Manvikaran or Personification Figure of Speech in Garhwali Folk Drama

गढ़वाली  लोक नृत्य-गीतों  , लोक नाटकों  में  मानवीकरण  अलंकार  

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -89 

                                    Bhishma Kukreti (लोक साहित्य शोधार्थी)

 Personification in drama or writing means attributing an inanimate or non living object human traits and qualities such as desires emotions, physical, sensations etc

गढ़वाली  लोक नृत्य-गीतों , लोक नाटकों में  मानवीकरणअलंकार का उदाहरण

१- सुकली दांतड्यूं को भलो निकसाट बतौँदे

२- हुंगारा लगौन्द भग्यानी नाकै की नाथुली

(संदर्भ: डा शिवा नंद नौटियाल)

Copyright@ Bhishma Kukreti 30 /1/2014

Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter

                 References

1-Bharat Natyashastra

2-Steve Tillis, 1999, Rethinking Folk Drama

3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 

4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research

5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India

6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 

7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12

8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet

9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments

10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach

11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara

12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri

 Xx

Manvikaran or Personification Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Manvikaran or Personification Figure of Speeches     in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Manvikaran or Personification Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Manvikaran or Personification Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Manvikaran or Personification Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Manvikaran or Personification Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia;Manvikaran or Personification Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Manvikaran or Personification Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;

गढवाली लोक नाटकों में मानवीकरण अलंकार,  टिहरी गढ़वाल के गढवालीलोक नाटकों में  मानवीकरण अलंकार ;उत्तरकाशी गढ़वाल के गढवालीलोक नाटकों में  मानवीकरण अलंकार, हरिद्वार गढ़वाल के गढवाली लोकनाटकों में  मानवीकरण अलंकार ;देहरादून गढ़वाल के गढवाली लोकनाटकों में  मानवीकरण अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकोंमें  मानवीकरण अलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में मानवीकरण अलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकोंमें मानवीकरण   अलंकार ;

Vipsa, Veepsa Alankar or Reiteration, Succession Figure of Speech in Garhwali Drama

गढ़वाली  लोक नृत्य-गीतों  , लोक नाटकों  में  वीप्सा अलंकार  

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -88 

                                    Bhishma Kukreti (लोक साहित्य शोधार्थी)

         W hen in any poetry or dialogues, the repetition is used for expressing the sudden emotions as shock, surprise, respect, hate, etc it is called Vipsa or reiteration figure of speech.

गढ़वाली  लोक नृत्य-गीतों , लोक नाटकों में  वीप्सा अलंकार का उदाहरण 

 मैं क तैं पायूं  सोहाग हरचे

मैं क तैं माँगी भीख खतेगे

कनी मैं क तैं देव रूठे 

(संदर्भ: डा शिवा नंद नौटियाल)

Copyright@ Bhishma Kukreti 29 /1/2014

Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter

                 References

1-Bharat Natyashastra

2-Steve Tillis, 1999, Rethinking Folk Drama

3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 

4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research

5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India

6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 

7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12

8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet

9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments

10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach

11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara

12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri

 Xx

Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches     in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;

गढवाली लोक नाटकों में  वीप्सा अलंकार,  टिहरी गढ़वाल के गढवालीलोक नाटकों में  वीप्सा अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोकनाटकों में  वीप्सा अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में वीप्सा अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में  वीप्साअलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  वीप्सा अलंकार;चमोली गढ़वाल के गढवाली लोक नाटकों में  वीप्सा अलंकार; रुद्रप्रयागगढ़वाल के गढवाली लोक नाटकों में वीप्सा   अलंकार ;

Jaspur Chhal ka Shivala or Shiv Temple of Jaspur Region: a Garhwali Folk Story from Garhwal for Opportunity Seeking Manager;

Garhwali Folk Tales, Fables, Traditional Stories, Community Narratives -61

  Compiled and Edited by: Bhishma Kukreti (Management Training Expert)

 (Narrated by Late Murli Dhar Kukreti, Baij Ram Kukreti, Jaspur, Pauri Garhwal)

            Jaspur is one of the oldest villages in Gangasalan. The first Kukreti of Garhwal settled in Jaspur (Malla Dhangu, Pauri Garhwal).

                 When present Thantholi village was not established this village area was under Jaspur. There is a Shiva temple in Beldhar of Thantholi and surprisingly the temple is situated in a hill top called Beldhar or hill top where Bel trees grow. It is said that in old days, there was a spring in Beldhar or hill top. Kukreti of Jaspur donated Thantholi to Kandwal migrated from Kimsar and made Kandwal the priest of Beldhar Shivala.

         There is a village Keechkhal in between Chailusain (Dabralsyun) and Dwarikhal (Langur Walla). Keechkhal would be fifteen to twenty kilometers far from Beldhar. There was farmer named Balkhu in Keechkhal. He had big cow herds. Once, Balkhu found that his one cow did not milk for many days in morning and in evening too. Balkhu asked the future teller but the future teller said that no deity is unhappy with Balkhu. Balkhu checked the nipples of his cow and found that as if somebody milked her in night. Again next morning, Balkhu checked nipples of cow and found that somebody milked the cow.

                  Balkhu thought about knowing milking of cow. Balkhu hid in his cowshed courtyard outside the room. Balkhu had an axe in his hand. Balkhu was surprised that automatically the cowshed door opened. His cow came out of shed and started walking.  Balkhu followed his cow. Cow was walking without any fear in night. Cow reached Beldhar by passing Chailusain, Silogi, and Ganikya hill shrines. Balkhu was shocked to see that his cow reached at Shiv temple of Beldhar. She stood above Shiv Ling and started milking. When the cow stopped milking she started to return.

  Watching the scene of his cow milking on Shiv Ling, Balkhu became angry and he hit with force his axe on Linga but the axe hit the yoni part. The hitting broke Yoni into three parts. One broken part fell below Jaspur and other part fell below Bareth. The third par remains with Shiv Ling. After breaking Shiv Linga, Balkhu returned to his village.

  After many days after the incident, village chief of Jaspur saw a dream and saw that one Shiv Linga  part is lying in south of Jaspur village and other part below village Bareth. The village chief built a small Shivala in Jaspur territory (South of Jaspur). Many years after, Shiv Datt Padhan (Heirs of elder brother of Kukreti of Jaspur who were migrated to Gweel village) renovated the small Shivala below Jaspur village. Shiv Datt Padhan brought a Gusain or Giri family for performing daily rituals and to look after the temple. Shiv Datt Padhan also donated Gusain or Giri family the land near Shivala temple.

  A Kukreti family from Gweel built another Shivala where the broken part of Shiv Linga was fallen.  

Today, both the Shiva temples are called Gweel ka Shivala.   

Copyright @ Bhishma Kukreti 25/1/2014 for review and interpretation

Garhwali Folk Tales, Fables, Traditional stories, Community Narratives for Effective Managers, Effective executives, Effective Boss, Effective Supervisors or Stories for Effective management, management Lesson from Garhwali Folk Literature from Garhwal, to be continued …in next chapter

                                 References

1-Bhishma Kukreti, 1984, Garhwal Ki Lok Kathayen, Binsar Prakashan, Lodhi Colony, Delhi 110003, 

2- Bhishma Kukreti 2003, Salan Biten Garhwali Lok Kathayen, Rant Raibar, Dehradun

3- Bhishma Kukreti, Garhwali Lok Kathaon ma Prabandh Vigyan ka Tantu , Chitthi Patri’s Lok Kathayen Visheshank  , Dehradun

Jaspur Chhal ka Shivala or Shiv Temple of Jaspur Region: a Garhwali Folk Story for Opportunity Seeking Manager; Jaspur Chhal ka Shivala or Shiv Temple of Jaspur Region: a Garhwali Folk Story from Jaspur Garhwal for Opportunity Seeking Manager; Jaspur Chhal ka Shivala or Shiv Temple of Jaspur Region: a Garhwali Folk Story from Gweel, Garhwal for Opportunity Seeking Manager; Jaspur Chhal ka Shivala or Shiv Temple of Jaspur Region: a Garhwali Folk Story from Bareth, Garhwal for Opportunity Seeking Manager; Jaspur Chhal ka Shivala or Shiv Temple of Jaspur Region: a Garhwali Folk Story from Thantholi, Garhwal for Opportunity Seeking Manager; Jaspur Chhal ka Shivala or Shiv Temple of Jaspur Region: a Garhwali Folk Story from Malla Dhangu Garhwal for Opportunity Seeking Manager; Jaspur Chhal ka Shivala or Shiv Temple of Jaspur Region: a Garhwali Folk Story from Ganga Salan, Garhwal for Opportunity Seeking Manager; Jaspur Chhal ka Shivala or Shiv Temple of Jaspur Region: a Garhwali Folk Story from Lansdowne Tehsil , Garhwal for Opportunity Seeking Manager; Jaspur Chhal ka Shivala or Shiv Temple of Jaspur Region: a Garhwali Folk Story from Yamkeshwar block Garhwal for Opportunity Seeking Manager;

बागेश्वर -जागेशवर व देव प्रयाग के धार्मिक प्रसिद्धि ह्रास व उत्तराखंड पर्यटन विकास में सेवा व कार्य विधि अनुसरण का महत्व

Importance of Customer Care and Working Procedures in Uttarakhand Tourism Development  

                                      (Tourism and Hospitality Marketing Management for Garhwal, Kumaon and Hardwar series--41)

                                                           उत्तराखंड में पर्यटन व आतिथ्य विपणन प्रबंधन -भाग41   

                                                           लेखक : भीष्म कुकरेती  (विपणन व विक्री प्रबंधनविशेषज्ञ )   

                            उत्तराखण्ड पर्यटन से जुड़े व्यक्तियों ,  समाज , संस्थाओं व अन्य भागीदारों के  अतिरिक्त समस्त समाज को  बात गाँठ में बाँध लेनी चाहिए कि सभी के सभी को पर्यटकों को कोई वस्तु या सेवा देनी होती है।  पर्यटन उद्यम सेवा उद्यम है।  पर्यटन से जुड़े सभी व्यक्तियों को ग्राहक सेवा देना  मुख्य कार्य से जुड़ा है।  याने ग्राहक सेवा ही पर्यटन व्यापार है। पर्यटन क्षेत्र के व्यापारिक व अन्य गैर व्यापारी संस्थाओं का एक ही ध्येय होना चाहिए कि वे अपने ग्राहकों को उनकी आवश्यकतानुसार व चाहतानुसार सेवा प्रदान करें।  ग्राहक की देखरेख व सुरक्षा ही पर्यटन उद्योग है।  ग्राहकों की सेवा ही ग्राहकों को दुबारा पर्यटन क्षेत्र में लाता है  और पर्यटन सेवा ही  स्थल की छवि वर्धन कर प्रसिद्धि दिलाती है।  यदि ग्राहक पर्यटक स्थल की सेवा से संतुष्ट है तो वः पर्यटक अन्य पर्यटकों को उस पर्यटक स्थल की तरफदारी करता है और यह संतुष्ट ग्राहक पर्यटक स्थल का प्रचार माध्यम बन जाता है। 

                        ग्राहक सेवा नीति निर्माण व ग्राहक सेवा नीतियों का निर्वाह 

                             पर्यटन से जुड़े प्रत्येक संस्थान , व्यक्ति को ग्राहक सेवा नीति निर्माण कर उनका गम्भीरता  निर्वाह करना आवश्यक है।

                                           ग्राहक सेवा के उद्येस्य 

 १-ग्राहक सेवा से ग्राहक संख्या में वृद्धि होती है 

२- ग्राहक सेवा  से  लाभ प्रतिशत में वृद्धि होती है 

३-ग्राहक सेवा पर्यटक को पुन: यात्रा के लिए उकसाती है 

४- ग्राहक सेवा प्रतियोगिता में  स्थान दिलाती है 

 ५-ग्राहक सेवा वास्तव में  संस्थान या पर्यटक स्थल की छवि , प्रसिद्धि , कीर्ति वर्धन का मुख्य कारक है 

 ६-ग्राहक सेवा नीति प्रतियोगी कर्मिक बुलाने में सक्षम होती है।  ग्राहक सेवा से कर्मिकों को भी संतुष्टि मिलती है। 

७- ग्राहक सेवा व्यापार का राजदूत साबित होती है।

                         बागेश्वर , देव प्रयाग जैसे पर्यटक स्थलों के प्रसिद्धि में गिरावट का मुख्य कारण ग्राहक  सेवा 

नवी सदी से पहले बागेश्वर -जागेश्वर  की भारतीय धार्मिक स्थलों में गणना होती थी  और बद्रीनाथ आदि स्थलों को जाने  लिए बागेशर क्षेत्र मार्ग की अपनी प्रसिद्धि थी धीरे धीरे बागेश्वर ने पानी प्रसिद्धि खो दी।  आज बागेश्वर भारतीय धार्मिक पर्यटन में एक गौण पर्यटक क्षेत्र है।  बागेश्वर की कीर्ति ह्रास के पीछे एक मुख्य कारण ग्राहकों की चाहतानुसार  व आवश्यकतानुसार सेवा में ह्रास होना है। 

इसी तरह जब से बस सेवा ऋषिकेश से सीधे बद्रीनाथ तक विस्तृत हुयी तो  देव प्रयाग का महत्व पर्यटन दृष्टि से कम हो गया ।   याने यहाँ भी ग्राहक की  चाहतानुसार व आवश्यकतानुसार ग्राहक सेवा में ह्रास ने देव प्रयाग के महत्व को कम कर दिया  . 

Copyright @ Bhishma Kukreti 29  /1/2014 

Contact ID bckukreti@gmail.com

Tourism and Hospitality Marketing Management for Garhwal, Kumaon and Hardwar series to be continued ...
उत्तराखंड में पर्यटन व आतिथ्य विपणन प्रबंधन श्रृंखला जारी …

                                    References

1 -भीष्म कुकरेती, 2006  -2007  , उत्तरांचल में  पर्यटन विपणन परिकल्पना , शैलवाणी (150  अंकों में) , कोटद्वार , गढ़वाल 

Importance of Customer Care and Working Procedures in Uttarakhand Tourism Development; Importance of Customer Care and Working Procedures in Udham Singh Nagar Kumaon, Uttarakhand Tourism Development; Importance of Customer Care and Working Procedures in Nainital Kumaon, Uttarakhand Tourism Development; Importance of Customer Care and Working Procedures in Almora Kumaon, Uttarakhand Tourism Development; Importance of Customer Care and Working Procedures in Champawat Kumaon, Uttarakhand Tourism Development; Importance of Customer Care and Working Procedures in Bageshwar Kumaon, Uttarakhand Tourism Development; Importance of Customer Care and Working Procedures in Gangasalan, Uttarakhand Tourism Development; Importance of Customer Care and Working Procedures in Haridwar Garhwal, Uttarakhand Tourism Development; Importance of Customer Care and Working Procedures in Dehradun Garhwal, Uttarakhand Tourism Development; Importance of Customer Care and Working Procedures in Pauri Garhwal, Uttarakhand Tourism Development; Importance of Customer Care and Working Procedures in Chamoli Garhwal, Uttarakhand Tourism Development;  Importance of Customer Care and Working Procedures in Uttarkashi Garhwal, Uttarakhand Tourism Development;  Importance of Customer Care and Working Procedures in Tehri Garhwal, Uttarakhand Tourism Development;

History Details of Nomenclature of Kedarkhand Garhwal Part -2

History of Garhwal (1223- 1804 AD) –part -9

 History of Uttarakhand (Garhwal, Kumaon and Haridwar) -254

                       By: Bhishma Kukreti (A History Student)

                      Political Division of Uttarakhand

          The history records proof that when in eleventh century, Narsingh Dev transferred his capital from Joshimath to Baijnath the political division of Uttarakhan started. Katyuri were ruling on both the political regions. In 11191, Ashok Challa captured Katyuri Kingdom and he ruled both the political entities.

  The Ashok Challa rule was divided into following major regions-

1-Bairath-The western part of today’s Nepal or eastern region of Kali Ganga.

2- Kamades- The present region of Kumaon.

3- Kedarbhumi or present Garhwal region- From Tones-Yamuna to Nandadevi all districts of Garhwal including Dehradun and perhaps Haridwar or parts of Haridwar district. In Mahbharata, there is no mention of Kedarbhumi but Uttarakhand was described as Kulind des in general term.

                           Garhwal and Kedarkhand Names

            There is no mention of Kamades, Kurmachal, Kumaon and Kedarkhand, Kedarbhumi in Katyuri inscriptions.

             There is no mention of Kamades, Kurmachal, Kumaon and Kedarkhand, Kedarbhumi in Katyuri names in the literature of Kalidas, Ban and Rajshekhar who described this region (Uttarakhand) in their literature. Though, the names Kedarkhand, Kurmachal are not mentioned in inscription it is sure that among common people and elite too these names were discussed before Ashok Challa. 

                                            Kedarkhand

               In Skand Puran (largest and about Kartikeya), there is a separate chapter ‘Kedarkhand.   

In Sanskrit, Kedar means marshy land. However, this meaning does not suit to Kedarkhand.

  In Sanskrit, Kedar means Kapila’s field a Tirtha; Matanga’s field another Tirtha; a basin round the tree; a bed in garden; of a mountain country (present Kedarnath); of Shiva as worshipped in Himalaya.  Kedar means the Himalayan stones where big stone is worshipped as Shiva in.

               It is sure, that present Kedarnath region was familiar as Kedar Teertha in and before Gupta period.

 The Munger inscriptions of Devpal (800) state that servants of Maghad King Dharmapal took bathe in Kedarbhumi. Malwa King Bhoj (1000-1055) either constructed or repaired Kedar Mandir.

                Around 1200; Kangda King Lakshamn Chandra visited Kedarteerth and vowed to treat his wives as sisters.  

           It is obvious that Kedarkhand, Kedarbhumi or Kedarkshetra was commonly used for the regions of Garhwal, Dehradun and Haridwar before eighth or ninth century.

        Areas under Kedarkhand

         Kedarkhand of Skanda Puran describes the regions of Kedarkhand from Gangadwar (Haridwar) to greater Himalaya and Tamsa (tones) to Baudhacahl (Badhan at the border of Kumaon).

 Ashok Challa had rule over Garhwal, Dehradun and Haridwar.

Copyright@ Bhishma Kukreti Mumbai, India, bckukreti@gmail.com24/1/2014

                                      References

1-Dr. Shiv Prasad Dabral, 1971, Uttarakhand ka Itihas Bhag-4, Veer Gatha Press, Dogadda, Pauri Garhwal, India 

2-Harikrishna Raturi, Garhwal ka Itihas

3-Dr. Patiram, Garhwal Ancient and Modern

4-Rahul Sankrityayan, Garhwal

5- Oakley and Gairola, Himalayan Folklore

6- Bhakt Darshan, Garhwal ki Divangit Vibhutiyan

7-Foster, Early Travels in India William Finch

8-Upadhyaya, Shri Shankaracharya

9-Shering, Western Tibet and British

10-H.G. Walton, Gazetteer of British Garhwal

11-B.P.Kamboj, Early Wall Paintings of Garhwal

12-H.g Walton, Gazetteer of Dehradun

13- Vimal Chandra, Prachin Bharat ka Itihas

14-Meera Seth, Wall Paintings of Western Himalayas 

15-Furar, Monumental Antiquities

16-Haudiwala, Studies in Indo-Muslim History

(The History of Garhwal, Kumaon, Haridwar write up is aimed for general readers)

History of Garhwal from 1223-1804 to be continued in next chapter          

History of Garhwal – Kumaon-Haridwar (Uttarakhand, India) to be continued… Part -255  

Xx

History Details of Nomenclature of Kedarkhand and Garhwal; History Details of Nomenclature of Kedarkhand and Garhwal- Pauri Garhwal; History Details of Nomenclature of Kedarkhand and Garhwal- Chamoli Garhwal; History Details of Nomenclature of Kedarkhand and Garhwal- Rudraprayag Garhwal; History Details of Nomenclature of Kedarkhand and Garhwal- Tehri Garhwal; History Details of Nomenclature of Kedarkhand and Garhwal- Uttarkashi Garhwal; History Details of Nomenclature of Kedarkhand and Garhwal- Haridwar Garhwal; History Details of Nomenclature of Kedarkhand and Garhwal- Dehradun Garhwal;