यंग उत्तराखंड पाँचवां कैरियर गाइडेंस कैम्प क्वेराला, (सल्ट) अल्मोड़ा, उत्तराखंड)

यंग उत्तराखंड द्वारा दिनांक 23 व 24 सितम्बर 2011 को राजकीय इंटर कालेज क्वेराला, (सल्ट) अल्मोड़ा, उत्तराखंड में दो दिवसीय कैरियर गाइडेंस कैम्प का आयोजन किया गया |

यंग उत्तराखंड द्वारा आयोजित यह पाँचवां कैरियर गाइडेंस कैम्प था | इस कैम्प का मुख्य उद्देश्य कक्षा दसवीं, ग्यारहवी व बारहवी के छात्र-छात्राओं के स्कूली शिक्षा उतीर्ण करने के उपरान्त रोजगार प्राप्त करने व रोजगार के विभिन्न क्षेत्रो के बारे में जानकारी प्रदान करना था |

कैम्प लिए टीम का दिल्ली से प्रस्थान: यंग उत्तराखंड के 11 सदस्यों की टीम दिनांक 22 सितम्बर 2011 को रात्रि 9:00 बजे दिल्ली से क्वेराला, अल्मोड़ा के लिए रवाना हुई |

यंग उत्तराखंड की ओर से इस कैम्प में जाने वाले सदस्य: श्री ललित प्रसाद ढौंडियाल, श्री चन्द्र मोहन ज्योति, श्री भास्कर कांडपाल, श्री के सी एस रावत, श्री नीरज बवाड़ी, श्री जोगिन्दर सिंह रावत, श्री विपिन पंवार, श्री विवेक पटवाल, श्री चन्द्र कान्त नेगी, श्री विजय सिंह बुटोला व श्री मनोज रावत |

टीम का उत्तराखंड में प्रवेश: अगले दिन 23 सितम्बर 2011 को रात चार बजे सदस्यों की टीम रामनगर पहुंची | जलपान आदि करने के बाद सभी सदस्य अपनी शेष यात्रा पूरी करने के लिए चल पड़े | विश्व विख्यात जिम कोर्बेट वन्य जीव अभ्यारण से होते हुए प्रात: पाँच बजे हम मर्चुला पहुचे |  मर्चुला > मौलेखाल > जालीखान > पसिया > झिमोर > डोटियाल > मल्ला मनीला >पुरिया चौड़ होते हुए सदस्यों की टीम प्रात: 8:00 बजे पुरिया चौड़ स्तिथ होटल काफल बुरांश पहुंचे | यहाँ पर श्री जोगिन्दर रावत जी ने टीम के रहने -खाने की व्यस्था की हुयी थी |

कैम्प की कार्यवाही का आरम्भ : नित्य कर्म से निवृत हो कर हम सभी ने नाश्ता किया और प्रात: 9:30 पर टीम राजकीय इंटर कालेज क्वेराला के लिए रवाना हुई | सुबह दस बजे विद्यालय शुरू हुआ कार्यवाहक प्राचार्य डी. के . श्रीवास्तव जी से मुलाकात कर हमने उन्हें कार्यक्रम से पुनः अवगत करवाया | यह कार्यक्रम 10:30 बजे आरम्भ हुआ इस कैम्प में कक्षा दसवीं, ग्यारहवी व बारहवी के 238 विद्यार्थियों ने भाग लिया | सभी छात्र-छात्राओं की बैठने की ब्यवस्था एक हाल में की गयी |   कार्यक्रम के प्रारंभ में श्री चंद्रकांत नेगी ने स्कूल प्रशासन का धन्यवाद करते हुए यंग उत्तराखंड एवं टीम का परिचय दिया तथा छात्र-छात्राओं को करियर के लिए शिक्षा के  महत्व के बारे में बताया | तदुपरांत अपने अपने व्यावसायिक क्षेत्रो के टीम विशेषज्ञों द्वारा कक्षा दसवीं, ग्यारहवी व बारहवी के छात्र-छात्राओं को क्रमवार संबोधित किया | 

श्री ललित प्रशाद ढौंडियाल ने इंजीनिअरिंग एवं मेडिकल सम्बन्धी विषयों में करियर, श्री सी एम ज्योति ने पत्रकारिता, मीडिया (मॉस कम्युनिकेशन) श्री भाष्कर कांडपाल ने सूचना एवं प्रधोगिकी (आईटी) श्री नीरज बावड़ी ने सरकारी नौकरियों एवं प्रबंधन, श्री के सी एस रावत ने सेल्स मार्केटिंग एवं प्रबंधन तथा व्यक्तिगत विकास एवं श्री जोगिन्दर रावत ने जो की उसी स्कूल के छात्र रह चुके है, अपने अनुभव शेयर किये तथा किस तरह शिक्षा में सफलता प्राप्त की जाती है छात्रों को बताया |

दो दिवसीय इस कार्यक्रम में टीम के सदस्यों ने छात्र-छात्राओं को संबोधित करते हुए कहा कि विद्यार्थियों को शिक्षा के क्षेत्र में दक्षता हासिल करनी चाहिए तथा भविष्य के प्रति सचेत रहना चाहिए । उन्होंने प्रतिभागियों को सूचित करते हुए कहा कि शिक्षार्थियों को विविध क्षेत्रों में अपने ज्ञान को व्यावहारिक रूप देने का प्रयास करना चाहिए | उन्होंने कहा कि विद्यार्थियों को कंप्यूटर, पत्रकारिता व अपनी रूचि विशेष समर्थित रोजगारों की खोज करनी चाहिए तथा इस दिशा में हर सम्भव प्रयास करना चाहिए । टीम के सदस्यों ने सभी विद्यार्थियों को संबोधित करते हुए कहा कि हमें प्रशासनिक सेवाओ में रोजगार के लिए क्या-क्या तैयारिया और प्रयास करना चाहिए |

उन्होंने बताया कि आज  के दौर में शिक्षा का महत्व किसी से छिपा नहीं है। शिक्षा चाहे जीवकोपार्जन के लिए हो, सामाजिक मूल्यों की पुनर्स्थापना  के लिए, या फिर जीवन की सही समझ के लिए। शिक्षा हर हाल में बेहतर जीवन की गांरटी है | आज शिक्षा  का  स्तर  चरम  पर  है  इसीलिए  बिना लक्ष्य निर्धारित  किए पढ़ाई करने का कोई अर्थ  नहीं रह जाता है। आपकी रुचि जिस क्षेत्र में है, उसी को ध्यान में रखकर करियर की प्लानिंग करना  उपयुक्त  माना जा सकता है। यदि  आप 12वीं के बाद जिस भी क्षेत्र या विषय को चुन रहे हैं, उससे संबंधित समुचित योग्यता आपमें है या नहीं, इस तथ्य को पहले से ही परख लें!

अभिभावक व टीम के मध्य बातचीत सत्र: श्री चन्द्र कान्त नेगी जी ने  आमंत्रित माता पिता को  बातचीत सत्र की शुरुआत की | श्री नेगी जी ने   उन्हें अपने बच्चो के प्रति उनकी जिम्मेदारियों से अवगत कराया था साथ ही सभी विसेसज्ञों ने अपने अनुभव एवं किस तरह से बच्चों में अच्छे संस्कार एवं शिक्षा के प्रति रूचि के लिए उचित शिक्षा हेतु मार्गदर्शन किया| अभिभावक मीटिंग में अभिभावक एसोशियेशन के पदाधिकारी भी मौजूद थे उन्होंने एवं अभिवाहकों ने यंग उत्तराखंड के कार्यों को सराहा एवं भविष्य में इनसे कैंप के लिए निवेदन किया

विद्यार्थियों के लिए सामान्य ज्ञान प्रतियोगिता का आयोजन : टीम के सदस्यों के संबोधन के बाद एक सामान्य ज्ञान प्रतियोगिता का आयोजन किया गया इस प्रतियोगिता में सभी 238 छात्र-छात्राओ ने भाग लिया |

प्रतियोगिता में पुरुस्कार पाने वाले विद्यार्थी इस प्रकर से थे: 

1. प्रदीप मनराल  (कक्षा 12B, प्रतियोगिता में प्रथम स्थान प्राप्त किया तथा प्रमाण-पत्र व स्मृति चिन्ह प्रदान किया गया)

2. भरत सिंह चौहान  (कक्षा 10, प्रतियोगिता में द्वितीय स्थान प्राप्त किया तथा प्रमाण-पत्र व स्मृति चिन्ह प्रदान किया गया)

3. जीत सिंह (कक्षा 12A, प्रतियोगिता में तृतीय स्थान प्राप्त किया तथा प्रमाण-पत्र व स्मृति चिन्ह प्रदान किया गया)

प्रमाण-पत्र व स्मृति चिन्ह वितरण समारोह के पश्चात् इस प्रतियोगिता में भाग लेने वाले शेष सभी प्रतिभागी विद्यार्थियों को उत्साहवर्धन स्वरुप एक-एक प्रमाण पत्र दिया गया | श्री सी के एस रावत ने निम्न छात्रों को स्कूल बैग दान दिए एवं श्री भास्कर कांडपाल ने दो शिक्षकों को कैंप में उनके उत्कृष्ट सहयोग के लिए कुछ पुस्तकें भेंट की |

होनहार निर्धन विद्यार्थियों को छात्रवृति : यंग उत्तराखंड ने इस वर्ष से आर्थिक रूप से कमजोर होनहार 3 निर्धन विद्यार्थियों को उनकी एक वर्ष की शिक्षा हेतु नकद धनराशी के रूप में छात्रवृति योजना की शुरुवात की है | चालू शैक्षिक -सत्र हेतु इस वर्ष यंग उत्तराखंड ने दसंवी तथा ग्याहरवी के 3 विद्यार्थियों को एक वर्ष की शिक्षा हेतु पुस्तके, शिक्षा-शुल्क, जूते, गणवेश, बस्ता, पैन-पेंसिल व् अन्य शिक्षण सामग्री के लिए नकद धनराशी  के रूप में जिन 3 विद्यार्थियों को छात्रवृति प्रदान की गयी उनके नाम इस प्रकार हैं :

नवीन चन्द्र आत्मज श्री प्रकाश राम कक्षा 10

हरीश सिंह आत्मज श्री लक्ष्मण सिंह कक्षा 10

मनोज सिंह आत्मज श्री जगत सिंह कक्षा 11B

कैंप के समापन समारोह में छटी कक्षा के दो छात्रों ने पहाड़ी गीत गाकर सुन्दर समां बांध दिया जिसे टीम एवं शिक्षकों ने बहुत सराहा. अंत में सभी छात्रों को जलपान हेतु बिस्कुट इत्यादि बांटे गए एवं कैंप की समाप्ति की | 

कैम्प का समापन और वापसी : दिनांक 24 सितम्बर को अपने दो दिवसीय कैरियर गाइडेंस कैम्प के सफल आयोजन के समाप्ति के पश्चात यंग उत्तराखंड की टीम ने वहा के माता मानिला के मंदिर जाकर माता के दर्शन कर आशीर्वाद प्राप्त किया | अगले दिन 25 सितम्बर को यंग उत्तराखंड की टीम सुबह 9 बजे दिल्ली के लिए रवाना हुई |

इस प्रकार यंग उत्तराखंड द्वारा आयोजित यह कैरियर गाइडेंस कैम्प का सफल समापन किया | यंग उत्तराखंड इस कैम्प में भाग लेने वाले सभी सदस्यों का आभार प्रकट करती है जिन्होंने अपना अमूल्य समय निकल कर इस कैम्प के सफल समापन में अपना उत्कृष्ट योगदान दिया यंग उत्तराखंड उन सभी अन्य साथियो का भी आभार प्रकट करती है जो कि प्रत्यक्ष व परोक्ष रूप से इस जन-कल्याण कार्यक्रम में सहभागी बने |

निवेदक

टीम यंग उत्तराखंड

Gadi Chaleli Chaleli - Chhapeli - Anandi Devi & Santram

http://hillytube.com/video/Gadi_Chaleli_Chaleli_Chhapeli_-_Anandi_Devi_and_Santram

Gadi Chaleli Chaleli - Chhapeli - Anandi Devi & Santram
*Artist - Anandi Devi & Santram (Almora, Uttaranchal)... The precise meaning of this song is not clear and the stanzas have most likely been added over time by the singer. Towards the end of the song the singer gives his own introduction and his complete address. This is a common practice followed in many folk songs.

अपने ज़माने के प्रसिद्द उत्तराखंडी गायकों के अनमोल गीत सुनिए

अपने ज़माने के प्रसिद्द उत्तराखंडी गायकों के अनमोल गीत सुनिए सिर्फ hillytube.com और hillymusic.comपर

Gopal Babu Goswami Songs (Biggest Collection on Internet)

http://hillymusic.com/music/index.php?action=artist&id=10
http://hillytube.com/search/all/gopal%20Babu

Kabootri Devi ( Song's Collected From Nazimabad Radio Station - Hillytube! Exclusive )

http://hillytube.com/search/all/kabootri%20devi

Kishan Singh Panwar
http://hillytube.com/search/all/kishan%20singh

तथा अन्य लोकगायको के संगीत तथा स्वरों को सुनने के लिए क्लिक करें hillytube.com / hillymusic.com(Music of Himalayas)

HillyMusic / Hillytube Team!

ढोल - दामो पर नाचे न हम कभी

ढोल - दामो पर नाचे न हम कभी
मंडाण कभी लगाया न हमने
DJ पर नाचे सदा को ,
हम तो डिस्को करने वाले हैं
मुझको पहाड़ी मत बोलो
में तो .............

अंग्रेजी ही पीते हैं हम सदा नी को
कची हमने चाखी नी कभी को
लुकी - लुकी के पी न कभी हमने
हम तो बार - रेस्ट्रोरेन्ट में पीने वाले हैं
मुझको पहाड़ी मत बोलो
में तो .............

रंत- रैबार भेजा नि कभी हमने
न समलूंण के बारे में सुना कभी को
ईमेल - चाट करते हैं सदा को
हम तो बुके - गिफ्ट देने वाले हैं
मुझको पहाड़ी मत बोलो
में तो ............"Written By Nishan"


Listen Songs http://hillymusic.com/music/index.php?action=album&id=136

HillyTube! | जागी रै प्रीतम भरतवाण6

HillyTube! | जागी रै प्रीतम भरतवाण6

Make a world of a difference to a needy child’s life.

Schedule for Day 1

Brief Introduction 

About Young Uttarakhand.
Purpose of Career Guidance Camp
Counseling

Brief introduction of Counselors.
Mass Career Counseling of different fields e.g. IT, Finance / Accounts, Engineering, Graphic Designing, Government Sector Jobs etc.
Specialized Career Counseling by making groups according to their field / subject of interest.

Quiz Competition


Schedule for Day 2

Interaction with students along with their parents.
Spot Essay Writing competition,
Discussion with school authorities regarding Adopt a Child Plan.
Distribution of career guidance books, scholarships, certificates and mementos to the students
Interaction with school staff and principal.
Distribution of mementos to the principal.
Make a world of a difference to a needy child’s life. 
Help make change happen, Adopt a child now......
Now here is an Golden Opportunity for all of you to be part of this Social Cause by donating for their Projects of Young Uttarakhand
A/c in The Name Of :- Young Uttarakhand
Bank Name :- ICICI Bank
Branch :- Panchsheel, New Delhi
A/c No :- 022401002313
RTGS/NEFT/IFSC Code : ICIC0000224 

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Steps and Movement in Chaunfala चौंफुल़ा (ळ+आ) , a Garhwali Folk Dance

Bhishma Kukreti

                    Bhishma Kukreti  (2011) concludes with references that Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or  चौंफुल़ा (ळ+आ) dance  is there in Garhwal before 2000 years back. The song is very popular in the region and part and participle of Garhwali culture. A prolific expert of Garhwali folk literature Dr Shiva Nand Nautiyal states that in most of the respects, Chaufula, Chaunfula or चौफुल़ा (ळ+आ ) or  चौंफुल़ा (ळ+आ) is similar to garba of Gujrat, Bihu of Assama, Ras of Manipur and the dances of medieval time  dances as Chamtkar Nrity, Chalit Nrity and Geet Nrity. Dr Shiva Nand Nautiyal argued that the people (who settled in Garhwal from various regions of India) added the new version into primitive Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or  चौंफुल़ा (ळ+आ) dance and song.

    Since, the old classic books provide less literature on group dances , it is difficult to find out history of development of Chaufula, Chaunfula or चौफुल़ा (ळ+आ ) or  चौंफुल़ा (ळ+आ) dance –song.

          Bharat Naty Shashtra offered more time on Solo dance but orovided very less literature on group dances. Bharat called group dance as ‘Pindibandh’. Bharat described nd divided group dances as per the form the dancers create while dancing. That is why Bharat took cue from war strategy and called group dances as Mayurpindi, Trishulpindi (raudrpindi), Kamalpindi, Halpindi, Garudpindi etc (Bharat Natya Shashtra, 4- 221 to 272) similar to Battle strategy as Chakrvyuh, Mayurvyuh, Makdvyuh etc. Bharat did not mention any rule of gender discrimination in group dances.

               

   Steps ,Movement and Chronological Satges of  Chaunfula चौंफुल़ा (ळ+आ) Dance

  The dance is performed in open place specially in country yard (Chauk). The dance starts by female dancers and male dancers standing in line separately. The female dancers come opposite of male dancers but not too far and the each dancer comes forward one step, put left hand on the left hand 9palm) of opposite dancer and again put right hand on the right hand of opposite dancer. After this the dancers come back on original position. In second stage, the dancers clap on the hands of opposite dancers with going forward one step and then coming back. In the third stage, each dancer moves in full circle with dance and then claps on the opposite dancer’s hands as in earlier stage In fourth stage, the dancers create a circle and moves in dancing form in anti-clock direction. Dancing in circle is fifth stage of  Chaufula, Chaunfula orचौफुल़ा (ळ +आ ) or  चौंफुल़ा (ळ+आ) dance. Now half of the dancers sing the song and other half repeat the song. The half dancers bend towards left and half dancers bend towards right while dancing in sixth stage. The dancers beat their feet on the earth and clap while dancing in circle. The singing also goes on.. from third stage the performing on face start (Mukhaabhinay). In later stage, the dance takes speed and singing takes back seat.

                      Here is an Old song of Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or  चौंफुल़ा (ळ+आ) Dance –Song.

         Major  Types of Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or  चौंफुल़ा (ळ+आ) Dance –Song.

         There are many variants in Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or  चौंफुल़ा (ळ+आ) Dance –Song. However, Dr Shiva Nand Nautiyal provided two main varieties of Chaunfula dance as:

1- Khada Chaunfula dance

2-Laludi Chaunfula dance for both genders

3-Laludi Chaunfula dance for male dancers only

          As far as numbers of dancers is concerned, there is no restriction for number of dancers. However, the dancers should be in even numbers for making pair.

   The songs pertaining to Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or  चौंफुल़ा (ळ+आ) Dance –Song.are mainly of

1- Love rapture

2-humrous raptures

3- Satirical or playful raptures

4- Inspirational

5- Doubting to other or lovers songs

  Specific Characteristic of Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or  चौंफुल़ा (ळ+आ) Songs.

        Usually, in Garhwali folk songs, the first stanza or line is meaningless stanza and is used to make lyrical poetry.. The first meaningful line is always repeated.

 However, in most cases, in Chaufula songs, te first meaning less stanza is not found and the firsts line is also not repeated with other stanzas.

      चौन्फ़ल़ा (ळ +आ) नृत्य गीत का एक उदाहरण 

(गढवाली लोक गीत, उत्तराखंडी लोक गीत, भारतीय लोक गीत) 

महात्मा गांधी बडो भागी छ, देस मुल्को अनुरागी छ Mahatma Gandhi is great man, He loves this country

बाखरी दूद ओ पीन्दो  च, खाड़ी क लारा पैणदो च  He takes the milk of goat, he wears Khadi dress

(सन्दर्भ: डा. शिवा नन्द नौटियाल गढवाल के लोक नृत्य-पृष्ठ  ११२-११९) . 

                Group Circle Folk Dances-Songs  of France

    In most of the community, group circle folk dance-songs are common. Take example of France, there many types of folk group dance-songs which are performed in circle..in a brilliantly researched book’ Folk Dances from France,  Fredericka Moore  provides us the details of following group dance-songs which are performed in circle with graphic figures and musical notes and in all the following dances, children, girls and boys take part::

1- Girofle, Girofla ( In a couple of aspects , the dance has similarities with chaunfala as clapping, backward and forward movement etc)

2-Il court, Il court, Le Furet

3- Meunier, Tu dors

4-Nous N’Irons Plus au Bois

5-dans le jarden.. ( this is similar to Chaunfla dance in many aspects as in this dance song, the dancers make two lines facing each other and not too far.and later on makes circle. The difference between Chaunfala and this dance is that it is also a game of animals and birds.

             

             The description of Garhwali Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or  चौंफुल़ा (ळ+आ) Dance –Song .and briefing about group circle folk dances of France is proof that circle group dance-songs have been there in the older societies allover world. The variation in foot movements and body parts may differ but the people gain same rapture all over the world.

 Copyright@ Bhishma Kukreti bckukreti@gmail.com

Gadhwali Poet-३ - Jaya Nand Khuksal ‘BauLya’: the initiator of realism in Garhwali poetry

Gadhwali Poet-3
Jaya Nand Khuksal ‘BauLya’: the initiator of realism in Garhwali poetry
Bhishma Kukreti

(Read L as the L of chhalu, syalu, byali etc , D as in kadu, mod, and DH in paudh, gadhu etc.)

There tens of migrated Garhwali poets who crafted beautiful Garhwali verses about Garhwal and the pain, emptiness of Garhwal because of migration but there are only a couple of Garhwali poets who could create poetry showing the pain, hurting, insults, aloofness, paying struggle, worthless struggle, the burden of two places (in migrated place and in village of Garhwal), the new social community formation where his/her pride is pierced before him/her by the situation or displacement of a common Garhwali migrated to metro or cities of India from lovely Garhwal.

The common and helpless migrated Garhwali has to struggle with many dimensional situations just not for his own survival but for the present family in Garhwal and for building a new golden future for his next generation. At one side, the newly migrated Garhwali has to face the situation of fast adaptation for materialistic growth in the city and other side , he has to keep the burden of rural culture alive and be ready psychologically and physically at all the time for balancing both the burdens. Though most of the modern Garhwali poems were created by migrated Garhwali but very few Garhwali creative could pay attention on the burdens of migrated Garhwalis. Kanhaya Lal DandariyaL Lalam Ji and Jaya Nand Khuksal ‘ BauLya’ are remembered in Garhwali poetry field for their poems showing , describing , displaying the sting , the balances and imbalances in accommodating the newer situation occurring every time in migrated land, the soaring agonizing in keeping others happy of migrated Garhwalis . No doubt , Jeet Sing Negi was the first Garhwali verse creator to show the pain of migrated Garhwalis (tu wheli beera uchi nisi danyun man gashiyaryun ka bhesh man, khud man teri run lagun chhaun des pardes man). However, Jeet Singh Negi is more famous for his creating melodious songs (geet) than the modern poems.

Born on 17th October in a farmer family of NooNyun of Aswalsyun, Pauri Garhwal in the year 1925 , Jaya Nand Khuksal served twelve years in the army till 1954. After retiring from army Late Jaya Nand Khuksal shifted to New Delhi he worked Ganesh Flour Mills from 1955 to 1986.

He created around hundred of poems in Garhwali but we could find only twenty one poems in his only book ‘Ilmatu Da’published in the year1988.

Kanhaya Lal Dandariyal wrote about his unpublished poems, “Garhwali writers are unlucky in publishing their created literature and most of the literature of each writer is dumped in the corner of cupboards. Hundreds of poems created by Jaya Nand Khuksal are tied in funchis (bundles.)”

Most of the poems of Jaya Nand Khuksal come under utter realism. Many his unpublished poems were read by him in kavisamellan or before his literary friends like Dandariyal, Vinod Uniyal, Prem lal Bhatt, Netra Singh Aswal . One of his poem lover Shri Nand Uniyal said to me , once, about his poems, ‘His some poems are purely real experiences of a migrated Garhwali who is not well educated and struggling a lot in Delhi.”. Shri Nand Uniyal further explained about those poems, which seems to be the subject of Garhwal are in fact, displays the pain of a migrated Garhwali . Uniyal further said, “The beauty of narration of late ‘BauLya’ is that even the happenings of Garhwal in his poems show, display, reflect the feeling of migrated Garhwali. This is his exclusivity among Garhwali poets.” Chhabis January poem is the best example , which show a real pain of a migrated Garhwali and the real pain of migration.

His formats of Garhwali poetries are unique and became the directional force and inspirational force for newer poets of the language. His style and simplicity in composing the verses made him famous poet of kavisamellan of his time.

His famous poems are :

Ilmatu dada
Ghar basaula
Janm bhoomi
In marilya
Jog maya
GhutDu ki bwai
Chhabis January
Chal bichari Ghara
Chitthi
Control
Sun lya mera praN
Ghughati
Dhandai pukar
Jaya Nand BauLya was always a stern supporter of separate state for Uttrakhand and he criticized the discriminative acts and policies of Uttrapradesh government, administrative officials and red tapism.

The famous Garhwali verse critic Bhagwati Prasad Nautiyal comments on the wordings, composition and format of Jaya Nand’ BauLya’s poems that late Jaya Nand used unique symbols and similitude, which his other contemporary or older poets never used.

It is the tragedy for Garhwali literature that the creative has to arrange himself for publishing the literature and arrange free distribution too. Late Jaya Nand BauLya was not rich man and could publish only one collection of poems.

Jaya Nand BauLya was one of the poets who initiated realism in Garhwali poetry.

Copyright @Bhishma Kukreti, Mumbai ,2009, email---bckukreti@gmail.com

Great गढ़वाली (उत्तराखंडी) Personalities-४ - Rajkumari Bisht

Great Garhwali Personalities-4
Rajkumari Bisht : first female Garhwali stage artist and radio singer
By: Bhishma Kukreti

History will always remember Rajkumari Bisht, born in Pauri Garhwali as the first female who sang the song at Delhi and Lucknow Akashwani radio stations . She is the first female Garhwali who took part in many cultural music program and played many roles on the stage of such programs.

She took part in Garhwali musical and cultural program in Agra (1946), Lucknow (1954 and 1962), Delhi (from 1963 to 1970), Mumbai (1966), Uttrakashi (197 and 1969) and Pauri (1965).

Rajkumari Bisht is famous for taking lead for involvement of Garhwali women in cultural and stage program. She is very famous for playing effectively the role of Rami Baurani in the famous Garhwali Nrityy Natika written by Baldev Prasad Sharma ‘Deen’ at various cultural program at various places of India. She got high praises from late Jag Mohan Singh Negi (former minister of Uttar Pradesh), Brigadier Juyal, and Dr. Kushala Nand Gairola. She got many prizes and appraisal from Garhwali social organizations across India.

She became the inspirational institution for Garhwali females to come out for freely participation in cultural and drama Garhwali programs.

She has been was always active Gadh-Kala Sangam Chandigarh to promote Garhwali culture, music and stage plays.

Garhwalis are proud of a great migrated female Garhwali Rajkumari Bisht

Copyright@ Bhishma Kukreti, Mumbai, India11/3/2009

Garhwali Poet-17

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

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

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

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

Origin of Chaufula or Chaunfula a Popular Garhwali Folk Dance Song Style

Bhishma Kukreti

             There is no tendency among Garhwalis for doing research on the origin of folk dance of Garhwal. Barring Dr Chatak, Dr Nautiyal very few scholars touch the subject of origin of various Garhwali folk dances. Lately, a couple of scholars as Dr Baluni, Dr Hatwal came in the field but sorry to say that they did pay no attention on finding the history of dance and song as time has come to find the origin of each folk dance of Garhwal.

   Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or  चौंफुल़ा (ळ+आ)  is one of the popular dance song sequence of Garhwal and Kumaun. Chaufula, Chaunfula or चौफुल़ा(ळ +आ ) or  चौंफुल़ा (ळ+आ)  is agroup dance and there is no restriction of genders. Both the genders can participate in the dance. However, mostly the dance is performed by females.  In fact, as far as group dance is concerned, there is no restriction of gender in such dances as mentioned in Bharat Natyshashtra . Bharat uses Pindi for group dances (B N.S 4- 270) but there is no mention of restriction for any gender in Pindi dances. It seems that from the early age, in India,  group dances were for females and males together.

   Folk Stories behind   Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or  चौंफुल़ा(ळ+आ) Dnace

Dr Shiva Nand Nautiyal states that from many stories in Garhwal, the two popular stories are relevant know the origin of   Chaufula, Chaunfula or चौफुल़ा(ळ +आ ) or  चौंफुल़ा (ळ+आ) dance-song in Garhwal.

                                 Shiv Parvati Marriage

              Chaunfula or Chaufula means blossom in all direction and other meaning is spread in all four direction. It is believed that daughter of Himalaya started  Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or  चौंफुल़ा (ळ+आ) in Garhwal.

                It is said that to please lord Shiva, Godess Parvati built a ‘Chaunri’ - a square or round stage of mud and stone. Parvati and her friends danced around ‘Chaunri’ together and sung the praising and love songs  By the dance and songs, flowers bloomed around ‘ Chaunri’. By the sdance, song and bloom of various types of flowers, lord Shiva became cheerful and agreed for marrying Parvati. Later on, Shiva married with Parvati.

                         Due to dancing in all direction and blooming of flowers in all direction, the people named this dance sequence as   Chaufula, Chaunfula orचौफुल़ा (ळ +आ ) or  चौंफुल़ा (ळ+आ)  or flowers in all four direction. Another meaning of Chaunfula is spreading in all four direction and this is related to happiness spread in all direction after the dance of Parvati and her friends..

                      The stories of Fairy , Sirens or Nymph अन्छेरी सम्बन्धित लोक कथा 

                      अन्छेरी (Anchheri) or fairy, nymphs are commonly talked about in Garhwal specially upper Garhwal. There is story that in the hills, Nymphs or fairies used to build ‘ Chaunri’ and used to dance and sing around ‘ Chaunri’. As soon as they finished the dance and songs, the flowers used to bloom around ‘ Chaunri’ . Due to blooming of flowers around ‘ Chaunri’ the Garhwali folks named as “  Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or  चौंफुल़ा (ळ+आ) ‘ for this type of dance-song.

              Time of Origin of Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or  चौंफुल़ा(ळ+आ)                                                                     

               The scholars as Dr Shiva Nand Nautiyal compares Chaufula or Chaunfula dance with Bihu dance of Assam and Garba dance of Gujrat. However, historians will agree that Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or  चौंफुल़ा (ळ+आ)  did not come in the form of Bihu of Assam as Bihu itself was introduced in Assam in the seventeenth century (Anil Saikia,, 2011,  the learned scholar of Assamese Folk literature). Therefore, it cant be said that Chaufula came in Garhwal from Assama and in any case , there was less migration in Garhwal from Assam.

  Kalidas describes in Jhumelo of Garhwal or Jambhalika dance in Vikramorshsheesh ( 4-450 and Raghuvansh ( 9-35). It means Jhumelo was popular before 2000 years in garhwal. However, Jhumelo is more developed dance than Chaunfula dance in terms of performance sand body acts. This indicates that prior to Jhumelo , Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or  चौंफुल़ा (ळ+आ) existed in Garhwal.

 The literature of Kalidas indicate or prove that Chaufula, Chaunfula or चौफुल़ा (ळ+आ ) or  चौंफुल़ा (ळ+आ) was  existing in Garhwal before 2000 years.

         There are similarities between Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or  चौंफुल़ा (ळ+आ) dance and Dandiya , Garba and Ras dances. Dandiya, Ras and Garba dances are devoted to mother Durga or Naudurga. However, the sect Durga did not flourish before fifth century from popularity point of view. Therefore it can’t be said that Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or  चौंफुल़ा(ळ+आ)  was the form of Garba or dandiya or Ras.

 Even by studying the history of Uttarakhand in Dr Shiv Prasad Dabral’s Uttarakhand ka Itihas ( 2^nd and 3^rd parts) it may be said that Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or  चौंफुल़ा (ळ+आ) in its primitive form was existing in Garhwal before first century. Dr Dabral’s study state that Shaivism came in Garhwal before than Durgaism or Markendiy Puranism . Historian will agree that Purans related to Shiva are far earlier than Markendiy Puran,. Durgaism became popular only after creation of Markendiy Puran . since, the story of Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or  चौंफुल़ा (ळ+आ) is realted to Shiv-Parvati, it may be said that there is no relation of origin of Chaufula, Chaunfula or चौफुल़ा (ळ +आ) or  चौंफुल़ा (ळ+आ) with Garba, Ras  Dandiya and Behu,

             It may be concluded that Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or  चौंफुल़ा (ळ+आ)  was existing in Khas , Kanaiti or Kainturai dynasties in Garhwal may be in its primitive style. Slowly, slowly the people developed the dance and today’s Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or  चौंफुल़ा (ळ+आ) is found in refined form than when it was originated

                   

    References:

1-Dr Shiva Nand Nautiyal

2- Bharat Natya Shashtra 4- 270

3- Anil Saikia - Times Of Indian May 2011

4- dr Dabral, shiv Prasad ‘ Uttarakhand ka Itihas part 2nd and 3^rd

Copyright@ Bhishma Kukreti, bckukreti@gmail.com