दीनदयाल जी उत्तराखंड का बना कुछ भी कनु तैयार रैंदा रैनी ! त जिन्दगी उंकी उत्तराखंड उत्तराखंड रट्द रट्द बीती ! कुई जलसा , कुई जलूस नि छोडू ! कई दिन भूक हड़ताल माँ बैठिनी ! उंकी एक ही तमना रा की, कैभी कीमत पर उत्तराखंड मिली जा , दगडा दगडी एक औरी भी तमना छा की जब उत्तराखंड मिली जालू त उ एक बुवारी गडवाल बिटि त हैंकी कुमो बिटि कारला ताकि घर में ही एक उत्तराखंड दिखये देलू !
उत्तराखंड मिलत सै पर इनी ना ! दीनदयाल जी तीन नौना में से सबसे छोटू की लाश पर ! दुव्वी नौना कु उन ब्यु करी जन उन सोची छा ! पैली पैली त , दीदी भूली आपस माँ खूब रैनी , भैली उकी बात एक दुसर निसमझदी छै ! कभी कभी सानियुन आपस माँ बात करी खुश ! बाद बाद माँ एक हैंकी सासू जी सी शिकैत करदी रैनी , की , मेरी बात या नि बिगदी आर ना वीकी मी ! हम थाई अनग द्यावा बस ! हम नि राइ सकदा ये किच किचमा !
सससुरल समझाई --" बाबा तुम द्वी मीली जुली रावा ! क्युओ छा एक ही भित्रा द्वी काना ..... अर भी भाषा बोली लेकी .." मेरो सपना छो की मई अपणो घर थाई ही उत्तराखंड बणाई की , एक मिशाल कयाम करुलू पर यख त आज बोली भाषा लेकी अलंग बन्ट्वारु मांगना ना छा त भोल पहनावा से मंगल्या ! परस्यु कुछ पर ..
द्वीयुंन बोली ...." जी हम थै उउत्तराखंड से क्या लीण , हम थै आप , बस, द्वी खंड दे द्युआ ! थै मैल्य खंड अर वी थै तैलया खंड ! आपे बात भी रैजाली अर हमारू काम भी हुवै जालू !
पराशर गौड़ २५ अगस्त रात ११ ४१ पर
उत्तराखंडी ई-पत्रिका
Tuesday, August 25, 2009
अब हार नही मानूँगा!
अब हार नही मानूँगा!
चाहे पथ पर कितने रोड़े आएँगे!
सुख की मंज़िल पा लूँगा में!
भाग्य में दुख कितने जोड़े जाएँगे!
आँसुओं का सैलाब पलने दूँगा मैं सीने में..
अपनी मंज़िल को पाने तक...
प्रतीक्षा कर लूँगा मैं,
पतझड़ से बहार आने तक,
नई हँसी पहनेंगे अधर..
बहा के सब अतीत के आँसू!
अभी तो उत्साह भी है, विश्मय भी!
घरौंदे की कौन सी नींव चुनूँ??
कैंसे मैं दीवार रखूं, कि दुख की आँधी से बचा सकूँ!
कुछ ऐसे ही, कुछ वैसे ही,जीवन का नवनिर्माण करूँ,
बनने दूं अभी छालों को, एक दिन फोड़े जाएँगे!
अब हार नही मानूँगा!
चाहे पथ पर कितने रोड़े आएँगे!
सुख की मंज़िल पा लूँगा में!
भाग्य में दुख कितने जोड़े जाएँगे!
अनसुना मैं उनकी हँसी को कर दूँगा!
योग्यता अपनी बेबसी को कर दूँगा!
और अपनी जीत की चकाचौंध से,
रंग उनके चेहरों का हर लूँगा!
टीस को अपनी शक्ति बना लूँगा,
जब घाव मेरे छेड़े जाएँगे!
अब हार नही मानूँगा!
चाहे पथ पर कितने रोड़े आएँगे
Copy Right@ Umesh Gusain
चाहे पथ पर कितने रोड़े आएँगे!
सुख की मंज़िल पा लूँगा में!
भाग्य में दुख कितने जोड़े जाएँगे!
आँसुओं का सैलाब पलने दूँगा मैं सीने में..
अपनी मंज़िल को पाने तक...
प्रतीक्षा कर लूँगा मैं,
पतझड़ से बहार आने तक,
नई हँसी पहनेंगे अधर..
बहा के सब अतीत के आँसू!
अभी तो उत्साह भी है, विश्मय भी!
घरौंदे की कौन सी नींव चुनूँ??
कैंसे मैं दीवार रखूं, कि दुख की आँधी से बचा सकूँ!
कुछ ऐसे ही, कुछ वैसे ही,जीवन का नवनिर्माण करूँ,
बनने दूं अभी छालों को, एक दिन फोड़े जाएँगे!
अब हार नही मानूँगा!
चाहे पथ पर कितने रोड़े आएँगे!
सुख की मंज़िल पा लूँगा में!
भाग्य में दुख कितने जोड़े जाएँगे!
अनसुना मैं उनकी हँसी को कर दूँगा!
योग्यता अपनी बेबसी को कर दूँगा!
और अपनी जीत की चकाचौंध से,
रंग उनके चेहरों का हर लूँगा!
टीस को अपनी शक्ति बना लूँगा,
जब घाव मेरे छेड़े जाएँगे!
अब हार नही मानूँगा!
चाहे पथ पर कितने रोड़े आएँगे
Copy Right@ Umesh Gusain
पहाड़ में रोजगार
कोई भी उत्तराखंडी कभी, नहीं रह सकता है बेरोजगार,
सिर्फ, समझ की कमी है हमारी, जो है जीवन का आधार.
आपको लग रहा होगा अटपटा, सोच करती है कमाल,
क्या कमी है उत्तराखंड में, जहाँ है कुमायूं और गढ़वाल.
अगर, बाहर के व्यक्ति वहां, काम करके हो रहे मालामाल,
तुम हो नौकरी की तलाश में, चाहे हो जाएँ अपने फटे हाल.
लिखना पढना ज्ञान के लिए, हर इंसान के लिए है जरूरी,
दूर करो अज्ञान के परदे को, सोचो, फिर क्या है मजबूरी?
पहाड़ पर पर्यटक हर साल, लाखों की संख्या में घूमने जाते,
पहाड़ के पारंपरिक उत्पादों को बेचकर, उनसे पैसा क्योँ नहीं कमाते?
पहाड़ पर जब आता है पर्यटक, बहुराष्टीय कम्पनी के उत्पाद खाता पीता,
पहाड़ की वादियों में फाइव स्टार संस्कृति पर, पैसा लुटाकर लौटता रीता.
लुप्त होते पहाड़ के कुटीर उत्पादों का, तकनीकी ज्ञान लेकर उद्योग लगाओ,
कर्महीन नहीं, ईमानदार और मेहनती बनो, जीवनयापन के लिए पैसा कमाओ.
नौकरी कभी नहीं होती भली, क्योँ कसिस भरा जीवन अपनाओ,
कहता है कवि "जिज्ञासु" आपको, स्वरोजगार करो और कमाओ.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू" (दूरभास:9868795187)
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
निवास: संगम विहार, नई दिल्ली
२५.८.२००९,
सिर्फ, समझ की कमी है हमारी, जो है जीवन का आधार.
आपको लग रहा होगा अटपटा, सोच करती है कमाल,
क्या कमी है उत्तराखंड में, जहाँ है कुमायूं और गढ़वाल.
अगर, बाहर के व्यक्ति वहां, काम करके हो रहे मालामाल,
तुम हो नौकरी की तलाश में, चाहे हो जाएँ अपने फटे हाल.
लिखना पढना ज्ञान के लिए, हर इंसान के लिए है जरूरी,
दूर करो अज्ञान के परदे को, सोचो, फिर क्या है मजबूरी?
पहाड़ पर पर्यटक हर साल, लाखों की संख्या में घूमने जाते,
पहाड़ के पारंपरिक उत्पादों को बेचकर, उनसे पैसा क्योँ नहीं कमाते?
पहाड़ पर जब आता है पर्यटक, बहुराष्टीय कम्पनी के उत्पाद खाता पीता,
पहाड़ की वादियों में फाइव स्टार संस्कृति पर, पैसा लुटाकर लौटता रीता.
लुप्त होते पहाड़ के कुटीर उत्पादों का, तकनीकी ज्ञान लेकर उद्योग लगाओ,
कर्महीन नहीं, ईमानदार और मेहनती बनो, जीवनयापन के लिए पैसा कमाओ.
नौकरी कभी नहीं होती भली, क्योँ कसिस भरा जीवन अपनाओ,
कहता है कवि "जिज्ञासु" आपको, स्वरोजगार करो और कमाओ.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू" (दूरभास:9868795187)
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
निवास: संगम विहार, नई दिल्ली
२५.८.२००९,
"पहाड़"
पहाड़, याने मुसबतों का भंडार,
उनके लिए, जो ऐसा सोचते हैं,
क्या है उस पहाड़ में?
ऐसा भी बोलते हैं,
लेकिन! फिर भी जाते हैं,
घूमने, अपनी गाड़ी लेकर,
पहाड़ पर प्रदूषण फैलाने.
पहाड़ में पहाड़ियों के,
प्राण बसते हैं,
देवभूमि से दूर रहने पर भी,
जन्मभूमि को याद करते हैं.
क्योँ न करें?
पहाडों की गोद में,
बचपन बिताया,
वहां के अध्यापकों ने,
लिखाया पढाया.
ऊंचे पहाड़ों को निहार कर,
बड़ा बनने का संकल्प लिया,
फिर पहाड़वासियौं ने,
देश और विश्व स्तर पर,
पहाड़ का नाम रोशन किया.
पहाड़ पर प्रकृति का भंडार है,
गाद,गदेरे,जीवनदायिनी नदियाँ,
डांडी, हिंवालि काँठी,बुरांश,देवदार,
पहाडों के सृंगार हैं.
फ्योंली,पय्याँ,आरू,घिंगारू,
जब फूलते हैं पहाड़ पर,
लगता है क्या सृंगार किया है,
पहाड़ों की सुरम्य वादियौं ने,
हरी भरी डांडयौं ने,
देखकर मन मोहित जाता है,
और कहता है,
पहाड़, हमारी जन्मभूमि,
देवताओं की प्रिय भूमि,
अतीत में वीर भडों ने चूमी,
धन्य हैं हम, जो है हमारी,
प्राणो से प्यारी,
पवित्र उत्तराखंड भूमि.
कहता कवि "जिज्ञासु"
पहाड़, प्रेरणा के पहाड़ हैं,
मुसीबतों के नहीं,
जो देते हैं हमको,
नहीं मिल सकता है,
और कहीं.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
निवास: संगम विहार, नई दिल्ली
२४.८.२००९, दूरभास:9868795187
उनके लिए, जो ऐसा सोचते हैं,
क्या है उस पहाड़ में?
ऐसा भी बोलते हैं,
लेकिन! फिर भी जाते हैं,
घूमने, अपनी गाड़ी लेकर,
पहाड़ पर प्रदूषण फैलाने.
पहाड़ में पहाड़ियों के,
प्राण बसते हैं,
देवभूमि से दूर रहने पर भी,
जन्मभूमि को याद करते हैं.
क्योँ न करें?
पहाडों की गोद में,
बचपन बिताया,
वहां के अध्यापकों ने,
लिखाया पढाया.
ऊंचे पहाड़ों को निहार कर,
बड़ा बनने का संकल्प लिया,
फिर पहाड़वासियौं ने,
देश और विश्व स्तर पर,
पहाड़ का नाम रोशन किया.
पहाड़ पर प्रकृति का भंडार है,
गाद,गदेरे,जीवनदायिनी नदियाँ,
डांडी, हिंवालि काँठी,बुरांश,देवदार,
पहाडों के सृंगार हैं.
फ्योंली,पय्याँ,आरू,घिंगारू,
जब फूलते हैं पहाड़ पर,
लगता है क्या सृंगार किया है,
पहाड़ों की सुरम्य वादियौं ने,
हरी भरी डांडयौं ने,
देखकर मन मोहित जाता है,
और कहता है,
पहाड़, हमारी जन्मभूमि,
देवताओं की प्रिय भूमि,
अतीत में वीर भडों ने चूमी,
धन्य हैं हम, जो है हमारी,
प्राणो से प्यारी,
पवित्र उत्तराखंड भूमि.
कहता कवि "जिज्ञासु"
पहाड़, प्रेरणा के पहाड़ हैं,
मुसीबतों के नहीं,
जो देते हैं हमको,
नहीं मिल सकता है,
और कहीं.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
निवास: संगम विहार, नई दिल्ली
२४.८.२००९, दूरभास:9868795187
Garhwali Folk Literature-5
More Flaws in the Commentary of Dr Uniyal about Garhwali Folk Dramas
Bhishma Kukreti
This is in continuation of my reaction for the commentary of Dr Rajeshwar Uniyal on Garhwali Folk Dramas published in special issue of Hamari Chitthi a Garhwali language magazine (January-March,2009,page25-27).
Uniyal writes about the development of folk dramas , “ The folk dramas developed specially in medieval era (Madhya yug) or in Mughal era. Even in medieval era, the folk dramas spreads in the time of Bhakti kal. Though , Mahakavi Kali Das created Abhigyan Shankutalam before 2000 years back but thre is no mention of staging of play in Mahabharata , Rmayan and Puran.There was dance art in Indra’s conferences but not drama. There was creation of drama but there was no stage playing.”
This author never experienced such blunder by a learned critics in reviewing an art (Folk Drama) which is being discussed by researchers universally for many centuries . The author wants to provide some prove that Dr Rajeshwar Uniyal should review his this article again and correct his misconception:
1- There is mention or suggestion of drama or staging play in the dialogues between Yam and Yami in Vedas (1).
2- Mahabharata is created before five thousand years back or much before Bharat’s Natya Shashtra , Ramayan of Balmiki and Puran. Puran are created after first AD. However there is mention of words ‘pathak’ and ‘dharak’ in Mahabharata and ramayan and those are the related words of Dramas and Mahabharata mentioned about the word ‘Lok’ too:
Agyan tmirandhasya lokasya tu vichestatah
Gyanjanshalakaabhirtronmeelan karakam
Mahabharat Adparva-1/84
The word ‘pandhak (eunuch) is mentioned in Mahabharata (Virat Parva-2/25 ) and Brihlinna (mhamanav) and both words suggest that there was custom of staging playas or mimicry before Mahabharata was created .
2- The creation of Bharat ‘s Natya Shashtra is supposed to be before 2500 years back. It is an universal fact that the sophisticated dramas (mentioned in Bharat’s Natya Shasta) cannot take shape until there is culture of folk dramas. This universal fact proves that the concept of folk dramas was much before Bharat created Natya Shashtra.
There is mention of Lok Natya (folk Drama ) in Bharat’s Natya Shashtra :
Lok dharmi bhavetwanya Natyadharmi tathapara
Svabhao lokdharmi tu bhibhavo natyamev hi ( bharat natya Shashtra, 21/203)
Bharat accepted the role of folk dramas in development of sophisticated dramas (Natya ) and stated the characteristics of Lok Natya :
Swabhavopagatam shudham tu vikritam tatha
Lok varta kriyopetamang leela vivrtajam -13/71
Swabhavobhinayottam nana stripurushashrayam
Yadrishya bhave natyam lokdharmi tu sa smrita: 13/72
3- Dr Shri Ram Sharma (1980) , Dr Shankar Lal Yadav and Dr Som Nath Gupt proved that it is wrong to misconceptualize that the folk dramas were developed at the time of Bhakti period.
4- From Garhwal point of view, there was no Moghal period or effects of Moghals that our folk dramas were destroyed. and Bhakti period was responsible for developing folk dramas
6- Dr Shiva Nand Nautiyal (1981) one of the prominent experts on folk literature of Garhwali writes about Duda Nrityageet (folk dance-Song) , “ In fact, Duda is not a dance but is the performances of two or more singers. Tuda or Tude is the synonym of Duda and this style is no more now in Garhwal. This folk song has specialty that it is in the form of questions and answers and later on it transformed into poetical drama performance .Nautiyal says that Duda is another style of Bajuband Geet of Garhwal, which is equivalent to Nyoli of Kumaun. Bajuband geet are the primitive form of Garhwali folk song (Ramola, 1989). The statements with full of researches of Shiva Nand Nautiyal and Mal Chand Ralso support and prove that Garhwali folk songs had been there before medieval era.
7-Garhwal has a tradition of a class (jati) called Badi and thus the custom of folk dramas in Garhwal was there before Vedic time .
Now it is clear that Dr Rajeshwar Uniyal without any thorough research mentioned that folk dramas were developed in Bhakti Kal .
Same way Rajeshwar’s saying that Ramayan is the initiating point for Garhwali drama is totally baseless and without any justifying proof. The folk dramas have relation with folk lore and folk songs but Garhwali folk songs or Jagar have least mention of Ramleela .
Dr Rajeshwar raised a question about who are the Badis --whether they Bheel/kirat etc. even Badis are kirat or Bheel it proves that the custom of Badi’s dramas was before Ajya Pal Panwar became the king of modern Garhwal .by this logic, means the customs of Badis are there before one thousand years in Garhwal .
Conclusion is that dr Rajeshwar Uniyal wrote the commentary on Garhwali folk dramas without any thinking, without any thorough research and did not apply any logic too
References:
1- Sharma , Shri ram, 1970, Lok Sahitya sidhant aur Prayog, Page-135-137
2-Yadav , Dr Shankar Lal, hariyana Pradesh ka lok Sahitya, page-382
3-Gupt, Dr Som Nath, Hindi Natak-Sahitya ka Itihas, page-16
Copyright@ Bhishma Kukreti, Mumbai, 2009
4- Nautiya, Shiva Nand, 1981, Garhwal ke Nritya-Geet,pages-274-280
5-Ramola, Malchand, Bajuband-Kavya, 1989, page, Bhumika-3
Bhishma Kukreti
This is in continuation of my reaction for the commentary of Dr Rajeshwar Uniyal on Garhwali Folk Dramas published in special issue of Hamari Chitthi a Garhwali language magazine (January-March,2009,page25-27).
Uniyal writes about the development of folk dramas , “ The folk dramas developed specially in medieval era (Madhya yug) or in Mughal era. Even in medieval era, the folk dramas spreads in the time of Bhakti kal. Though , Mahakavi Kali Das created Abhigyan Shankutalam before 2000 years back but thre is no mention of staging of play in Mahabharata , Rmayan and Puran.There was dance art in Indra’s conferences but not drama. There was creation of drama but there was no stage playing.”
This author never experienced such blunder by a learned critics in reviewing an art (Folk Drama) which is being discussed by researchers universally for many centuries . The author wants to provide some prove that Dr Rajeshwar Uniyal should review his this article again and correct his misconception:
1- There is mention or suggestion of drama or staging play in the dialogues between Yam and Yami in Vedas (1).
2- Mahabharata is created before five thousand years back or much before Bharat’s Natya Shashtra , Ramayan of Balmiki and Puran. Puran are created after first AD. However there is mention of words ‘pathak’ and ‘dharak’ in Mahabharata and ramayan and those are the related words of Dramas and Mahabharata mentioned about the word ‘Lok’ too:
Agyan tmirandhasya lokasya tu vichestatah
Gyanjanshalakaabhirtronmeelan karakam
Mahabharat Adparva-1/84
The word ‘pandhak (eunuch) is mentioned in Mahabharata (Virat Parva-2/25 ) and Brihlinna (mhamanav) and both words suggest that there was custom of staging playas or mimicry before Mahabharata was created .
2- The creation of Bharat ‘s Natya Shashtra is supposed to be before 2500 years back. It is an universal fact that the sophisticated dramas (mentioned in Bharat’s Natya Shasta) cannot take shape until there is culture of folk dramas. This universal fact proves that the concept of folk dramas was much before Bharat created Natya Shashtra.
There is mention of Lok Natya (folk Drama ) in Bharat’s Natya Shashtra :
Lok dharmi bhavetwanya Natyadharmi tathapara
Svabhao lokdharmi tu bhibhavo natyamev hi ( bharat natya Shashtra, 21/203)
Bharat accepted the role of folk dramas in development of sophisticated dramas (Natya ) and stated the characteristics of Lok Natya :
Swabhavopagatam shudham tu vikritam tatha
Lok varta kriyopetamang leela vivrtajam -13/71
Swabhavobhinayottam nana stripurushashrayam
Yadrishya bhave natyam lokdharmi tu sa smrita: 13/72
3- Dr Shri Ram Sharma (1980) , Dr Shankar Lal Yadav and Dr Som Nath Gupt proved that it is wrong to misconceptualize that the folk dramas were developed at the time of Bhakti period.
4- From Garhwal point of view, there was no Moghal period or effects of Moghals that our folk dramas were destroyed. and Bhakti period was responsible for developing folk dramas
6- Dr Shiva Nand Nautiyal (1981) one of the prominent experts on folk literature of Garhwali writes about Duda Nrityageet (folk dance-Song) , “ In fact, Duda is not a dance but is the performances of two or more singers. Tuda or Tude is the synonym of Duda and this style is no more now in Garhwal. This folk song has specialty that it is in the form of questions and answers and later on it transformed into poetical drama performance .Nautiyal says that Duda is another style of Bajuband Geet of Garhwal, which is equivalent to Nyoli of Kumaun. Bajuband geet are the primitive form of Garhwali folk song (Ramola, 1989). The statements with full of researches of Shiva Nand Nautiyal and Mal Chand Ralso support and prove that Garhwali folk songs had been there before medieval era.
7-Garhwal has a tradition of a class (jati) called Badi and thus the custom of folk dramas in Garhwal was there before Vedic time .
Now it is clear that Dr Rajeshwar Uniyal without any thorough research mentioned that folk dramas were developed in Bhakti Kal .
Same way Rajeshwar’s saying that Ramayan is the initiating point for Garhwali drama is totally baseless and without any justifying proof. The folk dramas have relation with folk lore and folk songs but Garhwali folk songs or Jagar have least mention of Ramleela .
Dr Rajeshwar raised a question about who are the Badis --whether they Bheel/kirat etc. even Badis are kirat or Bheel it proves that the custom of Badi’s dramas was before Ajya Pal Panwar became the king of modern Garhwal .by this logic, means the customs of Badis are there before one thousand years in Garhwal .
Conclusion is that dr Rajeshwar Uniyal wrote the commentary on Garhwali folk dramas without any thinking, without any thorough research and did not apply any logic too
References:
1- Sharma , Shri ram, 1970, Lok Sahitya sidhant aur Prayog, Page-135-137
2-Yadav , Dr Shankar Lal, hariyana Pradesh ka lok Sahitya, page-382
3-Gupt, Dr Som Nath, Hindi Natak-Sahitya ka Itihas, page-16
Copyright@ Bhishma Kukreti, Mumbai, 2009
4- Nautiya, Shiva Nand, 1981, Garhwal ke Nritya-Geet,pages-274-280
5-Ramola, Malchand, Bajuband-Kavya, 1989, page, Bhumika-3
Garhwali Folk Literature-6
Bajuband poetry or Geet : The Initial Garhwali Folk Poetry/Songs
(This write up is dedicated to late Shri Mal Chand Ramola who collected and published more than 250 gaarhwali bajuband poetry)
Bhishma Kukreti
The folklores as Bajuband Geet in Garhwal are earlier than the alphabets would have started (Ramola, 1989). Ramola provides example of saying by Sinjwik that Bajuband folk songs are earliest for of Garhwali folk songs
“ ..These folklores are older than literature, older than alphabet .It is lore and belongs to the illiterate folks”.
Ramola says that these folk songs are there in Garhwal from the initiating point when the human beings started to live there in Garhwal .
Govind Chatak and Shiva Nand Nautiyal state that Bajuband Geet are equal to Nyaoli of Kumaun. Nautiyal (1981) positions that Dudo or teedu/teedo are another style of Bajuband Nritya Geet (Dance-Song).
Chatak, Nautiyal and Ramola agreed that these songs have been part and partial of Garhwali society. However, Nautiyal states that there is no more existence of dance, drama with these songs . Nauiyal and Chatak states that Bajuband but not Deedo/teedo are love-dance-songs are of Ravanee -Jaunsar-Jaunpur but Ramola proves that these are common songs of each Garhwali folks. This author also supports Ramola that even today, at one or more times a common Garhwal creates Bajuband poetry in his/her lifetime. The process of being poetic is nothing but to create Bajuband song or verse. It is natural to create poetic statement by all. Though, Ramola says that education becoming the medium of educated Garhwalis to ignore these initial Garhwali rhymes, however this writer feels that Garhwalis are not stopping to create newer types of Bajuband verses and these educated Garhwalis may not be using these verses as entertaining and communicating medium as used to be in older Garhwal.
No body will disagree with Ramola that there is musical experiencing in Bajuband songs . Ramola says that Bajuband songs are poetry by providing examples of Sanskrit experts
“ vakya rasatmak kavya”, which means that the sentence which provides delight is poetry and “ Ramaniyarth pratipadakah shabdah kavyam’ ad it means that when the meaning of words provide delight , the composition of words is poetry.
The Bajuband songs are truly expressions of emotions, perceptions, knowledge of the creator and the wordings for Bajuband verses originate from the heart and not by intellect.
Ramola says that we should put Bajuband Kavya in the category of Mukta Chhand or stray poems.
There are two stanzas in Bajuband (couplets in Hindi) poem but the first part does have any relation with the poetry except it provides the musical alliteration or the first part of Bajuband poem is used for rhyming for the poem. Second part is meaningful. That is why it is said:
Bajuband ka geet jan rambans ka teer
Dikhan man chhwata ghau karam man ganbheer
Means the last stanza of Bajuband is smaller but is full of meaning.
A few examples of Bajuband poems are as follows :
1- Dahi khaee makhyun- duniya khandi gichhan tu khandee ankh
2-Dathuda ki dhar-ankhi teri futi jaya najar ni mar
3-banduki ku gaj- galvadi ko til, mukhdi biraj
4-khandit kadhaee-onthano par onthani mili, dantuni na ladaee
By analyzing we may understand that the second part of Bajuband is effective .the last stanza has five to seven words and are enough to express the whole expression of communicator.
There are all types Bajuband poems in Garhwali that there are all types of raptures
i.e. love, wrath, humor, tragedy, abhorrence, chivalry, humour and surprise. However, the rapture of love is found more prominently.
Some example of other raptures in Bajuband song are:
1-Paliingo sag-- mankhi jauli maya hondi purush jaula bhag
2-Pani bharun dibul-nag dikhya taiku pakyun timul
3-Panch ar panch das--kha guaoko ras
4-ringali ki mani-bain ankhi farki sua aund jani
Shiva Nand Nautiyal provides an astounding knowledge that there used to wars between two or two groups through Bajuband or Duda Dance-Song.
The Bajuband poetry is our heritage and the sensitive Garhwalis should not only take care in preserving or protecting these poems but there should not be stoage in creation of these poems
References:
1-Ramola, Malchand, 1989, Bajuband-Kavya,
2-Nautiyal, Shiva nand, 1981, Garhwal ke Lok Nritya Geet,page-279
3-Chatak, Govind, Garhwal ke Lok Geet, page 132-135
Copyright@ Bhishma Kukreti, Mumbai, 2009
(This write up is dedicated to late Shri Mal Chand Ramola who collected and published more than 250 gaarhwali bajuband poetry)
Bhishma Kukreti
The folklores as Bajuband Geet in Garhwal are earlier than the alphabets would have started (Ramola, 1989). Ramola provides example of saying by Sinjwik that Bajuband folk songs are earliest for of Garhwali folk songs
“ ..These folklores are older than literature, older than alphabet .It is lore and belongs to the illiterate folks”.
Ramola says that these folk songs are there in Garhwal from the initiating point when the human beings started to live there in Garhwal .
Govind Chatak and Shiva Nand Nautiyal state that Bajuband Geet are equal to Nyaoli of Kumaun. Nautiyal (1981) positions that Dudo or teedu/teedo are another style of Bajuband Nritya Geet (Dance-Song).
Chatak, Nautiyal and Ramola agreed that these songs have been part and partial of Garhwali society. However, Nautiyal states that there is no more existence of dance, drama with these songs . Nauiyal and Chatak states that Bajuband but not Deedo/teedo are love-dance-songs are of Ravanee -Jaunsar-Jaunpur but Ramola proves that these are common songs of each Garhwali folks. This author also supports Ramola that even today, at one or more times a common Garhwal creates Bajuband poetry in his/her lifetime. The process of being poetic is nothing but to create Bajuband song or verse. It is natural to create poetic statement by all. Though, Ramola says that education becoming the medium of educated Garhwalis to ignore these initial Garhwali rhymes, however this writer feels that Garhwalis are not stopping to create newer types of Bajuband verses and these educated Garhwalis may not be using these verses as entertaining and communicating medium as used to be in older Garhwal.
No body will disagree with Ramola that there is musical experiencing in Bajuband songs . Ramola says that Bajuband songs are poetry by providing examples of Sanskrit experts
“ vakya rasatmak kavya”, which means that the sentence which provides delight is poetry and “ Ramaniyarth pratipadakah shabdah kavyam’ ad it means that when the meaning of words provide delight , the composition of words is poetry.
The Bajuband songs are truly expressions of emotions, perceptions, knowledge of the creator and the wordings for Bajuband verses originate from the heart and not by intellect.
Ramola says that we should put Bajuband Kavya in the category of Mukta Chhand or stray poems.
There are two stanzas in Bajuband (couplets in Hindi) poem but the first part does have any relation with the poetry except it provides the musical alliteration or the first part of Bajuband poem is used for rhyming for the poem. Second part is meaningful. That is why it is said:
Bajuband ka geet jan rambans ka teer
Dikhan man chhwata ghau karam man ganbheer
Means the last stanza of Bajuband is smaller but is full of meaning.
A few examples of Bajuband poems are as follows :
1- Dahi khaee makhyun- duniya khandi gichhan tu khandee ankh
2-Dathuda ki dhar-ankhi teri futi jaya najar ni mar
3-banduki ku gaj- galvadi ko til, mukhdi biraj
4-khandit kadhaee-onthano par onthani mili, dantuni na ladaee
By analyzing we may understand that the second part of Bajuband is effective .the last stanza has five to seven words and are enough to express the whole expression of communicator.
There are all types Bajuband poems in Garhwali that there are all types of raptures
i.e. love, wrath, humor, tragedy, abhorrence, chivalry, humour and surprise. However, the rapture of love is found more prominently.
Some example of other raptures in Bajuband song are:
1-Paliingo sag-- mankhi jauli maya hondi purush jaula bhag
2-Pani bharun dibul-nag dikhya taiku pakyun timul
3-Panch ar panch das--kha guaoko ras
4-ringali ki mani-bain ankhi farki sua aund jani
Shiva Nand Nautiyal provides an astounding knowledge that there used to wars between two or two groups through Bajuband or Duda Dance-Song.
The Bajuband poetry is our heritage and the sensitive Garhwalis should not only take care in preserving or protecting these poems but there should not be stoage in creation of these poems
References:
1-Ramola, Malchand, 1989, Bajuband-Kavya,
2-Nautiyal, Shiva nand, 1981, Garhwal ke Lok Nritya Geet,page-279
3-Chatak, Govind, Garhwal ke Lok Geet, page 132-135
Copyright@ Bhishma Kukreti, Mumbai, 2009
Garhwali Folk Songs -4
21 Characteristics of Garhwali Folk Song as stated by Dr. Mahan Babulkar
Bhishma Kukreti
There have been many research scholars who did research and wrote criticism about Garhwali folk literature including Folk Song and music. Dr Govind Chatak, dr Shiva Nand Nautiyal and Dr Mohan Babulkar are the main pillars of doing surveys of Garhwali folk literature . However, Dr Mohan Babulkar is credited not only for his serious researches and exposures of Garhwali Folk song but he is exalted for providing extensively the characteristics of Folk Literature in any society or area concern. In his famous book “ Lok Sahitya Sidhant aur Prayog” published in 1980, Dr Shri ram Sharma writes about the extensive works of Dr Mohan Babulkar, “Dr. Mohan Babulkar increased the characteristics of Folk Song up to twenty one. Honestly , Dr Babulkar provided the name of researcher who gave the name to a particular characteristic of Folk songs….After this comprehensive characterization of folk songs, there is no space for anybody to add new characteristic of folk songs. The integrated analytical work of Dr Mohan Babulkar is very appreciable.”
Dr Babulkar provided following twenty one characteristics of folk songs (Garhwali Lok Sahitya ka Vivechanatmak Adhyayan, page-11):
1- These are traditionally ballad in nature and not of written form
2-these are non-masculine (apaurishiya) in nature (as per conventional definition provided in Vedas for apaurishiya)
3-The creator does not creates for name or fame
4-These are created and diminishes or continuity is fundamentals of creation of folk songs
5-This is the reason, we can not get manuscript of these types of literature
6-the songs are lyrical and melodious
7-These lacks the long story or dialogues
8-There is no boundary of time and place in these songs
9-These are created by women
10-These songs communicate the struggle or lacking something in life but don’t mark or count the lacking in life
11-These folk songs express the simplicity of human culture and emotions
12-These songs narrate the nature and ethnicity of the land
13-in the absence of artificiality , these songs are reflection or approval of spontaneosity and decorationlessness .
14-The language of these songs are of country folk men ,therefore, folk songs don’t have the language of meteoric poetry .
15-These are away from cities or towns. Therefore, there is nature, landscape, human-life, seasons of village or rural regions.
16- According to Shri Devendra Starchy , the girls of region carry and bring (transfer) the symbols from one place to other places.
17-These are the narration by and of nature. According to Shyam Parmar, the main properties of folk songs are--without tawdriness, transparent or pure as glass, simple, ecstatic , melodious.
18- Dr. Shyam Parmar appraises another property of folk songs that history is hidden into them,. The narration of big heart of female, the human relation from birth to death, the asset of human evaluation , immense stock of emotions and melody are their other properties.
19-Dr Yadu Nath Yadav suggested that the domain of folk songs are with high speed of management skill, effortless word construction, universal delight of nature and human, subtle but very effective characterization , enormous narration of sport ground, relegating of artificiality and insincerity.
20-According to French critics Mr. Ayere , the creator of folk song uses synchronizing style in sound instead of using rhymes in verses, repeated uses of numbers--three, five and seven, inclination of adding the name, waiting for somebody, questions and answers in verses are the characteristics of folk songs.
21- Collective wisdom, benefits to people, inclination to universal cooperation and freedom are other characteristics of folk songs
Though, there are a few repetition in the above twenty one characteristics of folk songs but nothing is left to describe the characteristics of folk song after the laying down the characteristics by Dr Mohan Babulkar.
The above characteristics are also the characteristics of Garhwali folk song
Copyright@ Bhishma Kukreti, Mumbai, India 2009.
Bhishma Kukreti
There have been many research scholars who did research and wrote criticism about Garhwali folk literature including Folk Song and music. Dr Govind Chatak, dr Shiva Nand Nautiyal and Dr Mohan Babulkar are the main pillars of doing surveys of Garhwali folk literature . However, Dr Mohan Babulkar is credited not only for his serious researches and exposures of Garhwali Folk song but he is exalted for providing extensively the characteristics of Folk Literature in any society or area concern. In his famous book “ Lok Sahitya Sidhant aur Prayog” published in 1980, Dr Shri ram Sharma writes about the extensive works of Dr Mohan Babulkar, “Dr. Mohan Babulkar increased the characteristics of Folk Song up to twenty one. Honestly , Dr Babulkar provided the name of researcher who gave the name to a particular characteristic of Folk songs….After this comprehensive characterization of folk songs, there is no space for anybody to add new characteristic of folk songs. The integrated analytical work of Dr Mohan Babulkar is very appreciable.”
Dr Babulkar provided following twenty one characteristics of folk songs (Garhwali Lok Sahitya ka Vivechanatmak Adhyayan, page-11):
1- These are traditionally ballad in nature and not of written form
2-these are non-masculine (apaurishiya) in nature (as per conventional definition provided in Vedas for apaurishiya)
3-The creator does not creates for name or fame
4-These are created and diminishes or continuity is fundamentals of creation of folk songs
5-This is the reason, we can not get manuscript of these types of literature
6-the songs are lyrical and melodious
7-These lacks the long story or dialogues
8-There is no boundary of time and place in these songs
9-These are created by women
10-These songs communicate the struggle or lacking something in life but don’t mark or count the lacking in life
11-These folk songs express the simplicity of human culture and emotions
12-These songs narrate the nature and ethnicity of the land
13-in the absence of artificiality , these songs are reflection or approval of spontaneosity and decorationlessness .
14-The language of these songs are of country folk men ,therefore, folk songs don’t have the language of meteoric poetry .
15-These are away from cities or towns. Therefore, there is nature, landscape, human-life, seasons of village or rural regions.
16- According to Shri Devendra Starchy , the girls of region carry and bring (transfer) the symbols from one place to other places.
17-These are the narration by and of nature. According to Shyam Parmar, the main properties of folk songs are--without tawdriness, transparent or pure as glass, simple, ecstatic , melodious.
18- Dr. Shyam Parmar appraises another property of folk songs that history is hidden into them,. The narration of big heart of female, the human relation from birth to death, the asset of human evaluation , immense stock of emotions and melody are their other properties.
19-Dr Yadu Nath Yadav suggested that the domain of folk songs are with high speed of management skill, effortless word construction, universal delight of nature and human, subtle but very effective characterization , enormous narration of sport ground, relegating of artificiality and insincerity.
20-According to French critics Mr. Ayere , the creator of folk song uses synchronizing style in sound instead of using rhymes in verses, repeated uses of numbers--three, five and seven, inclination of adding the name, waiting for somebody, questions and answers in verses are the characteristics of folk songs.
21- Collective wisdom, benefits to people, inclination to universal cooperation and freedom are other characteristics of folk songs
Though, there are a few repetition in the above twenty one characteristics of folk songs but nothing is left to describe the characteristics of folk song after the laying down the characteristics by Dr Mohan Babulkar.
The above characteristics are also the characteristics of Garhwali folk song
Copyright@ Bhishma Kukreti, Mumbai, India 2009.
Garhwali Folk Songs -4
21 Characteristics of Garhwali Folk Song as stated by Dr. Mahan Babulkar
Bhishma Kukreti
There have been many research scholars who did research and wrote criticism about Garhwali folk literature including Folk Song and music. Dr Govind Chatak, dr Shiva Nand Nautiyal and Dr Mohan Babulkar are the main pillars of doing surveys of Garhwali folk literature . However, Dr Mohan Babulkar is credited not only for his serious researches and exposures of Garhwali Folk song but he is exalted for providing extensively the characteristics of Folk Literature in any society or area concern. In his famous book “ Lok Sahitya Sidhant aur Prayog” published in 1980, Dr Shri ram Sharma writes about the extensive works of Dr Mohan Babulkar, “Dr. Mohan Babulkar increased the characteristics of Folk Song up to twenty one. Honestly , Dr Babulkar provided the name of researcher who gave the name to a particular characteristic of Folk songs….After this comprehensive characterization of folk songs, there is no space for anybody to add new characteristic of folk songs. The integrated analytical work of Dr Mohan Babulkar is very appreciable.”
Dr Babulkar provided following twenty one characteristics of folk songs (Garhwali Lok Sahitya ka Vivechanatmak Adhyayan, page-11):
1- These are traditionally ballad in nature and not of written form
2-these are non-masculine (apaurishiya) in nature (as per conventional definition provided in Vedas for apaurishiya)
3-The creator does not creates for name or fame
4-These are created and diminishes or continuity is fundamentals of creation of folk songs
5-This is the reason, we can not get manuscript of these types of literature
6-the songs are lyrical and melodious
7-These lacks the long story or dialogues
8-There is no boundary of time and place in these songs
9-These are created by women
10-These songs communicate the struggle or lacking something in life but don’t mark or count the lacking in life
11-These folk songs express the simplicity of human culture and emotions
12-These songs narrate the nature and ethnicity of the land
13-in the absence of artificiality , these songs are reflection or approval of spontaneosity and decorationlessness .
14-The language of these songs are of country folk men ,therefore, folk songs don’t have the language of meteoric poetry .
15-These are away from cities or towns. Therefore, there is nature, landscape, human-life, seasons of village or rural regions.
16- According to Shri Devendra Starchy , the girls of region carry and bring (transfer) the symbols from one place to other places.
17-These are the narration by and of nature. According to Shyam Parmar, the main properties of folk songs are--without tawdriness, transparent or pure as glass, simple, ecstatic , melodious.
18- Dr. Shyam Parmar appraises another property of folk songs that history is hidden into them,. The narration of big heart of female, the human relation from birth to death, the asset of human evaluation , immense stock of emotions and melody are their other properties.
19-Dr Yadu Nath Yadav suggested that the domain of folk songs are with high speed of management skill, effortless word construction, universal delight of nature and human, subtle but very effective characterization , enormous narration of sport ground, relegating of artificiality and insincerity.
20-According to French critics Mr. Ayere , the creator of folk song uses synchronizing style in sound instead of using rhymes in verses, repeated uses of numbers--three, five and seven, inclination of adding the name, waiting for somebody, questions and answers in verses are the characteristics of folk songs.
21- Collective wisdom, benefits to people, inclination to universal cooperation and freedom are other characteristics of folk songs
Though, there are a few repetition in the above twenty one characteristics of folk songs but nothing is left to describe the characteristics of folk song after the laying down the characteristics by Dr Mohan Babulkar.
The above characteristics are also the characteristics of Garhwali folk song
Copyright@ Bhishma Kukreti, Mumbai, India 2009.
Bhishma Kukreti
There have been many research scholars who did research and wrote criticism about Garhwali folk literature including Folk Song and music. Dr Govind Chatak, dr Shiva Nand Nautiyal and Dr Mohan Babulkar are the main pillars of doing surveys of Garhwali folk literature . However, Dr Mohan Babulkar is credited not only for his serious researches and exposures of Garhwali Folk song but he is exalted for providing extensively the characteristics of Folk Literature in any society or area concern. In his famous book “ Lok Sahitya Sidhant aur Prayog” published in 1980, Dr Shri ram Sharma writes about the extensive works of Dr Mohan Babulkar, “Dr. Mohan Babulkar increased the characteristics of Folk Song up to twenty one. Honestly , Dr Babulkar provided the name of researcher who gave the name to a particular characteristic of Folk songs….After this comprehensive characterization of folk songs, there is no space for anybody to add new characteristic of folk songs. The integrated analytical work of Dr Mohan Babulkar is very appreciable.”
Dr Babulkar provided following twenty one characteristics of folk songs (Garhwali Lok Sahitya ka Vivechanatmak Adhyayan, page-11):
1- These are traditionally ballad in nature and not of written form
2-these are non-masculine (apaurishiya) in nature (as per conventional definition provided in Vedas for apaurishiya)
3-The creator does not creates for name or fame
4-These are created and diminishes or continuity is fundamentals of creation of folk songs
5-This is the reason, we can not get manuscript of these types of literature
6-the songs are lyrical and melodious
7-These lacks the long story or dialogues
8-There is no boundary of time and place in these songs
9-These are created by women
10-These songs communicate the struggle or lacking something in life but don’t mark or count the lacking in life
11-These folk songs express the simplicity of human culture and emotions
12-These songs narrate the nature and ethnicity of the land
13-in the absence of artificiality , these songs are reflection or approval of spontaneosity and decorationlessness .
14-The language of these songs are of country folk men ,therefore, folk songs don’t have the language of meteoric poetry .
15-These are away from cities or towns. Therefore, there is nature, landscape, human-life, seasons of village or rural regions.
16- According to Shri Devendra Starchy , the girls of region carry and bring (transfer) the symbols from one place to other places.
17-These are the narration by and of nature. According to Shyam Parmar, the main properties of folk songs are--without tawdriness, transparent or pure as glass, simple, ecstatic , melodious.
18- Dr. Shyam Parmar appraises another property of folk songs that history is hidden into them,. The narration of big heart of female, the human relation from birth to death, the asset of human evaluation , immense stock of emotions and melody are their other properties.
19-Dr Yadu Nath Yadav suggested that the domain of folk songs are with high speed of management skill, effortless word construction, universal delight of nature and human, subtle but very effective characterization , enormous narration of sport ground, relegating of artificiality and insincerity.
20-According to French critics Mr. Ayere , the creator of folk song uses synchronizing style in sound instead of using rhymes in verses, repeated uses of numbers--three, five and seven, inclination of adding the name, waiting for somebody, questions and answers in verses are the characteristics of folk songs.
21- Collective wisdom, benefits to people, inclination to universal cooperation and freedom are other characteristics of folk songs
Though, there are a few repetition in the above twenty one characteristics of folk songs but nothing is left to describe the characteristics of folk song after the laying down the characteristics by Dr Mohan Babulkar.
The above characteristics are also the characteristics of Garhwali folk song
Copyright@ Bhishma Kukreti, Mumbai, India 2009.
Garhwali Folk Literature: 3
Collection of Garhwali Folk Stories
Bhishma Kukreti
The credit goes to European learned persons for initiating the collection and protection of folk literature. Later on, the learned persons of each area started to collect, edit and publish the folk literature of their own areas.
The following is brief of collection, writing commentary on Garhwali Folk Stories:
Himalayan Folk Lore: Okely and Tara Dutt started for publishing the Garhwali Folk Stories. Around 1930, they published a book, “ Himalayan Folk Lore” Dr Shiv Prasad Dabral in Uttarakhand ka Itihas and Abodh Bandhu Bahuguna in Langadi Bakari provided the reference of this starting initiation for collecting and publishing Garhwali folk literature.
Pundit Hari Ram Dhashmana and Pt. Keshava nand Naithani: Though Dhashmana and Naithani did not publish any collection of Garhwali folk stories but they were first to write history of Garhwal based on folk stories of Garhwal. On the basis of Garhwali folk stories, they tried to prove that Garhwal is the area where Vedas were created and Vedic culture was started from Garhwal region. Dhashmana and Naithani provided the examples of following folk stories:
1-Indra Dhanus
2- Sat Mataun kaa ek Putra
3-Fyunli
Folk Stories in Historical Books: Pundit Harikrishna Raturi in book ‘Garhwal ka itihas’, Bhakta darshan in ‘Garhwal ki Divangat Bibhutiyan’ and Dr Shiv Prasad Dabral in all eight volumes of Uttarakhand ka Itihas presented the examples of many folk stories.
Dr Govind Chatak: Govind Chatak published a book ‘Garhwal ki lok Kathayen’ in 1970 . now, Garhwal Jagar Dehradun has been republishing those stories.
Hari Dub by Dr Hari Dutt Bhatt ‘Shailesh’ : Hari Dutt Bhatt collected and published more than ten stories related to Garhwali lore in Hari Dub.
Shri Dant Nipodu: Abodh Bandhu Bahuguna writes in Gad myateki Ganga and Langadi Bakri that Dant Nipodu published a few humorous Garhwali folk stories in ‘Raibar’ (edited by Shakunt Joshi) before 1960.
Langadi Bakari by Abodh bandhu Bahuguna: Abodh Bandhu Bahuguna collected and published 19 folk stories in Langadi Bakari . Thee book was published by premium Publishing House Varansi in 1961:
1-Langadi Bakri
2-Sunna Didi
3-Lindarya Chhora
4-Sweeli Gham
5-Ladki Paksi ban gayee
6-Apni Man
7-Patal
8-Him Kahan se Aya
9-Sarp Dev Raja
10-Jhutha Sach
11-Uski Khoj
12-Dhafdi
13-Hari Hindwan
14-Dur ka Deepak
15-Ghugtee Basauti
16-Panchayat Nama
17-Patta aur dhela
18-Jagar
19-Kaful Pako
Bahuguna also provided in details the classification of Garhwali folk stories.
Gad Matyeki Ganga: Abodh Bandhu Bahuguna published six stories in Gad Matyeki Ganga (1975) and all were already published in Langadi Bakari
Dant Kathayen by Chakradhar Bahuguna and Veena Pani Joshi: Modrn Prakashan Dehradun published eight stories of Chakradhar Bahuguna and Veena pani Joshi in 1981. Later on Garhwali Jagar Dehradun republished all eight stories.
Garhwali Lok Kathayen by Bhishma Kukreti: Aleksandra Prakashan published a book’Garhwali Lok Kathayen by Bhishma Kukreti in 1984. There are twenty four stories in this collection:
1-Choli
2-pathya Chinkhu
3-Anubhav ki Mahatta
4-Bhratri Prem
5-Ganv ka Sayana
6-Chhyuntee
7-Gapodiyon ki Gapp
8-Barat tinka aur Keeda
9-Gay ki Punchh aur Bhut
10-Bhim aur Rakhsash
11-Kaful Pako
12-Ulti Ahilya
13-Haldi
14-Chhipkali ka Ghar
15-Bogus Vidya
16-Champa ka ped
17-Jaise ko Taisa
18-Grahan
19-Nath Ban gaye
20-Siyar va reechh
21-Gyana -Binjara
22-Meri Ganga
23-Ag aur Bhians palak
24-Bhemata aur Ped
Community Stories by Bhishma Kukreti: Bhishma Kukreti published two folk stories of Malla Dhangu or related to Kukreti families in
http://younguttaranchal.com/community/index.php?topic=3260.new#new
1- Road between Jaspur-Gweel is still troublesome
2-Dallya are Kukreti
Salan Batin Lok Katha (Under publication) by Bhishma Kukreti: Apart from collection of 22 stories, Bhishma Kukreti throw lights on some critical points such as
1- Please don’t say Garhwali is daughter of Hindi (Garhwali ko Hindi se nijat Dilao)
2-Brahman ad by collectors of Garhwali Folk Stories as these scholars avoided collection of Dalit kathyen
3-He analyzed Garhwali folk stories from management angle
There are following stories in Salan batin Lok Ktaha:
1-Vani Vilash Puran
2-Nrankarai Tapasya
3-Godhan
4-Beej Ni Khan
5-Kingwado
6-jantar mantar ki Seekh
7-Kheer ki Thali
8-Ghweedau chanth Pyaro
9-Chhwaya band kilai hwen
10-Putha dekhik nakhush
11-Sunar
12 -Atau Bald
13-Bhut Buba
14-Bhikharan
15-Apadi apdi Chalaki
16-Myar Bughthya
17-Ramtel
18-Dwee baman halya
19-rikk ko ek I Batu
20-Jaspur man Devik mandir kilai nee cha
21-Duryodhan ko janam pathar kilai?
22-Ogal ki Katha
Family trees: There are publications of family trees as Bahuguna Banasvali, Kanthola Bansavali or Kukretis of Gweel-Jaspur, Nautiyal’s family tree wherein there are few folk stories published by the editors.
Manoj prakashan Delhi : manoj Prakashan also published three Garhwali stories with other stories
Chitth Patri: Chitthi Patri published a special issue on Garhwali Folk stories ( October-December 2007). There are following interesting chapters besides eight folk stories of Garhwal region:
1- Garhwali lok Sahitya aur waiko Adhyan by Bhagwati Prasad nautiyal
2-Garhwali lok Katahun par ek najar (a classification and characteristics of Garhwali folk stories) by Nand Kishor Dhaundiyal
3- Antarrashtriya Lok Katha Vargeekaran (Classification of international folk Stories) by Himanshu Sharma
4- Garhwali lok Kataun ko Sankalan (Collection of Garhwali folk stories) by Rohit Gangasalani
5-Garhwali lok kataon ka vargeekaran (Classification of Garhwali folk Stories)
6-Lok Kataun ka sarbhaumik tatwa gun aur Garhwali lok kathayen (elements of Univarsal characteristics of folk Stories and Garhwali Folk Stories ) by uma Sharma
7-Garhwali Lok Kathaun man prabandh Shastra ki suchna ( Management teaching in Garhwali Folk Stories) by Bhishma Kukreti
8-Janvarun Samadhi katha Mahbahrat se pwan lag ( Mahbharat is the initiator of animals in folk stories and not Panch Tantra ) by Bhishma Kukreti
9-lok Kathaon ka samjik Vinyash par prabhav ( Effect of folk stories on social structure) by Rakesh Gairola
10-Garhwali lok Katha : Jaunpur ka parpexya man ( Garhwali Folk Stories in context of Jaunpur ) by Surendra pundir
The following stories are there in this edition:
1-Kafal pako min ni Chakho
2-Fyunli
3-mahasu ar Huna hat
4-beera baini ar Paanch Bhaiya
5-Madhu Ghuma Bhad
6-Fur Phatai meriKundali Kathain
7-Suni garud
8-Gaithai dali
Apart from the above time to time regional papers have been publishing Garhwali folk stories
There is satisfactory works on Garhwali Folk stories .
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
Bhishma Kukreti
The credit goes to European learned persons for initiating the collection and protection of folk literature. Later on, the learned persons of each area started to collect, edit and publish the folk literature of their own areas.
The following is brief of collection, writing commentary on Garhwali Folk Stories:
Himalayan Folk Lore: Okely and Tara Dutt started for publishing the Garhwali Folk Stories. Around 1930, they published a book, “ Himalayan Folk Lore” Dr Shiv Prasad Dabral in Uttarakhand ka Itihas and Abodh Bandhu Bahuguna in Langadi Bakari provided the reference of this starting initiation for collecting and publishing Garhwali folk literature.
Pundit Hari Ram Dhashmana and Pt. Keshava nand Naithani: Though Dhashmana and Naithani did not publish any collection of Garhwali folk stories but they were first to write history of Garhwal based on folk stories of Garhwal. On the basis of Garhwali folk stories, they tried to prove that Garhwal is the area where Vedas were created and Vedic culture was started from Garhwal region. Dhashmana and Naithani provided the examples of following folk stories:
1-Indra Dhanus
2- Sat Mataun kaa ek Putra
3-Fyunli
Folk Stories in Historical Books: Pundit Harikrishna Raturi in book ‘Garhwal ka itihas’, Bhakta darshan in ‘Garhwal ki Divangat Bibhutiyan’ and Dr Shiv Prasad Dabral in all eight volumes of Uttarakhand ka Itihas presented the examples of many folk stories.
Dr Govind Chatak: Govind Chatak published a book ‘Garhwal ki lok Kathayen’ in 1970 . now, Garhwal Jagar Dehradun has been republishing those stories.
Hari Dub by Dr Hari Dutt Bhatt ‘Shailesh’ : Hari Dutt Bhatt collected and published more than ten stories related to Garhwali lore in Hari Dub.
Shri Dant Nipodu: Abodh Bandhu Bahuguna writes in Gad myateki Ganga and Langadi Bakri that Dant Nipodu published a few humorous Garhwali folk stories in ‘Raibar’ (edited by Shakunt Joshi) before 1960.
Langadi Bakari by Abodh bandhu Bahuguna: Abodh Bandhu Bahuguna collected and published 19 folk stories in Langadi Bakari . Thee book was published by premium Publishing House Varansi in 1961:
1-Langadi Bakri
2-Sunna Didi
3-Lindarya Chhora
4-Sweeli Gham
5-Ladki Paksi ban gayee
6-Apni Man
7-Patal
8-Him Kahan se Aya
9-Sarp Dev Raja
10-Jhutha Sach
11-Uski Khoj
12-Dhafdi
13-Hari Hindwan
14-Dur ka Deepak
15-Ghugtee Basauti
16-Panchayat Nama
17-Patta aur dhela
18-Jagar
19-Kaful Pako
Bahuguna also provided in details the classification of Garhwali folk stories.
Gad Matyeki Ganga: Abodh Bandhu Bahuguna published six stories in Gad Matyeki Ganga (1975) and all were already published in Langadi Bakari
Dant Kathayen by Chakradhar Bahuguna and Veena Pani Joshi: Modrn Prakashan Dehradun published eight stories of Chakradhar Bahuguna and Veena pani Joshi in 1981. Later on Garhwali Jagar Dehradun republished all eight stories.
Garhwali Lok Kathayen by Bhishma Kukreti: Aleksandra Prakashan published a book’Garhwali Lok Kathayen by Bhishma Kukreti in 1984. There are twenty four stories in this collection:
1-Choli
2-pathya Chinkhu
3-Anubhav ki Mahatta
4-Bhratri Prem
5-Ganv ka Sayana
6-Chhyuntee
7-Gapodiyon ki Gapp
8-Barat tinka aur Keeda
9-Gay ki Punchh aur Bhut
10-Bhim aur Rakhsash
11-Kaful Pako
12-Ulti Ahilya
13-Haldi
14-Chhipkali ka Ghar
15-Bogus Vidya
16-Champa ka ped
17-Jaise ko Taisa
18-Grahan
19-Nath Ban gaye
20-Siyar va reechh
21-Gyana -Binjara
22-Meri Ganga
23-Ag aur Bhians palak
24-Bhemata aur Ped
Community Stories by Bhishma Kukreti: Bhishma Kukreti published two folk stories of Malla Dhangu or related to Kukreti families in
http://younguttaranchal.com/community/index.php?topic=3260.new#new
1- Road between Jaspur-Gweel is still troublesome
2-Dallya are Kukreti
Salan Batin Lok Katha (Under publication) by Bhishma Kukreti: Apart from collection of 22 stories, Bhishma Kukreti throw lights on some critical points such as
1- Please don’t say Garhwali is daughter of Hindi (Garhwali ko Hindi se nijat Dilao)
2-Brahman ad by collectors of Garhwali Folk Stories as these scholars avoided collection of Dalit kathyen
3-He analyzed Garhwali folk stories from management angle
There are following stories in Salan batin Lok Ktaha:
1-Vani Vilash Puran
2-Nrankarai Tapasya
3-Godhan
4-Beej Ni Khan
5-Kingwado
6-jantar mantar ki Seekh
7-Kheer ki Thali
8-Ghweedau chanth Pyaro
9-Chhwaya band kilai hwen
10-Putha dekhik nakhush
11-Sunar
12 -Atau Bald
13-Bhut Buba
14-Bhikharan
15-Apadi apdi Chalaki
16-Myar Bughthya
17-Ramtel
18-Dwee baman halya
19-rikk ko ek I Batu
20-Jaspur man Devik mandir kilai nee cha
21-Duryodhan ko janam pathar kilai?
22-Ogal ki Katha
Family trees: There are publications of family trees as Bahuguna Banasvali, Kanthola Bansavali or Kukretis of Gweel-Jaspur, Nautiyal’s family tree wherein there are few folk stories published by the editors.
Manoj prakashan Delhi : manoj Prakashan also published three Garhwali stories with other stories
Chitth Patri: Chitthi Patri published a special issue on Garhwali Folk stories ( October-December 2007). There are following interesting chapters besides eight folk stories of Garhwal region:
1- Garhwali lok Sahitya aur waiko Adhyan by Bhagwati Prasad nautiyal
2-Garhwali lok Katahun par ek najar (a classification and characteristics of Garhwali folk stories) by Nand Kishor Dhaundiyal
3- Antarrashtriya Lok Katha Vargeekaran (Classification of international folk Stories) by Himanshu Sharma
4- Garhwali lok Kataun ko Sankalan (Collection of Garhwali folk stories) by Rohit Gangasalani
5-Garhwali lok kataon ka vargeekaran (Classification of Garhwali folk Stories)
6-Lok Kataun ka sarbhaumik tatwa gun aur Garhwali lok kathayen (elements of Univarsal characteristics of folk Stories and Garhwali Folk Stories ) by uma Sharma
7-Garhwali Lok Kathaun man prabandh Shastra ki suchna ( Management teaching in Garhwali Folk Stories) by Bhishma Kukreti
8-Janvarun Samadhi katha Mahbahrat se pwan lag ( Mahbharat is the initiator of animals in folk stories and not Panch Tantra ) by Bhishma Kukreti
9-lok Kathaon ka samjik Vinyash par prabhav ( Effect of folk stories on social structure) by Rakesh Gairola
10-Garhwali lok Katha : Jaunpur ka parpexya man ( Garhwali Folk Stories in context of Jaunpur ) by Surendra pundir
The following stories are there in this edition:
1-Kafal pako min ni Chakho
2-Fyunli
3-mahasu ar Huna hat
4-beera baini ar Paanch Bhaiya
5-Madhu Ghuma Bhad
6-Fur Phatai meriKundali Kathain
7-Suni garud
8-Gaithai dali
Apart from the above time to time regional papers have been publishing Garhwali folk stories
There is satisfactory works on Garhwali Folk stories .
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
खड़ु उठा हे लाठ्याळौं
डांडी काँठ्यौं ऐंच ऐगि,
देखा हे चुचों घाम,
खड़ु उठा बिजि जावा,
करा कुछ काम.......
ऊजाळु ह्वैगि सबक लेवा,
फन्सोरिक कतै नि सेवा,
बिंगा दौं हपार,
डांडी कांठी बिजिग्यन,
पनेरा पाणी चलिग्यन,
ह्वैगि ऊदंकार..........
घंटा शंख बजणा छन,
जख, देवतों का धाम,
सब्बि मनखी लेणा छन,
बद्रीविशाल कू नाम......
ऊंचा डांडा बोन्ना छन,
खड़ु उठा, ऊब उठा,
अळगसि होन्दा छन,
दुनिया मा झूठा.......
खड़ु उठा हे लाठ्याळौं,
तुम सुणि लेवा,
ऊजाळु ह्वैगि पहाड़ मा,
फंसोरि नि सेवा......
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
निवास: संगम विहार, नई दिल्ली
21.8.2009 दूरभास:9868795187
देखा हे चुचों घाम,
खड़ु उठा बिजि जावा,
करा कुछ काम.......
ऊजाळु ह्वैगि सबक लेवा,
फन्सोरिक कतै नि सेवा,
बिंगा दौं हपार,
डांडी कांठी बिजिग्यन,
पनेरा पाणी चलिग्यन,
ह्वैगि ऊदंकार..........
घंटा शंख बजणा छन,
जख, देवतों का धाम,
सब्बि मनखी लेणा छन,
बद्रीविशाल कू नाम......
ऊंचा डांडा बोन्ना छन,
खड़ु उठा, ऊब उठा,
अळगसि होन्दा छन,
दुनिया मा झूठा.......
खड़ु उठा हे लाठ्याळौं,
तुम सुणि लेवा,
ऊजाळु ह्वैगि पहाड़ मा,
फंसोरि नि सेवा......
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
निवास: संगम विहार, नई दिल्ली
21.8.2009 दूरभास:9868795187
पूछकर देखो!
बच्चों को पढ़ाते-लिखाते समय
माँ-बाप क्या सपने संजोते है?
यह उन माँ-बाप से पूछकर देखो!
पति-पत्नी के लड़ने-झगड़ने के बाद
किसने समझदारी से काम लिया?
यह उन पति- पत्नी से पूछकर देखो!
दो प्रेमी-युगल की शादी होने के बाद
कौन वादों-इरादों में अटल रहता है
यह उन प्रेमी-युगल से पूछकर देखो!
छोटी सी बात पर खून बहा देने के बाद
किसको सुकूं की जिंदगी नसीब हुई
यह भुक्तभोगी परिवारवालों से पूछकर देखो!
चुनाव जीतने के बाद मंत्री बनाने पर
नेता का हुलिया कितना बदल जाता है
यह आम जनता से पूछकर देखो!
किसी की चोरी पकडे जाने पर
चेहरे पर हवाईयां कैसी उड़ती हैं
उस चेहरे को पढ़कर देखो!
जब पराये किसी घर में घुसकर
दखल-अंदाजी कर अपना रंग दिखाते हैं
तब परिवारवालों की दशा पूछकर देखो!
दिल खोलकर हँसने-रोने के बाद
मन को कितनी ठंडक पहुँचती है
यह अपने दिल से पूछकर देखो!
Copyright @Kavita Rawat, Bhopal, 21 August, 2009
Thursday, August 20, 2009
चला जन प्रभू कि इछा
भुला ग्याडुकु नयु नयु ब्यो ह्वे । कुछ दिन तक भुलाजी गोल अर दर्शन दुर्लभ ! जै मा पुछा .. " हे भै , ग्याडु क्वी अता पता
वी बोला .. " पत नी .! " ब्वारी जी थै पूछा त , वो, शर्मै की मुन्ड फ़रकै कि चुप चाप, बिना कुछ बुल्या, चली जांदा रैनी !
मी से नि रयायु त एक दिन , मिन सोची कि आज त, ग्याडु थै , जरुर मीली कि ऒ ! स्यु जनी ब्य्खुन ह्वे ! मी वेका
घॊर जनि चली ! छ्ज्ज्मा व्वारी जी छा खुट्टा धुणा ! जनि ऊन, मै देखियु । मुंड्मा कु सपुगु स्या उदू खैची मुख ठ्कै सेवा लगै ! मिन बोली " चरंजीव रा बाबा ..! खुऊब छ्या ! "
व्वारी बोली " ___ हां जी , मित खूब छॊ प र------"
मिन बोली " -- पर, पर क्या बाबा ?
" बुनै , तुम्हारा भुला ओरु कि तबियत ठीक नी .. "
" है ." . क्य हुया उथै ? बडी हैरानी का साथ मिन ऊ से पूछी !
व्वारी बुन बैठीनी " _ क्यन बुन जी .. तीन चार दिन बिटि उकाणा छि ... उकाणा ’/////// "
मिन बोली " बबा , उकाणु त तुमन छॊ , अर, उकाणू वोच ? ... इत बकिबात ह्वेगे !" चला जन वेकि इछा ।
पाराशर गौड
अगस्त १९ दिन्मा २.२३ पर
वी बोला .. " पत नी .! " ब्वारी जी थै पूछा त , वो, शर्मै की मुन्ड फ़रकै कि चुप चाप, बिना कुछ बुल्या, चली जांदा रैनी !
मी से नि रयायु त एक दिन , मिन सोची कि आज त, ग्याडु थै , जरुर मीली कि ऒ ! स्यु जनी ब्य्खुन ह्वे ! मी वेका
घॊर जनि चली ! छ्ज्ज्मा व्वारी जी छा खुट्टा धुणा ! जनि ऊन, मै देखियु । मुंड्मा कु सपुगु स्या उदू खैची मुख ठ्कै सेवा लगै ! मिन बोली " चरंजीव रा बाबा ..! खुऊब छ्या ! "
व्वारी बोली " ___ हां जी , मित खूब छॊ प र------"
मिन बोली " -- पर, पर क्या बाबा ?
" बुनै , तुम्हारा भुला ओरु कि तबियत ठीक नी .. "
" है ." . क्य हुया उथै ? बडी हैरानी का साथ मिन ऊ से पूछी !
व्वारी बुन बैठीनी " _ क्यन बुन जी .. तीन चार दिन बिटि उकाणा छि ... उकाणा ’/////// "
मिन बोली " बबा , उकाणु त तुमन छॊ , अर, उकाणू वोच ? ... इत बकिबात ह्वेगे !" चला जन वेकि इछा ।
पाराशर गौड
अगस्त १९ दिन्मा २.२३ पर
भाग्य रेखा उर्फ़ जोग
जोगियूँ कि टोली घुमद घुमद कै गाऊ क पास पहुची जख कोइ थॊकदार जी अप्णॊ नै घर छा बणणा ! जनी चॊक मा गैनी एक जोगील बोली ..
"---- जजमान सुखी रा .. घर अन्न ध्न्न से भुरियू रा ! "
थोकदारजील आसण बिछाई, उथै बोली " __ बैठा , आप त सिध पुरुष छावा .. जर मारु हथ त देखा धॊ ?"
जॊगिल उकु हथ पकडी ह्थ्गुली थै गौर से देखी क्य बोलि ----
"--- भै ... जजमान एक बात बोलु , ? "
जज्मान बोली .. " बोलो साब ब्वाला .. बे झिझ्क से ब्बाला "
" तेरी रेखा बतोणि छी कि ‘त्वैम पैसॊ कि क्वी कमि नि न.. त्वैमु त पैसै पैसा राला .. "
वैल घडैक जोगीकु मुख देखी , अर बोली .. " ठीक छा बुना ...सत बचन ..! " बडी मुश्किल से त, एक रुप्या आन्द ! अर वोभी थोडा देर मा
रैजगरीम याने चैन्ज्म बद्लि जान्द ! ९९ से क्भी उबु हि नि गै ! उठी , भितर बिटि एक चवनी लैकि उथै देकी बोलि .." ल्याव आपै भैट .!."
जोगिल देखि बोली यु क्या .. चवनी ..??? "
वो बोली ".._ लगद च की मेरी अर तुमरी रेखा एक जनी छ्न .. ७५ पैसा ऒरी मिलैक एक कल्दार ब्णै लिया ! "
परासर गौड
अगस्त १९ दिन्मा १२ ५० प्र
"---- जजमान सुखी रा .. घर अन्न ध्न्न से भुरियू रा ! "
थोकदारजील आसण बिछाई, उथै बोली " __ बैठा , आप त सिध पुरुष छावा .. जर मारु हथ त देखा धॊ ?"
जॊगिल उकु हथ पकडी ह्थ्गुली थै गौर से देखी क्य बोलि ----
"--- भै ... जजमान एक बात बोलु , ? "
जज्मान बोली .. " बोलो साब ब्वाला .. बे झिझ्क से ब्बाला "
" तेरी रेखा बतोणि छी कि ‘त्वैम पैसॊ कि क्वी कमि नि न.. त्वैमु त पैसै पैसा राला .. "
वैल घडैक जोगीकु मुख देखी , अर बोली .. " ठीक छा बुना ...सत बचन ..! " बडी मुश्किल से त, एक रुप्या आन्द ! अर वोभी थोडा देर मा
रैजगरीम याने चैन्ज्म बद्लि जान्द ! ९९ से क्भी उबु हि नि गै ! उठी , भितर बिटि एक चवनी लैकि उथै देकी बोलि .." ल्याव आपै भैट .!."
जोगिल देखि बोली यु क्या .. चवनी ..??? "
वो बोली ".._ लगद च की मेरी अर तुमरी रेखा एक जनी छ्न .. ७५ पैसा ऒरी मिलैक एक कल्दार ब्णै लिया ! "
परासर गौड
अगस्त १९ दिन्मा १२ ५० प्र
Wednesday, August 19, 2009
जिंदगी रहती कहाँ है!
अपने वक्त पर साथ देते नहीं
यह कहते हुए हम थकते कहाँ है
ये अपने होते हैं कौन?
यह हम समझ पाते कहाँ है !
दूसरों को समझाने चले हम
अपनों को कितना समझा पाते हैं
दूसरों को हम झांकते बहुत
पर अपने को कितना झांक पाते हैं?
है पता ख़ुशी से जी ले चार दिन
पर ख़ुशी से कितने जी पाते यहां हैं!
कौन कितना साथ होगा अपने
यह हम जान पाते कहाँ हैं!
सुख-दुःख, जीना मरना सुबकुछ यहाँ
जानकार भी हम जानते कहाँ हैं
गर जिंदगी कट जाय सुकूं से तो जिंदगी
वर्ना जिंदगी रहती कहाँ हैं!
Copyright @Kavita Rawat, Bhopal,2009
Garhwali Folk Literature-2
Types of Garhwali Folk Dramas : A Literary Discussion
(An examination of Clasification of Garhwali Folk Theatre)
Bhishma Kukreti
There have been abundant literature available on the themes of Garhwali folk poetry , Garhwali folk stories but there is least written about Garhwali Folk Dramas or chronological detailing on Garhwali Folk Dramas or Theatres . Very recently, Madan Duklan, Ranu Bisht, Prem bahuguna, Veena Pani Joshi, Bhishma Kukreti, Khushal Rawat tried to collect the articles about Garhwali Folk Dramas from learned personalities. At Dr D.R. Purohit is leading learned personality who has collected many folk dramas, transformed them in contemporary theatrical mannerism and managed to stage many plays. Dr Nand Kishor Hatwal is also one of the industrious collector of Garhwali folk dramas based on religious events.
The commentators classified drama into following types (Brown, 2007):
Comedy
Tragedy
Historical or lore based dramas
Tragic-comedy
Melodious , Farce,
The author will review the types, kinds of Folk Drama available in Garhwal and Kumaun regions.
Classification By Dr D.R. Purohit
D.R Purohit (2005) classified Garhwali folk Drama into following types:
1- Pandav Leela: The dramas related to Mahabharata saga are included in Pandav Leela types of folk drama of Uttaranchal (Kumauni and Garhwali). There are around thirty stories for Pandav Leela dramas and main dramas are- Chakravyuha, Makrvyuha, Garud Vyuha, Suchivyuha, Laxagriha, Hathi-Duryodhan, Kalangari, Keechak badh, Bailon Ki Ladaee, Pinddan etc . These plays are staged mainly in the areas of vallys of Aleksandra , Bhilangana, Mandakini, Laster, balganga, Bhagirathi (Mostly in northern part pf Garhwal ). The dramas are basically music oriented plas and traditional music instruments are used.
2-Bagdwali: This form of folk play is related to events of religious rituals. The dramas are based on the life sketches of brave Bagdwal and purchasing of bulls, Tilanga, nauniya Bagdwal, budera, sali Bharana , Ropani Karuna are the characters of Bagdwali
Mask Dramas:
3- Mask Dramas related to religious and ritually travel procession of pilgrim events (Jat Yatra Mukhauta Natak)
4- Mask Dramas related to Events and festivals (Utasvaon ke awasar par dikhaye jane wale mukhauta natak)
This types of dramas are common in Pindar valley of Chamoli Garhwal ,Malla Danpur in Bageshwar of Kumaun region, Sor valley of Pithoragarh, komodo, Bajeti, Balakot and kanaleechina villages of Pithoragarh. In thses types of dramas the characters use mask of famous deities, goddesses, heroic characters or animals. These dramas are heroic and melodious dramas .
5-Swaang or Khel: Surprisingly, Dr Purohit did not detail about Swang and Khel types of dramas
6-Heroic melodramas by traditional Singers and musicians (Beda, Huddkiyon, Damayiyon ki Veer gatha Vachan) : Purohit did not provide much details on this type of folk dramas of Garhwal .
7-Radhakhandi Ras: Again, D R Purohit did not provided any details about Radhakhandi Garhwali Folk dramas.
Dr Shiva Nand Nautiyal ( 1981) , a prominent and profound personality of Garhwali folk literature described Radhakhandi ras in details. The lyrical drama is based on the love stories of lord Krishna . The specialty of this type of drama is that it has more lyrical dialogues between the two or more singers. He main dramas of Radhakhandi Ras are Radha-Krishna, Rukmani-Krishna, Chandravali-Krishna
8-Dramas at the time of ritual events (Anusthanon ke manchan): Purohit failed to provide any examples of such dramas . However, the dramatization of stories in Satya Narayan Vrat Katha or Ghadelas etc come under this category.
Classification by Dr Rajeshwar Uniyal
Rajeshwar Uniyal (2009) tried to classify the Garhwali folk dramas but his classification is a way of generalized way of classification and he classified the Garhwali Folk dramas into two types:
1-Dramas based on Folk stories/legends : He describes that the dramas which are based on folk songs, folk lore, traditional or oral stories, faith, customs are under in this category as the stories of bhad bhad Madho Singh, Tillu Rautella, Gangu Ramaula,
2- Dramas of based on Imaginary Folk oriented Elements ( kalpanik Lok tatwaon par adharit) : This is the weakest point of Uniyal’s commentary on Folk Dramas of Garhwal . Without providing any example he described this category and misinterpreted Ramlila as initing point of Garhwali folk dramas
Classification of prose Garhwali Folk Dramas by Bhishma Kukreti
Bhishma Kukreti tried to classify the prose or semi prose folk dramas played by a specific Garhwali professional class-Badi and women of Garhwal based on the emotional and rapture bases of Bharat’s Natyashashtra. Bhishma Kukreti provided the examples of stories, plots and dialogues.
1- Folk Based on love raptures including tragedy
2-Based o chivalry rapture
3-Fear Based dramas
4-Comedy
5-Abhorance based dramas
5-Progeny based love
6-Preaching or inspiring dramas
7-Wrath based folk dramas
The main importance of Bhishma’s classification is that each point is having example from his own experiences of watching dramas of Badis and women.
He also classified the Garhwali folk dramas into three types
A -Pure prose folk Dramas
B- Pure musical or lyrical folk drama
C -Combinations of lyrical and prose folk dramas
However, he stressed that it is better that the classification of dramas played by Badis and women in Garhwal are classified by the raptures and emotions of main plots.
As happened in any Folk literature, there is no agreements among the taxonomists of Garhwali folk dramas for classifying them. There is need of more researches and studies for knowing the characteristics of folk dramas of Garhwal
References:
1-Brown, Larry, A., 2007, Types of Drama, http://larryavisbrown.homestead.com/files/IntroTheater/TYPES_OF_DRAMA.htm
2-Purohit, D.R., 2005, Uttaranchal ka Paramparik lok Natya, Veer Thakur Singh Lok Natya Mahotsava , (a Souvenir) published by Akhil Bhartiya Garhwal Sabha, Naishvila Road, Dehradun, India, pages-26 to 27
3-Nautiyal, Shiva Nand, 1981, Garhwal ke Lok Nritya Geet, hindi Sahitya sammelan, Allhabad, India, Pp-368-370
4-Uniyal , Dr. Rajeshwar, 2009, Garhwali Lok Natya Ki Samkshaa, Hamari Chitthi, Dehradun, Uttarakhand, India, pages-25-27
5- Kukreti, Bhishma, 2009, Badyun ka Swang, Jananyun ka Swang ar Bharat ku Natyashashtra, Hamari Chitthi, Dehradun, Uttarakhand, India, Pages-5to 18
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
(An examination of Clasification of Garhwali Folk Theatre)
Bhishma Kukreti
There have been abundant literature available on the themes of Garhwali folk poetry , Garhwali folk stories but there is least written about Garhwali Folk Dramas or chronological detailing on Garhwali Folk Dramas or Theatres . Very recently, Madan Duklan, Ranu Bisht, Prem bahuguna, Veena Pani Joshi, Bhishma Kukreti, Khushal Rawat tried to collect the articles about Garhwali Folk Dramas from learned personalities. At Dr D.R. Purohit is leading learned personality who has collected many folk dramas, transformed them in contemporary theatrical mannerism and managed to stage many plays. Dr Nand Kishor Hatwal is also one of the industrious collector of Garhwali folk dramas based on religious events.
The commentators classified drama into following types (Brown, 2007):
Comedy
Tragedy
Historical or lore based dramas
Tragic-comedy
Melodious , Farce,
The author will review the types, kinds of Folk Drama available in Garhwal and Kumaun regions.
Classification By Dr D.R. Purohit
D.R Purohit (2005) classified Garhwali folk Drama into following types:
1- Pandav Leela: The dramas related to Mahabharata saga are included in Pandav Leela types of folk drama of Uttaranchal (Kumauni and Garhwali). There are around thirty stories for Pandav Leela dramas and main dramas are- Chakravyuha, Makrvyuha, Garud Vyuha, Suchivyuha, Laxagriha, Hathi-Duryodhan, Kalangari, Keechak badh, Bailon Ki Ladaee, Pinddan etc . These plays are staged mainly in the areas of vallys of Aleksandra , Bhilangana, Mandakini, Laster, balganga, Bhagirathi (Mostly in northern part pf Garhwal ). The dramas are basically music oriented plas and traditional music instruments are used.
2-Bagdwali: This form of folk play is related to events of religious rituals. The dramas are based on the life sketches of brave Bagdwal and purchasing of bulls, Tilanga, nauniya Bagdwal, budera, sali Bharana , Ropani Karuna are the characters of Bagdwali
Mask Dramas:
3- Mask Dramas related to religious and ritually travel procession of pilgrim events (Jat Yatra Mukhauta Natak)
4- Mask Dramas related to Events and festivals (Utasvaon ke awasar par dikhaye jane wale mukhauta natak)
This types of dramas are common in Pindar valley of Chamoli Garhwal ,Malla Danpur in Bageshwar of Kumaun region, Sor valley of Pithoragarh, komodo, Bajeti, Balakot and kanaleechina villages of Pithoragarh. In thses types of dramas the characters use mask of famous deities, goddesses, heroic characters or animals. These dramas are heroic and melodious dramas .
5-Swaang or Khel: Surprisingly, Dr Purohit did not detail about Swang and Khel types of dramas
6-Heroic melodramas by traditional Singers and musicians (Beda, Huddkiyon, Damayiyon ki Veer gatha Vachan) : Purohit did not provide much details on this type of folk dramas of Garhwal .
7-Radhakhandi Ras: Again, D R Purohit did not provided any details about Radhakhandi Garhwali Folk dramas.
Dr Shiva Nand Nautiyal ( 1981) , a prominent and profound personality of Garhwali folk literature described Radhakhandi ras in details. The lyrical drama is based on the love stories of lord Krishna . The specialty of this type of drama is that it has more lyrical dialogues between the two or more singers. He main dramas of Radhakhandi Ras are Radha-Krishna, Rukmani-Krishna, Chandravali-Krishna
8-Dramas at the time of ritual events (Anusthanon ke manchan): Purohit failed to provide any examples of such dramas . However, the dramatization of stories in Satya Narayan Vrat Katha or Ghadelas etc come under this category.
Classification by Dr Rajeshwar Uniyal
Rajeshwar Uniyal (2009) tried to classify the Garhwali folk dramas but his classification is a way of generalized way of classification and he classified the Garhwali Folk dramas into two types:
1-Dramas based on Folk stories/legends : He describes that the dramas which are based on folk songs, folk lore, traditional or oral stories, faith, customs are under in this category as the stories of bhad bhad Madho Singh, Tillu Rautella, Gangu Ramaula,
2- Dramas of based on Imaginary Folk oriented Elements ( kalpanik Lok tatwaon par adharit) : This is the weakest point of Uniyal’s commentary on Folk Dramas of Garhwal . Without providing any example he described this category and misinterpreted Ramlila as initing point of Garhwali folk dramas
Classification of prose Garhwali Folk Dramas by Bhishma Kukreti
Bhishma Kukreti tried to classify the prose or semi prose folk dramas played by a specific Garhwali professional class-Badi and women of Garhwal based on the emotional and rapture bases of Bharat’s Natyashashtra. Bhishma Kukreti provided the examples of stories, plots and dialogues.
1- Folk Based on love raptures including tragedy
2-Based o chivalry rapture
3-Fear Based dramas
4-Comedy
5-Abhorance based dramas
5-Progeny based love
6-Preaching or inspiring dramas
7-Wrath based folk dramas
The main importance of Bhishma’s classification is that each point is having example from his own experiences of watching dramas of Badis and women.
He also classified the Garhwali folk dramas into three types
A -Pure prose folk Dramas
B- Pure musical or lyrical folk drama
C -Combinations of lyrical and prose folk dramas
However, he stressed that it is better that the classification of dramas played by Badis and women in Garhwal are classified by the raptures and emotions of main plots.
As happened in any Folk literature, there is no agreements among the taxonomists of Garhwali folk dramas for classifying them. There is need of more researches and studies for knowing the characteristics of folk dramas of Garhwal
References:
1-Brown, Larry, A., 2007, Types of Drama, http://larryavisbrown.homestead.com/files/IntroTheater/TYPES_OF_DRAMA.htm
2-Purohit, D.R., 2005, Uttaranchal ka Paramparik lok Natya, Veer Thakur Singh Lok Natya Mahotsava , (a Souvenir) published by Akhil Bhartiya Garhwal Sabha, Naishvila Road, Dehradun, India, pages-26 to 27
3-Nautiyal, Shiva Nand, 1981, Garhwal ke Lok Nritya Geet, hindi Sahitya sammelan, Allhabad, India, Pp-368-370
4-Uniyal , Dr. Rajeshwar, 2009, Garhwali Lok Natya Ki Samkshaa, Hamari Chitthi, Dehradun, Uttarakhand, India, pages-25-27
5- Kukreti, Bhishma, 2009, Badyun ka Swang, Jananyun ka Swang ar Bharat ku Natyashashtra, Hamari Chitthi, Dehradun, Uttarakhand, India, Pages-5to 18
Copyright@ Bhishma Kukreti, Mumbai, India, 2009
Garhwali Folk Literature-1
Garhwali -Kumauni Folk Dramas : Uttarakhand Lok Natya Mahotsava-2005
(Folk Drama of Garhwal , Folk Plays of Kumaun, Folk Dramas of Jaunsar Babar)
Bhishma Kukreti
Akhil Bhartiya Garhwal Sabha , Dehradun , an oldest Garhwali social organization of Dehradun have been acting as a strong medium to popularize and preserve Garhwali-Kumauni culture and folk literature. For quite a few years, the organization have been organizing the staging of Folk Dramas of Garhwal and Kumauni regions of Uttarakhand.
The Akhil Bhartiya Garhwal Sabha organized staging of seven Garhwali and Kumauni folk dramas from 2nd November to 6th November , 2005 . In this occasion, the organization brought a special souvenir and provided various insights attached to Garhwali Folk Dramas and Kumauni Folk Dramas .
The author is pleased to review the souvenir:
Natak kal aur Aj by Bahgwati Prasad Nautiyal: In his brilliant article, rverend Garhwali language critic Nautiyal first briefed about the initiation of drama by deities (Devta) and devils (Danav) as the dramas were seen as common entertaining medium for the both. He explained how Bharat Muni created Natyashashtra with the aid of Rig-Veda ( Story plot), Sam-Veda (Music), Atharva-Veda (Aesthetic or dialogues social views) and Yajurveda (Characterization) .
Bhagwati Prasad Nautiyal touched the shortest possible history of modern Garhwali dramas in the last century. His main stress , which I do agree that while staging folk dramas based on legends or folk stories , we should not criticize the supporting stories connected to main story because there are not availability of proof of exact evidence of the folk stories.
Garhwali Rangmanch by Sudha Rani and translated by Bhishma Kukreti: Sudha Rani provided details of starting of modern Garhwali drama and she provided a well researched historical details of Garhwali dramas from 1930 to 1985. She should be congratulated for her place wise date wise detailing.
Uttaranchal ka Paramparik Loknatya by Dr D R Purohit: Dr Purohit is an internationally acclaimed authority on Garhwali folk Dramas specially mask/religious folk dramas and he teaches Garhwali Folk Dramas in foreign Universities too. He featured with examples of dramas and their places of stage playing . He classified the Uttarakhandi (Garhwali Kumauni ) Folk Dramas into following sets:
1-Pandav Lila
2-Bagdwali
3-Mask dramas based on Jat yatrayen
4-Mask dramas on festivals and specific events
5-Swang and Khel (Villager’s Plays and games)
6-Beda, hudkiyon aur Damayiyn ke Veer gatha vachan ( Oration of heroic lures or events by specific classes of Garhwal and Kumaun)
7-Radha Khandi Ras
8-Danusthano ke manchan ( Dramas in Rituals)
Dr Purohit his famous for popularizing and exploring mask Folk dramas of Kumaun and Garhwal and he explained the Pandav lila, Folk dramas of Sor ghati of Pithora garh, mandola shaili’s mono folk dramas of Pithora Garh, Lstar ghati and Bhilangana valley. He told us the names of performers too, It is called research .
Dr Purohit stated us the names who perform the Radhakandi Ras . D R Purohit explained about Bagdwali dramas too.
Ramwan: Ramkatha based Folk Drama by Nand Kishor Hatwal : The folk literature , Chamoli’s cultural expert and film maker Hatwal narrated the folk dramas related to Ramayan . The Ramwan folk drama is a mask drama played in north garhwal I.e paanudanda patti of Chamoli Garhwal. He says that Ramwan style of Garhwali folk drama is elite, marvelous and spectaticular .
Ramwan is blends of many sub plots along with the main historical and cultural events of Ramayan. This type of folk drama is partly in prose form and mainly in musical form. Among the sub plots, Pattar, Mal, Kr Jogi, Narshingh pujai or Pattar, and Bhumyal are main dramas along with main plot of Ramayan
In this type of drama, the roles of Jagariya, and Bhalla are important and Dhol, Rauntali/Damau, Bhakor and Majere like traditional music instruments are played.
Lok Sanskriti ke vivid Ayam and sanrakhshan (Various dimensions of Folk literature and their preservation/Protection) by Surendra Pundir: The expert of cultural, history and folks of Jaunsar Babar, Surendra Pundir explains the significance and relevancy of Folk literature in modern time specially in Uttarakhand. Pundir exposes the diminishing factors of folk related events from Garhwal and he tells us the startegies and application for preservation and protection of folk literature in Uttarakhand .
Dramas played in the events
The following dramas were played in this Natya Mahotsava of 2005 and the editors provided the details of stories etc of those , which are mostly based on folk stories or oral legendary stories or lore.
Kaffu Chauhan: The play is revised of the drama written by Abodh Bandhu Bahuguna’s drama “ Antim Garh’ . the story is suppression, autocracy of king Ajay Pal and bravery, love for freedom of Kafu Chauhan of Uppugarh in Tihri region.
Ajuva Baffaul: Ajuva Baffaul is the story of brevity of twenty two Baffaul brothers , fear of weak kings, conspiracy for the crown of Champawat kingdom .
Dandya Ka Maiti: Dandyan ka maiti drama is based on the legendary lore of Uttarkashi. The story centers on the bravery , sacrifice, strength of two valiant, heroic brothers- Naru and Bijula
Pandav Gatha : This is the dramatization of stories of Pandavas and adaptation as the folks play dramas in Jaunsar Babar
Panch bhai Kathait: this drama is based on the events happened after the death of Garhwali king Durlabh Shah . The story is the evilness, greed, conspiracy for the kingdom of five Kathait brothers, the sacrifice of Bhajan singh the grand son of great Madho Singh Bhandari , the fight by people of Garhwal the righteous deeds and political scenario of that time.
Thul Chulia and Veer Badhu Devki are based on the lore (lok gatha ) of recent times.
The souvenir is edited by Madan Duklan and Ranu Bisht
Copyright @ Bhishma Kukreti, Mumbai, 2009
(Folk Drama of Garhwal , Folk Plays of Kumaun, Folk Dramas of Jaunsar Babar)
Bhishma Kukreti
Akhil Bhartiya Garhwal Sabha , Dehradun , an oldest Garhwali social organization of Dehradun have been acting as a strong medium to popularize and preserve Garhwali-Kumauni culture and folk literature. For quite a few years, the organization have been organizing the staging of Folk Dramas of Garhwal and Kumauni regions of Uttarakhand.
The Akhil Bhartiya Garhwal Sabha organized staging of seven Garhwali and Kumauni folk dramas from 2nd November to 6th November , 2005 . In this occasion, the organization brought a special souvenir and provided various insights attached to Garhwali Folk Dramas and Kumauni Folk Dramas .
The author is pleased to review the souvenir:
Natak kal aur Aj by Bahgwati Prasad Nautiyal: In his brilliant article, rverend Garhwali language critic Nautiyal first briefed about the initiation of drama by deities (Devta) and devils (Danav) as the dramas were seen as common entertaining medium for the both. He explained how Bharat Muni created Natyashashtra with the aid of Rig-Veda ( Story plot), Sam-Veda (Music), Atharva-Veda (Aesthetic or dialogues social views) and Yajurveda (Characterization) .
Bhagwati Prasad Nautiyal touched the shortest possible history of modern Garhwali dramas in the last century. His main stress , which I do agree that while staging folk dramas based on legends or folk stories , we should not criticize the supporting stories connected to main story because there are not availability of proof of exact evidence of the folk stories.
Garhwali Rangmanch by Sudha Rani and translated by Bhishma Kukreti: Sudha Rani provided details of starting of modern Garhwali drama and she provided a well researched historical details of Garhwali dramas from 1930 to 1985. She should be congratulated for her place wise date wise detailing.
Uttaranchal ka Paramparik Loknatya by Dr D R Purohit: Dr Purohit is an internationally acclaimed authority on Garhwali folk Dramas specially mask/religious folk dramas and he teaches Garhwali Folk Dramas in foreign Universities too. He featured with examples of dramas and their places of stage playing . He classified the Uttarakhandi (Garhwali Kumauni ) Folk Dramas into following sets:
1-Pandav Lila
2-Bagdwali
3-Mask dramas based on Jat yatrayen
4-Mask dramas on festivals and specific events
5-Swang and Khel (Villager’s Plays and games)
6-Beda, hudkiyon aur Damayiyn ke Veer gatha vachan ( Oration of heroic lures or events by specific classes of Garhwal and Kumaun)
7-Radha Khandi Ras
8-Danusthano ke manchan ( Dramas in Rituals)
Dr Purohit his famous for popularizing and exploring mask Folk dramas of Kumaun and Garhwal and he explained the Pandav lila, Folk dramas of Sor ghati of Pithora garh, mandola shaili’s mono folk dramas of Pithora Garh, Lstar ghati and Bhilangana valley. He told us the names of performers too, It is called research .
Dr Purohit stated us the names who perform the Radhakandi Ras . D R Purohit explained about Bagdwali dramas too.
Ramwan: Ramkatha based Folk Drama by Nand Kishor Hatwal : The folk literature , Chamoli’s cultural expert and film maker Hatwal narrated the folk dramas related to Ramayan . The Ramwan folk drama is a mask drama played in north garhwal I.e paanudanda patti of Chamoli Garhwal. He says that Ramwan style of Garhwali folk drama is elite, marvelous and spectaticular .
Ramwan is blends of many sub plots along with the main historical and cultural events of Ramayan. This type of folk drama is partly in prose form and mainly in musical form. Among the sub plots, Pattar, Mal, Kr Jogi, Narshingh pujai or Pattar, and Bhumyal are main dramas along with main plot of Ramayan
In this type of drama, the roles of Jagariya, and Bhalla are important and Dhol, Rauntali/Damau, Bhakor and Majere like traditional music instruments are played.
Lok Sanskriti ke vivid Ayam and sanrakhshan (Various dimensions of Folk literature and their preservation/Protection) by Surendra Pundir: The expert of cultural, history and folks of Jaunsar Babar, Surendra Pundir explains the significance and relevancy of Folk literature in modern time specially in Uttarakhand. Pundir exposes the diminishing factors of folk related events from Garhwal and he tells us the startegies and application for preservation and protection of folk literature in Uttarakhand .
Dramas played in the events
The following dramas were played in this Natya Mahotsava of 2005 and the editors provided the details of stories etc of those , which are mostly based on folk stories or oral legendary stories or lore.
Kaffu Chauhan: The play is revised of the drama written by Abodh Bandhu Bahuguna’s drama “ Antim Garh’ . the story is suppression, autocracy of king Ajay Pal and bravery, love for freedom of Kafu Chauhan of Uppugarh in Tihri region.
Ajuva Baffaul: Ajuva Baffaul is the story of brevity of twenty two Baffaul brothers , fear of weak kings, conspiracy for the crown of Champawat kingdom .
Dandya Ka Maiti: Dandyan ka maiti drama is based on the legendary lore of Uttarkashi. The story centers on the bravery , sacrifice, strength of two valiant, heroic brothers- Naru and Bijula
Pandav Gatha : This is the dramatization of stories of Pandavas and adaptation as the folks play dramas in Jaunsar Babar
Panch bhai Kathait: this drama is based on the events happened after the death of Garhwali king Durlabh Shah . The story is the evilness, greed, conspiracy for the kingdom of five Kathait brothers, the sacrifice of Bhajan singh the grand son of great Madho Singh Bhandari , the fight by people of Garhwal the righteous deeds and political scenario of that time.
Thul Chulia and Veer Badhu Devki are based on the lore (lok gatha ) of recent times.
The souvenir is edited by Madan Duklan and Ranu Bisht
Copyright @ Bhishma Kukreti, Mumbai, 2009
"हे मानव"
क्यों भाग रहा है तू दिन रात?
चाहत तेरी बढती जाती,
क्या है ऐसी बात,
अकेला है इस धरती पर तू,
अकेला ही जायेगा,
जिसको तू अपना समझता,
कोई काम नहीं आएगा.
अटल सत्य है कर्म करना,
लोभ लालच में नहीं मरना,
क्यों करता है तू अभिमान?
कि कोई नहीं मेरे सामान,
पद, पैसा, सौंदर्य, लालच,
ये सब हैं नाशवान,
प्रभु ने तो सबको बनाया,
एक मासूम इंसान,
माया में भटकर,
बन जाता है हैवान,
और कहता है,
ये मेरा वो मेरा,
सब कुछ माया है,
अगर समझे इंसान,
कर्ता धर्ता वो ही सबका,
"हे मानव" तू पहचान.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
निवास: संगम विहार, नई दिल्ली
19.8.2009 दूरभास:9868795187
चाहत तेरी बढती जाती,
क्या है ऐसी बात,
अकेला है इस धरती पर तू,
अकेला ही जायेगा,
जिसको तू अपना समझता,
कोई काम नहीं आएगा.
अटल सत्य है कर्म करना,
लोभ लालच में नहीं मरना,
क्यों करता है तू अभिमान?
कि कोई नहीं मेरे सामान,
पद, पैसा, सौंदर्य, लालच,
ये सब हैं नाशवान,
प्रभु ने तो सबको बनाया,
एक मासूम इंसान,
माया में भटकर,
बन जाता है हैवान,
और कहता है,
ये मेरा वो मेरा,
सब कुछ माया है,
अगर समझे इंसान,
कर्ता धर्ता वो ही सबका,
"हे मानव" तू पहचान.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
निवास: संगम विहार, नई दिल्ली
19.8.2009 दूरभास:9868795187
समय
पंख होते हैं समय के
पंख लगाकर उड़ जाता है
पर छाया पीछे छोड़ जाता है
भरोसा नहीं समय का
न कुछ बोलता न दुआ सलाम करता है
सबको अपने आगे झुकाकर
चमत्कार दिखाता है
बड़ा सयाना है समय
हर गुथी यही सुलझाता है
बात मानो समय की
हर घाव पर मरहम यही लगाता है
सर्वोत्तम चिकित्सक भी यही है
मगर हर शक्ल भी बिगाड़ देता है
यह ऐसा ऋण है
जिसे कोई नहीं चुका पाता है
समय नहीं झुकता किसी के आगे
आगे इसके सबको झुकना पड़ता है
ये दुनिया समझो साथ उसी के
जो समय देखकर चलता है
Copyright @Kavita Rawat, Bhopal,2009
Monday, August 17, 2009
तुम मागते हो उत्तराखंड कहा से लाऊ?
तुम मागते हो उत्तराखंड कहा से लाऊ?
सूखने लगी गंगा, पीघलने लगा हीमालय!
उत्तरकाशी है जख्मी, पीथोरागढ़ है घायल!
बागेश्वर को है बेचेनी, पौडी मे है बगावत!
कीतना है DIL मे दर्द, कीस-कीस को मैं दीखाऊ!
तुम माग रहे हो उत्तराखंड कहा से लाऊ?
मडुवा, झंगोरे की फसले भूल!
खेतो मे जीरेनीयम के फूल!
गांव की धार मे रीसोर्ट बने!
गांव के बीच मे sweeming पूल!
कैसा वीकास? क्यों घमंड?
तुम मागते हो उत्तराखण्ड??
खद्दंजो से वीकास की बातें,
प्यासे दीन अँधेरी रातें,
जातीवाद का जहर यहाँ,
ठेकेदारी का कहर यहाँ,
घुटन सी होती है आखीर कहा जाऊ?
तुम मागते हो उत्तराखण्ड कहा से लाऊ
वन कानूनों ने छीनी छाह,
वन आवाद और बंजर गांव,
खेतो की मेडे टूट गयी,
बारानाजा संस्कृती छुट गयी,
क्या गडवाल? क्या कुमाऊ?
तुम माग रहे हो उत्तराखण्ड कहा से लाऊ??
लुप्त हुए स्वालंबी गांव,
कहा गयी आफर की छाव?
हथोडे की ठक-ठक का साज,
धोकनी की गरमी का राज,
रीगाल के डाले और सूप,
सैम्यो से बनती थी धुप,
कहा गया ग्राम्य उधोग ?
क्यों लगा पलायन का रोग?
यही था क्या " म्योर उत्तराखण्ड" भाऊ?
तुम मागते हो उत्तराखण्ड कहा से लाऊ?
Copy Right @ Hem Bahuguna
सूखने लगी गंगा, पीघलने लगा हीमालय!
उत्तरकाशी है जख्मी, पीथोरागढ़ है घायल!
बागेश्वर को है बेचेनी, पौडी मे है बगावत!
कीतना है DIL मे दर्द, कीस-कीस को मैं दीखाऊ!
तुम माग रहे हो उत्तराखंड कहा से लाऊ?
मडुवा, झंगोरे की फसले भूल!
खेतो मे जीरेनीयम के फूल!
गांव की धार मे रीसोर्ट बने!
गांव के बीच मे sweeming पूल!
कैसा वीकास? क्यों घमंड?
तुम मागते हो उत्तराखण्ड??
खद्दंजो से वीकास की बातें,
प्यासे दीन अँधेरी रातें,
जातीवाद का जहर यहाँ,
ठेकेदारी का कहर यहाँ,
घुटन सी होती है आखीर कहा जाऊ?
तुम मागते हो उत्तराखण्ड कहा से लाऊ
वन कानूनों ने छीनी छाह,
वन आवाद और बंजर गांव,
खेतो की मेडे टूट गयी,
बारानाजा संस्कृती छुट गयी,
क्या गडवाल? क्या कुमाऊ?
तुम माग रहे हो उत्तराखण्ड कहा से लाऊ??
लुप्त हुए स्वालंबी गांव,
कहा गयी आफर की छाव?
हथोडे की ठक-ठक का साज,
धोकनी की गरमी का राज,
रीगाल के डाले और सूप,
सैम्यो से बनती थी धुप,
कहा गया ग्राम्य उधोग ?
क्यों लगा पलायन का रोग?
यही था क्या " म्योर उत्तराखण्ड" भाऊ?
तुम मागते हो उत्तराखण्ड कहा से लाऊ?
Copy Right @ Hem Bahuguna
गथ्वाणि"
बात उन दिनों की है जब चन्दु की दादी जीवित थी. पहाड़ में कड़ाके की ठण्ड थी और ऊंची ऊंची पहाड़ियौं पर भारी बर्फ़बारी हो रही थी. चन्दु के सारे परिजन ठण्ड के मारे चूल्हे को घेर कर आग सेक रहे थे. पॉँच दिन से लगातार बरखा होने के कारण बाहर निकलना भी मुश्किल हो गया था. बार्गुर और चन्द्रबदनी का डांडा सफ़ेद बर्फ की चादर ओढ़ चुका था. पौड़ी गढ़वाल का सामने दिखता दृश्य मनभावन लग रहा था. खिर्सू से लेकर खाण्ड्यौंसैण और सितौन स्यूं तक खूब बर्फ पड़ी हुई थी.
ठण्ड में तो बहुत भूख लगती है. चन्दु के पेट में भूख के कारण चूहे कूद रहे थे. चन्दु अपनी दादी जी से बोला "दादी...दादी...आज गौथ ऊस्याकर "गथ्वाणि" तो बना दे." चन्दु की बात सुनकर दादी झट्ट से बोली "ये छ्वारा का पेट फर त आग लगिगि, हाथ ध्वैक फटाफट बोंनु छ, भूख लगिगि". चन्दु दादी की बात सुनकर दादी जी से बोला "दादी.. मैन क्या कन्न..कुजाणि क्योकु मेरि पोट्गी फर भूख की बणांग लगणी छ". दादी जी के मन में कुछ दया का भाव उभरा और बोली " चन्दु मेरा नाती...तू फिकर न कर...ठैर धरदु छौं फूल्टि भरि गौथ चुल्ला फर "गथ्वाणि" का खातिर." चन्दु खुश होकर अपनी दादी से लिपट गया.
चन्दु की दादी जी ने फूल्टि में गौथ रखकर चूल्हे में चढा दिए. चन्दु चूल्हे में मोटी मोटी लकड़ी लगाता हुआ फूल्टि में रखे गौथ के थिड़कने की इन्तजार कर रहा था. कभी वो चूल्हे की तरफ देखता और कभी फूल्टि की तरफ. फूल्टि के ऊपर रखा ढक्कन खन-खन ऊपर नीचे होने लगा और भाप भी निकलने लगी. चन्दु की ख़ुशी का ठिकाना नहीं रहा. दौड़कर अपनी दादी जी के पास गया और कहने लगा "दादी...दादी...थिड़कण लगि फूल्टि". दादी जल्दी से बोली "अरे छोरा...फूल्टि न...गौथ बोल".
चन्दु इंतज़ार करते करते थक गया. उसने चुपके से से फूल्टि का ढक्कन खोला, फूल्टि चूल्हे से गिरते गिरते बची. कर्छुले से थोड़ा सा गौथ निकालकर उसने चखे. अभी भी गौथ पूरी तरह से पके नहीं थे. गौथ जितने देर तक थिड़कें तो "गथ्वाणि" का स्वाद उतना ही अच्छा होता है. "गथ्वाणि" पीने से तो पथरी ठीक हो जाती है. जिसे पथरी की शिकायत हो तो उसके लिए "गथ्वाणि" अचूक औषधि का काम करती है.
शाम हुई तो चन्दु की दादी जी ने "गथ्वाणि" बनाया. कुछ गौथ बचाकर उनकी भरीं रोठी बनाई. चन्दु अपनी दादी जी से बोला "दादी...दादी...थोड़ा कन्क्रयाळु घ्यू त दी भरीं रोठी का दगड़ा." दादी बोली "अरे! ये छोरा की बात क्य बोन्न, कनि स्याणि छन ये तैं लगणी." चन्दु की दादी ने घरया घ्यू की ठिक्की गाड़ी अर् बोलि "खा मेरा चन्दु छक्किक "गथ्वाणि" अर् कन्क्रयाळु घ्यू".
चन्दु की दादी आज जीवित नहीं हैं. उसको दादी जी का वो जमाना रह रहकर याद आता है. पहाड़ से दूर परदेश में कहाँ मिलता है पहाड़ का खाना. पहाड़ कू कन्क्रयाळु घ्यू अर् "गथ्वाणि" अब कल्पना मा ही रैगि. चन्दु आज ज़माने के साथ बदल गया. अगर साथ हैं तो बचपन के यादें "गथ्वाणि" के रूप में.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
12.8.2009
ठण्ड में तो बहुत भूख लगती है. चन्दु के पेट में भूख के कारण चूहे कूद रहे थे. चन्दु अपनी दादी जी से बोला "दादी...दादी...आज गौथ ऊस्याकर "गथ्वाणि" तो बना दे." चन्दु की बात सुनकर दादी झट्ट से बोली "ये छ्वारा का पेट फर त आग लगिगि, हाथ ध्वैक फटाफट बोंनु छ, भूख लगिगि". चन्दु दादी की बात सुनकर दादी जी से बोला "दादी.. मैन क्या कन्न..कुजाणि क्योकु मेरि पोट्गी फर भूख की बणांग लगणी छ". दादी जी के मन में कुछ दया का भाव उभरा और बोली " चन्दु मेरा नाती...तू फिकर न कर...ठैर धरदु छौं फूल्टि भरि गौथ चुल्ला फर "गथ्वाणि" का खातिर." चन्दु खुश होकर अपनी दादी से लिपट गया.
चन्दु की दादी जी ने फूल्टि में गौथ रखकर चूल्हे में चढा दिए. चन्दु चूल्हे में मोटी मोटी लकड़ी लगाता हुआ फूल्टि में रखे गौथ के थिड़कने की इन्तजार कर रहा था. कभी वो चूल्हे की तरफ देखता और कभी फूल्टि की तरफ. फूल्टि के ऊपर रखा ढक्कन खन-खन ऊपर नीचे होने लगा और भाप भी निकलने लगी. चन्दु की ख़ुशी का ठिकाना नहीं रहा. दौड़कर अपनी दादी जी के पास गया और कहने लगा "दादी...दादी...थिड़कण लगि फूल्टि". दादी जल्दी से बोली "अरे छोरा...फूल्टि न...गौथ बोल".
चन्दु इंतज़ार करते करते थक गया. उसने चुपके से से फूल्टि का ढक्कन खोला, फूल्टि चूल्हे से गिरते गिरते बची. कर्छुले से थोड़ा सा गौथ निकालकर उसने चखे. अभी भी गौथ पूरी तरह से पके नहीं थे. गौथ जितने देर तक थिड़कें तो "गथ्वाणि" का स्वाद उतना ही अच्छा होता है. "गथ्वाणि" पीने से तो पथरी ठीक हो जाती है. जिसे पथरी की शिकायत हो तो उसके लिए "गथ्वाणि" अचूक औषधि का काम करती है.
शाम हुई तो चन्दु की दादी जी ने "गथ्वाणि" बनाया. कुछ गौथ बचाकर उनकी भरीं रोठी बनाई. चन्दु अपनी दादी जी से बोला "दादी...दादी...थोड़ा कन्क्रयाळु घ्यू त दी भरीं रोठी का दगड़ा." दादी बोली "अरे! ये छोरा की बात क्य बोन्न, कनि स्याणि छन ये तैं लगणी." चन्दु की दादी ने घरया घ्यू की ठिक्की गाड़ी अर् बोलि "खा मेरा चन्दु छक्किक "गथ्वाणि" अर् कन्क्रयाळु घ्यू".
चन्दु की दादी आज जीवित नहीं हैं. उसको दादी जी का वो जमाना रह रहकर याद आता है. पहाड़ से दूर परदेश में कहाँ मिलता है पहाड़ का खाना. पहाड़ कू कन्क्रयाळु घ्यू अर् "गथ्वाणि" अब कल्पना मा ही रैगि. चन्दु आज ज़माने के साथ बदल गया. अगर साथ हैं तो बचपन के यादें "गथ्वाणि" के रूप में.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
12.8.2009
चला ----, उ नि ऐनी त क्या हुवे ......
जतका बडो गौ , वेमा उतका बनी की जात अर लोग भी! हमरा गौ माँ कई जात का लोग छन जनकी असवाल , बिस्ट ,नेगी रावत ,भंडारी , बिंजोला , भट थपलियाल और काला आदि आदि ! गौ कवी कारिज इनु नी .., की , जैमा घ्परोल नि हुवे होलू ! कभी डाल्ला कटन लेकी त, कभी पंचैत का भानडॉ लेकी , त कभी तैलया खोल मैल्या खोल लेकी ! असवाल --, रोतू से खार खांदा छा त, काला भटु से ... ! बुनो मतलब यु च की बस , बाना चैद अर, झगडै बाण खड़ी ! मजाल च जू कभी कुई काम चैन से निभी जा !
नेगी जी की नौनी बियो की तारीख जनि नजीखु आई , उनी .., बाना खुज्यान बैठिनी . की, कनकुवै ये सुभ कारिजम बिखन डलेजा !
स्यु साब ..., रोतुल बोली " पैली ---, ब्योली बुब्बा पंचैत कु दंड दया, फिर हम सामिल हुला ! " ,
अस्वालुल बोली .. " ठीक च साब , गौ माँ बेटी ब्यू च ! हम सब थै सामिल हुवे की कारज थै निभाण चैद पर , ईयुंन , पोर ... जू पंचैत डाला कटा छा वांकु क्या होलू ? जब तक ये पूरा पैसा नि देदा हम त कतई सामिल नि हूय्वे सकदा ...! "
भट जी बोली " ठीकी छन असवाल जी बुना ! ... य भै , गौ माँ रैण त, भो -भयात त निभानी पोडली ! "
गुसम काला जी बिफरा .. ." कैसे बात करते हो तुम लोग है ? एक वार त , गौ की नाक का सवाल है , अर ऐच से तुम ... अपणी अपणी पुरानी बथो को रो रहे हो ? निखत है तुम लोगो के लिए जू , इस सामाजिक काम में ऐन टैम पर अड़ंगा डाल रहे हो ! " बहस जारी थी की तभी दुल्हा वालो की तरफ बीटी कुई आई उ बोली .... मी ब्योला की तरफ से ये रैबार लेकी आयु छो की --------
" ब्युलो बुब्बा राजी नि छ न आपका यख से रिश्ता कनु ? "
सुणी सब सन्न रैगी ! भंडरीजिल जनि सुणी उन सब्यु से बोली " देख्याल आपल अपनी कामुकू नतीजा .. कख ब्युओ छो हूणु अर अब , स्य छा ...., एक हैक कु गिचु दिख्णा ! अभी भी समझा , भोल तुम्हरी नौनियु का ब्युल भीत हुणा----- ! अगर इनी हाल राला अर इनी रिश्ता लौटयदै राला त, तब क्या होलू ?
सब्युन एक स्वर म बोली '----- अछु हुवे जू उन , यु रिश्ता तोडी! .. अरे बरात आई या नि आइली , पर चला .. ये बना से हमक त हुया ! हमरा सरया गौ अब एकत हवे !
Copy Right@परासर गौड़ ७ अगस्त ०९
नेगी जी की नौनी बियो की तारीख जनि नजीखु आई , उनी .., बाना खुज्यान बैठिनी . की, कनकुवै ये सुभ कारिजम बिखन डलेजा !
स्यु साब ..., रोतुल बोली " पैली ---, ब्योली बुब्बा पंचैत कु दंड दया, फिर हम सामिल हुला ! " ,
अस्वालुल बोली .. " ठीक च साब , गौ माँ बेटी ब्यू च ! हम सब थै सामिल हुवे की कारज थै निभाण चैद पर , ईयुंन , पोर ... जू पंचैत डाला कटा छा वांकु क्या होलू ? जब तक ये पूरा पैसा नि देदा हम त कतई सामिल नि हूय्वे सकदा ...! "
भट जी बोली " ठीकी छन असवाल जी बुना ! ... य भै , गौ माँ रैण त, भो -भयात त निभानी पोडली ! "
गुसम काला जी बिफरा .. ." कैसे बात करते हो तुम लोग है ? एक वार त , गौ की नाक का सवाल है , अर ऐच से तुम ... अपणी अपणी पुरानी बथो को रो रहे हो ? निखत है तुम लोगो के लिए जू , इस सामाजिक काम में ऐन टैम पर अड़ंगा डाल रहे हो ! " बहस जारी थी की तभी दुल्हा वालो की तरफ बीटी कुई आई उ बोली .... मी ब्योला की तरफ से ये रैबार लेकी आयु छो की --------
" ब्युलो बुब्बा राजी नि छ न आपका यख से रिश्ता कनु ? "
सुणी सब सन्न रैगी ! भंडरीजिल जनि सुणी उन सब्यु से बोली " देख्याल आपल अपनी कामुकू नतीजा .. कख ब्युओ छो हूणु अर अब , स्य छा ...., एक हैक कु गिचु दिख्णा ! अभी भी समझा , भोल तुम्हरी नौनियु का ब्युल भीत हुणा----- ! अगर इनी हाल राला अर इनी रिश्ता लौटयदै राला त, तब क्या होलू ?
सब्युन एक स्वर म बोली '----- अछु हुवे जू उन , यु रिश्ता तोडी! .. अरे बरात आई या नि आइली , पर चला .. ये बना से हमक त हुया ! हमरा सरया गौ अब एकत हवे !
Copy Right@परासर गौड़ ७ अगस्त ०९
क्या बुन तब ?
उछेदी गौ ---- ( जाथो नाम तथो गुणाः ) माँ उन त कई उछेद छा ! एक से बड़कर एक ! आस पास अर तिख्डी , पट्टी यख तक की गढ़वाल माँ उकी हाम छै हाम , अर ख़ास कर घनतु अर सन्तु की बात त कुछ औरी है छै ! घन्तु सन्तु थै भीतरी -भीतर एक हैंका थै काला बखरा बराबर दिखदा छा ! अर भैर उ इना लागुदु छो जन बुलंद एक दुसरा एक ही गाल पानी जाणु हो ! पर ..
जनी संतुल बोली __ " आज हमने सिलकुंतु ( ) मारी ! वे थै मना का वास्ता हमन पुरनी तरकीब अपनाई " बस या बात घन्तु थै चुभी गे ! पुराणी कन पुराणी ? कनु कैथै मना का वास्ता तराकीब .. कन तराकीब ! "
वेल पंचैत बिट्टाई ! यु कन क्वाई हुवै सकद ? अगर संतुल सचमा सिल्कन्तु मारी ही च, त , वो उदाहरण का द्वारा हम थै बतये की , १. आया ----, उन कुकर छुलैन या ना ? २.---, अगर वो कई पोड का पेट घुस्सी त क्या आपन मुव्वार पर धुई भी दे की ना ? ३. क्या अपन कुई जानकार बुजर्ग दगड भी रखी की ना ? आदि आदि ! अगर ये सब नि कारी त कन पुरनी तरकीब .. एकु मतलब ये ह्वै की आप थै सालू अर वे थै मना की तरकीब नि आंदी .. मी राही जी जाऊं शोली घररै घुर दगड्या वालू गीत गे उ से बिनती करदू की उ बतैनी की मई टीक छो बुनू या सन्तु ?
नोट .. कृपया व्यकितगत ना ले .. ले भी तो हसी मजाक में ?
Copy Right@परासर गौड़
जनी संतुल बोली __ " आज हमने सिलकुंतु ( ) मारी ! वे थै मना का वास्ता हमन पुरनी तरकीब अपनाई " बस या बात घन्तु थै चुभी गे ! पुराणी कन पुराणी ? कनु कैथै मना का वास्ता तराकीब .. कन तराकीब ! "
वेल पंचैत बिट्टाई ! यु कन क्वाई हुवै सकद ? अगर संतुल सचमा सिल्कन्तु मारी ही च, त , वो उदाहरण का द्वारा हम थै बतये की , १. आया ----, उन कुकर छुलैन या ना ? २.---, अगर वो कई पोड का पेट घुस्सी त क्या आपन मुव्वार पर धुई भी दे की ना ? ३. क्या अपन कुई जानकार बुजर्ग दगड भी रखी की ना ? आदि आदि ! अगर ये सब नि कारी त कन पुरनी तरकीब .. एकु मतलब ये ह्वै की आप थै सालू अर वे थै मना की तरकीब नि आंदी .. मी राही जी जाऊं शोली घररै घुर दगड्या वालू गीत गे उ से बिनती करदू की उ बतैनी की मई टीक छो बुनू या सन्तु ?
नोट .. कृपया व्यकितगत ना ले .. ले भी तो हसी मजाक में ?
Copy Right@परासर गौड़
खाओ पीओ प्रोग्राम
गड्वाली की साहित्य बोली/भाषा थै सिख्ण का वास्ता वख की सरकारल एक इनो प्रोग्राम शुरू करी की ,जो भी गढ़वाली कै भी बिसय माँ परीक्षा थै पास कारलू अर जू भी, छुम्मा बौ पर , सोध या पी एच डी कारलू
उथै अबोध जी की तीन नाटक दिए जाला ! दगडा दगडी वेथै " गढ़ वा गढ़वाली कु महाप्राण " की उपाधि दिए जाली ! अर साथ माँ बिदाई समारोह का दिन चखल पखल जू जतका पे साक .. छ्मोटन , गिलासुल, तोलोल जैकू जू छंद हो, बिना रोक टोक का खाई पे सकालू ! हे भी, ----- जनी ये घोषणा ह्युवे .. कालेजू का दरवाजो पर भीड़ पर कनी भीड़ आया ताबा की क्या बुन ! बाजा बाज त रात ही ऐगे छा की , न ह्यवा कखी मेरु नंबर नि आयु !
सरकारल अपनों काम कदे अर अब स्कुल को उका अध्यापको कु छो .. झूट नि बुनू साब .. उन भी कुवी कसर नि छोडी गडवाल अर गड्वाली नौ पर रोटी सिक्णै अर खाणिपैणी ! ग़ ड वा ल नौ की सर्तकता
उनकी नजर में क्या छै, वो यु रेगी >>>>
ग़ से ...... गल घुली दे, ये का वास्ता आई .. द्यली पैसी
ड ..से .. डकार तक नि ले .. साब !
वा .से वाह वाह करद करद नि थकीनी वो
ल ..से .. ल्याचा नि लगा जब तक वे प्रोग्रामा का
साल समाप्त हुवे ! बिदाई समारोह माँ बिध्यारथियुं न छ्क्वे पे .. बाजा बाज चित .. बड़ी मुस्किल से खडा करए गीनी टी बी वाल्लोने पूछी " कैसा लग रहा है "
" है ,, क्या ??? .."
" मैंने कहा .. एसे समारोह के बारे में आप क्या सोचते है "
" रोज होने चहिये .. "
हां ' --- खाओ पीओ .., ' भाड़ में जाए उपाधी सिपाधी ... मै तो कहता हूँ इस प्रोग्राम का नाम ही खाओ पीओ होना चाहिए ! जनि बोली , पतडम भुइम पोडिगे !
Copy Right@परासर गौड़ १३ अगस्त ६.५० बिखुन
उथै अबोध जी की तीन नाटक दिए जाला ! दगडा दगडी वेथै " गढ़ वा गढ़वाली कु महाप्राण " की उपाधि दिए जाली ! अर साथ माँ बिदाई समारोह का दिन चखल पखल जू जतका पे साक .. छ्मोटन , गिलासुल, तोलोल जैकू जू छंद हो, बिना रोक टोक का खाई पे सकालू ! हे भी, ----- जनी ये घोषणा ह्युवे .. कालेजू का दरवाजो पर भीड़ पर कनी भीड़ आया ताबा की क्या बुन ! बाजा बाज त रात ही ऐगे छा की , न ह्यवा कखी मेरु नंबर नि आयु !
सरकारल अपनों काम कदे अर अब स्कुल को उका अध्यापको कु छो .. झूट नि बुनू साब .. उन भी कुवी कसर नि छोडी गडवाल अर गड्वाली नौ पर रोटी सिक्णै अर खाणिपैणी ! ग़ ड वा ल नौ की सर्तकता
उनकी नजर में क्या छै, वो यु रेगी >>>>
ग़ से ...... गल घुली दे, ये का वास्ता आई .. द्यली पैसी
ड ..से .. डकार तक नि ले .. साब !
वा .से वाह वाह करद करद नि थकीनी वो
ल ..से .. ल्याचा नि लगा जब तक वे प्रोग्रामा का
साल समाप्त हुवे ! बिदाई समारोह माँ बिध्यारथियुं न छ्क्वे पे .. बाजा बाज चित .. बड़ी मुस्किल से खडा करए गीनी टी बी वाल्लोने पूछी " कैसा लग रहा है "
" है ,, क्या ??? .."
" मैंने कहा .. एसे समारोह के बारे में आप क्या सोचते है "
" रोज होने चहिये .. "
हां ' --- खाओ पीओ .., ' भाड़ में जाए उपाधी सिपाधी ... मै तो कहता हूँ इस प्रोग्राम का नाम ही खाओ पीओ होना चाहिए ! जनि बोली , पतडम भुइम पोडिगे !
Copy Right@परासर गौड़ १३ अगस्त ६.५० बिखुन
Monday, August 10, 2009
जुन्याळि रात
डांडी-कांठी सेयिं छन जुन्याळि रात मा....
जोन गैणा बिळ्म्याँ छन छ्वीं बात मा....
जैन्का स्वामी परदेश होयिं ऊदास,
सोचण लगिं फुर्र उड़ि जौं स्वामी का पास,
झळ-झळ जोन हेरि, होंणि ऊदास.......
कब आला स्वामी घौर, लगिं छ सास...
मुल-मुल हैंसंणी जोन आधी रात मा...
वीं तैं हेरि-हेरि बोन्नि काळी रात मा....
स्वामी तेरा झट्ट आला मै तैं हेरणा,
जन तू देखणी छैं मैकु वनि देखणा,
रैबार देणा त्वैकु नि होंणु उदास,
जब आलि बग्वाळि तब औलु तेरा पास.
"जुन्याळि रात" मा होन्दु मन ऊदास,
दूर छन जौंका स्वामी नि छन पास....
डांडी-कांठी सेयिं छन जुन्याळि रात मा....
जोन गैणा बिळ्म्याँ छन छ्वीं बात मा....
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
10.8.2009
जोन गैणा बिळ्म्याँ छन छ्वीं बात मा....
जैन्का स्वामी परदेश होयिं ऊदास,
सोचण लगिं फुर्र उड़ि जौं स्वामी का पास,
झळ-झळ जोन हेरि, होंणि ऊदास.......
कब आला स्वामी घौर, लगिं छ सास...
मुल-मुल हैंसंणी जोन आधी रात मा...
वीं तैं हेरि-हेरि बोन्नि काळी रात मा....
स्वामी तेरा झट्ट आला मै तैं हेरणा,
जन तू देखणी छैं मैकु वनि देखणा,
रैबार देणा त्वैकु नि होंणु उदास,
जब आलि बग्वाळि तब औलु तेरा पास.
"जुन्याळि रात" मा होन्दु मन ऊदास,
दूर छन जौंका स्वामी नि छन पास....
डांडी-कांठी सेयिं छन जुन्याळि रात मा....
जोन गैणा बिळ्म्याँ छन छ्वीं बात मा....
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
10.8.2009
जै मुल्क
बग्दु बथौं छोयों कू पांणी, जै मुल्क यू सब्बि धाणी,
बिंगा मन्ख्यौं टक्क लगैक, तुमन अजौं तक नि जाणी,
बतौंणु छौं सुणा हे चुचौं....
छबीलो कुमाऊँ अर् रंगीलो गढ़वाळ....
जख छन फूलू की घाटी, पांणी का भरयां ताल.
चौक अर् सैलि सगोड़ी, राम्दी छन भैन्सि गौड़ी,
दूध घ्यू की कनि रसाण, छांछ छोल्दा परेड़ा रौड़ी,
बिंगा मन्ख्यौं टक्क लगैक ,बतौंणु छौं सुणा हे चुचौं....
छबीलो कुमाऊँ अर् रंगीलो गढ़वाळ....
जख खिल्दा छन फूल, बुरांश अर् गुर्याळ.
प्यारी-प्यारी हिंवाळि काँठी, मुंड मा जन सफ़ेद ठान्टी,
चौखम्बा अर् त्रिशूली, नन्दा घूंटी अर् पन्चाचूली,
बिंगा मन्ख्यौं टक्क लगैक ,बतौंणु छौं सुणा हे चुचौं....
छबीलो कुमाऊँ अर् रंगीलो गढ़वाळ....
हरा भरा डांडा जख भारी भारी भ्याळ.
शिव जी कू जख वास, चार धाम छन खास,
गंगा यमुना बग्दि जख, देवतों कू जख निवास,
बिंगा मन्ख्यौं टक्क लगैक ,बतौंणु छौं सुणा हे चुचौं....
छबीलो कुमाऊँ अर् रंगीलो गढ़वाळ....
बाग़ रीक्क मरदा जख, धारु धारू फाळ.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
7.8.2009
बिंगा मन्ख्यौं टक्क लगैक, तुमन अजौं तक नि जाणी,
बतौंणु छौं सुणा हे चुचौं....
छबीलो कुमाऊँ अर् रंगीलो गढ़वाळ....
जख छन फूलू की घाटी, पांणी का भरयां ताल.
चौक अर् सैलि सगोड़ी, राम्दी छन भैन्सि गौड़ी,
दूध घ्यू की कनि रसाण, छांछ छोल्दा परेड़ा रौड़ी,
बिंगा मन्ख्यौं टक्क लगैक ,बतौंणु छौं सुणा हे चुचौं....
छबीलो कुमाऊँ अर् रंगीलो गढ़वाळ....
जख खिल्दा छन फूल, बुरांश अर् गुर्याळ.
प्यारी-प्यारी हिंवाळि काँठी, मुंड मा जन सफ़ेद ठान्टी,
चौखम्बा अर् त्रिशूली, नन्दा घूंटी अर् पन्चाचूली,
बिंगा मन्ख्यौं टक्क लगैक ,बतौंणु छौं सुणा हे चुचौं....
छबीलो कुमाऊँ अर् रंगीलो गढ़वाळ....
हरा भरा डांडा जख भारी भारी भ्याळ.
शिव जी कू जख वास, चार धाम छन खास,
गंगा यमुना बग्दि जख, देवतों कू जख निवास,
बिंगा मन्ख्यौं टक्क लगैक ,बतौंणु छौं सुणा हे चुचौं....
छबीलो कुमाऊँ अर् रंगीलो गढ़वाळ....
बाग़ रीक्क मरदा जख, धारु धारू फाळ.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
7.8.2009
Visionary Leadership in Uttrakhand is a major concern area
Visionary Leadership in Uttrakhand is a major concern area
Bhishma Kukreti
Most of the Uttarakhandi are frustrated that even after a decade of formation of separate state , the citizens of Uttarakhand could not see their dream fulfilled. The growth of Uttarakhand is now really based on heavy growth in urbanization rather than the rural growth of hilly areas. Town are shaping cities and cities are becoming metros but the rural Uttarakhand is not witnessing any substantial benefits from the formation of new state. Barring subsidized benefits, the rural and specially the inhabitants of hilly areas are not observing any futuristic developmental path .
Yes, this issue of no innovative and advantageous conventional futuristic strategy, tactics and applicable planning for hilly area is a concern area of deep thinking for the learned persons of Uttrakhand.
The basic reason for low or no development of rural or hilly Uttarakhand is that the leaders of Uttarakhand are not leader in real sense. The political leaders in Uttarakhand lack the qualities of leadership which satisfies the need of the hilly areas .
The integrity, dedication, deep understanding of the area concern, consistency, decisiveness, assertiveness, are major qualities of a leader and on top of it is that the leader should be visionary about the state or her/ his own constituency.
However, no political or social leader of Uttarakhand has shown that she or he is true visionary in context of juristic development of hilly Uttarakhand. The visionary leader ia always capable of inspiring not only followers but opponents too. Since, uttarakhand is lacking a true visionary leader, there is always internal fight within the political parties I.e. within Congress and BJP . This is one reason that congress had to call Narayan Dutt Tiwari a spent force for Uttarakhand as chif minister for the state and BJP had to change chief ministers as late Indira Gandhi used to change her chief minister.
A real visionary leader can create coherency among various sections and groups. However, lack of sensible visionary leader in Uttarakhand, each myopic leader is creating more factionalism and fractures within her/his political party than creating coherence.
Rural Uttarakhandi lacks prophet leaders and that is the major reason that there are no realistic and futuristic changes in rural Uttarakhand which may be the sign, symbol, mark, of true development .
A visionary leadership means the dramatization of the vision, which always attract the people and create strong follower ship. But, no leader in Uttrakhand could gain a total follower ship in whole of Uttarakhand . This is one area of concerns that there is no single leader in Uttrakhand who can command the all people of each area of Uttrakhand . It clearly shows that most of the leaders of Uttarakhand are myopic and not visionary .
A true leadership vision provides the direction for changes and this aspect of direction for changes attract the people or mass but the leaders of Uttarakhand are conceptual less in terms of knowing the required changes and required tactics for those changes. This is one reasons that after formation of Uttarakhand , Uttarakhand could not provide a single leader who may be taller than his life and could dominate the people of Uttarakhand and his high command in Delhi.
Visionary leadership inspire the mass for going for radical changes but the acts of various leaders in Uttarakhand show that most of the leaders are not knowing what is required for rural Uttarakhand
Not taking innovative measures for rural Uttarakhand is the symbol of myopic leadership in Uttarakhand . Beating the old path is again the reflection of myopic leadership in Uttarakhand. Not understanding the micromanagement by the leadership in hilly areas of Uttarakhand is an example of presence of no-visionary leadership in the state. Thw situation is now, complex in each field of life. The true visionary leadership is always capable of segregating a couple of beneficiary aspects from complex situation for taking those aspects as practical means of development and make the complex most situation very simple. Uttarakhandis don’t see any leader in Uttarakhand who can segregate the beneficial aspects from complex aspects.
Until the leaders of Uttarakhand evolve themselves for being visionary they can not serve the state as it requires. For becoming visionary the leaders should shelve their short termed self interest and should keep the interest of people at first step.
Copyright@ Bhishma Kukreti, Mumbai, 2009
Bhishma Kukreti
Most of the Uttarakhandi are frustrated that even after a decade of formation of separate state , the citizens of Uttarakhand could not see their dream fulfilled. The growth of Uttarakhand is now really based on heavy growth in urbanization rather than the rural growth of hilly areas. Town are shaping cities and cities are becoming metros but the rural Uttarakhand is not witnessing any substantial benefits from the formation of new state. Barring subsidized benefits, the rural and specially the inhabitants of hilly areas are not observing any futuristic developmental path .
Yes, this issue of no innovative and advantageous conventional futuristic strategy, tactics and applicable planning for hilly area is a concern area of deep thinking for the learned persons of Uttrakhand.
The basic reason for low or no development of rural or hilly Uttarakhand is that the leaders of Uttarakhand are not leader in real sense. The political leaders in Uttarakhand lack the qualities of leadership which satisfies the need of the hilly areas .
The integrity, dedication, deep understanding of the area concern, consistency, decisiveness, assertiveness, are major qualities of a leader and on top of it is that the leader should be visionary about the state or her/ his own constituency.
However, no political or social leader of Uttarakhand has shown that she or he is true visionary in context of juristic development of hilly Uttarakhand. The visionary leader ia always capable of inspiring not only followers but opponents too. Since, uttarakhand is lacking a true visionary leader, there is always internal fight within the political parties I.e. within Congress and BJP . This is one reason that congress had to call Narayan Dutt Tiwari a spent force for Uttarakhand as chif minister for the state and BJP had to change chief ministers as late Indira Gandhi used to change her chief minister.
A real visionary leader can create coherency among various sections and groups. However, lack of sensible visionary leader in Uttarakhand, each myopic leader is creating more factionalism and fractures within her/his political party than creating coherence.
Rural Uttarakhandi lacks prophet leaders and that is the major reason that there are no realistic and futuristic changes in rural Uttarakhand which may be the sign, symbol, mark, of true development .
A visionary leadership means the dramatization of the vision, which always attract the people and create strong follower ship. But, no leader in Uttrakhand could gain a total follower ship in whole of Uttarakhand . This is one area of concerns that there is no single leader in Uttrakhand who can command the all people of each area of Uttrakhand . It clearly shows that most of the leaders of Uttarakhand are myopic and not visionary .
A true leadership vision provides the direction for changes and this aspect of direction for changes attract the people or mass but the leaders of Uttarakhand are conceptual less in terms of knowing the required changes and required tactics for those changes. This is one reasons that after formation of Uttarakhand , Uttarakhand could not provide a single leader who may be taller than his life and could dominate the people of Uttarakhand and his high command in Delhi.
Visionary leadership inspire the mass for going for radical changes but the acts of various leaders in Uttarakhand show that most of the leaders are not knowing what is required for rural Uttarakhand
Not taking innovative measures for rural Uttarakhand is the symbol of myopic leadership in Uttarakhand . Beating the old path is again the reflection of myopic leadership in Uttarakhand. Not understanding the micromanagement by the leadership in hilly areas of Uttarakhand is an example of presence of no-visionary leadership in the state. Thw situation is now, complex in each field of life. The true visionary leadership is always capable of segregating a couple of beneficiary aspects from complex situation for taking those aspects as practical means of development and make the complex most situation very simple. Uttarakhandis don’t see any leader in Uttarakhand who can segregate the beneficial aspects from complex aspects.
Until the leaders of Uttarakhand evolve themselves for being visionary they can not serve the state as it requires. For becoming visionary the leaders should shelve their short termed self interest and should keep the interest of people at first step.
Copyright@ Bhishma Kukreti, Mumbai, 2009
Issues in Uttarakhand -2
Working Couples in Hilly Uttarakhand
Bhishma kukreti
Working couples means that wife and husbands both holding paid jobs . Rural Uttarakhand have been witnessing this new community for last one and half decades. This new phenomena should be subject of many discussions but rarely the median provides much attention on this vital issue of future community.
Working couples, in hilly Uttarakhand are subjects to many hampers, confines, constrains and along with conflicting situations for dealing new challenges they are facing. Some constrains and conflicts are transitory but some are to be dealt on daily basis for ever by working couples I hilly Uttarakhand .
Now a days, boys of hilly Uttarakhand also very much inclined that they get working marriage partners . This emerging new phenomenon in hilly Uttarakhand is creating various new situations which were never been there for centuries and the community is experiencing to deal such fresh circumstances.
The first constrain for the couples, those who are married but where one partner is without job, is to find job and that job should match with the job’s of one partner that both don’t entangle in much adverseness.
The parents of grooms of such working couples are not experienced dealing with working bahu or daughter in laws and the this compulsive new phenomenon is creating a different types of conflicts among family members. The experiencing and new adjust-mental culture of and by the working couples within family is the only solution for dealing such new situations within the family and society.
Handling many hidden or open unconventional asymmetries by the couples, family members, relatives, community within the same society and communities of couples in working places is the main problem , difficulty , trouble, crisis, dilemma, quandary or predicament . Again , new experiences by all , is the only teaching solutions for such problems.
It is observed that mostly , the partners are not getting jobs in the same village or small township of hilly Uttarakhand .This phenomenon of working in separate places creating many stumbling blocks for working couples of hilly Uttarakhand .
When the couples do not get jobs in the same place, there are three establishments within family- parent’s establishment, two separate establishments of couple. The fourth establishment also become necessary when the children are sent to a city or metro for higher education. Too many establishments are always a painstaking occurrence for any average human beings.
By having more than one establishment, there are chances of hassles on the partners and may create many adverse events.
Parenting by working couples in rural Uttarakhand is the biggest hassle, aggravation, exasperation for working couples and to all who are related to working couples.
Choosing child care is again part of parenting problem. Kids become the most sufferer in the home where parents are working .the kid’s suffering become more aggravated when the parents are working at different places and one parent cant meet the kids on daily basis. The situation worsens more when the kids dot have neither caring of both parents and grand parents too.
Schooling and higher education for the children of working couples of hilly areas of Uttarakhand is becoming the problem of society as whole and each members of community is struggling for the finer solutions for tackling the nrew emerging trends in Garhwal and Kumaon.
The old and contemporary norms are also breaking because of new pattern of working couples in hilly Uttarakhand and the society which is not habitual of experiencing such new changes put different pressure on working couples . If the adjustment period for dealing such newer and newer situation lingers the working couples and their family members may face many dilemmas .
The conflicting situations arisen by the ambitions for own professional progress is same as found in cities and metros too. When careers collide , there are conflicts between the couple and same phenomenon are being observed in hilly Uttarakhand as being experienced in cities or metros, It is still a common saying in hilly Uttarakhand too, “ A successful wife is all very nice in theory, as long as she's still constantly available at home.”
There are news that the divorce case among rural Uttarakhandis are also in increase. This situation is also because of increase in working couples in hilly Uttarakhand. Most of the problems of divorce occurrences are same of cities but there are some hidden problems in hilly Uttarakhand which are still to come on the surface. The society has to gear to digest this appalling, dire and unpleasant situation and the Uttarakhandi society should first has to be ready to face the new trend and then find solutions for the emerging trends of divorces and new ways of remarrying should be accepted as part and partial of our life.
The society, individuals, family members should be more sensitive and tolerable in finding the solutions if the working couples face the problems. The media of Uttarakhand should be more responsive in publishing articles or write ups related to working couples in hilly Uttarakhand
Copyright@ Bhishma Kukreti, Mumbai, 2009
Bhishma kukreti
Working couples means that wife and husbands both holding paid jobs . Rural Uttarakhand have been witnessing this new community for last one and half decades. This new phenomena should be subject of many discussions but rarely the median provides much attention on this vital issue of future community.
Working couples, in hilly Uttarakhand are subjects to many hampers, confines, constrains and along with conflicting situations for dealing new challenges they are facing. Some constrains and conflicts are transitory but some are to be dealt on daily basis for ever by working couples I hilly Uttarakhand .
Now a days, boys of hilly Uttarakhand also very much inclined that they get working marriage partners . This emerging new phenomenon in hilly Uttarakhand is creating various new situations which were never been there for centuries and the community is experiencing to deal such fresh circumstances.
The first constrain for the couples, those who are married but where one partner is without job, is to find job and that job should match with the job’s of one partner that both don’t entangle in much adverseness.
The parents of grooms of such working couples are not experienced dealing with working bahu or daughter in laws and the this compulsive new phenomenon is creating a different types of conflicts among family members. The experiencing and new adjust-mental culture of and by the working couples within family is the only solution for dealing such new situations within the family and society.
Handling many hidden or open unconventional asymmetries by the couples, family members, relatives, community within the same society and communities of couples in working places is the main problem , difficulty , trouble, crisis, dilemma, quandary or predicament . Again , new experiences by all , is the only teaching solutions for such problems.
It is observed that mostly , the partners are not getting jobs in the same village or small township of hilly Uttarakhand .This phenomenon of working in separate places creating many stumbling blocks for working couples of hilly Uttarakhand .
When the couples do not get jobs in the same place, there are three establishments within family- parent’s establishment, two separate establishments of couple. The fourth establishment also become necessary when the children are sent to a city or metro for higher education. Too many establishments are always a painstaking occurrence for any average human beings.
By having more than one establishment, there are chances of hassles on the partners and may create many adverse events.
Parenting by working couples in rural Uttarakhand is the biggest hassle, aggravation, exasperation for working couples and to all who are related to working couples.
Choosing child care is again part of parenting problem. Kids become the most sufferer in the home where parents are working .the kid’s suffering become more aggravated when the parents are working at different places and one parent cant meet the kids on daily basis. The situation worsens more when the kids dot have neither caring of both parents and grand parents too.
Schooling and higher education for the children of working couples of hilly areas of Uttarakhand is becoming the problem of society as whole and each members of community is struggling for the finer solutions for tackling the nrew emerging trends in Garhwal and Kumaon.
The old and contemporary norms are also breaking because of new pattern of working couples in hilly Uttarakhand and the society which is not habitual of experiencing such new changes put different pressure on working couples . If the adjustment period for dealing such newer and newer situation lingers the working couples and their family members may face many dilemmas .
The conflicting situations arisen by the ambitions for own professional progress is same as found in cities and metros too. When careers collide , there are conflicts between the couple and same phenomenon are being observed in hilly Uttarakhand as being experienced in cities or metros, It is still a common saying in hilly Uttarakhand too, “ A successful wife is all very nice in theory, as long as she's still constantly available at home.”
There are news that the divorce case among rural Uttarakhandis are also in increase. This situation is also because of increase in working couples in hilly Uttarakhand. Most of the problems of divorce occurrences are same of cities but there are some hidden problems in hilly Uttarakhand which are still to come on the surface. The society has to gear to digest this appalling, dire and unpleasant situation and the Uttarakhandi society should first has to be ready to face the new trend and then find solutions for the emerging trends of divorces and new ways of remarrying should be accepted as part and partial of our life.
The society, individuals, family members should be more sensitive and tolerable in finding the solutions if the working couples face the problems. The media of Uttarakhand should be more responsive in publishing articles or write ups related to working couples in hilly Uttarakhand
Copyright@ Bhishma Kukreti, Mumbai, 2009
Garhwali Fok Drama-2
Dr Rajeshwar Uniyal lacks trustworthiness in Analysis of Garhwali Folk Dramas
( A critical notes on the article “ Garhwali Lok Natya ki Samikhsha by Dr Uniyal)
Bhishma kukreti
It is author’s observation that many Garhwali writer take Garhwali literature very lightly and write as if they are obliging Garhwali language by writing anything. It seems that learned writer, editor, social activist Dr Rajeshwar Uniyal thinks that Garhwali readers and intellectuals will digest, will admire, will adore what ever Dr Uniyal writes and whatever way he writes. The author wants to caution the analysts as Dr Rajeshwar Uniyal that they should be serious and trustworthy in analyzing Garhwali literature and Garhwali folk literature.
The author was reading the analysis of an article published in hamari Chitthi (January-March, 2009, pages 25-27) named ‘Garhwali Lok Natya ki Samiksha” by Dr Uniyal and was shocked that the learned Garhwali critics are so much ignorant about the way criticism is written .
Rajeshwar uniyal divide Garhwali folk drama into three segments
Lokik Natak (old and contemporary)
Dharmik Natak
Uniyal also briefed the readers for “kalpanik lok natak’ and ‘lok sahitya par adharit natak’
The biggest flaw ,imperfection , blemish, failing, error of the article is that it is an article of generalized writing on Garhwali folk drama. You just omit Garhwali word and replace Garhwali word by Bhutani, Wels , El Salvador or Spanish, there will not be any effect on the writing because Dr Uniyal did not write about Garhwali folk drama but about the general folk drama in generalized way and methodology. The readers will never find any specific characteristics of Garhwali folk dramas in this write up by a so much learned writer and editor. This is painful for thee growth of Garhwali literature that even the learned person as Dr Uniyal take Garhwali criticism in so careless manner and just for passing the time . Or in Garhwali , the work of Dr Uniyal will be compared , “ Tain bwarim kwee kam nee cha at kalod ka kandh malasani cha”
The demand of any type of criticism , analysis, study is that the criticism should be backed by examples. It sad part on Rajeshwar Uniyal that he failed to provide any such examples that could prove the true characteristics, specific nature, unambiguous area of expertise in Garhwali folk dramas. Without focusing on the explicated attributes the analysis of folk dramas can not be complete and Dr Uniyal just wrote generalized view. In Garhwali it is called, , “ hal katan “ or “ bus mund mudenon ban mundena chhan”
The readers and intellectual society of Garhwali literature are not fool that they take every useless matter and without examples, whatever way dr Uniyal wants to offer them. Dr Uniyal should understand that now, the readers are also educated and they require the write up in proper manner and proper proof.
Dr Uniyal totally failed in offering no proofs, examples, saying, references for proving his division or criticism of Garhwali folk drama. He paid more attention on generalized subject and did not touch the main characteristics of Garhwali dramas. Even a ignorant person will tell that the main dramatists of Garhwali folk dramas are/were Badis (A specific class of Garhwali society) and women folks but the so called expert of Uttarakhand folk literature forgets to tell us about the badi’s dramas or women playing dramas in the month of fulon- ka manhina. He focused on ramayan or other dramas which are not main folk dramas of Garhwal.
It is great concern about the wordings of Dr Uniyal,: Jakh tak Garhwali lok sahitya ku sawal cha waiku stah Garhwali lok sahitya geet sahitya man an ka barabar cha. Jab ki Maharashtra ka tamasha godyal, gan gayan natak kala ka ang hondan: It clearly seems that neither he wacthed lavani of Maharashtra nor he watched the fold drama of Badis and women in the moth of Geetun ka maina. He should know or should get knowledge that most of the Garhwali folk dramas created by women are mixed with folk song or contemporary songs and same way, Badis used to mix folk or contemporary songs with prose drama or many times the drams were in poetical and lyric form only.
It is shocking statement from Rajeshwar Uniyal , “ Garhwali lok sahitya man bhi lok geet, gatha va katha ku varnan t bhaut cha par lok natkun ku kakhi ullekh nee cha..” he , clearly means that if some body did not write about folk drama in Garhwal that means there was no culture of folk drama in Garhwali . It is utter ignorance on part of Rajesh war Uniyal to write so. There have been a deep culture of folk drama in Garhwal. It means that dr Uniyal did not watch the folk dramas played at the time of Lang of Badis in the month of Chait. These Garhwali folk dramas created by Badis were in pure prose form and mixed ones too
This author feels that our historian and analysts as Dr Rajesh war Uniyal should take pain in doing research before writing such types of article. Uniyal and other writers shoul understand that by wrong interpretation , the characteristics of folk literature is reflected wrongly for the future generation
Copyright@ Bhishma Kukreti, Mumbai, 2009
( A critical notes on the article “ Garhwali Lok Natya ki Samikhsha by Dr Uniyal)
Bhishma kukreti
It is author’s observation that many Garhwali writer take Garhwali literature very lightly and write as if they are obliging Garhwali language by writing anything. It seems that learned writer, editor, social activist Dr Rajeshwar Uniyal thinks that Garhwali readers and intellectuals will digest, will admire, will adore what ever Dr Uniyal writes and whatever way he writes. The author wants to caution the analysts as Dr Rajeshwar Uniyal that they should be serious and trustworthy in analyzing Garhwali literature and Garhwali folk literature.
The author was reading the analysis of an article published in hamari Chitthi (January-March, 2009, pages 25-27) named ‘Garhwali Lok Natya ki Samiksha” by Dr Uniyal and was shocked that the learned Garhwali critics are so much ignorant about the way criticism is written .
Rajeshwar uniyal divide Garhwali folk drama into three segments
Lokik Natak (old and contemporary)
Dharmik Natak
Uniyal also briefed the readers for “kalpanik lok natak’ and ‘lok sahitya par adharit natak’
The biggest flaw ,imperfection , blemish, failing, error of the article is that it is an article of generalized writing on Garhwali folk drama. You just omit Garhwali word and replace Garhwali word by Bhutani, Wels , El Salvador or Spanish, there will not be any effect on the writing because Dr Uniyal did not write about Garhwali folk drama but about the general folk drama in generalized way and methodology. The readers will never find any specific characteristics of Garhwali folk dramas in this write up by a so much learned writer and editor. This is painful for thee growth of Garhwali literature that even the learned person as Dr Uniyal take Garhwali criticism in so careless manner and just for passing the time . Or in Garhwali , the work of Dr Uniyal will be compared , “ Tain bwarim kwee kam nee cha at kalod ka kandh malasani cha”
The demand of any type of criticism , analysis, study is that the criticism should be backed by examples. It sad part on Rajeshwar Uniyal that he failed to provide any such examples that could prove the true characteristics, specific nature, unambiguous area of expertise in Garhwali folk dramas. Without focusing on the explicated attributes the analysis of folk dramas can not be complete and Dr Uniyal just wrote generalized view. In Garhwali it is called, , “ hal katan “ or “ bus mund mudenon ban mundena chhan”
The readers and intellectual society of Garhwali literature are not fool that they take every useless matter and without examples, whatever way dr Uniyal wants to offer them. Dr Uniyal should understand that now, the readers are also educated and they require the write up in proper manner and proper proof.
Dr Uniyal totally failed in offering no proofs, examples, saying, references for proving his division or criticism of Garhwali folk drama. He paid more attention on generalized subject and did not touch the main characteristics of Garhwali dramas. Even a ignorant person will tell that the main dramatists of Garhwali folk dramas are/were Badis (A specific class of Garhwali society) and women folks but the so called expert of Uttarakhand folk literature forgets to tell us about the badi’s dramas or women playing dramas in the month of fulon- ka manhina. He focused on ramayan or other dramas which are not main folk dramas of Garhwal.
It is great concern about the wordings of Dr Uniyal,: Jakh tak Garhwali lok sahitya ku sawal cha waiku stah Garhwali lok sahitya geet sahitya man an ka barabar cha. Jab ki Maharashtra ka tamasha godyal, gan gayan natak kala ka ang hondan: It clearly seems that neither he wacthed lavani of Maharashtra nor he watched the fold drama of Badis and women in the moth of Geetun ka maina. He should know or should get knowledge that most of the Garhwali folk dramas created by women are mixed with folk song or contemporary songs and same way, Badis used to mix folk or contemporary songs with prose drama or many times the drams were in poetical and lyric form only.
It is shocking statement from Rajeshwar Uniyal , “ Garhwali lok sahitya man bhi lok geet, gatha va katha ku varnan t bhaut cha par lok natkun ku kakhi ullekh nee cha..” he , clearly means that if some body did not write about folk drama in Garhwal that means there was no culture of folk drama in Garhwali . It is utter ignorance on part of Rajesh war Uniyal to write so. There have been a deep culture of folk drama in Garhwal. It means that dr Uniyal did not watch the folk dramas played at the time of Lang of Badis in the month of Chait. These Garhwali folk dramas created by Badis were in pure prose form and mixed ones too
This author feels that our historian and analysts as Dr Rajesh war Uniyal should take pain in doing research before writing such types of article. Uniyal and other writers shoul understand that by wrong interpretation , the characteristics of folk literature is reflected wrongly for the future generation
Copyright@ Bhishma Kukreti, Mumbai, 2009
यूँ ही अचानक
यूँ ही अचानक कहाँ कुछ भी हो जाता है
बस अन्दर ही अन्दर कुछ हो रहा होता है
किसको फुरसत की देखे फ़ुरसत से जरा
भला कहाँ उथला कहाँ राज है गहरा
बेवजह गिरगिट भी तो कहाँ रंग बदलता है
यूँ ही अचानक कहाँ कुछ भी हो जाता है
यूँ कहने को सारा जग अपना ही तो है
पर वक्त पर कौन कितना साथ दे पाता है
अपने-पराये की उलझन से कितने बाहर निकले
जीने-मरने वाला ही कितना साथ निभाता है
जो सगा है वही कितना सगा रह पता है
यूँ ही अचानक कहाँ कुछ भी हो जाता है
यूँ ही कहाँ कोई किसी की सुध लेता है
बिन मांगे कोई कितना किसी को दे देता है
जब तक विप्र सुदामा मागने नहीं गए थे
सर्वज्ञाता कृष्ण भी जाकर कितना दे आये थे
भोग महलों का सुख, झोपड़ी कौन याद रखता है
यूँ ही अचानक कहाँ कुछ भी हो जाता है
कल तक खूब बनी पर अब है खूब ठानी
बात बढती है तो तकरार तो जरुर होती है
तू-तू-मैं-मैं की अगर जंग छिड गयी तो
फिर जंग कहाँ अपना-पराया देख पाती है
बेवजह समुन्दर में कहाँ ज्वार-भाटा आता है
यूँ ही अचानक कहाँ कुछ भी हो जाता है
जब दो का साथ मिला तो खूब बना लिया
लक्ष्य पर अडिग रहे तो मुकाम भी पा लिया
यह देख जो कल तक दूर थे, वे पास आने लगे
जो कांटे बिछाते थे कभी, वे फूल बरसाने लगे
भला बिन बादल आसमां भी कहाँ बरस पाता है
यूँ ही अचानक कहाँ कुछ भी हो जाता है
Copyright @Kavita Rawat, Bhopal, 8/8/09
अपनेपन की भूल
जिन्हें हम अपना समझते हैं
आँखों में अगर उनकी
झाँककर देखते हैं
तो दिखता क्यों नहीं
आँखों में उनके प्यार
एक पल तो सबकुछ
अपना सा लगता है
पर दूजे पल ही क्यों
बदला दिखता संसार
सोचकर झटका लगता
दिल को कि-
जिन्हें हम अपना समझते हैं
वे वक्क्त पर क्यों मुहँ मोड़ लेते हैं
दो बोल क्या बोल लेते हैं
वे मधुर कंठ से
हम उन्हें अपना समझने की
क्यों भूल कर बैठते हैं
ढूँढो तो सबकुछ मिल सकता है
देखो अगर अपनेपन से तो
सबकुछ अपना सा लगता है
पर 'कविता' राज समझी नहीं
कि चीज़ जो कल्पना में रहती है
उसी को पाने की क्यों
मन में बार-बार तमन्ना जगती है
Copyright @Kavita Rawat, Bhopal,2009
अपना-पराया दर्द
पड़ोसी की मुर्गी अक्सर ज्यादा अण्डे देती है
पराई दावत पर अक्सर भूख बढ जाती है
पहनने वाला ही जानता है जूता कहाँ काटता है
जिसे कांटा चुभे, वही उसकी चुभन जानता है
अंगारों को झेलना चिलम खूब जानती है
समझ में तब आती है जब सर पर पड़ती है
दूसरे के दिल का दर्द अक्सर काठ का लगता है
पर अपने दिल का दर्द पहाड़ सा लगता है
भरे पेट भुखमरी के दर्द को कौन समझता है
पराई चिन्ता में अपनी नींद कौन उड़ाता है
अपने कन्धों का बोझ अक्सर भारी लगता है
सीधा आदमी हमेशा पराए बोझ से दबा रहता है
Copyright @Kavita Rawat, Bhopal,2009
Thursday, August 6, 2009
दानी बात
अस्सी वर्षीय श्री कुंवर सिंह नेगी, ग्राम:भंडालू, पट्टी:बणेळ स्यूं, पौड़ी गढ़वाल, उत्तराखंड जो दिल्ली आये हैं और जिनके साथ मैं अक्सर बैठता हूँ ने मुझे ये बात बताई. आप सभी से अनुरोध है उत्तराखंडी बुजर्गों से "पुराणी दानी बातों" को बटोर कर यंग उत्तराखंड प्रस्तुत करें. मेरा कवि "जिग्यांसू" मन ऐसे संकलनों की खोज में रहता है और आप तक स्व रचित कविताओं के माध्यम से प्रस्तुत करने का प्रयास करता
जब अपणा देश मा, अंग्रेजू कू थौ राज,
कुंवर सिंह नेगी बतौन्दा, व घटना आज.
वे जमाना लोग, गाड़ी पकड़न जांदा दुगड्डा,
इंजन चालू होन्दु थौ, हैंडल घुमै बस अड्डा.
कोटद्वार बिटि कालका, जांदी थै रेल,
भाग्दी रेल देखि-देखि, लगदु थौ खेल.
उबरी कुंवर सिंह जी का दादा, था रेल ड्राईवर,
ड्यूटी थै ऊँकी, कालका शिमला मार्ग फर.
एक साल वे मार्ग फर, पड़ि ह्यूं अति भारी,
रेल मार्ग साफ़ कन्न खातिर, आदेश ह्वै जारी.
गुमान सिंह नेगी जी न, रेल इंजन चलाई,
तीन दिन मा शिमला तक, बर्फ इंजन सी हटाई.
यीं बहादुरी का खातिर, मिलि ऊँ तैं विक्टोरिया क्रास,
कथ्गा बहादुर था उत्तराखंडी, यू बिंगणु छ आज खास.
सत्-सत् नमन स्व. गुमान सिंह नेगी जी, जू स्वर्ग मा छन आ़ज,
कुंवर सिंह नेगी जी का मुख सी, पता लगि मैकु या बात आज.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
6.8.2009
जब अपणा देश मा, अंग्रेजू कू थौ राज,
कुंवर सिंह नेगी बतौन्दा, व घटना आज.
वे जमाना लोग, गाड़ी पकड़न जांदा दुगड्डा,
इंजन चालू होन्दु थौ, हैंडल घुमै बस अड्डा.
कोटद्वार बिटि कालका, जांदी थै रेल,
भाग्दी रेल देखि-देखि, लगदु थौ खेल.
उबरी कुंवर सिंह जी का दादा, था रेल ड्राईवर,
ड्यूटी थै ऊँकी, कालका शिमला मार्ग फर.
एक साल वे मार्ग फर, पड़ि ह्यूं अति भारी,
रेल मार्ग साफ़ कन्न खातिर, आदेश ह्वै जारी.
गुमान सिंह नेगी जी न, रेल इंजन चलाई,
तीन दिन मा शिमला तक, बर्फ इंजन सी हटाई.
यीं बहादुरी का खातिर, मिलि ऊँ तैं विक्टोरिया क्रास,
कथ्गा बहादुर था उत्तराखंडी, यू बिंगणु छ आज खास.
सत्-सत् नमन स्व. गुमान सिंह नेगी जी, जू स्वर्ग मा छन आ़ज,
कुंवर सिंह नेगी जी का मुख सी, पता लगि मैकु या बात आज.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
6.8.2009
रक्षा बंधन और बहिना
बाँध दो बहिना बड़े प्यार से,
आज मुझे तुम राखी,
भाई बहिन के प्यार का प्रतीक,
क्या है दुनिया में बाकी.
बचपन बीता तुम संग बहिना,
खाया खूब हँसाया,
बाँध दो बहिना राखी मुझको,
आज रक्षा बंधन है आया.
कर कामना राजी ख़ुशी की,
आज ख़ुशी है छाई,
लग रहा है स्वर्ग से सुन्दर,
मेरे घर प्यारी बहिना आई.
बांधी राखी आज बहिना ने,
रक्षा कवच है राखी,
भाई बहिन के प्यार का प्रतीक,
क्या है दुनिया में बाकी.
रक्षा करे तेरी माँ चन्द्रबदनी,
तू है मेरी प्यारी बहना,
कहता है कवि "जिग्यांसू"
बहिन तुम सदा सुखी रहना.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
5.8.2009
आज मुझे तुम राखी,
भाई बहिन के प्यार का प्रतीक,
क्या है दुनिया में बाकी.
बचपन बीता तुम संग बहिना,
खाया खूब हँसाया,
बाँध दो बहिना राखी मुझको,
आज रक्षा बंधन है आया.
कर कामना राजी ख़ुशी की,
आज ख़ुशी है छाई,
लग रहा है स्वर्ग से सुन्दर,
मेरे घर प्यारी बहिना आई.
बांधी राखी आज बहिना ने,
रक्षा कवच है राखी,
भाई बहिन के प्यार का प्रतीक,
क्या है दुनिया में बाकी.
रक्षा करे तेरी माँ चन्द्रबदनी,
तू है मेरी प्यारी बहना,
कहता है कवि "जिग्यांसू"
बहिन तुम सदा सुखी रहना.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
5.8.2009
प्यारी ब्वै का पास
ऊंचि-ऊंचि डांड्यौं मा हरयुं ह्वैगि घास,
टक्क लगिं मेरी कब जौलु मैं,
प्यारी ब्वै का पास....
घुगति घुराणी मन मेरु उदास,
गौळा मा बाडुळि लगणी,
कब जौलु मैं, प्यारी ब्वै का पास....
रैबार अयुँ छ ब्वैकु,
नि होंणु त्वैन उदास,
जब आला त्यौहार,
बुलौलु त्वैतैं पास.....
कब आला त्यौहार,
लग्युं छौं सास,
रंगमत ह्वैक जौलु,
प्यारी ब्वै का पास.....
ऊंचि-ऊंचि डांड्यौं मा हरयुं ह्वैगि घास,
टक्क लगिं मेरी कब जौलु मैं,
प्यारी ब्वै का पास....
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
4.8.2009
टक्क लगिं मेरी कब जौलु मैं,
प्यारी ब्वै का पास....
घुगति घुराणी मन मेरु उदास,
गौळा मा बाडुळि लगणी,
कब जौलु मैं, प्यारी ब्वै का पास....
रैबार अयुँ छ ब्वैकु,
नि होंणु त्वैन उदास,
जब आला त्यौहार,
बुलौलु त्वैतैं पास.....
कब आला त्यौहार,
लग्युं छौं सास,
रंगमत ह्वैक जौलु,
प्यारी ब्वै का पास.....
ऊंचि-ऊंचि डांड्यौं मा हरयुं ह्वैगि घास,
टक्क लगिं मेरी कब जौलु मैं,
प्यारी ब्वै का पास....
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
4.8.2009
ढोल दमाऊँ
उत्तराखण्ड की संस्कृति का प्रतीक है,
बजाते हैं औजि, जब होता है शुभ काम,
देवालयों में भी बजता है,
और बजता है, जहाँ हैं चार धाम.
ढोल का अपना साहित्य है,
जिसे कहते हैं ढोल सागर,
ढोल की तालों का विवरण है जिसमें,
जैसे गागर में हो सागर.
औजि ढोल बजाकर, सांकेतिक भाषा में,
एक दूसरे से बात करते थे,
बजाते थे जब, तब ढोल की तरंगों से,
पेड़ झूमते और पात झरते थे.
उत्तराखण्ड के हर गाँव में,
बजाते हैं औजि, मस्त होकर,
शबद,रांसू,नौबत,फाग अर् धुयाँळ,
नाचते हैं उत्तराखंडी,
प्यारे पहाड़, कुमौं अर् गढ़वाळ.
जरूरत है आज इसके,
अस्तित्व बचाने की,
हो रहा है लाचार,
अपना रहे हो जिनको,
वो अपनी संस्कृति के,
नहीं हैं हो सकते आधार.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
4.8.2009
बजाते हैं औजि, जब होता है शुभ काम,
देवालयों में भी बजता है,
और बजता है, जहाँ हैं चार धाम.
ढोल का अपना साहित्य है,
जिसे कहते हैं ढोल सागर,
ढोल की तालों का विवरण है जिसमें,
जैसे गागर में हो सागर.
औजि ढोल बजाकर, सांकेतिक भाषा में,
एक दूसरे से बात करते थे,
बजाते थे जब, तब ढोल की तरंगों से,
पेड़ झूमते और पात झरते थे.
उत्तराखण्ड के हर गाँव में,
बजाते हैं औजि, मस्त होकर,
शबद,रांसू,नौबत,फाग अर् धुयाँळ,
नाचते हैं उत्तराखंडी,
प्यारे पहाड़, कुमौं अर् गढ़वाळ.
जरूरत है आज इसके,
अस्तित्व बचाने की,
हो रहा है लाचार,
अपना रहे हो जिनको,
वो अपनी संस्कृति के,
नहीं हैं हो सकते आधार.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
4.8.2009
कभी ऐसा हो सकता है
जब लोग कहेंगे यहाँ गंगा बहती थी,
खूब सूरत तटों पर उसके,
श्रध्दालुओं की स्नान के लिए,
पूजा पाठ हेतु मंदिरों में,
बहुत भीड़ रहती थी.
खूब सूरत धार्मिक शहर,
इसके किनारों पर,
जहाँ लगते थे मेले,
लुप्त हो चुकी अब गंगा,
रह गए हैं अकेले.
आज पथ भूली गई,
या रूष्ट होकर सूख गई,
जिसकी बहती थी अविरल धारा,
प्रकृति का प्रकोप हुआ,
या इंसान ने उसको मारा.
जो भी होगा भविष्य में,
आज गाय को खोल दिया है,
और पवित्र गंगा को,
बांधों में बाँध कर,
त्रस्त होकर मरने के लिए,
जहर घोल दिया है.
सोचो! कभी इसका परिणाम,
गंगा और मानवता के लिए,
घातक हो सकता है,
ये है कवि "जिज्ञासू" की अनुभूति,
"कभी ऐसा हो सकता है"
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
3.8.2009
खूब सूरत तटों पर उसके,
श्रध्दालुओं की स्नान के लिए,
पूजा पाठ हेतु मंदिरों में,
बहुत भीड़ रहती थी.
खूब सूरत धार्मिक शहर,
इसके किनारों पर,
जहाँ लगते थे मेले,
लुप्त हो चुकी अब गंगा,
रह गए हैं अकेले.
आज पथ भूली गई,
या रूष्ट होकर सूख गई,
जिसकी बहती थी अविरल धारा,
प्रकृति का प्रकोप हुआ,
या इंसान ने उसको मारा.
जो भी होगा भविष्य में,
आज गाय को खोल दिया है,
और पवित्र गंगा को,
बांधों में बाँध कर,
त्रस्त होकर मरने के लिए,
जहर घोल दिया है.
सोचो! कभी इसका परिणाम,
गंगा और मानवता के लिए,
घातक हो सकता है,
ये है कवि "जिज्ञासू" की अनुभूति,
"कभी ऐसा हो सकता है"
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
3.8.2009
पुनर्जन्म
कल्पना में हो गया,
बन गया मैं बाघ,
पहुंचा फिर उत्तराखंड में,
अपने गाँव को भाग.
देखा मुझे मेरे पोते ने,
हल्ला खूब मचाया,
भगाओ इस बाघ को,
यहाँ कहाँ से आया.
नहीं भागा मैं गाँव से,
बैठा, जहाँ लगता मंडाण,
मारा सबने लाठी से,
हो गया मैं हन्टाण.
मूक हो सब कुछ सहा,
सबका था मैं पित्र,
बहुत बूढा था उनमें,
मेरा एक प्रिय मित्र.
उसने रोका सबको,
करो न ऐसा काम,
"पुनर्जन्म" हुआ हो,
किसी पित्र का,
रहा हो यही ग्राम.
बात मान ली ग्रामवासियौं ने,
जैसा बूढे प्रिय मित्र ने बताया,
फिर तो क्या था हर ग्रामवासी,
मेरे लिए खाना पीना लाया.
खूब खाया पिया मैंने,
जाने को कदम बढाया,
आने देना इस बाघ को,
सबने सोचा, मन बनाया.
फिर तो क्या था,
जाता रहता, अपने प्यारे गाँव,
देख प्रेम ग्रामवासियौं का,
रूकते नहीं मेरे पांव.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
31.7.2009
बन गया मैं बाघ,
पहुंचा फिर उत्तराखंड में,
अपने गाँव को भाग.
देखा मुझे मेरे पोते ने,
हल्ला खूब मचाया,
भगाओ इस बाघ को,
यहाँ कहाँ से आया.
नहीं भागा मैं गाँव से,
बैठा, जहाँ लगता मंडाण,
मारा सबने लाठी से,
हो गया मैं हन्टाण.
मूक हो सब कुछ सहा,
सबका था मैं पित्र,
बहुत बूढा था उनमें,
मेरा एक प्रिय मित्र.
उसने रोका सबको,
करो न ऐसा काम,
"पुनर्जन्म" हुआ हो,
किसी पित्र का,
रहा हो यही ग्राम.
बात मान ली ग्रामवासियौं ने,
जैसा बूढे प्रिय मित्र ने बताया,
फिर तो क्या था हर ग्रामवासी,
मेरे लिए खाना पीना लाया.
खूब खाया पिया मैंने,
जाने को कदम बढाया,
आने देना इस बाघ को,
सबने सोचा, मन बनाया.
फिर तो क्या था,
जाता रहता, अपने प्यारे गाँव,
देख प्रेम ग्रामवासियौं का,
रूकते नहीं मेरे पांव.
(सर्वाधिकार सुरक्षित,उद्धरण, प्रकाशन के लिए कवि,लेखक की अनुमति लेना वांछनीय है)
जगमोहन सिंह जयाड़ा "जिज्ञासू"
ग्राम: बागी नौसा, पट्टी. चन्द्रबदनी,
टेहरी गढ़वाल-२४९१२२
31.7.2009
Monday, August 3, 2009
अबकी बार राखी में जरुर घर आना
राह ताक रही है तुम्हारी प्यारी बहिना
अबकी बार राखी में जरुर घर आना
न चाहती धन-दौलत न कोई गहना
आकर पास बैठ, दो बोल मीठे सुनाना
अब न बनाना फिर से कोई बहाना
राह ताक रही है तुम्हारी प्यारी बहना
अबकी बार राखी में जरुर घर आना
गाँव के खेत-खलियान तुम्हें बुलाते हैं
कभी खेले-कूदे अब क्यों भूले कहते हैं
जरा अपना बचपन का स्कूल देखते जाना
अपने बचपन के दिनों को याद करना
भूले-बिसरे साथियों की सुध लेते जाना
राह ताक रही है तुम्हारी प्यारी बहिना
अबकी बार राखी में जरुर घर आना
गाँव-घर छोड़ अब तू परदेश जा बसा है
बिन तेरे घर अपना सूना-सूना पड़ा है
बूढ़ी दादी और माँ का भी यही कहना है
अपने परदेशी नाती-पूतों को देखना है
आकर घर हसरत उनकी पूरी करना
राह ताक रही है तुम्हारी प्यारी बहिना
अबकी बार राखी में जरुर घर आना
खेती-पाती में अब लोगों का मन कम लगता है
गाँव में रहकर उन्हीं शहर का सपना दिखता है
उजडे घर, बंजर खेती आसूं बहा रहे हैं
कब सुध लोगे देख आसमां पुकार रहे हैं
आकर अपनी आखों से हाल देखते जाना
राह ताक रही है तुम्हारी प्यारी बहिना
अबकी बार राखी में जरुर घर आना
गाँव के बूढे बुजुर्ग याद करते रहते हैं
सभी नाते रिश्तेदार भी पूछते रहते हैं
क्यों नाते रिश्तों को तुम भूल गए हो!
जाकर सबसे दूर परदेशी बने हुए हो
आकर सुबकी खबर सार लेते जाना
राह ताक रही है तुम्हारी प्यारी बहिना
अबकी बार राखी में जरुर घर आना
कविता रावत
भोपाल
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