wide scale resentment towards the degrading forced labour practices of Coolie and Utar Begar proves to be an effective organizing principle. These rules dictated that any subject of the hills must provide free porterage for visiting Europeans and State officials. Subjects were also obligated to serve as servants of the royal household for four times a year and without compensation.

1914
39th Garhwal Rifles are sent overseas with the advent of World War I. Landing in France in October, Garhwali troops earn fame as "the stormtroopers of the Allies", as coined by the Germans. Out of five Victoria Crosses earned by Indian soldiers in France, Garhwalis earn two, including the first ever awarded to an Indian by the King-Emperor himself. The battalions suffer heavy casualties though, and are withdrawn from Europe in 1915. After the war, the Garhwal Regiment becomes the 18th Royal Garhwal Regiment.

1921
The British authorities end the Coolieand Utar Begar practice in the hills as a concession to the swaraj activists.

1927
The Forest Act of this year makes further demands of local needs. Further usage restrictions increases alienation among the hill people.

1930
Villagers in the Rawain district protest forest policies and form their own independent village council in Tilari (Western Tehri). The State militia, led by Juyal, the minister of the Raja, eventually crushes the rebellion with enormous bloodshed. Protest forest fires are lit throughout the 1930s as a result.

While deployed to restore order during Home Rule agitation, Garhwali troops, encourage by Havildar Chander Singh Garhwali, refuse to fire on unarmed demonstrators in Peshawar despite intense provocation. The British authorities disarm and dress down the regiment.

1942
Two Garhwali battalions captured by the Japanese in Malaya join the Indian National Army and the independence struggle against the British. Making up one-tenth of the insurgent Army, the Garhwalis fight honourably in Burma against their own brothers-in-arms on the British side.

Post_Independence

1949
Congress activists and a peasant movement force the King of Tehri Garhwal to abdicate the throne in favour of unification with the rest of British India. Along with the rest of Uttarakhand, Tehri-Garhwal is integrated into a newly independent India as a district of Uttar Pradesh.

1952
P.C. Joshi of the Communist Party of India advocates separates statehood for the U.P. hill districts.

1959
Unrest in Tibet results in a crackdown by the Chinese Communists. The Dalai Lama flees and establishes a government-in-exile in Dharamsala, Himachal Pradesh. The Chinese threat is countered with the militarization of the border and expropriations by the Indian military of large parts of Uttarakhand.

1962
The India-China war shocks the nation. Military development is speeded up in the Uttarakhand region, leading to dramatic social and economic changes. Mining and timber interests rush into the hills. Pilgrimage routes also see increased traffic due to newly built roads. With the closing of the frontier, centuries-old trade routes across the Himalayas are disrupted.

late-1960s
Mainly Punjabi trespassers seize much of the best Terai land. The dispossession of the native Pahari inhabitants (Buksha and Tharu tribals) and other Hindi-speaking residents exacerbates communal tensions. Various U.P. governments, influenced by big landowning interests, legalize land seizures.

Women organize to fight alcohol consumption in the hills, a distressing byproduct of development and the worsening economic situation.

1969
P.C. Joshi and other Kumaoni intellectuals form the Kumaon Morcha group to agitate for local autonomy. Bitter political infighting with the Garhwal-based Uttaranchal Parishad deflates the movement.

1970
Due to erosion and declining ground cover, the Alaknanda floods, killing hundreds of people.

1973-1980
The Chipko movement struggles for the forest rights of Uttarakhandi people. Marches, demonstrations, and spontaneous actions in defense of the forests spread throughout the hills. Gandhian in nature, the movement's activists fan out across the hills to organize peasants against the commercial interests undermining their livelihoods.

1973
Non-violent forest rights demonstrations are held in Uttar Kashi and Gopeshwar.

1974
Gaura Devi leads village women to save Reni forest from contractors.



Gaura Devi (left)

1976
Student activists form the left-oriented Uttarakhand Sangarsh Vahini to fight the liquor and timber mafias that benefit from their collusion with the police.

1977
Chipko spreads to Kumaon.

1977-1979
Several attempts to fell Uttarakhand forests are thwarted by mass action on the part of local villagers. Once again, women play a pivotal role in the struggle to save the trees.

1979
Activists form the Uttarakhand Kranti Dal to contest elections and pursue statehood for the impoverished region.

1980
The Indian government bans the felling of trees above 1000 meters. However, the Forest Protection Act has the unintended consequence of strengthening the timber mafia while also depriving people of their forest rights.

1981
Improving relations between India and China allows for the reopening of the pilgrimage route to Mt. Kailash and Lake Mansarovar (through Pitharogarh district and to Tibet through Lipu Lekh pass).

1980s
Anti-alcohol agitation begins anew and sharpens social tensions between men and women in the hills. Deforestation continues, though tempered by government regulations. Mining interests and dam projects threaten the Himalayan ecosystem.

1989
Several left-leaning organizations assemble to form the Uttarakhand Sanyukta Sangarsh Samiti (USSS) to campaign for autonomy.

1991
A devastating earthquake rocks Uttar Kashi, killing over 2,000 people. The slowness of relief operations and reconstruction upsets many hill residents, already accustom to the prolonged neglect afforded the region by state and federal governments.

1994
Despite measures in the state legislature towards granting separate status for Uttarakhand, the new backward-caste dominated government of Uttar Pradesh extends caste reservations into the hills. These reservations, though established to increase opportunity and social justice for low-caste people, meets with fierce resistance in Uttarakhand. Uttarakhandis see the measures as an attempt to colonize the hills with people from the plains, as low-caste Hindus make up a tiny fraction of the hill districts' population. Demonstrations are fired upon, leaving dozens dead. On October 2, the birthday of Mahatma Gandhi, buses carrying protesters to the capital are stopped in the town of Muzaffarnagar. More violence ensues including the molestation and rape of dozens of Uttarakhand women by state police.



Police tear gas


1995
The cover-up of the 1994 incidents unravels under further investigation. The Uttar Pradesh government refuses to acknowledge responsibility. Uttarakhandis hold monthly protest rallies in remembrance of the movement's martyrs.

Massive forest fires in May devastate Uttarakhand.



Protest March


1996
Early in the year, the state government apologizes to and compensates the victims of the 1994 violence

Source: http://www.bellinfosys.com/important_dates_in_the_history_o.htm

Garhwali Poet-20

Veerendra Panwar : A Poet and Social Activist
Bhishma Kukreti
Those inhabitants of Mumbai ,who have been there in “ First Ever Gadhwali Kumauni Kvi Sammelan in Mumbai” convened by Uttaranchal Vichar Manch Mumbai , will definitely remember Veerendra Panwar and his ghughati ghraili poem in Garhwali . In Garhwal, his name attracts the audience for Garhwali Kavi Sammelan
He is one of the creative who have been supportive to local Garhwali fortnight news paper Uttrakhand Khabar Saar , Pauri published by Professor Vimal Negi. He was also supportive figure in publishing and editing “ Chhunyal” a Garhwali language periodical.
Veerendra Panwar is also social activist and convened “ Makraini Kauthig” at Parsundakhal, Pauri garhwal every year from 1994-1999. Panwar was also involved in Uttarakhand movement .
Panwar is not famous for his Garhwali poetries of varied subjects and modern styles as gazals, gadyatmak kavita muktak, khsankayen , haiku etc but he is one gem of the Nau Ratna of Garhwali Samalochana as cited by brilliant Garhwali language critic Abodh Bandhu Bahuguna in an interview with this author and is published in Chitthi Pattri after the death of Abodh Bandhu Bahuguna

Let us enjoy his Garhwali Gazal

Haath -khuta chhal dya
Dyu dhupana bal dya
Gham aige dhar ma
Pani thain bijal dya
Jaunka naku mol cha
Unka nam dhunyal dya
Jhutth-sach kattha hwege
Loon march ral dya
Ghuseye -ghusey ghusegi bhitarai
Jogi thain naikal dya
Bauhadan dev divta
Manikh thai siwal dya

Birth Date: 26 November, 1962
Place: Kendra, Chardhar, Idwalsyun, Pauri Garhwal
Education: Diploma in Pharmacy, M A (Sociology)
Published works : more than hundred poems and more than fifty articles published in various periodicals
Published collection of Garhwali poems, Inma Kankai An Vasant by Dhad Prakashan, Dehradun
Contact: Pharmecist, Jila Chiktsalaya, Pauri city, Pauri Garhwal

Copyright @Bhishma Kukreti, June, 2009, Mumbai, India

Garhwali Poet-19

Satish Balodi ‘Shivcharan’
Bhishma Kukreti

Satish Balodi is typist and short hand expert by profession but his poetric craftsmanship is beyond taking dictation and obeying what boss dictates. He s famous for exposing the finer hidden odd things happening in his environ ment.

Date of Birth: 16th October, 1968
Place: Village-Baisoli, Anjani Sain, Tihri Garhwal
Education : Intermediate, ITI (Short hand and typing)
Published book: a collection of Garhwali poems “Au Ninda Balhi”
He has published many poems, articles in periodicals and regularly relays poems from Akashvani
Satish Balodi is a social worker and ia attached to Bhuwaneshwari Mahila Asharam, Anjani Sain, Tehri

Copyright @ Bhishma Kukreti, June 2009, Mumbai, India

Garhwali Poet-18

Om Prakash Semwal
Bhishma Kukreti

Though, Omprakash is Physics teacher but by heart, he is very tender and creates various types of Garhwali poetries. His subject varies from the pain of a Garhwali woman of Garhwal to natural beauty of rural Garhwal. Simplicity is his way of narrating poems but keeps a mystery too.

Twee, aige samo, Vasant, Bhol, Pahadai Nari, Baudik Aijai, Nayo saal are his reprehensive poems in Garhwali language

Date of birth: 10th Novemebr, 1965
Place: Village-Darmwadee, Rudra Prayag
Education: M.Sc. (Physics), B Ed
Writing: Published poems, articles, stories, lyrics in Garhwali in many local periodicals.

A book of Garhwali poems based on Man Bhagwati Nada , “Kalsudee” is published
Singer: He is also famous singer and a audio cassette of Falasi Devi is available in market and this cassette became a rage when it was released.
Profession : Physics lecturer in Inter College, Chopta -Jakhani, Rudra Prayag

Copyright@ Bhishma Kukreti, June2009, Mumbai, India

Garhwali Poet-17

Dr. Khyat Singh Chauhan
Bhishma Kukreti
Dr Khyat Singh Chauhan is famous for his book ,Beesaveen Sati Tak Ka Rikhani Khal”. This book is marvelous book in terms of detailing the historical, geographical and cultural arena of Rikhanikhal block of Pauri Garhwal.
However, Dr Chauhan also create Garhwali verses in many forms and styles . ‘bramh’, ‘twai tain shaheedana takdeer milin cha’, ‘ kutai’’Timala’, ‘madghat’ nad ‘kavita’ are his representative poems among hundred Garhwali poems created by Khyat Singh .

In the opinion of the author, ‘Timala‘ (The Fig fruit) is his best poem. The poem ‘Timala’ is spectacular piece of poem in Garhwali literature. By using Timala, the poet describes the geography, nature, culture, economics of a small Garhwali village in a few words and this make this poem one of the wonderful poems of Garhwali verses. He also exposes many forgotten Garhwali words through this poem:

jhadyan Timala dlatal, rag-rang baki bat
Bhinbhinat, chweenchat , kiklat, ramnat, chachlat
Katnai makha, mauna, chakhula, bakhara gor

He uses pure Garhwali symbols, images, common and understandable words in his all verses . His subject varies from philosophy to burning issue of Gujarat riots . Being a teacher, he does not leave preaching in his each poem. The author feels that many teaching poets of rural Garhwal do not leave this habit of preaching even in humorous poems.
Birth date: 1st October, 1944
Place: village, Andarson, Bichla Badalpur, Pauri Garhwal
Education: M A (Hindi), B. Ed, D Phil ( Sant Panap Das aur Unka Panth)
Writing: Published many articles, critics, poems, in local periodicals in Garhwali and Hindi. Regularly, relays his poems and though provoking akhyan through Akashvani
By profeession he was teacher and retired as Principle from Inter College Sanglakoti , Pauri Garhwal.
Copyright@ Bhishma Kukreti, June, 2009, Mumbai, India

Garhwali Poetry Collection-1

AndI Jandi Sans a Poetry collection of Madan Duklan
By Bhishma Kukreti

Madan Duklan is very versatile personality of Garhwali art, culture, knowledge and language literature based in Dehradun. It is difficult to describe him in single article. He has been editing and publishing Chitthi-Patri or Hamari Chitthi a Garhwali language magazine for more than a decade. He is a social activist, he was very active in separate state Uttarakhand movement , Duklan is Garhwali drama writer and performer, Madan is very much involvement in each department of Garhwali film making, we may see him in participating in various cultural programs in Dehradun and Garhwal region. The best part is that he is a good human being and you will be proud of his being your friend.

Initially, in mid nineties and early years of last century, Madan Duklan or ‘ghuti got recognition in Dehradun from taking part in Garhwali stage play and creating Garhwali poetry. By heart he is poet.

Madan, ghutti for his grand mother , created more than hundred Garhwali poems, ghazals and lyrics. AndI Sans Jandi Sans is his collection of poetries created at the peak of separate state Uttarakhand movement. There are twenty one poems and nineteen ‘ghazal’ in this collection published in the year 2001 by Ranu Bisht, the very honorable Garhwali woman in publishing Garhwali literature. The history of Garhwali literature will remember her as one of the leading patrons of written Garhwali literature . Since, Garhwali literature does not provide any financial returns (return on investment), the publishing Garhwali literature is another kind of social service in Garhwali world.

Madan Mohan Duklan is an environment activist and he loves nature and flora so much that Duklan says that deities or God do nor exist in temple, mosque, churches, agyari (Zoroastrian temple), gurudwaras, matth and in the idols built by stone or mud but God and deities exist in working hands, floras and in the eyes of children in his Ishwar poem.

There have been many poets who created very sensible verse of pathos rapture (Karun ras) in Garhwali poetry world . Madan’s poem ‘aandi jaandi sans’ is one of the heritage poems of Garhwali language:

Herik joon poetry describes the conflicting situation of ambitions among the people of developed countries, wishes of our own countrymen of other regions and the desire for fulfilling the basic need of a struggling poor child (whose father is no more) of Garhwal area. By looking at moon , the developed country people describe moon as another star as earth. For Indians of other regions, moon is the symbol of beauty (band) but for a poor Garhwali child, moon is:

Pan hamari gaun ki,
Ghuni kaki ko
Bhukhal biblando chhwara
Khelyun chhod samali jand
Rwati khandki
Ghor kheed,
Khutta ghusad
Herik joon

The struggle for human beings is always never ending and when we become frustrated the struggle looses its meaning and stand stillness takes place. However, when we take struggle as our destiny struggle gets newer and newer meaning in this earth. Madan describes struggle and winning zeal of human being against all odds as:

Beej
Kuchh buse jandi
Kuchh
Chakhula thoongi jandi
Uthand dhaun
Kee kumpat
Sarag ruse jand
Pan
Tabi ni Hondo
Vo past
Fir mise jand
Khwalan man sumar
Mata
Bunanai khuin
Ek haiku khandela
Apni bwe khuni……..

Hope is always an enticement for anybody. The poet uses symbol of dry tree, which hopes for bettre days in his verse ‘aas‘:

Mi dhar man
Sukho thangaro si khadu chaun
Yeen jgwal man
Ki
Kabi at
Basant alo

In his poem ‘chitthi’, Duklan explains us that letter or any medium of communication , depending on the situation of the receiver, brings happiness and sadness:

Chitthi, ek madhyam
Afu tain

‘yon maidanun tak’ explains the struggling destiny of hilly inhabitants that the roll like stones from hill to plains of valleys and then loose their identity too:

‘yakh hamari kwee pooch
Na pachhyan
Pan
Kaima bwan
Kaima sunan

Biologically, though, human being animal, the man behaves differently many was from animals and in his verse, ‘dushman’ Madan is surprised :

Muson ko dushman
Viralo
Gurau ko dushman
Newalo
Manikh dushman
Kankh ko

In hamari jog , Duklan describes the reality of life in hills as :

Nanga Bhyal
Nanga pod
Nangu jeewan
Hamari jog

When people were in quite few numbers, they never experienced aloofness. Now there is crowd in metros or cities but the human aloofness is increasing manifolds (yakulwans):

Aj lakhun logun ka ghurchyat ma
Adim
Jathga macula afoo tai chitand
Shait uthga
Vo tab bi ni rayo
Jab vo
Adi daji chhayo

Madan Duklan is not a poor man but his hearts weeps for common man’s conndions in the poem Myara mulka log and explains the struggle of common man with help of various symbolic words but the destiny of common man is:

Ann kam, bhook jada
Ni mildo ankwek gaffa
Raindan bhikki/sdani dookhi.

Hill witnesses many disasters and pain thereafter. In poem, ‘Veen Rat’ , Madan is successful in showing the reality of tragedy of earth quack of 1991 of Uttarkashi and Tihri regions.

The Mujjafar Nagar kand has same place for Uttarakhandis as Kolkat -ki-Kothari kand and Jaliyalwala bag kand have place in Indian History , Jaliylwala and Kolkata Kothari incidents took place because of oppressive applications by British and understandable. But when our own people , our own government suppress any nonviolent people’s movement through barbaric methodology, it becomes unbearable. If, constitutionally, if this author is free to punish to one person without any hearing , he shall punish Mulayam Singh Yadav for his cruelty and using inhumanly methods to suppress Uttarakhand movement. Most of the contemporary Garhwali language poets criticized the UP government in their poetries. Madan describes the effect of Mujafar nagar incidents in his poetry, ‘ kungali hathguli kardi mut” I.e rage, anger, resent in Uttarakhand as:

Aaj uttarakhandai
Gaun ki beti bwari
Palyantharaun man baithik
Chhween ni lagandi
Vo chupchap
Palyani chan daathi……….

Many time, this author said to Madan and his poet friends that Madan is environment and flora lover. This way or that way, Duklan will use plants and tree for expressing the subject of issue. In Dallo, he uses a tree as symbol for describing that what every human being should be the source of helping others:

Dallo;
Thangaro banan chand
Thangar baunik
Chauka teer khado rain chando
Jaifar latkyan rain
Lagalun ka jhumpa
Hunu rau cachalot ka chweenchat
Jaima basanu rau k
Ulkanu

Everybody talks about new year and hope for the new year but Madan says that the wishes or ambitions remain the same for ever in his poetry ‘nayo Saal’ :

Pusa maina ku si gham
Sar-sarak sarik ge you sal
Ar ainsu bi raige unni
Myara suchyan sabbi kam

Mi jinda chaun is chayabadi poetry and same is the case ganglwad.
We literature creative want to create some thing, we have to pass through a mental state of the subject and we say it as creative pregnancy pain. In sweel peeda poetry, Madan describes the reasons for not delivering the poem at all even after high creative pregnancy pain.
Madan explains the reasons for Gadhmaunis being so strong mentally and physically in his verse hum chhan

Hamma
Ganga jano sayam cha
Hamma
Himalaya jan hikmat chha.

When every intellectual is worried about the putrid state of Indian education system, which neither offering knowledge nor a source of employment to our youth, the sensitive poet can not keep quite to pen down about worsening of our education system. are school kana chhan is the poem, which direct us to think about worsening conditions of Indian education system:

Yun halun man kya holu
Yun chhwaron prabat
Thokar khala jeewan bhar
Hwalo kapali par haath
Are school kana chhan
Maya Beej is a philosophical and chhayabadi poetry
Maya ka beej butani cha jindagee
Afu tain sya lootani cha jindagee

Madan’s Aakhi verse , again, is the combination of philosophy, psychological or scientific realism:

Ankhee chhan bingani chhan bachlyani chhan aankhee
Ankhi ankhyuman chhween lagani chhan aankhee

People, rightly, perceive that we inhabitants of Himalaya are mentally and physically strong but there are pains, which we hide from others. These pain may be of any kind but we rarely get chance to express before the people of plains. We express our pain within ourselves, that is we talk about our real pain to our own soul only. Kaima bwalalo, poetry is all about the pain and hopelessness of Himalayan inhabitants, which is not expressed by words:

Tachyon bati jamyun hyun kab galalo
Yo himalay apni peeda kaima bwalalo
Gaani syani ju ganthai chai aljhi gain
Ko bhagyan ged ab yee khwalalo

Everywhere, there is paradox in our life. Kabeer used say,” rangee ko narangee kahe aur doodh jame ko khoya”. Same paradoxical occurrences are happening in Garhwal too. Ghughto ko jikudi experience the readers about the ulatvasi happening in our society:

Baili dhangee sab aigen ghar
Laindi -bindari tain bhel dyakha

The society should evolve itself for betterment of human beings but if the evolution takes the path of individualism, means of selfishness, approach of not to share the joy collectively, take the means of fruitless ness, the poet can not resist to express as :

Iaaj dalaon mudin chhail ni raige
Apno ko apas man mel ni raige
Na pooch dagdya too gaun ko haal-chal
Kauthig man bi ab chail-pail ni raige

Ganjali and Ghazal
There are ups and downs in our life and this up and downs creates paradox. Madan says in his poetry;

hawai jaaj si uddan sukh”
Kabi gham chhan kabbi chhail chhan
Ye t jindagi ka khel chhan
Roj hundan imtyan yakh
Pas huna kwee fail chhan

This gazal is one of the marvelous gazals among best gazals of world poetry. Using airplane as symbol in this poetry make this gazal as one of the best gazals among world poems.

Famous dramatist and social activist Rajendra Dhasman explains that Gazal is like ganjeli , where the middle part is caught by hand and the lower part hit’s the seeds. The gazals of Madan Duklan prove Rajendra Dhasmana is right.
Ya Jindagee:

Ya jindagee poem is combination of philosophy and inspirational stanzas.

Ya zindagee chha bitani bus ganee syanee kaiki
Maya ka Ghana baun man nachani ya lati wheiki

The word nacni latee wheki makes this poem a class apart and reader can not resist to read all the ztanzas of poem
Fyunlee saub jadeite
Madan shows the paradox of the society in this poem by using popular Garhwali symbols like:

Kuchh bhitar man log kalyaji chalking chhan
Baaki chauchhwadee pet sabka dhaunkana chhan

Byali bal urdo ai ar fyunli saub jadeite
Kingwada chhan jo aaj ab bi hainsana chhan

What a fabulous, wonderful, amazing piece of poetry in Garhwali is Fyunlee saub khaidige. Garhwalis are proud of such poet who could create such powerful verse.
Myaro bhaag, jikudi ka kattar and nee chha kaka bwada kwee mantre dada’ poems are pessimistic poems but provide a different amusement:

Kumbhkarnau nind dyabta tain ayin cha
Re bijyan hee at lhedi awatar dagdya

Or

Halaat roj badtar huna chhan
Jikudi ka kattar huna chhan
Aapnee thatta
Apnee thatta poem is agin a realistic paradox:
Apno mund fodi ar gaun kari kattha
Afwee lagni chhan sye apnwee thatta

The poem ‘byali seena man bagh dyakh meen’ is a serious and satirist verse, a very specialty of Madan :

Gham man balu si tapad dyakh min
Nayari chhala vo tisalo dyakh min
Bhair ka ssukila-safed chhan jo
Unkee jikudi man dag dyakh min

Veenka jwagam is about the narration of struggle of hill’s women:
Kabhi banwas kabhi agni parixa
Seeta bananai ki Salazar cha
The verse saakyun ki khud ( generations old memories) is about the various types of sacrifices of Himalayan -Garhwali women and Duklan narrates

Ramee , gaura, ar teelu cha byali
Aaj bachhendri pal didi

Beejige Pahad aaj and Himalai hyun whe ge lal (The Himalayan snow became red ) poetries are about the separate Uttarakhand movement in Mid-Himalaya and the awareness of people of Uttarakhand about their rights, their exploitation from other areas and the actions of people to get separate state of Uttarakhand . The pomes are of brevity rapture and inspirational ones.
Dyabton ka tthau is about the characteristics of mid Himalaya where the Gods live but is deprived of materialistic development by governing machineries of Uttar Pradesh .

Andee jandee Sans and a letter of a mother who lost her young son
The author considers the poem AndI Jandi Sans one of the 200 best pathos rapture poems of the world in all languages .
The author read hundred of verses related to pain of separation but he could not find such a painful and philosophical narration by any poet of Garhwali and Hindi as Madan duklan narrated

AndI jandi sans che tu
Mera jeena ki as chai tu
Kati hi jala khairi ka din
Hey man kilai udas chai tu
Yaa deen-dunya , dyau divata
Yon sabse chulaiki khas chai tu
Dunya ma failin cha sadyan
Bas pholl ki bas chai tu
Meri dunya ma ni chai tu
Fir bhi mera pas chai tu

There is hidden tragedy in the poem, there is pain of loosing a beloved one, there is a will of preserving the memoir forever and there is philosophy or self consolation too in this one of the greatest poems of world of all languages .
The author would like to share a letter written to him by a mother who lost her twenty one years son and how she remembers her beloved son . This letter will prove the realism and philosophy in this poem of Madan Duklan, which makes him one of the greatest poets of all languages in the world:

From Vijaya Dobriyal to bhishma Kukreti---

Sir,

When I could open your first mail, I really sobbed for 10-15 minutes.
Yesterday evening when I reached home, my daughter called me up and said she is coming home to take car as she has an appointment at Nerul. I suggested my husband to accompany her as it was already 7.45 p.m. He agreed politely and both of them went. My other son went to gym. I was all alone, I wanted to freshen up and prepare khana for family. But as I saw bedroom, all memories of my son emerged one by one. When I used to reach home , he without fail use to offer me a glass of water followed by exchange of whole day's experience for both of us. As he was introvert used to spend most of the time at home. Then he used to ask for the dinner ka menu. He used to suggest few a very simple Khana so that I can spend most of the time with him. He used to like puppies which I promised him after Didi's marriage as she used to hate those pets. And all such memories just started pouring and I cried all alone for long time till door bell ranged at around 9.15 p.m. I opened the door without even wiping my tears and my daughter after seeing me with all the tears got worried and asked me what happened? She cd sense that I was missing my son. She asked me what made me cry so much for which I had no reply. She offered her shoulder to me, she became my mother for that moment and said mama, atleast you have other Son of same age. Think of those who loses their only son. Also said-" now rest of the life, we can be more sensitive at least to our family if not to whole of the society". We regret that he died without having a major illness. Just 4 hrs. in the hospital. We spoke so much before one hour of his death.
Thank u once again for being emotional support to me.

Vijaya

(Reference: E-Mail from Mrs Vijaya P Dobriyal to Bhishma Kukreti on 24th March 2009)
Now you read the poem of Duklan created in the year 2001 or before and compare with the letter of a mother remembering her recently died son.
All will agree that the pain of separation narrated by Madan Duklan in poem AndI Jandi Sans is an example of realism ,
The author is of opinion that the collections of poems of Madan Duklan requires translation in English that the whole world know that Garhwali literature is compatible to any international language in all terms .

You may call book from:
Ranu Bisht
Samay Saxya
15 Faltoo Line
Dehradun
Pin --248001

Copyright Bhishma kukreti, June, 2009, Mumbai

Garhwali Language Poet-16

Totaram Dhoundiyal : The Poet of Idealism
Bhishma Kukreti
The author’s statement that Totaram Dhoundiyal is the poet of idealism may create argument that Totaram Dhoundiyal writes various types of Garhwali poems. However, , the author feels that Totaram does not leave his teaching and preaching instinct, even, in creating humorous poetry. By nature, Totaram is idealistic and lives simple life with stern principles. He does not take tea, does not smoke, does not touch alcohol and is totally a vegetarian . We may find these characteristics in his poetries. He served his life as idealistic teacher and after retirement, he is settled in Dehradun

Birth Date: 9th September, 1950
Place: Bansi, P.O-Jaspur, Dhoundiyalsyun, Pauri Garhwal
Education: M.A, Sahitya Shashtri, Sahitya Ratna, Shikhsha Shastri (B Ed.)
Writing:---- he has written hundred of Garhwali poems and published in local periodicals as Hilans, Dhad, Chitthi Patri, Uttarakhand Khabar Sar , Shilavani .
Edited book----Gwai-a collection of Garhwali poems created by inhabitants of Dhoundiyalsyun .

He regularly relays his Garhwali poetry and talk on Garhwali literature and community from Akashvani
Hamaro hak, Gaon Jaun ya Shahar books are published
Awards: 1-- Vishambhar datt Chandola Purushkar.
2-Akhil Bhartiya Laghu Patrika samvnaya Kanpur Puruskar
'Postcard’ one of the longest poems in Garhwali poetry world is his famous poem in Garhwali
Karkhana ma paida hund
Chutaye jandu
Dur-dur gaon , gaulu, pahadun, maidanun, damalun
Nagarun, shah run, deshun, videshun, ma
Hrekak seva karna vasta
Kaiko holu chai ni holu
Mero sbun se eksani vasta
In this poem , Totaram opens mnay secrets of human beings by taking the base of postcards. He describes about various differences in society, indifferences by upper class for burning community issues, socialism, describes the exploitation and many known-unheard human emotions in this lovely poem

Copyright---Bhishma Kukreti, June, 2009, Mumbai, India

बोडान मारी फाळ

रुमक की बात छ, बौडा पिलौणु थौ भैन्सि,
कखिन आई बाग, ऊ बौडा का मुख फर हैन्सि,
फिर क्या थौ बौडा, झट्ट भीतर भागी,
ल्ह्याई बन्दूक अपणी, बाग फर गोळी दागी,
गोळी बाग फर त नि लगि,
पर चोट सुणिक बौडी,
भ्वीं मा लमसठ व्हैगि,
छक्की छकिक अफुमा रवैगि,
वीन समझी बौडा आज बागन ख्यलि,
नाक फर फूली पैनौ कू भाड़ु करयाली,
बौडा झट्ट बोडी का पास गै,
न रो हे चुचि, मैं ठीक ठाक छौं,
नि खयौं मैं बागन,
बचिग्यौं तेरा सौं,
अब तू होश मा औ,
ह्वै सकु त, स्वाळा पकोड़ा बणौ.


(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिग्यांसू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
11.6.2009

दिनमानी कू ब्यौ"

वक़्त बदली मन भी, बदलिगी सब्बि धाणी,
प्यारा पहाड़ मा अब, दिन-दिन बारात जाणी,
सोचा हे सब्बि, किलै यनु ह्वै.......

ये जमाना मा ब्योलि कू बुबाजी,
डरदु छ मन मा भारी,
दिनमानी की बारात ल्ह्यावा,
समधी जी कृपा होलि तुमारी,
किलैकी अज्ग्याल का बाराती,
अनुशासनहीन होन्दा छन....

एक जगा गै थै, ब्याखुनी की बारात,
दरोळा रंगमता पौणौन, मचाई उत्पात,
फिर त क्या थौ,
खूब मचि मारपीट,
चलिन धुन्गा डौळा,
अर् कूड़ै की पठाळि,
ब्यौली का बुबान,
झट्ट उठाई थमाळि,
काटी द्यौलु आज सब्ब्यौं
बणिगी विकराल,
घराती बारातियों का ह्वैन,
बुरा हाल.

घ्याळु मचि, रोवा पिट्टी,
सब्बि बब्रैन,
चक्क्ड़ीत बराती, फट्ट भागिगैन,
बुढया खाड्या शरीफ पौणौ की,
लोळि फूटिगैन,
हराम ह्वैगि पौणख,
सब्बि भूका रैन,
वे दिन बिटि प्रसिद्ध ह्वै ,
"दिनमानी कू ब्यौ",

(अपने पहाड़ के श्री परासर गौड़ साहिब जी चिरपरिचित कवि, लेखक एवं फिल्मकार
ने भी एक बारात में मारपीट का अनुभव अपनी रचना में व्यक्त किया है)

जगमोहन सिंह जयाड़ा "जिग्यांसू"
स्वरचित(११.९.२००९)
(सर्वाधिकार सुरक्षित, प्रकाश हेतु अनुमति लेना अनिवार्य है)
ग्राम: बागी-नौसा, पट्टी-चन्द्रबदनी, टेहरी गढ़वाल(उत्तराखण्ड)

Garhwali Language Poet -12

Madhusudan Thapliyal : The Samrat of Garhwali Gazal

Madhusudan Thapliya is called the ‘Samrat’ of Garhwali language Gazals.
No doubt, earlier than Thapliya, many Garhwali language poets tried effectively on this form poetry in the language as Abodh Bandhu Bahuguna, Kanhaya Lal Dandariyal, Netra Singh Aswal, Keswan, Madan Duklan, Devendra Joshi, Chinmaya, Virendra Panwar, Dr Gauniyal, Girish Sundariyal etc. However, Madhusudan is credited for publishing exclusively the collection of Garhwali Gazals , Harvi-Harvi in 2002 AD.

Controversies:

There have been controversies for Harvi-Harvi among Bhagwati Prasad Nautiyal the Garhwali critic and supporters of Madhusudan Thapliyal on many areas of Gazal. One reason of Nautiyal’s criticism was using “dudhal ka keel “ and other was a sexual word of Garhwali by Madhusudan . However, it is also a well known fact that Bhagwati Prasad Nautiyal took revenge against Madhusudan in criticisng Harvi Harvi because in past , in one meeting in Delhi Madhusudan criticized Bhagwati Prasadd and Madhusudan also criticized Nautiyal in another periodical Uttarakhand Varta
This author also jumped in the fray for another reason. After reading the review of Harvi Harvi of Bhagwati Prasad Nautiyal, the author advised Nautiyal not to write in Garhwali language because he does not use Garhwali words and uses only Hindi words in the name of Garhwali prose. The author wrote against Nautiyal in two titles, Nautiyal ji -Band karo Gadhwali man likhan and Garhwali Gadya ko Aunsee ko Garhan Bhagwati Prasad Nautical .

There are sixty eight Garhwali Gazals in Harvi Harvi and written n various subjects . His brief details are as :

Birth date: 17 September, 970, Pauri Garhwal
Education: M. A . (Hindi and Economics), B.Ed., Sangeet Prabhakar (Vocal music)
Writing : Wrote in many local periodicals, relayed many poems and vartas from Akashvani, and Doordarshan
Stage activities : He was involved in staging many plays as Ek Aur Dronacharya, Chehre, Panch Loafer, Singhasan, and Garhwali plays as Sadhu Nam Kunwar, Khadu Lapata,
Awarded: Jay Shri Samaan for Harvi Harvi

Copyright @ Bhishma Kukreti, Mumbai, June 2009.

बावन गढों कु देश हमारू गढ़वाल

वीर भडु कु देश। बावन गढु कु देश। हमरू गढ़वाल कू नाम यूं बावन गढु कै आधार पर 15वीं शताब्दी मा हिमालय का केदारखण्ड क्षेत्रा कु नाम गढ़वाल पड़ी

पंच्या उंगली बराबर नि हुन्दी

चुनो जनि ऐनी उमीद्वार कुकर जानी घर - घरु , दैलि दैलूमाँ रिंगण बैठा ! बाजा बाजा अपना दगड लनग्यात लेकी पौंचा गौ गौ .... एक उमिद्रार एक बुड्डी क पास जोकि क्या बुन बैठी ...

' -- बोडी ..समन्या .. खूब छाई "

वींन कपाल पर हाथ लगैकी, अप्णि याद दासता पर जोर डाली , देखि भाल्ली उत्तर दे " ___ ब़बा ..., मी पछ्यणू नि छो, कखी कु छे तू ???? "

" --मी , मी यख बिटि चुनो छौ लणु .. अर तिल ... , इबरी दा अपणु वोट मिथैई दीण " मी अगर जीती जौलना.... त, वख जैकी तेरी पन्सन लग्वाई दयुलू अर , जत्गा भी तेरी परेसानी चं वो दूर कै दयुलु ! "

बुड्दिल बोली ..... " ----- बबा ... , आज से ५ साल पैल एक ई छौ ! वैल भी इनी बोली छौ ! जितणा बाद उ आज तक कखी नज्जर नि आयु "


उमीदवार बोली ...'---- बोडी ........., पंच्या उंगली बराबर नि हुन्दी ....ईईईईईई ...?"

बोडील तपाक से उत्तर दे .... " ----- पर बाबु ... खांदी दों त, उ भी, सब्या एक हुये जन्दिनी ! "

पराशर गौड़

लडै

नेता अर कुत्ता माँ भयंकर लड़ै ह्वैगि ! नेता क्या बुन बैठी ' ---- यार ये कुत्तकी जातल , फोकणै आदत ड्ल्वै दे ! सरय गौ माँ खुजली फ़ैल दी ! तबारी ककुर बोली " . खुजली...." अरे , खुजली कु त, इलाज छै च ! अर ह्वैभी जालू ! पर , तू सुणो तेरे दोगली राजनीती क्या हाल-चाल छिना ! सरय उलट काम त , तू करदी अर कुता हम थै बुल्दी ! अरे ..., हम जन भी छा ! भीर भी मलिका का बफादार छा ! तू त पुल खाणु छै ! चारु खाणु
छै
देश खाणु छै ! तू त मरदी छै,, मरवांदु छै फिर भी बे दागो सफ़ेद कुर्ता पैनु छै ! अरे औ ...... कंस का भाई तयार बारम क्या क्या बताऊ अबी बतांदु ... फुन्दू फुक .... ले , तै नेता का नौ पर मी टांग उठादु !

परासर गौड़

भबिश्य आजमाओ

एक आदिम सडका किनार तोता लेकी बैठियु छो ! जो , जोर जोर से बोनु छो "
".. आवा .. आवा अप्णि अप्णि किस्म्म्त अजमावा ! आप दगड भ्व्वाल क्या हुवालू ... यु तोता सब बतलाद "
तब्बी भीड़ बटी आवाज आई ............ " ई तोता चा ....., की , तोती ...."
वेल बोली .. " छा तोती च पर, तोता तोती स्य क्या हूदा ? "
भीड़ चिलाईई " ... मरा साला थै .., मरा साला थै .., औरते कमाई खाणु छै !


पराशर गौड़

ब्यो अर इश्तिहार

सचै ..., मी अपण बेओ का वारम माँ बहुत पेरशान ह्वैगे छो ! नरेंद्र नेगी जी कु एक गीत " क्वा टुनगी नि पूजी ..कैदेवता नि गेऊ , याने बामण , रिसतादारुम , दगदयौ माँ , स्बुमा गियु ! पर कैल भी मेरा बारम नि सोची , आखिर एक दोस्त्ल बोली ..
" --- क्युओ छै परेसान हुणु ! " इनु कैर की , अप्णि शादी का बारम अखबारम दे एक इश्तिहार ! स्यु वेका बोल्या पर इश्तिहार दया
" एक सुंदर , सुशील टिकाऊ, जो नहीं है बिकाऊ के लिए एक सुंदर सुशिल स्त्री चाहिए ..."
कुछ दिनों का बाद चिठी ऐनी , स्त्रीओ की कम पुरुषों की ज्यादा .... पैडी ... जैमा सब्युना एक ही बात छै लिखी ..... " कृपया हमारी ले जाइए "

परासर गौड़

उत्तराँचल के पांच बद्री

ग्रुप के सभी सदस्यों को हरीश सती का प्यार भरा प्रणाम स्वीकार हो, आज मैं आप सभी को उत्तराँचल के प्रयागों और केदारों के बारे मैं बता रहा हु !

उत्तराँचल के पांच केदार (पंचकेदार)
१. केदारनाथ
२. तुंगनाथ
३. मदमहेश्वर
४. कल्पेश्वर
५. रुद्रनाथ

उत्तराँचल के पांच बद्री (पंचबद्री)१. बद्रीनाथ
२. आदिबद्री
३. वृद्धबद्री
४. भविष्यबद्री
५. योगध्यानबद्री

उत्तराँचल के पांच प्रयाग (पंचप्रयाग)
१. विष्णुप्रयाग ( धोलीगंगा + अलकनन्दा )
२. नन्दप्रयाग ( नन्दाकिनी + अलकनन्दा )
३. कर्णप्रयाग ( पिण्डर + अलकनन्दा )
४. रुद्रप्रयाग ( मन्दाकिनी + अलकनन्दा )
५. देवप्रयाग ( भागीरथी + अलकनन्दा )


धन्यवाद
आपका मित्र
हरीश सती
मोबाइल नंबर ०९९९०६४६३४३
मेल:- हरीश.सती@जीमेल.कॉम

Garhwali English Writer-1

Love is Life; Short Stories by Dr Hari Datt Bhatt Shaliesh
Information by Bhishma Kukreti

Dr Hari Datt Bhatt Shailesh is a versatile personality of Garhwal and writes in Garhwali, English and Hindi profeciancely.

He is called expert of story writer who weaves stories around maintaining and life in the hill. Till date, he published more than 40 books and about 400 features, articles, travelogues, reminiscences and short stories.

Recently, Indian Publishers Distributors, Kamla Nagar , Delhi published his collections of 25 short stories in English.

Famous English scholar and writer Ruskin Bond wrote the forward of this collections of Short Stories , “ Love is Life”

Ruskin Bond writes, “ Dr Bhatt is prolific writer of short stories.
About subject of short stories in this collection, Ruskin Bond further clarifies, “ Ranging from romantic to the realistic, they evoke something the milieu in which he has lived and worked as teacher, writer and mountaineer.”

Further Bond writes that the stories of Bhatt are interesting, inspiring and entertaining and written in lucid and pleasant style. Ruskin Bond explains about the affectivity of these stories that his vivid and deep observation and his poetical receptivity make these stories more fascinating, grabbing and attractive
.I will say that you must read “ Love is Life”
@ Copyright Bhishma Kukreti, Mumabi, June, 2009

मंग्तु

"बेटा मंग्तु अब मैं एक सुख्याँ डाळा का सामान छौं. मैं आज छौं भोळ कू क्वी पता निछ. अब घौर कू सारू बोझ त्वै फर ही छ." पिता दयाल सिंह ने मंग्तु को घर से जाते वक्त समझाया. आज मंग्तु रोजगार की तलाश में देहरादून जा रहा था. गाँव से एक घंटे की दूरी पैदल तय करके उसने जामणीखाल से आठ बजे की बस ऋषिकेश के लिए पकड़ी. मंग्तु बस में खिड़की वाली सीट पर बैठकर बस से पीछे की ओर सरकते गौं, पुंगड़े और पहाडों को एक टक्क निहार रहा था. उसे लग रहा था जैसे पहाड़ पर पेड़ आज उसको बस में बैठा देखने को उतावले हो रहे हों. गाड़ी देवप्रयाग की ओर उतरती घुंग्याट और प्वां-प्वां करती सरपट भागी जा रही थी. मंग्तु के मन में घर से दूर घर परिवार से दूर जाने की उदासी साफ़ झलक रही थी.

मंग्तु कल्पना में डूबा अपनी सीट पर अलसाया हुआ बैठा था. गाड़ी जब देवप्रयाग पहुंची तो ड्राईवर ने गाड़ी रोकी. मंग्तु अलकनन्दा, भागीरथी का संगम और रघुनाथ मंदिर निहारने लगा. वेग से बहती भागीरथी और अलकनन्दा की खामोशी, देवप्रयाग का विहंगम दृश्य सब कुछ देखकर मंग्तु का मन जस का तस था. जबकि इस प्रथम प्रयाग की खूबसूरती देखने यात्री दूर देश प्रदेशों से आते हैं.

गाड़ी फिर घुंग्याट और प्वां-प्वां करती ऋषिकेश की तरफ चढाई चढ़ने लगी. बस में बैठि सवारी झपकी लिए अंदाज में मोड़ों पर इधर उधर हिल रही थी. कंडक्टर ने अपना हिसाब किताब लगाया और ड्राईवर के पास जाकर बीड़ी सुलगाकर ड्राईवर को भी देकर पीनें लगा. मंग्तु उनकी जलती बीड़ी के धुँए की ओर एक टक्क देख रहा था. अचानक! उसकी नजर बस पर लिखे वाक्य "अपना घर अगर सुन्दर होता तो क्यों दर दर फिरती" पर पड़ी. वो सोचना लगा, अगर रोजगार अपने घर की तरफ मिल जाता तो आज क्यों दर दर भटकने के लिए घर से दूर जाता.

"अपना घर अगर सुन्दर होता तो क्यों दर दर फिरती" भागती बस के परिपेक्ष में लिखा था. बस अगर खड़े खड़े आय कर ले तो उसे सम्पूर्ण उत्तराखंड में बेबस हो क्यों भागना पड़ता. यही मंग्तु भी सोच रहा था. ड्राईवर ने गाड़ी रोकी, स्टेशन था तीन धारा. तीन धारा कुछ वर्षों से प्रसिद्ध हुआ है. पहले आती जाती सभी गाडियां व्यासी ही रूकती थी. व्यासी के छोले प्रसिद्ध थे, जो व्यासी रुके वो व्यासी के छोले न खाए कैसे हो सकता है. तीन धारा जैसे की नाम से पता चलता है वहां पर "छोया ढुंग्यौं का पाणी है". खाना खा लो....खाना खा लो.... गाड़ी बीस मिनट बाद जायेगी. मंग्तु ने तीन धारे का पानी पिया और होटल में चाय के साथ "ब्वै का हाथ की" तेल भीगी रोटी खाई.

ड्राईवर ने बस का हार्न बजाया, सभी यात्री बस में बैठ गए और गाड़ी फिर अपनी मस्तानी चाल में साकनीधार की तरफ घुंग्याट और प्वां-प्वां करती, काला धुआं उगलती अपनी मंजिल ऋषिकेश की ओर चलने लगी. कहीं घुगुती बासती, कोई पक्षी हे कीडू़ बोलता और तोता घाटी में पेडों पर बैठे फुदकते बड़े बड़े लंगूर, बांदर, दूर से दिखती लकीरनुमा गँगा, ये सब कुछ दिख रहा था बस से चलचित्र की तरह. मंग्तु मन में खोया अपनी मंजिल की तरफ बढ़ता जा रहा था.

बस ऋषिकेश पंहुची मंग्तु ने अपना झोला उठाया और देहरादून की बस में बैठ गया. अब बस से बड़े पहाड़ उत्तर दिशा की तरफ ही नजर आ रहे थे. दून घाटी की तरफ जाती बस से कहीं घने जंगल, टेहरी डाम से खींची विशालकाय ट्रांस्मिसन लाइन, पहाड़ जैसे लोग भी नजर आ रहे थे. लगभग दो बजे मंग्तु देहरादून रिस्पना पुल पर बस से उतर कर धरमपुर अपने गाँव के महिपाल के पास पहुंचा.

सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिग्यांसू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
5.6.2009

आँखौं मा आंसू"

यूँ आंख्यौं मा, कुजाणि क्यौकु,
बगणा छन, दण-मण आंसू,
मन मा मेरा, यनु कुछ निछ,
आज होयुं छ क्वांसू.....

प्यारी ब्वै होलि, याद कन्नि मैं,
मन होलु होयुं क्वांसू,
देळि मा बैठि, होलि बाटु हेन्नि,
तब्बि बगणा छन आंसू....

यूँ आंख्यौं मा, कुजाणि क्यौकु,
बगणा छन, दण-मण आंसू,
मन मा मेरा, यनु कुछ निछ,
आज होयुं छ क्वांसू.....

होलु क्वी दगड़्या, याद कन्नु मैं,
होयुं होलु मन वैकु क्वांसू,
यूँ आंख्यौं मा, तब्बि बगणा छन,
दण-मण ताता आंसू.....

यूँ आंख्यौं मा, कुजाणि क्यौकु,
बगणा छन, दण-मण आंसू,
मन मा मेरा, यनु कुछ निछ,
आज होयुं छ क्वांसू.....

खुद लगणि होलि, कै दगड़्या तैं,
कख होलु भैजि "जिग्यांसू",
यनु लगणु छ, तब्बि औणा छन,
यूँ आंख्यौं मा आंसू..........

यूँ आंख्यौं मा, कुजाणि क्यौकु,
बगणा छन, दण-मण आंसू,
मन मा मेरा, यनु कुछ निछ,
आज होयुं छ क्वांसू.....

सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिग्यांसू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
5.6.2009

प्यारु गढ़देश

बावन गढ़ु कू,
प्यारु गढ़देश,
जुग-जुग राजि रखि,
खोळि का गणेश,
हे खोळि का गणेश.....

वीर भड़ु की भूमि,
प्यारु गढ़देश,
देवभूमि तपोभूमि,
जख ब्रह्मा विष्णु महेश.
जुग-जुग राजि रखि,
खोळि का गणेश,
हे खोळि का गणेश.....

बावन गढ़ु कू,
प्यारु गढ़देश,
जख राज करिग्यन,
गढ़वाल नरेश,
जुग-जुग राजि रखि,
खोळि का गणेश,
हे खोळि का गणेश...

बावन गढ़ु कू,
प्यारु गढ़देश,
जौनसारी, गढ़वाली बोलि,
रौ रिवाज, परिवेश,
जुग-जुग राजि रखि,
खोळि का गणेश,
हे खोळि का गणेश...

बावन गढ़ु कू,
प्यारु गढ़देश,
बांज, बुरांश, देवदार,
डाडंयौं मा ढेस,
जुग-जुग राजि रखि,
खोळि का गणेश,
हे खोळि का गणेश...

बावन गढ़ु कू,
प्यारु गढ़देश,
जख नाचदा देवता,
भूत अर् खबेस,
जुग-जुग राजि रखि,
खोळि का गणेश,
हे खोळि का गणेश...

बावन गढ़ु कू,
प्यारु गढ़देश,
देवतों का धाम,
हरिद्वार ढेस,
जुग-जुग राजि रखि,
खोळि का गणेश,
हे खोळि का गणेश..

बावन गढ़ु कू,
प्यारु गढ़देश,
गंगा यमुना कू मैत,
वीर भड़ु कू देश,
जुग-जुग राजि रखि,
खोळि का गणेश,
हे खोळि का गणेश..

सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिग्यांसू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
4.6.2009

प्यारी ब्वै

आज लाठी का सारा हिटणी छ,
भौं कबरी बोन्नि छ,
बेटा, अब त्वै फर ही छ सारू,
फर्ज निभौ तू,
बोझ समझ या भारू.

उबरी जब तू छोट्टू थै,
तेरा खातिर मैन ज्यू मारी,
यू ही सोचि थौ मैन,
बुढापा का दिन जब आला,
प्यारु नौनु सेवा करलु हमारी.

ब्वै दुनियाँ मा होन्दि छ,
सबसी प्यारी,
टौल पात जथ्गा ह्वै सकु,
हमारी छ जिम्मेदारी.

ब्वै का दूध की लाज,
रखन्णु छ फर्ज हमारू,
ऋण नि चुकै सकदा हम,
माणदी छ हमतैं सारू.

ख्याल रखन्णु सदानि,
ब्वै का आँखों माँ,
कब्बि भि नि अयाँ चैन्दन,
दुःख का आंसू,
अनुभूति प्रगट कन्नु छौं,
तुमारु दग्ड़्या "जिग्यांसू"

सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिग्यांसू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
3.6.2009

पाणी की पूजा

होन्दि छ अपणा पहाड़ मा,
किलैकि पाणी,
कै भी पराणी का खातिर,
अमूल्य छ,
जैका बिना जीवन की कल्पना,
संभव निछ.

उत्तराखण्ड मा,
पुराणा पाणी का धारौं फर,
मगरा बण्यां छन,
अर् देवतों मूर्ति भी,
लोग पाणी का धारौं तैं,
पूज्वन अर् साफ रख्वन.

ब्यौलि जब औन्दि छ,
ब्यौलि बणिक अपणा सैसर,
पैलि पूज्दी छ,
पाणी कू धारू,
किलैकि या पहाड़ की,
परम्परा छ अतीत सी,
आज तक.

वनत पाणी की पूजा,
करदा छन सब्बि लोग,
बिना पाणी का गौं,
कथगा दुःख होन्दा छन,
लोग वख अपणी,
बेटी कू रिश्ता कन्नौ कू,
खुश नि होन्दा.

पाणी हरचु ना,
नितर क्या कल्लु मन्खि,
पाणी तैं पूजा,
यू कालजयी सत्य छ.

सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिग्यांसू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
2.6.2009

कार्टून - Cartoon

©2009 H.C.Kukreti

समधोळा

समधणी थै ली पैरिक, चम्म चमकणी,
नाक मा नथुली बुलाक, हल्ल हलकणी.......

समधणीन हाथ जोड़ी, सेवा लगाई,
गदगदू दन्ना भवीं मा, झट्ट बिछाई.

भवीं मा बैठ्यों, ह्वक्का भरि,
हाथ मा दिनि,
समधणी का दगड़ा बैठि,
चा पाणी पिनि.

समधणी सगोरया भारी,
पकोड़ी स्वाळी बणैन,
घरया घ्यू मा दाळी दगड़ा,
छक्कि छकिक खैन.

समधीजिन छक्कि पिलाई,
ह्विस्की अर् रम,
छ्वीं लगैन छक्कि छकिक,
मस्त ह्वैग्यौं हम.

समधणी का सौं क्या बोन्न,
सब्बि धाणी बिसरिग्यौं,
खट्टी मिठ्ठी खांदु खांदु,
समधोळा रमि ग्यौं.

सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिग्यांसु"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
1.6.2009

यात्री"

अतिथि होता है यात्री,
जो आपका देश प्रदेश देखने,
आता है बहुत दूर से,
जिसके बारे में उसने,
सिर्फ सुना ही था,
आज आया है यात्री बनकर,
घूमने घुमंतू की तरह.

अतिथि देवो भवः,
परिकल्पना सचमुच सही है,
क्यौंकि, उसके मन में,
एक तम्मना है,
आपकी संस्कृति के अवलोकन की,
ताल, बुग्याल, बर्फीली चोटी देखने की,
देवभूमि के वासी,
सर्वशक्तिमान देवताओं के दर्शन की.

जब लौटकर जाये अपने यहाँ,
उसे याद आये बार बार,
आपके देश प्रदेश की,
कहेगा सभी को,
आपका मुल्क सबसे सुन्दर है.

सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिग्यांसू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
1.6.2009

Great Garhwali Personality

Arvind Purohit and Beena Benjwal : Architects of Garhwali Hindi Shabdakosh (20070
Bhishma kukreti


The publication of Garhwali hindi dictionary by Winsar Publication , valley road, Jakhan, Dehradun is a mile stone in the history of Garhwali language. This is the third attempts for Garhwali words collection and publishing Garhwali Hindi dictionary after jai lal varma and Malchand Ramola

The archtechts of Garhwali Hindi Shabdakosh (2007) are Arvind Purohit and Veena Benjwal

A tribute to these two great personalities is a must . The briefs of both is as under:

Arvind Purohit
Birth year: 9th July, 2 1952
Village : Kurjhan, Rudra Prayag, Uttarakhand
Mother : Smt : rajmati Purohit
Father: Aditya Ram Purohit
Qualification : M A B Ed, Proficiency in astrology, and scriptural books Vedas, puran etc

At present: Principle R U Ma V Kalimath , RudraPrayag, Beena Devshali, Bainjwal
Birth: 17th November, 1969
Village: Dev Shal, Rudra Prayag
Mother : Smt Radha Devi Devshali
Father : Revati Nand Devshali
Published works in Garhwali and Hindi
1- hundreds of poems in both languages
2-Muthi Bhar Barf ( Collection of Hindi poetires)
3-Kameda akhar (Collection of Garhwali poetries)
At Present, teacher in T G T Dehradun



Copy right@ Bhishma Kukreti, Mumbai, 2009